The First Principles Of Pianoforte Playing

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n): To use the Clinging-attitude, we must leave the Upper-arm more or less relaxed during the moment of tone-production ; thus causing the Elbow to tend to hang on to the fingers. Weight thus set free permits the finger to cling to the key to the necessary extent.
The finger, in thus tending to drag the Elbow towards the key­board, should be used as a whole,—all three joints nearly straight or "fiat."
o): To use the Thrusting-attitude, we must on the contrary support the Upper-arm—more or less forwards.          This permits
the finger to thrust against the key to the necessary extent, the thrust being taken by the Elbow.
The finger, in thus tending to thrust against the Elbow, is used in a very rounded (or bent) position, and it tends to un-bend towards and with the key; the nail-joint remaining almost up­right.          The action is like that of the leg in walking up­stairs.
p): Most of the work done by the finger, should be derived from the part of the finger next to the knuckle—the knuckle-phalanx, i.e.: The part of the finger next to the knuckle (or hand), is the part that should do most of the work.
This applies equally in " flat" and " bent" attitudes.1
q): The action of the finger, in both attitudes, is best under­stood at first, by turning the hand palm upwards, and lifting a weight by the tip of the finger.
r) : If we require the most sympathetic tone, we must com­bine Clinging-attitude with Weight-initiative. Remembering that the slightest "putting-down" of the key, will destroy the desired result.
s): If we want a sharp incisive tone (sacrificing carrying-power) then we must combine the Thrusting-attitude with Muscu­lar-initiative.
t): Finger-touch, Hand-touch ("Wrist-action") and Arm-touch, are terms not referring to the action or otherwise of the three various parts designated. They merely refer to movements of those parts, respectively. Whether an actual movement of the
1 Vide Fig. 11; also Figs. 8 and 9; pages 74 and 75 of this work.
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