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Matthay

The act of touch In all its

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SIP I' 7 1979
NOV S 1 1979

PIANOFORTE
TONE-PRODUCTION

BY TOBIAS MATTHAY

THE ACT OF TOUCH IN ALL
ITS DIVERSITY. An analysis and
synthesis of Pianoforte Tone-Production.

15s. Od.

THE FIRST PRINCIPLES 0*
PIANOFORTE PLAYING. Being
an extract from the author's " THE ACT OF
TOUCH." Designed for school use, and in-
cluding two new chapters, DIRECTIONS FOR

LEARNERS AND ADVICE TO TEACHERS. 6s. Od.

SOME COMMENTARIES ON THE
TEACHING OF PIANOFORTE
TECHNIQUE. A Supplement to "THE

ACT OF TOUCH " and " FIRST PRINCIPLES."

3s. Od

THE ACT OF

TOUCH

IN ALL ITS DIVERSITY

AN ANALYSIS AND SYNTHESIS OF

PIANOFORTE TONE-PRODUCTION

BY

TOBIAS MATTHAY

BOSWORTH & CO. LTD.,

14/18 HEDDON STREET,

REGENT STREET,

LONDON, W.I

COPYRIGHT, 1903 BY,

LONGMANS, GREEN AND CO.

First Edition December 1903 Reprinted May 1905

Reprinted September 1911
Febr

ruary 1914
June 1916
July 1919
April 1921
July 1924
February 1926
September 1928
February 1935
October 1943
February 1945
May 1947
January 1950
May 1954

Printed in Great Britain

Cfo

MY BLIX>W WORKERS AT THE
PIANOFORTE

STUDENTS, ARTISTS, AND TEACHERS

" Tnere can be no effect without a cause"

PREFACE.

ABILITY to understand and feel Music, and ability to com-
municate such perceptions to otters by means of an instru-
ment, are twq totally distinct accomplishments. They have
often been confused, owing- to the fact, that it is impossible
to achieve a really satisfactory musical performance without
their happy combination.

To become pianoforte players, we must learn Music, and
must acquire Taste, but we can only succeed in expressing
what we feel, musically, by means of the physical act of Jeey-
depression* In short, the purely physical act of playing

consists solely of an ACT of Touch, an act of Tone-production.
All the gradations of Agility (fleetness of finger), Duration
(staccato and legato), as well as all the contrasts of Tone-in-
flection depend solely and directly on the nature of this act ;
and it is therefore upon our expertness in the AKT of Touch
that the whole superstructure of Pianoforte-playing rests.
The Art of Touch may indeed be concisely defined as : com-
mand over the Means of Expression.

This Art thus forms the very Foundation (the Elements or
Budiments) of Pianoforte-playing; and it can no more be a
"gift" (as so often supposed) than is the art of articulate
Speech itself ; for it can be acquired by every person of average
Intelligence. Its precise place in the scheme of Piano-

forte Education need not here be further dilated upon, since

vii

PBEFACE.

Part I. is devoted to that purpose ; and the reader is referred
to the Summary of this Part, on page 40.

A performer can indeed prove himself to be musical only
to the extent of his command over touch variety. It is the
constant flow of note to note touch-inflections that forces one
to realize that a performer is a sentient being. And it is just
this Art of Touch, that will for ever defy mechanical imitation ;
and will for ever render the simplest performance, coloured
by human fingers, immeasurably superior to the most com-
plex one obtained by mechanical agency, however perfect the
machine.

Although it is only thus, by perfecting himself in the Art of
Touch, that the player can obtain the means of expressing his
musical sensibilities, yet until within quite recent years the
paramount necessity of studying this problem had not be-
gun to dawn upon teachers, artists, and students.

As the true fundamentals of this Art remained practically
unrecognized, no serious attempt could be made to give direct
instruction in it. True, it was recognised that the

musically endowed evinced a " finer touch " than did others less
endowed ; but this, it was assumed, was owing solely to some
occult influence over the keyboard, the possession of which
enabled the favoured ones to produce tone of a better quality
and of finer gradations ; and there is some half-truth in this,
for it is certain that the possession of a musical ear, and a
strong wish for musical expression, will undoubtedly compel
the player to experiment at the keyboard, until he does sooner
or later discover for himself at least some of the mechanical
Means that will conduce to success. True, also, that

*he more serious teachers have insisted upon the necessity of
good quality and variety of Touch. But even the greatest, so
;ar, have relied almost exclusively upon empirical method*

PREFACE. IX

or upon the force of Example. Or they have insisted upon
what is after all a mere accompaniment of good touch, i e. :
Position and Movement thus placing "the cart before the
horse." True it is, moreover, that the necessity of ra-

tionally studying this problem has lately made itself keenly
felt, especially in America. How pressing this need is, be-
comes only too painfully evident, when one has to teach those
who have already formed wrong muscular-habits, and when
one is compelled to witness the ineffectual struggles of many
even of the musically endowed in the Examination-room, and
Concert-room, who, were they not thus handicapped by faulty
habits (acquired through ignorance of these Rudiments) could
give free vent to the powers of perception and imagination
evidently latent in them !

Obviously the only way to succeed in the attempt ration-
ally to learn and teach the Act of Touch in all its immense va-
riety, is, first to discover through ANALYSIS how the successful
players obtain their effects, and then to test such Analysis, by
observing whether the act of touch, built up in accordance
with such analysis, does give the anticipated tonal-results.
Having thus determined the structure of all varieties of touch,
and the permits to Agility, we ought then to be in a position
directly to help ourselves and others towards their acquisition.

The Means of Touch-variety or Key-treatment having thus
been analysed, it follows that all who will take the trouble to
master the subject all who will take the trouble to under-
stand the requirements of Key and Muscle, and will take the
trouble to form these into physical and mental habits will
be able to acquire the language of Expression. Everyone
may thus be enabled to gain power of Agility and Colouring ;
and even the musically endowed, may, by directly acquiring
a tone-palette (or Touch-palette) thus save years of time, which

X PREFACE. ,

would otherwise be wasted in futile experiments, and in form-
ing bad habits.

As I have now for a great number of years applied such
Analysis and Synthesis of Touch in my daily work of teaching,
doing so always with increasing directness, and mainly as-
cribe such success as I have had as a teacher -(and my pupils,
also, as teachers) to the resulting ability to point out J/ie im-
mediate causes of the observed faults, and indirect means of their
correction to the ability to show explicity HOW to command the
physical fulfilment of each interpretative and technical detail, I
have long been urged to render this knowledge more widely
accessible, and the present little work is the result.

In endeavouring to place the many unfamiliar facts and
new ideas before the reader, there was however this dilemma
to face : that innumerable prejudices and fallacies would have
to be combated, and that to do this would render the treatise
too elaborate for the Schoolroom ; whereas, to limit" it to direct
information in its concisest form (as required' for the School-
room) might render its teachings 'liable to misconception, and
unacceptable to the prejudiced.- > .

. To- overcome this difficulty, the work has been laid out in
four Parts, as follows : Part I, is purely introductory, and
purposes to show the relation the study of Touch bears to the
general problems of Pianoforte-education. This is followed
by the practical Parts, II to IV. Part II, " The instru-

mental aspect of Key-treatment," demonstrates the nature of
the mechanical difficulties to be overcome, what are the re-
quirements of the key, and' how the key must be treated for
each kind of effect Part III, " The muscular-aspect of Key-
treatment," exhibits the nflisciilar difficulties of the pt6blem,
and their solution the muscular means we must adopt, to ful-
fil the* key's requirements/ Finally, /^art IV deals with the

PEEFAOE. XI

positional aspect of the subject the postures and movements
which must,, or may, accompany correct key-treatment. Each
of these practical Parts consists first of a Preamble, giving a
general idea of the matter to be dealt with, followed by a num-
ber of chapters, providing explanatory details ; each of these
chapters being followed by a BECAPETIILATIOK, and each of the
Parts again by a SUMMABY; the concluding chapter of the
work, moreover, giving a Glossary of the whole. A system of
Notes accompanies the text, and Appendices, which follow each
Part, give further opportunity for detailed instruction.

In this way, the close enquirer may obtain full information
in the chapters, while the less advanced student can be re*
ferred to these Recapitulatories and Summaries. These, in
fact, form a work complete in itself, a digest or extract, de-
signed for school use. This Digest or Extract, is in-
tended for publication in a separate form later on, to render it
more easily available for such purpose.

The work, it will be seen, is entirely explanatory. It has
nothing to do with any particular system of exercises or stud-
ies, etc. The Student can apply its teachings at any
stage of his progress, since it applies in all cases, whatever
the system of teaching or exercises adopted in other respects.
The Artist can learn from it the reason of his greater
or lesser success technically, and how further to improve his
powers of Expression. The Teacher will find it useful
at every step ; and finally the Critic can find in it a basis for
his technical opinions.

This work may presently be followed by an extra Part
Part Y, giving certain exercises for acquiring Muscular-dis-
crimination, which have been found useful in direct teaching.

Coming now to the end of the years of labour expended on
this little volume, the late Professor TYNDALL'S words recur

3JB PREFACE.

to me : "The ease with, which an essay is read, is often a meas-
ure of the laboriousness with which it has been written ; "
and in concluding-, I can only express the liope that my read-
ers may find some measure of correspondence between my
labour in this instance, and its result !

I must also here take the opportunity of thanking the
many kind friends who have encouraged me in my self-im-
posed task, and to acknowledge the valuable help given me in
the revision of the proofs, etc., by Mrs. Kennedy-Fraser, of
Edinburgh, and others.

TOBIAS MATTHAT.

REOOMMENDA TION.

In studying- this work, each of the fonr Parts should be
taken in the following- order :

I. The Preamble to each Part.

II. The Contents of each chapter.

III. The Summary of each chapter.

IV. The Text of each chapter, with re-study of the Eeca-
pitulatories.

V. The [Recapitulatory or Summary of each Part, to con-
centrate the knowledge acquired.

VI. The student should afterwards constantly refer to the
Recapitulatories, whenever he perceives technical difficulties
between himself and his interpretative intentions.

The reader may here be warned against a mistake often
made, viz. : the assumption, that an author must needs be in
the wrong, because a reader fails to understand the facts dealt
with !

Granted;, that it is wrong to accept any teachings unless
one's reason is convinced of their truth, nevertheless it is still
more deeply wrong, to be convinced that such teachings are
untrue, because they happen, perhaps, to be in complete op-
position to doctrines faithfully clung to for years ! Only
by a rigid analysis of facts can we hope to eliminate untruth,
and the author begs for such test, convinced as he is that the
facts here stated become only the clearer, the more they are
subjected to examination.

OOITTEBTTS.

PART L INTRODUCTORY.
CHAPTER I.

PREA.MBLE.

PA.GE

rhe absurdity of attempting to teach Pianoforte Playing, without teaching
the Elements of l ' Touch ". Comparison of Empiric with RatipnaF,
or Direct, methods of teaching. Practice unprofitable, unless it tends
towards the acquisition of Variety in- Touch) through the formation of
correct habits. Only by a preliminary practical understanding of
the Laws of Tone-production can this be ensured. Such understand-
ing insufficient by itself, the rules of procedure must be fixed into
Mental-Muscular Habit. The form of Attention a fully-trained Artist
gives during the act of performance, must hence widely differ from
that required from a Learner. Comparison of the Accidental with
the Rational methods of attaining Touch. The Highly-talented may
happen to discover correct forms of tone-production, the Less-talented
will probably fail. Tone-production discovered by accident is easily
forgotten ; whereas, this is not likely, once the facts are understood.
The 'rational method of acquiring Tone-production premises know-
ledge of the laws that govern it. The formation of correct habits of
Touch is ensured, when we understand what Treatment the Key re-
quires for each different kind of sound, and the nature of the Mus-
cular-Conditions by means of which such Key-treatment can be
fulfilled. Three' stages of acquaintanceship are possible with regard
to Tone-production, viz.: (a) Ability to obtain the effects from the in-
stfiirnent, while ignorant of the processes adopted ; (b) Understand-
ing the nature of these processes, how key and limb have to be
treated for each effect ; (c) Perception , of the reason for such,
ment . . ' , , . . . . ,' , . *

XVi CONTENTS.

CHAPTER IL

THE PBOBLEM OF PIANOFOKTE TRAINING.

PAGS

Successful Performance consists in the combination of two distinct proc-
esses : the mental act of Musical Perception, and the physical act
leading to its Execution. The first process implies Musicianship ; the
second, Executantship. Neither avails, unless Attention is forthcom-
ing from both sides during the act of performance. Musicianship has
a dual aspect : the Emotional, and the Intellectual ; both sides must
be trained. Emotional training permits us to feel Music ; Intellectual
training permits us to see the Musical Shapes through which Feeling
is expressed. Executantship similarly has a dual aspect : one, imply-
ing Artistic Judgment, and the other, implying Command over the
Art of Tone-Production. Artistic- judgment comprises : (a) Famili-
arity with the possible Instrumental effects ; (b) Judgment, as to
their appropriate Application ; and (c) Keenness of Pulsational-Sense,
of perception of Time-lapse. Command over Tone-Production in-
volves special training for the particular instrument ; it implies Abil-
ity to draw from it every effect dictated by our Musicianship, and
our Artistic-sense . 9

CHAPTER III.

THE PKOBLEM OF EDUCATION IN THE ABT OF TONE-PRODUCTION.

The Art of Tone-production comprises the production of all possible
Sound-effects from the instrument : those of Tone-Quantity; those of
Tone-Quality ; those of Continuance ; it includes also the attainment
of Agility. The laws of Tone-Production apply equally to everyone,
gifted and non-gifted. Certain endowments render easier the acquisi-
tion of Agility ; these are distinct from those which constitute a large
Pianoforte- Voice, Even the smallest natural Piano-voice, when prop-
erly produced, is capable of far larger volume of tone, and its mod-
ifications, than is generally supposed possible. "tifE " fingers and
wrists also indicate faulty habits, rather than natural incapacity.
Facility in Tone-production rests on knowledge and physical attain-
ments, in two distinct directions : Instrumental education and Muscu-
lar Education. The Key-treatment required for each kind of sound
must be understood ; and the muscular Conditions consummating each
shade of treatment must be forthcoming

CONTENTS. SVU

CHAPTER IT.

