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Glossary and Summary of the main teachings of this work.
§ 1. The Act of Playing demands perception and facility in two distinct directions: (a) Musical-perception, and (b) Technical-facility.
§ 2. Musical-perception implies that of Feeling and that of Shape.
§ 3. Technique implies (a) knowledge of the requirements of Taste, and (b) knowledge of, and facility in Key-treatment. § 4. Key-treatment, again, has two aspects : (a) Knowledge, or perception of the instrument's requirements, and (b) knowledge of, and facility in muscularly fulfilling these.
§ 5. Tone-production can solely be wrought by causing the key to move.
§ 6. Loudness depends purely on the degree of speed attained by the key during its descent. § 7. Beauty of tone depends on our inducing this key-speed as gradually as possible.
§ 8. Opportunity for causing or influencing tone, absolutely ceases the moment the hammer reaches the string and rebounds therefrom.
§ 9. This moment, the beginning of the note (the moment of transition from Silence to Sound) must be listened for, so that our propulsion of the key can be accurately aimed to it.
§ 10. The key, in the shape of weight and friction, offers resistance to movement.
§ 11. The energy required to overcome this resistance,