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Matthay
The act of touch In all its
diversity
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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~
cation in the acquisition and application of the requisite
Muscular-Conditions, is again a twofold problem : consisting
as it does, of two distinct STEPS :
Step I. : We must gain the requisite MENTAL-MUSCULAE DIS-
CRIMINATION.
i.e. : We must learn mentally to distinguish the muscular-
conditions that are necessary, from those that impede the de-
sired result in Tone. In a word, we must learn to provide the
activities wished for, and no others. 1
Step II. : We mtist learn to APPLY these correctly -discrimin-
ated Muscular-conditions, to ike KEY-BOARD.
i.e. : We must learn ACCURATELY to TIME the Commencement,
and also the Cessation of the correct muscular-operations ; and
we must accurately gauge their degree, according to the
" needs of the key." 2
tions, 'become ly practice facile, and at length automatic; so the recurring
production of any conduct by its prompting emotion, makes that conduct rel-
atively easy. Not by precept, though heard daily ; not by example, unless it
is followed ; but only by action, often caused by the related feeling, can a
moral habit be formed." . . . "And yet this truth, which Mentaf Science
clearly teaches, and which is in harmony with familiar sayings, is truth wholly
ignored in current educational fanaticisms." " The Study of Sociology," pp.
359, 367.
1 Practically, even the simplest movement or activity of a limb, needs a
complex set of co-ordinated muscular actions and cessations for its fulfilment.
What we have to do, is to learn to obtain just the needful and complete mus-
cular-processes. This is the interpretation desired for the term, " mental-
muscular discrimination."
2 To be more explicit : As regards Step I.): "We must learn to distinguish the
particular set of muscular-condition^ (active and passive) which will best serve
to induce each one of those different modifications of key-treatment (both dur-
ing and after descent) from which arise : a), all the possible varieties of tone-
Quality and Quantity ; and of Duration; b), those modifications of muscular-
condition that will best serve towards the attainment of AGILITY ; and c),
those that will best provide the requisite side-to-side movements of Finger,
Hand, and Arm., which enable us to bring the Finger-tips over the required
notes.
As regards Step II.) : We must learn to gauge and time these muscular-ex-
20 INTKODUCTOKT.
2. We will now consider a little more closely tfre process
of education implied in these two steps.
The first of these two steps, the acquisition of the requisite
mental-muscular discriminatory power, dealing 1 as it does with
the power of distinguishing between the desirable and unde-
sirable Muscular-conditions, is not really special to the in-
strument.
Most of such requisite discriminatory power can there-
fore primarily be acquired, away from the Pianoforte key-
board. 1
In fact, in many cases, it is a distinct advantage thus to set
about its acquisition, since, away from the instrument, there
is not the same overwhelming association of ideas which re-
call any WKONG HABITS acquired there ; and therefore the im-
pediments to progress are not so great.
3. The process of acquiring such requisite muscular-dis-
crimination, whether at the key-board or away from it, is one
of ELIMINATIOK That is, a process of elimination of the non-
required activities; a process similar to that by which we
acquire the muscular-habits of our daily lives, 2
ertions and lapses so that they shall be accurately applied to the purpose iu
view : to the requirements of key-treatment. <?.: a) : "We must learn to
time them to COMMENCE upon contact with the key, and not before ; so that
there shall he no Waste and In- -Accuracy caused by concussion against that
surface ; b) : We must learn to time them to CEASE the very instant they
have completed their duties against the key so that the Energy set free by
the muscles shall fulfil its purpose in making Sound only, and shall not in-
stead be wasted (and worse than wasted) against the pads under the key ; c) :
We must learn similarly to gauge and time the before-mentioned horizontal
movements of ^ Finger, Hand, and Arm, so that we may with certainty always
find the required notes, having already learnt to make the requisite move-
ments themselves with perfect ease.
'For the purpose of acquiring these elementary " muscular-discrimina-
tions" a set of " Relaxation "-exercises will be given in Part V. ; these will
cover the whole ground of the special muscular activities and in-activities re-
quired at the Key-board. They can be practised at any odd moments during
each day, as they require no key-board ; familiarity with the needed muscular
conditions can thus be both gained and retained, and the muscles kept " in
form.' 7 ( Vide Note I/I, Appendix*)
When we start life, we have hardly any power of muscular-discrimina-
tion. We begin by kicking-out legs and arms, in our efforts to attain some-
* These "Relaxation Studies" have since been published as a separate work by Messrs.
Bosworfibu
THE PROBLEM OF MUSCTOAR EDUCATION. 27
4. It is by such process of mental-muscular elimination,
that we have to leam :
a), to distinguish the required exertions of each separate
portion of the limbs ;
b), to provide these with perfect freedom, i.e., with elimi-
nation of the opposite muscular-activities ; l
c), to learn promptly to cease the required exertions; so
that we shall, when at the key-board, be able accurately to
aim the force set free upon the key, only towards the produc-
tion of Sound. 1
5. The muscular activities and in-activities required,
moreover produce two distinct classes of effects :
a) : Those that provide actual Movements, and which there-
fore become Visible ; and
b) : Those that produce Stresses and Tensions, without im-
mediately causing any movement, and which therefore remain
quite Invisible.
Of these two classes of effects, by far the most numerous
are those undisvernible by the eye.
thing. It is only by degrees that we learn to eliminate leg-movement when
we wish to move an arm ; only after much experimental failure, that we
learn sufficiently to eliminate wrong muscular activity, to obtain a single
definite movement of one limb ; we require still longer experience before we
can definitely aim such movement. For instance, it is only gradually that we
learn to guide a spoon into our mouths, and not into our own, or our nurse's
eye 1 Having then learnt to distinguish such already complex muscular prob-
lems, we learn in course of time, even to locate the activity of one finger from
another.
But how far are we even then from using each Finger, Hand, or Arm,
at its Easiest i For the delicate shadings of muscular-condition required at
the Pianoforte remain impossible of attainment, unless each muscular con-
dition can be thus provided absolutely without restraint.
The particular talent that makes for their quick acquisition, has already
been alluded to. ( 7, CJiap. Z, also Vide Note IV., Appendix.)
1 Many people experience great difficulty in thus providing one set of mus-
cular-exertions, while keeping the opposite set passive. As already alluded
to, it is just to such impeded muscular-action, that has to be attributed the
common experience of " stiffness," clumsiness and general difficulty of move-
ments so fatal to all playing.
It is indeed to imperfection in this particular kind of muscular- Segregation
to which we must often trace that want of Agility, so often falsely attributed
to " insufficient practice " ; and to which we must also often trace that lack
of Tone, lack of Delicacy, and lack of subtlety in Tone^S hading in a word,
lack of EXPBBSSION so lamentably prevalent
28 INTBODTJCT0RY.
6. The problem of directly teaching the particular
muscular conditions that do provide visible result in the shape
of movement, is comparatively simple ; description, example,
and imitation suffice, provided absolute < freedom " during
movement be insisted upon.
7. The problem of directly dealing with the Invisible
ones, and their omission, is however more difficult ; indeed at
first sight it would seem almost as difficult as that of directly
teaching those required in vocal tone-production.
This, however, is not so. For these invisible activities and
relaxations can be described and shown, in the first instance,
by permitting movements to result from them; having thus
been learnt or taught, they can afterwards be applied under
the slightly altered circumstances that prevent their becoming
evident to the eye.
8. Once the desired muscular-combinations have been
successfully attained, we can proceed to fix them in the mem-
ory. This can only be done by taking mental note of the Mus-
cular-Sensations accompanying their application. It is by sub-
sequently recalling such sensations, that we shall be able to
re-enact the muscular conditions at will ; and by doing this
with sufficient frequency, we shall be able to form them into
Habits. Such habits have subsequently to be applied not only
to the instrument, but to Music itself ; so that we can ultimate-
ly form that further habit, that of associating the requisite
muscular-habit with each sound- effect.
For, as has been previously insisted upon, it is only in this
way that we shall eventually be able to provide the required
tones, in strict response to our musical-judgment and thus
tot last enable Feeling, the great prompter, to have full sway.
9. Here is the place, urgently to warn both Learner, and
Teacher, of the great danger there is, of too exclusively think-
ing of the required muscular-attitude, when endeavouring to
alter a muscular-habit at the KEY-BOARD. There is danger, at
such times, of dwelling upon such desired muscular-attitude,
limb-movement, or mere position, and of coming to look upon
these as the Object to be attained; meanwhile forgetting the
THE PEOBLEM OF MUSCULAR EDUCATION. 29
ultimate object of such muscular-correctness! (Vide also 7,
next Chapter.)
Therefore, whenever we conduct muscular experiments at
the Key-board, we must be careful to keep such muscular-con-
ditions in -view solely as the Meatis to an end. That end is : to
M*AKE Soum) by means of inducing movement in the Key ;
a Sound-excitation, moreover, that must always be definitely
TIMED; and definitely gauged as to kind. (Vide also 7,
next Chapter, page, 3Jf,.)
10. This now brings us to a closer consideration of that
Second Step in muscular- education the correct Gauging and
Timing of the correctly chosen muscular - conditions. We
shall moreover realise, that it is in such Timing that im-
mediately lies the LINK that unites the purely mental act
of musical-determination with the physical act of Tone-pro-
duction.
For we shall see that it is on the ground of RHYTHM that
they coalesce.
11. As regards Education in this Second Step the ap-
plication of the results of muscular-condition to Key-neces-
sities, manifestly, a Key -board is here absolutely essential.
It is true, a dumb key-board may quite well serve to teach
us, and to enable us to retain, those particular muscular-gaug-
ings that enable us to find the right notes ; this being a matter
that depends merely on our muscularly gauging with accuracy
the distances to be traversed on the key-board through side-
to-side movements of Finger, Hand, and Arm. 1
But beyond that point, a speaking key-board becomes im-
peratively necessary, by which to teach ourselves the HABIT
1 Our EYE can only guide us, in the case of large skips ; with plenty of
time provided by the composer for taking them.
Everything else consists of movement far too swift for the guidance of
the eye to be of any direct use.
The eye can only help us indirectly ; it can only remind us of the actual
size of the distances to be traversed ; it cannot really guide our fingers or
hands during their movements. This is plain from the fact, surprising to so
many people, that we can equally well " find" our notes, whether we look at
the portion of the key-board in actual use, or instead remind ourselves of the
distances involved, by keeping our eyes riveted on similar distances at the op-
posite end of the key-board /-or even situated on another key-board !
80 INTRODUCTORY.
of accurately Timing and accurately Ganging the degree of
those other muscnlar acts, those that directly make tone.
The reason why this can best be accomplished at the Piano-
forte key-board itself is clear enough :
Since both Time and Degree of the mnsciilar-conditions are
determined by, and must hence be gauged by the particular
resistance offered by each individual key ; and as this resist-
ance differs not only in different instruments, but differs
indeed with different keys of the same instrument; and,
moreover, as such resistance differs with the SPEED at which
we endeavour to impel each particular key's descent during a
musical performance ; it follows : That unless we firmly ingraft
this habit of Attention (and of eventual unconscious Obedience)
to the varying necessities of key-resistance, we shall remain
but " mechanical" performers; mechanical executants more-
over, without even the element of Certainty to commend us. 1
CHAPTEE V.
THE FINAL PROBLEM: THE UNION OF EXECUTION WITH CONCEPTION.
1. It has been pointed out ( 5, Chap. II., page 1$) that
there is but one way by which to attain deftniteness in our
playing; and that is, by pre-determining the Time-Place of
each note by means of our musical consciousness.
1 Some of the more rough-and-ready Gauging and Timing may if necessary
be acquired at a semi-dumb key-board, provided it be not allowed to breed
carelessness of attention to the Quality in Key-descent. Much good practice
can undoubtedly be obtained there by those who have really mastered Tone-
production, and who possess firmly fixed habits in this respect.
Without the use of a good Pianoforte, it is however impossible either to ac-
quire, or to retain, those finer and subtler manipulations of the Key-Descent
which are the means of all real beauty and expression in performance.
And the more perfect the instrument employed for this purpose, the more
profitable will the Practice-hour prove. For the larger and the more subtle
the compass of tone- varieties the instrument offers, the more are we likely to
be urged to their employment, and the more are we likely to hear when we do
wrong.
Recognition of this fact has been aptly expressed by EUGBIT B'ALBKKT,
THE UNION OF EXECUTION WITH COKCEPTIO^. 31
Accurately to realise this musical wish, it follows: that we
must time the tone-production of each desired note, so that it
may reach Completion at such pre-determined moment. In
other words, it is in this Accurately Timed application, culmi-
nation, and consequent cessation of the correct muscular-a^
against each individual key, that lies THE POINT OF raiON be-
tween Conception and Execution. This last fact must be
thoroughly grasped.
On its conscious (or unconscious) realisation, directly de-
pends " Grip " in performance, Mastery of the subject Mas-
tery in Practice, Playing, and in Teaching. This point must
be insisted upon, even at the risk of tautology.
2. We have seen, that the accurate timing of our muscu-
lar operations against the key, signifies : (Chap. IV., 1, Step
II.) that we must not time these either too early, or too long ;
but that they must culminate at a certain point in key-
descent, and must then promptly cease; they being after
that moment useless, and worse, as regards the act of sound-
making.
In the culmination and instantaneous cessation of the mus-
cular impetus that provides Key-movement, we have here avail-
able an absolutely definite point in the process of tone-pro-
duction, definite physically and mentally.
Definite, because it represents a definite place in key-de-
scent ; again, because at that point, the completion of the
tone-production is clearly realisable by our outer ear as the
beginning of sound; and once more, because the point of
transition between Silence and Sound is a clearly definite one
in the element of Time, and can therefore be purposed in this
respect.
For the particular moment when tone begins to be emitted
from the instrument, also forms the conclusion of the act of
tone-production; and it is this moment, this definite physical
when, in presenting his portrait to that great master Piano-maker, he wrote:
"Meinen besten Clavier-lehrern nnd liebsten Freunden, den Bechstein-schen
Fltlgeln " u To my best Piano- Teachers and dearest friends, the Bechstein
Grands."
32 IOTRODUCT0KY.
fact, that we can seize hold of by the mind, through the ear, if
we are careful to be on the alert for it.
Consequently, if we succeed in making this definite physical
fact arise in absolute coincidence with the Time-place (and
Tone-kind) pre-determined by our musical-consciousness, it
follows, that we have then succeeded in physically realising our
musical emotion that we have that moment forced execution
to obey conception for they have coalesced, have united, in
thus coinciding.
3. "We shall now be able to realise the necessity of the
final, and probably most important item, in a Performer's Au-
ral-Education, viz. :
ALERTNESS OF EAE:
Alertness as to the moment of Time, when sound begins. 1
For it is only by LISTENING- outwardly, that we can guide
or aim that accurate culmination and cessation of the mus-
cular-act, which forms the Union of Tone-production with Con-
ception. 2
4 In short, and this forms an excellent working defini-
tion of the act of Execution : We must learn to le AUBALLY on
the alert, so that the right muscular-act shall consummate key-
movement at the very moment dictated l>y our musical-con-
sciousness.
FUETHEB DEFINITION OF ACT OF PLAYING:
5. We shall now be in a position to realise, further, that
the act of Attention needed in playing, although it seems but a
1 Alertness in this respect, must not be confused with that other form of
ear-alertness, subtlety of discriminatory-power as to tone-kind kind, as
regards quantity, Duality, and duration. The importance of this latter form
of alertness is obvious enough without further comment.
A strong bias towards giving aural-attention in both these respects, consti-
tutes one of the most necessary sides of the talent that enables a performer-
artist to become a possibility.
"Ear" of this kind, is evidently also quite another thing from " ear" in
that Bother sense, that of musical imaginativeness. It is the latter that makes
for invention, for composition ; but not necessarily also for performance.
In the performer's case it is 1 the outer-ear that must imperatively be keen ;
although its effective employment is nevertheless limited by the extent of his
"inner-ear," or Imaginativeness. ( Vide Appendix, Note IF.)
9 i.e. : It is only by listening Physically, along with that other Inner-listen*
ing or alertness of the imagination, that we can aim the muscular act.
THE UKI03S T OF EXECUTION WITH CONCEPTION. 33
single flash of consciousness, is really a compound act, and that
it must embrace two distinct purposes :
( I : The act of judging WHAT each sound effect should le,
\ II: The act of judging the means for its physical fulfilment.
The first implies, that we must purpose to obey the Music ;
and the second implies, that we must purpose to obey the
Piano-key.
We have already seen, that to succeed in this dual act
of judgment, we must appeal both Inwards and Outwards;
i.e., we must appeal Inwards to our inner-consciousness of
Musical-Necessity ; and we must appeal Outwards to Instru-
mental-Necessities. Now we shall discover that these two
acts themselves once again segregate, each into two distinct
subdivisions of Intelligence ; thus proving the Act of Atten-
tion in Playing ultimately to consist of four components. For
we find : a) : that we must mentally try to see Where each note
must begin as to Time ; and b) : what its degree of Importance
is in the scheme of the piece thus determining its tone-shade ;
c) : we must, through our Muscular-Sense, try to judge what
energy the key needs, to move it at the required speed ; and
d) : we must through our Outer-Ear watch for the moment in
key-descent when cessation of that energy becomes due.
This single thought-flash (volition, or act of consciousness)
must hence embrace four points in reality : Where, and How,
each sound must be ; Where the key begins (to resist), and
Where its movement-possibility ends in sound. 1
If but one of the four components of this act of attention is
absent, then we have failed to attend properly, and our play-
1 This may appear very complex at first blush ; but in reality it is no more
complex than many acts of our daily lives. Nothing, indeed, that can be ^dig-
nified with the name of thought, consists of a mere simple sensation. Consider,
for example, the act of taking a stroke at Tennis. When analysed, it displays
an almost identical complexity with the mental-muscxilar act, of playing a note
with Intelligence at the Piano ! There is : a) our consciousness of the ball
coming across the net towards us ; b) our resolve, to place it in the corner of
the opposite court, furthest removed from our opponent ; c) our judgment of
the "Weight of our own racket, unconsciously derived from our constantly bal-
ancing and swinging it j and d) our calculation of the degree of energy required
to be added to that racket's swing, which shall place the ball in the pre-con-
ceived SPOT, not of Time, but of Tennis-court !
34 INTRODUCTORY.
ing will consequently prove unsatisfactory to that extentc
( Vide Note IV., Appe?idix.)
The solution of this problem of Attention also forms the
means of willing the Union between Execution and Concep-
tion ; for it means, a determination to be definite ; a determi-
nation definitely to aim the completion of each note's tone-
production to a pre-determined spot in Time.
( Time, when sound of a particular shade
ps judged to be dto,
THE . | fime, when it is physically consummated.
6. The following little plan sums up this question of
"attention," both for Artist and Student, both for Teacher
and Critic :
The Act of INTELLIGENCE In Playing,
implies :
Attention Inwards Attention Outwards
to enable us to obey Music : to enable us to obey the Key :
Tliis implies use of our Musical-Im- This implies Attention
agination so that by perceiving Muscular iy and Aurally,
Musical-Emotion and Musical-Shape, to enable us to
we shall be Feel key-resistance before and during
able to judge the [descent,
TIME-SPOT and TONE-KIND and to
due for each note. Hear the completion of key-descent.
Or finally, to put the case as a positive direction :
I : We must try to SEE the Emotion, and the Musical-material /
the latter being the material-shapes of Time (rhythm) and Tone, through
which the former is exhibited ;
I and II : We must try to OBTAIN this mentally-pictured Music froin the
( Keys ;
by employing our knowledge of the requirements of Key-treatment, and our
muscular-adaptations to these.
The latter moreover involves, that we must give :
Ja) Muscular-Attention to the key-Resistances, and [key-descent,
b) Aural-Attention to the beginning of each soundthe consummation of
7. A warning is here once again urgently necessary, sim-
ilar to the one on page 29, 9, Chap. IV. If, in our endeav-
ours to fulfil all the elements that together form successful
performance, we permit these Means, even for a moment, to
THE UKION OF EXECUTION WITH CONCEPTION. 35
become our paramount object and aim, then we shall after all
fail to achieve success.
Even the very act of endeavouring to give Attention may
cause us to fail ! For we may try to " attend " simply for the
sake of attending successfully ; we may try to give our con-
sciousness to one, or to all of the four points of Attention
enumerated, and yet fail to play successfully! Pail we as-
suredly shall, unless we bear in mind that even Attention
itself must not be given for its own sake, but must instead
be given as a consequence of our intense wish and purpose to
see Music, so that it shall become living sound.
Here, again, we are face to face with that well known law,
that applies with equal force to Playing, as it does to all other
Arts, namely : that the moment we attend to the Means for
the sake of fulfilling these means, that very moment witnesses
the collapse of our Art.
That is, all the means enumerated must indeed be fulfilled ;
but we cannot ultimately succeed, unless we attend to Music
itself as the supreme object to be attained by them. 1 We must
be busy emotionally and intellectually. We must try to see what
phase of emotion each phrase presents, and we must use our
intelligence so that we may perceive the musical shapes em-
ployed, and so that we may perceive the executive requirements
needed for their interpretation. We shall thus be able to
secure for each note-atom its proper place in the musical-
scheme as a Whole, and we shall thus be giving expression
to Music itself.
The sequence of Cause and Effect, will moreover be syn-
thetically in the reverse order to this summary analysis, when
we sit down to play a piece of music :
For we must not try to play a note until we are ready to
1 It is of no use remembering : that the keys must be rightly used ; nor
that " we must muscularly fulfil key-treatment at its easiest " ; nor that *' we
must attend to the Key as to the resistance it offers, and to the point in its
descent where cessation of our muscular application is demanded " ; nor that
" we must fulfil these two physical acts because of the moment in Time, and
because of the kind of Tone required for each note," so long as we do these
things for their own sake. No, we must attend to these things only for the
sake of the Feeling that we perceive, and to which we wish to give expression.
36
ee listen," as the Artist says ; listening here signifying-, that we
must try to perceive, or see Music. This signifies that we must
at that very moment, try to realise what the Music means ;
what it is ; how it feels ; how it should sound. " Seeing " music
in this sense, is a supremely vital experience ; it is something
absolutely vivid. 1
In short, whenever we sit down at the piano, to play or to
practise Music, our motive must never deteriorate into playing
for the sake of personally doing well. Our supreme wish must
be, to strive to perceive Music ; i.e. ; we must try to see, rather
than try to do. 2
8. In a word, the act of Volition in performance, must
ultimately centre in a supreme endeavour to feel music-sense,
so that others may be moved by it. Attention and Execution
must be provided only in response to this all-powerful motive,
the wish to see and exhibit Music itself.
We shall then find ourselves in harmony with Herbert
Spencer's teaching, that "Feeling 3 is the great motive power
of Action/' and we shall then prove ourselves not mere Arti-
sans, but true Artists.
1 Although we may have played a passage a thousand times, yet, the
moment we do succeed in actually re-seeing it, that moment the music be-
comes a thing absolutely fresh and new. Although the particular experience
may be similar in character to previous ones, yet this experience will be quite
apart from those, because of its freshness. The passage will seem alive at
that very moment, because our brains- our feelings, are vividly awake to the
impression.
This is the supreme experience to aim for, each time we endeavour to play
Music. Its attainment the perception of music, being in the shape of Feel-
ing, will then serve as an omnipotent motive-power for those necessary mental
and physical processes of Tone-production tbat ultimately enable us to com-
municate the musically Seen, to others.
2 We must give ourselves up to the emotions that live behind the dead
signs of music-notation : since it is only to the extent that we allow such
human and artistic Emotion to take possession of us, that we can succeed in
portraying it ; that is, always provided we do possess the requisite power of
Execution.
The moment we permit the " Doing " our well-Doing, to become the ob-
ject striven for, that moment we become self-conscious ; instead of musically-
conscious ; with equally disastrous results here as in our daily lives, when, in-
stead of looking outside of ourselves, we allow our own self-advancement to
become the prime consideration. (Vide Note F,
51 Vide Note FJ., Appendix.
CONCLUSION AND SUMMARY. 37
CHAPTEE YL
CONCLUSION AND SUMMABY.
1. We have now indicated what are the elements of
Pianoforte playing and education ; and also what are the ele-
ments of Education in Tone-production. To enable these
indications to be of any practical value, it is necessary
thoroughly to realise, that each perfection, and each want of
Perfection, should in each individual case, be traced to its im-
mediate cause. Unless this be done, we shall after all have
mere empiric floundering, instead of that direct teaching of
oneself and others, which we find to be possible.
2. It follows, if we would properly practise, play or
teach, that we must localise each want of perfection, must
trace it to its cause amongst those various elements that to-
gether form Pianoforte Education and playing.
i.e. : On realising that the performance of a piece, passage,
or even a single note, has proved inadequate, we must analyse
the fault ; reflection will then enable us to discover its true
nature. For instance, we must investigate whether it is lack
of musical insight that has caused the lapse, or whether it is
simply owing to inefficient attention in this respect; or
to lack of understanding of how the key should be treated, or
to inattention in this respect; or whether faulty muscular
habit is the cause; or that inadequate "aiming" of the
muscular conditions, resulting from aural or muscular inat-
tention.
The fault having thus been "hunted home" and thor-
oughly located, we shall then be in a position clearly to point
it out, and also directly to proceed to its correction.
3. Now, since we can only learn, or think, one thing at
a time, it follows, as a matter of course, that we can only
correct one fault at a time.
This fact is indeed one of the most important deductions-
38 INTRODUCTOBY.
forced upon us, by the preceding* contemplation of the real
constituents of Pianoforte Education. 1
4. The ends of Pianoforte Education are hence best at-
tained, not by the interminable and senseless repetition of
Pieces, Studies, Scales and Technical exercises, all given with
quite hap-hazard tone-production, and misnamed " Practice ; "
but, on the contrary, by the teacher (or self - teacher) first
realising what is the nature of the habits to be acquired. 2
Possessing the requisite knowledge of what to strive for, we
shall then begin by essaying to produce correctly one sound
at a time, thus obtaining the opportunity to form that habit
of mind, that perceives in Key-treatment during descent, the
only possible means of obtaining any desired sound ; and the
opportunity to form the co-related muscular habits that serve
to fulfil such Key -treatment. We shall then proceed to apply
tone-production, thus acquired, to the various passage-forms
from which Music is built up, and here the practice of Tech-
1 Wrong muscular habits, and wrong ways of looking at Piano-playing, so
often formed during the child-stage, and so difficult to eradicate afterwards,
are very generally to be traced directly to this want of localising-power, on
the part of the teacher. Instead of being expected to learn one thing at a
time, the child is expected to learn musically to speak, read, and even write,
all at the same time I
Instead of being first shown how to produce sounds from the instru-
ment, and to recognise these, and to recognise the element of Time in their
production ; the music-page is placed before the child's dazed eyes, and it is
asked to translate those written signs into sounds, when instead, it is the sound-
making itself and recognition of the sounds made, that should receive the full-
est possible attention. The result of this struggle to learn to do several things at
the same time, is, that the mental struggle engenders a muscular struggle. No
thought can be given to what really are the necessities of the key, or what
are the real muscular-means required for this key-treatment. Undirected ef-
forts, amounting to spasms, result as a consequence, and are calmly per-
mitted by the "teacher!" while, so far from learning to read Music, the
child instead contracts that vicious habit, that of spelling notes.
A child, before it touches the instrument, should be made to understand that
a definite musical-sound is the thing required, not a mere putting down of
keys anyhow. Sequences of sounds should then be learnt from the teacher's
dictation, portions of the material of music scales, etc., and actual simple
tunes. In this way, the child begins by understanding that musical sense is
required, and that this sense must be drawn from the keys. Time enough,
then, as a separate phase of education, to teach the written signs representing
musical letters, words and phrases I
2 Habits, we must remember, that include not only the necessary habits of
muscular co-ordination, but habits of mind as well as of body ; habits of musi-
cal attention, and habits of muscular and aural attention.
CONCLUSION AND SUMMARY. 39
nics, of scales and arpeggi, etc., becomes necessary, within
reasonable bounds. In addition, we then require the practice
of Studies, to give us endurance of Mind and Muscle.
The practice (study and playing) of much real music
should moreover be contemporaneous with such study of the
Means of Expression, so that that supreme necessity may in-
fallibly be fulfilled : ,the mental association of Touch-method
with musical sense and emotion.
5. "We now realise how expedient it is, first thoroughly
to understand the nature of the very elements or Constituents
of Pianoforte-education, before going further, and proceeding
to form habits.
Earnest study of the preceding pages is therefore invited,
before attempting to master the matter dealing with the de-
tails of tone-production itself ; which will be presented in
the following Parts.
These Constituents of Pianoforte Education are summa-
rised in the accompanying Plan. . . . Understanding
the facts there presented will assuredly help us the better to
practise, criticise, play, and teach !
SUMMARY OF PART I.
THE ACT OF PLAYING
la accomplished by the union of two quite distinct acts :
I:
CONCEPTION,
the Perception of Musical Sense.
The power of perceiving musical sense depends on the degree of out
MUSICIANSHIP.
Musicianship, the power of understanding Music, lias two sides s
(a):
The, EMOTIONAL SIDE;
and
The INTELLECTUAL SIDE;
Emotional Musical-ability, or Musical-
Feeling, permits us to perceive ; the
Emotional Import of Music.
It permits us to perceive, and e\ijoy,
the sensuously Beautiful in Music ; and
its parallelism to Human emotion.
Intellectual Musical-ability, QT Musical-Reasoning,
permits us to perceive: the Musical-Shapes em-
ployed to convey such emotion.
It permits us to perceive, and enjoy, the perfec-
tions shown in the musical structure ; workmanship
in its largest and smallest manifestations."
It enables ns to perceive Rhythmical structure;
the facts of Climax, or Crisis, in its large swings of
form, and in its smaller ones of the Phrase and its
subdivisions down to its component ideas.
H:
EXECUTION;
the Communication of such perception to others.
The power of communicating musical sense, depends on the extent of omf
EXECUTIVE-ATTAINMENTS.
Executantship, the power of expressing that which one perceives, has two sides :
(a):
ARTISTIC-JUDGMENT;
Artistic-judgment, embraces : Knowl-
edge of, and Taste in the application of
the instrumental effects, through which
it is alone possible to translate such
sense as one can perceive musically.
It also embraces pulsational sensibil-
ity ; a sensibility that should be keen
enough to feel the continuance of Pulse,
even when ita reiterations are tempora-
rily suspended, as in " Rubato."
and
THE ART OF TONE-PRODUCTION:
This implies, Ability to obtain from the instrument, every possible kind of tones
of any Quantity, Quality, Duration ; and at any Speed of succession. It embraces
Agility, and Colouring.
Adeptness in the Art of Tone-making has two separate aspects :
(aa):
INSTR UHEXTAL-KtfO WLEDGE;
Consciousness of what are the require*
<ments of the Key.
(bb) :
and MUSCULAR-HABIT.
Muxcular-xbility, to fulfil these re*
quirements, correctly formed and into-
idly retained.
I
Muscular-Habit* implies two distinct things :
(aaa):
Muscular-Discrimination ;
The power to provide the requisite
Muscular Activities, and Inactivities.
jpraining is hence required in both the departments, Conception and Execution, and in all the subsidiary aspects of these.
Moreover, such Training can only bear fruit, provided ATTENTION is consciously or unconsciously given during the Act of Playing.
This Act of A TTEXTION or VOLITION in performance, although apparently but one flash of consciousness, must nevertheless comprise
FOUR COMPOSEXTS:
(bbb):
Muscular- Application.
The power to apply these to the Re-
quirements of the Key, as to Time ana
Degree.
"MUSICAL attention, Inwards .
PHYSICAL attention, Outwards :
a):
As to TIME;
WHERE each note should begin;
(II):
At to TONE;
HOW each note should sound.
(HI):
As to RESISTANCE,
Experienced from each KMT;
An Attention, Judgment, and consequent Volition originating from our Musical Feeling and Intelligence, Attention and Judgment by means of : the
provided we insist on these faculties determining the proper mission of each Note, cw Part of a WHOLE MUSCULAR-SENSE.
(IV) i
As to PLACE, in KEY-DESCENT*
WHERE each Sound BEGHTS; *
Attention and Judgment, by means of : the
AURAL-SENSE.
The Result to be obtained by such perfect act of Attention and Volition is : that the P L AC I N C (both as to Time and as to Tone) of each and every note, will be directly prompted by our Musical Feehng and Intelligence.
The result moreover is : that the Muscular-Conditions, necessary to consummate this " Placing," will be Started, and " Aimed "~i.e., ceased :
Firstly, by our Muscular-sensation .of the key's resistance before and during descent :
Secondly, by our Aural-Sensation of the commencement of tone, arising from the completion of each Key-movement.
The supreme necessity for an unbroken continuity of Attention and Judgment in both these particulars, becomes self-evident, when the real problems of Tone-production, itself are considered, as they will be, in Parts H andUL
APPENDIX TO PART I
" ON LISTENING"
NOTE I. For 2, Chapter II., page 11. It is so very easy not to
" listen " properly ; but instead, merely to hear. In the latter case, the only
result can be, that we simply hear that which our automatic centres happen
to play ; whereas, by listening outwardly and inwardly, we shall perhaps
succeed in *' doing" that which our inner ear directs.
Our eyes can give us a similar difference of experience ; for we may look
at a page, a picture, or a scene, and fancy we ** see" ; and yet all the while,
we are not even trying to perceive. A fact we shall immediately discover, if
we try to reproduce that page, picture, or scene !
It is the same, if we wish to communicate an idea. Unless we ourselves
definitely try to see that thought, we shall certainly be unable to communi-
cate it.
We can neither paint, draw, nor write successfully, unless we have an inner
picture we wish to fulfil through the implement in our hands.
In fact, a keen but unconscious analysis of the thing that is to appear,
has all the while to precede the " doing." To the extent that such analysis is
efficient, to that extent only can the Artist "see" or "feel," as he puts it,
he himself being naturally unaware of his own mental processes. To com-
municate the thing seen, he must have the power of execution ; he must have
the knowledge and experience that will unconsciously guide him to choose
the exact combinations of colours and shapes, that will render his Conceptions
facts of the Imagination into physical Actuality.
It is customary to quiz a novice, experimenting with a gun, and to assert,
that having aimed most carefully, he after all closes his eyes before pulling
the trigger !
It is however no exaggeration to assert that ninety-nine out of every hun-
dred Piano students act analogously at their instrument ! Even if they do go
so far as to think of the actual key they mean to deal with, yet, when it comes
to the act of depressing it the very process itself of using it to excite sound,
then they end, after all, by making an \m-Aimed muscular effort, with their
Ears perfectly shut, so far as attention is concerned ! In playing, it is the pro-
pulsion of the key during its short descent, that has to le" aimed" ; merely to
reach the right key, and to get it down " somehow," does not constitute a musi-
cally-directed sound.
The mistake arises, from not perceiving that each musical sound must be
as much the outcome of the musical Will, as must be the lines constituting a
drawing, or piece of penmanship. Non-perception of the fact that a Sound is
a mere unit, meaningless by itself, arises from the fact, that a musical sound
41
42 APPENDIX TO PART I.
is a so much rarer experience for the majority of individuals, than is the expe-
rience of impressions caused by light ; shapeliness being conveyed to us
through our eyes all day long.
It is owing to such comparative rarity in the experience of musical-sounds,
that something seems actually accomplished when a Piano-key has been made
to deliver some sort of soundno matter how bad, nor how inappropriate !
A mere sound nevertheless no more constitutes musical-sense, than does a
mere line constitute a picture when presented to the eye.
The moral hence is : that Sound-making only rises above mere tone-scrib-
Uing when we insist on guiding the requisite Units into a vivid musical-
Drawing.
ON RHYTHM"
NOTE II. For 5, Chapter II. , page 13. There are three distinct ways in
which we can pre-determine a single sound. Three distinct forms of Practice
result from this fact :
/; At a sufficiently slow rate of movement, we can give conscious attention
to each note beforehand ; consciously determining not only its Moment and
Tone, but also consciously determining how it shall individually be obtained
from the instrument. Such careful manipulation, demanding as it does a dis-
tinct thought lefore each note, requires considerable time. It is the only way
to learn new habits of tone-production. Hence arises the conviction forced
upon most players, sooner or later : the need for really SLOW PRACTICE.
II: We can, at a quicker tempo, still consciously will the Time and Tone
for each individual sound ; although we shall be unable at that speed to pre-
realise the means of tone-production involved for each individual sound . Tone-
production must obviously in this case be forthcoming as a previously-formed
habit ; Habit in this case stimulated into activity by the mere wish or direction
for a particular sound-kind.
///.* The speed niay^ however be so great as to preclude pur directing even
the Time of each individual note by a conscious act of volition. The neces-
sary "willing" has then to be relegated to a faculty we possess, that of semi-
qutomcrfically Timing the inside components of note-groups.
It is a faculty of the ear and muscles, analogous to the one we use through
the eye, which enables us at a glance to discern the exact number contained
in a small group of objects, without our actually "counting them up." J We
thus discriminate between the various sets of leger lines ; the lines that consti-
tute the difference between semi-quavers and demi-semi-quavers ; and the sets
of lines that form the staves.
We can in fact at great speed, only " will" whole sets of notes. The notes
and figures that belong to the Beats being known, the latter are kept in view,
and the passage is thus steered along by their means. The inner notes of each
beat are in this case merely felt as subdivisions of time leading up to each
imminent Time-pulse. For instance, at great speed, groups of four semi-
quavers, must be felt as three segmental points of Crotchet-Division, leading
up to the beginning of the next Crotchet, or Pulse.
This learning to direct the minute subdivisions of Time by means of this
semi-automatic or unconscious faculty, forms a very important detail in a
Performer's Education.
Camille Stamaty, one of the teachers of Liszt, constructed a whole school
of Technics much superior to "PJaidy" keeping this necessity in view;
the suggestive title of the work being : '* Le Rhythme des doigts."
* It is said there have been show-men who have trained this faculty to the extent of being able
io distinguish at a glance the exact number of balls thrown down, up to about thirty 1
APPENDIX TO PART I. 43
"AS TO GYMNASTICS"
NOTE III For 3, Chapter IV., page 26. 'While on the subject of mus-
cular-training, it may be well to point out, that ease in acquiring the requisite
discriminatory -power and its application to the instrument, is much facilitated
by the possession of healthy muscles. Most forms of gymnastics and calis-
thenics further such healthy condition of the muscles ; but the best exercises
for this purpose are those that alternately give Full Contraction and Full
Extension of the muscles involved. An urgent warning is here however neces-
sary, since harm instead of good may result from the practice of all gym-
nastics, unless the requirements of correct tone-production are constantly
borne in mind. Hence the reason, why there is such divergence of opinion
amongst musicians respecting the use of gymnastics away from the key-
board ; though the same rule holds good even more forcibly at the key-
board itself; for even more harm in habit-forming can be done at the
key-board, than away from it !
Whenever gymnastics of any kind are practised, this must imperatively
be done not with ** force," but with the most perfect/ree^ow possible. There
must not be the slightest suspicion of restraint or friction, or ** force," in the
movements themselves, however great the energy that may be exerted against
some outside object. It is (and it cannot too often be repeated) from the un-
intentional employment of the 4t opposing" muscles, that arises the tendency
toward "stiff" or restrained action, which proves so baneful to Technique
in every sense.
To allow oneself the slightest tendency toward stiffness, whilst practising
gymnastics of any kind, is a fatal obstacle against the attainment of either
Agility or Accuracy in Tone- Response.
" PIANO-TALENT"
NOTE IV. For 3 and 5, Chapter V., pages 32 and 34. Here once
again, is a point where natural endowment differs widely. Those who, with-
out effort, unconsciously give Attention with full purpose, possess indeed
" talent " in the most important respect of all :
For talent itself, in its most general sense that exhibition of a strong
bias toward some particular pursuit, may be defined, from its results, as sim-
ply : ability to learn with ease.
Now our ability to learn anything, directly depends on the power of our
Memory its impressionability, and its retentiveness ; and memorizing again
directly depends on the degree of Attention we can provide. Hence, it is,
that Power of Attention, or ability to acquire this, is synonymous with : good
memory, ease in learning, and in a word "Talent."
A few words of Summary, may prevent misapprehension with regard to
the question of Pianoforte * ' talent : "
Special phases of endowment are needed in addition to general Musicality.
These are : a good "piano-voice " the possession of a sufficiently ample
muscular endowment, combined with Ease in mental-muscular discrimination ;
a good "Ear," not only for Time, but also particularly for the discernment
of subtle distinctions in tone-quantity, and above all, in tone-Quality ; " Brains "
to enable Attention to be given, combined with a personal bias toward giving
the particular form of Attention demanded in playing.
These particular endowments are nevertheless not very far-reaching, unless
there be besides, a general endowment musically. Musical imaginativeness is
44 APPENDIX TO PABT I.
required, both, emotionally and intellectually. Without that, nothing vivid
can be done, however excellent the other, the special, phases of Talent.
Moreover, even such endowments do not constitute a player. To succeed
as an Artist, we need besides all that, PERSISTENCE. That depends on
character, on our real love for the Art, and whether we possess Health sound
enough to stand the necessary close application.
For eventually, as RUBINSTEIH once said to us Royal Academy Students :
**real Hard Work is the only road to success."
"AS TO SELF-CONSCIOUSNESS AND NERVOUSNESS"
NOTE V. For |7, Chapter V., page 36. This dread horror kills many a
possible player. Ferhaps the following advice may help to eradicate the
nervousness resulting from self-consciousness. Try to realise, that when your
audience is really listening, that at that moment they cannot really be conscious
of you at all ; for their attention is then given to Music alone, just as yours
should be.
Even if a thousand people are looking at the same spot that you are look-
ing at, that fact will not render you self-conscious, nor " nervous." No, even
if they are shouting at the same object that you are shouting at, nor will that
do so. Hence, in performing, try to realise, that the audience is not listening
to you, but is listening to the same Music that you are listening for ; i.e.: that
Observation is being directed to the same spot, "by yourself and your audience.
It is your duty to " look," with your ears, at a certain spot in Music at a
definite time ; realise that your listener is looking at that same musical-spot,
and that moment you cease being aware that he is listening to You, personally.
Moreover, once you feel that that listener's attention is directed to the
same musical Point that yours is, it will intensify your attention to it, and
you will see the music more vividly than in the practise-room !
It is impossible for the listener to concern himself with you personally, if
he is listening to the sounds provided by your fingers in obedience to your
musical wish ; and vice versa : if the listener is aware of you, then he cannot
at. that moment be aware of the music provided, and the performance cannot
then be under criticism. Hence, in either case, there is nothing to be self-
conscious about !
In a word, force yourself to realise that the listener is watching for that
which you also are trying to hear, and all self -consciousness with its conse-
quent nervousness inevitably vanishes at that moment.
Incapacitating nervousness during performance is therefore usually only
the result of sheer inattention.
The causes of such inadequate attention are various.
They may prove at once remediable by a better understanding, and a con-
sequent better practice, of that which constitutes Performer's Attention.
Inadequacy and Uncertainty of Technique (i.e., of Tone-production itself)
does however form perhaps the most potent factor in causing our attention to
be distracted from where it should be.
" MUSICAL FEELING "
NOTE VI. For 8, Chapter Y., page 36. The following speculations
may prove helpful to some ; and may serve to make clearer some points other-
wise generally obscure.
The full explanation or interpretation of what it is that constitutes " Musi-
cal Feeling" yet remains to be achieved. Meanwhile, there is this to be
APPENDIX TO PAET L 45
noted : that musical emotion Is not IDENTICAL with tixe emotions of ordinary
life, but is instead merely parallel to suck
Emotion, experienced apart from music, may stimulate a composer or
player to the endeavour to record such feeling through the medium of musical
sounds. . , . It is however impossible for him directly to communicate
a DEFINITE emotional message through that indefinite medium, Music;
a consummation only faintly possible even through the medium of Words ;
although we here have definite symbols to remind us of already approximately
experienced sensations. All a composer can do, in using Music for the expres-
sion (or vent) of his emotion, is to write the musically beautiful* so that the
effect of such Beauty shall arouse a parallel emotional state in the listener, to
Mie state of mental-excitement under which the composer was labouring, when
he penned the music.
In a word, it is the sensation of the Beautiful that successions and combina-
tions of notes can convey to us, that has to be used as a vehicle to arouse emo-
tion. Ultimately it is a manifestation of the Beautiful in Sound that the
composer and player has to rely upon to create emotion in us, and thus to
suggest pain or pleasure, etc., through its parallelism in mental result.
That Ugliness is employed in music, does not weaken this contention ; on
the contrary, it strengthens it ; since it is only by Contrast that we can per-
ceive anything ; either by our senses or by our reason. We are com-
pelled to employ what can aptly be termed the Unbeautiful in music, so that
that intensely emotional result, the sensation of the Beautiful, shall by con-
trast be rendered possible.
Thus we have recourse to extreme dissonances and ultra-chromatic pas-
sages, the moment we wish to portray extreme emotion, since extreme
emotion borders on pain. The continued TENSION caused by dissonance
resolved on dissonance here provides an effect upon our nervous system anal-
ogous to that caused by extreme emotion apart from music. . . . It is be-
cause of this parallelism of the EFFECTS of musical-feeling to ordinary Feel-
ing, that we find Music such a more powerful, subtle and direct means ot
arousing Emotion (always however really indefinite) than words can ever be,
however powerfully penned.
These considerations will also render clearer, why the experiences of Life
with its extremities of emotion are essential, before we can hope to realise
the presence of such parallelisms in the music of the great Tone-poets.
The significance of the phrase u to Listen Inwardly " will now also be better
understood ; for it means, that we must try to perceive, nmst lie in wait for
the Beautiful in Music ; as exhibited through its Rhythmical-shapes, enforced
by Melody and Harmony. All this indicates what should be our mental atti-
tude toward Music during performance.
For it is manifest, that it is useless, or nearly so, to strive to see Emotion
APAKT from the musically-Beautiful in the work under interpretation. If we
make this mistake, and give our whole mind up to the endeavour to guess
how the composer " felt," or bow we ought to " feel," then we shall assuredly
fail to perceive the real emotion the music was intended to engender through
its beauty, and we shall instead lapse into mere sickening Sentimentality.
PART II.
KEY-TREATMENT FBOM ITS INSTRUMENTAL ASPECT.
CHAPTER YEL
PREAMBLE I
SYNOPSIS OF THE MAIN INSTEUMENTAL FACTS.
IN PABT L, Pianoforte Playing and Education was analysed
into its constituents. It was found to consist of two distinct
branches, since it demands both Musical and Executive attain-
ments. Executive attainments were found to embrace, a), those
relating" to Artistic-taste in the application of the possible in-
strumental-effects ; and b), those relating to the ACT by means
of which such effects become physically realised.
This Act of Tone-production, or Key- Treatment, was again
found to possess two distinct aspects, the Instrumental and
the Muscular. We will first deal with the former.
Education in the Instrumental-aspect of Tone-production
implies learning to understand the requirements, in the shape
of Key-wiovement, that must be fulfilled for the production of
each possible kind of tone.
A GENERAL GLANCE at this part of the subject is desirable,
before proceeding to a more detailed analysis of the instru-
ment and its mechanism, and its principles of action :
1. Much misconception of Key -treatment directly arises
from failure to grasp the sufficiently obvious fact, that the
Pianoforte consists of two distinct portions, each as distinct
from the other as the Yiolin is from its Bow. This men-
tal difficulty occurs, because the Pianoforte encloses within its
47
48 KEY-TIIEATMEXT ; INSTRUMENTAL ASPECT.
onter CASE both the musical Instrument Itself, and the machine
for exciting it into sound.
The Instrument proper should be considered to consist of
the Sounding-board with Its bridges supporting the strings,
and the strong frame that enables the latter to be kept at
tension ; whilst the TOOL for exciting It into sound, and con-
trolling Its cessation. Is formed by the Key-board with all its
appurtenances. The first portion is analogous to the
Yiolin itself ; whilst the second portion, the key -board, is anal-
ogous to the Bow. At the Pianoforte, however, instead
of the Instrument being provided with but one Tool for excit-
ing sound, we are here provided with some eighty separate
tools, or machines, for transmitting movement to the String.
2. For It Is only by giving motion to the key, that we can,
through Its hammer-end, communicate motion to the string,
a transfer of energy that can only be effected during the ham-
mer s brief contact and movement icith the string, before
the rebound of both occurs. 1
Let us then at once thoroughly realise this Important fact,
that It is only through KEY-MOVEMENT that we can produce
sound 2 ; and that all energy that shall produce sound, must
1 It is the string, which in turn communicates its motion to the connected
sounding-board ; the two together thus causing vibrations in the surrounding
atmosphere. These vibrations, on reaching the Ear, are by that organ trans-
formed into nerve vibrations ; and it is these that finally reach our Brain, there
arousing the SENSATION OF SOUND.
s Much misconception as to Key-treatment at once vanishes, the moment
we realise, that the Key forms but a machine, lever, handle, or Tool to en-
able us conveniently to create SPEED in the String.
Herein lies the radical difference in treatment required by the Organ and
the Pianoforte Key, a difference that has been at times overlooked owing to
the mere visual similarity of the two key-boards.
The energy that makes the organ-pipes speak, is derived from the Organ
blower, or engine. It follows that the depression of a key here requires one
might say but a passive act, like opening a valve or tap, since such opening
of the key merely serves to permit the mechanically stored-up energy to reach
and operate upon the pipes. In the case of the organ-key it therefore makes
practically no difference how the key is treated during its descent ; provided
that a certain promptness of attack is forthcoming. >
The case is widely different at the Pianoforte, where, on the contrary, the
sound is the direct outcome of the performer's own physical energy, delivered
to the key during descent. It follows that key-depression must" here be in
the nature of a positive, active operation, carefully chosen, and graded in its
application ; since it is such application of energy to the key that constitutes
PREAMBLE. 49
therefore be delivered to the key before 1 and during the lat-
ter "s descent ; and that this energy must be so timed, as to
produce the greatest key-speed at the very moment that sound-
emission is heard to commence a moment that corresponds to
the place in key -descent where the hammer rebounds from the
string".
3. Bealising that our object must be to create Key-move-
ment, we shall then neither attempt to hit or strike the key
as if it were a ball or nail, nor shall we attempt to jam it
down upon its "bed" as if it were a nut-cracker! We
shall, on the contrary, project our minds as it were to the
hammer-end of the key ; and our purpose will be, to move the
string by means of that hammer-end. In a word, we
shall not try to play the key-board or at it ; but shall instead
try to play the strings by means of the key. 2
Now we never dream of hitting or striking the Tennis-
racket, the Yiolin-bow, or the Billiard-cue ; instead, we take
them up take hold of them, and USE them. And that is
precisely how we should treat the Pianoforte-key : When we
wish to play a note, we must first equip or " arm " our finger-
end with the implement we wish to employ and that is the
key. We must take hold of that key, by placing a finger-tip
against its surface ; and thus enable ourselves to realise its
weight and resistance, through the muscular-sense. Thus
realising the weight of the Tool we mean to employ, we must
then proceed positively to AIM with its opposite end, the
hammer-end.
It is of no use " aiming " at the Key, we must aim with it ;
the material act of Sound-making, for all differences in tone-result here ab-
solutely depend on the speed attained during the short transit of the key from
its surface level to its full depression, and on the manner in which the ulti-
mate degree of speed is attained.
1 Some energy must indeed be delivered to the key, before it will even
begin to move.
* To enforce this upon our minds, we should remember, that although we
play the Harp with our fingers, since it is these that pluck the strings ; yet
we do not play the violin, < with our Arm," but with the Bow ; for it is by
means of the latter, in contact with the string, that we try to draw sound from
that instrument. It is in this sense, that we do not at all play the Pianoforte
" by our Fingers, Hands, and Arms," but instead play it by means of the Ke v .
50 KEY-TREATMENT ; INSTRUMENTAL ASPECT.
for the key is not to be regarded as a ball, bnt rather in the
light of a racket, cue, or other Speed-tool. 1 With the finger
thus equipped, the key will be felt to be but a mechanically-
provided continuation of the finger itself, an intimate connec-
tion and elongation of our body, ending only with the ham-
nier-tip ; and we shall feel that it is with that end of this tool
(thus under our immediate control) that we have to aim, and
create speed in the string.
4 This Aiming or directing of the Key, comprises three
points :
a): "We must aim the key, so that Us full speed is reached
at the moment that the hammer-end is in communication with
the String the moment that the escapement permits the
hammer to rebound with the string the moment that we can
hear the beginning of the sound, if we listen for it.
b) : We must cease to apply energy against the key at that
same moment ; excepting that slight residuum of weight that
is required in Tenuto and Legato, to prevent the key from re-
bounding. 2
c) : We must determine in wMch manner the required
speed shall be reached, for if the total energy is applied sud-
denly, then the result is a " brilliant " but " short " tone ; where v
as, if it is instead applied gradually, then we shall obtain a trtu
"singing," or " sympathetic" tone, of good carrying power.
5. To sum up :
The first lesson in Key-Treatment we have to learn, is, that
the Time-place and Tone-value of every note must be musi-
cally realised and intended.
The second lesson, is, that the Key must be aimed to cul-
minate its speed in sound, at that very moment.
These two things must coincide.
We must therefore aim, or direct, the key into Speed, and di-
1 For the same reason we must not press that tool upon its bed ; since the
key-beds are not like ripe fruit, out of which sound-juice can be squeezed.
2 Else, instead of causing musical sound we shall cause the various por-
tions of the mechanism to be jarred and forced against each other, to their
manifest detriment ; and to the great detriment also of all correct Execution.
PREAMBLE. 51
rect its increase in Speed during its short journey, so th<*t we
shall compel the String to "begin its sound at the very instant
that that sound is musically imperatively DUE. "We shall
then have correctly obeyed our Time-sense, and our Tone-
sense; and having- thus definitely compelled Tone-production
to fulfil our musical conception, a clear and definite impres-
sion will consequently be conveyed to the listener; for we
shall have succeeded in transmitting* to him the same musical
impression with which we ourselves were impressed. 1
1 The main difference between other forms of " aiming" and that required
by the Pianoforte-key, is, that we must employ our EAK to guide the muscles
that fulfil Key-movements ; whereas we employ the EYE to guide our mus-
cles in the case of the tennis-racket, billiard-cue, pen, pencil or brush.
There are, however, many analogies in the use of the Piano-key to that of
the racket, cue, bat, golf-club, cycle-pedal, or other speed-tools.
For instance, we must in all cases, weigh, balance, "or judge the weight or
resistance of the tool itself, before we can successfully supply the requisite
energy, and can aim this to its purpose. Again : we do not aim such a tool
as a whole, as we should a ball or stone, when throwing it ; no, on the con-
trary, we aim with the end of the tool the end furthest away from us. For
it is manifestly the doings of that end that concern us, when we wish defi-
nitely to project or impel a Ball or a String by means of such a speed-tool.
Therefore it is with that end of the tool that our mind must be busy.
Moreover, it is not enough merely to aim Racket or Piano-key so that Ball
T>r String shall be reached and moved " somehow." No, if we mean to have
effective " play t " we must see that the energy we supply to the ball or string
is carefully directed to a definite purpose, when using the racket or the key ;
an object-less and clumsy result will otherwise accrue. If we merely dab
our keys down somehow, we may obtain a tone of some kind ; but it cannot then
be in accurate response to musical-feeling, for none is in question ! The law
applies to all tools that require any accuracy in their use ; we must be care-
ful, in applying the " business-end" of such a tool to the object it is desired
to take effect upon, that it is there directed by a definite wish of ours ; a wish
of which we may or may not be conscious at the time.
Thus, we must feel a Time and Tone as imperatively due, owing to our
musical-sensibilities being directed upon the work under interpretation ; and
must place the needful key (or keys) into intimate connection with our
brain through the muscular sense. We must then use that key in accordance
with the laws of its application ; i.e. ; we must remember to move it while it
is movable, and obtain from it during the short space it is movable, either
the suddenly or the gradually consummated degree of speed, that our inner-
ear demands in Tone- value.
Once again, in a word : the key-descent must be aimed or directed to that
spot in descent, where its culminating motion initiates Tone : that spot in
key-descent being made to correspond with the Spot in Time and Tone dic-
tated by our musical conscience.
52 KEY-TBEATMENT; INSTRUMENTAL ASPECT.
CHAPTEE VIII.
THE INSTKTJMENT.
The strong outer CASE of the Pianoforte serves but as a sup-
port and protection for the instrument-proper. This consists
of : a) s the SouNDiNG-BoAEB ; b), the Strings, with a Frame to keep
them at tension; hereto is added, c), the MECHANISM, consisting
of a series of little machiiies, complete for each note, by means
of which our finger-tip is enabled to communicate motion to
the strings.
We will glance at these points for a moment in further
detail :
A : The Sounding-Board, or Sound-Board.
1. This forms the most vital portion of the instrument.
It is analogous to the whole body of the instrument, in the
Yiolin family. It is a carefully constructed, large, thin, reso-
nant sheet of wood, somewhat bulging in the centre, and of
almost tie same dimensions as the case itself in a horizontal
Grand, with the exception of a portion that has to be omitted,
to allow the hammers to reach the strings.
B: The Strings.
2. These are of steel wire, and are strung across the face
of the sounding-board, the strain being for the most part taken
by pins at each end. A small portion of the strain is, however,
borne by wooden bridges fixed to the sounding-board ; these
latter serve to secure an intimate contact between strings and
1 The surface of the string is too small to affect a large volume of air,
hence the device of a sound-board. The vibrations of the string are communi-
cated to it, and as this large surface disturbs much more air at each vibration,
we are better enabled to hear the sound initiated by the string. ( Vide 3,
Chap. X)
THE IBrSTRUatEOT. 5H
sounding-board. Hie pins at eacli end of the string are kept
apart by a strong frame. In the old instruments tliis frame
was formed of large timber-baulks, bnt in modern instruments,
it almost universally takes the far better form of an iron or
steel casting. Such metal frame is better calculated to
resist tlie enormous strain created by tie tension of so large a
number of strings. The pin at one end of the string is
fixed in the steel frame itself ; the other pin is set in a wooden
plank (supported by the frame) so that it can be rotated by
means of a tuning-key ; the string is in this way wound or
unwound, and the tuning is effected by the consequent altera-
tion of the string's tension.
The higher octaves of the instrument have three strings
tuned in unison for each note, these three strings being simul-
taneously reached by the same hammer; these strings are
short and comparatively thin. The strings are longer and
somewhat thicker in gauge the lower the pitch of the notes.
As the lower part of the instrument would require
strings of impracticable length, these are instead made slower
in vibrational-number by being weighted; copper or other
wire being coiled upon them for this purpose. Such
more ponderous strings give more sound than the thinner
and shorter ones belonging to the higher octaves ; the number
of strings for each note is therefore correspondingly reduced
in the lower octaves, first to two only, and then, for the lowest
octave, or so, to a single string for each note.
It may be noticed in passing, that much of the success of
an instrument depends on the proper choice of length and
thickness of string for each note, or "scaling* 1 as it is
termed.
: The Mechanism, or "Action"
3. FIBSTLY : This consists essentially of a compound lever ;
the end which is presented to us of this lever is faced with
ivory or ebony, while the other end carries a wooden hammer,
covered with layers of felt. 1 The mission of this leverage-
1 The diagram Fig. 1, found at end of this chapter, will help to rendel
the following explanations clearer.
64 KEY-TREATMENT ; INSTEUMENTAL ASPECT.
system is to render great speed at the hammer-end easy of at.
tainment, so that this can there be transmitted to the string,
As the fulcrum of this leverage-system is far closer to oui
end of the key than to the hammer end of it; it follows,
that the hammer moves through some two inches of space,
with correspondingly increased speed, for the mere f inch or
so that the ivory-end of the lever can be depressed.
The depression of our end of the key beyond that depth is
arrested by a felt pad the " key-bed" as it may conveniently
be termed
The mechanism is so adjusted, that the hammer gives its
energy up to the string jusr BEFOBE THE KEY BEACHES THIS PAD.
Here we realise, that all misdirected effort, on the part of the
performer (i.e. : effort ill-timed or ill-directed in its application to
the key during descent) is spent merely on these key-beds. The
energy intended to create sound is thus more or less lost, and
the mechanism of the instrument is over-driven to its manifest
injury, and to the detriment of the quality of the tone. Hence
it may be useful to regard the key as a See-Saw ; for the key is
so weighted, that although it seems level or nearly so when ^at
rest, yet it is in reality tflted-up toward us, ready to have its
other end, the hammer-end, tilted up during the act of sound-
excitation. 1
4. SECONDLY : The most important of the several de-
vices with which this leverage-system is provided, is the
ESCAPEMENT.
This enables the hammer to fall .away from the string the
moment its mission is completed; and this, although the
player may retain the key in its depressed condition. 2
We should however be unable to repeat the note, without
1 The simile of the See-Saw is a peculiarly suggestive one ; for if we stand
on the ground, and desire the opposite end of a see-saw to fly up swiftly, we
know that we must apply all the energy at our disposal before our end of the
lever reaches the ground, since all speed-making is impossible after that mo-
ment. (Vide 5 and 6, Chapter X.; also Note to 11. Chapter X/.)
* The tone would be killed in its very birth, were the^ hammer to remain
against the string ; just as would happen, if we, in sounding a bell, continued
pressing the striker against it, instead of allowing the latter to rebound with
the return-wave of the metal of the bell,
THE INSTRUMENT. 55
first allowing the key to rise back fully to its surface level, if
this " escapement " allowed the hammer to fall completely back
to its place of rest. To obviate this inconvenience (and
consequent risk of non-repetition of the note) all good modem
Grands and some Uprights are provided with a supplementary
device. This device, while it allows the hammer to rebound
with (and from) the string, and thus leaves the latter free to
continue in vibration, yet keeps the hammer fairly close to the
string's surface so long as the key is kept fully depressed ; the
slightest rising of the key from its depressed condition, here
suffices to enable one to repeat the note ; for the hammer does
not in this case fully fall back, unless the key is also allowed
to rise beyond a certain point.
An " action " (or mechanism) thus provided, is termed a
BEPETITTON-ACTION ; a term that must not be confounded with
" check-rep etif ion," or "check "-action, which is quite another
thing. 1
5. THIBDLY : In the older instruments, the hammer was
left free, after its rebound from the string. This rendered it
liable to bound back against the string on its own account,
re-striking the string once or twice before finally coming to
rest. The tone was thus ruined, since such re-striking would
not be likely to occur in re-enforcement of the string's move-
1 The Escapement takes the form of a little crank termed the "hopper."
The hammer is supplied with a little button (termed a " roller ") on its under-
side, close to its hinge-end ; by this means the hammer lies loosely upon the
hopper, and is thereby lifted when the key is depressed. The mechanism is so
arranged, that this hopper or crank is tilted at the right moment during key-
descent ; the hopper in consequence slips or "hops" from under the ham-
mer's button, and the hammer is thus left free to rebound from the string;
and is thus prevented from jamming, or "blocking" against the string, and
stopping its vibrations.
In the Repetition-action, a subsidiary lever is employed to catch the ham-
mer when it thus rebounds; this prevents the latter from falling completely
back, and holds it in readiness to have the hopper re-slipped under its button,
without much raising of the key*
Reference should here be made to Fig. 1, diagram of Action, to be found
at end of this chapter.
The extent of the effectiveness of this repetition-device can be tested in the
following manner : Continue repeating a note with one finger, meanwhile
gradually lower the key with a finger of the other hand thus by degrees
limiting this key's ascent. The repetition is proved to be the more perfect,
the smaller the ascent required by the key, to enable it to speak again.
56 KEY -TREATMENT ; INSTRUMENTAL ASPECT.
ment ; intentional rapid repetition was also but a precarious
matter under this arrangement.
A " check-repetition " was consequently devised. A " check "
a little wooden jack covered with leather or felt is here pro-
vided, this rises as the key descends, and is so adjusted that it
catches a projection on the end of the hammer, when this falls
back, thus precluding* any further motion, until released by a
sufficient ascent of the key.
6. "We see, therefore, that a " repetition-action " renders
easier quick repetitions of the same note; whereas, a " check-
repetition-action " prevents the hammer from rebounding- on
its own account, and thus marring the sound.
7. FOURTHLY : A DAMPER is provided to stop the vibrations
of the string when the key is allowed to ascend to its normal
position. The damper consists of a little wooden block, faced
with soft material, and pressed upon the string by its own
weight and a soft spring. "When the key is depressed, the
damper is lifted off the string just before the hammer reaches
the latter, and the string is thus left free to continue in vibra-
tion until the key is released. When the key is released, the
damper again falls into its place upon the string, reaching it
just before the key reaches its uppermost limit ; the damper thus
" damps " (t.&, stops) the string's vibrations in the same manner
that one stops the sounding of a bell by gently touching it. 1
8. FIFTHLY : We have the Damper-Pedal ; the right-foot
Pedal. 2 This, on being depressed, raises the whole of the
dampers off the strings, thus leaving all the latter free to
1 The highest octave-and-a half, or so, is left dainperless. This is for two
reasons ; 1), these strings possess comparatively little power to continue
sounding, and 2), being left free to vibrate, they do so in sympathy with
lower notes when these are sounded, thus increasing the brilliancy of the
instrument.
a The damper-pedal is often misnamed the "loud" pedal ; whereas it Is in
truth but a suatammff-pedol. Its depression causes but little increase in actual
loudness, although it does cause a more resonant effect. This increase in
resonance arises from the fact, that every higher string that happens to be in
tune with a harmonic (or upper partial) of the one sounding, is bound to sound
in sympathy with it. Moreover, lower strings than the one sounded are also
bound to be set into sympathetic vibration with it, provided the note actually
sounded occurs in the harmonic series of these lower strings. These latter,
however, will not in this case sound their own fundamental note, but will in-
THE INSTRUMENT. 57
sound. On letting the pedal rise, any strings that happen to
be sounding are then promptly stopped.
We see therefore, that to obtain a legato effect by means
of the Pedal, we must let the pedal me as we depress the
keys forming- the next chord ; both the depression of the key
and the ascent of the pedal being completed at the same mo-
ment. Since the dampers cannot reach their strings until
the Pedal is nearly quite up, and as the dampers also act in the
same way in connection with the rising key, it also follows that
it becomes an inexorable rule in legato playing, not to depress the
pedal at the same moment as a key the sound of which we wish
to sustain, but instead to do so immediately after the comple-
tion of the descent of such key. Correct Pedalling during
Legato the putting down of the Pedal, thus forms a close
syncopation following the sounding of the notes. 1
stead vibrate at the particular harmonical division that corresponds to the note
of the higher-sounding string.
This very interesting fact should be realised by experiment. Depress, with-
out sounding, the notes forming the harmonics of a low note ; then ask some-
one to sound that '* fundamental" strongly, and to let go its key at once.
All the harmonically related strings (as under, vide A) will then be distinctly
heard. The B flat will however be rather unclear, owing to the harmonic 7th
jK frgf^
^
Held down with-
out sounding.
S^i &1_
^ / '
Strongly sounded -f- *^ *""
and let go. [
being flatter than the " equal temperament " 7th ; the higher harmonics are
also fainter.
Again, instead of this, hold down without sounding, the lowest of these
notes the 0. On then sounding any of the upper-partials strongly, and at
once letting go their keys, we shall find that this low string is then sounding
not as its own proper note, but as one, or more, of these upper-partials. This
can be proved by letting its key rise, when they at once cease. The whole chord
formed by these harmonics can thus be heard issuing from the single string.
Each string, therefore, which can give the note sounded as a harmonic, and
all the strings which are themselves harmonics of that note, sound in sympa-
thy with it and thus re-enforce it when the pedal is down. ( Vide Note to 3,
Ohapter X.)
1 To render this clear, we should remember that the fingers must in Le-
gato keep the damper of each note away from its strings, until the moment
58 KEY -TREATMENT ; INSTRUMENTAL ASPECT.
To sum up Pedal-action in Legato : The Pedal must as-
cend as the next key or group of keys is descending, and this
ascent must be so timed that the dampers reach the strings at
the very moment that the next sound commences ; or they must
do so slightly later, if Legatissitno is required.
9. A " Sostenente " Pedal is added to a few instruments, and
forms a supplementary Damper-Pedal. This is so contrived,
that Its depression, immediately after the depression of any
key or keys (as in the act of ordinary correct pedalling), will
prevent these implicated dampers alone from falling upon
their strings until this pedal is again released. It thus en-
ables us to sustain individual sounds by means of the foot. 1
10. SIXTHLY : There is the pedal operated by the left foot
the " soft pedal." Several distinct devices have been adopted
by different makers in connection with this pedal. None but
the true Una Corda pedal should however be encouraged,
since that is the effect intended in the works of BEETHOVEN,
CHOPIN, SCHUMJLNN, and others of the great Pianoforte Masters
- an amply sufficient reason. 2
The danger of the una corda being ousted from the Hori-
zontal Grand is happily now past ; but it appears to have be-
come quite customary to omit it from the Upright, and this is
greatly to be deplored.