THE PROBLEM OP MUSCULAR EDUCATION.

PAGE

Consists of two steps. "We must learn to discriminate the right muscu-
lar-conditions from the wrong ones ; we must then learn to apply
these correctly-discriminated Conditions to the Keyboard, both as
regards amount and duration. The First step in Muscular-education
can be carried out apart from the Pianoforte keyboard. It is a pro-
cess of Elimination of not-required activities. The result is Freedom
of action. The needful muscular activities and inactivities produce
two distinct classes of effects ; Visible effects, in the shape of move-
ments, and Invisible effects in the shape of stresses and tensions.-
The mode of imparting the Visible actions ; also, the Invisible
actions. Warning not to overlook ultimate Object, Sound excita-
tion> during such process of Muscular-education. The Second step
in muscular-education demands a keyboard, and that of a good
instrument. We must here learn to time the muscular-act both to
commence and to cease at the right moment. We must learn to
gauge the intensity of the Muscular-act in obedience to the needs of
the Key^ before, during, and after its descent . . , ,25

CHAPTER V.

THE FINAL PROBLEM I THE UNION OF EXECUTION WITH CONCEPTION.

The completion of the act of Tone-production arises at a definite point
in Key-descent, and at a definite moment of Time ; herein lies the
means of Union. This Union is accomplished, by timing a muscular*
act, of requisite intensity, to culminate the mechanical operation upon
the key in absolute correspondence with the degree and time which
our conception of the Music demands for each note. Execution fulfils
Conception, when Key-arrival "at Sound" corresponds with the musi-
cally -intended moment of tone-excitation. Only through the Ear can
we be promptly enough notified of the moment when the act of
*' Touch " is consummated : the moment of transition from Silence
to Sound. Alertness of Ear, hence, the final and most important
problem of Executive-education. Final definition of the Four Ele-
ments which together constitute the Act of Attention required in per-
formance. Warning not to forget the ultimate Object in endeavour-
ing to fulfil the Means. Even Attention itself must not be given for
its own sake. In performance, our consciousness must always be a
supreme desire to perceive Music, for the sake of communicating it . 30
b

CONTENTS.

CHAPTER V,L
CONCLUSION, AND SUMMARY.

PAGE,

Realization of the components of Pianoforte Education will enable us to
locate each fault. This will enable us to correct each fault separately,
the quickest and surest way.i It will enable us the better to Prac-
tise, Criticise, Play, and Teach . . . . , * . 37

Summary, a Table, giving the relationship of the various components of
Pianoforte Education 1 ..'... 40

APPENDIX TO PART I.

NOTE I. On Listening . . . . . . . - , .40

NOTE II. Onfihythm 41

NOTE III. As to Gymnastics . . . . . . . .42

NOTE IV. Piano-talent ......... 42

NOTE V. As to SeHf-consciousness and Nervousness . . . .43

NOTE VI. Musical Feeling 43

PART IL KEY-TREATMENT FROM ITS INSTRU-
MENTAL ASPECT.

CHAPTER VII.

PREAMBLE : THE MAIN INSTRUMENTAL PACTS.

The Pianoforte consists of two distinct portions, the instrument proper,
and the set of machines provided to excite it into sound. The
Sounding-board with its strings forms the instrument proper, The
Key with all its appurtenances forms the exciting Tool. This only
serves to transmit Speed to the string. Sound can only be excited by
giving Motion to the Key, nothing else forma Tone-production. The
application of Energy must be so Timed during key-descent, as to
culminate coincidently with the moment that tone begins to appear.
Hitting or Striking the key is as fallacious as Pressing it upon its bed.
t We must realise the key's weight and resistance through the finger-
tip, and must : overcome this resistance so as to aim the hammer-end
of the key against the string. Thus used, the key forms bui} a me-
chanical elongation of the finger. The act of f aiming involved jn cre-
ating String-speed, by means of the hammer-end, inpludes three
points : (a) the full key-speed intended must be reached as the soun4
arises ; (b) the Energy .applied must cease at that moment ; (cj the

COKTEFTS. XIX

PAG3

manner of its application must be determined suddenly applied
energy creates fs brilliant " tone, harsh" and non-carrying; gradually
applied energy creates " sympathetic " tone, singing and carrying.
The first lesson of key-treatment is, that every note must be musically
intended as to Time and Tone ; the second lesson is, that the culmina-
tion of each key-descent must be made to coincide with such in- - .
tention ........... 47

CHAPTER VIII.

THE INSTRUMENT.

The outer Case contains the sounding-board, the strings and frame and
the Mechanism, or " action." Description of the Sounding-board.
The Strings and Frame. Description of the components of the Mech-
anism Firstly : A compound Lever, to facilitate the transmission of
speed to the string its resemblance to a see-saw, since all speed trans-
mission-power vanishes with the key's full depression Secondly : The
Escapement, to allow the hammer to fall away from the string the
moment that tone- production is completed. The Repetition contriv-
ance Thirdly; The Check, to prevent rebound of the hammer
Fourthly ; The Damper, to stop the sound when the key is released
fifthly: The Damper-Pedal, which raises all the dampers simultane-
ously Correct Pedalling The Sostenente pedal Sixthly : The Una
Corda pedal and its substitutes. Recapitulation . . . .52

CHAPTER IX.

ON SOUND.

The physical nature of Sound. Concussions travel through the air as
areas of alternate compression and rarefaction. We are unable to iden-
tify air-concussions individually when repeated more frequently than
about sixteen per second. Beyond that speed they blur into a contin-
uous ear-impression. The sensation of Noise arises when the ear-im-
pression is derived from an irregular sequence of impacts. We hear a
Musical-note when the continuous ear-impression arises from a reg-
ular sequence of impacts. The Pitch of a note depends on the com-
ponent number of impacts that form such ear-impression; the ear
counts these component impacts and delivers the result as a musical-
sensation ; the higher the number, the higher the note. Loudness de-
pends on the intensity, of the individual air-disturbances, the more
violent the vibrations the louder is the sound. A sound wave reaching
us may be simple in its structure, or compound. Thence arises the
sensation of difference in the Quality of the sound, a powerful means
a>f expressjqn . , . ,. ,:. ,. ,,, , , * , , ..,, , ; . 64

XX CONTENTS.

CHAFTEB X.

THE STRIN0, ITS BEHAVIOUR DURING THE VARIOUS FORMS OF TONE-PRO-
DUCTION.

PAGE.

We create sound from the Pianoforte by causing a String or set of strings
to move. The string, in moving, beats the air, and is said to vibrate.
The length, tension and thickness of the string determines how of-
ten per second it will be compelled to complete its vibration. The
actual Speed with which the string moves must not be confused with
this rate of vibration. The sounding-board, owing to its large surface,
magnifies the effect of the string-movements for our ear. The string
is set in motion by the hammer reaching it, and slightly driving it out
of its place of rest. The hammer shares its speed and momentum with
the string during this moment of contact. The string is then left free
to continue in gradually decreasing movement, unless checked by the
damper's descent. The act of tone-production ceases with the first
outward swing of the string. Each act of tone-production is therefore
of exceedingly short duration, never taking longer than it does in the
shortest Staccato. It is quite distinct from the act of retaining the*
Key depressed, whence arises Tenuto and Legato. Loudness depends
upon the extent of ground covered by the string during each vibra-
tion. The string's vibrations are necessarily completed during the
same period of time, whether these vibrations are ample or small in
extent ; the string must hence be made to move faster for a loud note
than for a soft note. The Quality of the sound depends upon the man-
ner in which the string is reached. Sudden application of energy
causes the harsher harmonics of the string to appear, whereas gradual
application of energy causes the string movements to be simpler in
character, and therefore more beautiful, pleasant, and carrying in bone-
result 69

CHAPTER XI

THE KEY THE STRING-MOVING IMPLEMENT ITS BEHAVIOUR AND REQUIRE-
MENTS DURING THE ACT OF TONE -PRODUCTION,

The key enables us to propel the String into great speed. It is a machine
complete for each note. The term Key here includes the whole lever-
age-system, with all its attached contrivances. Weight and muscular-
energy have to be brought to bear upon our end of this lever ; they
are translated by it into Speed at the hammer-end. The key consid-
ered as a mechanical continuation of our finger. >A11 application <x

CONTENTS. XXI

PAGE

energy must be fulfilled before the key-descent culminates in sound,
since the hammer then slips off the end of the hopper. The laws of key-
movement. We can rest upon the key up to certain point of heav-
iness without its giving way ; slightly more weight than that causes
the key to give way at its softest ; still greater weight and energy are
needed to induce tone louder than pp. The fallacies of Key-striking
and Key-bed squeezing. Key-speed can be induced Suddenly or
Gradually ; illustration of the difference. The more gradually key-
speed is induced, the more beautiful is the tone-character. Tenuto
arises when the weight that just suffices to bear the key down, is per-
mitted to continue on it beyond the moment that tone-emission begins.
Legato arises when such Tenuto-causing weight is transferred from
key to key. -Super-Legato. Staccato arises when all weight and en-
ergy bearing upon the key is accurately and completely ceased the
moment that tone begins ; the key is thus left free to rebound, even
with the finger lying thereon. No force greater than is needed to pre-
vent such rebound (in Tenuto and Legato) should ever be permitted
to reach the key-bed, except momentarily in an extreme form of Stac-
cato. Summary. Kecapitulatory, and Conclusions drawn from
Part II 78

APPENDIX TO PART II.

NOTE (I.) VII. On Choice of Instrument . . . . .91

NOTE (II) VIII. Tone-exciters ... 93

NOTE (III.) IX. On Quality of Sound 93

NOTE (IV.) X. On the Fallacy of Key-hitting or Striking . . 96

PAET IILEEJ-TEEATMENT FEOM ITS MUSCU-
LAE ASPECT.

CHAPTER XIL
PBEAMBLB: SYNOPSIS OF THE MAIN MUSOULAB FACTS.

Muscular Condition is by far the most important problem to be dealt with
in considering the act of Touch. The eye here often proves mislead-
ing, as the visible movements accompanying Touch give but little clue
to the actual muscular processes of activity and inactivity, through
which, alone, we can influence the key. The muscular-cow^ onents are

XX11 CONTENTS.

three In number : (1) Finger down-exertion, (2) Hand down-exertion,
and (3), Arm- weight, occasionally supplemented by shoulder-weight.
It is owing to the great number of combinations these offer us, that
Variety in touch (and Expression) becomes possible. Two apparently
antagonistic forces arise from the combination of these three compo-
nents (or ingredients) of Touch, which meet at the Wrist- joint ; where
a down-stress is produced by the force derived from LAPSE of arm-
support, and where an upward stress is produced by the exertions of
the Hand and Fingers reacting from the keys. Since the latter exer-
tions are the main ones employed to induce the act of key-descent, it
follows, that the sensation of work done during key-descent must be
felt to be upwards; upwards by reaction (or recoil) from the key against
the Knuckle, and again upwards against the Wrist, and even in extreme
cases against the Shoulder. Touch can therefore be defined as an act
of Levering Weight upon the key during the latter's descent. All
exertions employed at the Pianoforte must exhibit absolute freedom,
so far as possible ; however vigorously we may wish to urge one set
of muscles into activity, we must not permit this to influence the
opposite set into activity. Movement must appear in some portion of
the superimposed limb when a key gives way ; this may take the
form of either Arm-movement, Hand-movement or Finger-move-
ment. Which of these three movements ensues, depends on the rela-
tive balance existing between the three muscular-components during
key-depression* Arm-touch arises, when the arm-weight released
exactly 'balances the exertion of the other two components during
key-descent; Hand- touch (Wrist-touch) arises when hand-exertion
is slightly in excess of the other two components ; while Finger-
touch arises when that component is slightly in excess. Moreover,
we have the option of not applying all three components against
the key, simultaneously. Owing to this option, we are able to pro-
vide forms of Technique suitable for ponderous passages and agile
passages, respectively. Agility depends muscularly on the careful
elimination of all arm-cerion (and even Weight) for the time. We
must in such case rely almost exclusively on finger and hand exer-
tions ; and must in extreme cases of Agility, even restrict ourselves to
the unaided exertion of the finger. In both the latter cases, the arm
"floats "over the key-board, supported by its own muscles. Three
principles of mnsculsiT-comb'inatwn are thence deduced, which are so
important as to deserve.the title, Species. The first Species of Touch-
construction depends, on finger-exertion alone, with passive hand and
self -supported arm ; permits f ullest degrees of Agility, but restricts
Tone-variety to the narrowest limits. The second Species gives hand-
exertion behind that qf the finger, while tfye arm feinains Self-sup^

CONTENTS, xxiii

ported ; permits greater variety of tone-quantity, while slightly reduc-
ing Agility-power. The third Species gives arm-weight (individually
released for each sound) in addition to the other two components ;
while considerably hampering Agility, this species offers the fullest
variety not only of tone-amount, but of quality. Beauty of quality
in any tone above & piano is only attainable under this last Species,
Contrasts in quality depend on the option we have in this third species,
of initiating (or "willing") the muscular-act into operation either

(a) by Weight-release, or (b) by Muscular-exertion (of the finger and
hand) ; the remaining components participating in both cases, but
doing so in automatic response, either (a) to such willed Release, or

(b) to such willed Exertion. The tendency is towards the " singing "
(or "sympathetic ") tone-character, when this initiatory-prompting is
by Release of arm- weight ; and the tendency is towards brilliancy' and
even harshness, when this Initiative dates from finger and hand Exer-
tion. The two forms of key-attack thus obtained (i. e., (a) Weight-
touch, and (b) Muscular- touch) are so important in their distinctions,
as to deserve the name of Sub-genera. These distinctive tendencies
(toward singing and brilliant qualities, respectively) are materially
enhanced by the two opposite modes of finger-use available, with their
correlated opposite conditions of the Upper-arm. The " Flat-finger-
attitude " reduces the whole limb to its most elastic condition ; its
clinging action upon the key demands a corresponding release of the
Upper-arm or Elbow., and it thus furthers gradual key-attack, and
has been recognized as " pressure- touch " or tc melody- touch." The
* i Bent-finger-attitude, '.' on the contrary, reduces the elasticity of the
finger, hand and arm ; and while the thrmting action of the finger
here demands a forward tendency of the Upper-arm and Elbow, it
thus furthers sudden key-attack, and has been recognized as "hamj
mer- touch " or * 'passage-touch. "-r To obtain Tone-beauty in its fullest
measure, we must combine ttve < ' Flat-finger " attitude with Weight-
touch, unalloyed. To enable. us accurately to obtain the musically-
desired tone from the muscular-operation intended to produce it, we
must learn to "AIM" this operation during key-descent; we must
learn to direct it so that it may culminate and cease at the very
moment .that Production ceases, the moment when Sound-emission
commences. All force applied to induce key-descent must cease at
that moment, whether derived from Weight-release, or from Mus-
cular-exertion'.- 1 We can only be apprised with sufficient directness of
the moment when this culmination and cessation is demanded, by
listening 4ox the moment of sound-beginning. The result taus -ob-
tained is STACCATO, 'Since the key is here left free to rebound. To
obtain TEN t TO, we must rest continuously upon the key-board .with

X3C1V CONTENTS.

