The First Principles Of Pianoforte Playing

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92                key-treatment; muscular aspect.
22) : The sensation of exertion is always upwards in correct touch, since the required exertions should be mainly derived from finger-and-hand leverage—which by reaction from the keys operates upwards against knuckle and wrist*1
23): There are three main muscular-components : Finger and Hand down-exertion, and Arm-weight.
24) : Loudness depends on the total degree of Energy thus derived.
25): Quality mainly depends on the locality of the initiatory muscular-component;—i.e.: whether we start the act of key-depression by Muscular-initiative or Weight-initiative. The first makes for sudden key-depression—sharpness of tone; whereas the second makes for that gradual attainment of key-speed associated with beauty of tone.
26) : Quality is moreover modified in these same directions, by the contrast obtainable between the Thrusting and the ding­ing finger-attitudes, and their related upper-arm conditions;—i.e.: by the contrast between a forward-held, or a backward-hanging Elbow.2
27): To obtain the extreme effects of Quality, we must combine both of these influences.
28): The most active portion of the finger should always be that next to the knuckle of the hand* This applies equally in Thrusting and in Clinging touch.
29) : Movement—the distinction between Finger-touch, Hand-touch, and Arm-touch—depends upon which one of the three muscular-components3 is slightly in excess of the other two, dur­ing the process of key-speeding (descent).
30)  : Choice of Movement should be mainly determined by the speed of the passage. Finger-movement (Finger-touch), however, can be employed both in quick and in slow pas­sages.
31): Good choice of Touch-formation—or Species of touch—
1 The reaction is upwards aerainst the shoulder in extreme cases. 1 Vide Figs. 8 and 9, page 166; Fig. 10, page 167; and Figs. 12 and 13, page 171.
* Finger-force, Hand-force, and Arm-weight.
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