The First Principles Of Pianoforte Playing

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56              key-treatment; muscular aspect.
i): Certainty, both as to Notes and as to Expression, can alone be secured in this way.
j) : In slow successions of notes, each one is to be thus indi­vidually felt and judged. In quick passages, the separate units are merged into one general sensation and judgment of the key­board.
k): Attention to key-resistance also compels Musical-attention: for we cannot muscularly judge the key as to Tone and Time, unless we have a sound in our mind, exactly dictated by our Musical-feeling at that moment.
On Key-Contact.
(Chapter XIY.)
a) : The finger-tip must reach the key with but little percussion.
b): The preliminary fall of the limb upon the key-surface, should be free from perceptible exertion; it should arise rather from Relaxation.
c): It is not until we reach the key, that we can commence the act of pressing it into motionf—the act proper of tone-production.
d) : The act of reaching the key, and the act of setting it into motion, need not necessarily be separate ; the two may coalesce into an unbroken descent.
e): Contact, may, on the other hand, be made some time before the note is required; several notes at a time may thus be previously felt, in certain rapid runs.
f) : The difference between Sudden and Gradual depression of the key should mostly depend on the condition of the muscles during the subsequent operation.1
g): Harsh sounds do not carry; hence they do not sound so
full and " grand " a little way off, as they seem to do close to
the instrument.
1 That is, it should depend upon what we do during the operation of tilt­ing the Key into sound.
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