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DIRECTIONS FOR LEARNERS.
operate semi-automatically—owing to the timed cessation of its support at the Wrist.
n): How the Resting is passed on from finger to finger by a similarly semi-automatic process—owing to the timed cessation of the last-used finger's supporting exertion.
o): The importance of the three chief forms of muscular-testing—(a) for freedom, (b) success in "aiming," and (c) isolation of arm down-exertion from the required finger and hand exertions, and other tests.
p): The subsidary, but still important points, such as the lateral freedom of the hand and wrist; the " artificial " legato element; and the nature of the movements towards the keys, and other details—to be found in the Recapitulatories, etc.
AS TO POSITION:
§ 58. You must sit far enough from the instrument to enable you to open the arm out sufficiently, else you cannot obtain the advantage of its free weight when required, nor can you move freely across the keyboard. Do not, however, sit too far off.
§ 59. When you employ the bent finger (thrusting-touch) be careful to start with it sufficiently bent; the higher the pre-liminary raising the more must it be bent, for the nail-phalange must remain nearly vertical.
§ 60. To enable you to play a scale or arpeggio smoothly, when turning the thumb and fingers under and over, you must let your hand remain more or less turned inwards. For double-notes passages, on the contrary, you must turn the hand in the direction in which the passage is travelling; and when necessary there must be a free side-to-side (lateral) movement of the hand or wrist to enable you easily to accomplish such turning over or under.
§ 61. Do not allow the knuckles to be below the level of the