The First Principles Of Pianoforte Playing

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96               key-treatment; muscular aspect.
Agility is however still more limited, owing to the rapid alter­nations of arm-release and re-support here required.
52) : We must bear in mind the particular scope (the possi­bilities and limitations) of these Three Species, when we (con­sciously or un-consciously) choose the touch-formation for each particular passage; we may otherwise fail to employ the most appropriate form*
53): Enumeration and Classification are possible, if we recall the main facts of Touch-construction. We thus find there are some 42 distinct kinds of key-attack, as follows:
54):, eight kinds :—for we can employ either the 1st Species of touch-formation, or the 2nd, or the 3rd, and the latter in either of its two aspects (either as Weight-touch or as Muscular-touch), and we can employ these four either as Clinging or as Thrusting-touch.
55): Finger-legato, ten kinds :—for we have the same options as in Finger-Staccato, and have in addition the option of using the Resting unaided (ppp Ten., or Leg.) either under the Bent or Flat finger conditions.
56): Hand {wrist) staccato, six kinds :—in the form either of 2nd Species, or 3rd Species under its two aspects, and these again either as Clinging or Thrusting-touch.
57): Hand (wrist) tenuto, eight kinds :—the same options as in Hand-staccato, and in addition, the Bent and Flat finger forms of the un-aided Resting.
58): Arm-staccato, four kinds :—3rd Species either in its mus-cularly-initiated or weight-initiated form, and these taken either Bent or Flat.
59): Arm-tenuto, six kinds:—the same alternatives as with Arm-staccato, but with the additional ones obtained under the unaided Resting, with either thrusting or clinging key-attack.
60): From the Artist's and Colourist's point of view,Classifi-
* Explanation of §§ 53 to 60, found in Chapter XX., page 238.
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