The First Principles Of Pianoforte Playing

A complete playing tutorial for self learners or school use.

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	SUMMARY OF PART III.                               95
	Wrist-joint, while the finger-tips remain lying on their keys; also a rolling and un-rolling of the fingers themselves, while they support a certain proportion of the weight of the hand on the keys* Designed to insure the elimination of all contrary cxer-tions from those required from the finger and the hand* 46): Test No. II. :—A drop of the Wrist-joint, occurring in response to the accurately-timed cessation of the finger-and-hand exertion, at the moment of sound-emission; thus permitting the keys to rebound while the Wrist falls past them* Designed to secure accuracy in " aiming " the act of Tone-production. This should be practised in four ways: Staccato, pp and ff; Legato, pp and ff. 47): Test No. Ill:—The performance of a short, light run, ending in a rebound of the arm off the keys with the last note; practised (a) with the whole arm thus rebounding, and (b) with the fore-arm alone thus rebounding; and practised both with a vigorous bounding-off and with a gentle floating-off of the arm* Designed to insure the elimination of Down-arm-force from the required down-exertions of the finger and the hand*
	The Three Spe- 48): All three species can be applied as " Added-cies of Touch- impetus" both during Legato and during Staccato* formation.1          49). The First Species can only be applied through iinget-mo'bement—"finger-touch." It enables us to provide the highest degrees of Agility, but it offers us only slight possibil­ities of Tone-contrast. 50): The Second Species can be applied both as Finger-touch and as Hand-touch—"Wrist-touch." It enables us to provide greater contrasts in tone-quantity than the first species, but agility-power is here more restricted. 51): The Third Species can be applied in all three forms of Movement; 'biz.: as Finger-touch, Hand-touch, and as Arm-touch. This species permits us to attain not only the fullest con­trasts in Tone-quantity, but also those of Tone-quality* * Explanation of §§ 48 to 52, found in Chapter XIX., page 214.