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SUMMARY AND CONCLUSION.
§ 20. This Added-impetus must absolutely cease to exist at the moment that sound-emission begins,—in Legato as well as in Staccato.
§ 21. The Added-impetus can be muscularly provided in the following three forms of Touch-construction or formation:— 1st Species : Finger-exertion alone, with passive hand
and self-supported arm. 2d Species: Hand-exertion behind the finger, with self-
supported arm. 3d Species: Momentary lapse in arm-support, behind the hand and finger exertions.
§ 22. The Muscular-components which provide the Act of Touch are therefore: (a) Finger-exertion, (b) Hand-exertion, and (c) Arm-weight.
§ 23. The sensations of correct touch are hence always upwards—upwards by reaction from the key, against knuckle and wrist.
This, because we can only positively feel the actions of the finger and hand, and not the operation of arm-weight, since the latter is derived from lapse in muscular-exertion.
§ 24. Movement during key-descent, depends on which of these three components is slightly in excess of the other two at the moment. The resulting distinctions of movement are termed : Finger-touch, Hand-touch and Arm-touch.
§ 25. The third Species is available in either of two Subgenera : either as " Weight-touch " or as " Muscular-touch." This, because the combination of the three touch-components may, in this Species, be started either (a) by Weight-release— that of the arm, or (b) by Exertion—that of the finger and hand.
The first makes for roundness of tone; the second for brilliance and even hardness.
§ 26. Hardness or harshness is bound to ensue if we ap ply arm down-force to any appreciable extent, and when we apply our efforts too far down in key-descent.
§ 27. We should therefore be careful always to play " only to the sound."