This una-corda device the " mit Yerschiebung " of the
Germans shifts the whole of the instrument's " action " a
when the succeeding sound commences or even beyond that moment. The
consequence of depressing the pedal simultaneously with the keys would be,
that the dampers of the preceding notes would not reach their strings at all,
thus causing an ugly cacophonous effect " smudging," in fact.
1 The contrivance consists either of a string placed across the whole length
of the damper-wires, or of a complete set of little levers, which, when pushed,
forward by that pedal, form a stop and engage with any damper-wires that
happen to he raised past this device, thus preventing their return when the at-
tached keys are allowed to rise.
2 To deprive the instrument of this beautiful effect for the sake of conven-
ience and cheapness in manufacture, or from faddist ideas as to its being u in-
jurious to the instrument," is in fact a piece of sheer commercialism and van-
dalism. Granted that the relentless use of the u. c. its continuous use, and
under a rough imperfectly trained touch, will tend to throw out the unisons,
and may under severe treatment even tend to twist the hammer-shanks ; never-
theless this forms no indictment against the u. c., for an appliance can only be
designed for **, not for mis-use !
THE INSTRUMENT. 59
little to one side. Consequently, in the older instruments
(which possessed but two strings to each note) one string 1 only
was reached by each hammer, whence the term. In modern
instruments the hammers are only shifted to the extent of
missing one of their three strings.
The adjustment should be so arranged that the less-used,
softer, and un-cut surface of the hammer reaches the remain-
ing strings. Thence partially arises that peculiar, softer tinge
of tone-quality obtainable from this device. The main cause
of the difference however is : that with the shifted action, we
have one string excited sympat7ietwally~&niixQly without per-
cussion, the hammer reaching only the other two strings ; this
gives a mellowness to the sound that is quite unattainable
by any other means ; not even by the most perfectly " sym-
pathetic" key-treatment or "touch."
11. The substitutes for the true una corda are of two
kinds:
The first consists of a strip of felt , which is made to inter-
vene between the hammer and the strings when the pedal is
depressed. It is an execrable contrivance, the effect of which
reminds one of a dog with his head in a sack. 1
The other device is a less objectionable one, inasmuch
as it is at all events not evil-sounding. Here the depression
of the pedal brings the whole of the hammer-heads closer
to the strings. As this lessens the distance the hammer-heads
can travel, this reduces the leverage the mechanism offers
under ordinary circumstances; whence it follows that the
same degree of energy delivered to our end of the key will
nevertheless create less speed at the hammer-end, and hence
less tone. Such power-cheating device is a quite unnec-
essary appendage to the instrument, since the very softest
sound is quite easily attainable, once the true principles
of muscularly producing it are understood; for absolute pp
is then found to be at once the simplest, easiest, and most
secure of all touch-kinds.
1 The term " celeste " pedal lias been applied to this contrivance by some
of its makers, possibly on the ground of its singular inappropriateness ; or is
\t that its effect of " distance " is supposed to be suggestive of Heaven ?
60 KEY-TBEATMEOT ; INSTRUMENTAL ASPECT.
12. The acquisition of good Tone-production is materially
facilitated by the possession of a good instrument ; for the
better the instrument, the stronger is the prompting towards
variety in tone, and the more perceptible are the aural differ-
ences that result from good or bad production. Some hints
on the choice of an instrument are therefore given in the Ap-
pendix to this Part, Note YH.
13. Reference should now be made to Fig. 1, forming a
Diagram of the " action " ; as the various points can here be
studied. Opportunity offering, the student should however
not fail to investigate an actual "key" preferably that of a
Grand. This opportunity offers itself in the detached " action "
exhibited by most of the makers in their showrooms.
RECAPITULATORY
i ) : The outer case of the instrument contains two distinct
portions ; the Instrument-proper, and the Implement by which
to excite it into sound.
2) : The instrument-proper consists of : aj, the Sounding-
board, and bJ 9 the Strings, with the wooden or iron Frame to
take their tension.
3) : The exciting-implement consists of the " Action " or
Mechanism.
4) : This Action, or Mechanism, comprises the Key and all
its appurtenances ; these include :
a) : A Leverage-system, see-saw like, designed to facilitate
the attainment of a high degree of velocity at the Hammer-end,
and thus to communicate Energy to the String in the Form of
Motion.
bj : The Escapement, a device to enable the hammer to re-
bound with and from the string, while the key remains de-
pressed.
c) : A supplementary device, to enable Repetition to be easily
effected.
*.J : A "check," to catch the hammer on its rebound from the
THE INSTRUMENT. 61
stimg, so as to prevent its re-striking the string toy a further
rebound.
5) : The "action" has the following accessories:
aa) : The Damper, to stop the string's vibrations when the key
is allowed to rise.
bb) : The damper Pedal s to raise the whole of the dampers off
the strings, and thus leave them free to vibrate.
cc) : The soft pedal, the UHA CORDA pedal,
62
KEY-TBEATMEMT ; INSTRUMENTAL ASPECT.
THE INSTRUMENT.
^*^-*ax-pio
a* C3 r^ C 53 **"
!i!S!p!l!l
? /?J * (**>. A\ ~^
-Sft ' 53
*3 5 5
64 INSTRUMENTAL ASPECT OF TONE-PBODUCTION.
CHAPTER IX.
ON SOUND
1. If we would possess the power of obtaining at will
every possible kind of sound from the instrument, we must
first realise what the instrument itself requires from us for
each tone-shading.
To form any clear ideas on this subject, it is essential that
we should acquire at least a slight elementary understand-
ing of :
a) : The nature of the phenomena of Sound itself.
b): The nature of the String's activity during sound-ex-
citation.
c) : The nature of the various kinds of treatment the Key
demands, by means of which we are able to induce the
desired kinds of string-movement.
d) : The nature of the mechanical laws governing the appli-
cation of energy to our end of the key.
We will now glance at these points in due succession, since
this will help us to understand Key -treatment " from its in-
strumental aspect." 1
On Sound.
2. Oscillations, in the sense of areas of alternate com-
pression and rarefaction, travelling through the atmosphere,
are, when they reach the Ear, transformed into Nerve-vibra-
tions by that organ of sense. Such nerve-vibrations, are once
1 We shall then further have to learn to understand Key-treatment from
its " Mu$cular Aspect " ; to learn what is required of our muscles, and to learn
to provide the** requisite muscular actions and inactions.
ON SOUND. 6&
more transformed on reaching the living Brain, there giving
rise to the sensation or consciousness of Sound.' 1
3. The repetition of such concussions of the air, percep<
tible through the ear, remain distinguishable as separate
shocks or ear-impressions, provided they do not recur oftener
than, about sixteen times per second. Beyond that limit
16 per second, 2 these separate impressions merge into each
other; and we can then perceive but a continuo'us sensation
through the ear, analogous to that produced upon the eye,
^hen a point of light is moved in front of it with sufficient
/apidity. For in this case also, the image ceases to remain
recognisable as a point of light, and becomes instead a
continuous eye-impression a streak of light ; of which the
pyrotechnic device, the " Catherine - wheel," is a familiar
jllustration.
4. Such continuous ear-impressions may either be built
up of a regular, or of an irregular sequence of concussions:
Sound caused by an irregular sequence, is apprehended as
noise ; whereas Sound caused by a regular sequence, is appre-
hended as a musical note, i.e. : A continuous ear-impression,
caused by an irregular set of repetitions forms but a noise ;
whereas, we shall experience a musical-sound or note, when
the component concussions of* such continuous ear-impres-
sion are regular in character; and this, however short such
impressions may be as regards actual duration.
5. Sounds even that appear to us as instajitaneous aural-
impressions, are nevertheless most probably built up of many
air-oscillations, regular or irregular.
Any apparently instantaneous ear-impression such as a
t
1 Such recurrences or phases of alternate compression and rarefaction
travelling through the air or other suitable medium, are termed " vibrations."
Xt is found that these must however be well marked and definite, if they are
to affect our ear ; since there is after all a limit to the latter's sensitiveness.
2 A good deal of confusion arises from there being a difference in the no-
menclature of vibration-numbers in different countries. In our country, each
** vibration " is understood to include a complete cycle of compression and rare-
faction, the two together forming but one single attack on our ear ; but in
France for instance, the two alternate states are both counted, so that a note
here said to be of 16 vibrations is there said to consist of 32.
66 INSTRUMENTAL ASPECT OF TOKE-PEODUCTION.
rap on the table with a pencil, or the click of a ratchet against
the teeth of a ratchet-wheel, or a single puff of air 1 will more-
over, when regularly repeated, fail to remain recognisable as
a separate impression beyond a speed of 16 repetitions per
second, as already previously pointed out.
6. We have learnt, that the stream of ear-impressions
caused by regularly-repeated impacts becomes blurred into a
continuous musical-sound, when these impacts reach about
the number of 16 per second. 2 This sound is the note 0, an
octave lower than the lowest Pianoforte C, and termed " 32-
foot " C in the terminology of the Organist. Any excess in
the number of impacts received by the ear beyond 16 per
second causes a corresponding rise in Fitch, beyond 32-foot C ;
for the greater the number of the component ear-attacks per
second, the higher is the translated note ; such rise in acute-
ness continuing until the number of repetitions is so high,
that a point is reached where our ear will no longer serve to
render us conscious of their existence. 3
It is in fact the function of the ear to count the number of
impacts received, and discriminating thus the differences in
vibration-number, to deliver the result to our consciousness,
translated into a mental impression, that of contrast in Pitch.
7. Understanding that it is the number of vibrations com-
1 The Syren is an example of this class of tone-exciter. Or we can imitate
the effect with our lips, as we in fact do in the case of the Brass instruments,
where the lips are helped by the mouthpiece to become vibrating reeds. ( Vide
Note, VIIL, Appendix to Part II. "On Tone-exciters.")
3 To be more accurate : when the regularly-repeated impressions on our
consciousness reach that number.
3 Sound altogether vanishes from our ken when the impacts reach a speed
of about 4,500 per second. This is because our organ of hearing is not
adapted to receive nerve-excitations at a quicker rate than that. We do nev-
ertheless possess nerve-ends differently armed or equipped, by means of which
we are able to distinguish vibration-rates far quicker than those of Sound, even
at their speediest. There are those different and far quicker vibrations, for
instance, that form the physical reality of Light and Heat. Furthermore,
there are forms of vibration, such as Electricity, for the perception of which
we are entirely unprovided with any organs, and have therefore to rely on the
artificial organs of the laboratory. Those inclined to be interested in this sub-
ject should refer to a delightfully vivid lecture on " The Senses " by Professor
Croome Robertson, to be found amongst the popular " Manchester Science
Lectures "Fifth Series (John Haywood).
ow SOUND. 67
pleted per second that determines the Pitch of a note, we have
further to realise : that it is upon the Intensify of these vibra-
tions, that depends its Loudness, i.e. ; The zones of alternate
compression and rarefaction reaching a given spot in a given
time, may be of small or of great intensity may be small or
great disturbances, and the impacts received by our ear from
these may therefore be of little or of great violence ; it is this
distinction that causes the difference in sensation between
loudness and softness, that causes the difference in Tone-
amount.
8. But there is yet one other difference to be accounted
for, and that is the difference in the character of the sound,
the difference in quality, " timbre," or " clang-tint."
To realise the nature of this difference, we must under-
stand that the waves of alternate compression and rarefaction
that reach our ears, are nearly all compound ; excepting such
almost "pure" sounds as those of the Tuning-fork, and the
" Open-Diapason " of the Organ, which are almost character-
less in consequence of such freedom from Harmonics.
That is :
The series of evenly-timed impacts upon our ear-drum, that
forms a musical-note, may be accompanied by other series of
fainter and quicker-timed impacts ; these latter (technically
termed harmonics or upper-partials) form mathematical time-
divisions of the principal set of impacts. It is the presence
of such harmonics various in their combination and relative
strength that gives the particular character, or Quality, to
each sound. 1 This fact it is that enables us to distin-
guish between one instrument and another, between Flute and
1 The aspect of the waves we perceive on the surface of the sea, can give
us some insight into the nature of Compound Sound- Waves. "We find, that
the long sweeping waves are ornamented with countless small wavelets. Both
pursue their course, while the main wave nevertheless remains the funda-
mental fact.
In this sense the analogy is a good one, but we must remember, that we do
not have to deal with a surface- wave, i& the case of sound vibrations, but have
to deal with a transmission of energy in all directions from a centre in a
series of ever- widening spheres of compression-points with intervening spheres
of rarefaction.
68 INSTRUMENTAL ASPECT OF TONE-PEOBUCTIOW.
Clarionet, Trumpet and Oboe, Violoncello and the Human-
voice ; and allows us even to distinguish one voice from
another; indeed enables us to recognise even one Pianist
from another, owing to divergences in habits of Key-attack.
The production of different qualities of sound from the
same instrument, also forms one of the most powerful means
of expression at our disposal.
RECAPITULATORY
a) : A musical-sound (or note) consists of a series of concus-
sions, equally timed and of equal strength, recurring at a suf-
ficiently great speed to render it impossible for us to recognise the
separate impacts delivered upon our ear, which consequently blurs
them into a continuous sense-effect.
b) : Pitch, is the term used to designate the difference between
a high and a low speed in the repetitions of the ear-impacts,
forming the difference between a high and low sound.
c) : The pitch of a note depends solely upon the frequency with
which the air is disturbed or beaten in a given time.
d) : The Amount of Tone depends on the Intensity of such dis-
turbance.
e) : Most notes are built up of a fundamental strong series of
ear-impacts, accompanied by divers quicker and weaker impacts,
termed Harmonics.
f) : Divergence in the Character, Timbre, or Quality of the
tone, arises from the difference in the combination and strength
of the harmonics heard with the fundamental sound.
THE STEIK0.
CHAPTER X.
THE STBING: ITS BEHAYIOUB DUBING- THE VARIOUS FOEMH OF
TONE-PBODUCTION.
1. In the sound emitted by the Pianoforte, the requisite
air-concussions are induced, by setting a String in Motion.
The two ends of the string are fixed points ; the string can
however be driven aside from its position of repose (in a di-
rection at right angles to its length) owing to its elasticity.
If it is thus driven aside, this same property of elasticity will
then cause the string to rebound, provided it is left free to
do so, and it will then continue in vibration (i.e., to-and-fro
oscillation) until the energy communicated to it during its
first deflection is exhausted; unless such gradual dissipa-
tion of the original impetus is prematurely arrested by the
mechanical means provided by the descent upon it of the
Damper. 1
2. The Length, Tension, and Thickness of the String de-
termines how quickly it shall complete its vibration to-and-
fro. It is upon the frequency of the completion of such
vibrations that depends the aural effect of Pitch ; for the
greater the number of complete vibrations per second, the
1 The string, in thus beating or whipping the air, does not exactly strike it.
The attack delivered upon the air by the string is rather in the nature of a
compression in one direction, while it leaves a rarefaction in the other. The
particles of air in immediate contact with the string, cannot cease to exist in
front of the latter's swift advance, hence they are, as it were, heaped or
crushed upon each other, thus causing a momentary area of compression.
Owing to the extreme elasticity of the medium, this wave of compression is
passed on from particle to particle, and is followed by its natural consequence
a rebound. We must not imagine that a current is produced in the air; it
is simply the vibration that is transmitted, much in the same way that ever-
widening circles arise on the surface of a sheet of water, disturbed by the fall-
ing of a stone into it. The air waves are however transmitted not in circlets,
but in evei widening spheres of alternate compression and rarefaction. ( Vide
Note ro 8 of last chapter. )
70 KEY TREATMENT; INSTRUMENTAL ASPECT.
more acute the sound ; and the fewer the vibrations the lower
is it. 1
It is here imperative not to confuse speed in the reiteration
of these completed side-to-side movements, with the actual speed
at which the substance of the string is travelling through the atmos-
phere. The two are quite distinct phenomena. ( Vide 8.)
| 3. As the slender String presents so small a surface for
contact with the air, and is therefore unable to create a suf-
ficiently considerable atmospheric disturbance to be conven-
iently appreciated by the ear, it is found desirable to bring
the SOUKDING-BOAED into requisition.
The large sensitive surface of the sounding-board is in
secure contact with the strings of the Pianoforte through the
intervening bridges; and the sounding-board is thus com-
pelled to vibrate in sympathy with the strings ; and as a large
area of vibrating material is here presented to the air, a far
larger volume of air is in this way set in motion than, could be
1 As the vibrations of a String are mostly too minute and rapid to be dis-
cernible by tlie eye excepting those of the lowest Bass strings, we may
better learn to understand the phenomena of Vibration, by studying other
forms of it. The oscillation of a Pendulum offers us such opportunity ; so
does a person sitting in a swing. A bunch of keys, suspended at the
end of its chain, also forms an admirable illustration ; and one moreover that
is always conveniently available.
Now we shall find, on experimenting with one of these, that the to-and-f ro
swings of such pendulum remain the same as regards the number completed
in a given time, so long as we leave the length of the pendulum unaltered ;
that the oscillations will complete themselves more rapidly if we shorten it ;
and that they will take longer to do so if we lengthen it ; and this, while the
actual speed of the mass through the air remains unaltered; always excepting,
that the originally given impetus will by degrees exhaust itself. We shall
moreover find, that we shall obtain twice the number of complete vibrations
if we shorten the pendulum to one third of its length; and that it will take
the pendulum, twice as long to complete its recurring journeys, if we give
thrice the length of pendulum.
Somewhat the same thing applies to the Pianoforte string. For we shall
find that if we touch it gently, midway between its two ends, whilst it is sound-
ing, that its division into two halves in this way will cause the two segments
to continue in vibration, each on its own account; and as the two halves will
now complete their vibrations in exactly half the time of that of the whole
string, we shall now hear the sound an octave higher. This experiment will
at once give us a practical insight into the nature ot " harmonics." We can
continue the experiment; and by successively touching the vibrating string at
a third of its total length, or at a quarter, eighth, or sixteenth, etc. , of its length,
we shall obtain its higher harmonics the twelfth, the double-octave, the third
above that, eta (Vide Note to 8, Chapter VIIL)
THE STEIKG. ' 71
accomplislied by the unaided string. The larger volume of
air thns disturbed gives us a correspondingly magnified sen-
sation of sound.
4. In the Pianoforte, the String is set in motion by the
hammer. This is effected in the following manner :
The hammer, moving swiftly and with great momentum, on
reaching the string, carries this with it a short distance out
of its plane when at rest. l The extent of the deflection, thus
caused, depends upon the degree of speed and momentum
with which the hammer is moving. Such deflection of the
string by the hammer seems infinitesimal to the eye ; yet the
short distance thus covered by the two in conjunction, amply
suffices to enable the hammer to SHAKE ITS SPEED AND MOMENTUM
WITH THE STBING. The string, having thus been driven out
of repose, rebounds, owing to the elasticity of its substance,
takes the hammer back with it, and thus helps the latter to
rebound and to catch against the " check " ready to receive it.
The string meanwhile continues its journey to-and-fro,
owing to the momentum it has acquired from the hammer
during their shortlived connection ; and this momentum is
gradually exhausted, unless arrested by the damper's descent.
5. The fact particularly to be noticed in this connection,
is, that the act of tone-excitation at the Pianoforte must neces-
sarily be fully completed within the course of but one single
" vibration " of the string. Indeed the time available is even
more limited than that, since it is only while the string is be-
ing driven outwards from its position of rest, that the hammer
can communicate its speed and momentum to the string ; and
it is therefore only during one quarter of one complete to-and-
fro oscillation of the string, that we have the opportunity of
conveying Energy in the form of Motion to it.
1 This forms but a very rough-and-ready description of the known facts ;
but it suffices to enforce the point which it is imperative we should realise,
viz. : that tone production can only be attained by communicating Motion to
the string. ( Vide 7 and 8. ) . . .
This being the vital point that concerns us as Pianists, it is deemed inad-
visable to give here a more minute description of the manner in which the
string starts on its journey. Further detail would lead rather to confusion
than to clearness, until this main fact is grasped.
72 KEY-TREATMENT ; INSTRUMENTAL ASPECT.
This is the fact that in the first instance determines the
treatment we have to mete out to the string: through the
Pianoforte mechanism. We must therefore vividly and con-
stantly bear in mind, that since we cannot influence the string
ley and the moment of its first swing outwards, it follows, that we
cannot influence it beyond the moment when sound breaks
silence, unless we repeat the act of tone-production.
6. We are here brought face to face with the truth so often
lost sight of in playing and teaching ; viz., that the act of
tone-production at the Pianoforte is not only a DISCONTINUOUS
act, separate for each note, but that it is one of exceedingly
short duration ; of no greater duration in fact than it is per-
ceived to be in the sharpest Staccatissimo. 1
Indeed, we shall presently find (Chapter XV., etc., Part III.)
that here the Ear itself is apt to mislead one thoroughly at
the Pianoforte, since the continuous aural effect of Tenuto or
Legato may easily prompt us to a continuous muscular act in the
place of the proper one, one that is individually directed for
each key-descent and carefully ceased on reaching sound, ex-
cepting always that slight residue of weight, which we shall
find is necessary when we wish to retain the keys depressed in
tenuto and legato?
7. Coming now to the problem of Tone-Amount, we find
that the degree of comparative Loudness of a note directly
1 We shall presently realise that there is a single exception to this rule, for
we shall find that when the key is weighed into sound at its softest, that this
act of weighing may in this case be continued beyond the moment of tone-
emission ; the result forming the true #p-Tenuto. ( Vide next chapter, also
Part III.)
2 It may here prove useful to compare this form of String-excitation to that
employed in the Violin family : The Pianoforte hammer can give but one
single impulse to its string ; whereas, the Violin- bow imparts a continuous
series of impulses to its string. The action here is, that the Bow carries the
string along with it, some little distance out of the latter's position in repose.
The greater the weight brought to bear upon the string through the bow, the
greater will be the frictional contact between the two, and the more- will
the string consequently be carried out of its place, before the frictional union
between the two is overcome by the tension thus caused in the string. The
string flies back, owing to its elasticity, the moment this tension becomes too
great ; the impetus thus gained, then carries it beyond its natural point of
rest, when it again falls an easy prey to the continuously moving bow, which
then again automatically grips -hold of it, and once more wrenches it along.
THE STRHTO. 73
depends upon the "amplitude" of each vibration of the
string-.
That is : the louder the sound required, the further apart
must ~be the extreme points to which the string swings, when
beating- the air in conjunction with the Sounding-board. 1
For we have learnt, in the preceding chapter, that it is
upon the degree of the air-disturbance (of alternate com-
pression and rarefaction) that depends the loudness of the
note.
8. Now, as each particular string is compelled always to
complete each of its vibrations in the same period of time, no
matter how great or small the amplitude of such vibration
FlG. 2. Comparison of large with small oscillations of a pendulum ; both taking
same space of Tune for their completion.
may be ; it follows, that to enable the substance of the string
to cover the greater space traversed for a louder note, it must
here be made to move at a greater Speed. Fig. 2 will make this
clearer ; for it will be seen, that the greater the space traversed
by the same pendulum in the same time, the more swiftly
must it move to complete its journeys.
9. "We learn herefrom a fact of the utmost importance,
and that is, that Tone-quantity is strictly determined by the
String's Speed : that the amount of Tone therefore depends
1 This increase in the amplitude of the string's vibration for each increase
in tone-amount, can even be observed by the eye, in the case of the low Bass-
strings,
74 KEY-TREATMENT; INSTRUMENTAL ASPECT.
solely npon the degree of speed which we can manage to com-
municate to the string. 1
10. Coming now to the question, what it is in the nature
of the String's behaviour that gives rise to the aural effect of
difference in the Quality of the sound, difference in timbre
or Clang-tint, we find that the facts so far understood on
this point, indicate, that the difference is of the same nat-
ure as that difference which we Pianists find it necessary
to mate in our treatment of the Key, to induce those tone
effects, 2
11. It is found that the difference in the string's behaviour
that gives us differences of tone-quality depends on the manner
in which the string is started upon its journey ; and it is
evident, that the difference between the production of the
harsher, "Brilliant" tone-qualities, and the more pleasant
" Sympathetic " qualities, lies in a greater or lesser percussive-
ness ; for the string is in the first case set a-going with abrupt-
ness, suddenness and absolute Percussion, whereas in the sec-
ond case, speed is imparted to it, with a far more gradual
application of the total Energy employed.
It is found that a too sudden application of energy tends to
cause the string to move off rather into segmental vibration,
1 To enforce this point, we should always recur to the simile of the Swing,
or Key-chain. ( Vide Nate to%3 of this chapter, page 70.) For we shall find
on repeating this experiment, that the number of completed oscillations in any
given time remains practically the same, whether we complete the swings in
great sweeps, or in small ones. Whence we deduce the fact, that far more
ground must be covered in the same space of time when the swings are
44 ample " than when they are small in extent. It is also manifest that the
person, String, or bunch of keys thus swinging, must travel at greatly increased
speed to enable this greater distance to be covered in the same space of time
during each swing ; and finally it is evident, that in this case a more effective
*' shove-off" must have been delivered ; unless the requisite speed is added
during successive swings by muscular exertion, as can be done in the case of
the Violin-string, or in that of a person on a swing, but which remains im-
possible in the case of Pianoforte Tone-production.
2 "We shall find in the next chapter, that the more suddenly the key-
depression is effected, the more harsh ("'brilliant") and "short" will be
the resulting sound-quality ; and that the more gradually the key-depression
is effected, the more " sympathetic," singing, and carrying will the sound
be ; Part III. will further show us how these differences in Key-treatment
result from the selection of the particular muscular conditions proper for each
difference.
THE STRING. 75
than into those complete vibrations of its whole length that
enforce the fundamental sound. 1
The more these segmental vibrations (or harmonics) pre-
ponderate, especially the higher and harsher ones, the worse
is the sound in every respect ; 3 it is less beautiful, and less
full, and it is less able to travel or " carry." 3
1 Helmholtz has pointed out that a soft hammer coming into contact with
the string "lies longer" on it than a harder hammer; i.e., the soft hammer
does not instantly bound off, but the momentum with which it is moving
drives its soft armature accumulatively against the string before the rebound
arises. The Piano-makers sometimes make evil use of this knowledge which
they have acquired through practical experience. They supply hammers so
soft that a harsh tone almost becomes impossible of attainment on instru-
ments thus provided. Such heavy felting of the hammers, or "toning" of
them, although it does in a measure prevent the instrument from sounding
unpleasant, even under the hands of the worst player, and although this may
enhance its commercial value with some patrons, nevertheless renders it com-
paratively inefficient as an instrument for the production of Variety of tone.
It cannot therefore so well reflect the moods of the player through the " col-
ouring " agency, and such instrument should therefore be shunned equally by
Artist and Student
2 Vide 8, Chapter 7JT., page 67.
* Helmholtz, in his ' * The sensations of tone, as aphysiological basis for the theory
of music," maintains, that the difference in quality is caused by the difference
between a mere KNOCK and a " SHOVE-OFF " of the string by the Hammer ;
circumstances that certainly do apply at our end of the Key. He says : "In
4 Pianoforte playing the effect of the tone-excitation by means of the hammer
1 depends on the length of time the latter remains lying on the string. For if
* the soft elastic surface of the hammer is brought against the string without
* audible blow, then the movement has time to propagate itself before the
1 hammer springs back, and increases gradually and constantly during the
4 time of contact ;" i.e. : during one quarter of one complete string- vibration.
This indeed seems to form the true explanation of the Phenomenon. SUD-
DEN attack of the string no doubt tends to produce but a concussion at the
string's surface, causing it as it were, to ** wriggle off " into movement ; hence
a poor sound, harsh with harmonics, which although noisy in close proximity,
exhibits but small carrying power. GKADUAL attack of the string tends, on the
contrary, to give it a really far greater momentum, the resulting vibrations par-
taking rather of the simple (fundamental) type than of the compound (har-
monic) type ; we consequently here obtain a large volume of pure, rich sound,
that carries well, even at its softest.
The example of the Swing, or bunch of keys on their chain, may here
again help us to a better appreciation of the facts : If we desire to give a per-
son seated in a swing a good " shove-off," it is useless to endeavour to do so by
means of a sudden jerk or knock ; we should on the contrary thus risk up-
setting his balance on the seat 1 The only (and familiar) way to secure an
effective result, is, to apply force gradually : by allowing our hand gently to
come into contact with the person without concussion therefore, and realis-
ing the degree of the resistance to be overcome, we increase the energy of the
push given, as the speed is felt to increase by virtue of it.
We shall also find, when the treatment of the key comes to he considered,
76 KEY -TREATMENT; INSTRUMENTAL ASPECT.
RECAPITULATORY
a): At the Pianoforte, the requisite concussions that form
sound are communicated to the atmosphere by means of to-and-
fro motions (vibrations) of the String, enhanced by the Sounding-
board.
b) : The greater the number of such vibrations completed by
the String per second, the higher (more acute in Pitch) is the re-
sulting note.
c) : The greater the extent of these String vibrations, the
louder is the note.
d) : The string must therefore traverse space more quickly
the louder the note ; since the time available (in which to traverse
the larger distance embraced by the more ample vibration) re-
mains the same as for a softer note.
e) : To produce much tone, we must therefore induce much
movement in the string. For the more quickly the string is made
to move, the greater will be the distance it can traverse during
the course of each complete vibration.
that we here have a very suggestive analogy, as to how we should use the key
for Sympathetic tone. ,
Another experiment forms a good demonstration in this connection : One
end of a long rope "being fixed, take hold of the other end, and #ive it a
violent jerk. The rope will here he seen to " wriggle " into little curves. In-
stead of this jerk, now give a carefully " aimed," gradual swing to the rope,
and one may succeed in causing it by such means to swing in but one single
curve, with hardly any subsidiary ones.
A point that however still requires elucidation, is, the exact manner r
which the hammer-end is able to transmit to the string the KNOWN differences
in key-treatment that do cause the known differences in the string's vibra-
tions whence arise those differences in Quality, perceptible by the ear.
As this subsidiary part of the problem still awaits final solution, we ^ can
here only rely on hypothesis and surmise, instead of upon fully ascertained
facts.
This point, although extremely interesting, is however of but ^small mo-
ment here, where we are not concerned in completing the acoustical expla-
nation of the effects we hear, but are concerned with the way in which these
effects are to be obtained from our end of the Key. On this latter point there
is happily no question of " hypothesis/' since the facts are all proven, as are
also the muscular-ones by means of which we are able to fulfil such laws of
key -treatment.
Those interested in this detail will find some remarks bearing on it on re-
ferring to the Appendix of this Part, Note No. IX., " On Quality."
THE STRING. 77
f) : The string is set into motion by the felt-covered end of
the Pianoforte mechanism the hammer.
g) : The hammer, upon being brought into contact with the
string, shares its speed with the latter whilst deflecting it. Both
thereupon rebound; and the hammer, falling away from the
string, leaves the latter free to continue in vibration, gradually
expending the energy communicated to it, unless stopped by the
Damper.
h) : The hammer can therefore only communicate movement
to the string during the latter >$ first vibration ; and can only do
so, during the first quarter of such first to-and-fro movement of
the string.
i) : As the hammer ceases to influence the string the very mo-
ment that Sound begins, it follows, that this moment forms the
conclusion and cessation of the Act of Tone-production ; for the
string cannot move quicker than it does at that moment, since
it has ceased to be under the influence either of Key or Finger.
j) : Tone-production at the Pianoforte is therefore a discontin-
uous Act ; an act separate for each note ; and one that ceases with
the moment when Silence changes into Sound.
k) : Beauty in the Quality of a sound, depends on the string's
vibrations tending rather toward the simple types of movement
than toward the compound forms; the resulting tone is thus
less embarrassed with the harsher harmonics.
I): This simplicity in the string's vibration that furthers
beauty of tone (vibration of the string rather as a whole than in
sections) depends on the manner in which movement is communi-
cated to it.
m) : The harsher effects arise, when the string is suddenly set
in motion ; whereas the more sympathetic effects arise only when
the string is set in motion as gradually as possible.
28 KEY -TREATMENT ; INSTBUMEUfTAL ASPECT.
CHAPTEE XL
THE KEY THE STEINS-MOVING IMPLEMENT, ITS BEHAYIOUB AND
EEQUIKEMENTS DUKING THE ACT OF TONE-PEODUCTION.
1. The manner of attacking* and using- the Pianoforte-key
is necessarily determined by the requirements of the String.
The Key's requirements have therefore been fore-
shadowed, and have in fact already been clearly indicated in
the last chapter.
2. Our unaided finger would find it impossible to propel
the string into adequate speed ; a convenient implement, tool
or machine is therefore offered us for this purpose in the shape
of the Pianoforte Key.
This Key, with its attached Mechanism or Action, is indi-
vidually complete and separate for each note.
3. It is important that the term "key" should here
convey more to the mind than is suggested by the mere
sight of its Ivory or Ebony-clad ends. By " Key " we
must understand : the whole lever with ifcs attached contriv-
ances, from the ivory or ebony end, to the opposite Hammer
end. 1
4. Since the main object of this machine is, to enable the
finger to communicate more Speed to the string than the
finger could without being thus equipped, it follows, that we
1 Manifestly, a significance far beyond the usual one Is here attached to the
term *' key : "
AS ordinarily employed, it is applied to the visible plates that receive the
Finger's contact. We find, on the other hand, that a Piano-regulator
speaks of " removing a key " from the instrument ; he applying the term to
the long wooden rocker or lever (vide A B, in both Figs. 1 and 3) to one
end of which the finger-plates are attached ; and which is quite separate from
the rest of the u action" in most instruments.
As Pianists, it is however essential that we should regard the whole of the
compound-leverage system (from A to D inclusive, Figs. 1 and 3) as <l Key"
or Implement. In this sense therefore is it, that the Key is applied to the
String to move it, just as another kind of key is applied to a lock to un-
lock it.
THE KEY. 79
must look upon the Key as a contrivance to help tts to translate
Energy into Speed.
The energy requisite for this purpose is derived from
Weight, and from direct Muscular-exertion brought to bear
upon the key. 1
5. This work of translation is accomplished by the key
through the agency of the compound leverage-system it offers
us. As we have already learnt ( 3, Chapter VIII.) , the depres-
sion of our end of the key-lever to its fullest extent of about f
inch, causes the opposite end (with its felt-covered hammer) to
rise some two inches. Now it is obvious that the hammer-end
must travel at far greater speed than does our finger-tip in
contact with the key, since the hammer traverses so much
greater a distance than does our end of the key. (Vide Fig. 3?)
FIG. 3, Diagrammatic representation of $he principle of the compound-leverage
involved, with omission of all details of the mechanism.
A B wooden rocker, with finger plate at A. C D hammer, f string. B key-
pad, pi, p2, p3, are immovable centres or pivots.
It is well therefore to regard the key as a mechanical CON-
TINUATION OP OUB EINGEB, to enable us more easily to induce
String-speed.
6. To induce movement in the key-end presented to us,
we must bring greater Weight or Power into opposition with
it, than it itself represents, when in a state of rest. 3
1 This part of the problem is dealt with in Part III.
2 We must however understand, that what we gain in speed in this way,
has to be supplied as extra Energy at our end of the key. The key being a
kind of See-Saw, upon the opposite end of which is the object that has to be
speeded into sound.
8 By " weight " of key, we must here understand not only its actual weight,
but also the friction of the attached mechanism, in fact the inertia of the
whole mass.
80 KEY-TREATMENT ; INSTRUMENTAL ASPECT.
Such, weight-opposition can only become translated into
'Key-speed and string-speed and Tone, provided its full ap-
plication is consummated before the key's descent culminates
in Tone.
7. The key therefore ceases to induce string-speed the
moment the beginning of Sound is heard ; for the key-lever as
it were falls in twain at that moment ; i.e. : the hammer at
that moment slips off the hopper, rendering it impossible for
us further to influence the string through its agency, unless we
first allow the key slightly to rise, and thus regain control over
the hammer. (Vide Chapter VIII., /? and 4, and Fig. l,page 63.)
This very potent fact in tone-production must always be
kept in view.
8. The action and reaction of Weight, Force, or Energy,
in this connection, is, roughly speaking, as follows :
a) : We shall obtain no key movement, so long as the
weight or energy we apply to the key does not more than equal
the resistance which the key itself offers us when in a state of rest.
b) : We shall obtain the softest sound possible from the in-
strument, if we bring weight or energy upon the key-surface
up to the point that the latter's opposition to Movement is
just overcome. For the key will then be exactly outbalanced,
and it will then (and thus only) give way at the most gentle
speed compatible with its sounding at all, giving the effect
of absolute pp.
c) : To obtain more sound than this real pp, we shall have
to apply far greater Weight (or Energy) than this to the key ;
and the louder the sound required, the greater will have to be
the sum of such application of Power. For increased Power
will be as it were swallowed up, before we can obtain the de-
sired increase in Key-speed and String-speed and Tone.
d) : Whence we also find, vice versa, that the Key resists us
with increased effectiveness, with every increase in the speed
we endeavour to induce in it ; and this in spite of the fact,
that the key's actual weight remains the same.
9. A pair of scales may render these points clearer :
a) : If we place, say, a pound- weight in each of the pans,
THE KEY. 81
we shall find that they merely balance each other, producing
a state of equilibrium ; no movement will thence ensue.
b) : "Whereas, if we gently add weight to one of the pans,
as for instance, by pouring sand into it rather sharply, then a
moment will arrive when that pan's inertia will be just over-
come; it will be overbalanced, and in giving way to this
slightly greater weight, it will sink down and cause the pan at
the opposite end of the lever to rise also quite gently.
c) : Again, if instead of thus carefully adding weight only
up to the point that the pan will just give way, we bring a
whole extra pound or more to bear upon it, then we shall find
that the opposite pan no longer rises gently as in the last ex-
periment, but that it now does so with extremely increased
swiftness. Here we see indicated, the nature of the diver-
gence in Treatment demanded by the key, respectively during
the production of pianissimo and fortissimo.
10. In other words :
a) : So long as we do not bring Weight or Energy to bear
upon the key, beyond the latter's resistance to movement, we
may rest on its surface without causing any movement whatso-
ever.
b) : If however we wish to induce sound, and that of the
softest possible amount, then we must add weight or energy
to that already resting upon the key at surface-level, until the
key is just overbalanced into descent. This we can do
wibh perfect accuracy, provided we watch the resistance the
key offers to movement, by means of our muscular sense. It is
the muscular-sense (with its co-operatives) that alone can ac-
curately apprise us of the particular moment when the key
begins to give way, and which can therefore also warn us when
to discontinue the addition of weight or Power, if we mean pp. 1
1 Such estimate of key - resistance can be formed in two ways, for it is
formed differently in a slow passage than it is in a quick one ; We can derive
it in a slow passage from the resistance wch individual key can then be felt to
offer ; in more rapid passages we must depend on the general ^ impression of
resistance the whole key-board offers, as our fingers pass across it. ^
Allusion to the duties of the muscular-sense and its co-operatives is here
unavoidable, although premature. This matter receives further consider-
ation in the next Part. (Vide Chapter XIII.)
82 KEY-TREATMENT; INSTRUMENTAL ASPECT.
c) : If moreover, we wish to produce a sound louder than
this real pp, then manifestly we must add weight or energy
upon the key in excess of the amount that we find suffices
merely to overcome its inertia as in pp. In fact, the louder
the required sound, the greater must be the Energy we bring
to bear upon our end of the key, for the hammer will then move
more swiftly, the string-speed will be greater, and the sound
correspondingly louder.
11. All this plainly teaches us to recognise the Key in its
true aspect ; viz. : to recognise it as a long lever or machine,
intended to enable us to obtain a high velocity by means of
its hammer-end.
Once recognising this fact, we are inevitably forced to the
conclusion, the true one : that any percussion caused at the
key-surface forms absolute MIS-USE of the Pianoforte tone-pro-
ducing mechanism.
The supposition, that Tone-production at the Pianoforte
should be attained by any real unmitigated hitting or " strik-
ing " at the keys, being thus proved to be a complete fallacy
except in mere appearance, it follows that we are compelled to
discard all doctrines of tone-production based on this fallacy ;
unless beauty of tone, ease and certainty are not worthy of
consideration. To harbour such conception of the act of
Pianoforte tone-production is almost equally far from the
truth, as it would be to suppose a " stroke " at Tennis or Bill-
iards to consist of an act of " striking " the racket or cue itself. 1
1 This fallacy has probably arisen, like so many other indefensible dogmas
relating to Pianoforte-technique, owing to the initial mistake, that of studying
the VISIBLE effects of the limb-movements, etc. , that accompany correct pro-
ductioninstead of studying the laws involved in the use of the Pianoforte
key itself, and the muscular CONDITION of the implicated limbs. The com-
paratively swift (AND COKKECT) movements of Finger, Hand and Arm towards
the^ key-surface may indeed easily be mistaken for hitting ; but the fact re-
mains, that the true artist rarely permits himself really to hit at the keys ; on
the contrary, he always " folio ws-up" his keys, however much it may seem
to others, and even to himself, like ** punching the key-board."
It should be noted, that the main fact against " key-hit tins; " is, that CON-
CUSSION is thus caused at the key-surface, between that and the finger-tip.
This forms so much waste of Energy ; the molecular vibrations of the key
and finger-tip, thus caused, replacing to that extent the intended motion of the
whole body of the key itself. The further disadvantage is, that accuracy
THE KEY. 83
Meanwhile, we must never lose sight of the all-important
fact, that we must apply all the energy intended to produce
Tone, before the moment when it becomes too late to do so ;
else we shall squeeze the key-beds, instead of making* tone.
That is : we must always remember, that it is too late to make
sound when the key has reached its bed, and that the act of
tone-production itself is always as short-lived as it is obvi-
ously enough proved to be in Staccatissimo, and that we must
therefore be constantly on the alert with our Ears, so that the
very beginning- of Sound-emission may instantly warn us that
the opportunity for inducing String-speed by means of the
Key is past. 1
12. Coming now to the divergences in key-treatment that
determine the differences in Tone-QuALTFY, we will first return
once more to our pair of scales, which will enable us to realise
another instructive fact :
We shall find that we can make the addition to the load on
of expression must needs remain unattainable ; since we have in this instance
no means of accurately feeling the degree of resistance each key offers, and
cannot therefore accurately guide it to its musically-intended consummation
in tone-shading.
There are other facts besides : The one pointed out above, that the key is
a lever by which to move the string, should prove ample to prevent our look-
ing upon the key in the light of a ball, etc. Experiment has moreover proved
that the hammer instantly flies off the " action " when the key is really hit
in which case all the elaborate leverage-system provided, by which gradu-
ally to induce movement, becomes useless. Again t if the key is driven down
over-suddenly by a really forcible blow, it is exceedingly probable, that the
" hopper" then instantly slips from under the hammer, thus similarly ren-
dering futile the carefully planned leverage-system of the key.
Vide Note X. t Appendix, "On key-hitting," which gives further details,
and a summary on these points.
1 Ignorance of this simple law one would think it to be self-evident
enough to occur to a child often leads to the monstrous fallacy, and to the
consequent complaints uttered by Pianists, that it is their supposed " want of
Strength" that prevents their obtaining the full measure of intended tone !
Those huge exertions we so lamentably often witness, even on the platform,
are generally the immediate result of the performer not having so far recog-
nised this very first and obvious fact connected with his instrument, viz., that
Tone-production absolutely ceases when the key-bed has been reached or
even before that : and that all the labour expended on the key-beds is but
sheer waste, and is but impedimental to accurate expression.
We may rest perfectly assured, when we see a performer labouring at his
instrument as if he were lifting oxen, that be has certainly not conqxiered the
mere " Elements " of using the key-board correctly, has not learned his tech-
nical ABC, however admirable his artistic instincts may be in other ways.
84 KEY-TKEATHEKT ; INSTRUMENTAL ASPECT.
one pan (vide 8 and 9) by letting go the intended weight
either suddenly, or by letting it slip through our fingers more
gradually. We thus have the option of adding a given weight
in either of these two ways, before the pan in question reaches
its full" depression.
We can moreover, in either case, employ a weight sufficient
to cause even a very swift ascent on the part of the opposite
pan.
The distinction thus illustrated, is, that we can either sud~
denly or gradually induce a great speed in that opposite pan.
It is just such a distinction between suddenly or gradually
applied force, that will, in the case of the Pianoforte-key (by
inducing the contrast between suddenly or gradually-reached
Key-speed) enable us to cause the aural contrast between
" Brilliant " and " Sympathetic " tone-qualities. 1
13. The nature of this divergence between the production
of "brilliant" and "sympathetic 35 tone-qualities the difference
between Sudden or Gradual key-attack, or the French " avec
attaque " and " sans attaque " may become plainer through
the following considerations and diagrams (vide Fig. ), illus-
trative of the two opposite extremes of this nature in key-
treatment :
^
aa T
66 c^r;^=^ *
Of the two horizontally converging thick lines in both the
above diagrams, the upper one (aa) illustrates the position of
our end of the key when at rest at " surface-level " ; the lower
1 In other words : The more suddenly we attack the key, the harder,
shorter, and less carrying will be the resulting tone ; and the more gradually
we propel the key into full speed, the more "sympathetic" resonant, rich,
full and carrying will be the tone, and the more controlled will it be,
A really hit key cannot for this reason give a beautiful sound; although it
may seem to cause much commotion and noise close to the instrument. Refer
again to Note X., Appendix, " On key-hitting. "
THE KEY. 85
of these lines represents the position of the key's surface wfaer*
fully depressed.
The vertical (dotted) lines in both diagrams are meant to
exhibit the degree in the key's motion during descent, respec-
tively in brilliant and in S3 7 mpathetic tone-production.
In diagram A, we have Energy applied suddenly "avec
attaque." Here the dotted lines c (supposed to represent
the degree of speed) are seen to start at once some distance
apart, but they remain only thus far apart to the end of the
key's descent ; for the key-descent is so sudden that it is prac-
tically impossible to attain any increase in speed during- it.
In diagram B, the key has on the contrary been reached
practically without percussion, without suddenness, "sans
attaque." The dotted lines d therefore here commence to-
gether, and they widen out to represent the Speed-crescendo
that can now be induced during descent ; for the key is in this
case started on its journey almost imperceptibly, but has en-
ergy applied to it in increasing ratio during its short-lived de-
scent, thus giving that almost unpercussive attack of the string
whence arises Beauty of tone and control of gradation. 1
14. "We now come to the distinctions between Tenuto, Le-
gato, and Staccato.
To induce TENUTO, we must continue applying the Weight
1 It seems well-nigh incredible that we should thus be able to GRADE the
motion of a key (as demanded for sympathetic tone) during the minute inter,
val of time expended during key-descent. Many of the muscular-acts of our
svery-day existence are however found to be equally minutely graded, when
we analyse them.
It is even possible (although extremely difficult) directly to grade key
descent in this requisite manner by an exertion of the Will. This is however
happily unnecessary, otherwise our Technique would for ever remain cum-
brous and uncertain ; for we can, by supplying the requisite MUSCULAR COK-
DITIONS, encompass this end in quite a simple and reliable way, and it is
thus that the effect of sympathetic-tone is wrought in actuality. By
in fact placing the various muscles belonging tcTthe Finger, Hand and Arm
in the requisite relationship to each portion of the limb and the key, we are
able to apply energy through so elastic a medium, that the desired gradation
during key-descent accomplishes itself almost automatically, and with corre-
sponding certainty.
To enable us to provide these requisite muscular-conditions, we must study
key-treatment from its Muscular Aspect. This aspect of the study of Touch
is dealt with in Part III. and the Parts that follow it.
86 KEY-TREATMENT ; INSTRUMENTAL ASPECT.
that just proves sufficient to overbalance the key into descent
into its softest sound, 1 BEYOND THE MOMENT THAT THAT SOUND
BEGINS ; for it is obvious, that the amount of weight that
proves ample to cause the key's deflection, must also suffice
to retain it depressed and prevent its rebound, and thus keep its
damper raised.
Tenuto thus involves : that a light weight, sufficient to de-
press the keys, must continue resting on them after the com-
pletion of the act of Tone-production.
15. LEGATO is induced in the same manner ; the weight
that suffices to depress the key, and which, if continued,
therefore suffices to keep it depressed will, if passed-on (or
transferred) from "key to key, create that merging of one sound
into the next, termed Legato.
This Transfer of light weight should be effected at the
very moment that the next key's descent is desired to com-
mence. The descent of the new key is in this way so timed,
as to meet the ascent of the previous key about half-way, or
thereabouts ; the damper of the ascending key will conse-
quently reach its strings at the very moment that the next
sound begins ; and one sound will thus be caused neatly to
merge into the next, without smudge, and without break in
continuity. 2
This light weight, thus resting on the key-beds in Legato,
and thus transferred from note to note, is contemporaneously
continuous with the duration of each musical phrase ; it in fact
here forms the Act of Phrasing.
StJPEB-legato, legatissimo, is induced by slightly deferring the
transfer of the light weight thus continuously resting on the
key-board during each musical phrase, beyond the moment that
the next sound commences. The sounds consequent-
ly slightly overlap ; causing an effect somewhat akin to the
glissando of Violin playing, and to the portamento of Singing.
16. To obtain STACCATO, we must cease all weight and
a Vide %% 8, 9 and 10.
* V%de remarks on legato pedalling, etc., Chapter VIII., 8, page 57.
THE KEY.
87
force at the very moment that sound-excitation is completed,
excepting that slight amount of weight that the key can bear
at its surface-level the amount the key can bear without de-
flection.
If we succeed in doing this, the key will be free to re-
bound, and will do so instantaneously even carrying up with
it, the super-imposed finger. 1
The following experiment should
here be made. ( Vide fig. 5.)
Take a large lead pencil, the larger the better,
and preferably armed with a rubber-end. Hold
this vertically between the thumb and index fin-
ger, letting its end rest on a key in the centre of
the key-board.
Now sharply depress the key by means of
the pencil ; "but cease the grip on the pencil accu-
rately at the moment that sound begins.
If the down-impetus is ceased accurately
enough instantaneously that sound arises, then
the key, in recoiling, will drive the pencil up,
the latter slipping through, the fingers ; the
result being an absolute staccato.
FIG. 5. A, a pencil, or other
smooth object.
17. No greater "Weight or Force than just suffices to pre-
vent such rebound of the key in Tenuto and Legato, should
therefore ever be allowed to rest on the "kej-fied. In fact it is
unnecessary that more force than this, should ever even reach
the key-bed ; except in a comparatively rare effect, a forced
variety of Staccato, in which the rebound of the key and finger
is assisted by delivering a blow to the key-bed, analogous to a
jump or " kick-off." 2
18. To sum up this Chapter :
"We find that the Key is a Speed-tool ; and that the laws
1 The act of Resting on the keys, in its two forms the one so light as to
have no effect upon the keys, as in Staccato, and the other slightly heavier, so
as to compel their continued depression, as in Tenuto or Legato will be found
more fully considered in Part III., for such Besting forms one of the chief
concepts of correct Touch.
2 There is also a certain form of cumbrous canidbile, in which slightly
more weight may reach the key-beds than is necessary to ensure legato or
legatissimo.
88 KEY-TREATMENT; INSTRUMENTAL ASPECT.
that govern the iise of other speed-tools must therefore
equally apply in the case of the Pianoforte key.
"We should always bear in mind, as previously suggested,
that this Tool is akin to the See-Saw in principle. 1
This will prevent our being tempted either to squeeze it upon
the pads beneath, or to punch its surface viciously, in our
efforts to make Tone by its means,
We shall then, on the contrary, take hold of it upon it, and
realising its resistance, feel it to be so intimately in connection
with our finger-tip, as to seem literally a continuation of it.
Projecting our minds meanwhile to the opposite end of
this tool the hammer-end, we shall bring Force in the shape
of Weight and Muscular-exertion to bear upon its handle its
ivory or ebony end.
We shall so TIME the application of this force, both as re-
gards Amount and Gradation, that we shall ensure that the
desired speed of the Key and String is reached before our
end of the tool is brought into contact with its underlying pad,
and we shall thus have succeeded in obtaining the exact
tone-shading which our musical conscience prompted us to
desire.
1 It is well to keep this simile in mind, since it is so manifestly futile to con
tinue pressing down one end of a See-Saw, after this has readied the ground,
if our purpose be to induce movement at its other end. ( Vide also 3,
ter VIII., page 54.)
RECAPITULATORY AND SUMMARY
OF THE HAEST CONCLUSIONS OF
PART II
a) : The Pianoforte Key is a machine to facilitate the produc-
tion of Speed in the String. It is a compound-lever, akin in prin-
ciple to the See-saw.
b) : It follows, that Tone-production can only be effected by
giving Motion to the Key ; since this forms our only means of
conveying motion to the String.
c) ; Energy brought to bear upon the Key ceases to create Tone,
the moment that the place in key-descent is reached, ^here the
hammers motion culminates, and causes Sound to begin.
d) : The act itself of Tone-production can hence never take
longer than it does in the most extreme Staccatissimo.
e) : The Ear apprises us of this moment more quickly than
can any other of our senses ; hence we must listen for the begin-
ning of sound, if we would have Accuracy in tone-production.
f) : The greater the total speed we induce during each indi-
vidual key-descent, the greater is the Tone-quantity.
g) : The more gradually this key-speed is attained, the more
beautiful is the Tone-cbaracter, the fuller, more " sympathetic,"
singing and carrying is its quality, and tfie finer the control.
h) : The more sudden the key-depression, the harsher is the
resulting Tone-quality; it may be more "brilliant," but it will
be less effective in carrying power.
i) : The softest possible sound is obtained, when Weight is
brought upon the key until a point is reached where the key's
opposition (or resistance) to movement is just overcome and it
consequently slips down with the most gentle movement compati-
ble with its hammer reaching the string.
j) : Such amount of Weight, allowed to remain resting upon
89
90 EECAPITULATORY AND SUMMARY
the key, beyond the moment that the latter's full depression is
reached, forms the effect of TEWUTO. The duration of such
Tentito is determined by the duration of such Resting.
k) : The effect of LEGATO is induced by transferring such con-
tinuously resting light Weight from key to key ; such Transfer-
ence being unbroken for each Musical Phrase.
I) : Weight of less amount than this, insufficient therefore to
cause key-depression, may be left resting on the keys without
causing either Tenuto or Legato.
It is such lightness in resting, that forms the Basis of all
STACCATO effects, provided it is combined with an accurately-
aimed Promptness in the cessation of the Energy that causes
Isey-descent ; for the keys are in this case left free to rebound the
moment that Tone-production is completed.
m) : Such combination (of light Resting and accurate Ceasing
of the act of key-depression) also forms the secret of all great
Agility in playing.
n) : It is futile to squeeze the key upon its bed with the object
of inducing Tone ; since sound, if produced at all, is given off
before the key reaches its full depression.
a) ; It is almost as futile to attempt to obtain good tone by
knocking the key ; since the concussion here caused at the key-
surface forms -waste of the Energy intended to create tone, and
thus engenders inaccuracy in the tonal-result, the actual tone
obtained not corresponding to the tone intended.
p) : We find (also vide Part III) that instead of squeezing the
key-bed, or hitting the key-top, that correct Tone-production de-
mands: that the finger be brought comparatively gently into
contact with the key-board surface, so that the Energy requisite
to move the key may be there estimated by our sense of key-resist-
ance. As the key-resistance varies with each change in Tone-
shading, this will lead to the requisite muscular-conditions being
almost automatically prompted into existence, in accurate re-
sponse therefore to the dictates of our musical-consciousness as to
Time, Tone-amount, Tone-quality, and Duration.
APPENDIX TO PART IL
" ON CHOICE OF INSTRUMENT"
NOTE VII. For 12, Chapter VIII. , page 60. The main points that
should be tested by the student, and artist, when choosing an instrument, are
as follows :
i : Extent of the Tone-compass. This should form the most important
element determining choice ; for the larger the possible range and variety of
tone, the more will 4< colouring" be stimulated.
2 : Delicacy of the action. Responsiveness of the instrument's u touch."
The key should slip down ** clean " with the least possible amount of fric-
tion. This does not imply that the key may not be considerably weighted.
Friction is impedimental, but weight is not. A certain amount of weight is
indeed desirable, as this permits the i4 Resting " at surface-level of the key to
be more robust ; thus not only enhancing one's sense of security, but also
tempting one toward correct key-treatment, since key-tapping is more easily
discerned to be futile in the case of the more heavily-weighted key.
Heaviness of this kind must, moreover, not be confused with " stickiness"
during descent stickiness is a sure sign of a badly constructed mechanism, or
of one in bad condition.
A sufficiently weighted key is also quite a distinct thing from a heavily-
felted, or deeply " toned" hammer a hammer softened by pricking. Diffi-
culty of enunciation is caused in the latter case, and the term <l heaviness of
touch " is here often misapplied. Vide 5.
3 : Sustaining-power, or as it would be better termed, continuatwn-poweT
of the sounds, especially at and just above the centre of the instrument.
There are moreover two different points to be noticed in conjunction with
this : (a) Sustaining-power in respect to the degree of sound continuing dur-
ing a long note, and (b), sustaining-power in the very percussion itself of the
sound i.e., a certain u thickness " as against "shortness" in that initiatory
percussion of each sound, a percussion inseparable from our instrument ex-
cepting when it is almost eradicated under the finger of an expert u sympa-
thetic '* player.
4: Accuracy in the Damping. In this respect there must be absolute
promptness and completeness. The sound must cease instantly the damp-
ers reach the strings. Any continued " buzzing " makes for bad training, both
in Staccato and in Legato, and also in Pedalling.
5 : Hardness of hammer. For the platform, and for the student's practice-
room, a considerably " hard " hammer is found helpful ; the hammer should
at all events not be over-felted or over-" toned." In the Concert-room, it un-
doubtedly helps the artist, for he can hear what he is doing ; in the Study,
the harder hammer is more likely to lead to the acquisition of true pp (and
all other forms of correct and sympathetic touch) than is the soft hammer.
91
92 APPENDIX TO PART II.
The soft hammer is apt to hide faults in key-attack to a considerable extent,
wherefore it is exceedingly beloved by amateurs of the insincere type. The
harder hammer, on the other hand, gives far more pointed warning to the
ear, of the commencement of each sound; and how important this is, we
shall understand better presently. Enough, that those who have acquired
correct forms of key-treatment, need no blanket of felt to hide their wrong-
doing. 1 , ,
It is of course possible to have hammers too hard, for it is true that an
instrument with a really large tone, requires a considerable thickness of ham-
mer-felting to allow its tone to be displayed to best advantage.
6 : The pads under the keys should preferably be of the harder type. The
harder key-bed, through its sharper resistance, gives better warning than does
the softer key-bed, of the moment when the tone-producing stresses have
completed their duties ; the harder pad thus helps to warn us not to carry
these stresses beyond their proper place in key-descent. An ideally perfect
executant would indeed be he, who could be so accurately led by his Ear,
as to be able entirely to avoid playing against the key-bed in almost all forms
of tone-production ; he would be so perfect, that he could play without dam-
age on an instrument altogether unprovided with pads under the keys ! An
ideal perfection of technique neither reached within measurable distance so
far, nor ever likely to be reached !
7 : Depth of touch. A deep touch is preferable to a shallow one. It ren-
ders command over the finer tone-shadings more easy. An instrument that
gives its tone out sharply, is for this reason usually provided with more depth
in key-descent (to render pp easier) than is an instrument that has a more
gradual sound-projection ; both in the case where this slowness in sound-
emission is caused by mere relative softness or " toning" of the hammers, and
in the case where it is caused by the peculiarity of the sounding-board, as it
is in some good Pianos :
8 : Some instruments are far more slow of speech, than others. It takes
longer for each note sounded to develop its full tone.
It should be noted that this difference is quite distinct from that compara-
tive difficulty or ease of enunciation arising from the relative hardness or
softness of hammer-covering. Vide 5. It is a difference to be attributed to
divergence in the construction of the sounding-board itself. It seems, that
the sounding-board that gives out its full sound more gradually for each note,
although far more trying to play upon than the one that sharply defines the
beginning of each note, is nevertheless found to "carry" far better and to
sound fuller in a large concert-room. On this point we must individually suit
ourselves, bearing in mind, that the happy medium is the best in such cases.
9 : The " repetition " power should be tested, as suggested in Note to 4,
Chapter VIII., page 55.
A bad u repetition " does on the whole no harm in the study, since it
merely forces one to allow the keys to rise well for each note in passages of
repeated notes. A good repetition is however essential for the concert-room.
The closer down the repetition is available the better. It not only renders
the repetition of notes more certain of attainment, -but also allows of certain
extremely rapid pp shakes, etc., that are quite impossible on an instrument
that demands a nearly fully raised key for each repetition of a note.
1 There ia an authentic case of one artist of considerable renown, who plays on an instru-
ment usually provided with rather over-felted hammers, and who, careful and * knowing" man
that he is, insists on. having the hammers of his Concert-grand pared down under his own direc-
tion before appearing at important engagements !a practice of proved advantage both to hina'
self and to the particular instrument he uses.
APPENDIX TO PART II. 93
" TONE-EXCITERS *
KOTE VIII. For 5, Chapter IX,, page 66. There are innumerable
means of producing the required concussions or disturbances in the atmos-
phere, that allow our ear to perceive a musical-note.
A ratchet- wheel, or even the edge of a coin will suffice, when rubbed against
a metal or paper card ; for the card will ** beat" the air, in successively slip-
ping off the teeth of the wheel or coin. The "reed 11 of a Clarionet,
Organ-pipe, etc., is a closely-related form of exciter. Such "reed" consists
of a slight tongue of metal or wood. It is fixed at one end, and free at the
other ; and it is accurately fitted into a little doorway, or aperture, opening from
a wind-chamber. The reed is thus free to vibrate while nearly closing the
wind-chamber behind it. The consequence is, that the free end of the reed is
displaced when sufficient air-pressure is brought to bear behind it. The air, in
escaping, momentarily reduces this wind-pressure, and the reed then falls back
owing to its elasticity and recloses the door-way ; the rapid reaction of these
forces thus gives us the requisite air-concussions. In the Whistle, Flute,
or " Flue" organ-pipe, such, "reed " takes the form of a sheet of air. This
thin sheet of air is driven against a sharp metal or wooden edge, and as this
air-sheet cannot as it were stand against this edge, it fluctuates from side to
side, thus beating the air exactly in the same manner as its wooden or metal
relative.
The String beats the air much in the same way as a " reed " does ; but its
action is adequately considered in Chapter X. " The String."
"Otf QUALITY OF SOUND"
NOTE IX. For 11, Note 3, Chapter IX., page 76. THE EXPLANATION
of the process by which the Hammer is able to transmit those known differ-
ences in Key-treatment to the String, that cause the latter to emit either a
purer or an impurer sound, has not yet been finally determined.
We do know what is the nature of the difference in Key-treatment that gives
us the contrasts in Tone-quality. We also know what is the result upon the
String, for we know that it vibrates more as a whole, when emitting the
purer (or more sympathetic) qualities of sound ; while it vibrates more in
individual segments of its whole length, when emitting the more impure (or
harsher) qualities of sound. We know, moreover, that it is started off more ab-
ruptly by the hammer when producing the harsher sounds, than it is when pro-
ducing the more sympathetic sounds ; and we know that in the latter case the
hammer "lies longer" on the string. Again, we know, what is the physical
difference in the resulting sound-waves, for analysis proves that the harsher
the sound-quality the more is the fundamental found to be prominently
accompanied by a greater number of the higher and harsher upper-par-
tials. But we do not know HOW these differences in key-treatment dur-
ing descent are actually transmitted to the string by the felt-covered end of
the hammer ; at this point experimental science at present still fails us, al-
though it is quite certain that such transmission does take place, since each
difference in key-treatment infallibly induces its particular concomitant dif-
ference in sound-shading.
Several hypotheses are here available :
1 : The most plausible one, is, that the hammer does remain in communi-
cation with our end of the key- and our finger-tip up to the moment that
94 APPENDIX TO PART II*
tue string is fully deflected. If this is the true solution, then it is easy to con-
ceive how the gradually increased speed in key-descent (derived from elastic
conditions of the arm and finger) that gives a singing, sympathetic or pure
tone, causes the hammer to " lie longer" on the string, than it does under the
impulse of a suddenly depressed key. The gradually increasing speed of the
player's finger-tip wo aid here obviously " shove " instead of jerk the string
into movement. This hypothesis, however, meets with the following objec-
tions :
The escapement (mde Fig. 1, Chap. VIII. , page 62) is so adjusted, that
the hopper is tilted from underneath the hammer when the latter is still about
one-sixteenth of an inch distant from the string. The hammer would thus
appear to lose connection with the finger-tip before the string is even reached !
This certainly does happen when the key is so slowly depressed as to cause no
wund; for the hammer can then be seen to fall back, without reaching the
string at all.
It has, however, not been finally decided by experiment, how the escape-
ment really does act during the process of successful tone-production ; and the
surmise is therefore permissible, that the hopper does not thus act does not
act so soon when the key is depressed with sufficient momentum to cause
even the faintest sound, a considerable degree of momentum being required
to overcome the friction of the action, and thus to allow the hammer to reach
its string, even for the softest sound, a degree of energy ascertained by the
resistance the key (and action) offers to a *' clean*' weighed-down descent. 1
Is it not possible, that the gradual application of energy to the key during
correct touch may here cause the escapement to fail in its action until a later
moment ? until in fact it is helped by the extra impetus derived from the
string itself, when the latter returns after its first outward swing ? a later ac-
tion of the hopper that may arise possibly owing to a greater f rictional-contact
being set up between hammer and hopper during correct-touch, than is set up
during a slow, non-sounding key-depression ? That the hammer does not fly-
off the hopper during the last part of its journey to the string in sympathetic
touch, but instead appears to remain in connection with the rest of the key, up
to the last moment of the act of tone-production up to the moment that the
string itself is able by its recoil to assist the hopper is a conclusion that seems
forcibly pointed to, when we experiment with a note that " blocks ; " i.e., when
we experiment with a key that has its escapement so mal-adjusted as entirely
to prevent the hammer from slipping off the hopper. That is : if we adjust
the hopper-nut (q., Diagram Fig. 1) in such a way that the hopper is not tilted
early enough, then the hammer will be unable to slip off the hopper, and the
hammer will in consequence remain a rigid part-and-parcel of the key, even
when it reaches the string. The hammer will consequently be forcibly jammed
against the string and will remain against it, if the finger-tip fully depresses
the key, thus quite killing the sound in its very birth.
Now, it is most noteworthy, that we can nevertheless produce quite a beau-
tiful tone, even with the escapement thus mal-adjusted, provided we are
now more careful^ in "aiming" the Key-descent provided we are careful
enough not to drive the key too far down. That is : we shall find, if we are
careful to apply the desired degree of energy so that this shall culminate and
cease at a point not quite so far down in key-descent as usual, that the string
then seems able to drive the hammer back with it ; and that a perfectly sym-
1 The unclean sensation of the escapement giving way with great friction results from afalte
touch, where the key Is " put down " instead of weighed down. In this latter case one is never
sure of one's pianissimo. This "sticky" sensation vanishes, the moment we employ correct
touch ; and pianissimo is then indeed at once the simplest and surest touch of all.
APPENDIX TO PART II. 95
pathetic tone is then in consequence easily attainable, even under these
adverse conditions of the instrument I
Moreover, we find, on making the opposite mal-adjustment, so that the
hopper is tilted from underneath the hammer-button much too soon, long be-
fore the key has reached its full depression, that the production of resonant
" sympathetic" tone, then becomes a practical impossibility.
In fact, if only the adjustment is bad enough, or if the hopper-spring has
become displaced, then it become impossible to obtain any tone whatever 1
It is certainly conceivable, that the greater the momentum of the hammer.
when it finally reaches the string, the longer will it then " remain lying " upon
the latter, the more will the string-surface be driven into it, the flatter will
the hammer in consequence become, and the "less acute" will then be the
angle subtended by^ the string in its initial push-off ; thus bringing the proc-
ess into accord with HELMHOLTZ'S teaching, as to the difference in attack
that causes the string to move off in comparatively pure (fundamental) sound
rather than in harmonics of the harsher kind.
The consideration of this point may be helped, by reflecting on the differ-
ent result that arises from the impact of two bodies on the same surface, one
of which is a heavy ball, and the other a light one. The difference in mo-
mentum will be great, although both balls may reach the surface with iden-
tical speed. If we then imagine such surface to be represented by a tense
string, we can easily conceive how Helmholtz's "elastic" and therefore
"longer-lying" hammer will result when there is much weight behind it
i.e., the weight of the player's arm ; whereas a hammer with less weight be-
hind it would fly back too early, before having had time to impart that full
swing to the string that makes for beauty of tone.
