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68 key-treatment; muscular aspect. |
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Finger, Hand or Arm accompanies key-descent, depends purely upon which of the three components provides slightly more Energy. Thus:
i): Finger-touch (or movement) may involve the operation of all three of the muscular components—finger-exertion, hand-exertion, and arm-weight. Or, finger and hand exertion may alone be used; or, the finger-exertion alone.
2): Hand-touch (or movement) must involve finger-exertion, and may also involve arm-weight.
3): Arm-touch (or movement) must involve exertion both of the finger and the hand, accompanied by Arm-lapse.
u) : Choice of movement is chiefly determined by the actual speed of the passage; i.e.: It is the actual speed of the passage that mostly determines which part of the limb we must move :—
i): Arm-movement (or touch) should be employed when the passage is sufficiently slow to admit of it.
A more or less slight raising of the whole limb off the key-board renders the act of phrasing clearer. The first note of a phrase is therefore nearly always played by arm-descent.
2): Hand-movement (or touch) must be chosen, when the notes succeed each other too quickly to be conveniently played by arm-touch.
3): Finger-movement (or touch), as it provides the shortest lever, must be chosen for passages beyond the speed-capacity of Hand-touch.
4): Finger-movement (or touch) is however also employed for slower passages, and even for the slowest. This, because we can only obtain a true Legato through the intervention of the fingers, thus enabling us to transfer the second kind of Resting from key to key. |
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v): Choice of Touch-formation (the Muscular-combination em- |
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