PAGtJ

sufficient weight, to compel the finger and hand slightly to continue
their work upon the key beyond the moment of sound-emission.
Such " Besting" is a process quite distinct and independent from the
one that induces key-descent. Such Tenuto-inducing Besting should,
moreover, be no heavier than will just suffice to overbalance the key
into descent. LEGATO is obtained by the intervention of successive
fingers during the continuance of such tenuto-inducing Resting.
The Resting is in this case transferred from key to key by the succes-
sive lapse in each successive finger's weight-supporting exertion.
The conception of all Touch moreover implies some form of Resting,
and all Touch is therefore dual. It implies (1) an act (the " Added-
impetus") individually directed against each key to induce its depres-
sion, and (2), an act of Resting, continuous during each phrase, and
sufficiently cumbrous in Tenuto and Legato to retain the keys de-
pressed, and light enough in Staccato not to influence the key into
descent. All touch is thus compound in its nature ; the only excep-
tion is the absolute pianissimo, when this is Tenuto or Legato. This
is the only form of Simple-touch ; since the Resting itself here suffices
to produce the required tone, as well as the effect of ten u to or legato.
Rotary Adjustments of the Fore-arm conditions are important ; they
greatly influence the extreme fingers at the two opposite sides of the
Hand ; these fingers are thus rendered equally available for strong or
light action against the key ; this furthers not only evenness of touch,
but also the individualization of Melody notes from accompaniment.
Horizontal (lateral) movements of the Hand and Wrist are required
to enable us to connect succeeding fingering-positions in unbroken
sequence. We also require side-to-side movements of the fingers
themselves, to bring these over the required notes ; and for the same
purpose, horizontal movements of the Fore-arm alone, or in combi-
nation with the Upper-arm ; also slight vertical-movements of the
Wrist-joint, to enable us alternately to reach black and white keys in
octave passages, without disturbing the Elbow . . . .101

CHAPTER XIII.

THE LINK BETWEEN KEY AND MUSCLE OUB SENSE OF KEY-XESISTANCB.

Each difference in sound-kind, exacts a difference in our application of
energy to the key ; we therefore need to be constantly reminded how
much energy is required by the key, to insure certainty of execution
and accuracy, artistically. The key itself warns us of its require-
ments, if we constantly watch the resistance it offers, before and dur-
ing depression, since such resistance varies with each key, and the

COOTEHTS. XXV

PACK

use it is put to. Our * * Resistance-sense w (the muscular-sense and
its cooperatives) can alone transmit this information to us. Such
Resistance-sense hence forms the LINK between the inanimate key-
board and our living muscles. So intimate may this union become
by this means, that the key will seem to be a physical-continuation
of our finger itself. The condition of our muscles must arise in strict
response to the key s felt resistance. Muscular-sensationarises purely
from resistance opposed to muscular-exertion. Even the slight mus-
cular-exertion of the finger that supports the loose-lying hand upon
the un-depressed key, is ample to excite the sensation. A slight
wedging of the fingers between hand and key renders the sensation
more pronounced. We must not mistake the mere sensation of
Touch (or Contact) for the required sensation of Resistance. The
fact of our thus watching Key-resistance, also induces us to attend
musically; for we cannot attend to the key, and choose what to do
with it, and when to do it, without constantly referring to our musi-
cal Feeling and Judgment. Recapitulatory 119

CHAPTER XIV.

ON KEY-CONTACT : THE NATURE OF THE IMPACT OF THE FINGBK AGAINST

THE KEY.

Hitting the key has been found equally pernicious, whether regarded
from the instrumental or the muscular aspect, since it precludes our
employing the " Resistance-sense." The finger-tip must therefore
reach the key with no greater force than the key will bear without
being thereby deflected, if Beauty and Accuracy of tone are required.
This will enable us to "take hold of and weigh the kej% before
using it. The preliminary gentle fall of the limb upon the key,
should be as far removed from a muscular exertion as possible. The
process of pressing the Tcey into movement (Tone-production) only
commences after we have reached the key-surface. This latter pro-
cess need not be separate from the preliminary one; for the com-
paratively slow preparatory descent upon the key may be immediately
followed by the act of key-depression itself. In this case there will
be an unbroken descent of the limb (even from a well-raised position)
down to the place in key-descent where sound arises ; the latter part
of the descent being however far speedier than the first part. Or,
contact with the key may instead be made some time before the
key's depression is musically due; several fingers may thus be
u ready" in certain swift passages. An instructive lesson in non-
Mtting. The finger, although reaching the key without actual blow,

CONTENTS.

can nevertheless act against it either suddenly or gradually. This
difference depends on the muscular- condition of the arm, hand, and
finger, discusssed later. Approximation towards key-attack by blow,
permissible for the harsher sound-kinds. The mistake of employing
harsh sounds, under the impression that they are effective ; such harsh
sounds, although noisy close by, do not carry in the Concert-room.
Key-contact and the subsequent key-descent constantly require adjust-
ment to the particular needs of each instrument. A heavily felted
hammer requires far more "driving" in brilliant passages than does
a harder one. The harder hammer permits far greater range of tone-
quality; but the elasticity required for the more sympathetic effects
must in this instance be provided by the player's muscles, operating
under the requisite conditions. Movements preceding key-depression
should be as ample as convenience allows. Exaggerated importance
must not be attached to such preliminary lifting, otherwise stiffness
and worse will ensue. The true object in well-lifting a limb, is not
to enable one to hit harder, but that we may reach and move the key
with more ease and freedom; and so that the individual fingers may
be better discriminated in finger-passages. Rather than allow oneself
to think of the actual lifting-process, one should think of "playing
from a (moderate) distance." Ample movements, when possible,
more healthy for the muscles concerned. More appropriate for slow
passages than for quick ones. Two contradictory fallacies have arisen
from (a) the desirability of giving ample preliminary movements, and
(b), the necessity of determining the " giving-way-point " of the key;
hasty generalizations having produced the doctrine of exaggerated
limb-raising, in one case, and the fetish of never quitting the key-
board, in the other case. Reconciliation of these two "Schools"
found in the basis of (perverted) truth underlying both fallacies.
Accuracy in expressing ourselves musically is found to depend, in
the first place, upon proper Key-contact. Recapitulatory . . . 125

CHAPTER XV.

THE TWO CONCEPTS AND ACTS, OF "RESTING" AND " ADDED- IMPETUS."

It is necessary to possess clear and definite general concepts of Touch.
Touch consists of two main concepts and acts ; (a) that of Resting
upon the keys, and (b) that of Key-deflection, or the Added-impetus.
Touch is therefore dual in its nature. Grounds upon which this
conception of Touch is based. The muscular consideration of Touch
re-enforces the teachings of Part II., Firstly : that all passages (both
Legato and Staccato) consist of a string of dis-connected muscular-

CONTENTS. XXVU

operations against the key-board, excepting in absolute pp, the
"weighed''* form of #p-tenuto or legato; and Secondly: that these
separate muscular-acts are accompanied by a continuous act of light
Resting, continuous for each phrase, but not heavy enough in Staccato
to cause down -retention of the keys. All touches (except the ppp)
consist therefore of a series of discontinuous operations against the
key-board to form the tone, in combination with a continuous one, a
sub-stratum of Resting ; the former determining the Tone-kind, and
the latter determining its Duration. The reason why so many fail to
discover that the act of tone-production is dis-continuous and quite
a short-lived operation, is, that quick passages and legato passages
present a continuous effect to the ear, which is here misleading.
Since all touches are compound (excepting that solitary exception the
ppp-teu. or leg.), it follows, that Purpose in performance must be so
directed, as to insure the resting being real and of the required kind,
and also to insure the Added-impetus being of the required kind, and
that the latter is moreover accurately timed to culminate and cease
with its consummation in Sound. This consummation forms the
Deed, itself, of tone-production. u Aiming" at the Pianoforte hence
means, that we must finish each key-descent at the moment that the
sound is musically due ; thus compelling the actual production of the
sound to coincide with the pre-imagined Time-place and Tone-kind.
It follows, that the muscular act of tone-production must be com-
menced before its completion is musically due. Recapitulatory . . 135

CHAPTER XVI.

THE NATUBE OF THE LIMBS EMPLOYED, AND THEIR MUSCULAR EQUIPMENT.

The Upper-arm, Fore-arm, Hand and Finger form four separate levers.
Each lever is individually provided with muscles, and can therefore
be placed in a state of action or inaction independently or conjointly
with the others. The muscles that provide the energy, are not neces-
sarily found on the same part of the limb they serve to energize.
The muscular-provisions : the fingers can be exerted upwards or
downwards, or from side to side ; the hand has similar facilities ; the
fore-arm and upper-arm likewise. The fore-arm can also be rotated,
either by exertion or lapse of exertion ; its condition in this respect
has far-reaching influences. Rotation of the upper-arm assists the
taking of " skips." The fingers can be applied in two opposite Atti-
tudes ; the Thrusting (or Bent) attitude, and the Clinging (or flat)
attitude. The visible difference between the Thrusting and Clinging
attitude is best exhibited, when the finger is well raised; in which

xrviii CONTENTS.

case the Thrusting-finger starts from a well-curved position, whereas
the Clinging-finger starts from an almost straight position. Besides
having the power to move each part of the whole limb, individually,
we are also able to exert these same muscles, without any correspond-
ing movement of the limb. Amongst the hidden stresses thus pro-
duced, are found the most important actions and in-aetions required
in playing. There are several causes that may prevent visible move-
ment from arising from muscular-exertion, beneficial and otherwise.
If the opposite exertion is permitted to come into operation with the
required one, restraint or even rigidity supervenes. All Stiffness of
Finger and Wrist can under normal conditions be directly traced to
such faulty Muscular-condition. Ease in Technique and Expression
hence demands as a first law, that we must as completely as possible
relax all muscles opposite to the ones required to do the work of tone-
production. Passivity of the opposing muscles can be directly learnt.
The means of doing so. Recapitulatory ...... 147

CHAPTER XVII.

THE MUSCULAR ACTIONS AND INACTIONS CONCERNED IN THE ACT OF TOUCH,

All good touch implies Weight levered upon and against the key during its
descent, by means of the Finger and Hand. The weight is that of
the Arm, sometimes supplemented by Shoulder-weight, and even
Body-weight. All exertion is upwards by recoil, upwards against the
Knuckle, against the Wrist, and the Shoulder when necessary ; the
Basis for this Exertion is the weight of the Arm, and even that of the
Body. Although Body-weight is thus ultimately available, Body-
down-force must never be substituted; the body must be purely
passive. The sensation accompanying key-depression is invariably
upwards, a sensation of stepping-up on to the keys. The reasons for
this. The three main muscular components of Touch: Finger-exer-
tion, Hand-exertion, and Arm-weight with its coQperatives. The
three main principles of combination available of these, forming the
three Species of Touch-construction; to be dealt with in Chap. XIX.

Arm- weight available in two distinct forms: either passive or active.