Another suggestive fact in this connection, is, that an elastic substance
flattens upon impact. GANOT J says, that if a billiard ball were to strike an
inked ground, it would be found to exhibit a greater circle of ink at the
place of impact, the more forcible the impact ; i.e. : that the more forcible
the impact, the more would the ball be momentarily flattened, a fact that
vividly suggests what it is that may happen to the properly-used Piano-ham-
mer, a flattening that may be absent when the hammer reaches the string
with but little momentum or added weight.
2 : The opposite theory may also be tenable : viz., that a too sudden pro-
pulsion of the key may cause the escapement to act instantly ; too soon
therefore to allow of sufficient momentum being attained by the hammer.
For it is possible that the little spring that keeps the hopper under th3 ham-
mer-roller (vide Fig. 1) may prove insufficiently strong to do its duty (to retain
the hammer on the hopper) in the case of a too sudden key-attack, and that
the hammer will therefore here instantly slip off the hopper ; with the conse-
quence, that we shall fail to influence the hammer sufficiently, and that our
energy will be greatly wasted.
3 : One of the reasons why a too sudden attack of the key, in the shape of
a real hitting or striking of it, causes a thin quality of tone, is, because the
hammer then evidently instavvtly flies off the fwpp&r.
This here again deprives us "of all opportunity of " f ollowing-up " the ham-
mer, or of inducing much momentum in it ; for the hammer here quits the
action (bounds off from its support) before the key can well be got under
way.
That the hammer does thus bound off the hopper, making a bad tone, the
reader should prove for himself, by the following experiment :
Place some incompressible object, such as a piece of wood, under the
* " Physics" translated by B. Atkinson.
96 APPENDIX TO PAET II.
edge of one ~jt iHe damper-less kevs. 1 This wooden stop should be so ax*
ranged as to prevent the key being depressed beyond a very small extent, a
16th or 33nd of an inch is ampleT We now have a key in which the action
cannot carry the Jiammer far upwards toward the string. On now flitting
the key, it will be found that the hammer nevertheless reaches the string.
The concussion at the key-surface is thus proved to cause the hammer instant-
ly to fiy off the hopper ; while the resulting tone-quality is distinctly of that
well-known, thin, nasal, hard and unsympathetic type, apparently so gratify-
ing to key- 4 ' striking" fanatics.
4 : Another alternative hypothesis, once suggested to me by an amateur, a
mining engineer, is, that the hammer-shank itself may momentarily bend
under the strain, when too suddenly called upon to move the comparatively
heavy hammer-head, and that the hammer may then reach the string at a
wrong angle. This suggestion does not however appear to have much to rec-
ommend it.
5 : The exceedingly harsh effect produced by forcibly " over-driving " the
keys, most probably arises owing to the whole action itself bodily rising by
recoil from the wrest-plank, ., Fig. 1. There seems nothing to prevent
its doing so, and all the delicate adjustments of the key would in that case be
momentarily rendered of no avail ; the direct and inelastic transmission of
such *' brute force " may even lead to the breakage of hammer-shanks and
strings.
MANY FACTS may in the end be found to contribute to the ultimate ex-
planation here still needed. Perhaps some of the above speculations they
are put forward merely as such may contribute to this desideratum.
Meanwhile, whatever may prove to be the ultimate explanation, nothing
can alter the proven facts as to 'what ice hate to do at our end of the key.
These latter are the facts we are more immediately concerned with in this
work, and these latter facts we must thoroughly realise, if we would expe-
ditiously learn to play and teach in the easiest and surest manner.
" THE FALLACY OF KEY-HITTING OH STRIKING"
NOTE X. For notes to 10 and 11, Chapter XL, pages 81-82. As this
iniquitous doctrine is still rampant all over the Globe, it behoves us well to
consider the many facts and arguments that prove its utter falsity.
No doubt it w*as the influence of a certain German CONSEKVATORITJM that
gave it such wide currency. It was there adopted now some decades ago, and
soon became disseminated in all directions with the rapidity of a disease-
microbe ; teachers and institutions all over the Globe accepting it apparently
without reflection, as if it were " Gospel-Truth ! "
A vast number of persons no doubt imagine that they attack the key by
means of a blow, when they really do nothing of the kind. 2 Again, there are
many, who, being conscientious devotees at this false shrine, try hard to obey
its doctrines, and who, while really somewhat percussing the key-surface, do
nevertheless produce some good tone occasionally ; a success due to the fact,
that their ear has led them unconsciously to *' follow-up " such blow (although
1 It is necessary to use one of the keys without dampers, as the experiment would otherwise
be vitiated, owing to the damper failing to rise in time,
3 There are also many who use the misleading expression "to strike the key," merely from
want of a better term, never intending to convey the idea of a real stroke at all.
APPENDIX TO PABT H.
faulty in itself) by a proper me of the key during its subsequent descent. The
latter class more ^particularly being wrong-doers more in theory than in ac-
tual practice will find it difficult to realise how thoroughly useless and im-
pedimental real key-percussion must be. Having once formed a conception
of a muscular-act, it is always difficult to rearrange such conception, and to
see the thing in a new light. It is peculiarly difficult in the present case,
since well-raised fingers, hands and arms, do really prove helpful when the
Tempo is slow enough to admit of such preliminary movements without im-
peding the speed, 1 and since such commendable preliminary ample raising of
the limb, and subsequent comparatively quick descent to the key-surface, is
also so easily mistaken by the eye for a real hitting.
The deplorably evil effects of deliberately teaching key-hitting have proved
incredibly far-reaching and disastrous to the progress of our art. The me-
chanically-wrong principle it involves, not only leads with absolute certainty
toward paucity of tone, and evil-sounding tone ; but it also renders all sub-
tlety, accuracy and certainty of EXPRESSION a physical impossibility. Worse
than this even, for it leads as a corollary to a stiffening of the limbs em-
ployed, a restrained use of the muscles, the dangers of which will be better
understood after consideration of Part III. This "held" condition of the
arm, etc., gives rise to all kinds of physiological trouble such as Piano-
cramp, inflammation of the tendons so often wrongly ascribed to "weak
hands." Moreover, it is not alone from this involved stiff -held condition of
the limbs that such trouble arises : for it arises also directly from the severe
concussions against the key-surface that are inseparable from the attempt to hit
the key into sound. Such concussions indeed tend to form practically so
many incipient sprains of the finger, hand (" wrist") and arm-muscles !
But the power of fetish-worship is such even in this twentieth century
that all powers of reasoning, perception and common-sense seem to desert the
sufferer, once he comes under a spell such as this ! Cases have come un-
der my own observation, where teachers (otherwise apparently quite intelli-
gent) were thus afflicted to such a state of imperviousness to outside impres-
sions, as to completely close their ears, eyes, and musical-feeling to the
experience of their every-day teaching-lives ; although these latter experi-
ences formed heaven-shrieking testimony to the fallacy of the premises upon
which their " method " had been built ! 2 For instance, there have been cases,
when such teachers have received as new pupils, such who already possessed
considerable fluency in the production of beautiful tone in great variety, and
Agility also. Yet these pupils, incredible as it may seem, were deliberately
made to unlearn their really correct and facile forms of production, so that
their doings might be made forsooth to LOOK LIKE Piano-playing in confor-
mity with this orthodox fetish- worship 1 The natural result being,
that these pupils played worse at each lesson ! Such result might, one
would think, have caused a suspicion to enter the teachers' minds that the
"system " might after all beat fault ? "Not so, the want of subsequent success,
and eventual supervention of inflamed tendons, was here instead complacently
attributed to '* want of soul," "want of muscle," and "weak wrists^" on the
part of the unfortunate pupils !
Let us then sum up the main facts against key-striking, and the disadvan-
tages that directly arise therefrom.
1 Owing: to the fact, tliat ample movement before key-contact, does tend to ensure greater
freedom of movement when the key is actually reached and' is being depressed.
2 In a word, instead of employing the aural faculty in the Class-room and Concert- room. -in-
stead of employing the most natural, direct and important channel for inf ormation, such teach-
ers appear carefully to shun all ear-impressions ; and endeavour to teach rather by eye than by
ear. To such it would appear to signify more, how the thing looks, than how it sounds !
98 APPENDIX TO PART II.
To attempt to make sound by really hitting at the key-surface causes:
I : Loss OP ENERGY, with its consequences, paucity of tone, and limitation
of contrast-power in this direction.
II: IMPOSSIBILITY OF PRODUCING A MUSICAL OR SUBTLE QUALITY OF
TONE ; and again, loss of contrast-power in this direction.
Ill: REDUCTION OF ACTUAL TONE-RESULT TO MERE CHANCE, with its
corollary : loss of Expression-power from the resulting tones not being those
Intended.
IV : Liability to PHYSICAL-DISABLEMENT, in the shape of inflamed ten-
dons, and worse.
The following are the chief reasons why these disadvantages accrue from
key-hitting :
a) : It is mechanically thoroughly wrong and ineffective ; since the key is but
a tool, intervening between finger-tip and string, for the purpose of setting the
latter into motion. To knock the key-lever, forms as absurdly great a mis-
application in the use of this tool, and forms as wasteful and disadvantageous
an application of muscular-energy, as would be the case, were we to hit the
handle of a tennis-racket, hammer, oar, or cue, or to stamp upon a cycle-
pedal, instead of using those tools properly.
b) : We cannot estimate the weight of the tool itself, nor the amount of
energy required to move it at any particular grade of speed, or increase of
speed during its movement, if we hit the end of the lever we are using,
whether this be that of the Piano-key, or any other of the just-mentioned
tools ; and it follows that we cannot direct such tool with any accuracy, and
that we cannot therefore obtain any intended subtle result.
c) : LOBS of energy, and consequent paucity of tone, and inaccuracy in ex-
pression result from the concussions arising at the Tcey-surface, Such concus-
sions swallow up Energy intended to produce tone ; molecular-vibrations of
the key-surface and finger-surface taking the place of the desired movement
of the key itself.
d) : We are debarred from gradually obtaining momentum in the whole mass
of the key-lever and hammer ; since the hammer instantly quits its seat on
the hopper, when the key is really struck, with the consequence, that sym-
pathetic (or beautiful) quality of tone is impossible of attainment.
e) : A tendency towards percussion at the string-surface supervenes, in place
of the intended movement of the whole body of the string ; which again im-
plies loss of power, and loss of tone-beauty.
f ) : Unreliability in the case of rapid reiterations of the same note. This is
due to the fact that the key will "wobble" if the finger-tip rapidly quits its
surface. As the key in question may not have fully come to rest before its
depression is again required, this induces uncertainty in enunciation, often
amounting even to non-repetition of the note.
g) : Impossibility of availing ourselves of the repetition-device :
We can only make use of this refinement of touch, which gives us the
option of very rapidly reiterating a note at its softest, the so-called " Be-
bung," provided we retain the finger-tip on the key in question, and keep the
latter depressed almost (though not quite) to its fullest extent.
h) : Unnecessary muscular fatigue ; due to the improper application of
energy as before-described.
i) : Risk of overworking the muscles, and inflaming the tendons ; owing to
the incessant jarring, arising from the blows against the key-surface.
j) : Finally, it debars us from truly using, directing or " aiming " the key
into sound. For if we hit at the key, we are compelled to think of the sur-
face-concussion as the thing aimed at ; whereas, as the sound does not appear
APPENDIX TO PART II. 99
until the key is almost fully depressed, it is to that point the sound-begin-
ning that our muscular-effort should be directed. The result being again,
loss of power and beauty of tone, and besides that, inaccuracy and haziness in
RHYTHM.
It is however difficult to decide whether such " Key-striking" is the most
fell disease, or whether there is not a worse one still in the shape of KEY-
BED SQUEEZING !
PART IIL
FROM ITS MuSCULAE ASPECT*
CHAPTER XII.
PBEA^IBLE :
SYNOPSIS OF THE MAIN MTJSCULAB FACTS.
1. THE "muscular aspect of Key -treatment " at once
brings us face to face with, tlie most important problems dealt
with in this -work, and concerning 1 which there exists gener-
ally the darkest ignorance and the most Ticious teaching.
This is mainly owing to the fact, that the necessary
CONDITIONS of muscular activity and in-activity (which form
our only means of influencing the Key) do not by any means
correspond to the visible movements that accompany such
conditions ; and that these required actions and cessations are
therefore not discoverable through the eye ; indeed, the eye
in this case often proves quite misleading.
These required conditions will often, however, be uncon-
sciously provided by the muscularly gifted, if they have
grasped the facts dealt with in the last Part ; that is, if they
have either consciously or unconsciously realised the Eequire-
ments of the Key.
The study of Part III. should therefore not be pursued
until the fundamental facts of Part II. have first been thorough-
ly mastered.
As there are many who have not yet arrived within meas-
urable distance of many of the unfamiliar truths and theories
102 KEY-TBEATMKNT ; MUSCULAR ASPECT.
here advanced, much reiteration is found desirable, in order to
bring the -various arguments into juxtaposition. The few
who do not need such incessant repetition, must therefore
here (as elsewhere) bear with the author, for the sake of the
less-advanced student and beginner.
For the same reason it is considered desirable to particu-
larise somewhat more fully even in this Preamble. Such being
the case, it will be well for the student constantly to refer to this
comparatively broad outline of the muscular aspect of our
subject, when studying the subsequent chapters of this Part.
2. Coming now at once to the consideration of the mus-
cular means at our disposal for key-depression, we find that
there are available THBEE sharply defined MTJSCULAK COMPONENTS
or agents:
The first of these components is a down-activity
(or exertion) of the Finger ; this exertion sets energy
free at the finger-tip against the key, but this same
exertion also 'bears UPWABDS against the knuckle of tlie
hand by recoil, with an equal degree of energy. 1
The Second of the components referred to, is an ac-
tivity (or exertion) of the Hand ; this acts downwards
upon the knuckle, and consequently by recoil, also acts
upwards m this instance against the Arm at the "Wrist-
joint,
The Third component involved, is Arm-weight ; this
is set free by ceasing the activity of the muscles that
otherwise support the arm ; and the weight of the arm is
consequently left free to be borne by the hand at the
Wrist-joint. 2
All Touch is built up from these three muscular-compo-
1 This fact should at once be thoroughly recognised and mastered that
we cannot exert muscular-force in any direction with full effect unless we
provide a tow?, firm enough to take without flinching the recoil that super-
venes with equal force in the opposite direction.
'This manifestation of Weight may (when necessary for extremely loud
effects) be supplemented by a very slight down-activity of the arm itself thus
ultimately bringing into requisition the weight of the Shoulder, and even that
ol tne tfody The Body itself must, however, never be exerted against the
Keys, it must always be allowed to remain a purely inert mass of reserve Weight
PREAMBLE, PART III. 103
nents ; for It is from their combination in an infinite variety
of ways (presently to be described) 1 that the short-lived Mus-
cular-Conditions that are the means of consummating each
individual act of key-depression, or Tone-production arise.
3. These three components of Touch, should moreover be
recognised as dividing respectively into a DOWNWAKD and an UP-
WAED manifestation of Energy. These two apparently
antagonistic manifestations of Energy can be summed up as
""Weight" and "Muscular-exertion," and these two elements
meet at the Wrist-joint; where they may balance, without
evincing any movement. 2
4. As all muscular-exertion at the Pianoforte is thus
shown to act by recoil upwards against the Wrist (and in ex-
treme cases upwards against the shoulder) and as it is only
exertion that can give us a positive muscular-sensation, it fol-
lows, that the SENSATION accompanying all correct Touch, must
always convey the impression of work done UPWAEDS, and not
downwards, as one might at first sight be inclined to suppose.
Touch, in a word, resolves itself ultimately into an act of
levering more or less weight upon the key during descent.
5. Every muscular exertion employed in playing, must
moreover be given with perfect freedom, or absence of re-
straint. That is, there must be no contrary exertion of the
same part of the limb. However strongly we may wish to
urge any particular set of muscles into activity, we must un-
der no circumstances permit this exertion sympathetically to
prompt the opposite set of muscles into action. If we do, it
will infallibly prevent our attaining any accuracy, either in
tone-amount, kind or quality ; and it will consequently destroy
all accuracy and subtlety in Expression ; it will besides prevent
our attaining any true Agility.
1 Vide #, #, and 10> and Chapters XVL, XVII. and XIX., etc.
2 EXEKTION (derived from Finger and Hand activities applied against the
key) causes an upward tendency, felt at the Wrist-joint, although it does not
necessarily occasion any movement there.
WEIGHT (derived from Lapse in muscular-activity, lapse on the part of the
arm-supporting muscles) on the contrary causes a downward tendency at the
Wrist-joint ; but not necessarily exhibited as an actual movement (or fall) of
the arm.
104 KEY-TREATMENT ; MUSCULAR ASPECT.
6. It lias been pointed out that no movement need neces-
sarily arise from the combination of the two different manifes-
tations of Force described. 1 A movement of some por-
tion of the super-imposed limb is however bound to ensue,
tJie moment the key gives loay under the energy thus brought to
bear upon its surface. This movement may take the
form either of Finger-movement, Hand-movement, or Arm-
movement ; these we term respectively Finger-touch, Hand-
touch (so-called " "Wrist-action ") and Arm-touch. Which of
these three movements shall ensue, is purely determined by
the KELATIVE balance existing during the moment of key-attack
between the three Muscular-components previously described,
and whence all Touch is derived.
ABM-TOUCH (i.e., Touch, accompanied by arm-move-
ment) results, when the lapse in arm-support sets free
more energy than can be fully supported by the de-
gree of finger and hand activity employed at the mo-
ment against the key. Arm, hand, and finger will in
this instance simultaneously descend with the key.
HAND-TOUCH (so-called Wrist-touch) results, in the
same way, when the total conditions of arm, hand, and
finger, show a slight excess on the part of the hand-
activity, which latter then prevents the Arm and Finger
from showing any movement.
FINGER-TOUCH results, when it is the finger-activity
that slightly outbalances the other two elements ; i.e.,
when the finger-activity is slightly greater than the
activity put forward by the hand, and is also in excess
of any weight set free by lapse on the part of the arm-
supporting muscles. 2
7. Yariety in the QUANTITY of tone the distinction be-
tween forte and. piano depends on the fact that we can em-
1 i.e. : Force derived from the Activities that bear upwards^j recoil against
the Wrist, and the Axm-Inacti cities that produce a down-stress there.
3 It is of course understood, that those portions of the limb not showing any
movement must not come into operation until tlie key-surface is reached. That
is : In Arm-touch there is only Arm-lapse, until the key is reached, when the
other two components begin to act. In Hand-touch, Arm and Finger do not
change their condition until the key is reached. And in Finger-touch we have
only finger-action until the key is reached.
PREAMBLE, PART HI- 105
ploy tlie three Muscular-components either to their full power,
or not, as we wish. ; this being- optional equally in the case of
Finger, Hand or Arm movements.
To sum this up : the amount of tone depends on the degree
of energy with which we employ the three components of mus-
cular-condition during key-descent; while the actual mow-
ment shown (whether that of the Finger, Hand or Arm) de-
pends on the relative balanee existing 1 between these three at
that crucial moment.
8. Yariety in TECHNIQUE Technique adapted for all the
multifarious requirements of an artistic performance, Tech-
nique suitable respectively for slow and heavy passages, or
for passages of extreme Agility and lightness, and for that
great family of contrasts that comes under the heading- of
Tone-Quality, all this variety depends on the option we should
possess of COMBINING the aforesaid three muscular components
of Touch in divers ways ; of which combinations three stand out
so saliently as to deserve the title of Species.
Distinctions merely in Movement (such as Finger, Hand or
Arm touch) sink into insignificance beside the radical and
cardinal distinctions in Technique that arise from these just-
mentioned differences in Muscular Application.
AGILITY itself, for instance, depends on the fact, that we
need not employ all three Muscular-components simultane-
ously. Instead of combining" all three against the key (during
descent) we may employ the Finger and Hand activities
alone without calling Arm-weight to our aid; or we may
even employ the Finger-activity alone, without using either
hand-activity or arm-weight. 1 It is this last-mentioned form of
Technique that gives us the fullest measure of extreme Agility. 2
1 KB. : "We must always keep clear ia our minds the distinction between
the Activity of a limb, and its Motion, since Activity (or Exertion) does not by
any means necessarily imply a movement of that portion.
s We find indeed that the possibility of our attaining a high degree of
Agility, directly depends (as does the attainment of Quantity and Beauty of
tone) on our implicit obedience to (and discrimination between) the particular
laws of muscular combination and co-ordination here described. This dis-
crimination and obedience we may attain either unconsciously (by the hap-
hazard process), or by a conscious exertion of the will, when we know what
it is that has to be muscularly learnt.
106 KEY-TREAT3EEKT ; MUSCULAR ASPECT.
9. So that we may at once better understand the nature
of these three main principles (or Species) of Muscular- Combi-
nation, or Touch-formation, let us particularise alittle further :
First Form (or Species) of Combination : The Arm
gently supported by its own muscles, floats over the
key-board ; while the Hand, inactive., merely lies lightly
on the keys at surface level. Work of key-depression
is consequently here entirely relegated to the Finger,
without aid either from Hand or Arm. Tone, limit-
ed to the " brilliant " type, can also be but small in quan-
tity ; l while Finger-movement is alone available. Per-
mits, on the other hand, the attainment of the extremest
grades of Agility or Telocity conceivable provided
we strictly adhere to the law of accurate cessation of
work at the moment of sound-emission ( 13) and pro-
vided we do really enact this first form of muscular
combination, finger-use only, combined with a passive
land, and absence of all arm-weight or force.
Second Form (or Species) of Combination : The Arm
is supported as in last, while key-depression is wrought
by Finger and Hand exertion, unaided therefore by
arm-Weight. Permits far less extreme Agility than the
first combination. Tone-quality is here still restricted
to the more aggressive (or " brilliant ") types, but tone-
quantity is less limited. 2 Hand and Finger movements
alone available.
Third Form (or Species) of Combination : All three
1 As the hand's activity does not here intervene to transmit the recoil from
the finger, the elastically-supported arm is here also debarred from hearing
any measure of this recoil ; and as the mere weight of the lax hand is insignifi-
cant, it follows, that the tone-amount thus available can be but small ; and be-
ing entirely " initiated" by the finger, that it must also be thin in character,
unless modified ly other means. Vide %% 10, 11, and 12; also next note.
2 The quantity of tone is still somewhat limited, since finger and hand have
only^the elastwaUy-supported arm (an insufficient basis) to act against. The
quality of tone is limited for the same reason ; since there is no arm-weight
set free, we cannot " initiate" tone by Weight ( 10) but can do* so only by
Muscular-initiative with its more sudden effect upon the key.
Quality may, however, be influenced in some measure (as in all three form*
of combination) bv the choice that is left us, between " flat "and "bent"
tinger-attitude. Vide 12.
PREAMBLE, FAKT ill. 107
components are here brought to bear upon the key dur-
ing descent. Offers fullest scope both as regards quality
and quantity of Tone (Vide 7 and 10, etc.) and it may
take the form either of Ann, Hand, or Finger movement
Arm, " Wrist " or Finger " touch." Speed is how-
ever limited, owing to impossibility of providing the
required arm-release and its cessation (individually
directed to each sound) beyond a soon-reached limit of
re-iteration. 1
10. Variety in QUALITY of tone, mainly depends on the
fact, that when we do employ the element of WEIGHT (third
Species therefore) we then have the option of prompting
the complete combination of Weight (arm-release, etc.), and
Muscular-exertion (Hand and Finger activity) into operation
against the key, by " willing" the employment of either of these
two Elements, while the remaining Element then comes into
operation automatically, i.e., in response to the one we have
" willed. " 2
In this way, we are able to apply the Weight we use, either
suddenly or more gradually to the key (during descent), and it
is in this way that we can influence the key either suddenly or
gradually into the particular Speed required.
Touch, thus initiated by muscular-eceeT'&w, (with its more
or less sudden key-descent) tends to make the tone-quality
more or less aggressive or harsh ; whereas Touch, initiated by
1 While this form of muscular-combination is therefore only available
when the speed required does not exceed a comparatively slow gait, it is
nevertheless the only form that will enable us to obtain the full measure of
good tone permitted us by our particular physical-endowment, since this com-
bination will alone allow us to utilise the whole weight of the arm (and shoul-
der even) as a recoil-breaker, or basis for the work of the finger and hand.
We must be careful not to confuse this short-lived use of Arm-weight, with
the slight but continuous release, required for Tenuto and Legato. Vide 15*
3 In other words : We may start or INITIATE the act of tone-production
either by u willing " the finger and hand into Exertion, or may do so by " will-
ing" the arm-supporting muscles into Lapse ; and we can rely on reflex-action
to complete the remainder of the required muscular-act, provided, of course,
that we have formed the necessary mental-muscular co-ordinations, or Habits.
Arm-lapse is in the first case given in automatic-response to the willed exertion
of the finger and hand ; while finger-and-hand Exertion is in the second case
given in automatic response to the willed Lapse of the Arm-support.
108 KEY -TREATMENT ; MUSCULAR ASPECT.
a partial or complete lapse of the whole arm (either Incipient
or actual as to Movement) furthers a more gradual increase of
speed during key-descent, and therefore tends to make the
tone-quality more carrying, round, full, sweet and singing;
a tone-quality, which, when sufficiently thus marked in charac-
ter is called " sympathetic." *
11. The divergencies of Tone-colour that thus result from
this difference in the locality of the initiatory-act are in fact so
great, as to warrant our classifying all Touch (from the Artist's
point of view) into two primary grand divisions, or contrast-
ing Sub-GENEBA, which may conveniently be termed Muscular-
touch and Weight-touch, respectively.
To particularise still further, and to sum up this matter:
In the first of these two Genera Touch initiated by
Muscular-action, the complete muscular-conditions re-
quired for the particular note, are to be prompted into
being, by our loilling into action the depressing muscles
of Finger and Hand ; Weight, when required, is here
to be called into play by a release of the arm, given in
automatic-response to the recoil experienced at the
Wrist.
In the second of these two Genera Touch initiated
by Weight, it is on the contrary Weight-release that
must be willed for each key's descent ; it is therefore
the weight of the free-set arm (with its potential or ac-
tual fall) that must here automatically prompt the fin-
gers and hand into the (slight) exertion necessary, an
exertion necessary to prevent this said weight from fall-
1 The reas.pn why this difference in the locality of the muscular-initiative
causes respectively sudden or gradual application of Weight, is : that in the
first case, the total-effect is more immediate upon the key, because the initia
tory-step is here taken by the part of the limb CLOSEST to the key the imger-
and-hand element ; whereas in the second case, the total effect reaches the key
far more gradually, because the initiatory-act (in the form of a potential or
actual fall of the Upper-arm) is here FURTHEST removed from the key ; time
is hence consumed in the second case before the response on the part of finger-
sin d-hand fully takes effect, while the elastic medium here provided between
the force set free (the arm) and its point of application (the key) also materi-
ally delays the transmission of the full effect.
x in. 109
ing at the wrist and elbow -without taking effect upon
the key.
12. Variety in TONE-QUALITY, wMle it thus mainly depends
upon the locality of the initiatory-prompting* (forming the
difference between " Muscular " and e "Weight " Touch) is
moreover much enhanced in its distinctive effects of " brill-
iant 9> (or aggressive) key-attack, and "Melody" (or sympa-
thetic) key-attack, by a further element of contrast in muscu-
lar-application at our disposal : This arises from the option
we have of applying- the finger against the key in two diamet-
rically opposite ways, differences in FiNaEB-ATTJ.TU.DE which
moreover bring in their train two relatively opposite con-
ditions of the Upper-arm or Elbow.
These latter contrasts in muscular-attitude have been recog-
nised by many, as "Hammer-touch" and " Clinging-touch "
respectively, or as the French have it: es Avec attaque" and
" Sans attaque"
In ihejirst, or " hammer-touch '* variety, which we will
term the BENT-FINGER attitude, or "Thrusting attitude,"
a greatly curved or bent position (like the hammer of an
old-fashioned percussion-gun) is assumed by the finger
when it is raised as a preliminary to the act of tone-
production. The finger in this case un-bends (or un-
curves) slightly, in descending towards and with the
key ; the nail-joint however, remaining vertical through-
out. The Elbow has to take the brunt of the
slightly backward tendency of the recoil that arises in
this form of touch from the thrusting action of the
finger against the key. The Upper-arm must therefore
here be supported with a forward tendency (but not
movement) towards the key-board, so that this forward-
tendency at the Elbow may serve to counteract the re-
coil-thrust of the finger experienced at the knuckle and
elbow.
In the second, or "clinging" variety of touch, which
we will term the FLAT-FINGEB attitude (or "Clinging-
attitude ") a far less curved position is assumed by the
110 KEY-TEEATttEKT ; 3HJSOULAR ASPECT.
finger as a preliminary, and it may indeed be almost un-
bent or " flat." Exertion is in this case almost entirely
restricted to the wi^er-tendons of the whole finger. The
key is moreover reached (and moved down) with but
little change from this flatter or straighter position, and
its involved muscular-attitude. As the clinging ac-
tion of the finger in this instance tends to drag the Elbow
towards the key-board, this tendency must be counter-
balanced by allowing a sufficient lapse to supervene in
the supporting-muscles of the Upper-arm. Such release
of the upper-arm tends to drag the elbow away from
the key-board and thus balances the pull of the finger ;
whilst the additional weight thus set free, materially
helps to drag the key down.
The first kind of finger-attitude (with its correlated upper-
arm conditions) is exceedingly less elastic than the second.
When the most sympathetic quality of tone is required, we
must therefore choose this second (flatter) attitude with its
elastic Knuckle and Wrist, and consequent furthering of grad-
ual key-descent, and must employ this in conjunction with
Weight-touch, touch initiated by lapse in arm-support.
13. The importance of CEASING- the muscular-act the mo-
ment its mission is accomplished, is the next point for consid-
eration. As the act of providing Energy (in its various forms)
against the key is required solely for the purpose of inducing
speed in key-descent, it follows, that we must cease applying
such Energy the moment this operation is completed the very
moment that the "sound place "is reached in key-descent. 1
Unless we do thus time this cessation accurately,
some of the force intended to induce key-descent (or sound)
will instead be received by the key-pads, with the inevi-
table result that our technique will be clumsy and inaccurate,
and true Agility and Staccato will be equally impossible, as
well as all accuracy in tone-response accuracy in " Expression.**
1 Vide Part IT., 4 and 5, Chapter X.,page 71 ; 6 and 7, Chapter XL*
page 80; and 4, Chapter FIT., page 50.
PREAMBLE, PART III. Ill
All force employed to produce tone (whether obtained from
Muscular-action or from "Weight-release) must therefore cease
the very moment that Sound-emission begins. 1
To enable us to provide this cessation with accuracy, we
must (as already pointed out) listen for this moment, thus
guiding our muscles by our Ear. 2
14. Now it is evident that STACCATO must result from the
Tone-producing operations thus far considered, provided the
law of accurately-timed Cessation is strictly adhered to, and
provided also, that no Arm-weight (however slight) is mean-
while permitted to lapse continuously upon the keys. For
the key will rebound, and will even take up with it the super-
incumbent finger and hand, provided the latter lie on it in a
perfectly loose and inactive condition the moment they have
completed their necessary action. 3 "Whence it will be borne in
upon us, that there must be anotfier operation, to be performed
in conjunction with the key-depressing one, if we would pro-
duce any effect other than Staccato :
15. TENUTO (and Legato) we shall thus find, demands, that
1 The cessation of Weight is induced by calling into re-activity the arm sup-
porting muscles* In this connection it is important to note, tliat such resump-
tion of work on the part of the arm-supporting muscles must not be prompted
directly by the Will, but that such resumption must instead be prompted au-
tomatically ; that is, it must occur in response to the cessation of the fingers'
and hand's activity against the key ; a cessation timed (as so constantly in-
sisted upon) at the moment that tone-production is individually completed for
each sound.
Our arm-supporting muscles must therefore here be called into action much
fo the same way that those of our legs would be (by reflex-action), were the
chair we happened to be seated upon, suddenly to collapse under us.
2 As this insistence on ATTENTION may to some seem exaggerated, it may
be as well to call to mind the expression of intensest concentration to be ob-
served on the faces of the great artists during performance ; a concentration
of mind amounting to complete self-effacement !
We can observe it even in the case of a mere acrobat about to perform his
u turn " ; his face exhibits an almost painful expression of attention and concen-
tration. Now, if such mental energy is required for the performance of a
purely acrobatic feat, how much more intense must be the mental-fore that is
required, when we have not only a series of most subtle and delicate acrobatfa
feats to perform, but have in addition to choose these, so that the most perfect
expression of our Musical-feeling shall be accomplished !
8 There is a peculiarly sharp Staccato, in which such rebound of the key
(with its over-lying limb) is Mvedby a slight " drive" or " kick-off " against
the kev-bed.
112 KEY-TREATMENT ; MUSCULAR ASPECT.
we must rest continuously on the key -board, with sufficient
weight to compel the implicated fingers to retain their keys
depressed, while we must besides this operate against each
key individually, to induce its proper speed. 1 Vide : Chapter
XL, 14 9 page 85. Also : Chapters XV. and XVIL
Such BESTING should for obvious reasons be no heavier
than will just suffice to fulfil its purpose. Its degree of
ponderousness should be determined by the degree of resist-
ance the key itself offers to depression at its softest speech, for
the amount of weight required to overbalance the key must
obviously also suffice to prevent its rebound. 2
This necessary weight is obtained by relaxing the ivhole
arm from the shoulder, relaxing it sufficiently but no more,
than will just overbalance the key into descent. The weight
thus obtained continues resting on the key-bed to the end of
that note, in Tenuto ; or in the case of Legato, on the key-
board until the phrase is completed. 3
16. LEGATO is obtained by the use and intervention of
successive fingers during the continuance of such act of Best-
ing a Besting, light and yet heavy enough to compel some
finger or other to continue a supporting-action of the super-
imposed "Weight. 4
1 "We find indeed that the tone-production in all Tenuti (and Legati) of
greater tone-amount than pp is as short-lived as in Staccato ; and we might
say, that all such Tenuti and Legati therefore contain a perfect staccato-
production, although the equaltyrequired accuracy in cessation is as it were
hidden from the Ear in Tenuto and Legato, hidden by the continuous aural
effect arising from the continued depression of the keys beyond the first mo-
ment of tone-emission, a continued depression caused by this slightly heavier
4 < Besting."
2 Except in the case of certain very percussive-legato touches, etc., when
slightly more weight than this is required to prevent the key-rebound, and
consequent staccato effect.
* We must be most careful to understand at once, that this light continuous
Resting of the arm the Tenuto and Legato Basis is quite irrespective of what
besides this is done to provoke Tone. "We may indeed apply the full
force of the ringer and hand to the key during its descent, or may even apply
the fuU weight of the arm (and shoulder) during that tone-making operation
(third species of combination), and yet this light continuous Resting must go
on undisturbed between the strong impulses thus delivered to the key (during
descent only) to provoke the full tone.
. 4 There is however an exceptional form of LEGATO, which does not depend
on such Resting-weight. In this case, we apply a slight (a very slight) con-
PREAMBLE, PART III. 113
Such legato-compelling- weight must in this case be trans-
ferred from finger to finger. This transfer must be effected to
each successive key at the moment that its deflection is de-
sired to commence, if we would obtain that effect of perfect
continuance between sound and sound (without smudge) which
constitutes the perfect Legato ( Vide Io 9 page 86 S GhapL XL).
The transfer of weight is therefore made from the bottom of an
already-sounded note, to the topox surface of the note next
to be sounded. 1
If Super-legato (legatissimo) is required, then such trans-
fer must be effected a little later than just described, so that
the transfer of the weight may be delayed until the next key
has already reached its full depression ; thus causing the de-
sired overlapping of the sounds. 2
tinuous exertion of the Hand alone, in place of the usual arm-release ; while the
arm here remains self-supported, as in Staccato. The fingers are therefore
here again compelled to transfer a slight continuous pressure from key to key.
Such gentle exertion of the hand, since it acts upwards by recoil against the
"Wrist, thus after all brings the necessary arm-weight to bear continuously upon
the key-board, but does so in a rather more uncertain fashion than when the
fingers and hand respond to actual and continuous release of the arm.
This " artificial" Legato, as it may be termed, is suitable for Legato inflec-
tions of short duration ; and when added to the usual natural Weight-release-
legato, forms a convenient means of inducing passing SUPER-LEGATO (Le-
gatissimo) inflections. It can also be applied in certain rapid passages, when
these are taken forte. In such cases, we must, however, be careful that the
finger-impulses used are ample to prevent such continuous hand-pressure from
really reaching the key-beds ; otherwise Agility, and all else, will be materially
checked. The act of Kunning forms a good simile, when extra weight or press-
ure is thus carried in a rapid passage ; for the body carried either by the legs
or the fingers, is in both cases kept floating off the ground by the rapid re-iter-
ations of the jump-like acts performed respectively by the fingers, or the legs.
1 This transfer in weight-supporting duty, from one finger to another (in
unbroken continuity of weight) is effected exactly in the same manner that
the weight of our bodies is transferred from leg to leg in the act of gently
walking, walking without any stamping or rolling-about. That is :
each successive finger's gentle weight-supporting action must be automat-
ically prompted by the WILLED LAPSE in the preceding finger's duty. If we
wish to produce sapianimmo-legatQ, we must indeed be most careful not to
permit ourselves to think of USING (or " putting-down ") the finger that is to
sound a note, but must on the contrary direct the preceding finger to give way
at the right moment. In this way we shall feel the preceding finger and its
note as it were merged into, and become the new note.
* A very slight increase in resting-w eight may also be desirable in this case ;
or, we may instead employ the " artificial" legato-influence described ia, clie
Note 4 tog 16,
114 KEY-TREATMENT ; MUSCULAR ASPECT.
17. Variety of Touch-method under Legato and Tenuto
is as manifold as it is under Staccato. 1 It is indeed even more
so : for the nn- aided Besting provides ns in addition with a
ppp tone-production without any assistance from an " Added-
impetus/ 5 ( 18) individually directed to each key. 2
18. We shall now be prepared to accept the following
concept, viz. : that ALL TOUCH is in its nature COMPOUND with
one solitary exception, iheppp Tennto and Legato.
Touch, we find, implies a dual conception and act. This
duality consists of a Resting on the key-board which is con-
tinued parallel with each musical phrase, and an Added-impetus
which is directed to, but which ceases with the consummation
of each and every key-depression, 3 and which is therefore dis-
continuous. In other words, we have two distinct, yet co-
existent acts and conceptions, an act of Besting, interspersed
with another act, that of individually supplying Energy to
each key, sufficient to move it in the manner dictated by our
musical conscience.
1 We should notice, that Finger and Hand have in addition both to Tbe
slightly but continuously active in Tenuto and Legato, so as to ensure the re-
tention of the keys beyond the moment that sound-emission commences.
8 Here it is well to recapitulate the sources of the main tone-contrasts,
which are therefore equally available both under Legato and Staccato .
The energy required to provide tone greater than ppp, may be drawn
either (a) from Finger alone, or (b) from Hand and Finger, or (c) from
Arm-weight released behind both. When arm-weight is included,
then we can at will render the result of this combination more sudden
or less sudden in its effect upon the key, as we direct either Finger-
and-hand Activity or Weight release to start each act of tone-pro-
duction. A contrast between aggressive and sympathetic tone-quality
which we can moreover intensity, by employing either the thrusting
or the clinging attitudes of the Finger and their correlated Upper-arm
conditions ; which latter again, by their diversity in elasticity, so
materially influence the resulting tone-quality.
Such resulting differences in tone-amount and quality, can more-
over be accompanied either by movements of the Finger, Hand, or
Arm, or those of Rotation.
B Excepting always the single case of ppp Tenuto or Legato, where Rest
ing and Key-depression are synonymous.
PREAMBLE, PART III. 115
Touch, in a word. is found to consist of these two simulta-
neous operations, the one continuous with the duration of each
phrase, and the other intermittent, discontinuous, and lasting-
only during- the space of time consumed in key-descent, and
lasting therefore never longer than in ike most abrupt sfaccatissimo ;
the latter being- an act accurately " aimed 3J to cease the mo-
ment our ear perceives the transition from Silence to Sound. 1
19. STACCATO itself indeed forms no exception to this
dual conception of the act of Touch. For we must re-
member that all our playing- (artistically considered) becomes
mere un-reliable guesswork the moment we forget to judge hey-
resistance.
We are hence forced to the conclusion that all Touch, in-
cluding: Staccatissimo, must contain this element of Besting-,
or else its correlative (or substitutionary-parallelism) the re-
sumption of "key-contact" (the resumption of the sense of
key -resistance) as a preliminary to each tone-production. 2
20. "We here again find the teaching- of Chapter XL re-en-
forced ; viz., that the difference between Staccato and Tenuto
(and Legato) is determined solely by the weight of this Rest-
1 This u aiming " applies to each individual note in a slow succession of
notes, but it becomes (like the act of Resting) merged into a " general impres-
sion " and " general direction," in the case of a rapid succession of notes.
2 Vide Chapter XI., 10, 11, and Note to 11; also, 16 and 17;
Appendix to Part II., Note X., "Key-hitting;" also ditto of "Supplement."
Consideration of the requirements of the key proved to us, that we must not
attempt to hit the key into sound, since this would debar us from realising
the resistance it offers to movement; with the consequence, that we could not
in this case judge with certainty the degree of force required to depress it at
the required Speed, and required angle of Speed-increase during descent, that
would compel the resulting tone-quantity and quality to correspond with the
Music under interpretation. As a corollary, we also found, that Key-contact
must take the form of a continuous Resting upon the key-board, continuous,
or at least always resumed before each key-depression; such coming to "rest w
upon the key, and the realisation of its resistance, not necessarily entailing an
act discontinuous from that of the ensuing actual key-depression.
Staccato may therefore also be said to u contain" the opposite element
the element of Legato ! In so far, that we must continuously rest upon the
keys in Staccato as well as in Legato ; the only difference being, that we must
rest more lightly in the case of Staccato than in the case of Legato or Tenuto ;
for we must be careful, in Staccato, not to rest more heavily^ on the keys
than thev will bear w&hmjt bfiinp- thereby influenced into depression.
ELEY-TKEATMENT ; MUSCULAR ASPECT.
Ing, two distinct degrees of it being 1 optional. The basis for
Staccato being- a Resting that must not be heavier than the
keys will bear without giving way, while the basis for Tenuto
and Legato is a Besting slightly heavier than the last, suf-
ficiently heavier just to overbalance the key into descent. 1
21. There remains to be considered that single exceptional
form of touch, which is SIMPLE in structure, and not COMPOUND
like the rest. This we have in fact already considered, for it
is obtained by employing alone (without the help of any
" added-impetus ") the form of Eesting that is the basis of all
Tenuti and Legati. We therefore here have a Touch-mode
that does not consist of two co-existent conceptions and oper-
ations, inasmuch as there is here no difference between the
muscular-conditions that determine key-depression, and those
that obtain after the consummation of each descent ; for the
conditions that serve for key-descent do in this single instance
continue un-altered after the completion of the act of Tone-
production.
This touch forms the only true absolute pianissimo, and as
we have seen, it is also contained (as Basis) in all Tenuti and
Legati. 2 Moreover, while this w#&e<$-pianissimo touch
forms one of the most beautiful (and so far, most rarely em-
ployed) effects of which our instrument is capable, it at the
same time forms the simplest touch-method of all ; and
logically, it should therefore be mastered before any of the
others. 3
The muscular-conditions liere required, are : we must
allow the WHOLE arm 4 to become slightly but sufficiently
un-supported by its muscles to enable the weight, thus
set free, precisely to out-balance the weight and friction
1 To re-state the case once again : The Resting may occur upon the key
either in its un-depressed or in its depressed condition. Of these two forms
of Resting, the first cannot by itself at all induce tone-production, such light
resting at the surface-level of the key-board here only serving to enable us to
locate the keys, and to discover the extent of their inertia ; whereas the second
form, although heavy enough to contribute towards making sound, should
nevertheless not by itself be empV^d to induce sound beyond the softest de-
gree. 2 Vide "Supplemestif* No. IIJ ^tm Pianissimo Playing. 3 '
8 Vide Appendix to Part HI , Note XI., "The ' Foundation-Touch' fallacy >'
Vide also "Supplement" X^o. III., re pp playing.
4 ^ore-arm weight only in " Bent-finger " technique^
.PREAMBLE, PAET III. 11?
of the particular key Implicated. 1 Such weight must
therefore be set free In automatic response to the re-
sistance the key Is felt to offer ; and no further weight
must be set free the moment the key is felt to sink
down. 2 The very softest sound the instrument
Is capable of uttering-, will In this way be attainable with
absolute certainty from each key, even when the keys
vary In their resistance, as they mostly do.
22. Beside these main facts of muscular condition, there
are several subsidiary ones that must be understood. Chief
among- these, is, iiie principle of FOEE-AJOI BOTATIOST :
The rotary exertions and especially the rotary lapses of
the fore-arm, play a very Important part In Technique. Unfort-
unately such necessary changes in the state of the fore-arm
remain practically invisible, 3 unless deliberately made visible
*ry exaggerating- them. The consequence of the normal Invis-
ibility of this rotary-adjustment is, that many players never
discover Its necessity, and Its far-reaching influence techni-
cally for good or evil.
Constant changes In the state of the fore-arm's
rotary Belease and rotary Support are imperative, if the
fingers at opposite sides of the hand are to be equally
" strong " ; i.e., if the little finger and the thumb are
to have equal successive apportionments of weight (or
1 The muscular combination used is the third, % 9.
8 The weight thus more or less to be set free, must be that of the whole
arm ; lapse only in the support of the fore-arm will not at all serve the pur-
pose. Moreover, the note must be produced solely ** by weight-lapse " ; the
slightest muscular-initiative on the part of finger or hand, will inevitably pro-
voke failure. "We must also entirely rely on the key itself to prompt
the amount of weight set free, we must as it were trust ourselves to the see-
saw-like end of the key. In a slow passage, this prompting is derived from
the individual resistance of each key ; in quick passages, as usual, it is the
general impression of key-board-resistance that serves the purpose. Slight
crescendi are also available by slightly fluctuating this resting- weight ; but we
must remember that we dare not increase such resting- weight greatly, as this
would lead to loss of agility and clearness of enunciation, and above all, to
inaccuracy of Tone.
5 Excepting in a comparatively rarely employed form of touch, the so-
called " Side-stroke/' a touch performed by an actual tilting of the hand
from side to sicK
118 KEY-TREATMENT J MUSCULAR ASPECT.
resistance) to act against, when one o these fingers is
applied against the key. Weight must be re~
leased rotarily towards the little-finger side of the hand,
when the little finger is required to work effectively
against its key; a rotary lapse of the fore-arm, that
must be precisely reversed, when we wish forcibly to em-
ploy the thumb. In the same way, we have rotarily to
support the thumb-side of the hand, when we wish to em-
ploy a finger at the opposite side of the hand alone ; and
we must reverse the process, when the little-finger side of
the hand has to be held off the key -board.
Moreover, not only doesEVEimESS of touch thus depend upon
accuracy in the constantly changing rotary-adjustment of the
fore-arm ; but it is again upon this class of adjustment that
we have mainly to depend when we desire to make a tone
prominent at one side of the hand.
23. Other subsidiary actions are as follows :
a) : Horizontal movements of the Hand and "Wrist ; which
render easy the turning under and over of the thumb and
fingers, and thus enable us to connect without break the
various groups of fingerings of which passages are built
up.
b) : Side-to-side movements of the fingers themselves,
which enable us to reach notes situated within a short range,
c) : Slight rotary movements of the Upper-arm, which help
us (in conjunction with a certain hidden raising or lowering of
the fore-arm) to execute rapid skips within the radius of about
two octaves, without any lateral displacement of the Elbow,
and which consequently allow us to execute such skips not
only with celerity, but with relative certainty.
d) : A slight lowering and raising of the Wrist- joint, which
enables us to reach alternate black and white keys in
octave and chord passages, without any fore-and-aft displace-
ment of the Elbow ; thus obviating the otherwise more cum-
brous movements of the whole arm, forwards and back-
wards.
Finally (e), there are the side-to-side movements of the Up-
THE LINK BETWEEN KEY AND MUSCLE. 119
per-arm itself, wMcli give us the whole range of the key-board;
enabling' us to take the most extensive skips. Such skips, de-
pending as they do in this case on a lateral movement of the
whole arm, cannot however be taken at the relatively high
speed of skips taken by the Forearm. Vide (c).
24. Having thus glanced at the whole subject of the
Muscular-aspect of the subject, we must in the nest Chapters
consider the various details somewhat more fully.
CHAPTEE
THE UNE BETWEEN KEY AND MUSCLE OUK SENSE OF KEY-
BESISTANCE.
1. We found, when studying the key's requirements in
Part II., that for every shade in tone-difference demanded
from the key, the latter exacts a difference in the application
of Energy applied to it. The key's requirements in this re-
spect differ with every individual instrument, and differ even
with the various portions of the same instrument ; and they
vary again during the course of each key's descent during
its short life as a tone-agent.
Hence it becomes abundantly clear, that we must have an
absolutely sure and ready means constantly at our disposal,
which will enable us to determine the precise degree of energy
required by the key, if our Execution, Technique, or Tone-
production shall be serviceable for any really artistic purpose ;
and that we must not here, at the very fountain-head, depend
on mere surmise or guesswork.
Our first step, before proceeding further, must therefore
be thoroughly to understand how and by what MEANS we can
with certainty be apprised of the key's exact requirements for
the particular tone-inflection of each and every individual act
of Tone-production or key-deflection.
2. Since its wants vary practically with each note, it if
120 KJEY-TREATMENT ; MUSCULAR ASPECT.
evidently upon the Key Itself that we must in the first instance
rely for this necessary information. This notification the
key offers us, through its ever- vary ing change in BESISTANCE. 1
3. "We are consequently forced to accept the following
precept, and it forms probably the most important rule of all
the rules of Technique :
That all the muscular conditions (both of action and of in-
action) required for key-deflection, must be given strictly in
answer to the felt resistance of the key itself, and that we must
therefore CONSTANTLY WATCH KEY-BESISTANCE, before and during
descent.
This may be formulated by saying, that we must always
muscularly watch the "key-surface / or better still, that we must
watch for the point (of resistance) at which the key will give
way in short, the giving-way-ness of the key. 2
4. The medium through which we thus become aware
of key-resistance is our muswdar-sense and its co-operatives,
which may appropriately therefore be termed our BESISTANCE-
SENSE. 3
1 For Key-resistance we must of course not mistake 'key-bed resistance, but
the resistance the key offers before it will move, and during its descent.
3 In a word, we must constantly " weigh " tie key as a preliminary to using
it ; for we can no more hope to use the key accurately without such constant
preliminary weighing of it, than we can expect to use the Racket, Cue, etc.,
successfully, without a similar preliminary judgment of their weight, imme-
diately "before each " stroke."
The teaching of LESCHETITZKY, and others, that every finger must (in most
passages) be in contact with every key before defection, forms a recognition of this
truth. In such teaching, this takes the form of insistauce on the finger being
in position on the key beforehand several keys (whole fingering-positions)
being even thus " prepared'* before their depression is due.
We shall presently find (Vide Chapter X7., " The Concepts of Touch"}
that such insistance on ll> position" is unnecessary and cumbrous, as the ele-
ment of "RESTING" (when understood, and carried out) compels such pre-
paratory positions unconsciously and more naturally.
3 The term Muscular-sense (or Resistance-sense) as applied here, is one of
convenience. It is not considered expedient to go more into detail. Enough,
that the term is here intended to embrace the senses pathologically distin-
guished as " muscular-sense," "pressure-sense** and "muscular-sensibility."
Our object here is merely to insist on the necessity ptysically to feel key-resist-
ance before and during key-descent, since the application of muscular- judg-
ment in this sense forms the main distinguishing feature between certainty
and un-c&rtainty in Technique and Expression. There are many no doubt
who have never realised that they possess such a sense, and it would be inter-
esting to pursue the matter more minutely. Such a course would however,
THE LINK BETWEEN KEY A^B MUSCLE. 121
It is by means of this alone 3 that we can be adequately re-
minded of the ever- varying- Resistance exhibited by the key
if we watch it. 1 And it is this Sense that may therefore be
said to forge the LINK which in correct Touch brings onr mus-
cular-system and our mind into such intimate connection with
the key, as to cause the latter to seem a continuation of oar
finger-tip, so that our very flesh-and-blood seems to end only
with the Hammer-felt.
5. We find, that the resistance the key thus offers, is felt to
be greater in direct proportion to the speed we wish to impart to
it. Vice versa, if we wish to provoke a key into the pro-
duction of a large tone, we must try to make the key resist tt&
greatly during descent. For if we have succeeded in that, then
we may feel assured that the Tone-result is large, even should
wo be unable to judge the result by our ears owing to the
faulty acoustics of the room, or other cause. 2
6. This required muscular- judgment of the key is derived
individually from each key in slow passages. In quick
passages it is on the contrary derived from the general sensation
merely confuse the ordinary student at this stage, and divert his attention
from the main issue. Besides which, the precise relationship and even nature
of these senses still remains somewhat ohscure, and is debatable ground.
1 This reminder may be accomplished either consciously or unconsciously
to ourselves.
3 The application of Muscular-attention to key-resistance therefore, not only
enables us to gauge the degree of resistance the Key offers before it will move
at all, and the point when it will give way at its softest (Vide Part /, page
80, % 8) ; but it also enables us to judge the opposition the key offers against
moving at any Jdgh&r grade of speed, and increase of speed during descent.
Whence we realise, why it is by such means alone that we can with certainty
be prompted to deliver the requisite Energy, and increase of it during descent,
mutually demanded by Key and Musical-sense.
Seeing how much indifferent execution (and un-musicality therefore) re-
sults from its non-application, it is impossible to over-emphasise the necessity
of giving a keen, unswerving, and ever-present attention to the Key by means
of the Resistance-sense during Performance, in conjunction with the outer ear.
It is true, that a certain grade of rough execution can be accomplished
without such careful attention in this way : a degree of un-musical (because
colourless) execution that may content the musically un-educated, or those
who do not consider the Pianoforte to be really a " musical " instrument !
Or it may content the artistically uneducated, such as are able to derive
ear-gratification from rough, oleograph-like mis-reproductions of musical
works performances not far above the coarse (^-musical tinkle and clatter
of the barrel-piano 1 that curse of our English lanes and by-ways, and wMch
even pollutes the air of moor and lake !
122 KBT-TRBATMEXT ; MUSCULAR ASPECT.
of resistance the key-board offers as it is being- rapidly traversed
and used; the impression made by the separate key-units
being in the latter case blended into a general-impression.
Such general-impression varies in accordance with the varia-
tion in resistance the keys offer, both at surface-level, and as
they are being deflected either at great speed or at little
speed, and suddenly or gradually.
7. As so much depends on a correct understanding of
this matter, it is advisable to attempt a clearer definition of
Muscular-sensation or Eesistance-sensation as here implied :
What is mainly meant, is the sensation that arises when a
muscular-exertion made by us meets with a check or resistance
opposed to it a sensation therefore, that is aroused by some-
thing conflicting with our muscles.
The sense we desire to enlist, cannot hence be aroused
unless some muscle is exerted, for it cannot be aroused unless
there is something in conflict with a muscle 1 . Nevertheless,
although it is by means of muscular-exertion that the sense of
key-resistance is excited, yet very little exertion will suffice to
stimulate the Sense. The resistance which the key is able to
offer at surface-level without giving way (when the hand lies
loosely upon it) is quite enough to cause the sensation ; which
is here caused by the infinitesimally gentle work done by the
fingers in supporting the hand, thus loosely and inactively ly-
ing upon the keys. 2
1 A proper realisation of the fact, that the sensation in question arises owing
to a muscular-exertion being opposed, has important bearings educationally
beyond those just considered. We shall presently find, that resistance to
muscular-effort may arise within the limb itself, caused by the " contrary"
muscles coming into action along with the necessary ones. The presence of
resistance, the sense of conflict or impediment within the limb itself (and there-
fore not derived from the key) should hence instantly warn us that we are not
fulfilling the law of " Relaxation of all un-needed muscles" and that we are
therefore not playing with the ease and freedom that might be possible.
2 The sensation can moreover be materially intensified, without impairing
the loose-lying condition of the hand (as required in Staccato and Agility
passages for instance) by slightly wedging as it were, the front two phalanges
of the finger between the key-surface and the light superincumbent weight of
the hand. This is a muscular-subtlety, but it is one that is of great use artis-
tically, since it greatly improves one's assurance in light running passages,
both in staccato and quasi-legato.
THE LIXK BETWEEN KEY AXB 31USCLE. 123
8. We must moreover, not mistake another sense for the
required Besistance-sense, and that is the sense of TOUCH, prop-
erly so-called. TMs last, 'the sensation of mere contact with
a smooth or rough surface, is quite distinct from the more
ponderous sensation of Resistance. 1
The sensation of Touch itself, is however also useful in
playing, for it helps us to locate the exact place occupied by
the key in space.
The point is, that we must not rest satisfied with realising
key-surf ace merely by this sense of contact or touch, but must
besides realise the key's actual resisting-powers.
9. The intimate relation that exists between this atten-
tion to Key-resistance and HUSICAL-ATTEOTION itself, is per-
haps the most striking fact of all in this connection. For if
we watch key-resistance as here insisted upon, we shall also
find ourselves compelled to give Musical-attention. "We give
this as a direct result, the moment we bring our minds to watch
key-resistance, since it would be purposeless to do so without
at the same time considering for what purpose and at what
moment that key is musically required. Our musical-judg-
ment is consequently stimulated to decide what quality and
quantity of tone is at that moment required, and hence again,
our attention is instantly and acutely drawn towards COLOUR-
ING ; and we are thus forced to rely upon the dictates of musical
Feeling, Contour and Shape, ( Vide the Table, page 40, Part I.)
In a word, we cannot judge what the key requires muscu-
larly, without immediate reference to the requirements of
Musical-sense. (Vide also 12 9 of next chapter.)*
1 The sensation of Touch seems to "be derived from numerous nerve-ends
distributed under the skin ; these enable us as it were to count or measure the
protuberances that form roughness of surface.
2 To sum up, although it may be granted that a certain degree of rough
playing is attainable without such attention, yet the elements of artistic-
playing (refinement and subtlety of Expression, and certainty in it) must re-
main impossible of attainment without ** Key- judgment through the Resist-
ance-sense " the act of Resting, and an equally un-swerving attention through
the outer-ear ; and an unfailing use of the player's musical conscience. For
does not Artistic-execution, in short, imply, a Technique that enables us faith-
fully to portray even the subtlest promptings of our musical-imagination and
judgment ?
124 KEY-TREATMENT ; MUSCULAK ASPECT.
RECAPITULATORY
a) : Part IL demonstrates that each and every sound-colour
both of quality and quantity depends on the way we move the
key during each short-lived process of descent.
b) : The requirements the key exhibits, differ therefore with
each difference in sound-kind sound-shading or inflection.
c) : It follows that we must precisely adjust our efforts to
meet these constantly varying requirements.
d) : Our only means of judging what these are, is through
watching the Resistance the key itself offers us, before and dur
ing each descent, the " giving-way point " of the key*
c) : It is only by employing our "Resistance-sense " (the Mus-
cular-sense and its co-operatives) that we can be apprised with
certainty of these inexorable requirements of the key.
f) : This sense hence forms the Link between the key-board
and ourselves.
g) : It is not enough to use merely the sense of Contact or
Touch, we must insist on feeling the actual resistance the key
offers to our muscles before and during descent.
h) ; So intimate will the connection thus formed be, that
finger and key will appear as one to us ; the whole leverage-
system, from shoulder to hammer-end, will seem as one living
lever to us.
i) : Certainty, both as to Notes and as to Expression, can alone
be secured in this way.
j) : In slow successions of notes, each one is to be thus indi-
vidually felt and judged. In quick passages, the separate units
are merged into one general sensation and judgment of the key-
board.
k) : Attention to key-resistance also compels Musical-attention :
for we cannot muscularly/^0 the key as to Tone and Time,
unless we have a sound in our mind, exactly dictated by our
Musical-feeling at that moment.
ON KEY-CONTACT. 125
CHAPTER XIV
Ox KEY-CONTACT:
THE NATURE OF THE IMPACT OF THE FIXGEB AGAINST THE KEY*
1. In the last chapter tiie fact was insisted upon, that to
enable us to obtain certainty in execution and beauty of tonal-
effect, we must constantly observe the actual resistance the
key offers us, ever- varying as this is, and only to be known
and gauged through being physically felt.
The corollary is, that key-hitting is demonstrated to be as
undesirable a mode of bringing the Finger-tip into contact
with the key, when considered from its muscular aspect, as it
was proved to be fallacious when considered mechanically in
Part II. ; for it is obvious that such mode of contact would
render impossible the intervention of our " Resistance-sense,"
and would therefore prevent any direct judgment of the key's
requirements, as well as any accurate exemplification of our
musical feeling. As the key-hitting hypothesis has thus been
found untenable, from the muscular as well as from the instru-
mental standpoint, let us now describe more precisely how the
Finger-tip should reach the key.
2. Our object being to obtain beauty and accuracy as to
tone, we must be careful to reach the key, practically without
percussion or concussion ; i.e., we must reach it with no greater
force than it can bear without giving way under the actual
impact. Not even in fullest /ore is there any real occasion
to make the finger-tip impinge upon the key with more force,
than could be borne with impunity by one of those glittering
balls of thinnest glass, so much in evidence at Christmas.
When beauty and accuracy of tone is a consideration, key-
attack should therefore always take the form of a gentle fall
126 KEY-TREATMENT ; MUSCULAB ASPECT.
of the finger-tip upon tlie key, no matter whether the Finger
alone is to move, or whether the Hand and Arm are to move
with it. On reaching 1 the key in this comparatively gentle
way, we are able intimately to "take hold" of it as it were,
before its actual depression commences ; and we are thus able
iofeel the toeight of the tool we mean to use, as demonstrated
to be so necessary in the last chapter. See Notes, pp. 185, 145.
Instead of really hitting the keys down as is so often done
by mistake we must, even in the most forcible passages, try
thus to " take hold " of the keys and weigh them, before using
them. It is this difference in the beginning of the act of tone-
production that constitutes much of the difference between the
production of a really large and beautiful tone, and that of a
harsh, ear-splitting unmusical noise, of no carrying power. 1
3. This comparatively gentle fall of the Arm, or Hand, or
1 Although it may at first sight seem incredible that such careful contact
should remain possible even in he quickest and loudest passages, yet not only is
this possible, but it becomes perfectly easy, once we have formed the necessary
habits both of body and mind. As already insisted upon, all our playing
must remain mere "fluking," until such habits have been formed, and we
are consequently able to use the key with certainty, until each musical desire
for a tone-shading at a precise moment can be automatically supplied through
the co-operation of the muscular-system, prompted by an almost unconscifjus
employment of the muscular-sense through the key's varying resistance.
A performer, whose habits of key-attack allow him to produce perfectly
good qualities of tone, and who therefore proves that he never really does
merely hit the keys down, may nevertheless "find it difficult to realise, that
that which he has for years regarded and may be cherished as key- 4 4 striking, "
is not really that at all ; but that his key-attack consists on the contrary of a com-
pound action, made up of an easy movement to the key, and a subsequent
tone-making effort, subsequent, though in unbroken continuity with the pre-
liminary descent of the limb. In fact, sensibility to Beauty of Tone often
unconsciously prevents the adoption of real hitting, although the performer
may fancy he does hit, and is even an ardent advocate of that mischievous
practice. Perhaps such an one might possibly be cured of his faith in it, by
having demonstrated to him the appallingly harsh and yet poor tone that re-
sults, when a chord is in reality (and not in fancy) struck down by, say by a
twelve-inch descent of the arm.
It is moreover true, that it is indeed one of the hardest technical tasks to
obtain the fullest forte in combination with beauty of tone, requiring as this
does considerable energy, but delivered gradually. Much of the difficulty is
however enhanced, from the mistaken idea that it is "force" that is needed,
no matter how applied !
The moment we recognise that the key must be taken hold of, and used
only "to" the tone, that moment our tone will commence to grow in beauty,
resonance, and power. It is worth trying for, for how rare are the Pianists
that exhibit real beauty in their fortes !
OX KEY-CONTACT. 127
Finger upon the key-board, should in character be as far
removed as possible from a muscnl&Y-exerfion, Le. 3 the limb
should not be put down upon the keys, but should instead be
allowed to subside, lapse or sink down upon them, the descent
upon the key should arise rather from omimon than from com-
mission of exertion.
4. It is only when we actually reach the key, and derive
from it the necessary information as to its needs, that the actual
process of tone-production can be said to commence the process
oppressing the "key into motion.
5. This however does not imply that the process of reach-
ing the key, and the process of depressing it, must needs be
separate. On the contrary, this jfeft contact with the key's sur-
face (preliminary to its depression, whence arises the necessary
preliminary physical judgment) need not occur any appreciable
time before the key's depression is started, and it will in this
case seem to melt into the latter ; proving indeed indistinguish-
able from the act of key-moving, except under the severest
analysis. 1 That is, the comparatively slow preliminary de-
scent of the limb to the key-surface, may be at once succeeded
and without break in the continuity of the descending movement
by a great increase in speed-production, when the key's resist-
ance is encountered. Thus, in good Touch, the complete
movement of the limb may form a continuous acceleration, from
a preliminary well-raised position, down to that place in key-
descent where our hearing apprises us that the act of tone-
production is complete. The latter part of the descent with
the key being however accomplished at a far greater ratio
! This, owing to the fact tliat reflex-actions can be so prompt in their
nature as to defy our witnessing the action of stimulus and its response. The
act of reaching the key, and the ensuing act of carrying the key down, will
hence appear as one act, when the requisite habits of Mind and Body have
been formed, the habits that will cause us automatically to supply the energy 1
the key demands under each, particular circumstance.
"We must however take care deliberately to supply both the act of key-
depression and its preliminary, until such required habits of co-ordination of
Mind and Muscle have been successfully attained. It is only eventually, "When
key-judging has practically become an automatic habit, and from the rapidity
with which such judging is then effected, that "we may permit ourselves to
to plunge down upon the keys with finger and arm.
128 KEY-TREATMENT; HUSCULAB ASPECT.
of speed-increase than the earlier part of the descent, i.e., before
the key was reached. l
6. On the other hand, contact with the key need not le
deferred until the last moment On the contrary, it may be
accomplished some time before the key is due to be provoked
into movement. In quick, light passages, several fingers
may indeed be thus ready beforehand. In fact, it is in this
way that that " general judgment " of the key-board (rather
than of its individual units) is brought about which forms the
distinctive mode of applying the Eesistance-sense in rapid
passages, as already indicated in the last chapter. 2
7. In illustration of the mechanically immeasurably su-
perior effectiveness of the correct Touch-method (that almost
always presses the 'key into movement] over mere key-hitting, the
following two experiments should be made :
Eaise the hands, thumb upwards, and bring all the finger-
tips of both hands into gentle contact, either bending the fin-
gers or not; the hands and fingers together thus roughly
assuming the figure of a horseshoe.
For the first Experiment : Draw one finger of one hand as
far back as possible exactly as in " lifting " the finger well at
the key-board. From this " raised " (but in this case really lat-
erally-moved) position, endeavour to strike the opposite finger
with all possible force. The unexpected feebleness of the re-
sult attainable in this way, will then no doubt surprise many.
For the second experiment : After once more placing all
the finger-tips in contact, and now without any preliminary
drawing-back, let one finger of one hand give the opposite one
1 The descent of the limb through the air prior to the key being reached, is
therefore not really very rapid, compared to the speed the Key has to attain just
before Tone-emission is reached, although the visual impression of a blow may
be conveyed. This arises merely from the circumstance, that such movements
of the Arm, Hand and Finger are quicker than can readily be followed by the
eye, even in the case of the softest note.
3 Vide Ohapttr XIII., 18 and 19, page 115. Judgment of the individual
units also becomes a less pressing matter in rapid passages, owingto thejstrong,
part then played by the memory ; for the exact impressions of Key-resistance
experienced, can here remain vivid from note to note ; also, the judgment can
here be stimulated by the other fingers at work in such close propinquity, both
as to TTime, and as to nearness on the key-board itself.
OX KET-COXTACT. 129
(already In contact with it) a sharp push or sko^-off; the nature
of this push or shove being- not a long-continued squeeze, but a
sharp, almost merely momentary action, analogous to such us
we should employ in assisting- a person to swing. 1
The far greater measure of Energy thus so easily brought
into operation against the opposite finger, sufficiently demon-
strates the true method of muscularly creating Motion in the
Pianoforte-key.
