The First Principles Of Pianoforte Playing

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sake of making Sounds, or for the mere muscuiar-enjoyment of doing so.1
Teachers, who may find it difficult to plan out tne suggested "Introductory Lessons" in logical order, will find a scheme of such lessons added to "The Act of Touch" in its second Edition.
This scheme naturally falls under the following headings:—
I) How the key must be used.
II)  Why true Musical-expression remains impossible unless
attention is given to Key-resistance and Sound-begin­ning.
IIIThe Dual Conception of Touch.
IV)  How the Muscles must be used,—a glossary of the
Muscular-means employed in the act of Touch. V) Allusion, incidentally, to the implicated laws of Position.
The whole ground is of course covered in the "Directions and Definitions for Learners"; and the teacher may therefore profitably ask the student to read out a portion of this Chapter at each of the first lessons, when fuller verbal explanations will suggest themselves as required, as the ground is gone over.
The Student should anyway start by studying these "Direc­tions" carefully, and when he finds points unclear, he should refer to the "Extract," first referring to the Summaries of the Parts, and when those do not supply the desired details, to the Recapitulatories of the Chapters concerned. When still further detailed information is required, "The Act of Touch" itself must supply this.
The following are the main points to be constantly insisted upon, when the keyboard stage is reached, especially so at first, and alike in the case of children and of adults:—
1 Vide the last part of the note " On Listening," belonging to the Appendix to Part I. of "The Act of Touch," reprinted here. (Page 35.) In this con­nection, I would also urge teachers of children, not yet acquainted with the volumes, to adopt Mrs. Spencer Curwen's admirable method for the young: " The Child Pianist," and " Teacher's Guide"—Curwen and Sous.
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