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RECAPITULATORY OF CHAPTER XXIII., AND PART IV. 111
a): Sufficient distance between shoulder and key, with the seat sufficiently removed from the instrument to admit of this.
b): The distinction between the two kinds of finger-movement, willi the finger sufficiently bent before its descent, in thrusting touch.
c): Avoidance of the depressed knuckle.
d): Lateral adjustment of the hand and wrist to each particular passage; the hand being turned inwards for single-notes scales and arpeggi, and turned in the direction travelled, during double-notes passages.
e): Above all things, one should insist (a) that each finger is in position, and /eds each key, before the act of key-depression proper is commenced ; and (b), that the position in key-descent is aimed for, where key-depression culminates in sound-beginning ;-----so that
each key-propulsion is aimed, to culminate at the very moment that the hammer reaches the string.
Subsidiary Points of importance are:—
f): Not to allow the hand to slope toward* the fifth finger-----unless apparently so during the movement of
g): To keep the thumb well away from the hand,--------
with the nail-phalanx in line with its key.
h : Not as a rule to allow the fingers to reach the keys near the outside edge of the key-board.
J): The slight re-adjust incuts of wrist-height, in passages with the thumb alternately on black and white keys.
k): In Hand-touch, and Arm-touch, the assumption of the depressed position of the fingers relatively to the hands, before the down-movement of the hand or arm.
1): Attention to the two alternative return-movements of the finger in thrusting or dinging Finger-staccato, respectively.