8- Energy, thus correctly applied to the key, still admits
of the difference between a comparatively Sudden and a
Gradual key-depression ; for we can direct this application of
energy to occur either suddenly, or with any desired degree of
insinuation.
It will be explained in the later chapters of this Part Jimo
this difference can be wrought muscularly ; for It depends on
distinct and relatively opposite conditions of Arm and Finger.
We shall then also have to consider whence the requisite energy
Is muscularly derived.
Meanwhile, when we desire a harsh effect, there is no reason,
why we should not permit Key-contact slightly to approximate
towards an actual Stroke. 2 Such harsh effects are however
comparatively rarely called for in Music.
9. Players do often moreover deliberately employ such
harsh sounds (produced therefore almost by a stroke) under
the misapprehension that these harsh sounds are " effective."
ISTow there is no doubt that such over-sudden key-attack does
cause much commotion of a kind dose to the instrument; such
noisy clatter nevertheless sounds merely thin antl wiry at some
little distance from the instrument, since it does not " carry ; "
and it therefore by no means conveys to the audience the per-
1 In both forms of this experiment or demonstration, it is essential not to
move or exert the opposite finger the one attacked either by blow or by push-
off. This opposite finger should be left quite passive, otherwise the experi-
ment will be vitiated.
2 We must remember, that if we do allow it to approximate too closely to
a "blow, we shall risk loss of Energy through concussion at the key-surface
In any case, such approximation at once reduces our directive- power over the
key. True, a little inaccuracy as to tone-kind is not so noticeable in & forte
passage as in a piano passage. Such lapse in u key- judging " however often
leads to the note not being sounded at all, in the case of the softest passages.
130 KEY-TREATMENT; MUSCULAR ASPECT*
former's intention of a " grand clashing effect " ; for the tone
cannot under such attack sound really fulL 1
Unmitigated clatter, it is true, may itself occasionally be
appropriate, such effects can be found in French Music
especially ; just as the Cymbals, Triangle and Gong find their
place in an Orchestra. But do not let us mistake " the Kitchen
utensils s> for the Trombones and Tubas !
10. "We must moreover constantly adjust ourselves to the
particular kind of instrument under our fingers. "When we
have to deal "with a heavily-felted hammer, much more driving
(not hitting) is permissible and even desirable than when our
finger is armed with a more naked hammer.
We must remember, that while an over-felted hammer does
certainly in a measure hide bad (harsh) key-treatment, it
renders " brilliancy " extremely difficult of attainment. The
comparatively hard hammer (as hammers should be) on the
other hand renders soft and sympathetic tone-production
practically impossible for those who have not mastered the
elements of correct Touch. Those, however, who have done so,
delight in the " hard " hammer, since it gives them far greater
range of tone-quality ; for they know how to obtain the sympa-
thetic effects when desired, by supplying the requisite Elas-
ticity of attack, through the proper Arm, Hand and Finger
conditions ; such therefore require no false elasticity mechan-
ically forced upon them by an over-felted hammer.
11. It is desirable that the limb-movements by which the
key is reached, should be as ample as commensurate with
comfort. This applies particularly to forte passages, and
applies equally, whether the movement accompanying tone-
production be that of the Finger, Hand or Arm.
In brilliant passages, played forte with the cc Bent " finger,
a full curving of the finger upwards (before use) is beneficial,
1 The case is precisely analogous to that of a badly-produced voice. This
often seems to be of huge volume in a small chamber, arid may make one's ears
ring with it. Yet it has no effect when placed in the Concert-room. While
a well -produced Voice, and perhaps in reality a much smaller one, may sound
far less forcible (compared to the badly produced one) in the small room, but
will in the larger space tell out immeasurably better ; even at its softest
"filling" the large room to its remotest corners*
OX KEY-CONTACT. 131
sucli curving* upwards meanwhile leaving- the nail-phalange
almost vertical, 1
Such preliminary " raising " must however under no cir-
cumstances be permitted to induce stiffness ; nor must exag-
gerated importance be given to such raising, otherwise it will
tend rather towards the destruction than towards the acquisi-
tion of an easy responseful Technique ; and it will tend rather
to impede and even maim the performer, than to assist him.
( Vide Appendix to Part II., " On key -hitting" etc.)
A sufficient lifting of the fingers is beneficial, not because of
the reason so often ignorantly ascribed, viz. : that the finger
may then " the better hit or strike the key " ; but it is bene-
ficial, because we can then better control the finger muscularly,
can be more sure that it is free when it reaches the key and
descends with the latter ; and it is advantageous above all
things, because we can thus better discriminate between finger
and finger can better realise which finger we are directing
against each key, a point which undeniably has a happy
influence towards " playing clean." Ample movements (when
practicable) are also advantageous, because they are more
healthy for the muscles concerned than are constantly recur-
ring small and forcible movements ; and it is also mechanically
an advantage, to have the portion of the limb that executes the
movement under weigh before the key is reached, especially
when it is the huge mass of the arm ; since we then overcome
the mere inertia of the limb before we reach the key. 3 In
* Vide Part IV., " On Position" ; also 12 and Fig. 6, Chapter XVL ;
and 22, Chapter XVIL
2 The small space available at the Pianoforte, during winch it is possible
effectively to apply muscular-exertion to the key during its short descent of
only about three-eighths of an inch, is, with its rapid reiterations, very cramp-
ing for the muscles concerned. This, as in Gold-beating, in Penmanship, and
other pursuits demanding small rapid movements, is apt to lead to muscular-
complaints, and even to deterioration, unless counteracted, by ample, although
otherwise not necessary movements.
It is moreover more easy to direct or to aim with a limb already under
muscular-movement, than when the application of Energy has to be made
without any preparatory movement.
Besides this, as already pointed out, it is an advantage to have the Arm, or
Hand, or Finger already under way when the key is reached, since we then
have only to start the Key and String into movement, instead of having also
132 KEY-TREATMENT; acusocLAE ASPECT.
SHeh case we must however be careful to guard against con-
cussion supervening. Manifestly, the slower the passage, the
more easy is It thus to well raise the limb sections concerned
in such preparatory and subsidiary movement, since we then
have more time to do so. Conversely, it is also undesirable
to insist upon an exaggerated and unnecessary lifting of the
Finger, Hand or Arm, when the passage is rapid. The labour
involved in making rapidly reiterated movements of the same
portion of the limb, may then prove so irksome as to clef eat the
very object in view Ease and Certainty of Technique. It may
even prove physically disabling, if persevered in. 1
It is indeed best never to allude to any " raising" or
" lifting " of the living levers concerned, as it may lead to the
introduction of contrary exertions. Par better is it, to^ induce
such amplitude in the preliminary movement, by speaking and
thinking of "playing the Tity$ from a distance" and with ease.
For if we think of reaching the keys from a slight distance, the
preceding lifting will be done unconsciously, and in this case
probably without any straining either during the ascent or
during the subsequent descent. 2
12. Two comically opposite and contradictory fallacies
have arisen in direct consequence of a hazy and but partial
realisation of the two truths here enunciated, (a) the truth,
to start to overcome the inertia of the motionless limb. This applies par-
ticularly where Tone-production is accompanied by movements of the larger
limb-sections, such as the Fore-arm or the whole Arm.
It is therefore well thoroughly to elevate Arm, Hand, or Finger, during the
preparatory bringing of the finger-tip over its key when there is time to do so,
although we must not subsequently use our limbs like bad hammers.
Perhaps here it is well to protest against the exaggeration of such move-
ments, when prompted by mere purposeless affectation ; also against the
temptation of employing them for the sake of their sheer muscular satisfaction
as violent exhilarating exercise ; a motive that, it is to be feared, is at the
bottom of much of the enjoyment of both player and audience, in those
_., ignorance . . . . ,
movement in rapid wrist-passages. The reiterated shocks thus given to the
tendons must be terribly severe, the moment the slightest "stiffening" is
permitted. Tendons could not withstand such maltreatment for any length of
time, were they even of steel.
5 Vide Appendfo, Part III ; Note X1L, Exaggerated Fingerlifting."
ON JKEY-COXTACr. 133
that tlie real act of Tone-production should not be started
until the key is met and felt, if beauty of tone is a considera-
tion ; and (Z>) the truth that a plentiful preparatory moYement
of the limb is both helpful and healthy :
Thus the fact that all good tone-making must commence at
the surface of the key, has been misinterpreted into the Dogma
that " every note must be played from the surface " in the
sense, that neither Finger, nor Hand, nor Arm dare le lifted off
the keys during performance ! Certainly this forms a less
baneful fallacy than the one, where the plentiful preparatory
raising' of the limbs (which conduces towards freedom and ease
in key-attack) has been misinterpreted into doctrines of
exaggerated limb-raising, especially so of the Finger, arising
from the mistaken impression, that the further off the key, and
the more strenuous such raising, the better should one be able
to hit or cc strike " at the key like a boxer ! *
13. "We now see that accuracy in transmitting our musical
feeling to the hearer, depends in the first instance on insisting
on a proper Key-contact ; one that is not really percussive,
since this will permit us to judge key-resistance constantly
during performance, as shown to be necessary in the last
chapter.
To repeat once more : If we do thus make contact in the
proper way, we can judge how much force is required to set
the key into that slowest motion, compatible with merely
sounding the note, and we can then judge how much more
force will be required for any higher grade of sound; watch-
see, that both these opposite so-called "systems," " schools," or
" methods " of Touch rest on a basis of pervertedtruth, in common with
many other doctrines and superstitions.
It is only too obvious how such misconceptions have arisen : The executive
(and therefore artistic) success of Artists great and small, is correlative with
their closer or looser adherence to these two vital laws of execution. Adherence
to these laws causes certain appearances to accompany such good playing in a
more or less marked degree. As it is easy to observe mere appearances, it was
concluded that if one only succeeded in insisting upon such movements, that
the good results would then also be attained ; hence hasty generalisations and
" theories" quite contrary to the facts. Obviously, one should first have
waited to analyse the fact* of key-treatment, instrumental and muscular, that
enabled these successful artists to produce their effects ; thus one would inev-
itably have deduced their true modus operandi.
134 KET-TBEATMENT; MUSCULAR ASPECI.
ing the " givingr-way " point of each key like this, implies our
using our musical judgment for each of the keys thus used ;
this we cannot do, unless we are also at the moment conscious
of the course the Music is taking. As our mind is thus kept
viTidly on the course of the work under interpretation,
through the supreme necessity of pre-conceiving what each
sound should It (as to Time and Tone), we thus find ourselves
employing- our musical sense (and attention) to the fullest of
its particular capacity.
The difference between playing notes musical! yunconsidered,
and notes thus properly musically considered vividly consid-
ered lecause of ike necessities of the key, proves nothing- short
of marvellous to those previously unaware of the true form of
musical attention, the main distinction between " unmusical "
and " musical " playing. 1
RECAPITULATORY
a) : The finger-tip must reach the key with "but little percussion.
b) : The preliminary fall of the limb upon the key-surface,
should be free from perceptible exertion ; it should arise rather
from Relaxation.
c) : It is not until we reach the key, that we can commence the
act of pressing it into motion, the act proper of tone-production.
d) : The act of reaching the key, and the act of setting it ID to
motion, need not necessarily be separate ; the two may coalesce
into an unbroken descent.
e) : Contact, may, on the other hand, be made some time
before the note is required ; several notes at a time may thus be
previously felt, in certain rapid runs.
f) : The difference between Sudden and Gradual depression of
the key should mostly depend on the condition of the muscles
during the subsequent operation. 2
g) : Harsh sounds do not carry ; hence they do not sound so
full and " grand " a little way off, as they seem to do close to
the instrument.
1 9 of last chapter should here be re-read.
5 That is, it should depend upon what we do during the operation of tllfc
ing the Key into sound.
THE CONCEPTS OF TOUCH. __
130
&) * Contact, and subsequent key-treatment, must be
according to the softness or hardness of the hammer,' a
hammer requires more " driving * * for the brilliant effects, while
a harder hammer requires greater elasticity in the limb itself for
the sympathetic ejects.
i) : Every key should be reached from as great a distance as
conveniently possible ; this so, that the movement towards (and
with the key) may be as free &$ possible ; and so that we cam
the better individualise each finger in the quicker passages.
j) : Amplitude in preparatory movement must not be insisted
upon in very rapid passages, as it may lead to stiffening, and
worse even muscular damage.
k) : Proper Contact with the key, is the first step towards
Accuracy in Expression.
CHAPTEE XT
CONCEPTIONS OF TOUCH ABISING KBOM OOEBECT KEY-CONTACTS
AND DEFECTION ; THE TWO CONCEPTS ANB ACTS, OF " JREST*
ING " Am> " ADDED-B1PETIJS."
1. We must now go a step further, and endeavour to
realise how the requisite muscular-conditions can be prompted
by the brain, since it is only through mental-impressions stim-
ulated by Feeling that we can direct our muscles for artistic
purposes. To enable such prompting to be given, there must
be definite ideas or conceptions which the mind can grasp,
We must have definite and correct concepts of the act oi
" Touch " in the Pianistic acceptation of that term ; definite
concepts of the muscular aspect of Key-treatment.
2. If the propositions and arguments of the last chapters
have been intelligently followed, we shall now be prepared to
accept the conclusion, tliat all correct Touch is dual in nature,
and that it consists of two main acts, 1 and concepts therefore :
1 It is important to remember in this connection, when we ^attempt tc
describe the components of an Act or Thought, that this necessarily becomes
disintegrated in the process. Hence, if we wish to fulfil such description, we
must build up these disintegrated components into one single Act or Thought.
KEY-TREATMEST ; 3IUSCULAE ASPECT.
/>. An act of "Resting," a resting on the keys, an act more ci lew
tlireetly continuous during each musical phrase ;
II j . An act of Key-deflection, or " Added-impetiis, 1 ' The act of deliver-
ing Energy individually to each key, for the purpose of its descent into
Sound; an act co-operative therefore with the act of Besting, but consist-
lug of Energy only momentarily added to such Resting added to each key,
during its descent only, and ceasing the moment that sound is reached.
That is ; Our whole mental-muscular attitude towards the
key-board technically, resolTes itself ultimately into a con-
ception embracing- these two acts ; and it is by more or less con-
sciously directing tkese> that we are able to fulfil the promptings
of our musical Sight.
3. Let us review the grounds upon which this dual con-
ception of Technique is based :
a) : Part H. proved to us ( Vide page 85, lJp-17,
chap. XL) that Tenuto demands that the key must be
rested upon sufficiently heavily to overbalance its weight
and friction, thus preventing its rebound when Tone-
excitation has been completed; and that the "key-bed
should not be rested upon more heavily than to fulfil
this purpose. 1
b) ; We also found that such weight, continuing to rest
upon the key-beds beyond the moment of the completion
of the act of tone-production, may be transferred from
key to key, and that the effect of legato can thus be in-
duced.
c) : Moreover, we found, that such act of continuous
Besting might be even lighter than it is in Tenuto or
Legato, and that the effect of staccato would thus be
1 The keys must not be rested upon more heavily during the interspaces
between the mccesnve acts of tone-production than is necessary to induce Legato.
Slight increases in the Resting-weight are nevertheless permissible for the
production of slight cre&cendi, in the case of pp *' weigbed-touch," etc. Such
slight increase of Resting-weight also becomes desirable in very loud pas-
sages, especially when these are given with sudden tone-production. The
Resting-weight would otherwise here not suffice to prevent the rebound of the
keys. Nevertheless, weight thus used for Resting, must never (even in such
forcible passages) be allowed to approximate to the energy (or weight) actually
used upon the keys during descent to create forte ; else the passage will inevit-
ably " stick " and sound " dead." ( Vide Appendix. Part III. Note XVII.)
THE CONCEPTS OF TOUCH. 137
induced. For the resting* weight Is in this case incom-
petent to prevent the key from rebounding, provided the
tone-producing- impetus giYen to the key is meanwhile
accurately ceased. The key, in thus rebounding, -will
also carry up with it the finger-tip lying on it, and we
shall thus find our " Resting " occurring at tlie surface
level off lie "keyboard \ instead of at the depressed level, as
in Legato.
d) : The transference of such Besting therefore takes
place from key to key at surface-le^el in Staccato ;
whereas in Legato it occurs from the depressed-level of
one key to the surface level of the next.
e) : The necessity of "Besting" was re-enforced in the
last chapter, where we found that besides the physical
ones there are also muscular reasons why a non-per-
cussive renewal of the contact between player and keyboard
is essential, if beauty and certainty in tone-result are a
desideratum.
f) : It is only in finger-passages that this contact
between player and keyboard is really continuous as a
Besting. In Hand-Touch (" wrist ") passages and in
Arm-Touch passages we find an admirable equivalent in
the ever-recurring gentle resumption of key-contact ;
which thus creates a ZONE of resistance, felt at the
surface-level of the key-board.
g) : As the lighter form of Besting l does not by itself
serve to create any sound whatever, it is also clear that
we must here add Energy to each individual key to
cause its deflection, an Addition that must cease to
exist the moment that tone is completed, and which must
therefore be provided independently of the Besting.
h) : Again, it follows, that a similar " Added Impetus "
(as it may conveniently be termed) is also essential
during each individual key-depression, when we require
a Tenuto or Legato of more tone-quantity than absolute
pp. For the resting, although in this case heavier than
|r Flie Staccato form of it, which, is also required for all Agility passages.
138 KEY -TEE ATM EXT ; 31USCULAR ASPECT.
IB Staccato, is nevertheless by Itself only competent to
depress the keys at their softest And we dare not con-
tinue on tlie key-beds the force here employed during
key-descent, as this would militate against our aiming
the intended Energy, and as this would in any case form
waste of power.
i) : Finally, we see that it is only when we take Tenuto
or Legato in its softest or " weighed " form, that we
require no " Added-impetus." For the act of Besting
here suffices, alone, to overbalance the key into sound;
and since this same muscular-act here continues un-
changed when key-depression is reached, the key re-
mains in its depressed condition. The act of Besting
and that of key-deflection are therefore in this solitary
instance identical. This being so, Pianissimo-Tenuto
or Legato constitutes the only SIMPLE form of Touch,
muscularly ; while all other touches are COMPOUND, con-
taining as they do both the " Besting " and the ec Added-
impetus."
4. The Jirst point all this serves to re-enforce upon our
attention (aod it cannot be too strongly impressed) is : that all
passages, no matter whether they are Staccato or fully Legato,
must be conceived as a semes (or string) ^/BISCONTIMJOUS muscular
operations against the key-board, individually provided, directed
and ceased for each of the sounds that form the passage ; the
solitary exception being j?p-tenuto (weighed-^) or jgp-legato
(weight-transfer-touch).
The second point is, that we must conceive these distinct
and separate muscular-acts (for each sound) as being accom-
panied ly a continuous act of light resting on the keys. Such
Besting being continuous during each phrase in Finger-pas-
sages, and in the form of a constantly resumed Contact in the
case of Hand (Wrist), and Arm touches. * This Besting being
moreover, in the case of Staccato, not heavy enough to depress
1 That form of Staccato, where hand and arm seem to hound right off the
key-board, may at first sight appear to he a contradiction of this general
principle. It is however no more so than is the detached ejaculation of words
THE COXCEPTS OF TOUCH. 139
the keys, nor heavy enough therefore to keep them depressed ;
here serving" merely to remind us whence to commence the tone-
producing stresses the key-surface ; 1 whereas, in the case of
Tenuto or Legato, the Besting is slightly less light, being here
sufficiently heavy to depress the keys and to keep them
depressed. 2
In other words : all touches (always excepting pp Ten. or
Leg.) consist of a series of discontinuous operations against the
individual keys, 3 in combination with a continuous one against
the key-board. That is: we have a series of short-lived
impetuses delivered to the individual keys, simultaneous with
an act of Besting, continuous during each phrase, and which is
somewhat more or less light, according as the desired result
be Staccato or Legato.
Or, finally, we might define Touch as consisting of an act of
a refutation of the general principle, that our phrases are spoken 4t in one
breath."
The Staccato rebound of a limb during the course of a phrase, forms quite a
distinct conception from that final (and more permanent) floating-up of the
arm, which is more or less inseparable from the act of ending a phrase.
In the quicker passages especially, such rebounds of the limb are unbrokmly
followed by its re-descent, until the completion of each act of phrasing, and
the sensation of continuous " Resting** is here therefore very distinct, in spite
of the flow of rebounds.
This matter will become clearer, when we learn to recognise ( Vide Chapters
XVII. and XVIIL) how such apparent rebound of the limb right off the keys,
is in reality a muscular lifting, strictly consequent upon (and automatically
prompted by) the rebound of the Jcey itself. For it is not in this case an act of
wilful affectation, as it is often however observed to be in the case of those
who endeavour to ape the merely visible evidences of good, free execution.
1 The rebound of the key and finger, in extreme Staccatissimo, may be
assisted by a slight driving-off action against the key-beds, analogous to the
act of jumping or kicking.
3 Unless we accept this dual interpretation of the Act of Touch, we shall
be reduced to a still more complex one, the only alternative : we shall have lo
conceive each individual " note " as being (a) preceded by an individual act of
key-weighing, (6) the process of depression, followed by (c) an individual
act of resting on the key-bed in the case of Tenuti or Legato, or a " lifting "
oft of the limb, in the case of Staccato. And while this triple conception
would fail to embrace that sense of continuance between the notes of a phrase
that characterises correct key-treatment (and would therefore not be in accord
with facts) it would meanwhile prove insuperably complex.
3 This fact, that the true aspect of all Technique (except pp Ten. or Leg.)
consists of a series of discontinuous operations, is perhaps the most important
of all the facts connected with Tone-production. Agility remains impossible
tinless this is thoroughly grasped (consciously or unconsciously) and all
other technical accuracy as well as expression remains equally unattainable.
140 KEY-TREATMENT ; MUSCULAR ASPECT.
Resting-, interspersed with a series of added Impetuses ; the de-
termining influence as to sound-duration being the level at
which the Besting- occurs ; and the determining influence as to
mind-kind, being the form taken by the Added impetus. 1
5. Such, correct conceptions of Touch teach us indeed to
regard the key at its top-most level (and during depression to
Sound) as the Object, or resistance, against which to apply
ourselves in producing tone ; thus at the same time forbidding
us to regard the "key -tied as that object. "We learn indeed,
that we must endeavour to feel the key as solid as possible at its
surface-level, whilst avoiding that sensation so far as possible
when the key is depressed.
In a word, we must learn to depress the key solely for the
sake of obtaining Sound, and not at all for the sake of the
mere muscular satisfaction of impinging against the key-bed. 2
6. The reason why the incipient player so rarely con-
sciously, or unconsciously, discovers the fact of the discontin-
uity of the muscular operations in playing, is to be attributed
to the circumstance that the Ear itself is so misleading in this
particular respect.
This is not to be wondered at, when we remember, that all
legato passages and phrases (and velocity passages too) form
CONTINUOUS aural effects. Such continuous impression on
the ear must hence almost inevitably suggest, and lead to, a
1 In fact, as already pointed out, one may say, that all Tenuti and Legati
Include embrace or contain in their performance (muscularly) a staeca-
imimo for each, note ! since each act of tone-production must always be con-
cluded as sharply as in an actual Staccatissimo, no matter whether the key
is, or is not, subsequently retained by the state of the continuous Eesting
obtaining at the moment.
Conversely, we may say : that all Finger-stocafo passages do also contain
an element muscularly akin to that required for Legato ! For we here still
have the element of Resting, although it must in this instance be light enough
(at the surface of the key-board) not to compel the fingers to retain their keys
depressed beyond the moment that the separate acts of tone-production have
been completed.
2 One's primeval ideas of the key-board are thus totally reversed : Instead of
imagining (as most of us do at first) that we have to deal with & flimsy surface
and a solid key-bed, we must force ourselves to recognise that surface as being
heavy and ponderous and potent, while nought but (un-solid) sound should be
reached at the bottom-level : a solid surface " with holes for the sounds to
come o"*.. w
THE CONCEPTS OF TOUCH. 141
continuous muscular stress upon tlie key-board, unless such
muscular wrong-doing- is corrected by knowledge or uncon-
scious experience ; knowledge, that individual muscular acts
are required for eack of the components of such continuous
aural-effect. 1
7. We will then take it as established, that the process of
Touch (or Tone-production) is muscularly a dual or compound
one, excepting always in the solitary case of pianissimo Tenuto
or Legato, which latter is therefore the only simple Touch-
kind. In applying these concepts directively In performance,
all we therefore have to do, is to see to it (a) that the Besting is
BEAL, and of the kind required ; and (5) that the Added-impetus
is also of the kind required, and above all things, that this
latter is " accurately aimed " TBCED to cease at the moment
of its consummation in Sound. 2 In short, we must more or
less consciously choose the requisite Tdnd of Besting and kind
of Key-deflection, and must insist that the first is real, and
that the latter is accurately " aimed" by the Ear to the time-
spot musically due. (Vide Note XIII, Appendix to this Part,
" The province of automaticity.")
8. This consummation and ending of the muscular-act in
1 In other words : the very fact of the aural effect being continuous,
tend to prevent our discovering that the production of each individual unit of
a passage should form an almost instantaneous operation, separate and
individual for each note, even in the most rapid, and in the most connected
passages.
In the case of most other instruments, we find that the aural effect and the
muscular operation do coincide as to continuity. At the Pianoforte, on the
contrary, the moment we permit such aural prompting to induce continuity in the
muscular stresses employed (excepting in pp Ten. and Leg.), that moment all
ease in technique vanishes, and passages become blurred to extinction.
Hence the necessity to insist on mastering the conception of Touch, as
consisting of a dual act: of "Resting" and "Added-impetus," however
difficult "it may seem at first to do so. This will however become easier,
when we have studied the later chapters, dealing with the " actions and
in-actions," etc.
2 We must remember, that we can and should be conscious of the place
where sound begins, in each separate key-descent during a slow passage ; but
that such "aiming" must be transformed into a "general impression " in the
case of rapid passages, a general impression of Place (near the key-beds)
where the whole row of individual finger-impulses culminates. In the latter
case, it is a continuous Place to which the timed-units of the passage are aimed,
it is somewhat like driving a furrow along the key-depth, a furrow of care-
fully uniform depth, and not too deep !
143 KEY-TREATMEKT; MUSCULAR ASPECT.
Sound, we must realise as the deed itself of tone-production
the Xote.
"Aiming 1 " in its Pianoforte sense, we now see means, that
we must finish each Key-depression at the moment the sound
is musically due to commence. Our sense of rhythmical
necessity is thus translated into a physical reality ; musical
Imagination and physical Execution that moment merge or
coalesce into one Identity ; and we see again how it is on the
common ground of EHYTHMICAL-DEFESITION, alone, that they
unite. 1 (Vide Part L, Chap. V.)
9. We learn moreover this important fact : that we mmt
conceive ami undertake tlte production of each sound at the piano-
forte BEK)BE the moment it is musically due ; since it is at this
moment that the production of the sound must arrive at
completion.
That is, if we wish to play in time, we must "begin the pro-
cess of making each note sufficiently before the time its com-
pletion is due, to allow us to feel and depress the key in the
right way. 2 In a singing passage this involves quite a per-
ceptible lapse of time, owing to the very gradual form of pro-
duction there required. Unless this fact is appreciated, it of-
ten leads to an unconscious " spreading " between the hands.
10. Here it will be well to give a series of pedagogic defi-
nitions of the nature and duties of the various forms of Besting
and Added-impetus. These definitions at the same time form
the " Recapitulatory " of this chapter.
1 Chapter XVIII, ^ "The Muscular Tests," deals with the forms of Muscu*
lar-testing that provide the means of our ensuring the acquisition, and sub-
* The experience is here somewhat akin to that of production on the Trom-
bone, where, owing to its slow speech, the actual commencement of the act
of production has to be timed somewhat before the moment the sound is
required.
THE CONCEPTS OF TOUCH. 148
RECAPITULATORY, AND DEFINITIONS
a) : Touch consists of two concepts, and acts :
(a) a " Resting,"
(ft) an " Added-impetus.'*
b) : The act of Resting is analogous to that of breath-control
in Speech, and Song. Phrasing is mainly made evident through
the continuance or discontinuance of this element of Resting, or
its equivalent.
c) : The act of Resting is continuous during each phrase in all
finger-passages, whether these be Legato or Staccato. It is also
in a sense continuous even during c wrist " and arm passages.
d) : We may "rest" upon the key-board in two distinct
ways :
(1) We may do so with weight no greater than the
keys will bear without their being thereby depressed. In
this form it is the Basis of staccato.
(2) We may do so, with slightly more weight, suffi-
cient just to overbalance the key into descent, and thus to
provoke its softest sound. This forms the basis of all
Tenuti and Legati.
In the first case we rest at the surface-level of the key-
board ; in the second case we rest at the depressed-level of
the key-board.
e) : The non-percussive renewal of Contact with the key-board
forms an equivalent to the first-named form of the Resting.
f) : The first) or lighter form of the Resting (at the surface-
level of the key-board) keeps us informed where the key is in
space, and of the degree of resistance it offers to movement ; so
that we may know whence to commence the stresses needed for
tone-production, and their required intensity.
Such Resting, unaided, is incapable of creating tone; the
Added-impetus is therefore here required in any case to form the
tone.
g) : The second, or heavier form of Resting (at depressed key-
level) includes the first. It compels the fingers to retain their
144 KEY-TREATMENT ; MUSCFLAK ASPECT.
keys in a depressed condition, as required for Legato and Tenuto,
and it gives us besides the same information as does the Surface-
resting.
b) : This second form of Resting should outbalance the key
with no more weight than will just suffice to overcome the fric-
tion and inertia of the Key and String. This Resting, unaided,
is competent to produce soft sounds ; and it forms the sole means
of obtaining the true, absolute pp.
But when greater tone-amounts than pp are desired, an Added-
impetus is also here required, just as in the Staccato form of the
Resting. 1
i): Such " weighed " pp, moreover forms the only simple form
of Touch ; since it consists of but one act that of Resting.
j) : All other forms of touch are compound, for these require
the co-operation of the Added-impetus with the Resting.
k J : The muscular-difference between Staccato and Tenuto
consists therefore in the difference of level at which the Resting is
accomplished. Such difference in level depends upon the slight
difference in the Weight continuously resting upon the key-board.
The heavier form of the Resting compels the fingers to continue
working against their keys, beyond the completion of each indi-
vidual act of tone-production ; while the lighter form permits them
to rebound with the key.
I): Legato consists of a sequence of complete Tenuti. The
Resting is here transferred from finger to finger ; the transfer-
ence being in this case effected from the bottom of a depressed
key, to the surface of the key whose deflection we intend to start ;
whereas in Staccato, the transference is effected entirely at the
surface-level of the key-board.
m) : As all forms of Staccato, Tenuto and Legato (except abso-
lute pp} require the Added-impetus to form the tone, we must be
careful that Energy, thus applied for tone-production, is promptly
and completely ceased when sound is reached.
3 It is permissible to induce slight increments of tone beyond pp by means
of slight increases in the transferred or " passed-on " Resting-weight. This for
instance is appropriate in many of the gentle, but swiftly swirling arabesques
or cadewi of Chopin and Liszt.
THE CONCEPTS OF TOUCH. 145
n) : Both Tone-quantity and quality (except ppp) depend on
the form and application of this Added-impetus. It is the source
of ail colouring.
oj: Touch consists therefore of a continuous Element (the
Resting) which determines Duration ; interspersed with a discon-
tinuous Element (the Added-impetus) which determines Sound-
kind. 1
pj : In playing, we must hence be careful (a) to select the right
kind of Resting, and to see that this is real ; and (b) that the
Added-impetus Is accurately " aimed " to culminate and cease
with each sound-beginning, and that it is muscularly of the re-
quired kind.
1 A Synopsis follows in tabular form,,
NOTE as to h and i. Refer to Note III, On Pianissimo Playing, In
" Some Commentaries on Pianoforte Technique ; a Supplement to 'Act of
Touch ' and "First Principles.' " (Longmans.)
146
KEY-TREATMENT: MUSCULAII ASPECT.
H
hi
W
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JC j
S3 P r* .2
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CO
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ed note :
resumed
sus
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II
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5fl no
a _. o
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H cJ cs
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a - fl
g OQ fa
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fli'-s
s s
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5 2
LIMBS EMPLOYED. 141
CHAPTEE X"VL
r .EEE NATURE OF THE MMBS EMPLOYED, AND THEIE 35CUSCULAJ5
EQUIPMENT.
1. The Limb, from finger-tip to shoulder, consists of four
main sections in the shape of fonr levers, which we can employ
either separately or in conjunction ; these are :
a. The Upper-arm from Shoulder to Elbow.
Tx The Fore-arm from Elbow to "Wrist-joint.
c. The Hand from Wrist to the Knuckle- joint ; and
d. The four Fingers and the Thumb ; the fingers com-
mence at the Knuckle, and each consists of three lit-
tle levers, termed the phalanges, of which the first one
(nearest the Hand) is the Knuckle-phalanx, the second
the Middle-phalanx, and the third the Nail-phalanx.
The thumb also consists of three little levers, but in-
stead of commencing at the Knuckle-joint like the
fingers, its movement arises close to the wrist-end of the
hand.
2. Each of these four sections of the whole limb is pro-
vided with its own set of muscles ; thus giving us more or less
independent use of each section. 1
3. The whole limb can also be raised at tKe shoulder, in-
* In this way we are enabled to raise Finger, Hand, Fore-arm, or Upper-
arm, either independently or conjointly.
148 KEY-TREATMENT : MUSCULAR ASPECT.
dependency of any action or inaction on the part of any por
tion of the limb itself. 1
4 The muscles that energise the limb are not necessarily
found upon that portion of the limb to which they give move-
ment. "While they are attached (by tendons or otherwise) to
the part of the limb they serve to move, they have their
ke origin" on an adjoining portion, or even on a portion next
again removed.
5. Thus we find, that the movements of the hand are
caused by muscles attached to the fore-arm and upper-arm ;
and that the fore-arm derives its attached muscles from the
upper-arm and shoulder ; while the muscles moving the fingers
spring not only from the hand itself, but also from the fore-
arm and upper-arm. It is also well to note, that the muscles
that raise the upper-arm, pull it forward or drag it backward
and rotate it either outwards or inwards, are placed on the
shoulder-blades and on the chest and back; and it is the
raising (or forward-acting) muscles of the upper-arm which we
must relax, if we wish to obtain the free weight of the upper-
arm, as required in playing. 2
1 Although such movement is cot required In playing, yet we must be
careful also to train these raising-muscles, so that they may when required
be left la.
2 Such general ideas as to the location of the various muscles is of some
value, since it may prevent our misunderstanding the muscular-effects re-
quired when we try to cause some portion of a limb to act, or to remain lax.
For example, if we wish to * ' release " the Fore-arm, unless we are aware that
the muscles concerned are not at all on the fore-arm itself, but are instead on
the upper-arm, we may in our ignorance endeavour to create a muscular-
change inside the Fore-arm itself ; and the result would probably then be a
dead-lock, since such misplaced attention would certainly tend to cause a stif-
fening of the limb, and would thus prevent the very effect desired.
It is however quite possible to be over-zealous in this direction. Beyond
a merely rudimentary understanding of the locality of the muscles, and the
principles of their action, we cannot derive therefrom much direct or practi-
cal help. Firstly, because we cannot directly induce a particular piece of flesh
to contract or relax, although we may know it to be the implicated muscle.
Secondly, because the use or disuse of even a portion of a limb, involves usu-
ally far too complex a set of muscular co-ordinations to be thinkable, even if
we had the power to " iMn&" a muscle, which we have not, for it is only
through remembrance of the sensations that accompany particular muscular
changes, that we can learn consciously to direct such changes. Besides this,
there are muscles that have quite opposite functions, which are in many cases
THE LIMBS EMPLOYED. 149
6. The Fingers are not only furnished with muscles that
enable us to move or exert them upwards and downwards, "but
they are also provided with others by which we can move
them from side to side.
7. The Hand is similarly provided- 1
8. The Fore-arm and the Upper-arm are similarly and
separately endowed with muscles that will provide movements
or exertions directed either upwards or downwards, or side-
ways.
9. The Fore-arm can moreover be applied rotarily. That
is, it can be partially rotated on its own axis, and can thus be
exerted and relaxed in a rotary direction, a twisting* action
that appears to arise at the Elbow-joint. 2
Fore-arm Eotation, besides the actual movement, has a far
more important function ; since it permits us both to equalise
and un-eqiialise the effect of Hand-force upon the fingers. It
enables us to support the opposite side of the hand off the keys,
when the thumb or little-finger is engaged against them ; and
by employing the release at either side of the hand (and arm}, it
also enables us to provide "Weight behind either the little-finger
or the thumb, when these are required to act energetically ;
so closely placed together anatomically, that it requires some dissection to
separate them. It is therefore futile to attempt to learn much, by watching
the actual muscular-contractions that accompany exertion or movement.
What is required, is knowledge of the mechanical effects required from tTie
eariow portions of the limbs the leverages and stresses that can be induced by
the living levers actuated by such muscles. These mechanical effects, we can
formulate as Thought, through sensation ; it is the activity or the in-aetwity
of the living lever which results from the desired muscular-conditions, which
we can think of, and can therefore learn to direct by the intervention of the
Will.
1 Here it is interesting to note that the four chief muscles that energise
the Hand, giving it both its vertical and horizontal powers, serve the double
purpose. Situated on the fore-arm, their tendons cross the wrist-joint, and
are inserted into the hand close to its wrist-end. They can either be paired so
as to enable the hand to act upwards or downwards; or they can be paired to
act in couples on either side, thus enabling the hand to give those side-to-side
movements of itself or the wrist-joint, required to help the thumb when. ** turn-
ing under," and the fingers when " turning over."
a Rotation of the Fore-arm the act of pronation and supinatiqn is really
a twisting and un-twisting of the bones forming the Fore-arm. It is this
twisting action that makes it seem as if the Fore-arm were rotated on a pivot
at the Elbow, although there is no actual rotation at that point.
150 KEY-TREATMENT; MUSCULAR ASPECT.
thus not only equalising- the effect of the thumb and little*
finger, but also giving- us the option of rendering either side
of the hand more powerful for the moment.
10. The Upper-arm is somewhat similarly provided. The
twisting in this case arises at the Shoulder-joint. This helps
to give us that fan-like movement of the Fore-arm, that allows
the hand to sweep across the key-board to a considerable dis-
tance, while the Elbow itself remains stationary. 1 This en-
ables us to take " skips " within a range of about two octaves
with a certainty and a rapidity that would be far less easy of
attainment, if not impossible, with a compound movement of
the whole arm.
11. Coming now back to the Fingers, we find that they
have this peculiarity : that they can be moved or exerted in
two quite distinct ways / for we find that they can be exerted
either outwards, or inwards, during their downward action
against the key ; or the difference might be described as
either "forwards" or "backwards."
It is imperative thoroughly to distinguish between these
two completely opposite attitudes of the Finger, the difference
between the thrusting (or font) attitude, and the clinging (or
flat) attitude :
12. The THKUSTING- attitude of the finger implies, that it
wi-bends (un-folds, or expands) as it descends upon and with
the key ; the nail-phalanx here remains practically vertical
throughout both the upward and the downward movement ;
while the finger assumes a more closely bent position the
higher it is raised, preliminary to the act of tone-production.
Vide Fig. 6, next page. The CLINGING- attitude implies, that the
finger tends, in descending, to fold in upon the hand, some-
what as in the commencement of the act of grasping ; all
three phalanges of the fingers here act equally in the same
1 The Upper-arm bone rotates on its own axis, rotation taking place at the
shoulder-joint, so that the hinge-shaped joint with the fore-arm faces alter-
nately a little outwards or a little inwards. As the fore-arm is in a position al-
most at an obtuse angle with the upper-arm during performance, the fore-arm
with the hand is therefore carried from side to side, the level being maintained
by slight accessory up and down adjustments of the fore-arm itself.
THE LIXBS EMPLOYED.
151
direction ; while the finger assumes a more flat (or straighter)
position, the higher its preliminary raising. Vide Fig* 7.
Pig. 6. The Tlirasting (Bent) Finger-attitude.
Tlie position is with depressed key ; the dotted lines exhibit the index-finger fnlly
raised.
W is the Wrist, K the Knuckle.
W
Fig. 7. The Clinging (Flat) Finger-attitude.
The position is -with depressed key ; the dotted lines exhibit the index-finger fully
raised.
The above two figures are designed to exhibit the two opposite Finger-
tittitudes employed in playing. Tliey consist of differences in movement and
-action, and they demand totally opposite conditions of the Upper-arm.
The actual Position assumed by the Wrist -joint and Knuckle may vary
rather considerably, without interfering with, the due operation of these two
opposite sets of Muscular-conditions :
The main point with the Thrusting-attitude, Fig. 6, is, that the Knuckle
must be sufficiently high to allow it easily to take the thrust of tbe fingers ;
therefore some teachers bend the fingers very fully and hold the Knuckle
exceedingly high with a low-dropped wrist.*
The Clinging-action (Fig. 7) even admits of the Wrist-joint being either
Vide, for instance, the excessively high Knnckle (with dropped wrist) as illustrated in VOH
Die Hand dcs Pianisten ; * Leschetizki Method.
1*52 KEY-TREATMENT ; MUSCULAR ASPECT.
i
Zield quite high, or of being dropped below the level of the key-board, pro.
vided no running passage be attempted in the latter case. It also admits of the
finger being as much carved with full key-depression as in thrasting-action
but such contracted position in this case modifies the tone-character from that
resulting from the fully ** flat," and " elastic" finger.
The main difference to be noted by the eye, is, that when the finger is well-
rawed as a preliminary, it is much curved in the first attitude, whereas it is al-
most fully opened-out in the second.
These points will be further elucidated in the next chapter,
and also in Part IV., " On Position."
13. As already indicated, besides haying the power inde-
pendently to move either the whole limb or a portion of it, we
also possess the option of exerting the muscles that serve to
actuate such movement, without any actual movement arising'
from such exertion ; the attached limb instead exhibiting force
or stress in one direction or the other :
In this case there will be no visual evidence of any Exertion
or Lapse of it, and the only proof that there has been any
change in muscular-condition will be in the force or stress ex-
hibited against either some outside object (such as the key) or
against some other portion of the same limb.
It so happens, that the most important Actions and In-
actions required in tone-production are precisely the ones that
are thus " hidden " for want of resulting movement, and it is.
these very ones that require the most careful direction when
learning to play. 1 We see therefore why it is so much more
important to study Condition, than the merely resulting Po~
sition of the limbs concerned.
14. Absence of visible result from Exertion or Lapse of it,,
may arise from several causes :
a) Movement may be prevented from resulting fromi
Muscular-exertion, by causes outside the limb ; this,
will happen if the resistance opposed to the free end of
the limb is greater than the force exerted by it.
1 To teach and acquire these " hidden " muscular-changes, they must (as,
already pointed out) be first demonstrated visually, i.e., as movements," after
having been thus learnt, the same muscular-changes must then be slightly
modified, thus eventually inducing them without the accompaniment of, the*
non-required motion, ...
THE LIMSS EMPLOYED. 153
b) Movement may fall to arise, owing to contrary and
balancing- exertions, or the WEIGHT of other portions of
the limb.
c) Movement may be impeded or prevented, by exertion
of the contrary or opposing muscles of the same por-
tion of the limb. 1
15. This last alternative has a most important bearing on
the muscular aspect of technique. It must therefore be con-
sidered more closely :
Let us clearly understand, that for every muscle or set of
muscles designed to produce movement or stress, we are also
provided with an opposite muscle or set of muscles, that en-
ables us to execute the opposite movement or stress by means
of that same section of the limb.
16. It follows, that if opposite sets of muscles are equally
exerted, that the two balance, and that there will be no move-
ment as a result of such exertion, and also no effect upon any
outside object, such as the key. The only effect being, that
the limb (or portion of it affected) becomes " set " or rigid for
the time.
1 Thus, we may exert the finger, or the hand and the finger together
downwards, against an un-giving surface, and no movement will arise unless
the exertion exceeds a certain limit ; and if it exceeds such limit, an upward
movement of the knuckle and wrist- joint will arise hy recoil. "Under-
standing how such upward recoil aiises from the downward action of the
finger and hand against a surface, we can also realise how such upward re-
coil can be prevented, by allowing the supporting muscles of the arm to lapse
sufficiently ; for the Weight thus set free will bear downwards at the wrist,
and will thus prevent the recoil there. In thus preventing loss of energy by
recoil, our fingers will consequently act more effectively, for instance against
the keys during descent*
Mo'reover, we can also understand, how the exertions of a limb can be
either partly or completely mittiJUd as regards application against an outside
object, such as the key, if we permit the opposite exertion to be made along
with the desired oneif, in making the exertion that seryes to provoke tlie
desired movement or stress, we also at the same time make the exertion that
produces the opposite effects This we can illustrate, by holding an arm
raised, and "stiffening" it; for the stiffening is purely owing, to the conflict
between the two opposite sets of muscles, each nullifying the other's influ-
ence. "We see the same apparent loss of energy in the " tug of war,"
when two parties of athletes pull on a rope in opposite directions, with hardly
any visible effect either one .way QJ the other ; the energy applied by one party
being almost or completely counteracted by their opponents.
* Vide next Chapter far details on this point.
154 KEY-TREATMENT; MUSCULAR ASPECT.
Such tendency towards rigidity is indeed bound to ensue,,
however slightly the opposite muscles are allowed to act. The
latter must therefore remain perfectly quiescent, if we would
obtain the best effects from our muscular efforts against the
keys.
17. It is imperative to bear in mind, that there can be no
real " STIFFNESS " either of Finger, " "Wrist " or Arm, except
from such conflicting action of the muscles themselves. Ex-
cepting, of course, in those rare cases of stiffening disease, such
as rheumatism or gout, or other physical abnormality.
All " stiffness " vanishes under normal circumstances, when
we succeed in employing the required muscles only, and no
others. 1
Hence the excellence of the doctrine of EASE. Ease abso-
lute freedom from all restraint in the muscular actions em-
ployed at the Pianoforte, or in any other athletic pursuit.
18. Hence also, if we would learn to play with freedom
and ease, the first step muscularly, is, to learn to separate or
isolate all muscular activities from their opposite ones giv-
ing as complete relaxation to these opposite ones as possible. 2
As already insisted upon, inexpertness in this respect, ab-
solutely prevents the attainment of all certainty and subtlety
of technique of every kind, including 1 tone-variety, control of
1 Provided, also, that we carefully cease all unnecessary action, the moment
the sound appears in key-descent.
3 The " Tonicity " of the muscles, as it is termed, sets a pathological limit
to such relaxation ; for an extremely slight residuum of tension probably re-
mains in all muscles, even when we leave them as passive as we can.
No doubt it is owing in part to the slight variation* in degree of this ele-
ment of Tonicity variations depending directly on our bodily health and
nervous state, whence that daily, nay ^hourly, variation in technical-power
arises, which every player experiences more or less often to his confusion
and exasperation ! Here however, we must always remain at the momentary
mercy of our Body, and surrounding circumstances ; as we must in that other
essential matter, that of Mwicat '-attention, given fully, will-lessly and under
emotional-stress so often consecrated and sanctified under the name of " In-
spiration." We can nevertheless help ourselves greatly in both these matters,
once we recognise the immediate cause of our perhaps but momentary ineffici-
ency :
Knowing that Relaxation, that Ease is essential as essential indeed as
Musical-attention or ** Listening," knowing this, we can even when not mus-
cularly " fit," nor " inspired," still succeed in forcing ourselves into a condition
of Mind and Body, at all events somewhat less un-fit.
THE LIMBS EMPLOYED. 155
sound-entry (Time) and also that facility in Agility, to which
the all-embracing' term Technique Is so often limited.
Such Isolation of the muscular exertions from their oppo-
site ones, certainly comes more easily to some than to others.
Those who easily learn It to whom it " comes naturally/*
in popular parlance are Indeed museularly gifted for the
Pianoforte, and for any other musical instrument ; especially
if they have in addition large muscles, a good " Piano-voice "
In a word. 1
19. This passivity of the opposing muscles we can teach
ourselves by a direct method :
In this case, we must first learn to recognise the muscular
act ice wish to omit. This we can do, by first allowing that act
to induce a movement of the limb-section it is attached to,
and noting the sensation which arises from such act, a sensa-
tion that can be intensified by applying such act against an
object outside the limb, of sufficient power of resistance a
table for instance.
Having thus learnt to recognise the muscular-sensation
that accompanies the action of those muscles which we desire to
render passive, we can then proceed to teach them this desired
habit, by seeing to it, and insisting upon it, that the sensation
that accompanies their activity is omitted when we employ
that opposite movement of the limb (or stress by means of it)
which we wish to render free and unrestrained. 2
1 Here it is well to repeat* tlmt such talent is, however, not at all neces-
sarily accompanied by a musical famdty, any more than the latter is a necessary-
concomitant of the possession of a good vocal-apparatus ; while the converse is
also true, for a bias towards Music does not necessarily bring in its train those
valuable muscular- talents, that render the acquisition of Technique so much
more easy of attainment.
2 An actual example of the general principles to be pursued, will make this
clearer : To free for instance the required downward act of the Hand (" wrist-
action" so-called) from being opposed and rendered "stiff" by the raising
muscles of the hand, we must first learn to recognise the particular muscular-
sensation that will warn us of our wrong-doing. This we may do, by simply
raising the hand as stiffly as possible, and carefully noting the accompanying
stiff sensation, which we have to avoid in playing ; and following this experi-
ment with a free movement of the hand. Or : we may place the back of the
hand under the ledge of a table, and exert it upwards against the table, first
pressing the knuckle thus against the table by the hand, and afterwards sub-
156 KEY-TREATMENT ; MUSCUI.AB ASPECT.
The Studies, or Exercises in JfusculaT-Discrimination, that
form Part V. (" Eelaxation ") of this work, will here be found
useful ; for these are designed to supply the opportunity for
such direct study of all the main muscular acts required -in
playing-.
20. To mm up :
"We must learn to segregate the exertions that will enable
us to moye one finger independently of another, and each
either in the " thrusting" or the " clinging" attitude, and in
any direction sideways ; also the Upper-arm from the Fore-
arm; and the latter from the Hand. And while we can thus
mentally separate one portion of the limb from another, we
must also be able to isolate each separate exertion from its re-
lated opposite exertion.
"We must first learn to recognise these differences ; must
then fix them in our memory, and subsequently form such dis-
criminatory-powers into physical habits. Always remember-
ing, that without perfect practical passivity of all contrary-
muscles, it is quite impossible to direct the required exertior.s
with that complete nicety and mastery that is imperative for
artistic playing.
RECAPITULATORY
a) : The limb employed in playing consists of four main por-
tions, iour levers : the Finger, the Hand, the Fore-arm and the
Upper-arm*
bj : Each portion or segment is individually provided with
muscles ; we can therefore control each portion separately both
as to exertion, and as to lapse of it.
c) : The finger can be exerted in two completely different
stituting the back of the fingers, to be thus pressed upwards by the hand.
The sensation accompanying this upward action of the hand (the one to be
avoided) should then be compared with the sensation arising from a free
action of the hand downwards against the table.
It is advisable not to employ much force in such trials or experiments;
there is no occasion to do so, and it may even prove harmful.
Exactly similar procedure will teach us to avoid a restrained ( or '* stiff " )
action of the fingers.
THE LIMBS EMPLOYED. 157
ways ; the Bent or Thrusting attitude ; and the Flat, or Clinging
attitude. 1
d) : Exertion implies muscular-action. For every exertion
we are able to make in any direction, we are also provided with
muscles to provide the reverse exertion.
e) : Exertion of a muscle leads to a visible result motion of
the limb-section to which it is attached, only when there be
nothing to prevent such motion.
f) : Four quite distinct effects may hence result from a mus-
cular-exertion :
(1) It may lead to an actual movement of the portion of
the limb to which it is attached ;
(2) It may cause that limb-section to bear against some
outside object, such as the Pianoforte key ;
(3) Or may cause it to bear against another portion of
the same limb ;
(4) Lastly, if allowed to act in sympathy with its
opposite neighbour, it will deter that muscle (or set) in its
work; thus leading to the work being done un-freely, or
even inducing for the time a total stiffening or rigidity of
the involved portion of the limb.
g) : The isolation of each set of muscular impulses from its
opposite set, is hence the first and most important step towards
acquiring a correct Technique ; since any inexpertness in this
respect causes a "stiffness" of Finger and Wrist, etc., that in-
fallibly precludes accuracy either in tonal or in rhythmical
result.
bj : RELAXATION Ease, derived from the omission of all un-
necessary muscular-exertion (in conjunction with accuracy in its
application to the key), forms the main secret of all easy and
therefore accurate Playing.
1 Vide Figs. 6 and 7, page 151.
158 KEY-TREATMENT; MUSCULAR ASPECT.
CHAPTER XVIL
THE MUSCULAB ACTIONS AM) INACTIONS CONCERNED IN THE ACT
OF TOUCH.
Tie nature of ** ^ e na ^ ILre ^ ^ e muscular act by means
the Muscular- of which the necessities of Key-treatment are
Operation. fulfilled, may at its broadest be defined as an
ACT OF LEVERAGE.
All good touch implies a levering- of "Weight upon and
against the key, 1 to induce the latter to move.
This act of leverage must be almost entirely fulfilled by the
Einger and Hand.
2. The Weight thus brought to bear upon the key, is that
of the ARM.
"When more Weight is required than that of the Arm alone,
then we must employ that of the Shoulder, bringing it to
bear upon the keys through the leverage exerted by certain
of the arm-muscles, in addition to those of the finger and
hand. The WEIGHT of the Body itself may ultimately thus be
requisitioned.
The leverage-principle nevertheless remains unaltered,
any muscular-force, correctly employed in the act of tone-
production must invariably- act upwards against Weight.
Exertion pro- ** ^ amplify this: The consequence of
duces an Up- the Finger acting* downwards with its tip against
ward-stress. the key, is, that it bears upwards (by recoil)
with equal force against the knuckle of the hand. 2 Similarly,
1 That is, Leverage against Weight, leverage against the key, with a Basis
for this leverage consisting of Weight, to prevent waste of Energy by recoil.
2 That is, the finger bears upwards against the Knuckle with the same degree
of force, that its tip is exerted against the key.
As some of my readers may not be aware of the inevitableness of the law
of recoil the law that action and re-action are equal, I will quote the follow-
ing from GAHOT, u Physics," translated by Atkinson, 39 : "Reaction is cH-
ways equal and contrary to action : that is to say, mutual actions of two bodies on
each other are always forces egual in amount and opposite in direction. This law
is perfectly general, and is equally true when the bodies are in motion as well
as when they are at rest."
THE ACTIONS AXB INACTIONS. l.")9
the consequence of the Hand acting downwards upon the
Finger at its knuckle-end, is, that the Hand also equally bears
wjjicards (with its Wrist-end) against the Fore-arm. We thus
find, that the Finger and Hand bear upwards against the Aral
tat the Wrist- joint) when we play, just as our legs bear upwards
against our bodies in walking up (and doicn) stairs, or as in
cycling.
The ultimate foundation, or Basis, for the Fingers' and
Hand's work against the key, is moreover seen to consist of
Arm-weight, 1 sometimes supplemented by Shoulder- weight, or
even Body- weight.* 2
4. For the extremest forte effects, we thus
*'" la * ^ * s "^ e PASSIYE Body which serves as
an ultimate reserve of Weight, and it of course
forms an inexhaustible reserve.
Now it is extremely important that we should at once fully
recognise and grasp the difference between correct and incor-
rect muscular-condition in this connection :
The exertion employed to impel the key into a high rate of
speed, however great, must never exceed a tendency to force
the shoulders and body upwards ; such upward tendency being
the recoil-result of the leverage exerted upon the key (during
its descent) by the finger, hand and arm. 3 That is, we must not
permit ourselves to force the finger and hand down 5y using Hie
muscles of the Body and Back, in place of such proper levering
against %> passive body.
Or, in other words : Although the leverage exerted against
the keys, may, when sufficiently great, tend by recoil to bear
the body upwards by the shoulder, yet the body itself must
nevertheless remain absolutely passive loose, and lax ; and
1 Vide Appendix to Part IIL, Note XIX. : " Arm-weight."
2 This " bearing upwards against Weight " applies equally, whether the arm
is released, or not" at the moment of key-depression ; and it applies still, when
we occasionally have to assist arm-weight, hy having recourse to a slight
activity of the arm itself as light activity that is mostly confined to the
fore-arm; the arm, in its turn, bears still upwards, against the loose-left
Shoulder, or the Body itself.
3 Needless to add, we must not allow this recoil to cause any actual up-
ward movement of the shoulder-
160 EY-TKEAT3E2Tr ; MUSCULAR ASPECT.
we must never be tempted to push forwards and downwards
upon the finger and hand by any actual exertion of the body
itself. 3 ( Vide aUo, Appendix to this Part, Note XVL, " Incor-
rect v. correct Finger-technique")
The accom- 5 - Since the exertions employed are almost
panyingseH- entirely provided by the finger and hand, and
sation. since it is only Exertion which we can appre-
ciate as muscular sensation, it follows that the sensation
accompanying: the employment of finger and hand exertion
(against arm -weight) must be felt to be -upwards /and not
downwards^ as might be imagined.
Moreover, as the action of the finger and hand is in the
nature of a levering of weight upon the key, the sensation con-
veyed may also be said to resemble a stepping-up on to the Jceys >
to induce their descent. For the muscular act resembles that
of stepping upstairs, and also that of bearing against the
cycle-pedal with our legs. 2
1 This radical difference between good and bad action, should at once be
made plain to every beginner, even the child-beginner. This can easily be
done by means of the two following experiments, which should be repeated as
of ten as necessary : ,,,-,. *, *
Mrperiment I: Place the fingers upon the key-board in an easy chord-
position, without sounding the notes. Now force the arm and hand both for-
wards (towards the instrument) and downwards by means of the Body^ and
Back ; and we at once perceive the nature of the iniquitous " Body-squeezing "
process, so common a fault.
Hrp&riment II: Place fingers as before, but now leave the body perfectly
passive and lax ; and while insisting upon this condition, endeavour to raise
the body from its seat, by means of the leverage exerted upon the keys by tbe
finders and hands, and the consequent stress upwards by recoil against tbe
shoulder. N.B. : No actual raising of the Body is possible, nor should it be
attempted. The exertion in the direction indicated is all that is required. In
the first case, we shall feel as if acting downward* ; in the second case, the
sensation will unmistakably be felt to be upwards against weight.
It should be insisted upon, that the first attitude will assuredly compel the
appearance of most of the faults (including stiffening and squeezing, etc.)
which it should be our constant endeavour to avoid in learning Technique ;
whereas with the second attitude, onr Technique may at once be on the correct
lines, although even then it will not necessarily be so, unless we also fulfil the
many other necessary rules of procedure.
2 'True, when we are in a hurry, it may seem that we " strike" the stairs
with our feet : but this is not really so, unless we do so as naughty chil-
dren, and "stamp" upstairs! We certainly do not "strike 71 the cycle-
pedal ! most carefully indeed do we guide our feet to " take hold " upon it,
to propel ourselves.
It is also true, that both in the case of the stairs, and the cycle-pedai, %
THE ACTIONS AND INACTIONS. 161
main 6. Seeing that we have to deal wit! Finger-
mnscnlar- exertion, Hand-exertion, and Arm-weight (and its
components. co-operatives) as the main sources of Energy by
which to set the key into motion, we now realise that all Touch
is built up of these THREE MADH MUSCULAB- COMPONENTS.
We should carefully bear this in mind, for these three
muscular-components (or elements) of force, can be applied to
the key, combined in a great variety of ways. In fact, these
modes of application can again be classified, as coming under
three main principles of combination, forming THEEE SPECIES OF
TOUCH-FOBMATION, or construction, viz. :
I.) : Tone produced by exertion of Finger alone, with
passive Hand and Arm.
H.) : Finger and Hand both exerted against the key,
with passive Arm,
HI.) : Arm-weight (etc.) combined with the Finger-
and-hand exertion.
In forming or constructing the Act of Touch, a thorough
understanding of these different modes of combining the
Elements of force at our disposal is essential ; for it is of the
highest practical utility both to Teacher and Performer, in
acquiring and applying a true Technique a Technique that
will serve the Artist. A separate chapter (Chapter XIX.) is
therefore devoted to a fuller exposition of these points.
Ann-weight 7 - ^ render the arm effective for its pur-
employed in pose as a Basis, we may employ it in either of
two ways. two distinct ways : * (a), "We may support it gently
by its raising-muscles ; or (b), we may leave it un-supported
during the act of Tone-production.
'* PKESSURK " does occur during the moment of propulsion ; and In this sense,
and tliis only, should "pressure*' be experienced against the Piano-key. For
we must be careful to understand, that such ** pressure" will not serve the
purposes of Tone-making, unless it exists between finger-tip and key only
during the sliort period that the key is being brought under way, and is moving.
As so often here insisted upon, all force exerted against the key beyond the
moment that the latter reaches Sound is futile, excepting only that very
minute residue required to detain the key depressed in Tenuto and Legato,
1 Unless such Basis or Foundation is supplied, energy will be lost at the
Knuckle or Wrist by these giving way upwards, when we apply the finger-tip
against the key.
183 KEY-TREATMENT ; KUSODLAR ASPECT-
In tlie/rsf, case (when the arm is gently and easily sup-
ported by Its proper muscles] Its inertia becomes avail-
able as the necessary basis for the Finger and Hand to act
against ; a basis sufficient for certain light touches, but
insufficient where any large volume of tone Is required.
In the second case (when the arm is left momentarily
nn-siipported, or < relaxed " during the crisis of Key-
descent) its whole weight may become available behind
the finger and hand, thus rendering possible large-
volumes of tone of a perfectly beautiful and Tin-forced
character. 1
8. We perceive, moreover, that the Energy
of Energy^ 8 required at the key-board Is, broadly speaking,
meeting at derived from TWO SOURCES ; that is: (a), from activ-
Wrist. %- the exertion of the Finger and Hand, and (b),
horn passivity the weight of the Arm and Shoulder set free.
Further, we should now recognise, that these two sources of
Energy MEET AT THE WHIST-JOINT, there manifesting themselves :
(1), as an Activity upwards derived from Finger and Hand ;
and (2), as a passive Weight there tending downwards?
9. It is from the sum-total of the energies
S^d depends Derived from these two sources, and thus set free
on Total against the key during its descent, that directly
amount of arises the total QUALITY of tone for each note ;
energy. ^ Q p ar ti cu l ar grade of tone-quantity depending
on the particular sum-total of such Energy.
10. The QUAUTY of the resulting tone on the
Quality of other hand depends primarily on the fact, that
sound mainly -,. -i i **L
determined by the tone-production may be INITIATED by either of
the locality of these same two sources of Energy, viz. : either (a),
the initiatory ^ Arm-lapse, or (b), by the Finger's and Hand's
force-compo- mnscu i ar activity. They thus form the distinction
between WEIGHT-TOUCH and MUSCULAB-TOUCH.
1 The sensation of a Loosest Arm must be still paramount, even when it is
itself employed to ** lever" Shoulder-weight upon the keys ; for the raising-
muscles of the arm should remain perfectly lax, even when we are employing
its dflim-muscles to lever or bear-up against the Shoulder from the keys during
their descent
9 Finger and Hand thus act upwards at the Wrist against the Weight of the
THE ACTIONS AXB INACTIONS. 163
To describe these two GEXEEA of key-attack more fully :
a) : TVe may start the muscular-operation required
during the short space of Key-descent (or Tone-exci-
tation) by "willing*" the Arm-supporting- muscles to
LAPSE ; in this case, the finger and hand must automat-
ically undertake the duty of supporting the "Weight thus
set free upon the key, doing- so in response to the sensa-
tion of weight felt to be left tin-supported.
b) ; We may, on the contrary, start the process of
Tone-excitation, by " willing " the muscles of the Finger
and Hand to ACT. In this case, when required, we may
also add Arm-weight, through lapse on the part of the
arm-supporting muscles ; but this lapse will, under these
circumstances be given in answer to the need for a firm
Basis, felt at the Wrist-joint ; for such need arises when
Hand and Fingers act vigorously as in forte, owing to
the recoil upwards being equal to the force manifested
against the key, as already pointed out.
11. The tone-contrasts resulting from this difference in
treatment are as follows :
Tone initiated by Muscular-lapse by Weight, tends towards
an un-percussiye, singing, and sympathetic quality, strongly
possessing the characteristic of "carrying power." These
qualities it owes to the fact, that the full speed of the key's
descent is here attained gradually rather than suddenly.
Tone, initiated on the contrary by Muscular-activity (that
of the Finger and Hand), tends towards a percussive, sharp,
aggressive, brilliant quality, possessing comparatively little
fulness or carrying-power. 1 Reference should here be made to Fig. 4,
Part II., Chapter XL; 12 and 13.
arm ; while the latter is for this purpose either left unsupported by its muscles
to the desired extent, or is instead gently supported when only a fraction of
the weight becomes effectively available. ( Vide ffigs. 8 and 9, page 151.)
1 The reason why this difference in the locality of the Initiative forms the
main muscular difference between Brilliant and Sympathetic Touch, is, that
in the one case the application of Energy to the key is more Sudden, and in the
other case more Gradual. That is : If we start the tone-production by activity
if the Finger and Hand, the energies set free are more immediately transferred
fo the key-surface ; and, are therefore translated into more sudden key-descent
164 KEY-TF.EATMEXT ; MUSCULAR ASPECT.
12. The distinction between Sympathetic
Quality of and Brilliant tone -qualities depends, further,
sound mail- i i- TI* ^ J.T
enced also by on those two opposite relative conditions of tne
difference be- Arm and Finger, from which result the GUNGEse
tween Clinging an( j THEUSTEvG Finger-attitudes already alluded
to in ll and 12 of last cha P ter - 1 Tliat is > a P art
from the difference in tone-quality wrought by
finger-and-hand Initiative, as against that wrought by weight-
release Initiative, the distinction between " sympaffietic" (full)
tone, and "brilliant" (thin) tone, may be further enhanced by
the optional employment of the FLAT finger-attitude, as against
that of the BENT finger-attitude.
These two opposite attitudes of the finger, available, seem
at first sight but a slight distinction, but they also bring in
their train completely opposite attitudes of the upper-arm?
For this reason they give rise to two diametrically opposite
kinds of technique :
In the first case, that which enhances " Sympathetic "
tone-tendency the Finger is applied in a comparatively
than if we start the tone-production by lapse of arm-support. In the latter
case, the finger's and hand's supporting activities are given but in response
to the promptings of the inauguratory arm-release, hence the energy takes
longer to accumulate on the key, and thus induces that more gradual descent
of the key which is associated with un-percussive tone.
We shall have no difficulty in grasping this matter, if we bear in mind the
duplex nature of the muscular conditions required for all tone, consisting as
these do of the Weight of arm versus Muscular-activity of finger and hand.
{ Vide % 8.) If we do this, it becomes easy to realise that either of these two
elements may start the process of tone-production, although loth are more or
less needed for its consummation.
The difference in general tendency of tire muscular-attitude between sudden
and gradual tone-production, may here be compared to the difference between
mounting and descending a stair : Our legs support our bodies in both cases ;
but in the one case, there is "muscular-initiative," as it were ; for in mounting,
we have to do more than merely support the body. Whereas, in descending,
we omit the exertion of our nether limbs just sufficiently to permit of a gentle
descent of our body one step at a time, and without percussion !
i Vide Figs. 6 and 7, Chap. XVL, p. lol.
* We shall find on closer investigation, that the true cause of the difference
between " beat " and " flat " finger, is not to be traced to the difference in the
finger's action, but rather to the difference in Condition of the Upper-arm or
Elbow. In other words, it is owing to the last-mentioned fact the fact of
the Arm being either held supported forwards, or instead tending to hang
loose, whence originates the finger's thrusting or clinging action, respectively.
THE ACTIONS AND INACTIONS. 165
46 FLAT" position. Its action here is, that it clings to the
key, and tends to draw the Elbow towards the key -board.
This tendency of the Elbow to be drawn forward by the
finger's f olding-up action/ must, however be prevented
from actually taking place ; it must be counterbalanced
by a sufficient (and but momentary) lapse of the Upper-
arm; such lapse being allowed to supervene at the
proper moment during the act of key-depression.
In this way, the finger J s forward pull upon the Elbow is
so neutralised by the bacfetvard-iending Weight of the
Upper-arm, as to cause these two forces together to act
in a perfectly VEBTICAL direction at the Wrist and upon
the key ; creating there the sensation of verticality of ap-
plication / and not necessarily evincing any actual back-
ward or forward movement of the limb during key-de-
pression.
In the second case, that which makes for brilliancy
and sharpness of tone, the Finger is applied in its fully
curved or " BENT " position. In this instance, its tend-
ency is to thrust against the key, and therefore (by recoil)
it also tends to thrust the Elbow away from the key -board.