In the first case the arm is fully self -supported; in the second case
it is more or less released during the act of Touch. Two distinct
sources of Energy must be recognized: (a) the Element of Exertion,
that of the finger and hand, and (b), the Element of Weight, that of
the Arm, etc. These two Elements meet at the Wrist-joint ; Exer-
tion there bearing upwards (by reaction from the key), and Weight
there bearing downwards (by release). Quantity of tone depends on

CONTENTS. XXTS

the total amount of energy derived from these two sources, and
applied during key-depression. Quality of tone mainly depends on
which of these two sources starts the operation of both against the
keys, thus forming the distinction between Weight-touch and Mus-
cular-touch. The tendency is towards beauty of tone when the
tone-producing muscular-combination is initiated by Weight ; while
brilliancy or aggressiveness supervenes when the Initiative is by
Exertion.- The rationale of this difference. The two opposite Atti-
tudes of the Finger available, the clinging and the thrusting, with
their correlated Upper-arm tendencies. These modify the contrasts
in Tone-quality derivable from difference in the locality of the Initia-
tive. The clinging (or flat} finger enhances the sympathetic effects,
while the thrusting (or lent) finger assists brilliance, The two oppo-
site kinds of Technique thus derived. The flat finger, and its more or
less loose-hanging arm; and the bent-finger, with its more or less
forward-supported upper-arm. Illustration of the opposite charac-
ter of the resulting stresses. The bent-finger unbends towards, and
with the key; whereas the flat-finger remains straight, or tends to
bend. The differences in result are owing to contrasts in the elas-
ticity of the limb under the two opposite conditions. Whichever
finger-attitude is employed, the KNUCKLE-PHALANX should invari-
ably be relied upon for most of the work. The common fault of rely-
ing too much upon the front two joints, and its results. The device
of inverting the hand, for the purpose of acquiring a true notion of
the two opposite finger attitudes. The two rules regarding Touch-
quality deduced from the foregoing. The distinctions of movement,
respectively termed Finger-touch, Hand-touch, and Arm-touch; by no
means the radical distinctions of kind, generally supposed. Most of
the sets of Condition (that form a given tone-character) can be accom-
panied optionally either by Finger, Hand or Arm movements. The
cause is found in one of the touch-components slightly out-balancing
the other two. Arm-touch. Hand-touch (so-called " Wrist-touch").
Finger-touch. The relative sensations of Finger, Hand, and Arm-
touches. Arm, Hand and Finger movements, when appropriate.
The speed of the passage is the main cause that determines choice;
thus: Arm-movement for slow successions of chords or notes, and for
the initial notes of phrases ; Hand-movement, when the passage is
too quick to admit of arm-movement ; and Finger-movement, for pas-
sages still faster. Finger-movement, also employed in the slower,
and slowest passages, since Legato can only be obtained by finger-in
tervention. Exceptions to these rules , and combination-movements.
Choice of Muscular-comfc-inataon more important than choice of
Movement. How Arm-weight is obtained by release of the support-

CONTENTS.

PAGE

ing muscles. It should be the whole arm, not the fore-arm only.
Mere movement of the arm, often mistaken for the required release.
The difficulty often experienced in obtaining true release, and the
way to overcome this difficulty. The question of restrained action.
Weight, when employed, should cease at the moment that tone
appears ; this cessation should not be encompassed by directly " will-
ing" the self-support of the arm into action; on the contrary, it must
occur in automatic response to the cessation of support arising at
the wrist-joint, through the well-timed cessation of the finger and
hand-exertions. The question of Staccato and Legato, examined
from the Muscular-aspect. The mode of obtaining the Staccato (or
lighter) form of the Resting. How the heavier (or Legato) form of the
Resting should be obtained. The transfer of continuous Weight from
note to note, its muscular-aspect. It must occur in automatic response
to the well-timed cessation of the finger that last carried the Resting.
The accompanying sensation is passive rather than active. -The
pianissimo Weight-touch accompanies all Tenuti and Legati, though
they be forte. Rotary-adjustments of the Fore-arm; their influence
in forming evenness of touch, and also in enabling notes to be empha-
sised.- Although mostly invisible, these adjustments may also be per-
mitted to exhibit an actual partial rotation of the Fore-arm, or tilting
of the hand. Such Rotation-touch is often mistermed ' ' Side-stroke."
Its possibilities. Horizontal (or lateral) adjustments of the Hand
and Wrist; required in connecting the various fingering-positions
that form passages beyond the "five-finger" positions. The sensa-
tion of Literal and rotary freedom of the hand at the wrist induces
the sensation of always feeling ready for every note; vice versa,
insistence on such sensation will also induce this necessary Freedom
in performance. The wrist can only be said to be really " free" when
it is unrestrained in three directions: laterally, rotarily, and vertically.
Fore-arm-skips, how taken. Skips by movement of the whole arm.
The lateral adjustments of the fingers. The acquisition of Mus-
cular-discrimination. TABLE of the main Muscular-discriminations
demonstrated to be necessary. Recapitulatory 158

CHAPTER XVIIL

THE THREE MUSCULAR TESTS REQUIRED DURING PRACTICE AND
PERFORMANCE.

It has been elicited That Technique primarily depends, muscularly, on Mas-
tery in three respects, viz. : (a) efficiency in Resting, (b) efficiency in
aiming and ceasing the energy employed to move the key, and (c) effiU

CONTENTS, XXXI

PAGE

ciency in isolating finger-and-hand exertion from the objectionable
arm down-exertion. To insure obedience to these laws, tests are con-
stantly required during Practice and Performance. The necessity
for similar Tests observed in other vocations. The athlete weighs
the tool he uses. We do likewise when we try to judge the weight
of any object; we balance it, and in thus freeing our limbs from con-
trary exertion, are able to feel the exact amount of weight. Similar
testing is required unremittingly at the Piano, both from Learner and
Adept. The adept^ however, need not display such testing so much
as the learner is compelled to do, since the latter has to learn to dis-
tinguish between right and wrong by means of such testing. Closer
consideration of the three most insidious faults. The Fvnst Test : to
free the hand and finger from " contrary exertion," so that Key-resist-
ance can be tested in the Act of Besting ; (a) an up-and-down sway-
ing movement of the wrist, while the finger-tips sustain a slight
weight on the keys, constant during the process; (b) a rolling and
unrolling of the fingers themselves, while the weight remains simi-
larly unchanged during the Test. The Second Test: to better our
power of tv aiming " (and ceasing) the muscular operation against the
key: by playing a chord, etc., by "Weight touch," and dropping the
Wrist at the very moment that tone arises, while the finger-tips,
resting on the keys, are nevertheless permitted to rebound with the
keys. The Third Test : to dissociate arm-force from finger-and-hand
exertion : (a) playing a short run or arpeggio, and driving the Arm
off the keyboard at the last note : causing a driven-off accent, by the
sharp, jump-like action of the finger and hand against the key-bed ;
(b) a somewhat similar test, but without the accent in this case, the
arm being here instead "floated off." Recapitulatory . . .204

CHAPTER XIX.

THE THREE SPECIES OF TOUCH-CONSTRUCTION, AND THE ENSUING VARIETIES

OF KEY-ATTACK.

The importance of correct knowledge and choice in this respect. Re-state-
ment of the nature of these three Species of Touch-formation. Re-
minder that all these forms of the " Added-impetus " must culminate
and cease as such the moment that tone is reached in key-descent.
Reminder, how these three Species can be accompanied either by the
Staccato or the Legato form of the Resting, The Third Species of
Touch-formation : (Exertion of finger and hand, in conjunction with
arm-weight) is the most important of all; offers all contrasts of
Tone-quality and quantity ; also all forms of Movement (Finger,

CONTENTS.

PAGfc

Hand or Arm touches) ; Agility is limited, owing to the rapid re-
iterations required of alternate release and self-support of the arm.
Note, showing G-lissando to be closely related to #pjp-transfer-touch.
The Second Species of Touch-formation : (Finger and Hand exerted,
with arm self-supported) permits greater Agility than Species III. ;
Tone-quality limited to the muscularly-initiated variety, with its less
sympathetic effects, only modifiable by the contrasts between Thrust-
ing and Clinging-attitudes ; Tone-quantity also more limited than in
Species III. ; while Finger and Hand movements are alone available.
ftirst Species of Touch-formation: (Finger exertion alone, with
loose-lying hand and self-supported arm) offers unlimited scope as to
Agility (or Velocity) ; has the drawbacks, that Tone-amount available
is very small, and that variations in Tone-quality are impossible, except
for the slight modifications between Thrusting and Clinging. The
determining-reasons between choice of " flat " and " bent " finger atti-
tudes. The immediate cause of the difference between the two finger-
actions, found in the condition of the arm ; since upper-arm weight
cannot be individually lapsed beyond a certain speed, forte passages
beyond that speed must be played with supported upper-arm (2nd
Species) and with "bent" finger. The true nature of the muscular
difficulties that prevent agility ; to overcome them we must be able to
provide either 2nd or 1st Species (when necessary in Thru sting-
attitude) ; i.e., we must be able to provide conjoint exertion of the
finger and hand, without this leading to arm down-exertion ; and finger-
exertion, even, without this leading to hand-exertion. The impera-
tive necessity of timing and ceasing all tone-productions either as sin-
gle notes or as groups of notes, not only for the sake of Agility but
also for the sake of accuracy in Expression. Systematic teaching of
Muscular-discrimination again proved to be urgent. General direc-
tions as to the appropriate application of the three Touch-formations,
The Cantando and Cantabile. The ever-present question of Stac-
cato v. Legato. The question of order of Study. Warning reiterated,
that caution isnecessary while studying muscular-conditions ; we must
never forget that our Purpose must ever be : Music, through Key-
movement. Recapitulatory. TABLE, showing relationship between
Touch-construction, Movement, and the Resting . 214

CHAPTER XX.

ENUMERATION AND CLASSIFICATION OF TOUCHES.

Necessary brief re view of the main muscular-facts and touch-formations.
The main facts : The Resting ; the Added-impetus ; the three dis-
tinct Species of Touch-construction ; the two radical touch-distmc-

CONTENTS. XXXlli

PAGE

tions, Weight-initiated v. Muscularly-initiated : and the distinctions
between Clinging and Thrusting attitudes. The three Species of
Touch-construction form the chief basis both for Enumeration and
for Classification. Review of these species and their potentialities.
Classification points: (A) the difference of Resting, exhibited as be-
tween Legato and Staccato ; (B) the different aspects of Movement,
exhibited as Finger-touch, Hand-touch, and Arm-touch ; (C) the dif-
ferent forms of Touch-construction, exhibited under each of these
headings : Division /, STACCATO : (a) Finger -staccato, eight distinct
kinds; (b) Hand-staccato ("Wrist "-staccato), six distinct kinds: (c)
Arm-staccato, four distinct kinds. Division II, TENUTO or LEGATO
(the act of Resting, unassisted, serves as a tone-producing agent for
jFlgp-Tenuto and Legato): (a) Finger-Legato and Tenuto / ten distinct
varieties ; (b) Hand (" Wrist' 1 ') Tenuto, eight distinct varieties; (c)
Arm Tenuto, six distinct varieties. 12 distinct kinds of touch can
thus be formulated ; we must, however, NOT thus think of them in
Practice ; we must, instead, first learn them in the guise of the com-
paratively few fundamental principles of muscular-action and appli-
cation quoted ; must subsequently learn to apply these more and more
unconsciously, until Musical-sense at last prompts their application.
The distinctions requiring constant supervision are : (a) "Weight
v. Muscular touch, (1)) Flat v* Bent attitude, (c) Resting at surface
or bottom of key Recapitulatory and Summary. TABLE I : Enu-
meration-summary ; TABLE II : Classification under Legato v. Stac-
cato, and under Movement. TABLE III : Final Classification, from
the Colourist's point of view, viz. : Weight-touch v. Muscular-touch,
etc . 338

CHAPTER XXI.

RECAPITULATORY OF THE MAIN CONCLUSIONS OF PART IH.

APPENDIX TO PART III.

Note XI. " The foundation t ouch and mono-method fallacies . ,, . 264

Note XII. " Exaggerated finger-lifting " etc, * 265

Note XIII. '* The province of automaticity "* ...... 266

Note XIV. " On arm-weight 1 ' 267

Note XV. " Bent' 1 v. tf Flat ^ finger-attitude 268

Note XVI. ic Incorrect v. correct finger-technique 26S

Note XVII. " Certain exceptional forms of Legato and Staccato , . 271

CONTENTS.

PART IF" ON POSITION."

CHAPTER XXII.

SYNOPSIS OF THE MAIN ASPECTS OF POSITION.

PAGE

Correct posture, during rest and movement, follows almost as a necessary
consequence when the correct muscular Actions and Inactions are
being fulfilled. The importance of Position has been greatly exag-
gerated. Forms no guarantee whatever of correct Key-treatment,
although ease of posture is helpful in its attainment. Position not the
Cause of good technique, although it may arise as a Result of such.
The fallacy of seeking to obtain good technique by insisting on the
imitation of posture. The ground covered by Position. Variation
of Position necessary with each individual. It has nevertheless some
important aspects, where variation from the normal would prove
impedimental. The three points of greatest importance (a) Position
of Shoulder : sufficient distance between it and the keys to enable
the arm to be sufficiently unbent, thus rendering the whole of its
weight available. (b) Posture of finger : sufficient preliminary curve
when used in thrusting touch, and flatter when used for clinging
touch. (c) Posture of Wrist or Hand laterally : fingers and hand
pointing in same direction as keys, for Five-finger position ; turned
inwards for single-note Scale, with slight additional lateral move-
ments for Arpeggio; and turned outwards, when Double-notes-pas,
sages travel outwards. Subsidiary details: (a) "Wrist-level, not too
exaggeratedly high or low ; (b) Knuckle well away from keys, and
not held " in " relatively to the fingers and wrist ; (c) the seat, suffi-
ciently distant from instrument, while central and not too high.
Fallacy to consider the reaching of the correct keys purely as one of
the problems of Position, since it should mainly depend on the proper
fulfillment of the Act of Resting. The latter, properly executed,
causes us to find each key from each preceding one. A sequence of
notes hence realized as a succession of distances accurately judged
from each preceding key. Position is finally found of importance,
although not so important as has been imagined ..... 273

CHAPTER XXIII.

THE DETAILS OF POSITION.

