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§ 28. Quality of tone is moreover influenced by the two diverse Attitudes of the linger and upper-arm, respectively termed, the " Clinging " and the " Thrusting."
The first helps towards sympathetic (and carrying) tone, the second towards brilliant (and short) tone.
§ 29. It is the condition of the upper-arm (or elbow) that determines in which of these two ways the finger shall act.
§ 30. Most of the finger's work must be done by the Knuckle-phalanx; this applies equally in clinging and in thrusting attitude.
§ 31. To obtain the most sympathetic effect, we must provide key-descent through the co-operation of the clinging attitude with the third species, in the latter's weight-initiated form.
§ 32. Arm-weight, when employed in the Added impetus, must automatically cease its operation—in response to the accurately-timed cessation of the up-bearing stress at the wrist-joint.
§ 33. The transfer of the Resting weight should likewise be an automatic process, occasioned by the accurately-timed cessation of the supporting duty of the finger last used.
§ 34. Perfect freedom is imperative in all the movements and muscular actions employed in playing,—freedom from contrary-exertion.
§ 35. Rotary-freedom of the fore-arm must be insisted upon, as well as horizontal and vertical freedom of the wrist-joint.
Lack of rotary-freedom, especially, is one of the most common faults, since the here continually required adjustments mostly remain invisible.
§ 36. The shoulder must be at such a distance from the instrument, as will enable the arm to be opened-out almost into an obtuse angle, thus enabling us to employ its Weight when required.
We must be seated sufficiently distant from the instrument to admit of this.