Any actual movement, or thrusting-back of the Elbow,
must also here be prevented ; this is accomplished by
exerting the Upper-arm itself forwards, doing this how-
ever very slightly, indeed not more so, than will just
serve to neutralise the finger's backward-thrust. In this
way, we here again obtain perfect vertically in the
application of the force ; such being one's experience at
the Wrist-joint, and indeed also at the key itself. ( Vide
Appendix, Part 1IL, Note XV. : "Flat v. bent Finger-
attitude?*}
These interactions of Exertion and Weight may become
clearer by referring to the following two Figs., on the next page :
1 The finger, in this case, acts as a wJwle^ all three segments of it in the
same direction. It remains also almost straight during the process ; while it
feels like a mere riibher-stick or rope as the arm does in hanging from a
horizontal-bar ; a sensation very different from that derived from the legs in.
their thrusting action when mounting stairs.
166
KET-TEEATMEXT : MCSCULAE ASPECT.
K
FIG. 8. DESCRIPTION : * The arrows in the above, represent the directions in -which
the forces tend during BENT finger-attitude.
a and b denote the direction of the energy resulting by recoil from the thrusting
action of the finger and hand against the key, and manifesting itself upwards and back-
wards respectively at the knuckle and wrist joints.
c and ee, the energy that balances this, derived from arm-weight and force.
K is the Knuckle ; W the Wrist ; E the Elbow, and S the Shoulder.
K W
FIG. 9. DESCRIPTION" : The arrows denote the tendencies during FLAT finger-
attitude.
a and 6 denote the direction of the energy resulting from the finger and hand
clinging to the key, and how it manifests itself as an upward and forward-drawing
stress at the knuckle and wrist.
c and cc, the direction in which the energy tends, that is set free in this case at
the elbow and wrist, and derived from Arm-weight through its release.
d, in both Figs. , shows the direction of the total Energy-result, vertical upon the-
key during its descent, and slightly dragging, in Fig. 9.
* In Fig. 6, page 151, the Bent-finger was shown with the wrist-position almost as high as it muy
be ; in the above figure, the lower position-limit is illustrated. On this point, the various ' ' Methods '"
differ completely as to their Dogma. The fact is, that the precise position adopted should vary in,
accordance with variety in hand-conformation. ( Vide Part IV., " On Position.")
THE ACTION'S A^D INACTIONS. 1C?
The difference between these two attitudes might also be
expressed thus :
With the Bent-finder attitude, the whole framework of arm,
hand and _ finger tends to unbend from its normal position ;
whereas with the Fiat-finger attitude the general tendency is
precisely in the opposite direction.
This can easily be made clear* by exaggerating these tend-
encies and stresses of the limb into actual movements of it,
although such movements are not required in actual per-
formance at the instrument, and are even to be deprecated.
Fig. 10 is an attempt to show this experiment, and its inter-
actions, on paper:
PIG. 10, DESCRIPTION : Above Fig. represents the arm, hand and finger, in as fully
doubled-up a position as it is possible to place them.
In the case of Bent or Thrusting finger, the whole framework (from finger-tip to
shoulder) will tend to unbend from such position to the one shown in dotted outline ;
power to be derived from the finger and hand.
In the case of Flat or Clinging finger, the tendency is, on the contrary, to contraa
from the fully extended position (in dotted outline) to the fully bent one.
The arrows at A suggest the direction of force in thrusting-attitude ; whereas
those at B denote the direction in Clinging-attitude.
Both positions are greatly exaggerated, to show the result of the required tenden-
cies. Figs. 6 and 7, page 151, and Figs. 8 and 9, page 166, should be studied in
conjunction with this experiment.
In making- this experiment (and for the time exaggerating
into visible movement those actions which in actual playing
should be mere tendencies and stresses) we must be careful
that these movements are not caused T}y any action of the arm,
itself. The movement must in both cases be wrought only by
the action of the finger and the hand. In illustrating the
Thrusting attitude, it is therefore the finger and hand, thrust-
ing against the keys, that must thrust the arm away backwards ;
and in the case of Clinging-attitude it must be the finger arid
hand that must draw the arm towards the key -board.
168 KBY-TREAT3CEXT ; MUSCULAR ASPECT.
The thumb does not show these divergencies of attitude so
markedly as do the other fingers, and It does so in a slightly
different fashion. This minor point will appear more clearly
under ''Position/' (Vide Part IV.)
_, ..- 13. Let us for a moment consider why these
The amerence .... . . ... .-, T-/^
in Elasticity is divergencies in treatment further the difference
the reason of between sympathetic and brilliant tone-effects :
the difference The flat or dinging finger (with its correlated
in result. hanging " upper-arm) reduces the whole system
of finger-liand-and-arm into its most elastic condition ; a
disposition favouring therefore a gradual transmission to the
key of the full amount of Energy employed, with its result-
ing gradual key-depressioa and more sympathetic (or un-
percussive) quality of tone. 1
The "bent or thrusting finger (with its correlated resisting
upper-arm, or elbow) on the contrary, places the whole limb in
an inelastically standing condition upon the keys ; a dispo-
sition of the material therefore calculated to cause direct trans-
mission of the full energy .to the key ; with its resulting sudden
depression of it, and consequent more brilliant tone-quality. 2
1 The part that Elasticity plays in promoting "beauty of tone, has already
been dimly recognised by many. Some have gone no further than to
suppose that the difference is wrought by bringing ** the more fleshy part " of
the finger into contact with the key. Others have gone somewhat further,
and have recognised that the finger itself is more elastic when it is applied in the
** flatter " position ; waile they have not succeeded in recognising the function
of Arm-weight, nor the supreme necessity of ceasing " pressure " the moment
that tone has been reached in Key-descent. In a recent work (FRANKLIN TAY-
LOR, ** Technique and Expression," page 10) we read for instance : " to pro-
duce the most musical and singing quality, it is necessary that the finger,
however firm the pressure, should be in an elastic condition, and it is there-
fore important that every joint of the finger and hand, and even the wrist,
should be kept loose, and should yield slightly with each pressure of the
finger-tip." We now see, however, that it is the wTiole limb (from
the shoulder) that becomes elastic if we employ Upper-arm Weight-lapse ;
the main cause of difference in tone-quality being the condition of the Up-
per-arm, or Elbow. For if the upper-arm tends forward, not only are elbow
and finger more rigid, but the weight of the upper-arm cannot then be set
free ; and conversely, if the upper- arm hangs on to the key during descent,
it will preclude our obtaining brilliance when we desire it, as we cannot then,
give a thrusting action of the finger.
a We observe that a " thrusting " finger demands a corresponding forward-
tending Elbow :
This is all very well so long as no very targe quantity of tone is required.
THE ACTIONS A2TD INACTIONS. 109
Knuckle-joint 1^- K * s Imperative thoroughly to under-
action, its stand the duties of the three Finger-phalanges,
importance. respectively in fi < flat " and in 4C bait " attitudes,
and the precise nature of the contrasts here evident :
The main point is, that it is the knuc&le-phalanx (the portion
of the finger next to the hand) that must do most of the actual
work, both in clinging and thrusting attitudes. This portion
of the finger must be exerted downwards upon the front two
joints (and therefore upwards by recoil at the knuckle) no
matter whether the two front joints are straightened out (as in
clinging touch) or whether they are pointing downwards (as
in thrusting touch).
The essential difference between the two Attitudes is there-
fore to be found in the action and resulting position of these
two front phalanges, (a), if these two phalanges are used in
the comparatively vertical position, they thrust backwards in
taking the down-force of the knuckle-phalanx behind them ;
the action of the whole finger being here analogous to that of
the leg in getting up from a chair, or in cycling, or in mount-
ing stairs. Whereas (b), if we leave these front two joints
almost straightened out, or with but a slight clinging action,
then the whole finger makes the arm cling to the key ; an
action analogous to that of the hand and arm when clinging to
a horizontal bar.
But if we adopt this form of technique or "FOBWAKD TOUCH," as it may be
termed, for a really full forte chord, then we shall find that the result is an
exceedingly hard, sharp and disagreeable effect. An effect perhaps not ob-
jectionable to us if we are accustomed to its ugliness, but most objectionable
when we have discovered that the instrument can give something better.
The fault is, that instead of doing as we should do, and allowing Arm- weight,
and when necessary Shoulder-weight or even Body-weight to come upon the
key instead of " levering" Weight upon the key during its descent, instead
of the arm and shoulder being left free, so that finger and hand can "lift"
this weight upon the key instead of a perfect looseness of Body in a word,
instead of WEIGHT-TOUCH, we here as it were wedge the arm in between key
and shoulder. The arm, in thus wedging itself against the keys, drives
almost straight back against the shoulder, and not upwards practically, as in
Weight-touch. The consequence is, that the muscles of the body and back
are compelled to resist this drive backwards by in turn driving the body itself
forwards against the key.
Such rigid, real " down-arm" force (or Body-force) thus viciously employed
in f&rtes, proves absolutely fatal to beauty of tone ; although it forms a ready
means of obtaining plenty of noise without much thought or care.
110 KET-TEEAT3CEXT ; MUSCULAR ASPECT*
The fault of 15 ' Its * s wel1 to be ur en % Darned against
reiyimg upon the fatal fault so often connected with the flatter
the two front and clinging finger-attitude, a fault, which, when
phalanges. O3ice formed is probably more difficult to eradicate
than any other, viz. : the exertion of the two front portions of
the finger with more force than the knuckle-portion.
In this case, the two front phalanges pull inwards towards
the body, while the knuckle-phalanx remains almost passive ;
causing the finger to feel quite helpless and weak. 1 This is
owing to the exertion of the finger not "being vertical upon the
key as it should be in the direction of the key's descent, but
instead taking the form of an ineffective pull, or even back-
ward rub. Such touch might aptly be dubbed " Key-tickling "
instead of Plaving. Fig 11 exhibits an exaggerated view of
this faulty tendency i
Pig. n. Faulty action of the two front phalanges of tL.0 finger, showing the
result of these being exerted with greater force than the Knuckle-phalan_s which
should be the main worktng-lev&r of the finger.
In correct "flat" finger-touch action, the two front pha-
langes should on the contrary be left comparatively passive, or
almost completely so in fully sympathetic tone ; and it should
always be the strong knuckle-phalanx (the one next to the hand)
that provides the work of "levering weight " upon the key, 2
1 The opposite fault is also occasionally met with, viz. : a thrustmg finger
(and arm) with a perfectly straight position 1 It forms a most inconvenient
and ungainly Touch-method, with a most ugly tone-result.
How Finger- 2 The nature of Finger-action, in both its forms (and Hand-
action should action also, in fact) is best made clear by inverting the hand,
"besnown. an( j laying it flat upon the table, or upon one's knee> and
practising the following three exercises :
Procure a small weight of a few ounces or use the partial weight of the
other arm, transmitted through a finger or pencil. Let this weight rest upon
the Knuckle-phalanx of one finger of the inverted hand, and close to the middte r
joint end of this phalanx. ISTow raise the weight by means of this
phalanx ; support and balance the weight thus for a few moments, meanwhile
THE ACTIONS AND INACTIONS.
171
FIG.
FIG. is.
FIGS. 12 ANB IS. DESCRIPTION : A exhibits the learners hand, lying inverted
upon his knee. B the teacher's hand, its weight and energy being supported through
the pencil c by the learner's finger d.
To instruct and exercise the Knuckle-phalanx: alone, the pencil or weight should be
placed as at I in Pig. 12. To instruct and exercise the finger as required for clinging
attitude, the pencil should be placed as at II (dotted outline) in Fig, 12. While for the
thrusting-&ttxbvLde the finger and pencil should be as in Fig. 13.
If a weight is used in these exercises, it should be allowed to slide freely up
and down between the fingers of the other hand, or tile teacher's. If the
weight is that of another arm (transmitted through a finger or pencil) then one
should be careful that the resistance given be not too great ; otherwise harm
might be done.
taking care not to move or exert tJie two front phalanges of the finger in qtiestion.
Then, suddenly cease this supporting exertion, and thus allow the weight to
fall with the finger. Eepeat this process several times. Tide Position 1 of
the pencil in Fig. 12.
Next, place the weight (or finger, or pencil) on the soft tip of the working
finger ; and proceed again to lift, balance, and subsequently to let fall the
weight with the finger. The two front joints are meanwhile to be left almost
limp and inactive, and the position of the whole finger should therefore remain
straight, while the work of lifting is to be done by the knuckle-phalanx itself,
which should act precisely as in the first experiment. Vide Position H of the
pencil in Pig. 22.
We have thus practised the action of the " flat " or dinging finger, and we
must now study the action of the "bent" or thrusting finger in the same
way:
This is done thus : Bend the two front phalanges into the proper position
with nail phalanx vertical, and after placing the weight or pencil on the tip of
this experimental finger close to its nail, now proceed again to exercise the
finger in lifting, balancing and then suddenly ceasing to support the weight.
Vide Fig. IS.
Having in this way learnt and practised the proper action of the Knuckle-
112 KEY-TBEATMEST ; MUSCBLAB ASPECT.
16* From the foregoing" we obtain the two following
practical rales for obtaining the respective extremes of Sym-
pathetic and Brilliant tone-colours :
(a) : For extremely sympathetic-quality, we must allow
the ft&i finger -attitude (with its hanging elbow) to co-operate
with "Weight-initiative; while (5) for extremely brilliant-
gualtiy we must on the contrary allow the bent finger-
attitude with its forward-tending elbow to co-operate with
Muscular-initiative.
The distinc- ^" ^ G now come ^ *^ e distinctions in touch-
tion between method respectively termed Arm-touch, Hand-
Finger, Hand touch (so-called " Wrist-action ") and Fing-er-
and Arm touch.
^r e gkaji now k e prepared to realise that these
are by no means the distinctions radically of KIND which they
at first sight appear to be. For the movement of the Arm.,
Hand or Finger, visible during Tone-production, results from
a merely slight excess on the part of one or other of the com-
ponents of the complete muscular condition requisite (and
different) for each particular kind of tone. It is the SUM of the
arm, hand and finger conditions (which creates the particular
muscular operation), that determines each tone-kind; whereas
the distinction as to mere movement (be it that of the Arm >
Hand, or Finger) depends on the fact that one of these compo-
nents slightly outbalances the other two.
"We therefore also perceive, taking the particular set of
muscular conditions that produces any given kind of tone, 1
that such particular muscular-operation (with its resulting tone-
shading) can be accompanied by a movement of either the
phalanx, both in the clinging and thrusting attitudes, the next step to take
is, to repeat the whole proceeding at the Piano, with the hand returned to its
proper tin-inverted position ; and while fulfilling the same changes of action
and in-action, seeing to it, that the knuckle-phalanx still executes most of the
work of key-depression. Subsequently, we must then learn to time this work
accurately to cease the moment sound-emission is reached in descent.
1 Some muscular-combinations are however only available as Finger-touch
and Hand-touch ; while there are also a few available only as Finger-touch.
THE ACTIONS AND INACTIONS. 173
Finger, Hand or Arm> without materially affecting- the tone-
result. 1
, . fc 18. Thus we find that :
Arm-touch. / \ * / -i ,. . ,
(a) : AE3C-TOUCE (tone-production accompanied
by Axm-movement) results, when there Is a state of balance
between the three components that form the complete muscu-
lar-operation against the key, during- the latter's descent, a
state of balance between the Arm, Hand and Finger conditions.
For these three portions of the complete limb will in this
case retain their relative positions towards each other during
the act of key-descent ; and the visible product must therefore
be : a movement of the whole arm.
(b) : HAND-TOUCH (Wrist-touch) 2 results when
Hand-touch. TT T . . ,. ,,, . , A ,
Hand-exertion is slightly in excess of Arm-release
and balances finger-exertion during key-descent. Hand-mo#e-
1 In a word, we find, that those differences In muscular co-ordination of
Action and In-action (" Muscular-combinations") which are respectively re-
quired (a) to cause each possible difference in sound result ; and (b) to give
us command alike over ponderous passages and agility-passages, are practi-
cally inmsMe. And it follows, that those other differences, which are so strik-
ingly exhibited to the Eye as MOVEMENT of the Finger, Hand and Arm, are
as nothing when compared to these inmsiHe differences, just mentioned.
2 Hand-touch is often mis-termed "Wrist-action," although the wrist can-
not act, since it is merely a hinge. Finger-" action/' and Arm-" action "
are also most misleading terms". Finger-action, for instance, "would seem to
imply, that the finger is alone " active." Whereas we have learned, that
from finger-movement alone no tone can possibly result beyond a quite soft
and springy one, witfiout the additional intervention of Hand-activity to lever
weight against the key, while this latter addition need also not necessarily
imply k&nd-movement.
Arm-" action " is also a peculiarly infelicitous term, since it must infallibly
suggest to the unwary, an active " pounding" done by the arm. Especially
so, as the beautifully free arm-movements of a great Artist (resulting from a
more or less complete lapse of the arm-supporting muscles) are very likely to
convey to the uninitiated eye, the impression of a real hitting-down of the
keys by down-activity of the arm ; than which there can be no greater sin
against the J awa of tone-production, nor any, more far-reaching in its conse-
quences.
Wrist-action, anyway, is a complete misnomer ; for if Touch accompanied
by Hand-movement is to be thus styled, then surely to be consistent, we should
speak of Finger-movement as ** Knuckle-action," and of arm-movement as
" Elbow" or " Shoulder" ACTION.
The idea, however, really meant to be conveyed, is not at all that of
" action " in the sense of work, but merely that of movement Hence by
so-called finger, hand (wrist) and arm " actions," are meant tone-excitations
accompanied respectively by movements of those portions of the whole limb.
JSfow, as the whole of the main conditions of the arm, hand and finger are
174 KEY-TREATMENT ; MUSCULAR ASPECT.
went must obviously here be the product, for the slight excess
of hand-exertion will suffice to prevent the Arm from falling
(if It Is muscularly-lapsedj, while the finger-exertion (as it is not
In excess of that of the hand) will only suffice to retain the
finger in Its relative position towards the hand.
(c) : FIXGER-TOUCH results, when it is the finger-
Knger-toadi. exertion that slightly (but sufficiently) outbalances
that of the Hand, and of any Weight that may be set free by
arm-lapse dining Key-descent. For the slight excess of Fin-
ger-energy will here prevent both Hand and Arm from show-
Ing any movement,, and Finger-movement hence becomes the
only visible product. 1
Vide, also appendix to this part, Note XVI., "Incorrect v.
correct Finger-touch"
To sum this up : Tlie conditions of Ann, Hand, and
Finger obtaining for any particular quantity and quality
of tone remain practically identical, no matter whether
these conditions exhibit arm, hand or finger movements
as a result. Diversity of movement is quite a subsidiary
difference, since it is simply the, consequence of one of these
components "being very slightly in excess of the other two.
^ 19. It is well to note in this connection, that
The relative s '
sensations of "when we move me linger only, tne sensation
Finger, Hand resulting therefrom seems as it were to stop at
and Arm the knuckle, for the finger seems to thrust up
touches. against the Knuckle. "When we employ hand-
touch ("wrist-action") it appears as if we played upwards
against the Wrist. Similarly, in employing only a movement
of the fore-arm ; 2 we find that the sensation may be described
clearly identical for each different tone-kind, no matter whether these conditions
involve a dight excess on the part of one or other of the three components of
the muscular-act, it follows, that it must prove far less misleading, if we
choose the neutral term of " TOUCH. " This nomenclature has therefore been
adopted in this work.
1 In speaking of '* Finger-touch, 1 ' do not let us forget that the term merely
signifies, an act of Tone-production accompanied by a movement of the ringer ;
and that this does not preclude our employing all three muscular components,
when desirable. All three Species of Touch-formation can indeed be applied
as " Finger-touch." ( Vide % 6, and GJxtpter XZX, on these points.)
* Vide Note 2 to next paragraph, next page.
THE ACTIONS ANB INACTIONS. 17J)
as being upward* against the Elbow; and likewise, if wts
employ a movement of the whole arm, and use the full " Piano-
voice " "we possess, the sensation seems upwards against the
Shoulder, 1 always "upwards," by recoil from the key.
Arm Hand ^* Judicious choice between Arm, Hand
and Finger &&& Finger touch (or movement), for each partic-
movements, ular passage is of considerable importance. It is
when appro- the actual speed of the passage that should in th*
pna e, main determine such choice.
Thus : ABM-touch (movement either of the whole arm, or of
the fore-arm only) is the most appropriate to choose for a slow
succession of chords or detached notes ; in the same way that
the most natural mode of picking* up any object, when we are
not in too great a hurry, is to move the arm towards it. 2
Not only are slow successions of single notes and chords
thus performed by arm-touch (.&, key-depression accom-
panied by arm-movement), but the beginnings practically of all
phrases are performed in the same way ; and this is done
whatever the nature of the touch selected for the rest of the
passage. The reason for this selection is, that it is more
simple and easy thus to move the whole arm (or fore-arm) when
there is time to do so, than c /w*6-z? to move the arm towards the
key (or other object) and then to commence another movement
in taking hold of, and moving it. 8
1 When the whole arm moves with key-descent, we must remember to avoid
making a mistake, similar to one already warned against ; that namely of
using the down (and backward) mu&^ar-exertion of the upPER-arm. The keys
should not be pulled down by a backward exertion of the upper-arm ; on the
contrary, the backward tendency at the elbow (forming Clinging-toueh) should
"be wrought solely by allowing the upper-arm to lapse.
a ITor certain passages, that prove too fast for a movement of the whole
arm, and for which nevertheless it is not desirable to use Hand-touch, we may
adopt a movement of the fore-arm only a movement of the arm from the
Elbow. This fore-arm movement may nevertheless be accompanied (when
desirable for "thick" tone) by lapse in the support of the Upper-arm, in
which case we employ the "Weight of that portion of the limb, without how-
ever showing any motion of it. If we do not employ such weight-lapse (of
the upper-arm) then the touch becomes of the " forward " or <l thrusting"
description, with its less full, and more aggressive tone-character.
3 Non-apprehension of this fact, is at the root of much absurdity in the
choice of touch. This arises from prejudice against "using the arm too
much,*' etc. ; and it causes stilted movements of the hand and finger.
The absurdity of such prejudice becomes apparent, when we remember,
176 K BY-TREATMENT ; MUSCULAR ASPECT.
HAND-TOUCH (Wrist-touch) becomes imperative, when the
passage is too quick to permit of the reiterations of arm-
inovement. For the hand is a much shorter lever than the
arin 5 and it therefore admits of far quicker repetition of its
movements. The speed-limit, when Hand-touch becomes
imperative in the place of Arm-touch, is quite definite for each
player. The speed at which Arm-repetitions become laborious
(and even impossible) to the individual, should in fact be care-
fully noted.
FINGEE-TOUCH becomes essential, when the speed required
is still greater. For even the shorter Hand-lever becomes
cumbrous beyond a certain limit of speed, and the shortest-
lever, i.e., the Finger will then alone avail. 1 Finger-
movement is also compulsory for all true Legato passages,
whatever the tempo; since Legato can only be obtained by
continuously carrying the Tenuto-forrn of the Besting from
note to note, through the interposition of the successive
fingers.
that no note canbe played above mezzo-forte, without bringing the Arm-element
into operation, employed as it has to be either as an elastic, and then only
partially effective Basis, or employed as a weight-providing component, i.e.,
to its fullest effect, by the momentary omission of its own muscular sup-
port.
Granted, it is right to object to Aim-movement, when the speed in note-
repetitions exceeds that which can be conveniently executed by moving so
long a lever; and granted also, that no prejudice against arm-movement cam
possibly be too strong when the mid arm-movement signifies AKM-FOBCE badly
applied !
1 The Flat-finger attitude permits of a refinement of action and movement
suitable for extremely rapid (and delicate) passages, such as are occasionally to
be met with ; as for instance in Chopin's BerceTise, with its sou nd-waf tings-
mere breaths almost of bare-laid Emotion. In such case we move only the
front two phalanges of t/ie finger ; the knuckle-phalanx being hardly moved at
all. The motion of the finger is here altogether of the slightest description,
just the depth of key-depression in fact. It indeed forms the solitary excep^
tion to the necessity of Knuckle-phalanx movement and exertion, so much
insisted upon, which, in all other finger-touches should be paramount not only
as to movement, but also as to action. As already pointed out (VicU
15 and its note) movement and action are very cramped and ineffectual
when restricted more or less to the front two phalanges. Therefore, excepting
in the particular gossamer-like finger-touch here referred to, we must always
remember that it is the strong knuckle-phalanx that must be relied uporf to do
most of the finger's work and movement ; just as the thigh of the leg is the
most important factor in walking and cycling.
THE ACTIONS AND INACTIONS. 177
Circumstances tend to modify the rules here
Combination- - , . i . t f
movements g^n, since certain kinds of tone are more easy
of attainment with a particular kind of move-
ment. 1
Although it is undesirable, and eYen impossible to
the longer levers in the quicker passages, yet this does not
debar us from moving the shorter levers in the slower passages.
There is in fact no reason why we should not at times employ
a movement of the hand, or even of the finger, in quite a slow
passage the latter movement being indeed imperative when
dealing with a Legato.
The movements of the arm, hand and finger may also at
times be found desirable in combination. Thus, we may find
passages suitable for a combination of finger and hand move-
ment ; or, a movement of the arm along with that of the hand. 2
21. Of far greater importance however than
cniar-combina- c ^i ce ^ limb-movement, is choice of MUSCULAB-
tion far more COMBINATION the particular choice of muscular-
important conditions that will induce the right quantity and
than choice of q na ]jty of tone the choice also in this respect
movemen . ^^ ^-^ permit our attaining the full measure of
required agility. As already noted in 6, consideration of
this all-important matter, the consideration of the Three
Species of Touch-formation, or construction, is deferred until
Chapter XIX. ( Vide also, Note to S3.)
22. We have elicited ( 2, 6, 7, 8 and else-
Arm-weight w k ere ) ^hat the use of Axm-weight is required for
the " Added-impetus " during the moment of key-
descent when the tone is to be full and round ; and that we
require it also in a slight and continuous form, for that second
1 Singing-tone itself for instance is usually far more simple to obtain, when
accompanied by a movement of the whole arm ; although it can quite well be
obtained, accompanied only by a movement of the hand- or of the finger.
2 As good examples of Finger-hand touch (finger and hand both moving)
might be cited : The left-hand single-note staccato passage after the first octave
subject, of Chopin's C-sharp minor Scherzo ; and the left-hand staccato from
the A UegreUo of Beethoven's Sonata in E flat, Op. 31 . Some players would also
for instance find the octaves of the same Chopin Scherzo more convenient as
an example of Arm-hand staccato, than as one of pure Hand-touch.
178 KEY-TREATMENT ; MUSCULAR ASPECT.
Mud of "Besting-, 5 ' which, while being ponderous enougn to
create jRpp-sound unaided, also forms the Basis of all natural
Tenuti and Legati. It is therefore obviously essential, that
ws should be able to obtain Arm-weight with certainty ; since
all beauty and fulness of tone, and ease in Legato, directly
depend on our facility in this direction. Hence the following
details :
To set Arm-weight free: we must relax (or cease
acting with) the muscles that serve to move, or retain,
or support the arm upwards.
Now (a), the arm will rise, if we exert these muscles
sufficiently, and the exertion will be hardly noticeable,
it is so easy ; while (b) the arm will remain gently and
lightly supported off the keys, if we exert these muscles
slightly less than will thus suffice to raise the arm ;
whereas (c), only if we cease acting with these same muscles
(or relax them still further) will arm-weight be set free ;
for only then will the arm become limp and ready to fall,
which it will in fact do, unless it is at that moment sup-
ported at the wrist by the fingers and hand upon the
keys. 1
It is important to notice, that the release required, is not
that of the Fore-arm alone a mistake often made but that
it is the whole arm (from the shoulder) that must be released.
And as the muscles involved are partly situated on both sides
of the shoulder and chest, it follows that the sensation of their
exertion (and cessation of such exertion therefore) is not
experienced in the arm itself, but is on the contrary felt to
proceed from muscles situated upon the body across the
shoulders. Lapse in arm-support is hence felt as Shoulder-
release.
The warning is also necessary, that mere movement of the
1 "No movement of the arm "will ensue, if we do thus support the loose-left
arm at the wrist through such reactions of the finger and hand activities
against the key, although we shall feel the full benefit, of the released weight
during tone-production.
The amount of weight will cf course be in direct proportion to the extent
that the arm-release is complete or incomplete; while the operation of this
weight must, as so often insisted upon, cease instantly when sound is reached.
THE ACTIONS AXD INACTIONS. 179
arm can very easily be mistaken for release of It. The arm can
nevertheless be moved downwards with a hardly appreciable
amount of restraint, and yet be in a totally unfit condition for
either full or beautiful tone ; for unless the arm is really re-
leased, and is moreover released in answer to the key's felt-
resistance, failure will assuredly result.
In short, the movement of the arm, resulting from a real
release, is perfectly free from all sensation of work done, and
can be realised as a distinct lapse or cessation of work.
Those who do not naturally employ Tin-restrained muscular-
actions ( Vide 23), find it exceedingly difficult to give these
necessary arm-releases ; but unless they succeed in this, it is
hopeless to endeavour to improve their tone-production. 1
1 Those, for instance, who have been accustomed to employ tbeir arms in a
**lield jj instead of released condition during forte touches, find it exceedingly
difficult to hit upon the requisite condition of the limb, unused as they are to
such conditions of it in conjunction with a comparatively forcibly-acting
finger and hand.
The main difficulty is of course the mental one : Such performers, to
obtain the small and bad tone they have succeeded in obtaining, having formed
the vicious habit of making violent exertions (either against the key-beds, or
against their own muscles) find it an exceedingly difficult problem, to mentally
disassociate a big tone from such huge exertions.
To remedy this, they must learn to realise (as above insisted upon) that
quite a large tone can be obtained by means of that which feels like a lapse (or
absence) of all exertion. For that is undoubtedly the sensation uppermost
during the production of a really " full" tone, produced as this should be, by
the supporting muscles of the arm being made to cease their activity during
the moment of key-descent. If these muscles are relaxed, the arm lies as
loose as it does when we lie down in an easy chair. And it must be realised
that it is this lax arm which has to be supported upon (or levered on to) the
keys by the finger and hand ; their exertion against the key while the latter is
moving supporting the freed Weight at the Wrist-joint, by recoil.
' To secure such required absence of arm Down-force (with its concomitant
Body-force) a good lesson is as follows : Obtain a chair with an almost straight
back to it; sitting rather closer to the instrument than in the usual position,
one should lie well back against this support, thoroughly resting the full
weight of the body against it The body-muscles (the forward-driving ones) be-
ing now fully relaxed, the body no longer offers muscular force forwards
against a backward-forcing arm. We shall therefore find ourselves strongly
tempted to adopt unconsciously the desired touch-method, i.e., Ann-weight 0.
Finger-and-hand exertion, the Weight-touch form of tone-production. 1 have
known this device effect its object almost instantaneously on subjects who have
had years of wrong habit behind them in this direction. But of course, it will
even then take time to form such newly-learnt manipulations into a strong habit.
Curiously enough, some of the greater Artists have been observed deliberately
to lie back in their chairs when commencing a slow movement ; probably an
unconscious action found provocative of the required more sympathetic tone.
180 KEY-TREATMENT ; MUSCULAR ASPECT,
Wtere there are wrong Habits of long standing in this
respect, the first steps towards the employment of "Weight-
release In playing, had best be undertaken away from the
instrument, with, its faulty mental-muscular associations. 1 For
it is easy to realise that the arm will fall of its own weight, if
we only cease to support it by its own muscles, when the ac-
quired faulty key-board-associations do not prevent our doing
so. And having succeeded in this first step, it then becomes
comparatively easy to realise, that the key also can be carried
down by a similar lapse in arm-supporting work
The question 23. As regards the required EXEBTIONS of the
of opposing- Finger and Hand, it has already been insisted
muscles. U p On (Chapter XYL, 13-15) that every muscu-
lar-exertion employed must be free from all contrary exertion ;
otherwise we cannot hope to play either with ease, or in
response to our wish. It is therefore imperative, that we
learn to direct the exertion of each set of muscles, without
permitting the opposite set to act in sympathy with these
required ones. 2
To ensure this, we must eradicate all sensation of restraint
during any of the movements required during performance.
Every movement towards a key, or with it, must be kept
perfectly free from any sensation of resistance not directly
*The freedom of action discussed here and in the next paragraph, and all
the other'main muscular discriminations required for tone-production, can be
directly studied, taught and practised as to their fundamental principles, away
from the instrument The means of doing this, are indicated in Part V.,
" RELAXATION ; Exercises in Muscular-discrimination," which see.
2 Much had playing, with bad tone-production as its cause, no doubt arises
in the case of elementary students (young children and others) from the
difficulty experienced in distinguishing between Mental and Muscular effort.
Mental effort is found necessary, and the hazy perception that an effort
of *ome land is required, leads consequently to the making of a general mus-
cular-effort, not a muscular-effort directed towards some particular key,
during its descent only, and at a definite time, but an effort taking the form
of muscular contractions all over the body, similar to those that supervene
when one is startled.
Stiffening thus caused, cannot be corrected by talking of tone-produc-
tion. It can only be cured, by making clear its true cause the want of
discrimination between the exertion of Will to concentrate, and muscular-
exertion.
Tide Chap* XVI^ % J5 on the cause of stiffemng^ te.
THE ACTIONS AKD INACTIONS. 181
attributable to the resistance of the key itself, "before during its
descent
This rule cannot be too strongly insisted upon. 1
24. It is not enough to be able to set free
of Weight. 1 ^ -A-rm~ w %nt when thus required for the " Added-
impetus," but we must also be able to cease (or
omit) such manifestations of Weight, the moment we have
completed the act of tone-production. For unless we can, and
do, thus " cease " the weight used, it will come to bear upon
the key-beds ; in which case it will greatly impede our at-
tempts at Agility, and will also vitiate our AIMING of the Added-
impetus, and will in this way preclude our obtaining the
musical effects we intend. 2
The process by which "Weight is made to cease manifest-
ing itself against the key, is, by calling the supporting (or "rais-
ing ") muscles of the arm into operation. Evidently, therefore,
if Weight is to be accurately directed to tone-consummation, it
follows that the required lapse on the part of the arm-support-
ing muscles must not only be accurately ceased the moment the
key reaches the point where Tone arises, but that the process
must also at that very moment be reversed into an arm-sus-
taining action. Since these arm-sustaining muscles must
commence to act at the very moment that the cfc^i-muscles
of the finger and hand must cease to act (in response to our
hearing the beginning of sound), it is clear that it would be
almost impossible for us directly to " will " the arm-muscles
in question into action. We could not accurately enough time
* In speaking of the muscles and u Contrary " muscles, it is well to repeat,
that it requires the co-operation and co-ordination of many muscles to produce
some of the apparently most simple actions. ( Vide Note to 5, C7iap. XVI.)
* For it manifestly constitutes a case of bad " aiming," when the energy
intended to induce Tone, reaches the pads under the keys instead. And we
must remind ourselves that such bad aiming not only effectually prevents all
Agility, but also strongly militates against accuracy in Tone-response (accu-
racy in the correspondence of the deed to the wish), and renders a natural
Staccato impossible, and finally makes the muscular-act of performance a
vast labour instead of a delight.
This rule* as to the cessation pf all energy used for key-depression, obvi-
ously applies as much to the energy derived" from Weight, as it does to the
energy derived from the finger and hand exertions.
182 KEY-TREATMENT ; MUSCULAR ASPECT.
them to do so ; and we must therefore under no circumstances
attempt to prevent Arm-weight from reaching the key-beds by
directly "willing" these raising-muscles into action.
These muscles must, on the contrary, be taught to act practi-
cally by reflex-action ; we must be able to rely on their acting
automatically in response to the arm being suddenly " left in the
lurch " at the wrist-joint, owing to the well-timed cessation of the
Jinger and hand exertions against the key the very moment that
tone-production is completed. That is : if we accurately time
the exertions of the finger and hand to cease the moment that
sound is reached, then the arm will be felt to be suddenly left
unsupported at the wrist, and the arm-raising muscles will
then (unconsciously to us) be induced to re-take charge of the
arm (to prevent its falling) as before the commencement of
the particular " Added-impetus " in question. "Weight will
consequently at that moment cease to bear upon the key,
and will leave the latter either free to rebound (and thus
cause Staccato) ; or if the Besting is sufficiently cumbersome,
will at all events relieve the key of all weight excepting that
slight residue required to retain it depressed, for Tenuto or
Legato.
To sum this up : We shall only obtain a satisfactory
result, when the arm is caught-up by its muscles in response
to the sudden failure in its support at the Wrist-joint, aris-
ing from our icilling the hand and Jinger to cease their action
against the 'key. 1
The question 25. We have recognised ( Vide pp. 85, 111, and
of Legato v. 136, etc.] that the physical difference between Stac-
Staccato. ca ^ o an( j L e g a t o is the amount of weight al-
lowed to rest upon the key before and after each individual act
of key-depression ; that such "Besting " may occur either at
the surface-level or at the bottom-level of the key ; that the key
1 The muscles will act far more promptly in this way, than if the action is
directly willed by us ; just as our legs will act far more promptly, in response
to reflex-action, than in direct response to our will. For instance, the action
of rising from our chair in direct response to our will cannot be executed with
the celerity with which it is accomplished by reflex-action, in the event of
the chair suddenly collapsing under us.
THE ACTIONS AXD INACTIONS. 183
rebound and form Staccato during- the continuance of the
"Surface-resting," provided we cease each " Added-impetus **
accurately at the moment of sound-emission ; and that Tenuto
will arise, if the Resting is on the contrary ponderous enough
to overbalance the key Into descent, since the implicated
fingers are in this case compelled to continue their work (to
the extent of the Besting-weiglit) beyojidihe moment of sound-
emission. 1
There remains to be considered (1) how the effect of Best
1 Besides thefasnve Staccato here considered, a Staccato Induced and as
sured (a) bj insisting on the continuous Resting-weight being so attenuated as
not to compel the fingers to continue working beyond the moment that sound
is reached, and (b) by insisting on accurately timing the cessation of each fin-
fer's action ; besides this natural Staccato, there is also a forced kind, a
taccatissimo, in which the key-bed is as it were "kicked" against by each
finger.
While the raising- muscles of the finger and hand are not required in the
natural Staccato, we find that in this " kick-off" Staccato they do come into
operation in a slight measure. But even here, they must under no circum-
stances be directly vMed into action. If we do try to " will " the raising of
the limb, we shall only succeed in causing stiffness in its action. This is owing
to the fact, that the raising-muscles must not commence to act, until the very
moment that the down-action of the limb is completed, with the beginning of
sound ; and it is impossible for us mH-fuUy to time the raising muscles with
accuracy, at the very moment that the downward ones cease their work. Hence
the raising-muscles must here again be taught to act only in strict response to
the suggestion and impetus derived from the rising Tcey itself in its rebound.
We must therefore only think of "kicking" against the key-bed an act
analogous to the one of jumping, and the raising-muscles must act in auto-
matic response to the felt rebound of the key ; and coming thus into oper-
ation automatically, these will do so at the necessary moment It is in this
way that should b*e obtained this more rarely used, sharp and acrid form of
Staccatissimo ; and it is immaterial, in rising off the key, whether it is the
finger, the hand, or the arm that is driven up.
The sharply accented initial staccato note, characteristic of a good Mazurka
theme, may be cited as peculiarly appropriate for the application of this
* 4 kick-off " Staccato, and it can also be applied to Staccatissimo running pas-
sages of an incisive nature. As it can be formed into an excellent test for the
employment of finger-and-hand force without the faulty arm-force, this mat-
ter will be more fully dealt with in Chapter XVIII., " The Tests," etc.
Moreover, besides the natural Legato, determined by the continuous (al-
though light) Resting- weight, there is also an "artificial" form of legato,
occasionally suitable, which does not thus depend on Weight-release, but on
an artificially-continued application of hand-exertion. This has already been
described in the " Preamble " to this Part, Note 4, page 112, and it will be
further discussed presently. (Vide Appendfo, Part ZZZ, Note XVII. Vide
ateo Note 4 to 27, page 1*85.)
184 KEY-TEEATMEKT ; MUSCULAB ASPECT.
ing Is obtained, mnscnlarly, and (2) how the transfer of it is
elected, muscularly.
Staccato-rest- 26. The first or lighter form of the Besting
ing, how to be (the Surface-resting", required for Staccato and
obtained. Agility) is induced by keeping the Arm supported
by its own muscles, so that practically none of its weight reaches
the key-board in a continuous form, 1
One is very liable to allow this complete and continuous
self-support of the arm to lapse more or less ; and we must be
particularly aware of this danger, since the slightest weight
of the arm, left continuously on the key-board, will infallibly
wreck all Staccato as well as extreme Agility-passages.
The arm, while it must thus be adequately supported off
the keys in Staccato and Agility, must nevertheless not be
held in the least degree stiffly ; on the contrary, it must as it
wexejffoat over the key-board. The weight employed for this
lighter form of the Besting, is therefore not Arm -weight at all,
but merely the weight of the Hand. For this purpose, the
hand must remain quite passive, and must lie loosely upon the
keys. It may indeed be described as hanging from the arm at
1 The Resting we must remember, should be felt to be continuous during
each phrase, even when it is not directly transferred from note to note, as it
is in all Finger-passages both staccato and legato. This applies for instance
even in the case of a high-stepping " wrist- touch," where the hand is well
raised off the keys preparatory to each sound-excitation : for the general im-
pression of the normal attitude during each phrase must even in this case be
that of a continuous resting on the key-board, and it must not seem, as if the
normal position were the raised one.
The latter idea is often used in teaching, but it is a doctrine that must be
condemned as most mischievous. It implies a form of touch hardly ever ap-
propriate ; and it of course necessitates a continuous tension of the '* contrary "
muscles for the time.
This doctrine of the wp-held hand, as the normal position in Hand-touch
a " hand springing back from the key " cannot indeed be too strongly con-
demned. For it directly insures (a) stiff and clumsy performance of the act of
key-depression ; (b) risks inflamed tendons ; and (c) reduces all playing to
mere " fluking," since it prevents our judging with certainty where the keys are
actually located, and the degree of resistance they offer to depression.
It must be repeated, that we can only obtain Certainty of technique, when
proper key-contact, or Besting, precedes the act of key-depression ; a pre-
liminary act, we remember, that need not be separate from the ensuing act of
key -depression, and which may, in the case of Velocity-passages, even merge
into a mere general impression of key-board surface-resistance, felt to con-
tinue apparently during each phrase.
THE ACTIONS A^"D IXACTIO2TS. 186
the wrist-joint, 1 while the fingers gently support it on the keys
at their surf ace-level. Its weight, while thus adequate to render
the contact between finger-tip and key sufficiently intimate for
Staccato, etc., will not cause the keys to remain depressed,
provided we are careful to insist on "aiming" the work of
each finger to cease accurately, as each sound is reached. 2
Legato-rest- 27. The second, or heavier form of the Rest-
ing, how to be ing (at bottom-level of the keys, as required for
obtained. Tenuto and Legato) is, we have learnt a identical
with the down-weighed key of absolute pianissimo touch (p. 145)-
Muscularly it should be induced by a slight lapse in the self-
support of the arm. The whole arm must participate in the
release in question, but this release of arm-weight must of
course not be greater than will just serve to overbalance the
key into descent. In other words : the whole arm must be re-
leased from the shoulder, just as it has to be for the momen-
tary weight-release of the " Added-impetus," 3 but in this in-
stance continuously, and only to the extent the key is felt to
resist depression at its softest. And as we have already learnt,
it is the gimng-way of the key that tells us how much weight
is needed to encompass this, while that same amount of weight
also manifestly suffices to retain the key depressed with the
least waste of power, both for Tenuto and Legato. 4 Legato
* The fact, that the hand thus lies on the keys (or " hangs " from the wrist-
joint), should not be understood to imply that the wrist should be placed in a
higher level than the hand itself. Freedom it is, that should be striven for.
This freedom we should often make sure of, by sliding the hand off the
keys, and seeing whether it drops over the edge.
2 The sensation of contact with the key derived from such mere passive
Resting, can however be considerably intensified, if we add to the Resting a
slight clinging action of the two front phalanges of the fingers, causing them in-
dividually to contract and lock upon their respective keys at surface-level by
their nail-phalanges. Such attenuated " clinging" must however in this in-
stance be so slight so infinitesimal as not in the least to call the Upper-arm
into responsive Lapse as in a true ** clinging" touch, else the tone would be
influenced, and the Staccato ruined. Such slight nail-joint-dinging to the
key, if properly executed, will however much enhance our confidence and se-
curity in certain soft Agility-passages, enabling us to give them with far more
evenness than could be otherwise attained.
s Vide g 22, Arm-weight, how obtained.
It is obvious that the finger and hand must act very slightly more in the
heavier form o* *.he Resting than in the lighter form, as a slightly heavier
weight has to be supported continuously in the latter case. But such exer-
186 KEY-TREATMENT ; MUSCULAR ASPECT.
can only exist in ihejinger-touch form of all the Species, as al-
ready pointed out in Chapter XV., for there is no other way of
producing: that actual transfer of light weight that causes the
effect, 1
Weight-trans- 28. "We have learnt how a Pianissimo-tenuto,
fer, its muscii- such as was considered in the last paragraph,
lar-aspect. can b e transformed into &ppp Finger-legato, by
causing the light weight thus resting on the key-beds, to be
transferred from key to key. Now one should be care-
ful to insist, that such transfer of weight is effected by direct-
ing each weight-supporting finger in turn to cease its gentle
task ; and that such cessation be timed to occur at the moment
when the next key is desired to commence its descent. The
finger already in contact with this next note will in this case
be automatically prompted into activity, prompted into sup-
porting in its turn the continuous weight of the act of Besting. 2
tlon of tlie finger and hand (for ihe purpose of Besting, in both its forms) is
so slight, as to be hardly noticeable, even when specially watched for. Any
exertion, beyond this degree, felt against the key-beds, can therefore safely
be assumed to be caused by some inaccuracy in the Conditions that should ob-
tain during touch of any kind. Slightly more weight than is ordinarily re-
quired for Tenuto and Legato, ancTgp Weight-touch, can however under
exceptional circumstances be " carried along " with impunity in Finger-pas-
sages. Such slight extra Weight is required for certain Over-legato passages
and the " artificfal "or " pressure " Legati, already referred to. More-
over, as already pointed out, a similar increment or weight can also be applied
for certain Tieavy Staccato-passages.
These exceptional matters receive further attention in the Appendix to this
Part, "Note XVII. " Certain exceptional forms of Legato and Staccato, and the
slightly heavier Resting thus transmissible. " (Vide also Notes to | 25 and 2 7. )
1 Hand or Arm Legato, does not exist, properly speaking ; for there cannot
be more than a mere approximation towards Legato, when the hand itself actu-
ally rises with the key, and thus allows the damper to fall before the next key
has begun to descend, unless the Pedal is used. So-called Legato by means
of Hand and Arm-movements, is therefore necessarily but a dose sequence of
Tenuti, each one distinct for each note, in spite of the general impression of
Besting on the key-beds that accompanies such touches ; an impression de-
rived from the continuous series of Restings there accomplished after the
completion of each individual tone-production unit; and owing also to the
key-board-surface not being quitted between the sounds.
* Weigjht is thus suddenly as it were " left in the lurch," and it is this sen-
sation which should by reflex action prompt the new ringer into its necessary
action. As already pointed out (Preamble to this Part, page 113, Note 1) we
have an excellent analogy in the act of walking ', when quietly fulfilled. For the
transfer of the Resting-weight from finger to finger, is accomplished precisely
in the same way as the weight of the body in walking, the lapse in the sup
THE ACTIONS AXD INACTIONS. 187
An automatic and perfect Legato is thus secured, owing- to the
ascending and descending keys passing each other at the right
moment.
The sensation 29 - Coming now to the sensation that ac-
accompanying companies correct transfer of the Besting-welght.
the Transfer. As we here cause the new finger to act, not by
directly " willing " it into action, but on the contrary, by tim-
ing the cessation of the preceding finger's support of weight,
we find as a consequence, that the sensation, so far from being
an active one, is on the contrary passive in character. That is :
the act of transference is felt rather as a lapse in exertion than
as an exertion, the transfer seems to " do itself, 5 ' since it is
accomplished without our willing any added-effort at the mo-
ment. The weight is also felt to pass-on from the bottom of
one key, to the top (or surface-level) of the next. The gen-
eral sensation being, that each note seems successively to "be-
come " another note, just as in vocal tone-production. In-
deed, the idea of separate and detached acts of tone-production
does here in a measure become blurred over, 1 owing to this
sensation of one finger giving way to the next finger in causing
the new note ; thus creating a continuity in sensation, while
inducing the continuity in sound. 2
PP- Weight- ^O . "We now realise more clearly, how this
touch accom- same act which forms pianissimo-tenuio and le-
panies all Ten- gato, does also accompany ALL Tenuti and Le-
uti and Legati. g a ^ ? however much their tone-amount or qual-
ity may differ from this Basis. That is: the Besting
which causes Tenuto and Legato is practically never more
ponderous than that which causes the softest " held " note, no
matter what may meanwhile be the nature of the Added-
impetus that portion of energy communicated to the key
porting-activity of one leg prompting the other to undertake its duty. The
analogy would be perfect, if we were walking on a series of trap-doors, which
gave way to us at every step. Some of the old organs were indeed blown on
this principle, by the blower alternately stepping from one to another of a
pair of bellows. The treadmill is another instance of the same principle of
allowing the lapse of weight to induce movement
1 In. pp, it is entirely blurred over.
z In a rapid passage the impression is thus produced, of a train of up-
springing keys behind one, in one's progress across the key-board.
188 KEY-TREATMENT ; MUSCULAR ASPECT.
to move it into sound, and which, gives us our tone-vari-
eties. 1
Rotary-adjust- 31. Evenness of Touch (and un-evenness at
meats of the will) depends greatly upon the proper condition
Fore-arm. o { ^e Fore-arm in its BOTABT aspect ; upon the
condition of the Fore-arm's rotary activities and inactivities,
with their influence upon the hand in a tilting direction. 2
It is only by accurately adjusting- these rotary possibilities
of the fore-arm to the needs of each finger (and each particular
tone-character) that Energy can be transmitted (either equally
or un-equally as desired) to the Thumb and Little-finger sides
of the hand. Such adjustment of the fore-arm's condition
enables us muscularly to support either side of the hand of
the keys when required ; it enables us to set free weight at
either side ; and it enables us even to provide muscular force
in a rotary direction ; while all these adjustments of Condition
may moreover be accompanied either by an actual tilting move-
ment, or not, as is deemed desirable. Thus :
The fore-arm's rotary activities should be equally ad-
justed, when weight is required equally at both sides of
the hand. 3 But when one side of the hand is left
vrithout any finger to support it upon the keys, then that
side of the hand must be sustained by the fore-arm tending
to rotate upwards with it. Such fore-arm rotation must be
reversed when that side of the hand has to serve as a foun-
dation for a finger's action against the key.
It is in this way, that we owe evenness of touch to the fore-
1 As lias already been insisted upon in Chapter XV. ("The Concepts'*) :
the act which causes us to retain the key at its bottom-level after completion
of the act of tone-production (in Legato and Tenuto), should never be more
ponderous than in the softest tenuto, although we may have depressed the key
with fullest force ; so that in the case of jforte-legato for instance, we have to
provide an act of continuous Resting, just heavy enough to compel the down-
retention of the successive keys, interspersed with forcible but short-lived acts
of key-depression, which latter must cease with the moment of sound-emission,
and which will thus leave the gentle Resting unaffected between- whiles, and
no different than for ppp. Also vide Note on p. 145 and "Suppkment"
Note No. III.
2 Refer to 9 of last Chapter, and "Supplement," Note No. I.
3 Except the slight residue of activity required to keep the hand in iia
playing position, palm downwards
THE ACTIONS AND INACTIONS. 189
arm's rotary tendencies ; and also owe to It, the power of mak-
ing- notes e stand out " at either side of the hand at will.
32. Production of tone, as noticed above
may ^ e accom P ail i e ^ % an actual tilting or
rolling- movement of the hand, in connection
with a partial rotation of the fore-arm itself. These adjust-
ments of the fore-arm, at other times invisible, are then
rendered visible. Such movement has been termed ec Side-
stroke" by some of the German teachers. A far less objec-
tionable term for this variety of movement is however found
in is ABM-ROTATIOX-TOUCH," which, while describing it more ac-
curately, also eliminates the word " stroke " so objectionable
when applied to any form of Touch.
33. Eotation-touch, like all other kinds of touch-move-
ments, may be wrought either by Muscular-initiative, or by
Weight-initiative. ( Vide 10 and 11.) That is, the visible tilt-
ing movement of the hand may result either (a) from a rotary
down-activity of the arm upon that particular side of the hand,
causing that to out-balance the finger under it ; or (b) it may
result, by applying a rotary Zi/hVi^-exertion at the otk&>^ side
of the hand, which will cause that side to tilt upwards, while
setting free weight at the tone-producing side owing to lapse
of the supporting muscles on the latter side. Obviously,
the first form will tend towards C Muscular-initiative," with its
more aggressive tone qualities, while the second form will
tend towards " Weight-initiative/' with its more sympathetic
tone-qualities.
Horizontal ad- 3*- Another important muscular-adjustment,
justments of is that of the Hand and Wrist- joint, in the HOBI-
Wrist. ZONTAL (or lateral) direction :
Successive fingering-positions 1 can only be linked together
without break and unevenness, by lateral movements of the
Thumb and Hand. To enable these to be amplified and unim-
peded, we require lateral freedom, of the Wrist-joint, and actual
1 By " fingering-position," is meant a group of notes that can be reached
by the fingers of one hand, without the intervention of any " turning under"
or " over" of the thumb and finger.
190 KEr-TREATMEXT ; MUSCULAR ASPECT.
movements also of the Hand and Wrist from side to side in
a plane with the key-board. This freedom can only be attained,
by leaving such amplifying" movements of the Hand and Wrist
absolutely unrestrained free from all contrary exertions. In
this way they will enable us to give the fullest scope to the
Thumb in turning under the fingers, and to the fingers in " pass-
ing over " the thumb, and will also facilitate the passage of a
longer finger over a shorter one in passages of double notes.
They moreover help us to reach notes otherwise too far apart
to come easily under the hand ; and enable us to play widely
laid-out chords (by spreading them) which at first sight appear
to be extreme " extensions." l
Lateral freedom of the wrist- joint can only be attained by
learning to discriminate between the muscular-activities that
move the Hand to one side (horizontally) and those that move
it to the opposite side. For unless we leave the opposite set
of muscles to the required ones practically passive, restraint,
with all its accompanying evils, will supervene during the re-
quired adjustment.
There are two kinds of movement requiring this horizontal
freedom, and they seem at first sight quite distinct ; for in one
case (i.e., when the fingers are passed over the thumb), it is
the hand that moves ; whereas in the other case (., when the
thumb is passed under a finger that is stationary on its key),
the wrist- joint itself moves, carrying with it the fore-arm.
The same set of muscles should however be employed for
both these apparently dissimilar operations ; that is : the
1 Perfectly nil-restrained mobility of the Hand from side to side, is re-
quired during the performance of the notes comprised within fingering-posi-
tions that embrace sounds heyond the extent of an octave ; with most hands,
such lateral movement is indeed required even within the limits of an octave.
It is a very ordinary misconception, that such groups of notes, covering
much key-board space, should be " STRETCHES," although they do not have to
be sounded simultaneously. Widely laid-out harmonies should in fact never
be regarded as " stretches " or extensions at all, unless they have actually to
be sounded together. What is imperatively required, is, that all the implicat-
ed fingers be successively brought over their respective keys ly the lateral
movements of the hand and wrist here considered, and that this "preparation"
over each note is effected, as it always should be, before the actual depression
of each key is commenced.
THE ACTIOXS AND IXACTTOXS. 191
muscles that move tlie hand from side to side are the ones that
should be employed in both cases. Thus :
"When tiie thumb rests on a key, it acts as a pivot, and
the hand itself then moves obviously enough, since its
finger-end is here free to do so.
"When, however, one of the other fingers has to sus-
tain a note, and the finger-end of the hand is therefore
unable to travel, then the other end of the hand (the
"Wrist end) has to move instead. In the latter case,
we have two pivots (a) the finger-tip upon its nofce 3
and (b) the Elbow ; and while these two pivots do not
move, the wrist is moved laterally by means of the hand-
muscles in a plane with the key-board surface. 1
The sensation &&. ^ we fulfil these two last requirements,
of rotary and vis. / perfect adjustment and freedom of the Fore-
lateral free- arm rotarily ( 31) and perfect ease in the hand
3om " and wrist motions that assist the turning under
and over of the fingers, we shall experience the sensation of
always being ready of always feeling VERTICAL over every
note before it is used, or played.
Now, it follows, that if we insist on not playing unless we
do experience this sensation of verticality, then we may also as-
sume, that we are fulfilling these two extremely necessary re-
quirements. And it is in fact only in this way that we should
urge these muscular details into operation during the per-
formance of a piece of music. 2
1 When the wrist- joint itself thus moves from side to side, with a quiescent
Elbow, we find that this also implicates a slight rotary movement of the UP-
PER-ABM, thus allowing the fore-arm to move slightly from side to side at the
wrist in following the hand.
a For it would be undesirable, during the actual performance of music, to
allow our attention to stray towards the personal accomplishment of muscu-
lar-conditions, however necessary these are.
To do so would take our thoughts off Music. And we must always re-
member when we have to deal with Music, that our business is (a) to watch
Key-resistance, and (b) to pre-conceive the time and tone-place of each note
for the sake of the phrase, and the work under performance^ (Vide
Table, page 40, Part I.) To insist on a general impression of " verticality "
does not detract from such necessary intention technically and musically ; but
to allow ourselves at such time to think of the details of *' Rotation " and
192 KEY-TBEATMEXT ; MUSCULAR ASPECT.
The triple-as- 36. Here is the place to sum-up the elements
pect of Wrist- that make for a EREE WBIST that desideratum
freedom. striven for by teachers of all schools, old and
new. For we shall now be in a position to realise, that
freedom of the wrist-joint implies freedom in three distinct
aspects ;
I. Vertical freedom.
II. Lateral freedom.
HI. Rotary freedom, really that of the Fore-arm.
a): Th$ wrist must le perfectly mobile 'vertically, even under
tlie strain of the severest forte passage, nothing- must be allowed
to militate against ease of Wrist, in an upward and downward
direction, however forcibly the hand and finger may be mo-
mentarily applied to the keys during their descent. 2
b) : The wrist mut le perfectly unrestrained horizontally,
under the same conditions; the hand (and wrist) during- its
movements from side to side, as well as during its position
when quiescent at either point, must also be perfectly unim-
peded in this plane. 3
c) : The hand (and the wrist and fore-arm therefore) must
"be equally unrestrained in a rotary or tilting direction : The
hand, whether actually tilted or not during .the act of tone-
production, or exerted without movement in either direction
rotarily or not, must be likewise un-restrained in this respect. 4
'* Horizontal adjustment' 1 would probably do so. And this warning applies
to all the rules of Technique in performance.
We must indeed give close attention to the acquisition of the required fa-
cilities, but we must study them at their proper time while we are learning
to play. On the other hand, the moment we wish to apply ourselves to the
actual performance of a musical- work, we must strive to give our supreme at-
tention to Music itself, through the necessary key -attention ; and the laws of
Technique must then be enforced semi-automatically, or entirely so. For it is
obvious, that unless we succeed in this latter respect, we shall not be able to
exhibit our musical perceptions untrammelled by the means of Execution,
any more than we can freely converse in an unfamiliar language.
i Excepting those few, who by advocating the " rigid wrist," thereby prove
themselves incredibly ignorant of the very first physical principles of all Tech-
nique.
*Vide 8, 23, 26, etc., also Tests, No*. I. and J1Z, Chanter XVHL
8 Vide 34.
THE ACTIONS A2TO INACTIONS. 193
In storf :
The Wrist can only be said to be &s really free n when it is
felt to be equally tin-impeded in all three of these aspects* 1
Fore-arm 3 ^* Skips within the compass of about two
skips. octaves are executed by movement of the fore-
arm alone. This horizontal or lateral movement
of the fore-arm is fan-lite in character, the Elbow forming its
axis. With a qniet elbow, it allows us to perform such skips
with great celerity and yet with comparative certainty ; our
muscular-memory enabling us to do so, since this movement is
simpler and less cumbrous than that of the whole arm. The
Elbow should in such cases be placed midway between the two
notes forming the skip, preparatory to taking it, as the elbow
would otherwise have to move. 2
38. Skips that are too large to be convenient
^ or *k* s fo re ~ arm movement, must be taken by a
horizontal (or lateral) movement of the Upper-
arm itself; a side- way movement of the Elbow, away from the
body, or back towards it. 3
Because of the clumsiness of this movement and because of
its unreliability, such skips are found far more " risky." Skips,
beyond the compass of two octaves, are therefore not often re-
quired at a tempo so fast that the eye cannot direct them ; and be-
ing so uncertain of execution, they should therefore also not be
written beyond that speed-limit. 4
1 During Practice, the greatest care should be taken to ensure this three-
fold freedom, by constantly testing the mobility of the Wrist, as indicated in
the next Chapter, and in Part V." On Relaxation."
* Such movement of the fore-arm with the elbow as an axis, is not at all so sim-
ple muscularly as it appears. As already pointed out, in the last Note (page 191)
of 34, this movement is really formed by a combination of Upper-arm rotation
with supplementary vertical movements of the Fore-arm. The rotation of the
upper-arm alone, would take the fore-arm off the key-board plane ; this upper-
arm rotation is therefore here modified (or " corrected") into a horizontal
movement of the fore-arm, by slightly employing the latter*s raising-muscles,
or allowing these to lapse, as the case requires.
3 Refer to last Chapter, 10.
4 Such passages have however occasionally been written, not in ignorance,
but deliberately for purposes of acrobatic display the interest centring
purely in the performer's knack of reaching the right keys in spite of difficulty
and risk.
104 KEY-TREATMENT; MUSCULAR ASPECT.
Lateral adjust- 39 * Small lateral movements of the fingers
mentsofthe themselves, also lielp to bring them over their
Fingers, respective keys. To these movements, which are
so perfectly obvious to the eye, no further allusion need be
made, except to point out, that they should be as un-restrained
as all the other motions required in Technique, and that no
greater extensions should be made by their means than is really
necessary. 1 The behaviour of the thumb in this respect, will
be found explained under " Position " Part IV.
Jfuscnlar-ais- 40. Consideration of the Actions and Inac-
crimination, tions explained in this Chapter, will enforce the
Its acquisition, conclusion, that we must acquire muscular dis-
crwiination in very definite directions, if we wish to learn to
play with Ease and Certainty. These discriminatory-
powers may be acquired either Tin-consciously, or consciously :
"We can acquire them unconsciously, if we experiment
persistently enough at the key-board and may succeed, if we
possess exceptional powers of Ear, muscular adaptability,
memory of Sound (especially as to quantity and quality) and
memory of muscular-sensations.
Few possess all these powers, and fewer still possess them
all in an exceptional degree. Even amongst artists there are
few, who attain to easy Technique in all its branches.
The far quicker and more certain way to acquire this neces-
sary muscular skill and perceptiveness, is therefore to use the
Keason, as already suggested in Part I. By using our reason-
ing-faculty, we can easily learn thoroughly to understand ex-
actly what is required of our limbs in each and all of the various
forms of Touch. Understanding this, we can then with assurance
deliberately and directly proceed to teach our muscles to ful-
fil each of the required conditions, thus gradually but surely
teaching our Muscular-memory, and forming correct habits.
To render this task easier, a list of the most necessary
Muscular-discriminations required, is here appended. 2
1 Vide Note to 84, on page 190.
* Studies and exercises, mostly for use away from the instrument, will be
provided in Part V., as already explained.
THE ACTIONS AS"D INACTIONS. 195
TABLE
OF THE MAIN" MEXTAL-MUSCTLAB DISCRIMINATIONS BEQUIBEB TO
ENABLE US TO FULFIL THE CONDITIONS OF ACTION AND EX-
ACTION EMPLOYED DURING THE ACT OF TOUCH.
L Ability independently to leave lax unsupported by fhdr
respective muscles :
'a) The Hand, \ so that we shall be able to set free their
b) The Fore-arm, \ "Weight as required, independently of
.c) The Upper-arm, j any downward exertion of the finger or
Id) The Shoulder, J hand. 1
II. Isolation of the Fingers down-activity (or exertion) from
that of the Hand ability to exert the finger against the key,
independently of any exertion downwards of the hand. 2
HI. Isolation of the Hand? 8 dawn-activity from that of the
A.rm ability to exert the hand downwards behind the fingers
upon the keys, even to its fullest extent, without permitting
any down-activity of the Arm. 3
IV. Freedom of the Finger's action isolation of the finger's
down-exertion from its opposite exertion freeing the finger's
down-exertion from the upward one. 4
V. Freedom of the Hand's action isolation of the hand's
down-exertion from the upward one. 5
VI. Discrimination between the Thrmting and the Clinging
application of the Finger against the T&ey with its correlated
alternative, either of forward-supported or lax-left Elbow and
Upper-arm. 6
VH. Freedom in the rotary-adjustments of the Fore-arm
a) ability to leave the fore-arm lax in a tilting direction
towards either side of the hand, both fifth-finger and
thumb sides.
b) ability to exert the fore-arm rotarily in either of these
directions. 7
1 2, 3, 4, 6, 7, 22. 4 23, also last chapter.
9 6, etc. * 23, also last chapter.
& 6 etc. 6 ^ 12-15, also last chapter.
KEY-TREATMEFT ; MUSCULAK ASPECT.
YUL Freedom of the Wrist and Hand horizontally
isolation of the muscular act that moves the hand to one side
laterally, from the act that moves it in the opposite direction ;
required to assist the thumb in turning under, and the fingers
in turning over. 1
TK. Ability accurately to time the cessation of the down-exer-
tion of the Finger, employed during key-descent
ability to u aim " this exertion, so that it may culminate and
cease at the moment of sound emission. 2
X. AHlily accurately to time the cessation of the down-exertion
of the Hand, employed during 'key-descent
ability to aim the hand-exertion, so that it may also be di-
rected by the ear, like that of the finger. 3
XL Ability accurately to time the cessation of WEIGHT, em-
ployed to produce tone
ability to time the application of any Arm-weight employed
for the creation of key-descent, so that it may culminate and
cease at the moment of sound emission. 4
XH. Freedom in the movements required of the Finger, the
Hand, the Fore-arm and the Upper -arm in bringing the finger*
tips into plaice over their required notes, antecedent to the act oj
key-depression
freedom in the lateral, or side-to-side movements : (a) of the
Fingers and Thumb, (b) of the Hand, (c) of the Fore-arm, with
the elbow as a pivot, and (d) of the Elbow and Upper-arm
itself. 5
'34
8 24 and 28, mde also " The Added Impetus," last chapter.
3 34, vide The Added Impetus, last chapter.
4 A cessation that must be caused, by the arm-supporting muscles acting
in strict response to the timed cessation of the up-bearing action of the finger
and hand against the arm at the wrist, during the act of key -depression.*
5 24, '87, 38, and 39.
* $ 24 and last Chapter.
THE ACTIONS AND INACTIONS. 197
RECAPITULATORY
a) : The Act of Touch implies levering weight upon the key,
to cause its deflection.
bj : This leverage-power is obtained :
1) by exerting the Finger,
2) by exerting the Hand in conjunction with the
Finger.
c) : When the finger is exerted against the key, it bears up-
wards by recoil against the Knuckle of the hand, and with equal
force*
d) : The hand, when it is exerted, bears downwards upon the
finger at the knuckle, and it likewise bears upwards (by reaction)
with equal force against the Arm at the Wrist- joint.
e) : At the Wrist-joint, these two combined forces meet the
weight of the Arm ; and it is therefore the Arm that forms the
Basis for the operation of the finger and hand against the key.
f) : The arm may be employed for this purpose in two distinct
ways:
1) It may be self-supported by its muscles.
2) It may be left unsupported during the action of
tone-production.
g) : Arm-weight, if insufficient for extreme fortes, may be
supplemented by a bearing-up against the Shoulder. The weight
of the Shoulder and even of the Body itself thus forms the ulti-
mate Basis, or Foundation* Body-force must never be employed
instead.
bj : All sensation, during the Act of Touch, must invariably
be upwards.
