The First Principles Of Pianoforte Playing

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§ 20. This Added-impetus must absolutely cease to exist at the moment that sound-emission begins,—in Legato as well as in Staccato.
§ 21. The Added-impetus can be muscularly provided in the following three forms of Touch-construction or formation:— 1st Species : Finger-exertion alone, with passive hand
and self-supported arm. 2d Species: Hand-exertion behind the finger, with self-
supported arm. 3d Species: Momentary lapse in arm-support, behind the hand and finger exertions.
§ 22. The Muscular-components which provide the Act of Touch are therefore: (a) Finger-exertion, (b) Hand-exertion, and (c) Arm-weight.
§ 23. The sensations of correct touch are hence always up­wards—upwards by reaction from the key, against knuckle and wrist.
This, because we can only positively feel the actions of the finger and hand, and not the operation of arm-weight, since the latter is derived from lapse in muscular-exertion.
§ 24. Movement during key-descent, depends on which of these three components is slightly in excess of the other two at the moment. The resulting distinctions of movement are termed : Finger-touch, Hand-touch and Arm-touch.
§ 25. The third Species is available in either of two Sub­genera : either as " Weight-touch " or as " Muscular-touch." This, because the combination of the three touch-components may, in this Species, be started either (a) by Weight-release— that of the arm, or (b) by Exertion—that of the finger and hand.
The first makes for roundness of tone; the second for brill­iance and even hardness.
§ 26. Hardness or harshness is bound to ensue if we ap ply arm down-force to any appreciable extent, and when we apply our efforts too far down in key-descent.
§ 27. We should therefore be careful always to play " only to the sound."
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