Vertical aspect of Finger-position. The two distinct positions of the
finger, corresponding to the Thrusting and Clinging attitudes of the
finger and arm. More noticeable when the finger is raised, than

COKTE^TS. XXXV

When it is depressed. The nail-phalanx shows the difference most ;
this must be vertical, when the finger is raised previously to the action
of thrusting-touch ; whereas it may remain flat in clinging touch.
The movement of the finger towards the key can in some measure
show us whether the touch-action is good or otherwise ; the fault of
hitting can thus be detected by the eye. The tip of the finger reaches
the key in " bent-finger " touch, while the fleshy part reaches the key
in "clinging-touch." In bent-finger touch, the fingers should be all
nearly equally bent, but if the fifth is abnormally short, it may be
slightly straighten Ample preliminary movement of the finger is
healthy, provided there is time for it, and provided it does not lead
to stiffness and hitting. Position of the thumb corresponds in its
differences to those of the fingers in a measure. The thumb should
not be held contracted against the hand, an often-found fault.
Thumb movement arises near the wrist-end of the hand. Finger-
position in Hand-touch. The fingers should assume their deflected
position relatively to the hand, while the hand is rising from the
preceding chord or note. Down-movement of the finger simultane-
ously with that of the hand, is a combination only rarely required.
Finger-staccato ; there are two kinds, corresponding to the two atti-
tudes of the finger and arm, the "thrusting" and the " clinging."
The return-movement differs in correspondence with these attitudes.
In #e--finger staccato-touch the finger re-ascends into the initial
position, whereas in flat-finger staccato-touch the two front phalanges
continue their movement beyond the moment that tone-emission com-
mences, while the knuckle-phalanx rebounds with the key. Horizon-
tal aspect of finger-position. Varies with each different kind of pas-
sage. Five-finger fingering positions allow the middle-finger and
hand to point in the direction of the length of the key. The places
on the key that should be reached by the fingers in such fingering
position. It is a fallacy to suppose that the fingers must reach the
keys all in a straight line. With the thumb on the black keys, the
edge of the black keys must be considered to form the limit of the
key-board. Single-note Scales and Arpeggi require the hand and fin-
gers to point inward as the normal position, so as to give freedom of
movement to the thumb. In the arpeggio, lateral movements of the
hand and wrist are required in addition, to facilitate the extensions
of the fingers and thumb, In double-thirds scales, the hand and fin-
gers are turned in the direction in which the scale is travelling at the
time. In other double-notes passages, lateral movements of the wrist
and hand are required in addition. The curve of the thumb. Look-
ing down upon the thumb, its nail phalanx should always be in the
same line as its key, unless we wish to sound two adjacent notes with

CONTENTS.

it, when it should be at an angle with the keys. The thumb should
therefore assume a convex curve, when it is extended from the hand,
as it always should be, unless required under the hand. The posi-
tion of each key, should, whenever practicable, be derived from the
position of the preceding key, or keys ; and each finger, moreover,
should be in position on its key, before the act of key-depression is
begun two rules that automatically fulfil themselves, provided we
insist on due observance of the Act of Resting, in one of its two
aspects. Position inside the key, is however of even greater impor-
tance than tiiis feeling of each key before key-depression ; accuracy of
Expression immediately depends on due observance of these rules.
To prevent risk of note- "splitting," we should be careful to try to
reach each key ia its centre. Position of the hand and knuckles.
The hand should not slope towards the little-finger, but should be
level, excepting when it apparently tilts in the act of Rotation-touch.
The Knuckles. Should not be allowed to sink in ; they should be
kept sufficiently well off the keys, owing to the natural reaction of
the fingers against the keys during key-descent. Relatively to the
Wrist, the Knuckle may be either level or somewhat higher. The
actual height varies with the kind of touch used, and it differs with
different conformations of hand, and the height of seat adopted.
The "knuckle-in " fallacy. .Beginners should at once be taught to
recognise, how the knuckle can easily be kept up, if a proper action
of the fingers is adopted, and provided down-arm force is eliminated.
Vertical movement of the hand ; exhibited as Hand-touch (so-
called " Wrist-touch"). In hand-touch the knuckles rise and fall
bodily. The extent of the movement of the hand need not exceed the
depth of the key ; and the movement should not be of greater extent
than this, in very rapid passages. In slower passages the hand may
rise off the key, and in this instance it is muscularly an advantage to
do so. Excessive raising of the hand in hand-touch is as strongly to
be deprecated, as an excessive raising of the fingers in finger-touch ;
and whatever the amount of raising, it should only be undertaken for
the sake of freedom of motion. The fallacy of considering u Wrist-
touch" to consist of a thro wing-up of the hand. The position of the
wrist vertically. Its elevation above the key -board should arise as the
natural consequence of a proper balance between the exertion ele-
ments of the finger and hand, and the element of arm-weight. On
the whole, the most natural position of the wrist relatively to the
knuckle is about on a level with the latter; but a higher or lower
variation of this is admissible, provided there is no exaggeration either
way. In Hand-touch (Wrist-touch) this normal (about level) position
is the most natural ; but a slightly raised position is found more com-

CONTENTS. XXXVII

fortable for rapid octaves, etc., by many players. The fallacious
doctrines of exaggeratedly high wrist and low wrist. Tlie wrist-
height should vary slightly in the case of passages requiring the use
of the thumb on alternate white and black keys ; a slight raising for
the white key, and lowering for the black key enables the thumb to
reach both, and tbus obviates what would otherwise have to be a
clumsy movement of the elbow, fore and aft. Lateral movements
of the wrist, reviewed ; also the lateral movements of the fore-arm
and upper-arm, which bring the fingers over their keys. Definition
of these requirements in passages of short extension and large exten-
sion, respectively. Instruction as to these movements and the lateral
movements of the Thumb, respectively in the Scale and the Arpeggio;
the greatest care here necessary in primary instruction. The rotary
movements of the Wrist and Hand (really of the Fore-arm), which
constitute Rotation-touch, Position of the Fore-arm, Position of
the Upper-arm and "Elbow. It is the most important law of Posi-
tion that the Shoulder must be sufficiently removed from the key-loard
to enable the arm to be opened out almost into an obtuse angle;
freedom and the use of Arm-weight are otherwise greatly impeded.
Sideways, the Elbow should not be pressed against the body, but its
position varies, with the part of the key-board the hands are employed
upon. Arm-touch movements, of two kinds : (a) of the whole arm,
and (b) of the forearm only. The importance of the loose-lying baud
in this connection. Position of the Body. Two alternative positions
available, either (a) almost erect, or (b), leaning forward from the hips
(but without stooping). Choice depends on the relative measurements
of the body and the arm, and on the inexorable requirements of the
opened-out arm. Position of chair. In the centre of the instrument ;
sufficiently removed from it to admit of tbe opened-out arm, and of
a height that will allow the fore-arm to be about level with the key-
surfaces. Unnecessary movements. Should be avoided when pos-
sible. In the learning stage many secondary movements are unavoid-
able so that we may be able to test ourselves for freedom, accuracy of
aim, etc. ; such movements should, however, be gradually reduced to
the smallest limit compatible with due fulfilment of their purpose,
once that Freedom, etc., has been conquered. Summary of the main
points requiring attention ......... 278

ttecapituMory of Ms Chapter and of Part IV ...... 308

Main Points of Position Summary .> 315

CONTENTS.

CHAPTER XXIY.
CONCLUSION:

GLOSSARY AND STTMMABY OF THE MAIN TEACHINGS OF THIS WORK.

PAGE

PABT I. Introductory : The act of playing ; musical perception ; tech-
nique ; key-treatment. PART II. Key-treatment, instrumental aspect ;
Definition of the act of Tone-production ; loudness ; beauty ; cessa-
tion of the act of touch ; key-resistance ; energy required. PART III.
Key-treatment, muscular aspect : Key-resistance gauged through the
muscular-sense. The dual aspect of Attention in playing. Key-con-
tact not really a blow. The duplex nature of the act of touch ; the
two acts of Resting and Added-impetus. The act of Resting, its
duration, and its two forms : either at surface or at bottom-level of
keyboard, forming respectively Staccato and Legato. The Added-
impetus, its duration and its forms of construction, muscularly. The
three muscular Components of Touch. The three Species of Touch-
construction. The sensation of work done, always upward. The
determining cause of Movement during the act of touch ; i. e. , the
difference between Finger, Hand, and Arm touches. The distinctions
between Muscular-touch and Weight- touch arising from the two alter-
native modes of starting the Third Species into operation, with its
tendencies toward brilliance and roundness of tone, respectively.
Playing too far down insures bad tone-quality. Quality also influ-
enced by alternative Attitudes of Upper-arm in conjunction with
the Finger: the Thrusting and Clinging finger respectively helping
brilliant and sympathetic effects. The importance of the knuckle-
phalanx's action in both finger-attitudes. The automatic inducement
of Arm-weight cessation in the Added-impetus. The automatic
Transference of the Resting-weight. The necessity for eliminating
all contrary exertions from those required in playing. The impor-
tance of constant rotary adjustments of the fore-arm, and freedom
therein ? in conjunction with vertical and horizontal freedom of the
Wrist- joint. PART IV. On Position : The imperative necessity for
room between the shoulder and the key-board. The difference posi-
tionally between bent and flat finger. The lateral adjustments of the
hand and wrist for each particular kind of passage. The supreme
importance of properly preparing every finger over every note, and
of tonal-aiming : each key's position found from its predecessor, and
acted upoa only down to sound-consummation. Warning in conclu-
sion, not to forget the musical purpose of Technique, whilst studying
the details of muscular and instrumental action which render its
attainment alone possible; i. e., the muscular-act must always be sup-

CONTENTS.

PAGE

plied only in answer to the felt needs of the key, key-needs, determined
by the ever-present attention of our Musical-consciousness and Ima-
gination. Final summary of main points to be insisted upon in
teaching ourselves and others 317

APPENDIX TO PART W.

Note XVIII. " The Fallacy of Position- Worship" . , . 824

Note XIX. "The straight fifth-finger" 326

Note XX. " The high wrist and the low wrist dogmas" 6 32?

INDEX TO THE PREAMBLES, KECAPIT-
ULATOKIES, AND TABLES

>art I. INTRODUCTORY. PAGE

Preamble * i

Conclusion and Summary (Chapter VI.) 37

Table ; the Act of Playing 40

Part II. INSTRUMENTAL ASPECT OF KEY-TREATMENT.

Preamble. kt Synopsis of main instrumental facts " Chapter VII 47

Recapitulatory of Chapter VIII. ' ' The instrument " 60

"Chapter IX. u On Sound" 68

" "Chapter X. "The String" 76

" '* Chapter XL "The Key" ; (8 18) 87

Recapitulatory and Summary of Part II. - < * 89

Part III. MUSCULAR ASPECT OF KEY-TREATMENT.

Preamble. Synopsis of the main muscular facts Chapter XII 101

Recapitulatory of Chapter XIII. '* The Link between Key and Muscle".. 124

" " Chapter XIY. u On Key-contact " 134

" " Chapter XY. 4 ' The Concepts of Resting and Added-.

impetus." 143

Table of the two Concepts, etc 146

Recapitulatory of Chapter XVI. '* The limbs employed " 156

" " Chapter XYII. " The muscular Actions and Inactions" 1 . 197

Table of the main muscular discriminations required 195

Recapitulatory of Chapter XVIII. " The Three Muscular Tests '' 212

<f tl Chapter XIX. "The Three Species of Touch-for-
mation " 232

Table, showing relationship between Touch-construction, Movement, and

the Resting 237

Recapitulatory of Chapter XX. "Enumeration and Classification of

Touches " 348

Tables of Enumeration and Classification 251-4

Recapitulatory of Part III. (Chapter JCX7.) 255

INDEX TO PREAMBLES AXD EEOAPITITLA.TOEIBS xli
Part IV. OX POSITION.

PAGE

Preamble. " Synopsis of main aspects of Position ; " Chapter XXII 273

Recapitulatory of Chapter XXI IL ; " Positional Details" and of Part IV.

Close Summary of Position 315

RECAPITULATORY, CONCLUSION and SUMMARY of whole work Chapter

XXIV 317

Final Summary 323

The "Contents" .,.............* xv

PIANOFORTE
TONE-PRODUCTION.

PART I.

INTROD UCTOR Y.

GENERAL ASPECT OF THE PROBLEMS OF PIAHOFORTE PLAYING.

CHAPTEE I.

PREAMBLE.

1. THE attempt to teach, or to learn the readings of
pieces of Music, before the Means of rendering them has been
mastered by the aspirant, is quite as great an absurdity, as
endeavouring to insist on the subtle details of the elocution of
a poem, while one is as yet unable to pronounce the words of
the language in which it is written. Still more absurd is

the practice of the teacher-beginner, old or young, who gives
Chopin Ballades, and Beethoven's Moonlight Sonata to school-
girls, as yet incapable of giving a good account of Schumann's
" Merry Peasant"!

Surely it is pure folly to attempt to teach pieces, or studies,
or even Technical exercises, until at least the actual Elements
of the question of Tone-production itself are understood by the
pupil, and master ! Such folly shows crass ignorance

of the whole problem of Pianoforte Education. Indeed, it does
not deserve the name of "teaching," for it is mere dabbling !

1

2 INTRODUCTORY.

2. However, the signs of the times clearly point to the fact,
that it is beginning" to be generally felt, that the same educa-
tional methods should be applied to the Pianoforte, as have
long ago been adopted in other branches of Education.

3. Let us consider, then, the difference between the empiric
and the rational or ''* direct " systems of teaching :

The empiric method of Pianoforte Education consisted in
choosing pieces, studies, and technical-exercises, more or less
suitable for the learner, and then leaving him to make tenta-
tive efforts to perform these ; the comparative failure that
resulted from his helpless undirected flounderings, being
corrected as it was supposed, by scolding, bullying, or
encouraging him into trying again, according to the temper
of the instructor!

A rational scheme of Education, on the contrary, would
consist : in analysing the subject to be taught ; analysing also
the successful doings of successful artists ; thence deducing
the laws and rules that govern successful performance ; and
then directly communicating such laws of procedure to the
pupil, instead of leaving him to discover them for hirnselL

This has been done in the study of Language, and to a cer-
tain extent in that of Music ; for in the one case, the rules of
Grammar and of Syntax, in the other case, the rules of Har-
mony and Composition form (or should form) rules of pro-
cedure at the moment acceptable to the Majority. Such
formulating of Knowledge has been methodically done in the
case of Mathematics, Physics, and the Sciences generally ; it
there means, formulation of the knowledge so far gained of
the immediate Causes that underlie each Effect.

Evidently, teaching, as applied to Science, Harmony, or
Language, does not here signify, that the discovery of the im-
plicated Laws shall be left to each individual learner. On the
contrary, the student is in each case informed of the already
perceived laws and rules of procedure. Hence, he can in this
case, at once " start fair," and can make practical use of such
information ; and may even go further, and discover fresh
truths ; instead of having to experiment for years, or maybe

PREAMBLE. 8

e* lifetime, in his endeavours to rediscover for himself facts,
already understood by others.