This is so because all the work done reacts upwards against
Weight thus producing a stepping-up against the Knuckle and
the Wrist, and even against the Shoulder in extreme eases-
KET-TBEATMENT ; MUSCULAR ASPECT.
i): There axe therefore Three Muscular Components from
which we can construct the Act of Touch, viz* :
1) Finger-exertion,
2) Hand-exertion,
3) Arm-weight, and its co-operatives,,
j) : These three components divide, broadly, into twc distinct
kinds Exertion and Weight. The two opposite elements
thus recognised, meet at the Wrist- joint. Exertion, there bearing
upwards, meets the downward tendency of Weight.
k) : The total quantity of tone (loudness) depends on the total
amount of Energy used against the key during its descent, and
obtained from these two sources.
I) : The quality of the tone mainly depends on how we start
this combination of Exertion and Weight against the key, viz. :
i) : If we want tone of a beautiful quality, we must
start the combination by Weight (i.e., by Arm-release) ;
for the key is then more gradually driven into Speed.
2) : If we want a tone of a brilliant, aggressive, or
sharp quality, we must start the combination by Exertion
(of the finger and hand) ; for the key is then driven more
suddenly into Speed.
We thus obtain two completely different genera of Touch
" Weight-touch " and " Muscular-touch."
m) : The Tone-quality is further influenced by which attitude
we adopt of the Finger and Upper-arm conjointly* There are
two opposite attitudes :
1) The Clinging, or ^/-finger attitude,
2) The Thrusting, or fo/-finger attitude e
The Clinging-attitude makes for beauty of the tone, the
singing-quality, with its carrying character ; because the whole
limb is here in its most elastic condition.
The Thrusting-attitude makes for brilliancy and aggressive-
ness, with its " short' 5 Tone-character; because the whole limb
Js then in a more rigid condition.
THE ACTIOHS A2TB INACTIONS. 199
nj: To use tie Clinging-attitude, we must leave the Upper-
arm more or less relaxed during the moment of tone-production ,"
thus causing the Elbow to tend to hang on to the fingers.
Weight thus set free permits the finger to cling to the key to the
necessary extent.
The finger, in thus tending to drag the Elbow towards the key-
board, should be used as a whole, all three joints nearly straight
or flat."
o) : To use the Thrusting-attitude, we must on the contrary
support the Upper-arm more or less forwards. This permits
the finger to thrust against the key to the necessary extent, the
thrust being taken by the Elbow.
The finger, in thus tending to thrust against the Elbow, is
used in a very rounded (or bent) position, and it tends to un-bend
towards and with the key ; the nail-joint remaining almost up-
right. The action Is like that of the leg In walking up-
stairs.
p) : Most of the work done by the finger, should be derived
from the part of the finger next to the knuckle the knuckle-
phalanx, i.e. : The part of the finger next to the knuckle (or
hand), is the part that should do most of the work.
This applies equally in "flat" and "bent' 1 attitudes.
q) : The action of the finger, in both attitudes, is best under-
stood at first, by turning the hand palm upwards, and lifting a
weight by the tip of the finger.
r) : If we require the most sympathetic tone, we must com-
bine Clinging-attitude with Weight-initiative. Remembering
that the slightest "putting-down" of the key, will destroy the
desired result.
sj : If we want a sharp Incisive tone (sacrificing carrying-
power) then we must combine the Thrusting-attitude with Muscu-
lar-initiative.
t); Finger-touch, Hand-touch ( Wrist-action ") and Arm-
touch, are terms not referring to the action or otherwise of the
three various parts designated. They merely refer to movements
srf those parts, respectively Whether an actual mowment of the
200 KEY-TEE ATM EXT; MUSCULAR ASPECT.
Finger, Hand or Arm accompanies key-descent, depends purely
upon wbich of the three components provides slightly more Energy*
Thus:
i) : Finger-touch (or movement) may involve the oper-
ation of all three of the muscular components finger-ex*
ertion, hand-exertion, and arm-weight. Or, finger and
hand exertion may alone be used ; or, the finger-exertion
alone.
2) : Hand-touch (or movement) must involve finger-ex-
ertion, and may also involve arm-weight.
3): Arm-touch (or movement) must involve exertion
both of the finger and the hand, accompanied by Arm-
lapse*
u) : Choice of movement is chiefly determined by the actual
speed of the passage ; Le. : It is the actual speed of the passage
that mostly determines which part of the limb we must move :
i) : Arm-movement (or touch) should be employed when
the passage is sufficiently slow to admit of it.
A more or less slight raising of the whole limb off the
key-board renders the act of phrasing clearer. The first
note of a phrase is therefore nearly always played by
arm-descent.
2) : Hand-movement (or touch) must be chosen, when
the notes succeed each other too quickly to be conveniently
played by arm-touch.
3): Finger-movement (or touch), as it provides the
shortest lever, must be chosen for passages beyond the
speed-capacity of Hand-touch.
4): Finger-movement (or touch) is however also
employed for slower passages, and even for the slowest.
This, because we can only obtain a true Legato through
the intervention of the fingers, thus enabling us to trans-
fer the second kind of Resting from key to key,
v) : Choice of Touch-formation (the Muscular-combination em-
THE ACTIONS AXD I^ACTIOSTS. 201
ployed during the act of key-depression) is however even more
important than choice of Touch-movement.
There are three main forms of such combination ; forming
Three Species of Touch-formation or construction :
i) : Finger-exertion alone, with passive Hand and self-
supported Arm.
2): Hand-exertion behind the Finger-exertion, with
self-supported Arm.
3) : Arm-weight (etc.) released in conjunction with the
Finger-and-hand exertion. 1
w) : The weight of the arm, thus required for the " Added-
impetus," is obtained by omitting its self-support for the time.
The whole arm must be released from the shoulder (to the
necessary extent), not the Fore-arm only. Movement of the
arm, is moreover no guarantee that it is really descending of its
own weight.
x) : Arm-weight thus employed in the form of "Added-im-
petus " during the act of tone-production, must cease to bear upon
the key the moment sound is reached ; but we must not cause this
cessation, by trying to lift the arm off the keys. On the contrary,
the arm must be made to resume its self-support automatically.
This it will do, if we "leave it in the lurch," at the Wrist, by
promptly ceasing all work of the finger and hand against the key,
the moment that sound is reached.
y) ; The continuous weight required to form the second (or
slightly heavier) kind of " Resting," upon which depends the
effect of Tenuto and Legato, is obtained in the same way : A very
slight release of the whole arm suffices ; not dis-continuous as for
the Added-impetus, but here continuous, and no greater than just
sufficient to overbalance the key into descent.
%J : This same process also forms the absolute-^ Weight-
touch.
J This all-important matter, the muscular-construction of the act of Touch,
in its Three main Species, and the Varieties of these, is more fully dealt with
in Chapter XIX., wMch sea
SQ2 KEY-TREATMENT; MUSCULAR ASPECT.
To obtain it, we must be careful really to weigh the key down
by such arm-release, and not in the least to put it down by mus-
cular-initiative.
aa) : True Legato, we found, is only possible in finger-pas-
sages ; l for the Tenuto form of the Resting (or pp Weight-touch)
must here be transferred from finger to finger during the continu-
ance of each phrase.
This transfer should be effected by timing the previous finger
to cease its weight-supporting activity at the moment that the
next key*s descent is required to commence. Thus the new finger
is compelled to take up its duties automatically in response to
the weight being " left in the lurch " by the preceding finger.
bb) : Without any Added-impetus, this forms pp Transfer-touch.
Here again we must be careful not directly to influence the new
finger's depression ; we must instead insist on the previous finger
giving way at the right moment.
cc) : The following facts will now be clearer :
Pianissimo Weight-touch 2 accompanies all forms of Tenuto;
since all tone beyond pp must be supplied by one of the multi-
farious forms of the Added-impetus.
Pianissimo Weight-transfer touch, in the same way accom-
panies all Legati of greater tone-amount than pp.
Tenuto and Legato of more tone than pp 9 hence consist of
pp Weight-touch or Weight-transfer-touch respectively, with a
tone-making operation added thereto for each note the Added-
impetus, the latter as short-lived as in Staccatissimo.
dd) : For the first (or Staccato) form of the Resting, the
weight of the hand alone is sufficient. For this purpose, the
hand must lie quite loosely upon the keys. Tone, of whatever
Mnd, must of course be obtained by employment of the Added-
impetus in one of its many forms.
ee) : Invisible adjustments of the Forearm are constantly re-
quired in a rotary or tilting direction, to ensure Evenness of effect
from all the fingers ; and also to enable the fingers at either side
* Except by intervention of the Damper-pedal. Chap. XY., etc,
9 Already considered in Chapter XV. Vide also Ref. on p. 145.
THE ACTIONS ASD DTAOTI02TS. 203
ef the hand to pronounce their notes prominently. These adjust-
ments enable us to support either side of the hand off the keys
when required ; and enable us also to influence either side with
more force or weight when that is required.
ff) : This forms Rotaiionr-toucb, when such adjustments are
allowed to become visible as a tilting movement of the hand.
ggj : Lateral movements of the Hand and of the Wrist itself
are also required to ensure Evenness. Without such, movements,
it would be impossible to connect without break or jerk the vari-
ous fingering-positions out of which passages are formed. These
side to side movements (whether great or small) must be abso-
lutely unrestrained.
Vb) : Rotary and lateral freedom of the Wrist enables one to
feel always "ready" over every note beforehand.
ii) : Purely Vertical freedom of the Wrist-joint itself must be
insisted upon, besides this rotary and lateral freedom. Only in
this way can a really free Wrist be ensured,
jj) : Per contra : if we always insist on feeling ready and
vertical over each note, before attempting its production, we shall
fulfil these three conditions of freedom of the Wrist laterally,
rotarily, and vertically.
kk) : To enable us to reach closely adjacent notes, slight
lateral movements of the fingers themselves suffice.
II) : To enable us to take larger skips, but such as do not ex-
ceed about two octaves in extent, we must use lateral movements
of the Forearm, with the Elbow as the apparent pivot. These
are mainly induced by a partial rotation of the Upper-arm.
mm) : For still larger skips, the whole arm, from the shoul-
der, must move sideways. Such large skips however become
exceedingly uncertain, if attempted beyond a comparatively slow
speed.
nn) : Muscular - discriminations in very definite directions
have thus been proved requisite* These should be studied in the
Table annexed to this chapter.
$204 KEY -TREATMENT ; MUSCULAB ASPECT.
CHAPTER XYDDL
THE THKEE CHIEF 3CIJSCUIAE TESTS BEQUDRED DURING PBACTICE
AND PEBFOEMAM3E.
1. Tliree deductions of extreme importance are borne in
upon us, after careful consideration of the muscular acts and
in-actions discussed in the last chapter and the preceding
ones. We shall perceive that good Technique must greatly
depend upon close obedience to three salient laws : (a) effici-
ency in the Besting, (b) efficiency in accurately aiming and
ceasing the energy required to move the key, and (c) efficiency
in actively employing both Finger and Hand (the Exertion
elements) without any non-intended application of the down-
muscles of the Arm.
There are many more requirements to be fulfilled, but these
three undoubtedly assume supreme importance.
2. For this reason it is necessary that we should constantly
test ourselves musctdarly, both during Practice and during
Performance, so that we may ensure the fulfilment of these
three supreme requirements. . . . This we can do by
adopting THEEE MUSOUI^R TESTS as they may be termed.
These Tests, we shall find if we observe closely enough, are
indeed adopted unconsciously for the most part by all those
artists who have learnt to succeed technically.
3. We shall be convinced that such " testing " is really
necessary, and is not merely a matter of personal habit or
idiosyncrasy, if we consider for a moment the necessities of
other vocations. Thus we find, that the Bank-clerk does not
trust to his eye, in spite of his years of experience, whether
he has to count out 500 or merely five sovereigns, he makes
sure of the amount by using his fingers or his scales. The
chemist is not satisfied unless he possesses the best scales and
tests obtainable. Even the domestic cook of the better
THE THEEE CHIEF MUSCULAR TESTS. 206
class, is learning ratter to depend on actual measurements
than on mere " rule of thumb." ... In fact we find that a
striving after accuracy by Test obtains everywhere.
We find it in all athletic avocations. The expert thrower
weighs his ball consciously or unconsciously whilst aiming
his throw ; the tennis-player does likewise with his racquet,
and the cricketer with his bat. Again, the billiard-player
/loes not essay to propel Ms ball, until he has carefully tested
both weight and direction of his cue, for he does not bring his
implement into contact with his ball until he has tested his cn
and Ms arm, by swinging his cue several times backwards and
forwards towards the ball
In the same way, if we desire to estimate the weight of an
object, we do not merely hold the latter at arm's length. On
the contrary, we balance it ; that is : we test our arm to see
whether the exertion we are employing (to sustain that object)
is freed from any contrary exertion is freed from exertion of the
contrary muscles ; for experience has taught us that we can-
not estimate the weight of an article unless we first eliminate
any confusion in sensation arising from such contrary exer-
tion. We therefore unconsciously move the article in question
a few times, slightly upwards and downwards ; and thus, by
alternately using slightly more force, and then again slightly
less force than is actually required to support the weight, we
are by this means enabled to gauge the exertion required with
great accuracy, and hence derive the exact sensation of weight
(or resistance to our muscular effort) caused by the object thus
tested. 1
Exactly in the same way, must we constantly test our
muscular-conditions while engaged at the Pianoforte, so that
we may be able to estimate each key's resistance accurately,
and may also be able to employ our muscles unfettered by
their opposing ones, in a word, that we may play with
freedom.
1 If we have sufficient experience and a good muscular memory we shall
also then he ahle to say how this sensation compares with those we have derived
from previously tested accepted standards of Weight Ibs. and ozs.
306 KEY-TREATMENT; MUSCULAR ASPECT.
4, Such testing' must be unremitting", during' the practice-
houi\ as well as during" an actual performance.
The Learner needs it, that he may gradually learn to
discern between correct and incorrect application of energy.
The Adept needs it, otherwise he cannot expect the instru-
ment to respond either with accuracy or with certainty to his
musical feeling" and judgment.
But the difference between Adept and Learner is, that the
former need not show the means of testing he is compelled to
adopt, since the slightest and almost unnoticeable movements
will suffice in his case tests and reminders here accomplished
more or less unconsciously, we must remember. Whereas
in the case of the Learner, whose discriminatory-power, mus-
cularly, is as yet weak, and who therefore requires far more
salient tests to assure himself that he is doing right, such tests
have for a time to be made with exaggerated movements, if
they are to serve their purpose. Such exaggerated movements
must subsequently be gradually reduced to the smallest limits
compatible with due efficiency ; and they must of course be
formed into almost unconscious habit.
5. The most common and ever-present ten-
insidious dencies towards faulty Technique lie ii> the f ol-
faults, pre- lowing three directions : (1) a tendency towards re-
venting sue- strained muscular-action, which vitiates efficiency
cessfui Tech- j n ]j es ting 3 (2) a tendency towards unpromptness
mqile " in ceasing the muscular-conditions required during
key-descent, which vitiates the aiming of the Added-impetus,
and (3) a tendency towards unclear discrimination between the
necessary Exertion-element and the Weight-element. 1
Whence we see how necessary it is, as already forecast in 1,
that we should test for efficient Besting, for accuracy of Aim in
using the key, and for the elimination of Arm down-exertion.
1 This last fault means an imperfect separation or isolation of the Finger-
and-hand down-exertions from Down-arm force and Arm-lapse; for it is so
difficult to learn to act downwards with both finger and hand (quite forcibly as
we sometimes have to do) whilst nevertheless leaving the ARM down-action
muscles quiescent.
THE THREE CHIEF MUSCULAR TESTS. 507
The three tests required take the following shape:
Tiie First of 6. To enable us to be sure of RESTING prop-
t&e Tliree erly, and by that means to be sure of accurately
Tests constant- feeling the degree of resistance the keys offer us,
iy required. we mus | } i n #{ s t f^f; onr fingers and hands are
used against the keys whilst perfectly free from contrary (or
raising) exertion.
The required test must therefore in this case be identical
with that slight up-and-down movement we employ, when we
unconsciously test any other "Weight, by balancing it, 1
At the Pianoforte, however, such balancing of the arm
seems different to the eye. This is owing to the fact that the
finger-tips must remain lying on the keys whilst the testing
is done. The arm, slightly moving up and down, raises merely
the wrist-joint, whilst the hand nevertheless remains passively
lying on the keys without depressing them.
We cannot be sure that we are leaving the " up " muscles
of the hand passive, and the arm unrestrained, and that we
are experiencing key-resistance (plus arm-weight), unless this
gentle up-and-down swaying of the Wrist-joint does not in the
least influence or alter the exact sensation of Weight experi-
enced at the finger-tips.
A similar test can be employed for the finger-muscles : In
this case it takes the form of an alternate gentle rolling-up
and unrolling of the fingers themselves ; their tips not quit-
ting their original places on the keys, and without any raising
or lowering either of the Wrist or Knuckle joints. The arm
here as it were merely rolls and unrolls the fingers, without
in the least altering the sensation of weight experienced at
the finger-tips, and without causing these to slide on the keys.
The " up-tendons " of the fingers are proved to be passive,
only when this sensation of weight here again remains unaf-
fected by the testing-movement.
7. To teach us and to remind us to CEASE with precision the
muscular-conditions that cause key-descent the moment thai
* Vide ike third paragraph of 3 of this chapter.
208 EEY-TBEATMENT ; MUSCULAE ASPECT.
sound-emission is reached s we must test for this cessation at
TheSecortd ^ e place where Muscular-action and Weight
of the Three mostly come into conflict, in their respective
Tests. upward and downward tendencies :
As the muscular-force exerted against the key is mainly
that of the finger and hand, and as this by recoil bears upward
against Arm-weight meeting the latter at the "Wrist-joint, it
follows, that it is at the Wrist-joint that we can best become cog-
nisant of the conflict between these two elements of force dur-
ing key-descent, and can also best realise their disappearance
or cessation.
It also follows, if we suddenly cease the muscular activity
employed, 1 that the Wrist-joint itself will then be suddenly
left unsupported that it will be left " in the lurch," as it were,
and will consequently commence to fall, unless ifc is prompt-
ly (and automatically) caught up by the up-muscles of the
arm.
To test accuracy in Cessation therefore, all we have to do,
is, to weigh down an easily -gripped chord, etc., and the in-
stant the tone-production of the chord is completed, to allow
the wrist itself to drop, while the keys are nevertheless left free
to rise ; for if we succeed in ceasing all action of the finger
and the hand (and Weight too) at that moment, then there is
nothing to prevent the key from rebounding, in spite of the
descending arm.
It is in fact just here that we can obtain proof whether we
have or have not accurately ** aimed " our added-impetus.
For we only have such proof, provided the keys are found to
rebound freely (producing an absolute Staccato) in spite of the
fact that the fingers remain lying on their respective key-sur-
faces, and in spite of the fact, also, that the Wrist (and Arm
therefore) is allowed actually to descend past the level of the
key-board, for the purpose of this test
Unless we thus succeed in accurately ceasing all Force and
Weight (excepting the slight weight of the resting hand), the
keys will fail thus to rebound. And if they fail to rebound.
5 The activity or exertion of the finger and hand against the key.
THE THREE CHIEF MUSC0LAB TESTS. 309
the sound will be continued, instead of being Staccato, as in-
tended.
"We mnst moreover insist on not pulling the Jiand up, it is
the key that must rebound and cany up with it the hand. 1
Before practising this " Aiming-test/' one should always
practise merely balancing the keys, without sounding them at
all. This balancing should be precisely analogous to the
balancing of any other weight. The whole arm from the
shoulder with the key to its hammer-end, should be slightly
swayed up and down, until arm and key seem thoroughly to be-
long together. Having established (and re-established) this
intimate connection between arm-weight and key-weight, all
subsequent use of the key starts from this basis, and is there-
by rendered infinitely more certain.
The Third of 8. To teach us and to remind us of ARM-
the Tliree JOECE ELIMINATION (which is the main secret in
Tests. ^Q attainment of Agility, etc.) we must again
have some means of testing ourselves, so that we may in
some measure be certain we are not forcing the arm down
upon the fingers, when we desire either Finger-activity un-
aided, or aided by Hand-force alone behind it.
This test we can obtain, by allowing the Arm to be as it
1 To make the test as useful and searching as possible in the Practice-room,
it is preferable to employ Weight-touch as here directed, rather than Muscular-
touch; employing it first in absolute pp, and afterwards in full forte; but
always taking care to employ the weight of the Upper-arm, and not merely
that of the Fore-arm. One should weigh the chord down, and yet leave the
keys free so that they actually rebound on the completion of the act of tone-
production, and thus form the natural Staccato. In this way we compel
ourselves to cause the key to attain its speed as gradually as possible, and
yet insist on accuracy and suddenness of cessation (or "aim") of the muscu-
lar-operation. The test can nevertheless be practised with Muscular-
touch occasionally. The Wrist will however in this case not " drop past " the
keyboard, but it will instead tend to fly up, at the conclusion of the act of
tone-production. This, owing to the fact, that brilliant (or passage) touch im-
plies the thrusting finger-attitude, with a forward-tending upper-arm ; and
it is this slight exertion of the upper-arm that tends in this case to drive the
wrist forwards, and afterwards upwards.
STACCATO, thus accurately executed, in fact forms the best practice and
test for accuracy of tone-production of all kinds : for the key cannot rebound
(and thus create Staccato) unless the tone-producing stresses are successfully
timed to cease at the right moment, a moment that is the same both in Stac-
cato and in Tenuto or Legato. Even the dullest Ear can detect with-
210 KEY-TREATMENT; MUSCULAR ASPECT.
were either driven off, or floated off the key-board at the end
of a little run or arpeggio undertaken for the purpose.
That is, we should play a short run or arpeggio, and the
last finger used (say the little finger or the thumb) must then as
it were kick against the key-bed. The arm is meanwhile to
float with such exceeding lightness over the keys that this
(t kick-off" 1 will suffice to start the arm in an upward direc-
tion ; and the arm being thus started, it can then automat-
ically u take the hint " and continue its journey, assisted here-
in by its own raising-muscles, the arm and hand thus rising
together a considerable distance off the keys. Since the in-
itiative of this "kick-off" of the arm has however been given
by the finger (or hand and finger), it will and should seem
to the performer, as if this rising of the arm were entirely due
to the impact against the keys.
This test should be made both in forte and in pianissimo.
In the first case, it causes a forcible accent with the end-note,
and the arm seems forcibly driven up into the air. In the
second case, no accent need result, and the arm then seems
almost to float upwards. 2
In both cases, the test can be considered properly fulfilled,
out much difficulty or much effort of attention, when the tone itself does not
instantly cease is not accurately cut short on emission; whereas, it de-
mands a comparatively fine ear, and fine muscular-sense, both considerably
trained in listening and perception, eastty to recognise when effort has been
prolonged beyond the requisite moment in the case of Tenuto or Legato ; and
that the effort has consequently been mis-spent on the key-beds, and has ren-
dered the tone harsher in quality. As Legato (of more tone than pp) is but
an accurately produced Staccato, with the Besting altered to the slightly
heavier form, it follows, that any accuracy gained through the practice of
correct Staccato, must also improve pur tone-production in Legato.
Hence also, it is probable, that in spite of accepted doctrines to the con-
trary, it is best for most students to learn Staccato 'before Tenuto or Legato,
provided that the Staccato is done naturally, as here insisted upon, and is not
made an exhibition of Up-muscle work of the finger and hand, as so often
erroneously taught.
We must perceive, that Legato only appears " more easy " at first, because
faults in production are not so glaringly obvious in Legato as they are in Stac-
cato to the un-initiated.
1 A "kick-off" or jumping action, delivered by the finger alone, or by
the finger and hand in combination for the more forcible form" of the Test.
3 Both forms of this Test, " kick-off " and "float-off," should moreover
be practised in two ways : -firstly, with whole arm rising, from the shoulder ;
and secondly, with fore-arm alone rising.
THE THEEE CHIEF MTJSCULAK TESTS. 211
only when the cessation Is so timed as to permit at the crucial
moment an actual rebounding of the key from its bed, form-
ing the effect of absolute staccatissimo. No " willed " raising
of the arm will in the least serve the purpose, although it may
appear to be almost the same thing- to the onlooker, and it is
often thus faultily imitated from a public performer's doings,
9. Other muscular Tests are also desirable :
Chief amongst these are two (a) for EoTATiON-EiEffiEDOM, and
(b) for LATERAL-FBEEBOM of the Wrist. "We should constantly
test for freedom in both of these directions during Practice,
and also even during Performance. notary-freedom of the fore-
arm can be tested at the key-board, by allowing these adjust-
ments, as they occur, to induce (for this purpose of testing) an
actual slight "but perfectly free tilting of the hand to either side.
This tilting may be displayed during the act of key-depres-
sion, and after its completion.
Lateral-freedom of the wrist and hand is best tested when
at the key -board, by allowing the horizontal adjusting-move-
ments of the hand and wrist to 1>e continued (for this purpose)
~beyond tJie moment that the finger has reached and has played
its key. That is : the necessary horizontal (or lateral) move-
ments may be exaggerated as a Test, so that the key is as it
were depressed " en passant " the lateral movement continu-
ing perfectly freely during the act of key-depression, and after
this is concluded. 1
10. As the proper accomplishment of all such tests (in-
cluding the three already discussed) appertains rather to the
pedagogic, than to the explanatory side of the Art of Tone-
For instance, it is generally found difficult to execute CHOPIN'S chord
study in E flat, No. 11, Op. 10, with the required lightness and grace. The
difficulty however vanishes for the most part, the moment we really succeed
in leaving the wrist perfectly unrestrained not only rctaariZy, but also horizon-
tally. This we can ensure, by compelling the horizontal movements to be
free, by thus insisting on the relaxed movement continuing beyond the moment
that the top note of each chord is reached.
In fact, one might formulate it as a general principle, that we can test all
the actions required in the act of touch, by continuing the necessary move-
ments beyond the moment they are required for that act, but continuing them
perfectly freely and freed one might say in a '* passive " fashion.
All dead stops of the limbs employed, invariably suggest and create Stiff nesa
212 KEY-TREATMENT; MUSCULAR ASPECT.
production, further explanations and instructions concerning
them must be deferred to Part V, " Relaxation " Muscular
Discrimination Studies, where they find their proper place.
RECAPITULATORY
a): Knowledge of what constitutes correct muscular action and
in-action at the Piano, proves that three points of muscular effici-
ency are of paramount necessity :
' I. We must learn to rest properly on the keys, by leav-
ing our fingers and hands free from contrary exer-
tion, when they are applied to the keys.
II. We must learn accurately to time the culmination and
the cessation of the energy we apply to move the
key,
ffl* We must acquire the power to use our fingers and
hands quite independently of any downward-act-
ing arm-force, and even independently of arm-
weight.
c): We must test ourselves constantly during Practice and
Performance, so that we may ensure compliance with these
paramount necessities. 1
a): The Three Muscular-tests required, are as follows :
Test I. To ensure proper Resting, and use of the Muscular-sense ; by freeing
the finger and hand from contrary-exertions ; two Exs.:
i): Employ a slight up-and-down balancing movement
of the arm at the Wrist ; the hand to lie loose, and the
fingers to remain in contact with their respective keys*
See to it ; that no alteration occurs in the Weight resting
on the keys, which must remain at their surface-level.
* As these tests form preventives of wrong-doing, they should invariably
fee practised the first thing every day.
THE THREE CHIEF MUSCULAR TESTS. 213
2): RoH and unroll the fingers by means of a for-
ward and backward movement of the arm and hand,
while the finger-tips remain unaffected thereby, both as to
position and as to the Resting-weight, as before. 1
Test II. To ensure proper " aiming " of the Added-impetns ; accuracy in
Tone-production :
Play an easy chord (preferably by " weight " or cling-
ing-touch 2 ), and accurately cease all action of the finger and
hand the moment that Sound is reached, so as to allow the
Wrist 10 drop in consequence. The weight used, must
also disappear in consequence of the cessation of its sup-
port at the wrist. The keys will thus be able to rebound
of their own accord, in spite of the finger-tips resting on
their surfaces, and in spite of the descending wrist and
arm. 3 See to it, that the resulting staccato is absolute,
both when practised $/> and when practised^.
Test HI. To ensure elimination of Bown-arm-exertion, and independence of
the finger-and-hand exertions, even from arm-weight :
Play a short run or arpeggio, and drive the arm off
the keys, in accenting the last note ; using a kind of kick
against the key-bed, delivered for the purpose by the fin-
ger and hand. The key to rebound (forming staccatissimo}
and to seem to drive the arm into the air. 4
This, also to be practised pianissimo, without the final accent.
The arm, in this case seems to float upwards, instead of being
driven off.
i Any alteration in the degree of Weight forms presumptive proof that
contrary-exertions have been permitted ; so does any forward or^ "backward
sliding of the finger-tips on the key-surfaces, No alteration occurs in either of
these respects, if the contrary -muscles of both Hand and Finger are left as re-
laxed as they should be.
* 1ST. B. The weight required for " Clinging-touch " must be obtained by
release of the upper arm.
8 If practised instead with "forward" or thru sting-touch, the wrist will
not fall, but will rebound upwards but the fingers must nevertheless remain
on their respective keys, with the rising keys under them.
''This test should be practised in two ways ; (a) with the whole arm rising
in the air, and (b) with the fore-arm alone, thus responding to the rebound of
the keys.
214 KEY-TBEATMEOT ; MUSCULAR ASPECT.
e}: Rotary and lateral freedom at the Wrist, should also con-
stantly T>e tested for. This, by allowing the resulting movements
to continue during the moment of key-depression and beyond that
moment* Both kinds of movement to be perfectly free from all
restraint.
CHAPTER XIX.
THE THREE SPECIES OF TOUCH-FOEMATIOK:
THE THEEE CHIEF PBINCIPLES OF MUSCUIAE-COMBINAnON, AND THF
ENSUING- VABIETEES OF KEY-ATTACK.
1. HOWETEB BCPOBTAHT the choice of appro-
movement may be the choice between
Arm, Hand, and Knger touches, it is far exceed-
tion; its ex- ed in importance by the exercise of that Tech-
treme impor- nical judgment which is required in quite another
tance. direction, as already pointed out. 1 For each
particular passage differs in its technical requirements, and
it is therefore supremely necessary that we should choose
the most appropriate muscular-combination (or construction of
touch) for each, be it a singing-passage, or one of brilliance,
a slow one or a quick one, be it light or ponderous in tone-
character.
We must now look more closely into this matter; for it
completes our practical knowledge of the manner in which all
touches are formed. Such knowledge will enable us : (a) at
once to construct each kind of touch-formation from its mus-
cular constituents or components; 2 (b) it will enable us to
1 Vide chapter JTO/., 6, 21, and Note to 28.
2 We found, in Chapter XVII., that the Energy employed against the key
consists of three muscular constituents or components, viz.: Finger-force,
Hand-force, and Arm-weight with its cooperatives. It is owing to the
fact of these muscular-components being available tinder various forms of com-
bination, that we owe the possibility of all those divergences of Key-attack,
with their consequent Tone-varieties, that form the principal Means of Ex-
pression at the Pianoforte, and enable us also to select the muscular-conditions
suitable respectively for slow, and for rapid transit across the keys.
TOT THREE SPECIES OP TOUCH-FORMATION. 215
teach, others to do this ; and finally, (c) it will enable us to se-
lect the appropriate technique for each passage.
The three main 2. The first step to take, is, to learn thor-
Principles of ougtdy to recognise the nature of these main
Combination, principles or forms of Combination, under which
the physical components of Touch are available, with the par-
ticular advantages and drawbacks peculiar to each combina-
tion. "We leamt in Chapter XYIL ( 6), that there are
three such Principles of Combination (or principles of Touch-
formation) to which all others are subordinate. These, we
found, are as follows :
First Species of Touch-formation : Finger-activity alone, with loose-
lying Hand, and self-supported Arm.
Second Species of Touch-formation: Finger-activity with Hand-
activity behind it, and self-supported Arm.
Third Species of Touch-formation : Finger-and-hand activities, with
relaxed Arm-weight (and its cooperatives) behind them i.e. 9 with
Lapse in the self-support of the Arm momentarily added. 1
1 We must remember that the phrase " Arm-lapse," as used in this work,
merely signifies a lapse or failure on the part of the arm-supporting muscles,
and that this does not necessarily entail any actual movement of the arm itself.
Here also, the warning must again be reiterated, not to confuse those two
distinct ideas and acts, (a) the MOMENTARY lapse in arm-support required to
assist each individual key-descent in Species III > and (b) the slight but COH-
Tmuous lapse in arm-support required to induce the natural Tenuto and
Lesrato.
Let us in fact always rememher, that the difference between Staccato and
Tenuto (or Legato) depends on the continuous ^state of the arm during each
phrase, -depends on whether the " RESTING " is so light (owing to the entire
absence of arm- weight) as to permit the key and finger to rebound after each
individual tone-production ; or whether it is instead slightly heavier (owing to
the slight but continuous lapse in arm-support) , the resting being in the latter
case sufficiently heavy to compel an attenuated residue of action on the part of
the finger and hand beyond the moment that each individual act of key-de-
pression is completed, thus compelling the keys to remain depressed. And we
must recall, how such light continuous resting of arm-weight on the keys, is
perfectly independent in thought and action, from those short-lived lapses of
the arm which are individually directed for the consummation of Tone, in
the form of the " Added-impetus."
Moreover, we must he careful, not to permit this continuous slight arm-
lapse (required for Legato) to VITIATE the act of aiming those momentary
^though full) releases of the arm, required for the Added-impetus during forte
Legato and Tenuto. Nor must we, on the other hand, lose sight of the
continuous arm-support required during all Staccati, even when we happen in
addition to employ those full, but ** momentary" arm-releases required to
tender the Staccato forte. In short, we must not allow such momentary
216 KEY-TREATMENT; MUSCULAR ASPECT.
Tliese three different ways of building- up the muscular-op-
eration against the key cause the greatest possible fundamental
differences in the Act of Touch, muscularly considered ; and
the term Species is for this reason applied to them. 1
3. "WMehever one we employ of these three Species of
muscular-operation, it must only be applied to the key to in-
duce its descent / a and it must therefore always be recognised
as a form of the " Added-impetus. 5 * Being- an Added-
impetus, it must also therefore cease to exist as such, the in-
stant that sound is reached. 3
Staccato and ^ ^ these three Species of the Added-impe-
Legato, equally tus, it is clear, can be either Staccato, Tenuto, or
applicable to Legato. They will be STACCATO, if we employ, in
all t&ree conjunction therewith, the lighter form of the
Species. Besting for the keys will in this case be free to
rebound, provided we accurately " aim " the cessation of such
Added-impetus. Whereas, the same Touch-formations
will be TENUTO, if we employ instead the slightly heavier form
of the Besting. And they will be LEGATO, if we transfer
such Tenuto-resting from note to note. (Vide Chapters XV*
and XVIL y etc. 4 )
arm-lapses to affect the idea of continuity in arm-support required during Stac-
cato, a continuity only broken during the momentary life of the " Added-im-
petus." These points have been fully dealt with in Chapters XV. and XVII.
1 These differences are indeed far more distinct and radical, when mus-
cularly considered, than those differences (a) in mere movement, respectively
termed Finger, Hand, and Arm touches, which are so obvious to the eye ; and
those differences (b) in Duration (Legato and Staccato) which arise from the-
two opposite forms of the Resting.
* Always excepting the solitary instance of ppp " Weight-touch," when*
Resting and Added-impetus are synonymous.
3 Again, we realise the importance of distinguishing between the act of
adding energy to the key to move it, and that other act : the act of Resting,,
which co-exists independently of such Added-impetus.
4 Here we must again urge the student never to lose sight of the fact, that
our Tone-making impulses must always cease as accurately as in the extremest
Staccatissimo, no matter how Tenuto or Legato a passage may be owing to the
employment of the second or heavier form of the Resting ; thus always keeping
in view the "Warp and Woof" nature of all Touch, and of which rule, ppp
" Transfer-touch " forms the solitary exception.
It is also instructive to note, that we may regard Legato of greater tone-
amount than such ##p-transfer-touch, as being a combination of the last-named
continuous touch with a series of key-speeding impulses, Staccatissimo in them-
selves as to duration, but which may take the form of any of these three Spe-
THE THREE SPECIES OF TOUCH-FOE3CATIOF. 217
Staccato as well as Legato, may moreover under any of the
Bpecies be either of the " inward " or " outward "-acting- type
according- as we employ either the flat or the bent-finger atti-
tudes. 1 "While we have the further option of either "pas-
sive " or " active " Staccato, for we may passively permit the
key merely to rebound, or may actively assist this, by a slight
kicking action against the key-beds, this active form being
necessarily accompanied by a more aggressive tone-duality,
5. To particularise somewhat more fully, we will now con-
sider each of these three forms of muscular-combination sepa-
rately, and will take them in reversed order :
The Third. Finger-force and Hand-force, and Released
Species of Arm-Weight ; Since all three muscular-compo-
Toucli-fonna- nents are here employed against the key during
* ion * its descent, this Species offers us the option of all
possible varieties of both tone-quantity and tone-quality/
including the extreme antitheses of JForte v. Plana, Muscular-
touches v. "Weight-touches, or Passage-touches v. Melody-
touches.
6. For the same reason 3 it also follows, that we may, in
producing any of the varieties of this Species, optionally em-
ploy movements either of the Arm, the Hand, or the Finger ;
i.e., this Species may optionally take the form either of Arm-
touch, Hand-touch (" "Wrist-action ") or Finger-touch. 4
7. This Species, however, bears this disadvantage : that
the actual speed, or transit across the key-board Agility, is
cies of key-attack in question, or their Varieties; for the co-existence of a
transferred continuous Weight, will transform these staccato-eajecwfed! Added-
impetuses (whatever their Species) into a continuous aural-effect. In
short, do not let us forget, that the ^^-transfer-touch is the accompanying
Basis of all natural Legati ; and that it underlies (as the legato-forming element)
the loudest Legati; and that the loudness must arise solely from a muscular-
act, which, added to such transfer-touch, is as sharply defined and short of
duration as in the shortest-lived sounds.
1 For further details on these opposite ways of quitting the keys in Stac-
cato, vide Part IV.
2 Vide Chapter XVIL. g 10-12.
*i.e., The reason, that all three of the muscular-components Iiere partici-
pate in inducing key-descent
4 Fore-arm Rotation-touch is available, in addition.
218 KEY-TREATMENT; MUSCULAR ASPECT.
considerably hampered and circumscribed. This, we must re-
member, is owing- to the fact, that Arm-weight (thus momen-
tarily employed) must be individually supplied for each key-
descent, and must be ceased each time that sound is reached ;
as we should otherwise make the passage " stick," and obtain
a tone quite different to oor intention. For we must again re-
call, that the alternate release and subsequent " catch-up " of
the arm, takes an appreciable time to accomplish, and that we
cannot therefore employ this third Species, with its full tone-
possibilities, beyond the speed at which we can reiterate these
opposite conditions of the Upper-arm. 1
8. "While this form of muscular-combination is therefore
only available, when the speed required does not exceed a com-
paratively slow gait, it is nevertheless the only form that will
allow us to obtain the full measure of good tone permitted
us by our particular physical endowment ; for this combination
alone will permit us to utilise the whole weight of the relaxed
arm and shoulder as recoil-breaker (or Basis) for the operations
of the finger and hand against the key during its descent. 2
9. While Species III. thus offers us the opportunity of
obtaining the fullest tone-amounts, this combination may with
1 In short, Speed or Agility is here absolutely ^ limited by the degree ^ of
swiftness with which the lapse and subsequent re-activity of the arm-supporting
muscles can be reiterated. Some of the broader Finger-passages of BEETHOVEN,
for instance, are however by no means too quick, to debar their being treated
under this species of Touch-formation, of course under its ** finger-move-
ment " aspect. It also follows, that a properly dignified interpretation
of such passages (as so obviously desired by the composer), must necessarily be
impossible to the pianist, whose Touch-repertory or Tone-palette does not
include this particular form of Key- manipulation. Vide also, remarks as to
third and second Species, in connection with Beethoven, to be found in Nate
JTF/Z, Appendix to this Part: "Certain exceptional forms of Legato and
tftaccato."
2 We must reiterate that we are here discussing the " Added-impetus."
The condition of the Arm, described above, does therefore not preclude a slight
(and continuous) modification of it, to induce the form of " Resting*' required,
respectively for Tenuto and Legato, or for Staccato. For Legato-resting,
the arm would not be quite fully " self-supported " ; whereas for staccato, it
would be fully self -supported so far as the "Besting" is concerned > -but this
CONTINUOUS state of slighter or greater support, does not affect the general
question of the arm's condition for the purpose of the Added-impetus of
tone-production. The Note (on page 2I&) to 2, might here be referred to
Trith advantage.
THE THREE SPECIES OF TOUCH-FORMATION. 210
equal facility be employed for the production of lesser tone-
amotmts, down to the least. For "we can supply this com-
bination (of Arm-release with activity of Finger and Hand) in
a measure so slight It can be minimised to such an extent
that the total effect upon the key need not exceed the amount
necessary just to overbalance it into descent; thus forming
the true pp by " Weight-touch," provided we are careful to
eliminate all Finger and Hand Initiative. 1
1 Let us recall, that this absolute pp y both in its tenuto or legato form (the
" Passing-on n or "Transfer-touch"), moreover forms the solitary exception
there is to the rule, that "all tone-making Impetuses must cease at the moment
that tone is consummated " ; for we must, In this solitary instance, continue on
the key-beds the Weight employed to overbalance the key into its softest
descent.
The Nature of Here is the place to point out, that the GLISSANDO is only
-.. , another and even simpler form of this very " transferred
Wissando. Weight-touch." In this case the Weight that is to over-
balance the key is applied through the back (the nail) of one finger; and the
weight having reached the bed of the first key, and sounding it, this weight is
then drawn along the key-board by a horizontal arm-movement Glissando
demands, that one or more phalanges of the finger (or fingers) employed, must
be left in so gently elastic a condition, as to enable that portion of the finger
to act the part of a ratchet, when the superincumbent gentle weight is drawn
across the key-board. The phalanx or phalanges in question, must be suf-
ficiently tense to permit of their supporting the Weight used without Ringing
the nail too flatly upon the keys. For unless the nail is sufficiently upright to
form about an acute angle with the key, we cannot use it to surmount the suc-
cessive keys in the required wedge-like fashion. But there must be no greater
tenseness of the finger than will only just barely suffice for this purpose. Any
greater tenseness, or the slightest sirm-force applied, will inevitably jam the
fingers immovably against the key-beds.
Glissando is therefore identical with the ^^-weight-transfer touch ; and
it even forms a most valuable and instructive channel through which to acquire
the latter much-required touch ; the only difference being, that in the latter
case the transfer has to be effected through a sequence of fingers, in the place
of the solitary one, used as a ratchet. Grescendi, of a limited nature, are prac-
ticable in both the Glissando and ^pp-Transfer-touch, by permitting slight in-
creases to supervene in the resting and transferred weight, a continuous weight,
we must remember, in this solitary case, without any Added-impetus. But
such increments in continuously-resting weight must be but slight; and they
must of course be accompanied by correspondingly sjight increases in the
gentle finger and hand forces applied.
A subtle variation of Species II., which forms a hybrid between Hand and
Finrer movement, is applicable to extremely rapid Octave-passages, such as in
the Coda of the last movement of the " Waldstein" Sonata. Such passages
cannot be easily performed glissando on the modern Piano. This hybrid touch
can, however, give an almost identical effect. In it, all movement is almost
entirely restricted to a movement of the fingers to the extent of the key-depth.
An extremely light glissando-like resting of the arm i& thus caused to mount
the successive keys, almost as in the true glissando. :
220 JO5Y-TKEATMENT ; MUSCULAR ASPECT.
10. The reason why this kind of touch-formation offers us
oil varieties of Tone-qualify, as above referred to, lies in the
fact, that we here alone have available those two so clearly
contrasted forms of touch, respectively termed Weight-touch
and Muscular-touch.
"We must recall, that this combination includes Arm-release
and Muscular-exertion of Hand and Finger, and that we may
therefore start (or " initiate ") the whole of this combination
into operation against the key in either of two ways as we
have learnt in Chapter XVII.,, 10, etc. That is : we may di-
rectly prompt either of the two implicated elements into use
either the element of "Weight, or the element of Exertion, when
the remaining element will automatically respond to the
other's initiative. In the first case Weight-initiative we
have the conditions that make for " sympathetic " tone-colour ;
whereas in the second case, we have those that tend towards
brilliancy. 1
11. Meanwhile, we have the option of that additional
Quality-influence, the contrast between "flat" and "bent"
finger-attitudes, which helps those differences between beauty
and harshness of tone respectively.
The Second 12. Finger-force and Hand-force against a
Species of Self-supported Arm. When greater Agility is
Touch-forma- required than is possible under the third species
** OIU of Touch-formation, then we must sacrifice the
element of Arm-release (or Weight), and we can consequently
in this case only rely upon the remaining muscular-components
(the Hand and Finger exertions) to fulfil the work of key-
depression : thus forming the second Species of Touch-forma-
tion.
The arm is in this case to be supported by its own muscles
1 To repeat "We may win the lapse in Arm-support, and permit the Finger
and Hand to act purely in response to the weight thus set free, when their
action will serve to lever this weight upon the key, and thus prevent its drop-
ping down past the key without "influencing the latter. Or, we may instead
prompt the Finger and Hand into activity, and allow the sensation of recoil
(experienced against the Wrist-joint) to cause the Arm to be sufficiently re*
leased in response, to prevent any loss of energy.
THE THREE SPECIES OF 1 OUCH-FORM ATIOK. 221
gently, elastically, and certainly not stiffly, so that the arm as
it were floats along the key-board, and thus carries the loosely
lying- hand and fingers towards the desired notes, which, being
reached, are then depressed by the combined action of Hand
a,nd Finger. 1
13. As there is here no question of "Weight, 2 it follows that
die tone can only be rrmscularly initiated ( 10) when this touch-
formation is employed, and that the tone-quality is conse-
quently here restricted to the sharper (or " brilliant ") kinds,
modifiable only by the contrasts between the thrusting and
clinging Finger-attitudes.
14. The quantity of tone is also far more limited than in
the previously-described combination, for the only Basis now
available for the finger and hand to act against (or from) is the
self-supported arm ; and this implies an elastically supported
weight, and therefore one that cannot offer much resistance or
basis. 3
15. As the arm-element is not used, it also follows, that
our choice of movement is limited to that of the Hand and Fin-
ger, and that we are in this Species limited to Hand ("Wrist ")
and Finger touches.
16. There is, however, this compensation, that we can
under these circumstances get over the ground a great deal
faster ; i.e., that a far higher grade of Agility is here open to
us, provided we obey the ever-present rules in this case, (a) of
1 It is suggestive of the required free condition of the Wrist, to say, that
"ike Wrist-end of the Htwd must be carried by the Arm." For it is certain, if
the impend of the loose-lying hand is " supported " by the arm, that the lat-
ter is then also supported off the key-beds.
8 That is, in other words : there is here no muscular-m^ecfo'ew (or change) in
Arm-condition for the purpose of key-descent or Tone-production. This, we
must remember, does not preclude that slight but continuous Lapse in Arm-
support, which gives us Tenuto and Legato.
8 As this might be misunderstood to imply that the arm should sometimes
not be in an " elastic" condition, it is here necessary to recall the fact, that a
gently self -supported arm is necessarily in an elastic condition, owing to the
elastic nature of muscle and tendon; the self-supported arm is thus " elastic"
in the sense, that "being in a state of balance, it can afford but little resistance
to the recoil (or reaction) experienced from finger and hand, on their acting
against the keys. Whereas the whole available arm-weight becomes service-
able for a basis behind finger and hand, when the arm is left momentarily
unsupported.
222 KEY-TKEATME]*T ; MUSCULAR ASPECT,
thus really supporting" tlie arm. (and not allowing" it to influence
key-descent by any change in itself) and (6) the rule of accuracy
in ceasing 1 the muscular-actions employed the very instant that
sound is reached. These two Bules (a 9 as to the supported
Arm, and, 5, as to the accuracy in Cessation) must indeed be
unflinchingly adhered to, if we wish to master the problem of
true Agility and of Staccato. 1
The First Spe- 17- The First form of muscular-eombina-
cies of Touch- tioiiijinger-jorce alone, against a continuously loose-
formation. lying hand, and self-supported arm : When a still
higher grade of Agility is required than is attainable under
the last-described combination, then we must forego exerting-
even the hand, and must in this case restrict all activity abso-
lutely to the single remaining muscular-component here alone
available that of Mnger down-exertion.
The arm merely floats over the key-board in this instance,
and it again " carries the Wrist-end of the Hand," as in the
touch-formation last considered. 2
The hand itself must meanwhile lie passively on the keys,
supported thereon by the fingers, which must be individually
exerted against their keys, either from a previously raised
1 There is this further Rule in the case of both Hand and Finger touches at
extreme Speed especially" when the same keys have to be repeated: In such
cases it is undesirable that ike finger-tips should leave the surface of the key-board
at alL The keys must be permitted merely to rebound with the finger or hand,
and that is all ; the finger-tips meanwhile throughout the passage must remain
firmly upon the key-surface, or key-hoard surface.* Extreme rapidity indeed
becomes almost impossible in the case of Hand-touches, if the Hand is actually
raised off the keys ; it takes time to do so, and 'uncertainty results, owing to-
the impossibility of re- feeling key- resistance under such rapid "tapping" of
the key-surfaces. The consequence of committing this fault, is, that the keys
are felt to " wobble " under the hand, during repetition. This sensation arises
owing to the key, when suddenly quitted, giving slight oscillations before coin-
ing to rest) unless the fingers remain on the keys to prevent this occurring.
Very rapid Hand-touch passages, whether quasi-legato or really staccato,
must therefore be executed with " finger-tips close to the keys," causing one
to experience a sensation of continuous contact, since the fingers remain on
their keys when repeating them, and slide from one key to the next in other
passages.
2 Again we must caution the reader, not to be confused by the slight (but
continuous) divergence from this complete " self-support" of the arm, required
to provide the slight, but continuous weieht for the natural Tenuto and Legato.
* To enable such firm contact Co be maintained without militating against the lightness of
l&e " testing," refer to Note 2 of 26, Chapter JTFJZ, page 185.
THE THREE SPECUES OF TOUCH-FORMATION. 223
position, or from a less-raised position, as deemed expedi-
ent.
18. Since the hand's activity here no longer intervenes to
transmit the recoil of the finger from Knuckle to Wrist, the
elastically-supported arm is here also debarred from bearing
any measure of this recoil. Now, as the mere weight of the
hand (now alone available) is insignificant, it follows that the
fingers cannot here receive much Basis for their operations
against the keys ; whence it also follows, that the tone-amount
available under these circumstances can be but very small,
while its quality must of necessity, as in the second Species,
belong to the "harder" type, since it is modifiable only by
the difference between the " thrusting " and " clinging " atti-
tudes. 1
Passages played lightly enough to admit of Species L, are,
however, modifiable in their tone-quality, by employing the
legato form of the Besting, in conjunction with this species of
the Added-impetus. That is, we may combine with this form
of the A-dded-impetus (Species I.) the " passing-on" (or cc trans-
fer-touch 5 *) form of the Besting; and as the whole tone-amount
of this combination is not large, we shall thus obtain the sym-
pathetic tendency of the latter's "Weight-influence ; for this will
here make itself strongly felt, owing to the small sum-total of
the tone resulting from the combination. 2
19. On the other hand, this form of combination offers us
the great advantage, that we can by its means attain any degree
of Agility or VELOCITY which it is possible to conceive, up to
the highest degree in fact, at which we can direct the Rhythm
1 Under this Species, the tone cannot, however, really reach "hardness,"
owing to the small tone-total available, and the quality hence remains merely
thin.
Quality-contrasts derived from "thrusting" and "clinging," are moreover
for the same reason reduced almost to nil* so far as the Ear is concerned ;
although it is still important to have both modes of finger-attack equally at
commando
9 Alone, the "passing-on " touch is necessarily sympathetic being entirely
** weight-initiated." Alone, the Species I. of the Added-impetus is necessarily
"short" (except for its flat-finger modification) being muscularly-initiated.
But by combining these, we obtain a certain range of subtle tone-modifications ;
which prove very useful, since they are available under stress of Telocity
224 KEY-TKEATMENT ; M0SCULAE ASPECT.
"by means of our automatic counting-capacity. 1 ( Vide Appendix
to Part L ; Note II., " On Rhythm? page JS.)
To attain such lightning-like "velocities, however, requires
implicit obedience to the two laws previously enunciated: (a)
that we must carefully exclude all Arm- weight (and of course
all arm and body-force 1) and Hand-activity; and (b), that wo
must cease each finger's activity so promptly, as to permit the
key to rebound. It is of no use merely to allow the key to rise,
it must be permitted really to rebound instantly. 2
T , 20. Understanding what constitutes the very
tliat should de- material difference between the third Species oi
termine the touch-formation and the other two Species/ it will
choice between now also be clearer to us why the " bent " finger
"flat" and attitude becomes imperative for certain passages,
bent finger. and tlie flat ^^ f OJ . ot]iers . Eapid pas sages,
to be played forte, with brilliance, demand the use of the " bent **
finger. 4 We shall discern the reason for this, if we consider for
a moment, what it is that really causes the difference between
the " thrusting " and the " clinging " attitudes :
The cause is not to be found, as might be imagined, in the
total difference of the muscular action of the implicated fingers.
On the contrary, such difference in action, is itself J)ut a result.
For it is ike variable condition of the Upper-arm, that induces
the finger to act thus differently. That is : (a), if the Upper-
arm tends to hang loose at the moment of tone-production,
then the finger is compelled to cling to the key ; whereas (b), if
the Upper-arm does not thus hang loose, then it is supported or
"held" in a more or less decidedly forward-tending direction;
and the finger is in this case compelled into a thrusting action.
1 Such light velocity-touch has often been aptly described as the " pearling"
touch.
* A passage, taken at great speed, consequently appears to the player, as
a trail of up-springing keys in the wake of the fingers as they rush along. We
observe also, that the Staccato form of the Resting is the required one.
3 i.e., the presence or absence of Arm-weight.
4 Many of the more rapid passages of BEETHOVEN have thus to be played
u bent-finger." For instance, the passage commencing bar 52 of the first
movement of the ** Appassionata," must have all the non-accented notes played
"bent" finger and second Species of touch, while for the accented notes" we
must add the arm-element in its " forward" variety.
THE THREE SPECIES OF TOUGH-FORMATION. 225
We know how tMs influences tone-quality. We must now also
recognise, that herein lies the reason why we must choose
" bent " finger, if we would be free to run rapidly across the
key-board while play wg forte. Tor the moment we allow
the ZT^per-arm to lapse, that moment we have the third Species,
which, we have learnt only permits Telocity up to a very limited
point owing to the necessity, that Weight must here be sep-
arately lapsed for each note in forte, as it will otherwise bear
continuously on the key-beds, with disastrous results. 1
Hence, as we cannot individualise weight-lapse beyond a
certain speed-limit, we are compelled to support the Upper-arm
at greater speeds ; and this at once compels the finger to assume
its thrusting action, and with (what should be) a more fully
bent position. Moreover, should we make the mistake to em-
ploy the flat (or clinging) finger forcibly, while supporting the arm
(second Species therefore), such forcible action of the finger
would then tend after all to drag the upper-arm weight on to
the key-board, with the same laming effect as before-men-
tioned. For it is obvious, since the clinging-finger fur-
thers graduality in key-attack, that it will in the same measure
render prompt cessation less easy.
Sympathetic effects are on the other hand impossible, ex-
cept with the clinging attitude, and this must then be em-
ployed with its drawbacks as to tone-amount when taken at
speed. 2
21. Here it is useful once again to sum-up the
The Permits ^^ nature of the muscular-difficulties to be sur-
21 * y * mounted, if we would possess absolute Agility :
(a) We must be able to produce the second Species of touch -
1 Except when Weight Is used continuously, as it may be, in very soft
passagesin the form of the "passing-on" or "transfer" touch.
* Most of CHOPIN'S passages indeed require the " flat " finger. It is even
probable that Chopin himself never understood the "bent" finger, hence his
supposed "weakness" on the Concert-room platform probably in forte
finger- passages. On the other hand, to attempt to play some of his more stren-
uous passages with "flat*' finger on a modern Pianoforte, would render them
dull, clumsy, and uncertain. On the horns of such a dilemma, all we can do
for such passages is to use a technique probably not intended by the composer
(the "bent" finger), as we should otherwise not obtain the contrasts and
climaxes he undoubtedly did intend beyond everything else.( Vide Note to % 25.)
226 KEY-TREATMENT ; MUSCULAR ASPECT.
formation ; which means, that we must be able to apply finger
and-hand force against the key (quite violently if need be),
while nevertheless not exerting the arm downwards, (b) For
the higher grades of Velocity, we mnst be able to supply the
first Species of touch-formation, and must therefore here be
able to discriminate also between down Finger-force and down
Hand-force, so that we can employ the former without also
employing the latter. 1 (c) "We must moreover be able to em-
ploy both these two Species under the " bent " (or thrusting)
attitude of the finger and its concomitant Upper-arm condition,
(d) Meanwhile our attention to the series of Sound^beginnings
must be alert and ever-present, so that we may succeed in di-
recting the finger-and-hand exertions to cease their work at the
very moment of sound-emission. 2 .... A timing, we must
1 All sensation of activity or exertion seems in such touch to reach no
further than the knuckle. The moment the sensation of exertion reaches the
end of the hand at the wrist- joint underneath, that moment all extreme agility
is rendered impossible, for we are then using the Hand are in fact probably
employing Species II. instead of the intended Species I. Refer also to //.
and ///. of the Table of Muscular-discriminations appended to Chapter XVII.
2 The truth will here become clearer to us, how all extreme Agility-key-
treatment must as a matter of fact be purely STACCATO. Owing/ however,
to the extreme speed employed, the Ear cannot detect any Staccato, since
the "damping" of the instrument cannot be prompt enough to permit any
actual separation being exhibited between the sounds, when they occur in such
close succession. In practising such passages slowly, it is therefore futile to
practise them Legato, since the attainment of the desired speed depends so
materially upon the accuracy of their Staccato production.
The process of performance may even at times take the form of rows of
light/ 'kick-offs'* against the key-beds, as alluded to in Note XVII., Appendix
to this Part. But we must in this case be cautious not to allow the slightest
continuous weight (or pressure) to reach the key-beds; else the keys will be
unable to rebound, and our RUN will as certainly be impeded ; in short, the
Resting must here be entirely at the key-board surface. Such resilient
passages, as before said, are indeed perfectly analogous to the act of running
with our legs; for the continuous light weight used (that of the hand, etc.) is
as it were kept floating in the air (or at the surface of the key-board) by the
quick reiteration of "kicks" (or jump-like actions) delivered against the
key-beds.
In Species II. , we may even permit a slight modicum of continuous
arm-release to take effect behind the finger and hand, provided the passage is
taken at a full forte and sufficiently fast, and yet not too fast. For the combined
kick of the hand and finger will here be sufficiently forcible to cope even with
such additional continuous weight, and will be able to prevent this from actu-
ally reaching the key-beds. And while this slight extra weight will have no
ill effect on our Technique if successfully thus carried at the key-board sur-
THE THBEE SPECIES OF TOUCH-FORMATION. 227
remember, not individually willed for each, separate note in
the case of great Agility, but instead willed as groups of
Bhythm, and as a general (but precise) impression or realisa-
tion of key-board DEPTH. 1
In short, we may say : that Agility depends firstly on our in-
sisting on the ELIMINATION of Arm-force, and Weight, while
either using our fingers and hands conjointly, or using the
fingers alone for key-descent ; and that it depends secondly, on
accuracy in cessation of the force used. 2
Muscular-dis- ^* ^ e rea ^ se indeed, more and more, that
crimination Agility itself, as well as the power of obtaining
mustbesys- any particular Tone-amount or Tone-quality at
tematically will, ultimately depends on an unconscious or
taught and conscious discrimination of the Muscular-causes
practised. ^^ w ^ provofe tfr e effects; thus re-enforcing the
argument, that a systematic teaching and acquisition of these
Muscular-discriminations should form the first steps in learn-
ing to play. Such discrimination-exercises, indeed, form the
only logical, natural, and direct way of acquiring the Basis of
a good Technique. 3
face, it will enhance our tone-possibilities in tbis kind of passage, owing to tbe
extra Basis thus provided for the vigorous but short-lived actions of the Finger
and Hand against the Kev during descent.
1 Vide Note to 7 of Chapter XV.
8 Here it is well to point out, that it is an unconscious lapse of Arm-weight
which so often vitiates not only our Agility, but also our Staccato, and even
Pianissimo. If we reflect for a moment, we shall see, that to hold the heavy
weight of the arm suspended over the keys (as it should be in such Touches) and
not resting instead on the key-beds, must necessarily become very fatiguing
when continued for a length of time. Hence, as the arm tires, we are apt un-
consciously to allow it to lapse upon the keys more or less ; and we then won-
der why our fingers seem so lame and tired.
The student should make the experiment, of holding his arm supported in
front of him (away from the key-board) for some considerable time, and thus
satisfy himself of this lurking danger to his Technique.
8 Moreover, it must now be clearly manifest to us, how appalling an ab-
surdity it is (indeed, it seems criminal, once these facts are understood) to give
Technical Exercises, or Studies, or Pieces to old or young students, without
first giving them those absolutely necessary directions as to what are the habits
they should form BY MEANS OF SUCH MUSCULAK PRACTICE, and insisting upon
attention to such directions during Practice. Without such directions,
the unfortunate student (if he is conscientious) will try to learn " somehow''
to sound the notes of such Exercises, etc., and he will meanwhile be sure to
acquire countless wrong muscular habits habits, to break which, will sub-
sequently demand his keenest will-power, perseverance, and enthusiasm.
908 KEY-TREATMENT; MUSCULAR ASPECT.
slia11 also now be & ^ e to realise
General Birec-
tions as to i* is, that in our choice between these three Spe-
Choice of cies of Touch-formation, we are compelled to bear
Touch-form*- ^Q mind (either consciously or unconsciously) the
** OB * particular advantages and drawbacks of each ; and
that the speed required, and the tone-quality and quantity re-
quired, are the determining" influences in such choice. 1
The following general broad principles of application, are
appended for the guidance of the student, as it is at first diffi-
cult to use one's reasoning power in this direction :
24. For passages of Agility, we must understand that we
are limited to Species I. and H., and for fortes, to the Bent-
finger form of these Species. 2
When the speed is considerable, but not too excessive, we
can employ Species IT., and we then have at our disposal the
benefits it confers in the way of considerable tone-compass ;
but for extreme speeds we cannot employ even Species IL, but
are restricted to Species L, with its extremely narrow possibili-
ties in tone-amount, and variation of it. 3
1 The result of our failing to keep tbese facts constantly before us, will
render us liable to commit errors of judgment that will preclude our obtaining
due expression of our musical feeling, and will meanwhile cause us to play
unrhythmieally, owing to the difficulty of our progress across the keys.
For instance, we may try to play an Agility /orte-passage with Species III.,
which will have the effect of rendering such passage exceedingly laborious to
us, or even impossible. Or, wishing to play a jforte-passage, we may employ
Species L, when we shall probably ascribe our failure to " want of strength,"
etc., that will not permit of our obtaining any tone beyond the thinnest and
smallest ! Or, again, when we want a full singing tone, not understanding the
precise muscular conditions under which alone it can be obtained, we may se-
lect Species II., and consequently will find ourselves unable to obtain anything
beyond a sharp brilliant effect ! Or, we may even select the correct Species
Species III. and yet fail to obtain a true cantabUe, owing to our not insisting
on Weigh t-mitiatwe t in cooperation with iheflat or clinging finger-attitude !
4 For Agility, we arc limited to these two Species, except in the case of the
softest Tenuto and Legato passages, when that exceptional touch, the * ' passing-
on" touch (or Transf T touch) is also available under the conditions of full
Agility. (Vide % 9 and its JVbfc.) This exceptional touch-form has already
often been referred to as the only true p)yp-touch. As it is, in its "transfer"
form, perfectly well adapted for Agility passages, we shall find that it is as
such often suitable for those gossamer-like embroideries of CHOPIN, etc.
* We must moreover bear in mind, that the slight continuous Weight, re-
quired to induce Legato, must not be employed when we require the full &&
THE THREE SPECIES OF TOUCH-FORMATION. 229
Quality of tone under either of these Species, is, however,
slightly variable by means of the contrast between Thrusting
and Clinging" finger-attitudes.
25. For passages of full tone, tone, of full amount and
thick quality, and tone of small amount but of thick quality
we are restricted to Species IH. But we must bear in mind,
as already insisted upon, that this Species is only available up
to a very definitely limited speed. Beyond that speed, really
full tone remains a physical impossibility ; and if we never-
theless attempt to apply its muscular-conditions beyond those
speed-limits, we find such passages will at once become " diffi-
cult " and laborious, if not completely " sticky " and unclear.
All cantando passages must be performed under this Spe-
cies. The lent finger may be employed for the harder-toned
jforfe-passages ; but when a real cantando is required, we must
have recourse at least to the W eight-initiative form of this
Species. Moreover, to ensure the true subtle cantabile
such as CHOPIN nearly always demands for his melodic mat-
ter, we must, in addition to Weight-initiative, insist upon the
cooperation of that fully elastic condition of Finger, Hand,
-and Upper-arm, implied in the "clinging" finger-attitude. 1
26. As already pointed out in 4, 2 all three species of
touch-formation are equally available under Staccato and Le-
gato ; the difference depending merely upon which of the two
Mnds of Resting accompanies these forms of the Added-impetus.
We must, however, bear in mind, that the Besting must
tremes of Agility these two Species render possible. Even such slight weight
will then prove an encumbrance, and will detract from our Agility-power.
As insisted upon in the second Hote to 21, extreme Agility-technique
must really be staccato in its execution ; although to the ear the sounds are
merged into an unbroken succession.
* Unless the performer has this fully *' sympathetic" cantaoile in his reper-
tory, it is a piece of sheer vandalism for him to attempt to play CHOPIN, for
instance. Chopin-playing must indeed remain hopeless of attainment, until
the performer is able to produce all shades of sympathetic (un-sudden) key-
attack,-- in Staccato as well as in Legato, in Pianissimo as well as in Forte.
It is an experience worthy of Purgatory, to be compelled to hear a performer
crunch through poor Chopin, with one of those brick and mortar tone-produc-
tions affected by some who nevertheless fancy themselves to be Pianoforte*
artists ! Refer also to second Note to 20 ; page
9 Also vide second Note to%21; page 227.
230 KEY-TEEATMENT J 1IUSCULAB ASPECT.
remain at tie key-surface in all passages of considerable Agil-
jty ? although the effect is not necessarily Staccato at tliese
speeds.
27. We must also note, that all three alternatives of move-
ment (Arm, Hand, and Finger " touches ") are available under
Species III. ; while with Species H., we have only two such
alternatives Hand and Finger-touches ; while lastly, Species
I., can only show Finger-movement.
The question 28. As to the order, in which to learn the va-
of Order of rious touches, it is generally found easiest to ac-
Sttidy. quire the muscular-combinations of Species TTT.
as Arm-movenient in the first instance, applying them to single
chords and notes ; then proceeding to the acquisition of the
same tonal and muscular-effects under their Finger-touch form ;
and lastly under their Hand-movement form.
Species II. is, on the contrary, best learnt first as Hand-
movement. When the touch-formation has been thoroughly
mastered, it is easy to substitute Finger-movement in place of
the Hand-movement first learnt. 1
29. Even in these cases, however, much must be left to in-
dividual idiosyncrasy, the needful thing being, to learn that
first, which is least unclear at the time. The same rule in
some measure holds good as to the questi on, whether Passage*
touches or Cantabile-iouches should be first acquired.
Personally, I am inclined to think that Singing-touc'h is the
best first step for most people. In its softest aspect, it is mus-
cularly the simplest touch of all. And once the important
truth has been recognised, that a tone can be produced appar-
ently by sheer <e ^Relaxation," it will become comparatively an
1 The Finger-form of this Species might indeed be described as consisting
of Hand- touch ( u Wrist-action ") witTiout the Hand-movement; for the ind
vidualised activity of the hand here provided behind each finsrer would indeed
induce Hand-movement, were the latter activity in excess of the finger-activity
used at the moment, as it should he, if we wish for the finger-touch.
Probably, it was this touch-combination, that unconsciously suggested to-
CHOPIN the desirabilitv of "practising: finarer passages with * wrist-touoh '
It undoubtedly is beneficial to do so, when the end in view is Species II.. in it*
Finger-touch form.
