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varies with different keys, and with the speed at which we try to impel them.
§ 12. We can only gauge key-resistance, by physically feeling it through the muscular-sense, before and during Key-depression.
§ 13. The act of Attention during performance is dual, since it implies attention musically and attention in-strumentally. We must listen inwardly and outwardly, so that we hear what should be, and so that we also hear the actual result; and we must meanwhile constantly feel the giving-way point of the keys, so that we can gauge the necessary efforts.
§ 14. Since the key must be reached so carefully, the contact should never be in the form of an actual blow, unless accuracy as to notes and expression do not matter.
§ 15. The act of Touch is consequently a Duplex process— excepting in the case of ppp-Tenuto or Legato:—
It consists of the two acts (a) of Resting, and (b) of Adding Energy to the key to move it.
§ 16. The act of Resting (which is continuous during each phrase) may either occur (a) at surface-level of key-board, or (b) at bottom-level of key-board.
This slight difference in Resting-weight constitutes the difference in Basis between Staccato and Tenuto, or Legato.
§ 17. The first (or lighter) form of Resting does not assist key-depression. The second (or heavier) form does ;—being slightly heavier, it suffices to overbalance the key into deflection.
Both forms of Resting serve to tell us where the keys are, and their resistance.
§ 18. The absolute pp is obtained by employing this second form of the Resting, unassisted by any Added-impetus.
§ 19. The Added-impetus (Energy momentarily applied to the key during descent) is meanwhile required in all touches (except in ppp-Ten. or Leg.) to induce the requisite tone-amount and quality.