4. Clearly therefore, we cannot even commence really
profitable practice at the instrument, until we have attained
conscious (or unconscious) sense of the inexorable laws that
govern its effects.

Until we have such sense, we shall risk forming* wrong*
habits, which must then be first crushed, before we can hope
to make a step forward. 1

It is the formulation of these Laws of Tone-production,
which is attempted in this present work.

5. It is true, the rules of Grammar, of Harmony, or of
Composition, are found to be of little practical value, until
subconsciously employed ; i.e. : until we are not only able to act
in accordance with such rules, but are able to do so without
self-conscious attention to them. This hence involves, that
such rules must be made into habits of mind ; but this applies
equally to Thought and Invention in other forms of human
activity.

This subconscious mastery of already-discovered rules and
facts, which must precede original thought and invention in
the case of the other sciences, certainly applies with equal
force to the inexorable laws (not mere rules) of the art of
Tone-production by means of the Pianoforte.

Habits of thought, and of action, must be formed in ac-
cordance with such laws, before the knowledge thus gained,
can become available for free playing ; just as no treatise on
Harmony, Grammar, or Science, can lead to results of any
real value, until similar habit has been accomplished.

Whereas, the forming of Correct Habits can at once be en-
forced, when the laws, or at least the rules of procedure, are
known.

1 If correct habits are not at once formed, at least thrice the time will
have to be spent. There is the time wasted in fixing the wrong habit ; then
the time required to weaken that wrong habit to the point of effacement ; then,
at last, the time needed to form the correct mental-muscular connections.

How requisite, therefore, that these laws the Elements of Pianoforte
playing, should be thoroughly understood !

6. It follows, botli witli regard to the question of play-
ing- generally, and to that of Tone-production in particular,
that the Form of Attention required from a fully-trained Artist,
must necessarily widely differ from that required of a Student,
who is as yet still undergoing the process of learning to at-
tend and to act, provided he is undergoing that process suc-
cessfully.

This fact cannot be too strongly insisted upon.

Our calligraphy, for instance, receives no detailed attention,
when we have conquered the process of writing; we then
merely " wish " a word to appear on the paper, and, lo ! our
muscles provide the whole of the complex behaviour required,
in response to the mere general direction, wish, or thought,
given for that word with all its component letters ; we no
longer have to consider whether it is a hook, an up-stroke,
or a down-stroke, that is wanted ; habits formed long ago, un-
consciously guided by the eye, provide all the complicated
movements, in answer to what is hardly even a conscious wish !

But what a different matter, before we had attained such
facility ! Do we not remember the time, when, as little ones,
our pen refused even to make up or down strokes respectably ?
Did we not then consciously, with all our will and might
with tongue protruding, from the unwonted mental struggle
have to direct that floundering pen according to that so well-
remembered " copy," which from its very perfection of line
and curve, seemed hopelessly beyond imitation ?

Do we Bot find a similar impediment in our Pen-speech
and in our Tongue-speech, when we attempt to be fluent in a
Language, only somewhat unfamiliar ?

Yes, the act of playing, is a widely different experience from
the act of learning to play 1 Practically everything we learn,
has first to be done consciously ; and also very .often self-
consciously too ! Only by habit can we ultimately succeed in
" naturally " accomplishing the required actions. The greater
the talent, the greater the speed and the less the apparent
effort with which we learn, that is all. Playing forms no
exception to this universal law*

PREAMBLE. 8

7. The art of Tone-production itself can be acquired in
two quite distinct ways ; Tiie empiric, i.e., hap-hazard way, and
the direct way.

In the hap-hazard way, we experiment at the key-board
until we happen to hit on those particular conditions of key
and muscle, which alone will serre to give us each of the
chameleon-like varieties of tone-colour it is possible to obtain
from the instrument, and without which, expression remains
impossible.

It is possible to succeed in learning in this way ; but to do
so, we must possess a quite exceptionally good ear for tone-
Colour, 1 an ear that will instantly warn us, when we converge
towards, or diverge from, the tone-quality desired. . . . We
must also be provided with a Musical Instinct sufficiently keen
to detect the necessity for tone-subtleties in playing. In addi-
tion, we must have a keen musical Memory, to keep these
effects before us, otherwise the sound of the wrong tones will
assuredly blunt our sense of beauty and variety of tone-colour,
and will tend to lessen our desire for improvement in this
direction. We must besides have good healthy Muscles, that
will , almost without instruction act a freely," i.e., in definite
sets ; so that, having accidentally obtained a right sound, we
shall be able, at will, to repeat the desired effect. 3?or this
repetition can only be assured, if we have succeeded in mentally
noting both the aural effect, and the Muscular -Sensations accom-
panying the mechanical consummation of the sound ; for it is
only by having the power to recall these muscular-sensations,
that we shall be able to ensure the recurrence of the musical
affect.

It is obvious then, that to learn tone-production in this
way, needs a superlative equipment musically, and physically.
Even assuming however that we do possess such exceptional
talent, musically, aurally, and muscularly ; so far from their
correct production being discovered, it may after all take us
years before the existence of the complete gamut of tone-possi-

*i.e. : Perception of the distinction between Tone-qualities; or " Clang-
tints," as the late PROFESSOR TYNDALL proposed terming them.

6 INTKODUCTOBY.

bilities is even suspected, and we may altogether i'ail ever to
stumble upon some of the most important or even simplest
varieties ! l

And even then, how often is the "doing-" after all lorgot-
ten ! No, to learn in this way, is by no means the best way,
even for the gifted ! For the ordinary mortal, it is quite an
impossible way. Hence arises the fact, that so far, it has
been the specially gifted that alone have shown good coloiir-
technique at the Pianoforte.

The other way of learning, being direct and immediate, is
far simpler :

In this rational form of learning, after Tone-production of
every kind has been analysed, we must first learn to understand
the laws that govern Key-Treatment ; and we must then learn
to understand the nature of the Muscular-acts required from
us, to fulfil those key-requirements.*

Knowing what to do to the key, and knowing also how mus-
cularly to consummate such use of the key, we shall then be in
a position directly to start forming these acts into habits of
muscle and mind. In this way we shall gain a true Technique,
in the widest sense of that word. Although this will not allow

1 Much of that conflict of opinion, and apparent contradiction, we find be-
tween the upholders of rival u methods " and "systems" of pianoforte play-
ing (and of singing !) arises from non-perception of the fact, that a really great
Master-artist, be he Pianist, Violinist, or Vocalist, never restricts himself to one
single form of ** touch " or tone-production. On the contrary, we find, that
he constantly changes from one tone-kind to another. It is mostl3 r by such
means, indeed, that he is able to express those subtly-varying moods he per-
ceives in the music he undertakes to interpret.

The tl method "-maker, on the contrary, having discovered one or other way
of effectively using the Pianoforte-key, or human-voice, allows himself to be
misled into fancying, that that particular way is the only "right method."
Consequently he then decries everything that does not happen to fit in with lii$
narrow views ; and forces his pupils to perform whole works with but one
tone-colour throughout, varied merely in its intensity.

2 This involves tfee understanding of some of the elementary facts of phy-
siology, anatomy, and even of psychology ; also a clear understanding of the
obvious mechanical laws of action and inter-action involved. Such under-
standing, however, does not trench on these subjects beyond their most ele-
mentary stages. We have to deal, indeed, with such elementary, cvery-day,
facts, that unless these are already fully understood apart from the jriano-
forte, true " Education" on the part of the individual, can hardly be said to
have begun.

PREAMBLE. 7

us to translate into sound, that, which we do not in the first
instance musically see ; yet it will enable us at least- fully to
express such modicum of musical-sense, as we are able to per-
ceive.

In fact, we shall find, that a great deal of bad playing- does
not arise so much from want of musical taste, or musical judg-
ment, as from wrong 1 mental-muscular habits ; and that it is
these that prevent the expression of sense. Hardly any play-
er, excepting the very greatest, is quite free from such faulty
habits.

When such faulty mental-muscular habits are numerous,
and are strongly fixed, we have what is practically a " ruined "
Piano-voice. Such a case differs however, from the parallel
in Singing ; for in the latter case the instrument itself may be
permanently injured ; whilst a cure is always attainable at the
Pianoforte ; although it is idle to expect it, unless dead-in-
earnest purpose is forthcoming from both learner and teacher.

8. Three stages of acquaintanceship with Tone-produc-
tion are possible : viz.

a) : We may be able to produce any sound we wish from the
instrument sound of any kind, within the limitations of the
instrument, and at any speed of succession.

b) : Beyond that : we may understand, what are the actions
(of key, and muscle) that will effectually lead to such attain-
ment.

c) : Still further : we may KNOW WHY those actions must be so.

= i.e. :

a) . Acquaintanceship, in the first sense, is strictly speaking,
no knowledge at all. All it implies, is, the ability to provide at
will every possible contrast ; as derived from remembrance of
the personally-experienced sensations accompanying each kind
of effect.

This may serve the Artist well enough ; although, even his
failures would be less frequent, could he trace effect back to its
cause.

8 ESTTBODUCTORY.

b): Acquaintanceship, in the second sense, forms practical
knowledge of the subject. It signifies, knowledge of the Key-
treatment, and of the muscular actions and inactions that will
lead to each desired tone-result. It is the Teacher's domain,
as it will enable him to show and describe the means to be
adopted to ensure the appearance of each possibility of Con-
trast. Without such knowledge, he cannot teach at all, in the
rational acceptation of that word.

c) : Acquaintanceship, in the third sense, forms practical Ex-
planation of the facts ; knowledge of the immediate causes to
which each effect must be traced 1 ; knowledge of the Laws on
which are based the Eules derived from analysis of successful
playing.

Knowledge of the subject, to this intimate extent, almost
trenches, it is true, on the domain of the Theorist and Scientist.
Nevertheless, it is well for both Teacher and Artist to possess
it ; for it will serve to give him assurance, that his teachings
and doings rest upon ascertained laws ; and that he is not
perchance following the merely arbitrary fancies of his own
brain. He is then also safe-guarded from falling a victim to
such fancies, and to the many fallacies by which he is liable to
be carried away, without such definite knowledge.

9. The Object of the following work, is, in the first place,
to urge a more serious, rational, and direct study of the art of
tone-production, and therefore of PLAYING generally. In the
second place, it is an attempt to provide the Material for
such practical study of the problem and its direct teaching.
It also proposes to provide some measure of Explanation of
the Laws immediately involved, put in as summary a form as
is consistent with clearness. It is therefore divided into Parts.
The first Part forms a short analysis of the process of Piano-
forte Education and Playing ; and at the same time attempts
to convince the yet unconvinced, of the necessity of the ra-
tional study of the art. This part is followed by others, in

1 VHimate "explanation" is of course no more possible in these matters
than it is of any of the other every-day facts of existence. The very narrow
limitations of the human mind surround us with the Unknowable at every turn.

THE PROBLEM OP PIANOFORTE TRAINING-. 9

wMeh it will be attempted to give tlie necessary information,
in successive and logical steps.

Short and practical directions, as to the various touch-ele-
ments follow ; also, the exposition of a series of mental-mus-
cular exercises, independent of the key -board, "Relaxation
studies " by means of which the necessary muscular condi-
tions (visible and invisible) can be most quickly acquired, and
subsequently retained.

I hope to follow this work, with others, dealing 'more
minutely with the processes of Practice, Performance, and
Teaching.

10. Much tautology and repetition, will be found in the
following pages, and no doubt many other literary sins ! As
my endeavour is, to form a useful, rather than an ornamental
work, I do not hesitate to sacrifice all literary exigencies,
whenever my pedagogical experience prompts me to do so,
for the sake of the student.

Experiment at the key -board, and away from it, should ac-
company the reading of the letter-press. This will assist in
the understanding of the matter put forward.

CHAPTER H.

THE PEOBLEM OF PIANOFOBTE TBAININGL

1. SUCCESSFUL PERFOBMANCE, when analysed, is found to
resolve itself into the nice combination of two quite distinct
processes :

I. The purely mental 1 process of apprehension and conception
of the Music to be performed ; and

IL The mental-muscular process, of communicating such con-
ception to others ; this being done through the physical act of

1 The term, "mental" is here used as signifying "emanating from the
Brwn." It therefore includes musical emotion and feeling, as well as intel-
lectual perception.

10 INTRODUCTORY.

producing the requisite sounds 1 from the instrument ; a phys-
ical act consummated through the agency of certain of our
limbs against the Pianoforte-key.

Both of these processes must be successful, if consummate
performance is to result. The first process implies MUSICAL
INSIGHT on the part of the performer, musicality, musician-
ship.

The second process implies special Instrumental-Insight and
Attainments on his part ; the art of performance proper. Ex-

ECUTANTSHTP.

To have something to express, implies imagination, inven-
tion. To be able to communicate it, no matter whether in
English or in Hindustani, or by means of the Pianoforte
ivories, implies conquest of " Technique " in the real sense of
that much-misunderstood and much-abused word. Mere knack
in scampering over the key-board at a great rate, or playing very
loudly or softly at will, is but a very small part of Technique.
To have good Technique, means, not only being able to do all
that, but to be able to do a great deal more besides. For it
means, being able to provide all possible tone effects of which
the instrument is capable ; and the capacity to apply these in
the best of Taste. Technique itself hence implies : knowledge,
judgment and imagination ; as well as the physical habits that
will enable us to obtain from the instrument the tones required
to build up the imagined musical edifice. 2

1 By " requisite sounds "is not meant merely "the right notes," but also
the right Tone-kinds to form those requisite tone-contrasts by means of which
alone, musical sense can be made evident to the listener.

2 A performance can only appeal to us, through the medium of Contrast /
through contrasts of Pitch; of note-combination (harmony) ; of Time-pulse
and its divisions; speed of movement (tempo ) ; of Tone quantity, quality, and
duration. It is owing to his having the power to choose different degrees
and combinations of these, that the real Artist is able to affect us.