THE THREE SPECIES OF TOFCH-FORMATIOK. 231
easy matter subsequently to learn to support the arm during
tone-production. But although this seems the logical course,
we have as teachers to deal "with human beings, and the only
way to deal with such, especially in their younger stages, is to
seize the opportunity which any glimmering of intelligence or
bodily-aptitude offers us, and to start the whole sequence of
touch-learning from that point of vantage. 1
Caution neces- 30. Here it is as well once again to remind
sary when both Student and Teacher, that we must be careful,
studying Mus- W }^Q striving to acquire the necessary muscular
cu ar -con i- ^ facilities, that we do not meanwhile forget to use the
'
through Key-' ^ e H an( l ^us ultimately forget the very Purpose
movement, the of such muscular facility the Musical-result!
ever-present That is : while striving to employ the correct mus-
Furpose. cular-means that will enable us to obtain any re-
quired tone, we must always insist on directing such muscular
operations solely to the production of Sound by means ofihe
Key ; and directing them not only to a sound, but to a defi-
nitely desired kind of sound, and above all things to a definitely
desired Time-spot for its beginning ; in short, we must always
have Music as our ultimate Aim. Meanwhile we must also re-
member, that it is only by means of such Purpose in Time, that
this can be accomplished ; since Purpose in Time is as insep-
arable from the act of Tone-production as it is from Music it-
selfif there is to be success ; and that our conception of a
musical work can only become translated into Performance, by
means of the grip that Time-definiteness offers us. 2
We must therefore constantly bear in mind how important
it is, for us to LISTEN with vivid alertness for the beginning of
each sound (for the moment where " silence changes into
sound ") so that we may be able accurately to direct the cul-
mination of each correct muscular act, and its prompt cessation
1 A every human being differs more or less from his fellows, we must in-
sert the thin edge of the wedge of Knowledge, wherever the outer cuticle of
Non-knowledge is least dense. To endeavour therefore to lav down strict
laws of procedure in such matters is sheer folly, worthy only of an exagger.
ated Militarism.
9 Part L, Chapter V.
232 KET-TEEATMBXT ; MUSCULAR ASPECT.
and reversal; meanwhile seeing to It, that tills accurately
aimed culmination and cessation of the muscular-operation
against the key, Is also compelled accurately to synchronise
with a (consciously or unconsciously) selected moment in Time
and Tone. 1
Moreover, it is necessary to insist that this rule also applies
with equal force, when we are studying merely single sounds
or chords, during the process of acquiring the art of tone-
production ; for it is here equally essential for us to have a
definite moment of Time in our mind to which to direct the
speed-culmination of each key-descent, as we shall otherwise
be meanwhile forming" wrong habits of Attention.
RECAPITULATORY
a): We have learnt 2 that the three muscular-components
available (Finger-force, Hand-force, and Arm-weight with its
cooperatives) can be applied to the Key, under three main Prin-
ciples of Combination, forming three distinct Species of Touch-
formation :
Description of the Three Species of Touch-formation :
b): The First Species consists of Finger-force alone acting
against the key during descent; while the hand is passive, and
the Arm self-supported.
The Second Species consists of Hand-force acting in conjunc-
tion with the Finger against the key during descent ; while the
Arm remains self -supported.
Tlie Third Species consists of all three components, operative
1 In a word, we must always recall the rule enunciated in Part L, viz., that
we must listen both outwardly and inwardly for each sound-beginning, so that
it may arise in strict response to the imagined place in Time and Tone dictated
by our musical intellect and feeling. For it is alone by such means through
accuracy of Rhythm, that we can make definiteness of purpose evident in our
performance, alone in this way, that our playing can become "living," and
not mere unmeaning note-strumming.
a Chapter XVII., 6.
THE THREE SPECIES OF TOL T CH-FOHMATIOF- 233
against the key during descent ; Finger and Hand force being
supplemented by Arm-weight, etc.
How tliese Touch-formations are used :
c) : To produce the ist Species : the Arm must remain fully
but elastically supported by its own muscles, and while the Arm
thus floats over the key-board and supports the Wrist-end of the
loose-lying Hand, the sound must be produced solely by the
Finger's action against the key ; such Finger-action ceasing the
moment that sound is reached.
d) : To produce the 2d Species : the Arm-condition is the same
as in the last, but the Hand must here act behind the Finger
during key-descent : both Finger and Hand accurately ceasing to
act, the moment that sound is heard to begin.
e) : To produce the sd Species : we have to add Arm-weight
behind the Finger and Hand, the latter acting as in the other
Species. Such lapse in Arm-support must reach its climax at
the moment of sound-emission, and it, as well as the finger-and-
hand actions employed, must disappear at that very moment.
The forms of Movement available :
f) : The Third Species can be employed either in the form of
Arm-touch (arm-movement), or Hand-touch 1 (Hand-movement),
or as Finger-touch (Finger-movement) ; all three forms of move-
ment being available in this Species, since it contains all the
three muscular-components.
The Second Species can only be employed either in the form
of Hand-touch or as Finger-touch, since the Arm does not here
change its condition during the act of tone-production.
The First Species is only available as Finger-touch, since
neither Hand nor Arm should here show any change of condition
during key-descent.
The speeds at which the Species are available :
g) : The Third Species can however only be used, when the
speed of the passage does not exceed a certain rate ; the speed
1 " Wrist-action."
234 KEY-TEE ATM EXT; MUSC0LAE ASPECT.
being restricted by the limit beyond which, we cannot give the
necessary repetitions of Arm-release. 1
The Second Species permits far greater Agility, while .
The First Species off ers no physical limit to speed, beyond the
mental difficulty of keeping the passage " in hand."
The contrasts of Tone-gaanfVfy available :
bj : The Third Species offers us the whole range of Tone, from
the very softest to the loudest and fullest, owing to the presence
of Arm-weight.
The Second Species cannot procure us so much Tone, as the
Hand and Finger here have only the self-supported (or suspended)
Arm as a Basis.
The First Species only renders a very small quantity of Tone
available, since we here have only the slight weight of the loose-
lying Hand as a Basis.
The contrasts of Tone-quality available :
i) : The Third is the only Species, under which all varieties
of Tone-qualify are available. For it is owing to the inclusion of
Arm-release, that we can under this Species start the act of Tone-
production either by Weight-release or by Muscular-exertion. 2
The Second and First Species only permit " Muscular-initia-
tive." No " singing" tone can therefore be obtained through
them.
j) : All three Species can moreover be somewhat modified
(either towards Beauty or towards Harshness) by selecting either
the flat (or clinging) attitude, or the bent (or thrusting) attitude.
kj : To obtain fully "sympathetic" cantabile or cantando,
we must combine the Clinging-attitude with the Third Species,
in its Weight-initiative form.
1 Such alternations of Arm-release and renewed self-support, are, we must
remember, not necessarily shown as arm-movements,
What may be considered a Variety of this Species, is, however, also avail"
able in full-speed passages, provided we do not attempt to obtain more tone
than a piano provided, therefore, that it takes the form of "transfer" (or
" passing-on ") touch. In this form it is also available as a G-LTSSANDO.
2 We must remember tbat with " Weight-touch " the tendency is towards
beauty of tone, while with "Muscular- touch " it is towards hardness, harsh-
ness (or asperity) of quality.
THE THEEE SPECIES OF TOUCH-FORM ATTO2ST. 235
Bent finger, 2d Species, compulsory, for rapid forte passages,
I) : We moreover now discern, that the Clinging (or flat)
finger, requires some measure of Upper-arm release. This in-
capacitates this form of touch for rapid passages, when these
are required forte.
For rapid for te passages, we must therefore use the self-sup-
ported arm (Second Species) with the thrusting (or bent) finger in
combination with it. 1
m) : The secret of Agility, hence, is found to lie in the self-
supported arm ; and combined with it, the thrusting finger, when
the passage is forte. Accuracy in ceasing the action at sound, is
a law that meanwhile bears no breaking.
The contrasts in Duration, how available :
n) : All three Species of touch-formation are Staccato, provided
we insist meanwhile on the Act of Resting being sufficiently
light ; so light that the arm is continuously in a state of com-
plete self-support ; and provided we are also careful to time our
actions against the keys to cease so accurately as to permit these
to rebound. 2
o) : All the Species can be transformed into Tenuti, by merely
changing the Resting into a slightly heavier form, the arm (as
to its continuous condition) being here not quite so fully supported
as in Staccato.
p) : All the Species can moreover be transformed into Legati,
by transferring such Tenuto-form of the Resting from key to
key.
The danger of forgetting to think of Sound, when learning new muscular
habits :
q) ; In endeavouring to acquire correct Muscular-conditions,
we must meanwhile never lose sight of their Object, m^.: to
move the Key for the sake of Music.
1 The clinging-finger, would in rapid forte passages, tend to dull the pas-
sage by dragging the Upper-arm on to the key-beds.
2 We must recall that the Continuous condition of the arm, here implied in
the Resting, does by no means preclude our using the momentary lapses re*
quired in Species III. , to form the Added -impetus.
236 KEY-TREATMENT ; MUSCZJLAK ASPECT.
To succeed in this, we must remember to watch, the key un-
remittingly, both before depression f or its weight, and during
depression f or the Place where tone-production culminates and
ceases* We can moreover only ensure our doing this, by remem-
bering to watch TIME.
We must therefore insfst on judging not only how, but where
each note should sound* Thus, only, can we hope to learn to em-
ploy Technique solely for a Musical Purpose.
f) : The following Table should now be studied.
o
OQ
OC2
II
>.li i is's"
*3*% 131
O a g x "^ **
!!?! g -
S^sl
x
*
S
O s
s
SECOND SPECIE
--- Momentary
hand-exertion behind
finger-exertion, with
supported arm.
o g
*
S
Hi
i
3 UiC
III
lit
'^
00
3
^5
O /*s
3-M
3-=
-?
J
5c
u.
o
o
e
tu
CT"P
sj
1.1
B
*
tQ
ff
hO'13
CO I
H ::
5
II
aeuu
Ul J
<-
iii
w"
leaB
I
J
2
1
b.
O
IE
>>l
3
^j
I
238 KEY-TREATMENT; MUSCULAR ASPECT.
CRAPTEE XX
ENUMEBATION AND CLASSIFICATION OF TOUCHES.
1. To facilitate tlie understanding of this matter, we must
first once again briefly review the whole ground of Muscular-
facts and Touch-construction. Enumeration of the main kinds
of Touch follows ; while Classification naturally ensues dur-
ing the course of this Enumeration. After giving a Recapit-
ulatory and Summary, several Tables are appended, exhibit-
ing Enumeration and Classification from different points of
view.
Constant re-statements of the same facts are here involved,
so that each successive point may be complete in itself so far
as possible. As already pointed out, although this must prove
tedious to many a reader, nevertheless it is essential for the
sake of the ordinary student.
Any Enumeration and Classification of Touches may at first
seem to be an impossible achievement, when we see how end-
less are the possible varieties and their modifications. 1 The
task nevertheless becomes quite feasible, if we keep in view
the natural divisions that Touch falls into, owing to the
Three Species of Muscular-construction described in the last
chapter.
Duly bearing in mind these and other fundamental and rad-
ical distinctions, the whole problem, so far from being com-
1 Happily there is no limit to the possible combinations and gradations of
Touch, any more than there is to the combination-possibilities of Melody, Har-
mony and Rhythm, otherwise we should have to agree with JOHN STUART
MILL, and, finding our Art to be miserably " limited " and * finite," give it up
in despair.
ENUMERATION AND CLASSIFICATION. 239
piex, becomes one of extreme simplicity ; and onr understand-
ing- of it, as well as its practical application to the 'key-board, will
then be found perfectly clear and easy.
The result, when brought down to figures, may at first
glance seem alarmingly complicated and impracticable ; but
no such difficulty is found in actual practice. There is none,
provided we always, both as Students and as Players, keep in
view the few main and simple facts which explain the derivation
of all this complicated array of possible Touch- varieties ; va-
rieties that give us all options of tone-quantity and quality,
and varying opportunities for Agility.
We will therefore first recall these general main facts, and
then briefly reconsider the Three Species of Touch-formation,
and their potentialities :
2. These MAIN FACTS, we must remember, can be summed
up under the following heads :
a) The Resting the continuous Element, in its two
forms of Staccato and Legato-Basis.
b) The Added-impetus the short-lived key-moving
act.
c) The Three Species of Muscular - combination (or
Touch-formation) under which the Added-impetus can
be given.
d) Weight-initiated Touch, and Muscularly-initiated
Touch those two great distinctions which respectively
make for Beauty and Harshness of Tone.
e) The Clinging and Thrusting Attitudes, which further
influence Tone towards the Sympathetic and the Unsym-
pathetic respectively.
3. The THREE SPECIES of TOUCH-FORMATION, we must re-
member, are as follows :
I.) The First Species, implies a self -supported Arm,
and loose-lying Hand ; the sound being obtained solely
by the action of the Finger.
240 KEY-TREATMENT; MUS00LAK ASPECT.
H.) The Second Species., implies a self-supported Arm,
while sound is produced by the conjoint action of the
Finger and Hand.
III.) The Third Species, Implies the employment of
all three muscular components against the key, during*
descent ; viz., Arm-weight release, in conjunction with
Hand and Finger-activity.
4. We found Species III. to be the most important, be-
cause, containing the element of separate Arm-release for each
individual key-descent, it provides us with those radical dif-
ferences in T!.onQ-quaUty which we have termed respectively :
" Weight-touch " and " Muscular-touch," l and which are enti-
tled to rank as Sub-genera. This Third Species is the
most important, also, because it offers us all three alterna-
tives of Moveimnt, {. e. } movement either of the Arm itself, or
of the Hand, or of the Finger ; and because it moreover gives
us the largest range of Tone-quantify ranging from the softest
to the loudest possible.
5. Species II. and I., while they neither give us the great
Quality nor Quantity-contrasts of Species III., nevertheless
offer us the advantage of easy progression across the key-board,
and they are therefore both entitled to be called "Agility-
touches."
Species II., moreover, is more important than Species L,
since the former (depending as it does both on Finger and Hand-
force for key descent) offers us some considerable range of
Tone-quantity, and the alternatives of Hand and Finger-move-
ment ; whereas, with Species L, we are restricted to the move-
ment of the Finger itself, and to a very scant variety in Tone,
as we only have finger-force to depend on.
6. To complete this review of the derivation of Touch-
variety, we must refer to the fact that any of these Species, and
Sub-genera, can appear either under the rt Thrusting " (Bent-
1 We must recollect that Weight-touch is so called, because the complete
combination (of Arm, Hand and Finger) is herein brought into operation
through Arm-release initiative ; whereas Muscular-touch is thus called, be-
cause the complete combination is here, on the contrary, started into operation
by the muscular-o<tf&7i of the Finger and Hand,
ENUMERATION A2TD C/JbASSIFICATION. 241
finger) attitude, or under the ** Clinging " (Flat-finger) attitude.
A fact wMcli at one step doubles our number of Touch-van-
eties. 1
7. There is, however, one kind of Touch not included in
any of these Species, which is nevertheless perhaps one of the
most important of all, and that is the ppp-Tenuto or Legato
"Weight-touch. 2
This exceptional form of touch, we therefore classify as a
tone-producing form of the Act of Besting itself ; in fact, as
the " Second form of the Besting," a Besting continued at
key-bed level, and which is the Basis of all Tenuti and LegatL
8. Being here again brought face to face with those two
Mental-muscular Concepts which together form the foundation
of all true Technique the " Added-impetus " and the "Best-
ing," we are also reminded that it is merely the slight differ-
ence in the weight of the Besting, that constitutes the cause
of the distinction between Staccato and Tenuto or Legato. 3
We are reminded, too, that if the Besting is heavy enough to
take the key down, it is also sufficiently heavy to retain the key
depressed ; and that if we desire the natural Staccato effect,
our resting must be even lighter than in the former case ; i. e* 9
it must then exist without the slightest vestige of Arm-weight. 4
9. Having thus reviewed our material, we can now proceed
1 We also have the farther alternative, that nearly all these Touches may
be accompanied by the rotary-movement of the Fore-arm (or rocking of the
Hand), termed Rotary-touch, in place of the more usual movements of the
Arm, Hand or Finger.
2 ^?p-Tenuto or Legato "Weight-touch" might he classified as a very
light form of Species III., were it not that we have applied the term "Spe-
cies " to those short-lived muscular acts which last only during "key-descent.
This exceptional form of Tortfvnroduction, on the contrary, continues to be of
the same muscular-status, leyond the moment that the act of tone-production
is concluded ; and it is therefore identical with that continuous act of Resting
on the kev-board. which in its second form constantly attends the individualised
acts of Key-speed ST during Tenuto or Legato.
8 In addition to the wide range of contrasts that here opens out, in the shape
of natural Staccati and Legatt we also have those subsidiary contrasts in this
direction obtained from the "driven-off" Staccato in its many aspects, and
that artificial Hand-induced Legato which has sometimes to be employed.
4 The reminder is here again necessary, not to confuse this continuous or
continnonslv-resumed status of the Resting (and its Arm-conditions) with those
discontinuous and rapidly alternating conditions of the Arm that obtain during
the moment of key-descent in Species III.
342 KEY-TREATMENT ; MUSCULAB ASPECT.
to the desired Enumeration, at the same time exhibiting the
natural Classification of Touches. Under such Classification,
Touch first of all segregates into the two primary Divisions of
Staccato and Legato, with the " Besting " either at Surface or
Depressed level of the Key-board. Under each of these Divis-
ions we then have the three aspects of Mov&tnent; i.e., Finger-
touch, Hand-touch, and Arm-touch. As Finger-Movement is
available under all the Three Species of Muscular-combination
(or Touch-formation), and as Hand-movement is available
under Species H. and IH., and Arm-movement only under
Species HI., we then finally discover the number of the main
Varieties available under each.
ENUMERATION OF TOUCHES.
DIVISION I. Staccato.
The act of " Besting" is here at the Surface-level of the
Key-board.
No greater weight must here rest continuously on the keys than these
will bear "without depression. The Arm. must therefore be in a state of
continuous (or continuously resumed) Self-support.
10. Finger-staccato Touches,
There are eight distinct Varieties of Finger-staccato, as follows :
The sound-inducing Impetus may be produced : (a) by Fin-
ger-exertion alone, (b) by Hand-exertion in conjunction with
the Finger ; l and (c) by Arm-weight in conjunction with both.
As the latter Species of touch (the third species) can exist as
either of the two Sub-genera : (a) Weight-initiated touch, or
(b) Muscularly -initiated touch, it follows that this gives us
four kinds of Touch. As all these four can exist either under
the "Thrusting " (beiit) attitude, or the " Clinging" (flat) atti-
tude, this raises the complete number of Finger-staccato touches
to eight?
1 Do not let us confuse Touch-construction with mere Movement.
* DRIVEN-OFF Staccato. As the muscularity-initiated Staccati can be ren-
dered more prompt (and aggressive in tone-character) by assisting the other-
ENUMERATION AND CLASSIFICATION. 243
11. Hand-staccato Touches.
There are Six distinct Varieties of Hand-staccato (Wrist-staccato)
touches :
Species II. and HI. can both exist as Hand-touch ( ec Wrist
action. ") if we permit the Hand-activity slightly to outbalance
the other muscular-components. Species II. (Hand acting" in
conjunction with the Finger) will thus give us two kinds of
Hand-touch, since it can appear either under the guise of the
" Bent " or the " Flat " attitude. Species HE. will give us four
more, since we have the alternative Sub-genera in the shape
of initiatory Weight-release or initiatory Muscular-action, with,
the further alternatives to each of these of " Bent " and " Flat 5 *
attitudes ; thus raising the complete number of Hand-staccato
touches to srs. 1
12. Arm-staccato Touches.
There are Pour Varieties of Arm-staccato Touch :
A very slight excess of Arm-lapse over the other two mus-
cular-constituents which form Species III. will cause Arm-
movement to supervene in place of either Finger or Hand
movement. As we can start the complete muscular conditions
required in Species III., either by Lapse of Weight, or by
Activity of the Finger-and-Hand, and as either of these Sub-
genera can exist either in the " Thrusting " or " Clinging " form,
this shows FOUB to be the complete number of Arm-staccato
touches. 2
DIVISION II. Tenuto and Legato.
The act of " Besting" is here at depressed level of the
keys. The " resting " Weight must therefore be sufficient
to over-balance the keys into descent; and it therefore also
wise "passive" rebound of the key and its superimposed limb, through the
application of a sharp u kick-off," we in this way gain several more or less
well-defined additional Sub-varieties of Finger-staccato.
i The addition of a key-bed "kick-off "'or l 'drive-off" offers us, as in the
case of the Finger-staccato touches, a further series of Touch-modifications or
Varieties.
* The " Driven-off " Staccato gives us, in the case of Arm-movement, four
additional well-defined Sub-varieties of Touch.
244 KEY-TBEATMEKT ; MUSCULAR ASPECT.
suffices to retain them depressed beyond the moment the act
of tone-production is complete.
The Arm-sustaining muscles must therefore here be in a state of contin-
uous (or continuously resumed) slight lapse. 1
13. This second form of the " resting " we have recog-
nised as "being- itself a Tone-producing agent.
Employed alone (i. e. 9 without any " Added Impetus' 1 ) it
gives us the softest sound obtainable from the instrument, and
at the same time forms Tenuto. Such Tenuto, transferred un-
brokenly from key to key by the fingers, thus forms Legato.
It is also the Basis of all other Tenuto and Legato touches*
however Ioud 3 or brilliant, or sympathetic they may be. It
moreover forms the only simple form of Touch ; and it can be
accompanied either by Arm-movement, Hand-movement, or
Finger-movement. 2
It can also be employed as a io^-quality modifying agent,
when it is combined (in the form of weight-transfer-touch) with
the light finger-touches of Species I. For its weight influence
(making for sympathetic quality) can here make itself felt,
owing to the fact that the muscular-initiative influence of this
form of the Added-impetus is too light to prove overpowering*
(Vide 17, Chapter XIX.)
14. Finger-tenuto and Legato touches.
There are Ten distinct Varieties of Finger-texmto (or Legato) touches^
as follows :
To begin with, we may obtain sound by the unaided "Rest-
ing " itself, 3 and as we may employ either the " Thrusting " or
the * Clinging " attitude, this gives us two Touch- varieties.
1 We must recall that the appearance of this slight degree of Arm-weight
must be continuous during each musical Phrase or Sentence, or must else "be
unremittingly resumed during such musical divisions.
8 As before explained, it is the only form of simple touch ; since there is
here no change in the muscular conditions existing during key-descent and
after key-descent, for the conditions that cause the tone, and the conditions
that cause Tenuto and Legato are here identical ; whereas in all other touches
(Staccato as well as Legato) we are obliged to have a separate set of muscular,
conditions to provoke each tone, separate from the conditions that give us
the "Resting" either at key-surface or key-bed.
3 "When transferred from note to note, in the form of Legato, this kind of
key-attack forms *' Transfer-touch" or "Passing-on touch."
ENUMERATION AND CLASSIFICATION, 246
The remaining eight varieties are obtained by adding to this
* c second form of the Resting" any of the previously enumerated
eight FINGER-STACCATO forms of Tone-production, or forms of
the Added-impetus. That is: "We may combine an Aclded-
impetns with this act of Resting, and this Added-impetus may
be in the form of any of the three Species of Touch-formation ;
while the third Species is moreover available in either of its
Sub-genera ; and all of these again, either under " Bent " or
"Flat" option.
Thus we find that the complete number of Finger-touches
available as Tenuto (or Legato) is TEJ\ T . X
15. Hand ("Wrist") tenuto touches.
There are Eight Hand-tenuto touches :
The "Resting" unaided (as simple "weight-touch") pro-
vides two varieties, since it can be applied either in " Bent " or
"Flat "attitudes.
Then, again, we may add to this Tenuto-element any of the
six previously enumerated forms of T3.Q&d-staccato tone-pro-
duction. Thus we have the option of the third Species of
Touch-formation in either of its Sub-generic forms, and also the
second Species, while we have the further option of giving any
of these three, either in the " Bent " or the ' ' Flat " modifica-
tions ; thus showing the full number of Hand-tenuto Touches
to be EIGHT. 2
1 In addition, we can obtain the - l artificial " legato, as previously explained,
"by employing a continuous but very slight exertion of the Hand and Fingers
(or "pressure*') in the place of the usual slight Arm- weight. This is oc-
casionally applicable, and, as before noted, it is by its means that we should
obtain those short-lived slight extra ' * pressures ' required during momentary
inflections of Legato and Super-Legato, or Legatissimo.
3 We often hear of " "Wrist" or " Arm Legato touch." This, however, is
merely a term of convenience, as already pointed out. For it is obvious that
no true Legato can exist apart from Finger-touch (or movement) except through
the intervention of the Damper-pedal. Without the Damper-pedal we can
only approximate towards Legato in Hand and Arm touches, by insisting on
making the successions of Tenuti as close as possible.
The term " Semi-legato " is a similar misnomer when physically considered.
The Duration-effect in question should be termed Semi-ienuto ; for it is ob-
tained by discontinuing each of the successive Tenuto effects before the ap-
pearance of each new note.
946 KEY-TREATMEKT ; MUSCULAK ASPECT. '
16. Arm-temito toueiies.
There are Six varieties of Arm-tenuto :
The " Resting " Itself supplies two varieties, since we can
apply it to the keys either under the "Thrusting" or the
" Clinging " form. 1
We owe the remaining four Yarieties to the fact that the
third Species can be applied either as Weight-touch or as
Muscular-touch ; and that both of these Sub-genera can again
appear either under the " Bent " or the " Flat " Finger atti-
tudes ; thus completing the full number, six, of Arm-tenuti. 2
17. Rotary Touches :
Most of the touches so far enumerated are (more or less
conveniently) available as Fore-arm Botation-touehes, or so-
called "Side-stroke" touch. They are transformed into
such, by permitting the ever-present adjustments of the Fore-
arm-rotation to manifest themselves as an actual rocking move-
ment of Hand and Fore-arm ; these adjustments being in this
case slightly in excess of the other muscular-components of
Touch, and this rocking movement therefore here taking the
place of the more usual movements of the Finger, Hand, or
Arm.
As the appropriate application of Eotary-touch is compar-
atively rare, it is undesirable to encumber this page with a
minute enumeration of the possible Yarieties of this kind of
touch ; especially as such differentiations depend on precisely
the same causes as in the case of all other touch-formations.
1 We must remember that simple pianissimo Weight-touch takes the form
of Arm-movement when the Finger and Hand are insufficiently exerted to
support the gently (and but slightly) relaxing Weight of the whole Arm,
and the Arm itself in consequence sinks down with the key. Arm-movement
forms the best (and usual) mode of applying this simplest of the Touches, in
Blow successions of notes or chords.
2 The Student must here once again be warned, clearly to keep in mind the
difference between that continuous (or continuously resumed) slight arm-lapse
which constitutes the act of Simple-touch (and is the Basis of all Tenuti and
Legati in the form of the second kind of "Besting'*) and that other act, a MO-
MENTAEY lapse of the Arm-supporting muscles, a lapse that may be complete,
and may even have Shoulder-weight and Body-weight behind it, but which
act is only added to give the necessary impulse to the key in the larger Tone-
forms ; and which ceases to exist with the very moment of Tone-emission.
ENUMERATION" AND CLASSIFICATION. 247
18. "WMle we thus find that there are 42 main kinds of key-
attack that can be enumerated, it by no means follows that it
is either necessary or even desirable that we should keep these
distinctions in view when playing. On the contrary, the
less we are compelled to think of these distinctions the better
provided we do correctly produce and apply them. 1
Certainly, in learning to play, we must at first employ them
consciously purposefully ; but we must also gradually learn
to employ them more and more unconsciously, until at least
Musical-suggestion will itself suffice to prompt them into oper-
ation. Moreover, in thus, as it were, gradually losing sight
of these mechanical (but necessary) distinctions, we should do
so in their natural order of importance ; the less easily mis-
used and less important actions being hence the first to reach
almost unconscious (but correct) application.
It is well, therefore, in this connection to bear in mind, that
Movement (the distinction between Finger, Hand, and Arm
touch) is the least important thus muscularly considered; that
the difference in JResting (the difference between Legato and
Staccato Basis) comes next ; and that the distinctions formed
by the Bent and Flat Attitudes and by the Three Species of
Touch-formation, on the contrary, are the most important, espe-
cially as the third of these brings with it the distinction be-
tween WEiaHT-touch and MuscuiAK-touch.
Even the Artist must ever remain careful to use good judg-
ment in these last respects when he is "laying-out" a work
for study.
The distinctions between (a) the Three Species of Forma-
tion, (b) Weight v. Muscular touch, (c) Bent v.Flat finger, hence
always remain burning questions, whether we think of them
under this actual nomenclature, or think of them as undefined
.Means towards the attainment of real music.
1 In any case it is not Phrases that have to be kept in view, but Facts that
must be realised and made into Habit through Practice.
248 KEY-TBEATMENT ; MUSCULAR ASPECT.
RECAPITULATORY AND SUMMARY.
a) : Enumeration and Classification only become possible (and
easy) if we bear in mind the main facts of Touch-construction,
t?i^.;
i) : The Resting.
2) : The Added-impetus.
3) : The Three distinct Species of muscular-combina-
tion, or Touch-formation ; and
4) : The two great distinctions thence elicited :
I.) : Weight-initiated. Touch.
II.) : Mz/Sz//#r/^-initiated Touch.
5): The Distinction between Clinging and Thrusting
attitudes.
hj : To attain our present object, we must review some of the
potentialities of these Elements :
i) : The Third Species of Muscular-combination (or
Touch-formation) alone offers us (because of its two Sub-
genera) the option both of Muscular-initiative and of
Weight-initiative; the other Species being necessarily
Muscularly-initiated.
This Third Species, as regards movement, can be ex-
hibited either as Finger-touch, Hand-touch, or as Arm-
touch.
2) : The Second Species only offers the option between
Finger-touch and Hand-touch.
3) : The First Species can only be obtained as Finger-
touch.
4) : The Thrusting and Clinging muscular-attitudes
tend to qualify all Touch towards the Brilliant type and
towards the Sympathetic type, respectively.
5) : The whole of these Tone-producing Elements can
be applied either under the first (Key-surface) form of
ENUMERATION AXD CLASSIFICATION. 249
the Resting, or tinder the second (Key-depressed) form of
the Resting :
In the first case the effect is STACCATO ; and in the
second case it is TENUTO, and the latter can, moreover, in
the case of Finger-touch, be transformed into Legato.
6) : The Second form of the Resting, applied by itself
to the key (without the assistance of any Added-impetus)
forms the true pp-tennto or Legato Weight-touch or
Transfer-touch*
It is identical with the muscular-combination, Species
III., and can therefore exist either in the guise of Finger,
Hand, or Arm-movement. 1
c) : Enumerating the forms of Key-attack thus reviewed, we
find there are :
I.) : Eight distinct kinds of Finger-staccato ; and ten
kinds of Finger-tenuto, or Legato.
H.) : Six forms of Hand (" Wrist ") staccato ; and eight
forms of Hand-tenuto.
III.) : Four forms of Arm-staccato and six forms of
Arm-tenuto.
d) : These 42 well-defined modes of Key-attack, meanwhile
each offer us a greater or smaller range of Tone-quantity and
quality, and of Speed-possibility, respectively, according to their
construction, as demonstrated in the previous chapters.
e) : Subsidiary modifications are :
i) : An additional set of touch-forms, exhibited as
Fore-arm Rotation-touch, sometimes advisable, and avail-
able under most forms of touch-construction.
2): The " Kick-off " Staccato influence; capable of
being added to all the enumerated forms of Staccato.
3) : The " Artificial " form of Legato, induced by slight
and continuous pressure of the hand and fingers, in place
of the usual heavier form of the Resting.
f) : All these distinctions need not be consciously kept in
* This Resting, when applied in conjunction with a 1st Species Added-
impetus, subtly modifies the latter's tone-quality.
250 KEY-TKEATMENT; MUSCULAR ASPECT,
view, once we have mastered their application. But we must
more or less remain conscious of those few main principles re-
called in a and g of this Recapitulatory.
gj : From the Artist's point of view and the Student-0/0#r-
ist's 1 Classification must therefore needs take the following
aspect :
Div. I. : Weight -v. Muscular-initiative. 1 Forming the distinctions
Div. H. : Flat v. Bent Finger-arm Atti- L of tone-^/% .- round-
& I ness.hardness,orSym-
tude (Clinging v. Thrusting).] pathetic . Aggressive.
Div. Ill* : The Three Species of Added-im- ) Giving various options
petus-constriKtion
Div. IV. : Key-surface z>. key-bed Rest- ) Forming the distinctions
. _ J- between Legato and
m S ............... - ...... j Staccato. -
and lastly,
Div. V. : Finger, Hand, and Arm-touches. (.Forming the distinctions
(of mere movement.
tj : The following three Tables should now be referred to.
1 With.out Colouring, Piano-playing is reduced to mere strumming.
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CHAPTER XXI
RECAPITULATORY AND SUMMARY
OF THE MAES" CONCLUSIONS OF
PART III
^ J During the process of teaming tlie requisite
Muscular-habits (when we must of necessity pay at-
tention to the muscular-details) we must not permit this to divert
our attention from the instrument's requirements; these must
always Be kept supremely in view, and for the sake of the re-
quired musical-effect* That ist Muscular-action must only
be thought of and applied for the purpose of fulfilling the
requirements of the key, and these again solely for the purpose
of Musical-result*
2) : The key's requirements vary according to each difference
in sound-shading dictated by our musical sense* Accurate and
musical Technique hence demands that our muscular-efforts
must vary correspondingly*
3) : We can bnly insure this correspondence by an unswerv-
ing attention to the RESISTANCE the keys offer before and dur-
ing descent* We must therefore constantly notice the u giving*
way point * of the key* even in the case of our employing a con-
siderable movement before reaching it*
4) : Attention thus given through our resistance-sense* also
enforces Musical-attention and intention; for we find ourselves
compelled to refer to our musical-conscience* the moment we en-
deavour to judge what should be done to each key*
On Key- 5) : It follows* that Key-contact must never take
Contact* the form of a real blow* if we desire musical-accuracy.
J For explanation of 2 to 4, refer to Chapter XIII., page 114
* Explanation of 5 to *, found in Chapter XIV., page 135.
255
256 KEY-TREATMENT; MUSCULAR ASPECT.
6) i Not only should we therefore react the key-surface quite
easily and lightly ; but we most also be most careful to remem-
ber, that the required tone has to be made during the ensuing
short descending movement of the key* 1
7) ; Tlbis light fall of tie limb upon, and subsequent move-
ment witt tiie key, may either form an unbroken descent, or we
may instead bring tne finger into contact with tne key before tne
moment its depression is due* But in either case we must,
before using the key, insist on feeling its resistance*
8) : Since careful Contact is so essential, and
since Tenuto and Legato further require the op-
eration of a light resting Weight, and as we must
nevertheless often apply much energy to the key in addition to
this Resting to provoke the key into the necessary tone, it fol-
lows that TOUCH consists of the combination of two muscular
operations, viz* :
a) The act of "Resting/' and
t>J The act of * Added-impetus*"
9) : The act of u Resting" is practically continuous during
each phrase, but may differ in its actual weight* This consti-
tutes the difference in Basis between Staccato an<J Legato*
JO) : The"Added-impetus"is applied only for and during
key-descent ; and it must cease to exist the very moment that
tone-emission commences* This law applies both in Legato
and in Staccato*
II) : For Staccato^ the Resting must be no heavier than the
key will bear at its top-most level*
For Tenuto and Legato, the Resting should never be heavier
than will just suffice to retain the keys depressed*
J2) : The Legato -resting, employed without any Added-
impetus, is the only simple form of touch ; and thus employed,
it gives us an absolute ppp Tenuto or Legato*
1 For the act of Tone-production does not really commence until we Jiavp
actually reached the key.
* Explanation of 8 to 15, found in Chapter XV., page 135.
SUMMARY OF PART III. 257
3): Legato implies a sequence of complete Tenuti, trans-
ferred from finger to finger*
J4) : Duration therefore depends on the kind of Resting,
while SounJ-kmd depends on the kind of Added-impetus*
_., ,. , J5) : Four distinct living-levers are employed*
Ine limbs and. , <T^. TT < . T- * *
their muscles. 1 TCS * : "** Finger* the Hand* the Fore-arm* and the
Upper-arm*
26) : The finger itself can fee exerted in two completely dif-
ferent waysj
aj The Bent, or thrusting attitude* and '
b ) The Flat* or dinging attitude* 2
J7) : By means of attached muscles* we can exert any of
these living-levers in many directions*
J8) : Moreover, for every direction in which we can thus ex-
ert these levers, we can also exert them in the opposite direction,
by means of opposite muscles*
f 9) : Stiffness is induced, when we exert Both these sets of
muscles simultaneously* We must therefore carefully gu^rd
against doing this ; for unless we provide every required action
and movement with perfect f reedom, we shall certainly spoil all
our playing* _
m 20) : The muscular-operation against the key
The Actions f , , , t . r **
of the
hand*
This kverage re-acts upwards : (a) against the hand at the
fcnucfcle, and (b) against the arm at the wrist*
21) : To form the necessary Basis, the arm may be employed
in two ways: (a) it may be fully self-supported by its own mus-
cles, or (b) its weight may be set free by relaxation, during each
act of key-depression* 4
1 Explanation of 16 to 19, found In Chapter XVI., page 147.
9 Vide Figs. 6 and 7, page 151.
3 Explanation of 20 to 43 are found in Chapter XVII., page 158.
4 For extreme fortes^ in addition to the full use of arm -weight, we may
lever the weight of the shoulder on to the key.
258 KEY-TREATMENT ; MUSCULAR ASPECT.
22) : Tlie sensation of exertion is always upwards in correct
touci^ since the required exertions should be mainly derived from
finger-and-hand leverage which by reaction from the keys
operates upwards against knuckle and wrist* 1
23) : There are three main muscular-components : Finger and
Hand down-exertion, and Arm-weight*
24) : Loudness depends on the total degree of Energy thus
derived*
25) : Qualify mainly depends on the locality of the initiatory
muscular-component; Le+ : whether we start the act of key-
depression by Muscular-initiative or Weight-initiative* The
first makes for sudden key-depression sharpness of tone;
whereas the second makes for that gradual attainment of key-
speed associated with beauty of tone*
26) : Quality is moreover modified in these same directions*
by the contrast obtainable between the Thrusting and the Cling-
ing finger-attitudes* and their related upper-arm conditions ; /*e* /
by the contrast between a forward-held* or a backward-hanging
Elbow* 2
27) : To obtain the extreme effects of Quality* we must
combine both of these influences*
28) : The most active portion of the finger should always be
that next to the knuckle of the hand* This applies equally in
Thrusting and in Clinging touch*
29) : Movement the distinction between Finger-touch, Hand-
touch, and Arm-touch depends upon which one of the three
muscular-c0mpo/ienfe 3 is slightly in excess of the other two* dur-
ing the process of key-speeding (descent)*
30) j Choice of Movement should be mainly determined by
the speed of the passage* Finger-movement (Finger-touch),
however, can be employed both in quick and in slow pas-
sages*
31) : Good choice of Touch-formation or Species of touch
1 The reaction is upwards against the shoulder in extreme cases.
a Vide Wigs. 8 and 9, page 166; Fig. 10, page 167; and Figs. 12 and
13, page 171*
3 Fiuger-force, Hand-force, and Arm-weight.
SUMMABT OF PAET III. 259
is nevertheless far mote important* since -upon it depends the kind
and degree of tone* and OUT agility-possibilities*
32) : There are three ways of forming- or constructing the act
of Touch from its three muscular-components* These three
muscular-c0m/na/r0/2S are : (a) First Species of Touch-formation,
Finger-exertion only, with passive hand and self-supported arm;
(b) Second Species of Touch-formation, Hand and finger exertions,
combined with the self-supported arm ; (c) Third Species of Touch-
formation, Arm-weight employed in conjunction with the exer-
tions of the finger and hand*
33) t Arm- weight, whenever it is employed* 1 must be ob-
tained by releasing or relaxing the arm-supporting muscles* The
whole arm from the shoulder must thus be relaxed* to the extent
required by the key ; and we must guard against endeavouring
to obtain the required weight from the Fore-arm only*
34) : The slight but continuous release of Arm-weight which
induces the second (or slightly heavier) form of the Resting
and which forms the basis of all natural Tenuti and Legati* is
identical with the act of tone-production at its very softest.
To obtain this effect* we must release arm-weight upon the key*
until the tatter's resistance is just overcome* The consequent
sinking down of the key feels more like a passive process than
like an active one*
35) : Arm- weight, when applied as an " Added-impetus/*
must cease to operate against the key the very moment that
sound is reached* This cessation must be wrought by accurately
timing the hand-and-finger exertions against the key* And it
is in response to the consequent disappearance of support at the
Wrist that the arm-supporting muscles must be automatically
called into action*
36) : Natural Legato arises, when we transfer the second
form of the "Resting" from finger to finger* The result is
ppp, unless we meanwhile add force in some form during key-
depression; Le. : unless we also employ the Added-impetus in
one of its numberless forms*
1 Both in its forms of "Added-impetus" and of "Resting."
260 KEY-TREATMENT; MUSCULAR ASPECT.
37) i Such, transfer of the Resting-weight must also occur
a^ffomaficahy f*e* : in response to the cessation of the last finge/s
supporting action upon the key; this being timed to occur at the
moment the next finge/s key is desired to commence its descent*
38) : For the Staccato-form of the * Resting," the weight of
the hand is found suf ficient, and this is not ponderous enough
to prevent the required rebound of the key*
39) : We must remember that the u Added-impetus ^ is quite
as short-lived in Tenuto and Legato as it is in Staccatissimo*
40) : The fore-arm Rotation-clement is extremely important*
To it we owe our possibilities of Evenness of Touch* and also the
power to render notes prominent at either side of the hand* The
adjustments in question must therefore be constant, although
for the most part invisible*
This adjustment, when it is allowed to become visible as an
actual tilting of the hand, is termed Rotation-touch-
4J ) : Lateral freedom of the Wrist and Hand is imperative*
Free horizontal movements of the hand are also required to pro-
mote evenness, when turning over the thumb and turning under
the fingers*
42) j " Wrist-freedom," which is so much desired by everyone,
must hence be insisted upon in all these three aspects the ver-
tical, rotary and horizontal* We can insure such freedom by
insisting on feettng Vertical over each key, before commencing to
use it*
43) : Subsidiary points are t freedom in the horizontal move-
ments of the fore-arm itself, and of the fingers, and of the upper-
arm* when bringing the finger-tips over their respective keys*
44) : Three Muscular Tests are essential, so
Testing * *kat we ma ^ ^ nsttre our fulfilling 1 the required Mus-
cular Conditions* These tests, which should be
practised every day before anything else, are as follows $
45) : Test No. I, : A slight up-and-down swaying of tiur
4 Explanations of 44 to 47, found in Chapter XYIII, page 204.
SUMMARY OF FART III. 2f51
Wrist-joint, while the finger-tips remain lying on their keys?
also a rolling and un-rolling of the fingers themselves, while they
support a certain proportion of the weight of the hand on the
keys* Designed to insure the elimination of all contrary exer-
tions from those required from the finger and the hand*
46) : Test No* IL : A drop of the Wrist-joint, occurring in
response to the accurately-timed cessation of the finger-and-hand
exertion, at the moment of sound-emission ; thus permitting the
keys to rebound while the Wrist falls past them* Designed to
secure accuracy in u aiming ** the act of Tone-production* This
should be practised in four ways : Staccato* pp and ff; Legato,
pp and ff.
47) ; Test No* HI: The performance of a short, light run,
ending in a rebound of the arm off the keys with the last note ;
practised (a) with the whole arm thus rebounding, and (b) with
the fore-arm alone thus rebounding ; and practised both with a
vigorous bounding-off and with a gentle floating-off of the arm*
Designed to insure the elimination of Down-arm-force from the
required down-exertions of the finger and the hand*
Tlie Three Spe- 48) : All three species can be applied as u Added-
cies of Touch- impetus ^ both during Legato and during Staccato*
formation. 1 49) * Xhe First Species can only be applied through
finger-m0>emenf u finger-touch/* It enables us to provide the
highest degrees of Agility, but it offers us only slight possibil-
ities of Tone-contrast*
50) : The Second Species can be applied both as Finger-touch
and as Hand-touch "Wrist-touch*" It enables us to provide
greater contrasts in tone-quantity than the first species, but
agility-power is here more restricted*
5J) : The Third Species can be applied in all three forms of
Movement; *biz.: as Finger-touch, Hand-touch, and as Arm-
touch* This species permits us to attain not only the fullest con-
trasts in Tone-quantity, but also those of TL one-quality .
1 Explanation of 48 to 52, found in Chapter XIX., page 214.
262 KET-TKSATMENT ; MUSCUiAB
Agility is however still more limited owing to the rapid alter*
nations of arm-release and re-support here required*
52) : We must bear in mind the particular scope (the possi-
bilities and limitations) o these Three Species, when we (con-
sciously or un-consciously) clioose the touch-formation for each,
particular passage; we may otherwise fail to employ the most
appropriate form*
Enumeration ^3) : Enumeration and Qassif ication are possible*
and Classifies if we recall the main facts of Touch-construction*
tion of TJ(r c thus find there are some 42 distinct kinds ot
Touches.' key-attack* as follows:
54): Finger-staccato, eigU kinds: for we can employ either
the f st Species of touch-formation, or the 2nd* or the 3rd* and
the latter in either of its two aspects (either as Weight-touch or
as Muscular-touch)* and we can employ these four either as
Clinging or as Thrusting- touch*
55) : Finger-legato, ten kinds : for we have the same options
as in Finger-Staccato* and have in addition the option of using
the Resting unaided (ppp Ten** or Leg*) either under the Bent or
Flat finger conditions*
56) : Hand (wrist] staccato, six kinds : in the form either of
2nd Species, or 3rd Species under its two aspects* and these again
either as dinging or Thrusting-touch*
57): Hand (wrist) tenuto, eight kinds: the same options as
in Hand-staccato, and in addition, the Bent and Flat finger forms
of the un-aided Resting*
58) : Arm-staccato, four kinds r 3rd Species either in its mus-
cularly-initiated or weight-initiated form, and these taken either
Bent or Flat*
59) : Arm-tenuto, six kinds : the same alternatives as with
Arm-staccato, but with the additional ones obtained under the
unaided Resting, with either thrusting or clinging key-attack*
60) : From the Artist's and Colourist* s point of view, Qassif i-
1 Explanation of 53 to 60, found io Chapter XX., page 838.
SUMMARY OF PAST III. 263
cation is as follows: Wetghf-touch and Muscular-touchy ttese
tmder Flat of Bent attitudes; these all tmder any of the Three
Species of Touch-formation; tliese again tender tte two alterna-
tives of Resting, witli tteit Staccato or Legato result; and finally
all these tinder tlie aspect of movement either Am^ or Hand* of
APPENDIX TO PART Hi
THE " FOUNDATIOSr-TOVOH" AND MONO-METHOD FALLACIES
IsfoTE XLTo 20, Chapter XII. Seeing how great is the multiplicity
of radically different Touch-methods available, and that we cannot find any
really great Artist who is not compelled to avail himself of the means of constant
contrast these different touch-methods afford, to enable him to communicate
Ms Musical-feeling to us ; seeing all this, we are inevitably driven to the con-
elusion, that without this element of "COLOURING" there can be nothing
worthy the name of Pianoforte-playing, as already insisted upon in the Preface.
Moreover, as so many of these available touches are of equal importance,
it also follows that it must be a gross fallacy to speak of any "foundation-
touch." For who will undertake to decide between Melody-touches or
Passage-touches which is the most important ? Or between those touch-
methods that give us large, full tone-kinds, and those touch-methods that en-
able us to attain all degrees of Agility ?
To suppose that there can be but one " correct" method of touch, or one
" foundation-touch," to which all others are subservient, or tolerated orna-
mental appendages, is as foolish as to suppose that there is but one correct
form of using the voice in Speech or Song ; or but one colour to paint with !
Indeed, it seems inconceivable how such ' fallacy can have arisen, in the face
of the actual doings of the great Artists.
The fact is, there should be nothing in Pianoforte playing akin to the black
and white element in the art of delineation. In Pianoforte playing, there is
no " drawing to be learnt firsthand then painting*'; on the contrary, at the
Pianoforte we must always be learning to "paint," and learning to paint bet-
ter every day.
However, teachers and students are liable to make this mistake, if they
have not realised that our powers of " Expression" almost entirely depend on
variety in Touch-method. Otherwise, if they happen after many failures to
discover some mode of producing tone, or agility, that proves effective, this
success will most probably cause them to fly to the conclusion, that this dis-
covery forms the best, or even sole possible form of correct touch !
Such, led away by the effectiveness of their discovery, often go the same
lengths as do the faddists mentioned in Appendix to Part I L u On Key-strik-
ing." Like these, they do not hesitate to close their ears and minds to all out-
side impressions which are contrary to the ones they expect; and they hence
fail to perceive that the really great artist does not exhibit any one " method "
of production, but that he on the contrary employs all kinds of tone-produc-
tion kaleidoscopic in the constant though subtle variety of their contrasts.
We come upon far more debatable and difficult ground, when the ques-
tion arises, in what order should we acquire these innumerable forms of pro-
duction open to us ? For it is obvious wo can only learn one kind of touch at
264
APPENDIX TO PART III. 265
a time, although we may at once grasp the genera! principles that underlie
all Touch-acquisition.
Here again we must beware of Method-mania, that bane of so many
Educational systems; that pandering to automaticity, laziness, and lack of
initiative on the part of teachers. Indeed, the* less t4 method" there is
here in the sense of a rigidly fixed " COURSE OF STUDY " the better for the stu-
dent. A fixed course of study resembles the system of having ready-made
boots ! Not one person in a hundred can thus be properly fitted ! Kigid
methods are all very well for the rough and ready education required in the
drill-room of a barracks, but they should assuredly have no place in any edu-
cational system that purposes to impart anything in connection with Art.
The only good system is that which adapts the course of teaching to the
individual needs of each and every particular pupil. All have eventually
to learn the same things ; but the order, and the ways employed, must depend
almost entirely on individual needs.
Failure in Art, arises in the main from lack of Imagination and lack of
DISCRIMINATION. It is therefore the acquisition of discriminatory power
which we must insist upon in connection with our present subject. As
regards Touch, we must for instance insist on discrimination between the
proper and the improper way of making key-contact, with its intimate corol-
lary, the idea that sound can only be made by means of Key- movement. Dis-
crimination between the two families of Weight-touch and Muscular-touch
should also at once be made clear, just as should be the two absolutely oppo-
site attitudes of the Finger and Upper-arm. Having distinguished between
these fundamental points of difference, which involves a preliminary under-
standing of the three muscular-components whence we derive the act of touch,
it might first be expedient to learn to act with the finger alone, with loose-lying
hand, and self -supported arm the first species of touch-formation ; subse-
quently learning to add to this combination the action of the hand the second
species ; and finally learning to employ the weight of the arm in conjunction
with these two actions, during key-depression the third species.
But even here, the bias of each pupil must be carefully studied. One's
" system " should be, to seize upon the easiest " opening." Perceiving the
pupil's inclination to find one w point easier to grasp than another, we must if
possible start our instructions from this point of vantage, and let the rest of
the necessary information unfold itself from that basis the basis proved
easiest to commence with.
But more about this anon. Vide %28, Chapter XIX. ; 28, Chapter XX. ,
and concluding chapter of Part IV.
EXAGGERATED FINGER-LIFTING-
NOTE XII. For 10, Chapter XIV. Some teachers have actually made
the absurd mistake of recommending that u the fingers must be more raised the
quicker the passage " ! This fallacy has arisen from a partial -apprehension of
the real facts of Touch, and Srom the experience, that badly aimed Tone-pro-
duction proves more obviously fatal in quick passages than it does in slower
ones. For in the quicker passages, if we inaccurately direct the force we
employ to produce tone, this will not only lead to inaccuracy of tone-result, but
it will in this case also cause the passage to become "-difficult" and " sticky";
whereas in correct Agility-touches, the keys will be free to rebound with
the fingers. Hazy perception of this fact that the key must imperatively be
left free the moment each tone-making is completed (with its consequent
266 APPENDIX TO PAET III.
resilient rebounding of tbe keys with the fingers), has therefore obviously mis-
led the aforesaid faulty reasoners to imagine that the fingers themselves should
be sharply pulled away from the keys ! For this faulty action (that of sharply
pulling the fingers up after each successive sound) has some analogy to the
correct condition, that in such touch the keys and fingers should be felt to
rebound. It is hardly necessary to repeat, that in such pulling-up action of
the fingers, we should in the first place hamper ourselves with an extra and
unnecessary action, which extra exertion we should, in the second place, find
almost impossible to time accurately so that it might coincide with the
necessary cessation of the operation of driving the key down. For we must
remember, that in correct touch, all we have to do, is to aim the culmination
and cessation of the key-speeding act. In a word, we must see that all our
key-moving operations form a sharply defined aim to the sound-beginning, and
not a merely indefinite un-located impulse against the key with some added
fallacies in the way of up-pulled fingers.
. THE PROVINCE OF AUTOMATIC ITT
KOTE XIH. To 9, Chapter XV. We shall now be in a better position
to perceive how the function of Automaticity can help us in Technique. In
the Introductory Part it was urged, that Execution must he as " natural " (tie.,
as semi-automatic) as a familiar language, before it can become an implement
for really artistic playing. Fluent use of a language remains impossible so
long as we have to consider the pronunciation of the individual words ; and
the necessary combinations of muscular effort and relaxation must therefore be
automatically or semi-automatically prompted. If, however, we are anxious
to convey exact meanings and subtle shades of feeling, or wish to be as intel-
ligible as possible in our utterances, then we must choose our word-shadings far
less automatically than we do as a rule in colloquial speech. In speaking by
means of the Pianoforte keys, the same thing applies. For, although we
cannot play fluently until the muscular-details of Tone-production can be
provided practically in automatic response to the mere wish for a particular
tone-colour, yet the general choice (and even production) of a particular kind
of technique must not become completely automatic, if our performance is not
to degenerate into mere automaticity, in the place of really living, "felt"
Music-playing. It is here that the true conceptions of Touch can greatly help
us. By seeing to it, for instance, that we choose the correct kind of Resting
and Added-Impetus, we gain mastery over our muscles and force them to
express our musical ideas.
Before we can reach this ultimate stage of facility in execution when the
dictates of our musical feeling directly prompt muscular-action, we must first,
however,be content to acquire consciously. those details of muscular-attitude that
cause each different kind of key-descent. These details we shall proceed to
study in the following chapters. We must first learn by Analysis, what are
the constituents of muscular-attitude (or Condition) that will give us each par-
ticular tone-result ; we can then, by Synthesis, teach ourselves (and others)
these required muscular-operations. Having thus acquired the power to pro-
vide correct Key-treatment consciously, we must proceed, by constantly using
our Ear, to form a strong bond of mental association between these correct
muscular-actions (and sensations) and the related Sound-effects, until at last
the mere wish for a particular Sound-kind brings automatic response from the
muscles concerned. It is then that semi-conscious attention to "Besting"
and u Aiming," etc., will suffice.
APPENDIX TO PART III. 267
ON ARM-WEIGHT
NOTE XIV. To 3, Chapter XYIL. Tlie enormous advantage accruing
from the use of the released weight of the Upper-arm and Shoulder, in place
of mere brute arm-force, is so patent to anyone who has heard the infinitely
superior tonal-result, that no further commendatory words are here required.
The true explanation of the benefit of Weight-use, is however by no means
so simple as might be assumed. The explanation is not, for instance, that the
greater the weight used, the quicker its descent. For a weight tends to grav-
itate towards the centre of the earth with the same speed, no matter whether
it is an ounce or a ton that is in question 1
The true explanation is, that presence of weight behind the finger and hand,
enables these to act more effectively* against the key than without this Basis.
For instance, if we use the supported arm supported elastically by its muscles,
the only resistance which, the finger and hand then have behind them, is the mere
Inertia of the arm, and the moment this is overcome, the arm will commence
to give way upwards. Or we shall have even a weaker Basis, if, we " hold "
the arm rigidly. "We may, on the contrary, release the arm at, the moment
that the finger and hand commence to act against the key, and we shall then
have the full benefit of that weight as a basis. And we have learnt that we can
promote the operation of this Basis either (a) by allowing the arm-lapse to occur
4m response to the finger-and-hand's recoil experienced at the wrist, or (b) by
allowing the arm-lapse itself to initiate the tone, in which case, the finger-and-
hand activity must occur in response to such lapse ; and since this latter com-
bination will (owing to its elasticity) come to bear upon the key in growing
measure during its descent, we shall thus have the fullest benefit that can
be derived from weight and muscular-action. Meanwhile the fact remains,
that the greater the weight we thus have at our disposal to release against
the key, the fuller and larger can be the tone. This once again seems to
re-enforce the hypothesis, that we do not really lose control over the hammer
until the moment that String-deflection is complete ; and that it is there-
fore a fallacy to suppose that the hopper does (in actual tone-production) escape
before the hammer actually reaches the string. 1 For although it is true that a
weight (excepting for friction) falls with the same speed, be it an ounce or
- a ton, yet the IMPACT produced respectively by an ounce and a ton, differs
vastly !
As regards the actual weight of the arm, only half of it is available as free
weight at the finger tip, since half the weight is necessarily supported at the
shoulder, unless the shoulder itself is also released at the moment of key
descent, when the whole weight of the arm may become available. Experi-
ments that were made on a number of male and female subjects, showed the
effective average weight of the arm to vary between 3 and 5 Ibs., in the case
of males, while the female arm proved lighter on an average. In the case of
males, an average difference was also observed of about four ounces in favour
of the right arm over the left arm. While in one case, that of an exception-
ally muscular woman, the effective weight reached 7 Ibs. For the valu-
able experiments made in this connection in the dissecting room, and on sub-
jects under chloroform, I should like to express my indebtedness to Dr.
David Hepburn, and Dr. Charles Kennedy, of Edinburgh.
Vide Appendix, Part IL, Note IT., page 39.
268 APPENDIX TO PAET III.
BENT VERSUS FLAT FINGER-ATTITUDE
HOTE XY. To IS, Chapter XVII. A few additional words on this
subject seem desirable. We have found that the "flat-finger" with its ten-
dency to fold or curl-up, demands a corresponding release of the Upper-arm ;
the consequence heing, that the Elbow hangs on to the finger, while this in
turn clings to the key, during the latter' s descent. The " bent " finger
with its tendency to un-curl or "thrust" outwards, on the contrary, demands
that the Upper-arm does not thus hang-on to finger and key, but that it is here
more or less supported by its own muscles. The Elbow or Upper-arm, there-
fore here tends (although but slightly) to thrust forwards upon the key. Or
we may say, that it is the upper-arm's Condition that in both cases causes the
difference in finger Action and Position.
These forward and backward forces, will moreover in both kinds of touch-
method be felt at the Wrist as a conflict between KNUCKLE and ELBOW, for the
two forces should almost entirely balance at the Wrist-joint ; *. e. , the direc-
tion of the sum-total of force at the Wrist-joint should there be quite vertical,
as it should also be at the key itself, excepting that slightest of slight tendencies
either to thrust or to cling, already alluded to.
The Clinging-touch attitude becomes clearer, if we take care to realise, that
the Upper-arm, on its being released, would cause the Elbow and Finger to-
gether to slide away from the key-board, were it not for the action of the cling-
ing-finger, which, in thus clinging, supports the arm-weight at the Wrist- joint
through the hand from underneath.
This point can be illustrated by taking an open book, and holding it by its
outside edge, while the opposite edge rests on the key-board, thus :
The back of the book is consequently not to be directly supported, and it will
serve to represent the Elbow. Now, the moment we cease fully to support the
book, it will tend to drop, to slide off the keys, and to fold-up (or close) in so
doing. The similar tendency of the upper-arm, thus to slip-away from
the key-board, may indeed be denned as the immediate cause of the fingers
evincing their clinging attitude during " sympathetic" touch.
We may be better able to realise these 'contrasts in muscular-condition, if
we call to mind some analogies to be found in other already familiar actions ;
analogies, which, although they form good working ones, owing to their sug-
gestiveness, must not be considered as being exact, physiologically. Thus we
find, that the lent finger attitude, or thrusting-touch, is somewhat analogous
to the action of the LEG, when used in the act of rising from a chair ; or in
stepping upstairs, or in depressing the cycle-pedal. From a more or less con-
tracted position, the leg here somewhat unfolds in the act of propulsion. The
movement of the knuckle-phalanx of the finger here corresponds to that of the
thigh. The same attitude of the finger is employed in bringing it upon the
violin string. In fact the peculiar action here required, has given a nick-
name to the muscle most concerned in fulfilling it ; and it is interesting to note,
that the tendon from this " fiddler's-muscle" is connected with the under-side
of the Knuckle-phalanx, and then passes to the upper portion of the front two
phalanges ; the muscle itself (one to each finger) lying entirely in the hand.
This muscle thus helps to cause the descent of the Knuckle-phalanx, while it
at the same time assists the front two phalanges in what is really a rising ac-
APPENDIX TO PART III. 269
tion relatively to the descending knuckle-phalanx ; and the nail-phalanx is
thus able to remain erect in spite of the descent or ascent of the rest of the
finger.
The flat-finger action, or clinging touch, is on the other hand analogous to
the action of the ABM, when, extended before us, we employ it to assist us in
rising from, a chair, by exerting it downwards upon some object in front of
us, such as a table. The manner in which we can help ourselves upstairs
by our arms on the bannisters, is another kindred case. So, in some measure,
is the action of our legs in walking ; for we then employ our leg-muscles dif-
ferently to what we do in cycling, or when mounting stairs. Hence the sense
of relief experienced when we pass from one to the other mode of leg-exertion.
And we experience a similar sense of freshness at the Pianoforte, when, after
having practised " brilliant " passages, we pass to singing passages, or vice
versa; this, owing to the change involved from "bent" to "flat" finger
action.
We can also experimentally suggest this contrast in finger-action, if, when
seated upon a chair, we first extend our legs fully in front of us, and try to
rise by their help in this " flatter" and elastic condition although, of course,
we cannot really raise ourselves in this case; and then contrast this u flat-
attitude," by placing our feet almost under our chair, and rising in this case
in the usual manner, the un-bending of the leg in this instance admirably
serving to suggest (although with some exaggeration) the action of the finger
against the key, in the " bent" or thrusting- attitude.
IN- CORRECT VERSUS CORRECT FINGER- TECHNIQUE
The Contrast between the Non- individualised and the Individualised Finger.
%
NOTE XVL To 4 and 18, Chapter XVII. The distinction here in ques-
tion, is the one between (a) " stickiness " of finger, with its un-rhythmical
passages, and (b) fluency and ease of finger, with its clean-cut, rhythmically
definite passages with every note perfectly u placed" and evenly sounded.
The point that should be enforced, is, that the fault can usually be traced
to the employment of defective muscular-conditions, which in their turn render
it impossible for the sufferer wilfully to direct his fingers in quick passages,
either as regards Time or Tone.
The muscular fault in such cases is the one so often here alluded to and
condemned, the use of continuous Arm-pressure behind the fingers. It is, we
must remember, the most natural fault to make : We wish to make the key
before us move down, what more natural, than that we should try to induce
this by using the muscles of the back, with down-pressure of the arm ?
If we wished to press down anything in the ordinary course of our existence,
we should certainly act thus, and rightly so. At the Piano the temptation to
act likewise is commensurately great, and it must at any cost be resisted. This
tendency must indeed be absolutely eliminated, if we wish to succeed in play-
ing passages with ease, and wish to avoid liability to a sudden and com-
plete collapse of pur Technique, when the moment of stress arrives. How
often do we find an otherwise admirable performer, suddenly lose all clean-
ness and fluency of finger ! An unduly felted or over-toned hammer is per-
haps presented for his use, and being thus prevented from hearing what a con-
siderable degree of force he is already applying to the keys, he endeavours to
270 APPENDIX TO PAET III.
re, and lie will then be tempted to transgress the laws of finger-
ioe andwiU permit himself to apply that fatal thing Arm-pressure
unless the laws of Agility have been fixed into secure habit of mind and
bodv If these laws are ignored, the passages go from bad to worse, until
they become almost obliterated under the more and more laboured progress
that ensues upon the key-^s, and the performer leaves the instrument with
Captation streaming from him, and feeling as if he had suffered under the
incubus of a nightmare. 1
The fault of all faults to be guarded against is therefore : a continuous
FRESSUBE exerted downwards upon the fingers by the arm ; a condition of
affairs that renders the hand as helpless as if it were a hoof, with nve prongs
attached, instead of fingers. If such pressure is continuous, and at all severe,
it absolutely stops all movement across the key-board. To help one to
avoid this fault, one should commit it deliberately, doing so in a scale or
aroeo-oio- so that its sensation of stickiness maybe vividly experienced, and
so thT5 its unfailing result, the complete breakdown of all technique may be as
vividlv remembered. . _
Less obvious than this continuous arm-pressure, is the occasionally at-
tempted correction of it. Many a musician, with even mediocre reasoning
Dower will soon learn to avoid the continuous effort behind the fingers just
condemned, since he finds himself thereby deprived of all Agility. But this
will not prevent his using the same muscular-combination (i.e., direct down-
arm force behind his fingers) when he wishes to play forte finger-passages,
provided he now carefully ceases such force the moment that tone is reached
with each key. And many a player's technique never advances beyond
this stao-e since it enables him to "get along 7 ' somehow, and even at consid-
erable speed. Naturally enough, he will fail to recognise his inefficiency
technically, unless his ears are sufficiently quick to detect, that other (and
better) players are able to play similar passages with greater ease, and with
far wore beautiful tone;OT unless he some day, by lucky accident, happens
to discover the correct technique, and is able to recognise it as such, at the
Ho the arm must neither be continuously pressed down upon the fingers,
nor may it be " jabbed" down on them for each individual note. There must
be none of this, in any shape whatsoever !
The only forms of technique that will permit of the attainment of real
Anility, are those two forms in both of which the arm is almost or entirely
supported off the keys by its own muscles the first and the second Species of
Touch-formation ; and, either in conjunction with these, or unaided, the Weight-
transfer touch or second form of the act of Besting. Vide Chapter XIX.
In this connection it behoves us to remember, that the Wrist- joint must
ever remain absolutely free and flexible ; in proper touch there should never be
sufficient down-pressure upon it, to prevent its being so. In the first two species
of technique (where the finger and hand alone act against the key, while the
arm remains self-supported) the Wrist-joint is indeed in a condition so elastic,
that it is almost on the point of being driven off the keys by the rapidly recur-
ring, short-lived actions of the finger and hand against the keys whence we
see the reason for insisting on the constant practice of the third of the " Mus-
cular-tests" described in Chapter XVIII. The wrist should consequently
feel as if it were floating in space, in spite of the perhaps quite vigorous finger-
and-hand exertions against the individual keys, exertions, which must of
course be so fleeting, and must be so carefully timed in all Agility-touches as
1 Perspiration does not however arise only from violent and nn-necessary muscular-work at
the key-board. It is often indeed copiously induced, by the highly-strung, nervous state of an
excitable performer.
TO PART III. 271
to vanish before they induce the slightest impeding action against the key-
leds.
We can in fact often suggest the correct muscular-attitude here required, by
simply insisting upon the Wrist-joint remaining absolutely free, free almost
to the rebounding point, as just described, owing to the upward-recoil kicks re-
ceived by it at each sound-consummation. It is also well to remember, that
all action must here seem to end either at the Knuckle, or at the Wrist-end of
the hand, 1 such action being there felt as an up-driving one, from the keys
upwards against the knuckle and wrist, and such action being individualised
for each sound, and as short-lived as the shortest Staccatissimo always proves
the act of tone-production to be in its nature.
CERTAIN" EXCEPTIONAL FORMS OF STACCATO AND LEGATO*
AND THE SLIGHTLY HEAVIER RESTING THUS
TRANSMISSIBLE
NOTE XVIL For Note to 28, Chapter XVII, page 186. Slightly more
Weight than has been described under the two forms of the Resting, can under
certain exceptional conditions be continuously applied in finger-passages, both
Staccato and Legato. That is, the fingers can carry^ such slightly-increased load
without harm, provided the speed of the passage is considerable, and yet does
not exceed a certain limit ; and provided moreover, that the individual fingers
are used with sufficient vigour in forming the short-lived " Added-impetuses "
against the keys; for the exceptionally vigorous momentary action of the
fingers, will in this case prevent such additional weight from actually reaching?
the Jcey-leds. The process is analogous to the action of the legs in running :
for in this case our body is kept floating off the ground by the rapid succession
of jump-like acts delivered against it by the legs a fact that can easily be
demonstrated by Snap-shot camera.
