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EXTRACT. |
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FINAL SUMMARY
OF SOME OF THE MAIN TECHNICAL POINTS TO BE INSISTED UPON IN TEACHING OURSELVES AND OTHERS.1
I. We must remember : how sound can only be made through key-movement; and how beauty of tone can only be obtained by insisting upon the gradual depression (gradual propulsion) of each key; and how we must listen for the beginning of each sound, if we would accurately " aim " the efforts by which we intend to produce it.
II. We must remember : how Touch consists of the two elements, the Resting and the Added-impetus ; how the one is continuous and the other not only dis-continuous, but always as short-lived as in Staccatissimo. How the act of touch is muscularly mainly built up of the three components, Finger and Hand exertion, versus Arm-weight, etc., and why we must therefore always feel the act of touch as one of leverage upwards. How these components can be combined into three main species of Touch-formation, of which the third offers us the two great distinctions between Weight and Muscularly-initiated touch, with the consequent divergences in Quality of tone ; and how Quality is further influenced by the opposite Arm-and-finger conditions respectively termed Clinging and Thrusting. How Weight must be ceased automatically, and how this also applies to the act of transferring weight in Legato. Also the great importance of insisting upon the Rotary-adjustments of the forearm ; and how the doctrine of Ease implies perfect freedom from contrary-exertion in all the movements and actions required, including those horizontal ones of the Hand and Wrist.
1 These last Summaries are useless, unless the preceding portions of this work have been studied. |
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