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FINAL SUMMARY. |
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III. How Position, whilst mainly a result, and not a cause, includes nevertheless some points of importance: such as the sufficiently-opened arm; the difference between the raised bent and flat finger; the lateral adjustments of the hand; and the teaching, that every key must be felt before being played, and must be found as a lateral distance from its preceding fellow.
IV. Above all things, we must always remember that the ultimate purpose of our study is not to obtain correct Movements, nor correct Muscular-habits, but that our purpose is to obtain Command over Musical-expression. With this purpose in view, we must, in playing, constantly feel key-resistance, so that we may thus be muscularly prompted to fulfil the requirements both of Key and Music.
Good tone-production can in fact be thus defined :—we must allow Key-resistance and Musical-sense to prompt us easily to move each key at requisite speed and increase of speed, to a definite Place in Time and Key-descent. |
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