Like everything else, a performance is necessarily built up of ultimate
units. These ultimate units, in the case of a musical performance, consist of
separate individual sounds, or a notes." Every one of these necessarily has
its distinct influence on the effect of the Whole. Hence, in performance, there
is no such thing as a note of no consequence ; for the least-accented note de-
mands quite as much care in performance as the most accented one ; both will
equally ruin the resulting Music-picture, if not kept in their place. Each
note inust therefore enter at the precise Time-place, and must be of the

THE PROBLEM OF PIAHOFOETE TBAININa. 11

2. Moreover, it is not enough to Jc Musicians and Ex-
ecutants. It is not enough to have the ability to see musical-
sense, and to have ability to execute it, but we must not forget
actually to use both those faculties at the moment of perform-
ance. For there is a vast difference between merely hearing,
and really listening. It is the distinction between merely
sounding notes automatically, and sounding them with musical
Purpose. As performers, it is just as futile to imagine the
musical end in view without purposing its fulfilment, as it is
to purpose the fulfilment of mere sounds, while losing sight
of the fact that they should fulfil a Musical Aim.

In a word, both musical and executive Attention is required.
( Vide Note I., Appendix.)

3. We ourselves cannot be conscious of giving such at-
tention at the time, if it be really successfully provided. Ob-
viously, successful attention implies that our whole conscious-
ness our " whole Body and Soul J> is taken up with musical
perception and its translation into actual sound. "We therefore
cannot also use our consciousness at that moment to analyse
that very act.

If, however, we possess the power of mental ^^-analysis,
then we shall be able clearly enough to realise the nature of the
attention required from us.

Having realised its nature, we shall then, vice versa, also
be able to instruct, stimulate, and compel ourselves and others
to give it. 1

exact duration, tone-quantity and quality, that will best fit it to fulfil its
mission.

Judgment is hence required for each and every note. We shall see later on
that sach judgment can only be derived f rom perception of the music ; Emo-
tional perception, and Intellectual perception. From such perception must
date the conscious or un-conscious judgment that every note demands in per-
formance, if it shall properly fit into the picture.

1 To many Artists, self -analysis seems totally denied. Hence, such fail to
recognize the processes of their own acts, both mental or physical. Indeed,
once having learnt to act properly, knowledge of the process appears useless to
such, and may be so, in some measure. This is the reason why artists, as a
rule, actually resent the mere idea of " attention" or '* execution " ; since the
very fact of their giving such good attention prevents their personally becom-
ing aware of the act. This is also the reason why most artists prove them-
selves such indifferent teachers, although they often do stimulate (as Liszt did)

It IOTEODUCTOKY.

4. This dual aspect of all Performance applies equally
to all the Arts; simple or complex. An act of conception, and
an act of execution are always implied: Ability to provide
those acts, and "Will to apply them at the moment.

Definitely to express even the simplest shape, our mind
must will the doing ; must first successfully grasp it imagine
it, and must then by means of successful mental and physical
technical attainments, express it.

It applies to every word we write, even to every letter
forming each word; and it applies to every note we play. 1
For instance, if we would delineate on paper, even so simple a
shape of definite proportions as a triangle, it is evident that
our imagination must first vividly picture the extent of the
lines constituting it, and where these lines shall meet, before
our executive faculty can begin to draw it. The necessary ex-
ecutive attainments here consist in responsiveness on the part
of our muscles to the mandates of our inner sight, a per-
ception gained through training and experience. 2

True, we may " let our pencil wander over the paper." But
if we really do this without previous mental picturings, then
the result will be mere scribbling. Exactly analogous are the
Sound-^results arising from indefinitely, inefficiently guided
fingers at the Pianoforte; they form mere musical scrib-
bling.

5. Here it will be as well at once to endeavour to show
what it is that constitutes Definiteness in performance what it
is that constitutes " Grip." (Vide Chap. IV., 10 and 11.)

The same laws apply to musical perception as apply to

by their exhibition of unbounded enthusiasm. Obviously, as we cannot show
that which we have not perceived, it follows, that without conscious or uncon-
scious analysis we cannot hope to become cognisant of what there is to teach.

And as the self-analysis required must be that of an actual artist, we here
see why really "great teachers' 1 are even rarer than great artists.

1 A great deal of technique is ultimately provided by automatic, or semi-
automatic actions. These have nevertheless to be definitely stimulated. We
cannot learn to make even the strokes and hooks, etc., forming one letter,
without copious conscious attention directed upon the problem.

4 In fact it comes to this, that we have practically to project an imagined
shape upon the paper, and fco insist upon our muscles fulfilling the lines thus
imagined.

THE PROBLEM OF PIANOFORTE TRAINING. 13

every other kind. All perception, and all knowledge itself,
being- purely relative, it follows that it is only by Contrast that
we can perceive; that it is only through its contrast with
something else, that we can become aware of anything.

For instance, we can only realise a solid object, like the
surface of a table, by its contrast to the surrounding air.
Moreover, both our sense of touch and our sight will only in-
form us of the Point of Demarcation between solid and air, it
is only the surface we can thus become aware of.

Now, if we wish definitely to perceive even one note, it is
obvious that there must also be some such line of demarcation
-or surface ! which can be appreciated by our Ear.

This we find to be the case. For to the musical ear there
is a perfectly definite point, a mentally solid fact realisable ;
and that is, the point of demarcation between Silence and
Sound, when each sound actually commences to issue from the
Pianoforte. It is just this line of demarcation, this point, this
tone-swr/ace, that alone can give us the opportunity definitely
to pre- judge, purpose, and in consequence, definitely to per-
form any note. (Vide Note II., Appendix.)

Notes, thus definitely meant as to time, can then be grouped
together, first to form minute Shapes in the way of ideas and
motives, then whole phrases ; then the smaller and larger sec-
tions or contours of a movement ; and finally, into a complete
and living organism, a Whole musical-work.

u Shape," in performance, therefore eventually resolves itself
into RHYTHM, both in its narrowest, and in its widest sense.
The constituent atoms (the single sounds) must, each one,
have its definite place in the scheme of the Whole, if that is to
be satisfactory. To enable us to succeed in this, the work as a
Whole must constantly be kept in mind, while yet, for the
sake of it, carefully placing each and every note at the precise
time-spot thus dictated; and not only that, but at the exact
tone-amount and more important still at the exact tone-
quality thus demanded. Unless this be accomplished, the
resulting music-picture can neither be homogeneous, nor
perfectly harmonious, nor just in its outlines ; while the

14: INTRODUCTORY.

expression of the emotional-import underlying- these mere
shapes (popularly mal-termed " soul ") obviously remains quite
impossible.

6. The measure of our success then depends absolutely
on the degree of strength and perfection of the necessary emo-
tional and intellectual conceptions formed. It also depends
upon the accuracy with which our executive ability is able to
translate these mental pictures into physical fact.

At first sight, it seems pure supererogation to have to
insist on such self-evident facts. It is however most neces-
sary to do so, for the grossest misconceptions of the whole
problem of pianoforte -practice and teaching arise directly
from failure to grasp this premise : that the two processes of
artistic-perception and of artistic-execution are quite dis-
tinct accomplishments; and that therefore, good Execution
is by no means a necessary consequence of good musical Per-
ception.

To sum-up : it is clear, that Pianoforte-Education must
needs consist of two perfectly distinct branches : a), that we
must learn accurately and vividly to use our powers of Per-
ception ; and b), that we must learn as accurately to translate
such perceptions into actual sound, i.e. :

I.) : We need emotional and intellectual training", sufficient
to make us MUSICIANS ; and thus enable us to ce attend " mu-
sically.

II.) : We need artistic and physical training, sufficiently to
make us EXECUTANTS and thus enable us to " attend " ex-
ecutively.

MUSICIANSHIP:

7. Both the Musical Imagination and the Judgment
must be trained : such musical imaginative-power as we hap-
pen to possess, must be trained, to enable us to be vividly im-
pressed by the Beautiful in Music, and to enable us to realise
the human emotions that the composer endeavours to convey
to us through the medium of music-language. Without such
emotional appreciation, all modern music remains a sealed

THE PROBLEM OF PIANOFORTE TRAINING. 15

book. And BACH and MOZAET are as intensely " modem " in
this respect, as is WA&NEE !

In addition to training 1 in emotional-appreciation of music,
training is also demanded in the intellectual appreciation of
music-Matter itself. It is only by this means that we shall be
enabled to perceive the shapes the composer has employed
through which to express Ms feeling.

This involves training that shall enable us to perceive
FORM. Form in its true sense, not merely in the restricted,
narrow and conventional sense, 1 but Form or Shape, from its
largest manifestations, down to its minutest details ; Rhythm
primarily, manifested as this is, in the larger contours of move-
ment as Climax, and through its smaller sections, down to its
component phrases and constituent ideas.

It involves, also, training to enable us to understand the
material from which these shapes are built up : the contrasts
of Pitch, of Duration, of vertical note-combination (Harmony)
and their juxtapositions (harmonic progressions) and the re-
cognition of the ornamentation of these by passing notes and
suspensions, etc.

Appreciation of musical Form, Shape, or Rhythm, in this
sense, is a purely intellectual act. Education in it, is there-
fore comparatively easy.

Appreciation of emotion in Music, on the other hand, is a
more difficult matter, for it depends not only on appreciation
of the Beautiful as Music on inner "ear," but it depends
also on Feeling in the sense of human sympathy. Education
in this direction, though possible, is far more difficult, for
the requisite "understanding" can only be obtained by a
training of the faculty of human insight ; through contact
with and interest in our fellow-creatures ; through the multi-
farious experiences of a rich life. 3

1 A musical building (or Form ) if well proportioned both in its largest
as in its smallest details, will be perfectly good, even if the particular a form"
it takes is quite unconventional, and has never before been employed. We
must have shapeliness, hut it need not be mere copy of the tested nnd ao
cepted 1

* Kefer to Note VI., Appendix.

16 INTEODUOTORY.

EXECUTANTSHIP :

8. We must remember that Technical-Ability merely sig-
nifies : ability fully to communicate to others, that which we
do musically see. "Technique" signifies just that; all that,
nothing beyond that, but also nothing 1 less than that.

Hence, however great our capacity as musicians, however
keen and intimate our perception of musical sense ; the power
of communicating such perceptions is absolutely limited by our
capacity as Executants.

9. The Intellectual interest of Music is made evident in
performance, by clearly shoiving the musical "shapes" the
musical architecture.

The Emotional effect of Music, on the other hand, mostly
depends upon the use of T 'one- Colour ing.

Performance cannot be clear unless the musical shapes are
clearly seen and shown ; whereas "Feeling " can only be ex-
pressed when Tone-colouring is employed to vivify those
shapes. This can be intensified by Time-colouring the JRulato.

By " colouring " is here meant not only contrasts of tone-
Amount, but contrasts in that far more important department,
that of Quality. 1

Evidently it is range of " colouring " range of contrast in
tone-kind, that constitutes the most important item in one's
technical equipment.

The proof of this is : that this very item is the point that
riost distinguishes the Technique (N.B. : the " technique ") of a
really great performer-artist from that of the less great ; for
his range of tone-shadings is far greater ; his distinction be-
tween shadings far more subtle.

This also holds good in all the other arts : in their partic-
ular way. 2

1 There are some who even deny the very existence of the fact, that variety
in Tone-QuALiTY can be produced from the Pianoforte ! The explanation
is obvious enough. Either, they suffer from a physical disability which pre-
vents their discerning such contrasts; or they have never happened to dis-
cover the Doing. Possibly, they may never have experimented on an instru-
ment sufficiently good !

2 For instance, while Shakespeare is generally acknowledged to be the
greatest literary giant, he also displays the largest vocabulary the largest as-

THE PROBLEM OF PIANOFORTE TRAINING. 17

10. Executantship or Technical-ability, when analysed,
resolves again into two very distinct accomplishments :

-I.) : Artistic-Judgment pianistically, including- also pulsa-
tional-judgment.

II.) : Mastery over THE AET OF TONE-PKODUCTION.

11. The term (t ARTISTIC JUDGMENT " as here used im-
plies :

a) : Knowledge of the whole range of instrumental effects
and possibilities ;

b) : Judgment to enable us to select precisely those in-
strumental-effects that will most fully convey to the hearer
the musical emotions and shapes which our Musical-faculty
enables us to see ;

c) : Ability accurately to gauge TIME-LAPSE, in the minute
apportionments requisite in the passing-by of the tone-pic-
ture. This last involves training the Pulsational-sense to a
degree of efficiency.

12. Pulsational-training does not form special training
for any particular instrument ; manifestly it is needed for
every kind of musical performance.

It is a training that will enable us vividly to recognise
Time- Place in a regular succession of small Time-distances,
such as are covered by bars and their divisions ; that will en-
able us accurately to judge the " Time-place " for every note
filling up such comparatively gross time-lapses ; and will en-
able us also to realise those larger pulsations of Bhythm built
tip from the combinations of bars, and even phrases. 1

Pulsational-training, it is, that will enable us to watch time-
pulse as a living fact, when we have once started some partic-
ular swing in our mind ; thus enabling us to keep such train of
Pulse vividly before us, while we proceed to fit our perform-
ance into its inexorable LAW.

Moreover, it will ultimately enable us to recognise and re-

sortment of word-shadings. In the same way we find that the greater the
musical composer, the more complete is his use of the full gamut of harmonic
possibilities, the greater the range of his rhythmical contrasts.
1 Vide again Nrte //., Appendix.

18 INTBODUCTORY.

assert such recurrences of Time-division, even when we choose
fco deviate from their straight path, as in that higher exhibi-
tion of Pulse and Bhythm, implied in the RUBATO.

For true JRubato implies that we dare not lose sight of the
inexorable Pulse, even when we do choose to omit direct
reference to it for a while.

That is : although we may, In obedience to our emotional-
sight of the music, elect fco make our performance either lag
behind or press in advance of the relentless succession of
Time-beats, yet we must continue to feel the persistence of
this same Pulse, so that we can resume its sequence as if it
had been unbroken. Unless we can succeed in this, we shall
break instead of " bend " the Time ; when the infallible result
will be, that all Continuity in the composition under interpre-
tation will be hopelessly broken-up.

Eubato is then, an accomplishment of the pulsational-sense,
that enables us to lend the lines of our performance shape-
fully, while not impairing their continuity ; a bending, with-
out which truly musical (as the converse to merely mechan-
ical) performance remains unattainable ; and without which,
all real emotional effect must remain impossible of full reali-
sation.

13. The other two items constituting "Artistic Judgment"
do however require much special training. Training as dis-
tinct from general pulsational training, as it is distinct from
that of general musicianship. For we must have special knowl-
edge of all the effects MEANS OF EXPRESSION, of which the
particular instrument is capable ; 1 and we must possess the
judgment and taste that will enable us to select precisely
those means that will best convey our musical sense.

Such training is to be obtained :

a), by listening to the doings of good players, when one
has learnt how to " listen " ;

1 Inchiding its capacity of contrast in every way : of forte with piano;
legato with staccato ; " sympathetic" tone-quality with the " hard " variety ;
Accentuation, both by means of Tone, and by means of Time; in a word,
the whole realm of phrasing and *' colouring."

THE PROBLEM OP PIANOFORTE TRAINING. IS

b), by oneself experimenting at the instrument, and profit-
ing from such experiences ;

c), by the surest, and most direct method, viz., by taking
advantage of the guidance of a teacher ; always provided, such
teacher himself fully possesses not only the necessary knowl-
edge and experience, but is also able to communicate it.

14. The Art of Tone-Production. Manifestly, our power of
communicating the verdicts given by our musical feeling and
knowledge, and by our artistic-judgment, is strictly limited by
the extent of our power to make the instrument respond to
our wish with exactitude, and in the end unconsciously.

In other words : any artistic- judgment, musicianship, or
feeling that we may possess, must perforce remain mute, un-
less we also possess ability to draw the sound-effects, thus
dictated, from the instrument; and are able to do so with
accuracy and with certainty.

Here we are face to face with a training, special to the par-
ticular instrument chosen. It is this special training this
latter section of the Executive side of Playing the Art of
Tone-production at the Pianoforte the very BASIS OF EXPBES-
SION with which the present work proposes to deal.

In the next chapter, we will a little more closely consider
what is meant by this "Art of Tone-production," and how this
art is to be acquired. 1

1 The uncultivated ear often fails to distinguish between good and bad
tone-production. There are plenty of minds, otherwise " musical," who yet
seem quite content to acquiesce in the rawest of tone qualities, and paucity in
variety. No doubt this arises from ignorance that there is something better to
be obtained from the instrument than what they are accustomed to. Also,
there is no doubt that those few, who are really very highly gifted executively,
are not content with such raw tones ; but that they do strive might and main to
discover the ways of good tone, in consequence of discomfort caused to their
sensitive ear. Hence, also, the popular fallacy (popular even amongst musicians)
that beautiful tone-production necessarily denotes "nrasicality" on the per-
former's part. True, up to now, owing to the prevailing ignorance of the
whole subject, it has been only the few gifted ones, who have arrived at
beauty and variety of tone.

Good tone-production is not to be measured by mere quantity of sound.
Mere noise, and Tone of good volume and beauty and consequent carrying
power, are two quite distinct things.

Many a street-singer makes plenty of sound of a villainous description !
We sometimes even hear performers in the Concert-room, who sing as execra*

JjQ HTCBODUOTOBY.

CHAPTER III.

THE PKOBLEM OF EDUCATION" IN THE ART OF TONE-PBODUCTTON,

1. "No effect can possibly arise from tlie instrument with-
out a physical cause. Being* caused, there must be laws that
determine each effect. Every possibility of sound- quantity and
quality ; and of continuation of legato and staccato ; and every
possibility of speed in note succession Agility ; all must rest
on physical facts.

Moreover, that these physical facts with regard to the KEY
may be fulfilled, again absolutely depends on our employment
of the requisite muscular Conditions ; conditions of activity and
of relaxation.

i.e. : When the exact Treatment needed by the key is fulfilled
for each possible sound-effect, then only can each effect result ;
but these possible different treatments of the key can only
be fulfilled by the employment of Muscular-Conditions, each
correspondingly different for each sound-kind ; muscular-con-
ditions, many of which give no evidence of their existence
to the eye. The needs of the key must be fulfilled, but these
must be fulfilled by our muscles in the easiest possible way.

Tone-production, in a word, is the art of drawing any kind
of sound from the instrument at will, in chameleon-like vari-
ety ; any quantity, any quality, momentary or sustained ;
and it also includes the problem of Agility.

Tone-production is hence a question of Mechanics, Physics,
Physiology, and of Psychology too. It is an art that does
not rest on mere cc rules," mostly at the mercy of taste like

bly, but are nevertheless accepted by a section of the public, owing to the
presence of sensationally enormous voices !

Likewise at the Pianoforte, it is not difficult for one gifted with a good
u Piano-voice " to stir up the air (and our ears) with masses of sound of a
kind, and also to gain considerable facility in agility, and to do this in spite
of a radically wrong "production"; but such lamentable cases of misapplied
energy, and misapplication of a good '* voice," must not be allowed to confute
the real question at issue : that good tone-production will enable even naturally
" voices " to succeed incomparably better than they could do without it.

J&DUCATIOJN" I2ST THE ART OF TONE-PEOBUCTIOH. 21

those of language, or of harmonic-etiquette ; for it rests on
physical LAWS, inexorable as those of mathematics.

The art of tone-production implies implicit obedience to the
laws that govern sound-excitation through movement of the
Pianoforte-Key ; an Art, not perfect, nor even possible in some
directions, unless we are able muscularly to fulfil these key-
needs in the easiest possible way.

2. The laws of tone-production apply equally to all sorts
and conditions of players.

For as tone-production absolutely depends on accurate obe-
dience given to the mechanical, physical, and psychological
laws involved, it therefore follows that such laws, being inex-
orable, apply to all players, no matter how much they may dif-
fer in muscular or in musical conformation.

These very laws, indeed, also entail slight modifications of
activity and of Position, with different sizes of hand and finger ;
and differences of size and weight of arm. 1

3. The idea that there are " stiff" hands and fingers which
have to be ground down to suppleness by interminable exer-
cises, is also mostly based on fallacy ; except in those rare cases
of incapacity through rheumatism, etc.

" Stiff" wrists, " stiff" fingers, are as a rule, merely the out-
come of incorrect muscular action impeded action, i.e. :
Action impeded by the unnecessary, and harmful associated
action of the opposite muscles. 2

Some people naturally possess muscular Insulation, as it
were. Others will make ten times the necessary effort, even
in such familiar actions as raising their hands to their hats !

It is such so-called " stiffness," ie., restrained-mo~vemeril
and action, that directly prevents many a Student and Artist
from attaining good Pianoforte Speech.

1 Correct " position " of the limbs employed is almost a necessary conse-
quence, when the correct conditions of muscle are fulfilled. The converse is
however by no means true. For it by no means follows that " correct posi-
tion " necessarily also entails correct muscular activity and inactivity; although
this forms one of the current superstitions (or displacements of cause and effect)
with regard to Pianoforte-technique 1

2 Sometimes, however, they result from sheer ignorance of the nature of tbe
Rey's mechanism, and its laws of treatment.

22 IKTBODUOTORr.

Not only does weak and bad tone result from such bad
Production tone, bad both as to quantity and as to quality ;
but agility, accuracy in legato and staccato, and accuracy
even in Time and Rhythm itself , all seem almost impossible of
attainment under such conditions. ( Vide 3 and 5, Chap. IV.)

Whereas, all becomes easy and certain, as soon as the mus-
cular and physical laws involved are strictly obeyed.

4. Those who are naturally gifted with such muscular
(( insulation," easily acquire facility in that department of
Tone-production that gives AGILITY, "technique" in the
popular but false and narrow acceptation of that word.

Such, also easily acquire facility in those other, but far
more important departments of " technique," in its proper and
fuller sense facility in providing Tone- Varieties of every kind.

Such endowment indeed forms both Talent in tone-produc-
tion, and " Finger-talent ; "an endowment quite distinct how-
ever from the one that enables us to attain a really large tone
at the Pianoforte, and which latter therefore forms what may
be termed a good Pianoforte-VoiCE.

We must not forget, that such endowments are moreover
perfectly distinct from a Musical -talent, however often they
may be mistaken for such.

It is evident then, that physical endowment for the Piano-
forte is as divergent as that for vocal performance, and that at
the Pianoforte we may evince a naturally large "voice." This
depends on the actual size of the Arm-muscles, etc., that is,
provided these are thoroughly " healthy " i.e., easily " insu-
latable" and easily fully relawable. 1 For it is the amount of
Arm-weight we can set free, that forms the possible extent of
our real voice, in "singing" tone-quality, at the Pianoforte.

1 Really complete relaxation may possibly be physically unattainable,
perhaps even undesirable, pathologically considered ; but the term thoroughly
conveys, what has practically to be striven for. For it is the corapletest pos-
sible 'Relaxation of all muscles that should be passive, that forms the real
"secret" of all good tone-production (including Agility) at the Pianoforte ;
just as it is the secret of beauty of tone at any other musical instrument or
indeed of good muscular technique applied to anything else.

We have an instance even, in the DELSAKTB system of gesture^ which evi-
dently rests on the same truth as a basis.

EDUCATION IN THE ABT OF TONE-PRODUCTIOK. 33

Tow a properly produced Yoice " carries" well, and sounds
fuller, than a badly produced one. Precisely analogous is the
case at the Pianoforte ; and it is astonishing" to most people,
how large is the compass of contrast of which even the smallest
Pianoforte-voice is capable, once the problems of correct tone-
production have been mastered.

" Good" tone-production hence signifies: that we do make
the best possible use of such " voice " as we may be endowed
with ; that we succeed in fully employing, and accurately
directing it against the key-board.

5. We learn from all this, that facility and education in
the art of tone-production, rest on two distinct kinds of Knowl-
edge and Attainments :

a), We must understand how to treat the instrument ; and b),
we must be able to provide the requisite muscular conditions to
enable us to fulfil such treatment.

Education in Tone-production hence divides into the two
departments :

I.) : Instrumental education, and

II.) : Museular education.

6. We will now consider these two departments in slightly
further detail :

INSTRUMENTAL EDUCATION: This implies, that
we must learn thoroughly to understand the nature of the
instrument, and the conditions under which alone it will
respond to our wish.

i.e.: We must learn thoroughly to understand what is the
nature of the particular treatment the key demands for each
and every sound-kind, and shading ; since it is alone through
such difference in treatment that each difference in Tone can
be induced.

7. MUSGULAB EDUCATION : This implies, that we
must acquire, and must subsequently form into habit, all those
different sets of muscnla,ic-conditions (of activity and relaxation)
which alone will best enable us to fulfil these differences in
key-treatment, essential for the production of each difference

24 INTRODUCTORY.

in sound-shading. For we see, that as contrast in sound can
only be induced by contrast in key-treatment, therefore, to
secure such contrast, the muscular conditions must also in each
instance be modified.

Such habits of muscular-combination, must then subse-
quently be associated mentally with their results in SOUND.

Ultimately this will enable us to provide these muscular-
conditions automatically -in direct Response to each stimulus
from our musical imagination and judgment.

In fact, we cannot be said perfectly to possess " The Art of
Tone-production," until such muscular-response is absolutely
in accord with every musical wish that we may feel ; that is,
until Muscle unerringly responds to the promptings of Mu-
sical Feeling. 1

1 i.e. ; We must first realise (consciously, or unconsciously) "how we must
WMScularly act in order to obtain each possible effect from the instrument,
through its keys. Having successfully learnt to provide the muscular condi-
tions that will give the correct key-treatment, it still remains necessary to form
thfise muscular-conditions into HABIT.

Sabit of this kind, must be so strong, and of such nature, that it will be
prompted into action simply by association of ideas ; so that the mere imagin-
ing of a sound-shading, will automatically prompt its muscular realisation
its physical realisation through the key-board.

S or we must always remember, that until the requisite muscular-habits are
thus formed for each sound-shading, it remains just as impossible to allow the
mtm"tw%-artistic mind full sway, as it remains impossible to converse freely
in a language, the words of which have still to be* summoned up by a con-
scious act of volition.

In fact, that we must not rest, until Feeling is able to prompt action, ap-
plies with equal force here, as in other forms of Conduct. For it is Feeling
eventually that acts as the great motive force in conduct, A few words of
quotation from that greatest of English philosophers, HEKBEBT SPBNCEB, will
prove oi service in this connection. Regarding the relationship of Feeling
and Conduct, he says : " It is never the knowledge which is the moving agent
in conduct ; but it is always the feeling which goes along with that knowledge,
or is excited by^ it. The truth that recklessness brings distress, fully acknowl-
edged though it maybe, remains inoperative.". . . . *' The mere cognition
does not jiffect conduct conduct is affected only when the cognition passes
out of that intellectual form' in which the idea of distress is little more than
verbal, into a form' in which this term of the proposition is developed into a
vivid imagination of distress a mass of painful feeling." . . . ' * It is thus
with conduct of every kind."

' ' Already we have seen that the connexion is between action and feeling ;
and hence the corollary that only by frequent passing of feeling into action,
is the tendency to such action strengthened. Just as two ideas often repeated
in a certain order, become coherent in that order ; and/wstf as muscular motions^
at first difficult to combine properly with one another and the gwiding percep*

THE PROBLEM OF MUSCULAR EDUCATION. 2

OHAPTEE TV.

THE PEOBLEM OF MUSCULAR EDUCATION.

1. Training in this latter branch of instrumental edn~
c