In such exceptional touches, we can therefore employ a slightly increased
weight (or slight hand-pressure, as the case may be) borne by the successive
fingers, and as it were "kept floating (away from the key-beds) by the aforesaid
sharp, individually-aimed (and ceased) exertions of the fingers. The weight
(or pressure) must however never be greater than the fingers can thus keep in
a "floating" condition, by the rapid succession of their momentary " kicks"
or impacts against the key-beds.* Provided the Weight thus carried does
not exceed a soor. discovered limit, we thus obtain a running form of the
"kick-off" Staccato, already described; this is suitable for certain bright,
brisk, but/orfe Staccato-passages.
By a slightly different adjustment of the continuous weight versus the
briskly stepping finger, this kind of technique can be transformed into a softer
but legato form, or even into a Legatissimo, such as we often meet with in
BEETHOVEN.
The extra weight thus continuously carried, might preferably in this
case be provided by a slight, continuous activity of the Hand and Fingers,
rather than by any extra arm-release. For the slight continuous pressure,
1 I have, in this connection often found it very suggestive, actually to touch the ends of the
tendons that chiefly serve to draw the hand down against the keys. The insertions " of these
tendons into the hand at its wrist-end, usually f onn two easily-found slight protuberances at the
base of the hand, at its little-finger and thumb side, respectively.
* Vide Rote XVL ; especially the last two paragraphs.
273 APPENDIX TO PART III.
thus produced by the hand and fingers, levers arm- weight continuously on to
the keys at will, and the weight is thus more directly and momentarily
modifiable, and more elastic, thaa would be the case did we relax the arm
sufficiently to obtain the full amount of weight necessary to induce the effect
of Super-legako, for instance. This gentle, added Hand-pressure is therefore
particularly suitable to induce the over-lapping of the sounds required in the
super-legato inflections of Legato. We here have the ''artificial" legato,
already several times referred to. To distinguish this from the natural, or
Weight-legato, it might be termed a "jprcss^e-legato." *
No passage should however be attempted in this form of technique unless
the speed is ample to admit of such 4 * pressure" being kept in the floating
state described, otherwise stickiness is bound to ensue. The cumbrousness of
it, also precludes the employment of this form of technique beyond a soon-
reached limit of velocity. Now it so happens, that many of the rapid
amtebite passages of BEETHOVEN do unmistakably demand just this very
treatment. It follows, that here we also find the limit of Speed defined for us,
l>eyond which such passages cannot be performed, if we would fulfil the com-
poser's obvious intentions as to Tone. The first part of the Rondo from the
" Waldstein" is a case in point. How lamentably often is it attempted at a
Tempo, not only faster than Musical-sense commands, but faster than it is
physically possible to execute the rapid cantabile semiquavers, with the ob-
viously required thick tone! Instead of employing (as should be done) the
second Species of muscular-combination 2 either in its normal (Weight) legato
form, or in the artificial (Pressure) legato form here considered, we often hear
these beautiful melody-passages SKIMMED through with first Touch-species,
with its thin passionless tone ; so that the performer may forsooth have the
opportunity of making his audience gape at his supposed wonderful Achieve-
ment in racing across the keys " at incredible speed ! "
Knowledge of the Components of the various touch -kinds, and the respec-
tive Speed and Tone possibilities of the three species of formation, will there-
fore often assist us in determining even the Tempo of a piece.
BEETHOVEN, for instance, rarely, if ever, employs the first Species, indeed,
he probably never discovered that trick of modern extreme Agility-passage
touch ! He mostly requifes second Species, and often the third, with its
fullest of full tones, but comparatively low Speed-power. 3
Besides the possibility of thus producing Legatissimo inflections by slight
Hand-pressures, we may also in similar manner produce such inflections by
slight pressures, sufficiently continued, but derived from the fingers alone.
Such un-aided finger-pressures, are the ones most suitable for the legatissimo
inflections of light running passages.
1 Vide Preamble to this Part, Note 4, page 112.
2 Vide Chapter JT/X., Note to 7 ana 12.
s Vide, $ 6, Chapter XVU., and Chapter X/X.
Vide, also the Note, No. VII of " Supplement" on ''Artificial " Legato,
PART
ON POSITION.
CHAPTEE XXII.
PREAMBLE :
SINOPSIS OF THE MAIN ASPECTS OF POSITION.
1. COBKECT POSITION of limb and body, in nearly all its
details, will arise as a necessary consequence, if we adopt the
correct muscular Actions and Inactions required in playing.
Headers who have even slightly grasped the truths treated
of in the preceding chapters, hardly require to have it pointed
out, how deplorable has been the mistake committed by nearly
all teachers until recently, in attaching such vastly exagger-
ated importance to the subject of "POSITION," as to cause them
to place implicit reliance on what has proved a veritable quick-
sand. Many indeed going so far as to make it into an abso-
lute fetish. 1
Now although it must be granted, that we cannot play cor-
rectly (that is at oivr easiest) unless the chosen positions are
also correct unless they are the most convenient ones, yet it
does not in the least follow, that the adoption of " correct "
Position, at rest, and during the necessary movements, will in
the least ensure our employing those particular muscular-atti-
tudes (or conditions of Activity and In-activity) which alone
enable us to fulfil the requirements of the Key for each partic-
ular variety of tone. 2
*Vide Appendix to tMs Part, Note XVIIL . "The fallacy of 'Position 1
worship."
9 Vide, for instance : % 13 of Chap. XVL, page 152.
273
274 ON POSITION.
Bad Position and incorrect Movement no doubt form valu-
able warnings, since they form visible signs that totally ineffi-
cient muscular conditions are being employed, or that the de-
sirable ones are being employed not at their easiest. Correct
position, on the other hand, unfortunately does not form any
guarantee whatsoever that the very fundamentals of Tech-
nique are correct, since it forms no reliable indication either
that the muscular-conditions are correct, or that the mechan-
ical-requirements of the key are being fulfilled.
It is necessary to insist on this point, since a degree of
importance has been generally attached to Position that is
absurdly out of all proportion to its real significance. The
fallacy has been, to perceive in Position the CAUSE of good
technique ; whereas we must now recognise it in its true as-
pect and let it arise, mostly, as a KESULTof the correct muscu-
lar and mechanical conditions being fulfilled at their easiest. 1
2. The subject of Position includes the normal positions
of the body and limbs when seated before the key-board, with
the hands at rest upon the keys, and it also includes the posi-
tions that have to be assumed during the execution of the
various movements that accompany the individual acts of
tone-production, and that precede such. As the subject
thus naturally divides into two sections, it will be best to con-
sider its details also in a measure separately.
3. Since our rule must be, to adopt the positions and
movements that enable us most easily to fulfil the required
muscular-conditions, it also follows that not only are slight
1 Often indeed do we find the unwary hoping to attain good Technique by
watching and imitating the visible effects exhibited by great players, while
they are not in the least discouraged by finding no amelioration of their Tech-
nique as a result of such mimicry. Such seem to fancy that Playing depends
on the look of it, and not on the sound of it !
This does not signify that we should under-estimate the advantage of hear-
ing a good performance. On the contrary, it may prove invaluable, if we will
but use our ears chiefly, instead of our eyes. Musically, it may help to
fire our enthusiasm, and technically it may also help us greatly ; the example
of beauty of tone, of variety in all its subtlest gradations, the evident ease with
which all is accomplished, may, if we are earnest seekers for musical-success,
cause us to experiment until we find ourselves also capable of obtaining simi-
larly beautiful effects from our instrument.
PREAMBLE, PAKT IV. 275
variations of position from the mean allowable, but that
they are often an absolute necessity. For there are no
two players whose bodily conformation is absolutely identical,
whereas the Pianoforte remains an " unchanging" quantity J? as
regards the size of the keys it presents to the player.
Every detail as to the actual or relative size of the finger, hand,
fore-arm, and especially of the upper-arm, and of the body
itself from the hips upwards, must therefore influence our ulti-
mate choice of easy posture. While there must thus be
slight divergences in Position in some directions, there are
others however, in which there can hardly be any variation
without seriously militating against the mechanical efficiency
of the concerned limbs.
4. Here we consequently come to some really important
facts relative to Position. But even here, we shall not choose
wrongly if we plainly bear in mind those necessities of mus-
cular-action and inaction we have learnt to recognise during
the preceding chapters. These points of greatest importance
are three in number, for unless these are attended to, we shall
find it impossible to provide certain of these much desired
muscular-conditions at their easiest.
5. First and foremost amongst these, is the one relating
to position of the shoulder relatively to 'the keys, a position
depending upon the relative length of the fore-arm and up-
per-arm. The law being, that the shoulder must be suffi-
ciently removed from the keys to enable the arm to be unbent
almost into an obtuse angle, so that we can conveniently reach
all portions of the key-board, and more important still, so that
we can when required, allow the weight of the upper-arm to
take effect upon the keys by mere lapse in its support ; an
operation that becomes impossible if we sit too close to the
key-board.
6. The next point is, when we employ " bent-finger "
touch brilliant or thrusting touch, and are playing the finger
for this purpose from a distance, that the finger's position
when raised, can then indicate whether or not we shall T>e able
to employ the requisite muscular-conditions for this kind of
276 OH POSITION.
tonciL For we shall find ourselves unable to provide these,
unless the finger does in a measure unbend towards and with
the key in its descent, and unless consequently the finger is
started in a position the more curved the greater its prelimi-
nary elevation. 1
For the clinging, or flat-finger touch, we must likewise note
that the finger must here be the "flatter " the more we raise it
as a preliminary to the act of tone-production. 2
7. The third point is, that the hand must be so placed in
its lateral direction relatively to the keys, as to avoid all un-
necessary lateral movements so far as possible, while executing
with perfect ease those that are necessary for the convenient
passage of the thumb, etc., and for the negotiation of exten-
sions. "We here find that the hand and fingers remain in a
straight line with the keys during "five-finger" positions;
that they remain pointing inwards during scales ; that in dou-
ble-notes passages they point in the direction in which the pas-
sage is travelling ; and that in arpeggi and in other spread-
out passages, while the normal position of the hand is the
inward-pointing one (or " wrist outwards "), additional hori-
zontal movements are required of it to bring the fingers prop-
erly over their notes.
8. Subsidiary details will receive further treatment in the
following chapters ; but it may meanwhile be pointed out, that
the wrist-level should neither be exaggeratedly low or high,
but about level with the fore-arm, an over high position being
likely to cause forward-driving from the shoulder. The knuckle
of the hand must also be held well away from the keys, and
about level with the wrist and fore-arm, or very slightly higher,
so as to give plenty of opportunity for the fingers to bear up-
wards there, a position which of course is totally at variance
with the "knuckle-in" fallacy. Our seat at the instru-
ment should also be always in the centre, sufficiently distant
from the instrument, and of such height as to allow the
lower part of the fore-arm to be on a level with the keys ; since
1 Vide Fig. 6, page 151.
2 Vide Fig. 7, page 151.
PREAMBLE, PART IV. 277
a lower position will render brilliancy more difficult, although
it rather tends to farther clinging touches.
9. The finding- of correct notes, has so far been regarded
as one of the aspects of Position. The previous chapters have
nevertheless demonstrated to us that this ground is also cov-
ered, by simply insisting on the proper fulfilment of the act
of Besting in either of its two forms ; for not only does the
act of Besting induce certainty as to Tone (i.e., certainty as to
" Expression ") but it also furthers certainty in reaching the
correct keys.
If we properly fulfil the act of Besting, we can and must
reach each successive key through muscular-sensation ; it fol-
lows that we must reach each successive key as a progression
laterally from each preceding key. "We hence realise and exe-
cute each sequence of notes, as a succession of distances accu-
rately judged from each preceding key ; and we thus find, that
the act of Besting, conscientiously fulfilled, engenders cer-
tainty in Notes, as well as certainty in Tone-kind and degree.
10. Understanding then thoroughly, that correct position
is no guarantee whatever that the essential muscular-condi-
tions are being satisfactorily promoted, and that the sub-
ject of Position is only important in so far, that inaccuracy in
this respect does render it more difficult to provide these
correct conditions, the fact nevertheless remains that the study
of Position is indeed important, although not so important as
has been popularly supposed, and certainly not one of those
" short cuts " to the top of Mount Parnassus, so beloved of the
amateur reasoner.
278 osr POSITION
CHAPTEE XXTDL
THE DETAILS OF POSITION.
MOST of the details of Position have already been fully
dealt with in Part III., under the aspect of muscular action
and inaction. In addition, it has been pointed out in the last
chapter, that there are certain of these details of Position that
require careful watching*. For the sake of completeness,
however, it is now desirable to go over the whole ground from
its positional aspect. In doing: this, we must not forget, that
correct Position should be but the natural result of the fulfil-
ment of the exact muscular-conditions required by correct
Key-treatment, and that we must beware of falling into the
eiTor of regarding Position, itself, as the cause of correct
touch.
1. Two distinct positions of the finger, ver-
Finger-position, ticall are available, corresponding to the differ-
vertical aspect, f 9 . ,, m , ' . -i- ,,-,-,
ence between the Thrusting and Clinging attitudes.
This distinction between the comparatively "font" and com-
paratively "flat " finger, should arise directly from the finger's
duties relatively to the upper-arm; the position assumed
should occur as the natural consequence of the Elbow tending
efther to lie forwards, or to hang backwards, thus causing the
finger either to thrust or to cling. 1 But it is important to pay
close attention to the accompanying divergences of position ;
since incorrect position, here, may actually prevent our using
our fingers correctly, muscularly, although it does not follow
that correct action will supervene owing to correct position.
2. These differences in position are not so noticeable,
when the finger is depressed, as when it is raised. Indeed,
the curvature assumed maybe almost identical, wJien the finger
1 See Chapter XVI, 11. etc., page 150 ; Figs. 6 and 7, page 151 ; Chap-
ter XVII. , 12, etc., paere 164; Figs.* 8 and 9, page 166 ; Fig. 10, page 167;
Fig. 11, page 170; and Figs. 12 and 13, page 171.
THE DETAILS OF POSITIOK.
is depressed, unless it is a question of obtaining the more ex-
treme effects of either " brilliant " or " sympathetic " tone-qual-
ities. Whereas, if we require either of these tone-char-
acters very definitely, then the fingers must assume their full
distinction in curvature, even with fully depressed key. These
distinctions nevertheless always display themselves in a
marked manner when the finger is raised, especially if it is
well -raised ; and it is here therefore that we can best study
and watch finger-position. And it is moreover in the case of
the nail-phalanx and its neighbour, that the distinction in pos-
ture is particularly noticeable.
3. IN THEUSTiNa-ATTiTODE ("bent-finger"), the higher the
preliminary raising, the more does the finger tend to bend
upon itself. Conversely, it unbends (or tends to open-out) as
it falls upon the key, and moves down with the latter. The
nail-phalanx is here employed in an almost vertical position,
which it retains both during the ascent and descent of the
finger. Unless we do thus start with a well-bent finger, it
will be difficult to attain a really brilliant finger-touch. 1
IN CLING-ING-ATTITTJBE (" flat-finger "), on the contrary, the
finger straightens out in proportion to its preliminary raising ;
while it either remains straight during descent, or tends to
close upon itself. 2
1 If we start with a flat finger, we shall, in bringing the finger against the
key, either curve it inwards, and thus cause the clinging effect : or, if we try
to avoid that, we shall probably jerk the elbow forwards with each finger a
most reprehensible action. Hence, the importance of seeing to it, that Bent-
finger touch starts bent.
2 Let us consider these distinctions somewhat further: The Elbow, when
it tends forward, requires the thrusting finger to support it upon the key. The
finder's duty (during key-descent) is here akin to that of a "flying buttress"
{ Vide a, Fig. 14) ; the stresses
it undergoes and its position 'iL 7
approximating to that contriv- . XJJ-. ^M^ (i>)
ance. The meeting-point of <"" ^ .-rfflm^ '
buttress and wall here corre*
<sponds to the meeting-point of
the finger and hand at the Kl B*
Knuckle; and the finger natu- -**"*> - ff W.^s= = = d = S T
rally assumes its convex posi- FHJ. 14.
tion because the force exerted
by it is upwards and backwards against the knuckle, by re-action from the
key. The backward-tending Elbow, on the contrary, demands a lax-left
ON POSITION.
4. "We notice that tlie difference between the two finger
attitudes is most shown when the finger is considerably raised
off the keys, and we can thus detect certain faults by the eye ;
such as that of commencing with the opened-out finger when
"thrusting" or bent-finger touch is nevertheless intended; or
the opposite fault, that of " nipping " with the finger, when a
round tone is intended.
The yery MOVEMENT itself of the finger, in falling towards
the key, can moreover in some measure indicate when certain
faults of action are committed; the finger, for instance, that
sins in really hitting its key, goes down like a flash, whereas-
the finger that is used with intention "that means to use
its key," can usually be actually seen to begin its descent
upper-arm, with its corresponding dinging action of the finger, to draw weight
upon the key during descent In this case the finger's duty and condition may
be compared to that of the suspension-bridge cable ( Vide 6, Fig. 24). The
point where the cable reaches the tower is here supposed to represent the
Knuckle of the hand. And although the analogy does not hold good in so far
that the cable does not support the tower, and also that the finger never really
assumes so concave a position as the cable, yet the tendency is towards such
t concave position, a comparatively flat (or even
completely flat) position the finger is compelled
to assume because the stresses of the middle of
the finger are here not dissimilar to those we
can imagine the cable to undergo.
Comparing the forms of arch exhibited by the
finger in these two contrasting capacities, we alsfr
find that the arch is far more acute in tbe case of
thrusting touch than in the clinging form. For
thrusting-touch, the finger is indeed so greatly
rounded, that it forms approximately a quarter
PIG. 15. of a complete circle, from knuckle to tip ( Vide
Fig. 15) ; while for clinging-touch, on the con-
trary, the finger forms merely a small portion of an immensely larger circle,
and the arch being so much weaker, this increases the finger's elasticity.
The arch-form is indeed quite lost sight of, when we require tone really of
the fullest sympathetic character. The front two phalanges are in this case-
left so limp, that the finger completely loses its curve, and may indeed almost
turn "inside out," -without harm.
In this connection it is interesting to note that CHOPIN evidently often em-
ployed the " fully sympathetic touch," for we find eye-witnesses remarking:
with astonishment, that "he seemed at times to play with his fingers perfectly
flat" The singing-touch shape of the fingers is also very clearly expressed in?
a cast of Chopin's hand in the possession of Mr. E. "W. Hennell, a cast, which
I think must have been taken with the hand on the key-board, its position is so
natural for the kind of touch most required in the Master's music. ( Vide Note
2^ to 20, of Chap, JT/X, page 225.)
THE DETAILS OF POSITION. 281
towards the key quietly persuasively, however well-raised it
may be to start with, and however loud and quick the passage
may be.
5. In flat-finger touch, the fleshy part of the finger (the
part opposite to the nail) is brought into contact with the key, 1
whereas in bent-finger touch, contact is made by the very tip
close to the nail the nail itself however not being permitted
to touch the key.
Owing to the clinging nature of the flat finger's action, the
tendency is also, to draw the flesh towards (and even round)
the nail ; whereas the thrusting action of the bent finger not
only precludes this tendency, but would encourage the op-
posite tendency (to draw the flesh away from the nail), were it
not, that an absolutely vertical application should be insisted
upon. (Refer again to Fig. 6, page 151*}
6. In bent-finger touch, the fingers should all be nearly
equally rounded. In the case of the fifth finger being abnor-
mally short, it may however be used in a very slightly straight-
er position. It should nevertheless not be used straighter (in
this kind of touch) than is necessary to enable us conveniently
to reach the key-board with it and the thumb simultaneously. 2
7. Ample preliminary movement of the finger is healthy,
provided it is not excessive, and does not lead to " hitting,"
and provided there is time for it. Provided also, that such
ample raising or " playing from a distance " is undertaken
solely for the purpose of attaining freedom during the subse-
quent stepping-upon the key, or key-attack. We must be par-
ticularly on our guard, lest we fall into the common error of
1 Hence has arisen the absurd fallacy, that the more sympathetic result of
** flat-finger " is owing to this ** more sensitive '* part of the finger touching the
key !
2 The moment the finger Is much straightened out, it tends to hecqme
more elastic, although we may meanwhile try to insist on its thrusting action.
4. really short fifth finger is hence found to be a considerable disadvantage for
brilliant touch, although this is often not discovered by its owner, owing to
his avoidance of this finger during ike course of brilliant-touch passages.
And when used at the ends of such passages, the disadvantage is ^not^ strik-
ingly obvious, owing to the advantage the finder may then receive in the
form of rotation-touch. ( Vide 12 ; Also Note XIJT., Appendix to this Part t
w The straight fifth-finger.")
282 OF POSITION.
allowing- such raising, itself, to be looked upon as tlie object
to be attained, instead of its being regarded merely as the
accompaniment of free action. 1
8. The difference in attitude (action) exhib-
e Um * ited by the thumb corresponds to those of the
other fingers, although the yisible differences in movement
are small.
Thus the thumb tends to unbend in descending towards
the key in thrusting touch, and it tends to contract in cling-
ing touch. And although there is a very marked difference
muscularly, the resulting difference in movement is (and
should be) so slight as almost to baffle the eye.
The thumb should usually form a sufficient angle upwards
towards the hand at the wrist, to give it ample freedom of
movement, even when it has occasionally to be used under the
hand. 2 The thumb should therefore never be allowed to be
held contracted against the hand held tight against the base
1 We must always bear in mind, that if key-attack is to be certain in its
musical results, it must commence without much actual flitting of the key-
surfaces, and that all tone-producing stresses should occur in more or less un-
conscious response to the resistance experienced from the keys themselves.
Excessive raising of the fingers actually impedes their action. Nothing
can be more pernicious than pulling the fingers up until they u kink."
The nail-phalanx should moreover never be permitted actually to point up~
wards even in the *' flattest" touches. This phalanx paay reach an almost
level (or horizontal) position, when the "flat " finger is raised to its fullest
extent, Vide Fig. 7, page 151, but beyond such level it cannot be raised with-
out vitiating the subsequent act of tone-production. And we see moreover,
that this nail-phalanx must remain upright in " bent "-finger touches, both
when it is raised and depressed, the tip of the finger, close to the nail, here
continuously pointing towards the key Vide Fig. 6, page 151.
As already animadverted upon, (pages 131, 132) one cannot too strongly
deprecate that particular little *' corner " in fetish- worship, the '* high-raised
finger/' So far from its being productive of good results, we find it is gen-
erally associated with the fallacy, that the fingers should act as hammers
against the keys the fact that it is the strings we have to play by means of
the keys being quite lost sight of 1
"Nearness breeds contempt," is by many people reversed into "Far-ness
breeds veneration" (to alter the old adage slightly), and as the doings of the
departed are therefore apt to be of greater authority than those of the
living, it may be well here to point out, that as regards the finger-action
of that greatest of Pianoforte-wizards, FRANZ LISZT, it often seemed (as ob-
served by myself and others) " as if his fingers "hardly moved at all" his
marvellously soft, rapid passages appearing merely to glide along, absolutely
without effort, so " close to the "key-surf aces " was his technique at such times.
Fig. 6, page 151.
THE DETAILS OF POSITION. 283
of the index finger, as in accompanying- Fig-. 16. It is a fault
that is frequently to be met with, and it cannot be combated
too early. More on this point appears under the horizontal
aspect of the fingers. (Vide 18 of this chapter, and illustra-
tion of correct thumb-position, 13, page 290.)
9. The movement of the thumb arises near the wrist-end
of the hand, whereas the movement of the finger arises at the
FIG. 16. Faulty position of the thumb.
knuckle of the hand. That the thumb's movement thus dates
further back than that of the fingers, and that its pivot, as it
were, is some inches behind that of the knuckle, is a fact often
not realised, and this leads to a constrained action of the
thumb ; the learner trying to bend it vertically in the middle,
which of course is impossible.
Finger-position ^' ^ Hand-touch, the fingers required to
in Hand touch the keys, should assume their fully de-
(" Wrist") pressed condition relatively to the hand, before
touch. commencing the downward movement of the
hand. In rapid passages of this nature, the new finger (or fin-
gers) should take up their position while the hand (and pre-
viously used fingers) are ascending from the last played
notes; i.e., the next required fingers should be as it were,
" left behind " as the hand rises, so that no movement is re-
quired of the fingers during the subsequent descent of the
hand. 1
v This trick of allowing the new fingers to assume their depressed position
relatively to the hand, during the latter's ascent, can be easily acquired, by
284- OK POSITION.
in passages of single notes (or of double-notes, when the
extension is small) it is possible to combine finger and hand
down-movement against the keys ; but in passages of exten-
sion, such as octaves, this is most un-desirable, as it seems to
hamper the free movement of the hand. During the continu-
ance of such passages, the thumb and little finger should re-
main depressed relatively to the hand once they have been
placed in position. The same rules apply to touch accom-
panied by Arm-movement.
11. Since there are two kinds of Finger-
ge S * arm Attitude the Clinging and the Thrusting,
it follows that there must be two corresponding kinds of Stac-
cato available. In the case of Finger-staccato, this dif-
FIG. 17; showing movement of the finger TO. flat-finger (or clinging-touch) Staccato.
ference in muscular-action manifests itself in a slight difference
in the re&mi-movement of the finger a slight difference in the
way the finger rises off the keys. . . . This return move-
ment is continuous with the descent, for the ascent should
commence as a rebound at the instant that tone is reached.
The consequence is: that in finger-staccato with Thrusting-
attitude, the finger bounces back in the same line as in its de-
scent, or it may even tend to drive slightly outwards.
TVTiereas, in the case of the Clinging-attitude, a slight in-
ward pull of the front two phalanges accompanies the rebound
of the finger ; and the finger thus assumes a more rounded po-
sition as it rises, than before its descent. (Vide Fig. J7. 1 )
Eractising the following Exercise : Execute a free throw-up of the hand (as
i the "Third Daily Test" Page 209) and allow the whole of the fingers
simultaneously to recede (or fold) into the hand. I say " allow the fingers to
fold," advisedly, for it is 1 of no use doubling them up with effort. There
must "be absolute freedom in their folding thus during the hand's ascent, and
they must seem really to "remain behind," so leisurely must be the action.
1 It is a curious fact, that while certain Piano "methods" have insisted
upon the exclusive use of the lent finger for all Legato passages, they have
THE DETAILS OF POSITION. 285
The explanation of the process is as follows : As all three pha-
langes are equally exerted in Clinging-touch or the knuckle
phalanx more than the others, it follows, when we suddenly
cease the finger-exertion, that it is more natural to begin this
cessation (and consequent recoil) with the "knuckle phalanx ; and
the front two phalanges consequently still slightly continue
their contraction while the key drives the finger up, and
prompts its knuckle phalanx into an upward action. The re-
sult is, that the finger is more bent at the end of such move-
ment, than at starting ; the front phalanges giving a slight
fillip inwards somewhat analogous to the similar action of the
horse's foreleg. As all unnecessary movement is always
to be deprecated, the inward swing of the fore-part of the
finger should never be great and it is even slightly exagger^
ated in Fig. 17.
Finger 12. Looking down upon them from above,
position, the position of the fingers relatively to the keys
lorizontal varies with the kind of passage to be performed :
aspect. fl ) . During . Ffre-ftnger position : When the pas-
sage is of the five-finger order, with the five fingers (or fewer)
falling on adjacent notes, diatonic or chromatic, i.e., when the
notes lie so conveniently under the hand that they can be evenly
executed without the intervention of any lateral (horizontal)
movement of the hand, then the normal position is : that thj
middle-finger remains in a straight line with its key, and this,
no matter where the hand is located on the key-board.
The places where the fingers should reach the keys are in
this case such, that with the five-finger position on five adja-
cent white keys, the middle finger reaches its white key close to
the front edge of 'the Mack keys. 1 The other fingers fall upon
also exclusively insisted upon the flat finger for Finder-staccato ! It never oc-
curring to the sufferers, that "bent" and "fiat" are equally applicable to both
Legato and Staccato !
1 The middle finger should play thus close to the edge of the black keys,
because this will permit our reaching the black keys without having to shift
our hand and arm forwards and backwards, which clumsy movement would
otherwise be necessary. The fingers should therefore normally be sufficiently
bent in thrustin^-touch, to admit of their reaching the black keys without
greatly losing their " bent " characteristics. In clinging-touch, the fingers can
286
ON POSITION.
their keys slightly nearer the edge of the key-board, each accord*
ing to its length the actual places thus varying with each indi-
vidual hand. Employing a normal hand in the lent at-
tilude for thrusting
touch, it will be found
that the index finger will
be nearly one finger-
thickness behind the
middle finger, if we look
at the fingers sideways ;
the ring-finger will be
half-way between these
two points on the key-
board; the Zi^Ze-finger
will come one finger-
thickness again behind
the index-finger, while
the thumb will fall into
line one finger-thick-
ness behind the little-
finger. 1 Thus, taking
the dotted lines drawn
across the keys in Fig.
always easily reach the black
keys with no risk of altering
the touch-character. It is for
this reason that tonalities with
many black keys lie so easily
under the fingers for this kin'd
of touch.
1 The extent to which the
thumb should reach on to its
white key its distance from,
the edge of the key depends
(a) on thelength of "the thumb,
and (b), on the comparative
height of the Knuckle and
Wrist. The shorter the thumb,
the nearer the edge does it
naturally fall ; while it is
brought more on the key the
more we raise the knuckle
FIG. 18. ^nd lower the wrist.
THE DETAILS OF POSITION 387
18 to represent the thickness of the finger-tips, we should
approximately obtain tlie relative results there depicted, taken
from a rather large hand, the result roughly forming a semi-
circle. 1 *
The fingers also naturally fall into this shape, if they are
placed round a ball of the exact size that will cause their tips
to reach a level line ; an experiment that also indicates the
proper curve of the thumb. 2
Employing such a normal hand, but in the fiat attitude in
place of the " bent," the middle-finger remains close to the
edge of the black keys, as just described, but the other fingers
must fall either slightly nearer the edge of the white keys, or
further away from it, than in the example given. The partic-
ular conformation of the fingers determines the exact place.
This, it must be understood, is always the case, since this point
will not admit of any hard and fast rules being laid down ; and
the example (Fig. 18) is given purely as an illustration of what
happens in this particular case, a normally large male hand.
1 That the fingers should reach the keys all in a straight line, is a fallacy,
as already alluded to in 7, and in Note XIX. of the Appendix to this Part
" The straight finger," which see. It has arisen from the false idea, that un-
less the fingers reach the keys at the same distance from their edge, thus giving
the same leverage, that this will cause un-evenness of touch. A very pretty
theory, and quite correct so far as the leverage-power over the keys is con-
cerned ; but it fails to take into account that none of the fingers are naturally
equally powerful ; and that to make up for this deficiency, so far from placing
the little finger and thumb in a line with the other fingers, it would (accord-
ing to this argument) be better to place them nearer the edges of the keys.
And it altogether loses sight of the fact, that the fingers do individually and
instantly adapt themselves to the constant change of key-leverage presented to
them during performance, if the performer has learnt to he guided by his
sense of Key-resistance, as he should be. Unless we did thus constantly adapt
ourselves to the key-board, how for instance could we execute any passage
with evenness that lies across and between the black keys ? On the con-
trary, we find that the fingers instantly adjust themselves to the changed lev-
erage, provided we do employ our muscular-sense and our ear with proper
alertness. The practice of all the scales and arpeggi with the C major
fingering, which forms such excellent training, and has been termed ** level-
ling the key-board," may be cited as a useful object lesson to those faddists
who would endeavour to obtain Evenness by placing all the fingers in a row,
no matter how long or short they happen to be !
9 Such natural position at the key-board is, however, only possible with a
normally large hand. An abnormally small or large hand must therefore
diverge slightly from this most natural position, since the key-board itself
remains unchangeable.
288 OK POSITION.
Tlie position given in the figure, is moreover bodily trans-
ferred forward, when we require the five-finger position with
the thumb on the llack 'keys. The line formed by the edge of .the
black keys must in such case be regarded as the limit of the
key-board, and those fingers requiring white keys must reach
them as well as they can in between the black keys. Moreover,
if the fingers are too thick-tipped conveniently to do this, then
the hand must be slightly turned either outwards or inwards
(as described under b and e) to enable them to do so.
6) : When the passage, on the contrary, demands a lateral
displacement of the hand, such as is required to allow the
thumb to "pass under," as in the single-note scale and arpeg-
gio, then the fingers no longer remain in line with the keys,
but are instead placed at an angle with them, the thumb being
more or less extended, and the Hand being turned slightly
inwards, or the Wrist outwards, as already explicitly ex-
plained in Chapter XVII., 34; and further alluded to in 23
of this chapter. 1 But whichever way we turn the fingers (or
the wrist, or hand), the middle finger should remain close to
the edge of the black keys, so long as the passage does not
require the help of the thumb on a Hack key.
c): Scale-position: During the single-note scale, this out-
wardly turned Wrist (or inward-pointing hand) becomes the
normal position for the time, since we should otherwise have
to make unnecessary to-and-fro movements of the hand twice
during each octave.
d) : Arpeggio-position : During the single-note arpeggio, not
only must the normal position be the same as in the single-
1 In thus turning the hand or wrist outwards or inwards, it should always
seem as if the initiative came from the FINGER ; i.e., it should seem as if the
fingers drew the hand from side to side, or turned the wrist outwards or in-
wards ; and it is probable that a slight sideway activity of the fingers does
really help to encompass such movement of the hand, or wrist itself. Un-
less the fingers thus prompt the movement, we are apt to have a mental put-
ting of the cart before the horse. And not only this, but we are likely to em-
ploy the arm-moving muscles for the purpose, which we should certainly
not do ; for the movement should arise entirely from the side-to-side activity oi
the HAND-muscles perhaps supplemented bv those of the fingers themselves,
as just suggested. Vide, also, Note to 23, as to the twrning imder of *&*
thumb, etc., and also 24.
THE DETAILS OF POSITION. 289
note scale (with inward-turned hand and fingers), but the ex-
tensions involved in turning tinder or over, liere demand in
addition a sufficiently ample horizontal movement of the hand
or wrist ; this movement being however provided to an extent
no greater than is really necessary to enable the fingers and
thumb to reach their notes easily. 1
e) ; Double-notes scales : For double-notes scales in thirds, the
fingers and hands have to be turned in the opposite direction
the hand outwards, or the wrist inwards when the passage
moves from the centre towards the extreme ends of the key-
board. This is to allow of our passing a longer finger over a
shorter finger in making the connections between the succes-
sive fingering-positions. The reverse rule applies when the
passage moves back towards the centre of the key-board,
and we can formulate all this, by saying : " In double-notes
passages, tlie hand wmst be turned in the direction in which the
passage is travelling"
f) : Other double-notes passages : The last mentioned rules
apply to all double-notes passages, equally, including those
constructed on the double-note (or quadruple) arpeggio ; these
latter, however, demand slight lateral movements in addi-
tion. In this connection it should be noted, that when we
turn the fingers over the thumb, or a long finger over a short
one, in double-notes passages, that we cannot then retain both
notes depressed their full value. In these cases, it is the thumb
or the little finger, alone, that for the moment continues the act
of " Besting." Again, when we use the thumb twice in succes-
sion in such double-notes passages, since we cannot continue
the Besting by means of the thumb during its repetition, it
follows that the Besting must here be carried from key to key
by the other fingers, so as to enable the thumb to rise and
take its second key. These things should be carefully attend-
ed to by learner and teacher ; for the formation of habits is
easy, whereas the eradication of them is difficult.
1 Such ample lateral movements of the hand and wrist, enable us to avoid
any unnecessary, excessive *' turning under** of the thumb, and the consequent
helplessness of that member.
290 OK POSITION.
13. The thumb, looting down upon it from
JI ^
the tlmmb.
e curve o should moreover always be more or less
curved convexly, unless used under the hand, or
upon two adjacent keys. 1 That is, its nail-phalanx mit>st always
remain in a straight line with the key it is employed upon, as
shown in the accompanying Eg. 19 ; and not twisted, as for
instance in Pig. 16, on page 283. The exceptions are : when
the thumb is required to sound two adjacent
white or black keys. The last-mentioned
rule is then reversed, and the thumb is then
extended almost straight from the hand, or it
may even be concavely curved curved out-
wards. The thumb must also be held straight,
or even concavely, when it has to reach under
the other fingers.
14. Finally, it need hardly be pointed
FIG. 19. Correct po- out, that each finger should reach the very
sitionofthetkumb. cen t re of its key. Unless we constantly en-
deavour to make the finger do this, we risk sounding two keys
in place of the one intended, thus " splitting " our notes, or
smudging them.
15. The fingers should find their keys "before
On note-find- 1 , , * t t / 1 ^
any attempt is made to depress either finger or
key. It is quite wrong to reduce into a single ac-
tion, the act of finding the keys, and the act of depressing
them. The two actions may form a continuous movement, but
they must be separate, mentally. The position of each key,
should, moreover whenever possible, be "derived from the note
or notes last played. Close attention to this rule, forms an in-
fallible cure for "wrong note playing." 2
1 One should especially be careful to train the thumb to prepare its note in
turning-under while the preceding fingers are still engaged in sounding their
notes. ( Vide to % 24.)
4 Whenever practicable, we should not quit the key last used wntil the next
key is found; and we can still retain our hold of the previously used key,
although we may have allowed it to rise.
THE DETAILS OF POSITION. 291
Both these last roles become automatically fulfiUedj if
we insist on the Act of Resting, as set forth in Part IH.
16. Position INSIDE the keys, however, is an
. soxm " even more important matter, than the finding of
the right notes. Our ears must for this purpose
be constantly on the alert, so that we may accurately observe
where in its descent the key's speed must culminate, and our
tone-making efforts cease. All accuracy in Expression
depends on this. 1
Position of the 17. It is important that the Hand should
Hand and be held level. That is: the knuckle of the fifth
Knuckles. finger should be at least as well raised off the
keys as the knuckle of the index-finger. It is better even to
err on the side of giving the fifth finger the advantage in this
respect. There is no difficulty in encompassing this, if we
adopt the outwardly -turned Wrist as the normal position. 2
18. We now come to the much debated question as to
the height of the knuckles off the keys. After study of Parts
II. and III. of this work, there can be no difficulty about this
question, for it is obvious that the height of the hand at its
knuckle-end should arise solely as the direct result of correct
action on the part of the fingers that support it there. If the
finger activity is the correct one, and of requisite degree, then
the correct position of the knuckle must of necessity ensue ;
and it is well to remember that it is of no use insisting on cor-
rect position here, unless it is provoked by the correct con-
dition of balance between Finger-force and the other two com-
ponents of Touch-structure.
1 If we "play too late" in key-descent, as so often already insisted upon,
not only does this constitute loss of Energy, and loss of accuracy in Expres-
sion, but we are also then liable to overdrive the mechanism of the instrument,
creating real hardness of tone, and even risking damage to the hammers and
strings.
2 Not only is the fifth finger placed at a great disadvantage, mechanically,
unless we keep that side of the hand well up, but the reach of the thumb is
also materially impaired. Also, if we allow the hand to slope towards the
fifth finger, we shall find that the fingers will have to be used against the
keys at an angle, instead of vertically as they should be ; and the thumb will
also be unable to reach its key with the side of its tip close to the nail, as it
should.
292 ON POSITION
[Relatively to the wrist the Knuckle may either be level or
somewhat higher. ( Vide Figs. 6 and 7, page 151, also Figs. &
and 9, page 166.)
The actual height off the keys, and height relatively to the
fingers, varies (a) with the form of touch employed, (b) with
the size and conformation of each individual hand, and (c)
with the height of seat habitual to the player* It is therefore
quite a mistake to imagine that uniformity of position should
here be a law. On the contrary, it is likely to lead to uni-
formity and restriction of touch " method " to one-sidedness
and want of colour in performance.
Thrusting-touch is nevertheless usually found more easy of
attainment with the knuckle kept somewhat higher relatively
to the finger than it is in Clinging touch, but the reverse
may even here be found more convenient with some hands.
As the keys are an "unchangeable quantity/' a large hand
also usually finds a higher knuckle more suitable in all touches
than does a small hand, this being particularly noticeable ID
thrusting-touch. 1 There is however one point that can be
definitely laid down as a law, and this is : that the knuckle
must never be lower than any part of the finger WHEN THE LAT-
TEK HAS DEPRESSED ITS KEY. The knuckle should therefore be
kept well raised off the key -board 1y the fingers. It should be
kept so well raised as to allow absolutely free passage and
movement to the thumb, when turning under. Although
the knuckle may thus under certain circumstances be level
with the knuckle-phalanx, yet, as a rule, it is found best that
it should form (more or less slightly) the highest point of the
finger, when this is depressed. Figs. 6 and 7, and Figs. 8 and
9 should here again be referred to?
1 The knuckle-phalanx (from knuckle to first joint) will in these cases
slightly slope downwards when the finger is depressed on a white key.
When the same finger is on the contrary depressed with &Uack key, there may
he hardly any such sloping noticeable. And with certain hands this knuckle-
phalanx is normally thus held level; although the slightly higher knuckle
does undoubtedly form the stronger position for thrusting-touch.
2 The doctrine, that the knuckle should be " held in "that the hand should
be crushed down on the fingers and keys, cannot be too strongly condemned.
It has done so much harm that it must again be referred to. Natural Law is
no respecter of persons, however halo-crowned (and deservedly so) they may
THE DETAILS OF POSITION. 293
As already pointed out, the actual height off the keys varietf
with the form of touch employed.
The only exception, perhaps, to the rule of the .well kept-up
knuckles, is in the case of clinging-~touch of the "most sympa-
thetic order, such as in that ultra-elastic touch-form so often
required for the CHOPIN melos. In this case the fingers are
left so " flabby," that the weight of the arm may then perhaps
cause the knuckle slightly to fall in.
19. All beginners, though they be young children, should
at once be shown the necessity of thus keeping the knuckle
(especially that of the fifth finger) well raised off the key-
board surface, and of keeping it either at least as high as any
part of the depressed finger, or even as the highest point,
slightly, of the hand itself. There is no difficulty in this, if
we at once point out how the knuckle can easily be Jcept up
have been as artists. And as this " depressed -knuckle " fallacy has been so
widely promulgated and adhered to, this renders emphatic contradiction all
the more necessary. As a direct preventive of all ease in playing, noth-
ing more effectual could possibly have been devised. To endeavour to play
with the knuckle " in " close to the keys, is quite as ridiculously uncomfort-
able, un-natural, and above all things, as mechanically wrong, as it would be
to try to walk or run, while '* sitting upon one's haunches ! " Those who en-
deavour to play under such false conditions, may rest assured that they suc-
ceed to the extent they do, in spite of being grossly handicapped.
As already pointed out, Note 2 to 18, and els'ewhere, this misconception
must have arisen through noticing that the knuckle is lower than the middle
joint of the finger, when this is greatly raised as a preliminary to the act of
tone-production. And as a well-raised finger is likely to lead to free use of it,
one would be liable falsely to ascribe the good effect caused by such
freedom to the position of the knuckle ; and looking down upon the latter
from above, one would also be liable to overlook the fact that the knuckle was
not really &ny lower than usual respectively to the keys, but that the highly
raised fingers created the delusion.
While on this point, a similar fallacy with regard to the WHIST-JOINT may
also here be alluded to : This also arises from a similarly superficial observa-
tion of the real facts of " Wrist-touch" or Hand-touch : In this case, if we
raise the hand well as a preliminary to the act of touch, we shall find, that the
knuckles are for the moment higher than the wrist-level. It follows, if we
notice this, looking down from above, that we may fall into the error of im-
agining that *' all octave-playing requires a lowered wrist " a doctrine often
promulgated by the adherents of "Methods" opposite to the one of the
44 Knuckle-in " dogma ! Here again, obviously it is the preliminarily highly-
raised knuckle that has created "the delusion. As a matter of fact, as
already noticed, most players find a wrist raised slightly higher than usual,
the position most comfortable for rapid octave passages especially if these
are played in thrusting attitude as they mostly should be.
294 oisr POSITION.
from fiematko-wmg to the re-action of the finger-tip against
the key, provided we insist on a proper balance being* main-
tained respectively between the finger-exertion used and the
hand-exertion and arm -weight behind it, and provided more-
over that we do not employ mere brute down-arm-force in-
stead. 1
20. HAND-touch (Wrist-touch) demands an
Hand-movemen , ^^^ vertical movement of the hand itself ; the
movement dating from the wrist- joint 3 and being
visible as a movement of the knuckles, bodily.
This movement need be no greater than the actual depth
of the key, about f-inch. The movement should indeed
not exceed this actual necessity, when fullest speeds are re-
quired in Hand-touch. The hand should in this case rise only
sufficiently with the key to permit of the finger-tips being-
slid on to the next keys, preparatory to their depression.
At slower tempi, it not only becomes possible, but even con-
venient and advantageous, to allow the hand to rise consider-
ably say an inch or so, provided such recoil of the hand
is in response to the key's recoil. The knuckle may in this
instance rise considerably beyond the level of the Wrist-joint
in preparing for the act of touch. Excessive raising of
the hand in hand-touch, however, is strongly to be deprecated.
It is as futile and mischievous as an excessive raising of the
1 Great care should especially be taken with children in this respect, since
they are particularly liable to contract this vicious habit that of forcing the
knuckle in, by means of force derived from the down-exertion of the arm and
body itself. To apply the full force of our bodies downwards, is the most,
natural error to fall into, when we first have the key-board presented to us, for
it is the most natural way of applying force in ordinary life, when we wish to
force something away from us. Children are especially liable to this fault,
because their fingers are necessarily comparatively weak although not so weak
for Pianoforte purposes as generally supposed. We must therefore constantly
(a) warn them against using arm or body-force, (b) remind them of the see-
saw nature of the Key-lever, and the impossibility of producing any tone-effect
once the hammer has rebounded off the strings, and (c) that the act of the
finger in ** bent " touch is upwards against the knuckle " like sharply getting:
Up from a chair by one's legs; " and (d) that Clinging-touch is an act of weigh-
ing the keys into sound. These things are quite easily understood, and?
gladly carried out by the little ones who care for Music, and it is far more
easy to teach them correct habits than their seniors, who, instead of " the clear*
slate," have theirs scribbled over with bad writing 1
THE DETAILS OP POSITION. 295
finger. 1 The hand should never be lifted to its fullest limit,
any more than should be the finger, if perfect ease and cer-
tainty are desired. We must never forget, that all movements
required at the instrument must be provided solely for the
sake of ease in using the key, and certainly not for the sake of
making our attitudes "look like Piano-playing." 2 (Vide the
strictures on this subject under Note 2 to 18, and elsewhere.)
21. The position of the wrist-joint relative-
ly to ihe lmuckle and relatively to the forearm
vertically. ^^ e lkow varies with the size and general con-
formation of the player's hand and arm, and with
the habitual height of chair. The actual height of the wrist
does not materially influence either tone or ease. Inexorable
rules are therefore undesirable here, and they would be even
more out of place than in the case of the related position of
the knuckle, discussed in 18. It is well, however, to bear the
following suggestions in mind:
a) Relatively to the Key-board : the height of the wrist
should arise naturally as the consequence of a proper balance
between the three components of touch the balance between
finger-and-hand exertion and arm weight. The wrist should be
1 It is difficult to find a phrase sufficiently condemnatory of the puerile
idea, that " Wrist-action " consists in " throwing the hand up from the keys."
2 As just stated, the Hand, preparatory to the act of touch, may be consid-
erablv raised off the keys provided the passage is not too fast. In the early
stages of learning, it assists the acquisition of Freedom thus to allow the hand
to rise sufficiently. We can thus more easily learn to realise that it is essen-
tial to commence the act of Hand-touch by a complete release and consequent
fall of the hand ; and we can also (with such preliminary-raising) more easily
perceive whether the hand-movement is unrestrained or not. But once we
have arrived beyond the Instruction-book stage, we should learn to obtain this
freedom without much preliminary raising. For the closer we keep to the
key-surfaces in rapid octaves, etc., the greater will become our facility rapid-
ity and reliability. If we take care accurately to cease the employed exertions
(and weight if used) the very instant each tone is completed, we shall find,
that the recoil of the keys easily raises the loose-left-lying hand to the surface ;
and no greater " raising" than tha,t is imperative.
To attempt to play rapid octaves or slow octaves for that matter with a
flail-like purpose- empty flapping of the hand, forms one of those senseless
Pianoforte-superstitions bred in the last century, but happily now exploded :
for we find that the greatest artists do not at all flap the Piano, but on the
contrary, allow their rapid octaves to approximate very closely to a glissando,
a glissando executed at the surface of the Icey-loardy with, just sufficient
Added-impetus for each octave given " in the nick of time."
296 ^ POSITION.
high enough to give free play to the thumb. In rapid pas-
sages, especially, it is therefore desirable to keep it supported
sufficiently high, to enable the thumb to reach its key with a
slight downward slope. In slower passages, this does not so
much matter.
b) Relatively to the knuckle and fore-arm : the height
is greatly determined by the height of chair used. Sitting very
low, causes the "Wrist to be much higher than the fore-arm ;
while sitting excessively high, will cause it to be depressed be-
low the arm and hand levels. Manifestly it is better to sit too
low than too high.
On the whole, the wrist and knuckle are best placed about
on a level ; but one can play quite well with the wrist some-
what higher or somewhat lower than this, provided neither
position be too exaggerated. With a large hand it is however
usually found more convenient to allow the wrist to drop
slightly below the level of the knuckles, for the long fingers of
a large hand are else apt to set the thumb too far back near the
edge of the keys.
<?) In hand-touch " wrist-touch " : The movement of a
limb is easiest when it is moved about the middle of its com-
pass. Hence we should infer that the wrist would be in the
most suitable position for octave playing and all other hand-
touch passages, when placed about level with fore-arm and
knuckle ; and this, indeed, we find not only holds good in
theory, but in practice also. 1 The argument is thus re-en-
forced, that the normal position of the wrist should be about
level with the knuckle. Nevertheless, the precise position
must be determined in the case of Hand-movement (as in
Finger-touch) by the size of the hand, height of chair, and kind
of touch used.
1 We must be careful not to place the wrist too high, as this is likely
to lead to the hand and digits being "jabbed" down on the keys by arm-
force, in place of the proper down-activity of the hand during the moment
of key-depression, an activity, which by reaction bears 'upwards against the
wrist.
Also, at other times, we must .not allow the wrist to drop too low, since in
this case we shall not be able to pass the thumb tinder, without changing
the level of the wrist every time such passage is required.
THE DETAILS OF POSITION. 297
"While the actual height of the wrist is thus quite a vari-
able quantity, yet it is one of the points around which argu-
ment has most fiercely raged, and dogma has been most em-
phatic ! ( Vide Note XX., Appendix to this Part : " The high
wrist and low wrist dogmas")
Moreover, as in all cases of already fixed habit, if one is
used to an exaggerated position either way, it will certainly
be found awkward at first to attempt to play under the opposite
position, or even a position midway between the two; so
much so, that one is likely to allow sensation rather than
reason to be the guide, and one will thus be tempted to pro-
nounce emphatically in favour of fche already acquired
habit !
Wrist-adiust- ^' "^ ie -height of the wrist relatively to the
ment, witli fore-arm and knuckle, must slightly vary during
thumb on alter- rapid octave and chord passages in which white
nate black and keys alternate in close succession with black
white eys. k evSf The same necessity arises when rapid
finger-passages require the thumb on black and white keys in
close alternation, as sometimes occurs.
In all such passages, the wrist-level should be slightly
higher for the white "keys than for the black keys. This slight
kinking as it were, of the wrist upwards and downwards, per-
mits us to reach white keys and black keys with equal facility.
Thus we obviate any backward and forward movement of the
Elbow (and upper-arm), which clumsy movement would other-
wise have to be employed, to bring our fingers over their re-
spective keys. 1
23. The lateral movements of the hand and
Hand and Wrist wrist wMc]l ena bi e ns to p i ace the fingers in po-
movement, ... , T * ^ / i
horizontal, sition, respectively for five-finger, scale, arpeg-
gio and double-note purposes, have already been
1 Such change of wrist-level from note to note, should however be exceed-
ingly slight ; it should in fact be no greater than the difference in height be-
tween black and white keys. Moreover, during octave passages lying on al-
ternate black and white keys, we should be careful to keep both thumb and
little-finger (Hhen on the white keys) close to the front ends (or edges) of the
black keys ; t AUS reducing the necessity for fore-and-aft movements as much
as possible,
298 OK POSITION".
discussed in 12. "We there learnt that : (a) for five-fin-
ger positions, the wrist has to be so adjusted as to allow the
middle-finger to be in a straight line with its key, no matter
on what part of the key-board ; (b) for the single-note scale,
the wrist is slightly turned outwards to ease the passage-un-
der of the thumb ; l (c) for the single-note arpeggio the same
normal position applies, but the passage and extension of the
thumb must be helped by slight lateral movements of the
wrist ; while (d) for double-notes passages, the wrist must nor-
mally be turned inwards when the passage is travelling in
the direction of the fifth finger to enable the longer fingers to
be passed over the fifth finger and ring-finger.
In addition to these facts, we should now note, that for
passages of short compass, we must allow the FOBE-ABM to
move with the hand, as we change from one fingering-position
to another during the course of such passage ; and that the
WHOLE AEM must move in similar manner, when the passage is
more extended, is extended beyond the compass of two oc-
taves or so. In this connection the following are good working
rules :
a) : For short velocity-passages which rapidly return
upon themselves, within the compass of the octave,
the Hand alone need move laterally horizontally,
b) : For somewhat more extended passages of . the same
nature, the Wrist (and with it, the fore -arm) should
move in addition,
c): For similar passages, beyond the compass of two
octaves, the Elbow itself (and with it the Upper-arm)
*It may seem incredible, bat the suggestion has actually been made,
that Scale and Arpeggio playing should be reduced to a sort of " Hop and
skip'* process, to avoid "the difficulty" of turning the thumb under, and
the fingers over! This sounds more 'like one of MR. BEKNHAKD SHAW'S
jokes than a serious suggestion, and is manifestly so absurdly puerile as to
need no discussion. Such fallacy can only arise from an astounding ig-
norance of the requirements of the Pianoforte Repertory. There is no
"difficulty'' whatever in the turning under and over processes, if we but
recognise the elementary necessity of horizontal Wrist-freedom. True,
there are a few modern passages which depend on cleverly disguised skips,
executed by Fore-arm movement ; but such devices are subterfuges, and by
their exception only prove the rule.
THE DETAILS OF POSITION". 299
must move In addition to the lateral Fore-arzn-move-
ment.
d): Finally, for slow passages, or such as move up the
key-board or down, while not at once returning upon
themselves, both Elbow and Fore-arm (the whole arm)
must assist the transition from one fingering-position
to the next.
24. Thus, for instance, in learning or teaching the SCALE,
we should insist on great care being bestowed on the charac-
ter of the lateral movement that assists in connecting the suc-
cessive fingering-positions. For example : travelling up the
scale of C } with the right hand, the thumb should be moving
towards its note (F) while the index and middle fingers
respectively play D and E. We must however not fall into
the error of moving the hand outioards when the thumb reaches
its F '; on the contrary, the whole arm should already have
been travelling slightly in the direction of the scale (with
wrist turned slightly outwards), and while the thumb is
engaged with its F, the arm should be allowed to travel still
further in the same direction, sufficiently so to allow the
index-finger to be brought ready over the G previously to its
depression, the thumb meanwhile assuming an extended
(and inwardly curved) position, 1 owing to its being as it were
" left behind " on the key-board. Similar procedure obtains
during the next fingering-position and turning of the thumb
under the ring-finger, and subsequent preparation of the
index-finger over the octave d. The index-finger being thus
always placed in position, not by a turning of the hand, but
by the wrist itself being bodily carried up the key-board. In
this way, .we are enabled to adhere to the " outwardly-turned "
wrist, as the normal position for the scale.
The ABPEGGIO is treated in lite manner to the scale ; slight
movements of the hand and wrist, however, must here assist
us :
Taking the arpeggio of C for example : we start with the nor-
mally outwardly-held wrist, and the whole arm here follows the
1 The inwardly turned thumb is shown in Fig. 19, page 290.
300 ON POSITION.
fingers, while the arpeggio begins to travel up the key-board in
the right hand. But the wrist must be slightly turned still more
outwards when the middle finger engages 6r, to enable the
thumb easily to reach its c; and then, while the thumb is thus
engaged on c (and is "left behind," as in the scale) the Sand
itself must move slightly cmtioards, to enable the index-finger
to reach its e; this outward movement of the hand being
only just sufficient to bring the wrist-position back io the
normal. The arpeggio, in ascending, is thus accom-
panied by a gradual movement of the whole arm in the same
direction, while wrist and hand ALTEENATELY also move in the
same direction, relatively to the fore-arm and wrist respective-
ly. The reverse movements of course accompany the
return arpeggio.
25. A rocking movement is sometimes re-
< l uired of the Hand and Wrist * This is rea11 ^ a
rotary one of the Fore-arm with the Elbow as its
apparent axis, and constitutes the " touch by side-stroke " of
the Germans. Such " Kotation-touch " is suitable for pas-
sages in which we have to alternate notes lying under the op-
posite sides of the hand. Like Hand-touch, it is only available
up to a certain speed, beyond which it must be supplanted by
finger-movement. During an act of key-depression accom-
panied by this tilting or rocking movement of the hand, wrist
and fore-arm, the fingers should remain unmoved relatively to
the hand, as in the case of octave-playing ; the fingers should
assume their depressed condition previously to such tilting. 1
1 We must recall, that such alternations of rotary activity and inactivity of
the fore-arm, are also more or less required in all other touches, although the
movement is that of the arm, hand, or finger, and although the adjustments
are then invisiblenot then taking the form of rotary movement. Without
such constant readjustments rotarily, evenness must remain unattainable.
These matters have been fully dealt with in Chapter XVII. , which should
be referred to. The following additional positional hint is however note-
worthy :
The Elbow, itself, should be placed a little more OUTWARDS than usual,
when we require Rotation-touch, at the more extreme ends of the key-board in
the form of a free rotary movement TOWARDS THE THUMB. The same
laint applies, when no actual tilting is required towards the thumb, but merely
FREEDOM towards that side of the hand, when engaged near the key-board
extremities.
THE DETAILS OF POSITION 301
p . f I 26. The fore-arm position depends on the
tlie Fore-arm, k e ig"kt f ^ e ^rist. As we have learnt that the
wrist-heigiit is determined by the height of the
chair, and that of the knuckle, etc., it follows that also here
we cannot lay down any definite and invariable roles, unless it
be to warn against exaggeration and mannerism. With the
wrist hig-h, the fore-arm will slope somewhat downwards tow-
ards the elbow, while it may even slope upwards if the wrist
is very low. The most natural position seems, as usual, to be
midway between these extremes ; and the fore-arm (from elbow
to wrist) will then assume about a level position, or one, per-
haps, that is somewhat higher than the key-level at the wrist,
while somewhat lower than the key-level at the Elbow.
. 27. Coming now to the position of the
UTmer-ar nd ^PP er - arm an< 3- Elbow, we find that this is really
Elbow. a v i* a l matter in playing. We must therefore
recognise as the most important law of Position,
that the SHOULDER SHOULD BE SUFFICIENTLY DISTANT FROM THE
KEY-BOARD, to allow the Upper-arm to subtend an obtuse angle
with the fore-arm or nearly that. ( Vide Fig. $#.) It is
even desirable to err rather on the side of opening the arm out
too much to make it too straight, than to risk its approximat-
ing to a right angle, as in Fig. 21.
w
w
FIG. 20. Approximately correct position of Arm. FIG. 21 . Incorrect position of Ana.
S represents the shoulder ; E the elbow ; and W the wrist-joint.
Unless the arm is thus sufficiently open with the upper-
arm sloping forwards, there can be no free movement of it in
front of the body, nor can the Weight of the upper-arm become
302 OK POSITION
property available. On the other hand, we must not
really put the arm into a straight line (from shoulder to key) ;
such unnatural position might lead to stiffness, and we should
lose the very thing desired the option of free Arm- weight.
28. The distance of the Elbow from the Body, SIDEWAYS,
varies with the part of the key-board the hands are engaged
upon at the moment. Yiewing the elbow from behind the per-
former's person, the Elbow should hang down in a straight
line from the shoulder (or nearly so) when the hands are re-
quired upon keys exactly in front of the shoulder ; the Elbow
meanwhile fulfilling the previous rule as to position forwards.,
when viewed in profile.
This normal position of the elbow (sideways) will however
only allow us to reach about one octave of notes from the centre
note of the position, by a movement of the fore-arm alone with
quiet elbow. To reach more distant parts of the key -board, we
are therefore compelled to make use of a horizontal displace-
ment of the Elbow the whole arm in this case moving a little,
sideways. Such lateral movements of the whole arm, should
however be avoided, if a lateral movement of the fore-arm alone
(with quiet elbow) will suffice to bring the fingers over their
keys. 1
... 29. The vertical movements of the arm
Ann-touch. .
which form arm-touch, are of two kinds : (a) the
fore-arm may move alone, in which case the elbow remains
quiescent ; or (b) the whole arm may move, in which case the
elbow itself also moves vertically. As pointed out in
Chapter XYII. such descent of the arm should arise solely
from the greater or lesser relaxation of the arm-supporting
muscles; the arm thus falling of its own weight, and not
owing to down-exertion. Only rarely does one require the help
of such down-exertion of the arm in addition to the fullest re*
laxation of the " up "-muscles ; and then only in the slightest
degree. And we must remember that the addition of such
1 We should remember, that Fore-arm skips, to be executed with safety,
demand that the Elbow be placed about midway between the two points to be
reached, or even slightly nearer the outer note.
THE DETAILS OF FOSITIOK. 803
down-exertion at once tends to colour the tone towards harsh-
ness. 1
All important phrasings are executed by arm-movement.
Since the key-board should be quitted with the last note of
every important phrase by means of an Arm-movement, it also
follows, that the arm must descend for the beginning" of the
next phrase ; although it may do this quite gently.
In thus raising the arm, it constitutes good practice, to
allow the finger-end of the hand to " remain behind " as it
were ; the tips of the fingers remaining on the key-surfaces a
little while after the arm has begun to raise the wrist. This
tends to ensure that supreme necessity of good Technique a
loose-lying hand. 2
30. The position of the Body, itself, is main-
the Body. ^ determined by the necessity for sufficient space
between Shoulder and Key space to enable the
arm to be sufficiently unbent, as explained in 27.
To obtain this requisite space between shoulder and "key
(with its consequent downward and forward slant of the upper-
arm) there are two opposite positions of the body available,
including the modifications between these extremes :
1 Vide 2 of Chapter XII., and % 2, etc., of Chapter XVII.
2 It is well here to remind the student how imperatively needful it is, to
pay attention to the law, that the Hand must never be supported by its own
muscles during the act of tone-production ; i.e. that it must never be held in
the least. Whether the arm is fully supporting the hand at its wrist-end, or
whether the arm itself is being supported by the fingers and hand, and how-
ever greatly we may therefore, have to exert the hand downwards momen-
tarily, yet the opposite exertion of the hand, the up-holding one, must
always be as carefully as possible eliminated during the act of touch. It
follows, that the hand will remain lying on the keys, although the wrist is
being raised by the arm, unless we also at that moment choose to raise the
hand on its own account.
Appreciation of the loose-lying hand, obviously led that excellent teacher
Lrowra DEPPK, to speak of the wrist as being " curved when the arm is
raised ; " a fact, however, of which he does not appear to have grasped the
full muscular significance, for his disciples only speak of its Position, not of
its Condition. This wrist-" curvature," we are told, he insisted must only grad-
ually be lowered into the normal u carried " position of the hand and wrist,
the normal position not being fully regained, indeed, until the consummation
of the tone-production of "the third note from the beginning of the phrase,"
he very properly premising, that the first note of every phrase should be
played by arm-descent. Vide C ALAND, pp. 24 and 25, " Die Deppische
Lehre des Clavierspiels." Also see : Appendix to this Part ; Note XVII. " On
Position-worship ."
304 ON POSITION.
a) : We may sit well away from the instrument, and
reaeli the key-board by leaning slightly forwards^ from
the hips ; * or
b) : We may sit somewhat nearer the instrument, and
can then reach the keys whilst remaining- almost fully
erect or upright?
Each performer must discover for himself which of these
two tendencies is best in keeping with his particular bodily
conformation. But the Upright position (or one closely ap-
proximating towards it) is obviously the more graceful, and
also the least fatiguing, when feasible.
This choice must be determined by the relative propor-
tions of body-height and arm -length. 3
As illustrating the forward-leaning type of position, a sil-
houette of ANTON EUBINSTEIN, is given as Fig. 22 on opposite
page.
31. One should be seated sufficiently dis-
position o ^^ | rom | J ] ie instrument to enable one to open
the arm to the necessary extent, as described in
27. The chair or stool should also be in the centre of the
instrument ; the J^on the first line of the treble staff may be
taken to represent this centre. The height should be such,
that the fore-arm is about level with the keys. 4
1 Such leaning-forward from tlie liips must not be understood to signify
that STOOPING is to be countenanced.
In leaning forward, the back may, and should, remain perfectly straight ;
whereas in stooping, the spine itself would be bent. Stooping is objectionable
from every point of view.
2 We require to be seated rather "higher for the forward-leaning position,
than we do for the upright position of body.
3 The relative height of the body from the hips, and the length of the up-
per-arm and fore-arm vary considerablywhile the height of the keys is in-
variable ; Body-position must hence vary almost for every individual.
As a rale one finds, that when the arm is long, relatively to the body, that
the tenancy is to sit higher and further away from the instrument while
leaning forward ; and that a shorter upper-arm may prompt one to adopt a
more upright position of the body, with a lower chair placed nearer the in-
strument.
4 Piano-stools are as a rule made too high. In such a predicament, an
easy remedy is, to sit further back than usual, and to lean forward, slightly,
as described in 30.
THE DETAILS OP POSITION 305
Position of ^ ^' Tlie P osition of ^e feet should be such,
the feet. *^ a ^ *^ e we %^^ ^ e ^ Q S c^n rest upon the
ground through the heel, when the toe or ball of
the foot is engaged upon the pedal. The right foot
^IG. 23. The outlined figure of the Master is probably from a Daguerreotype. The
stool and key-board have been drawn in.
should always be thus in contact with its pedal ; the left foot,
when not required for the una corda pedal, is best placed fur-
ther back, with the sole of the foot only touching the ground,
and with its toe almost as far back as the heel of the right foot
when the latter is engaged upon its pedal. This helps
somewhat, when we occasionally have to employ those slight
side-to-side movements of the whole body, which enable us to
reach either extreme of the key-board with the opposite hand,
300 OK POSITION.
movements especially required if our arms happen to be
short. __ _ . , . ...
33. When we succeed in playing- with per-
Unnecessary f ec fty unrestrained muscles, there remains noth-
movements. .^ ^ prevent very free movements of hand, wrist,
arm, and even of the body itself ; movements, that are quite
distinct from those demanded by the process of key-depres-
sion itself. Such movements are however often of great help to
the player, indirectly, and several of these are indeed indispen-
sable as " Tests/' owing to their facilitating non-restraint, free-
dom, and accuracy of Tonal-aim. In the pupilage stages,
these movements are therefore also practically unavoidable.
On the other hand, there is this objection to one's giving way
unreservedly to the temptation such movements offer, and that
is, that the slightest movements of a performer become glar-
ingly noticeable on the Concert-platform ; and however com-
fortable, and even necessary they may be to the player, they
prove undoubtedly disturbing and distasteful to the audience.
Hence, it behoves us to eschew all unnecessary move-
ment so far as possible, once we have formed the habits of
Freedom, and of careful Key-aiming, and to learn to reduce
the necessary Test-movements to the smallest limits compat-
ible with a due fulfilment of their purpose; always provided
that such self-abnegation does not lead to restraint and stiff-
ness. The more quiet the artist's demeanour is on the
platform, compatibly with good technique, the more is the
hearer free to give undivided attention aurally, and the greater
his enjoyment. 1
34. In conclusion, it must be reiterated, that
SUMMARY: mo ^ o f these details of Position should demand
but little attention, since they are likely to fulfil themselves
1 lf one is inclined to play at all stiffly with a " held" arm for instance,
then one really dare not move even a quarter of an incli without courting
disaster ! A rough estimate may indeed be formed of a performer's tech-
nical powers, whether they are proldbly bad or possibly good, by observing
whether all mobility of the body and arm is either completely absent, or^ in
some measure present. A very slight swaying of the body and arms being
really necessary, is therefore also not found objectionable by the listener. On,
the contrary, it may enhance the gracefulness of a performance visually,
owing to its unconsciously suggesting ease and comfort.
THE DETAILS OF POSITION. 307
automatically, provided we insist upon the correct muscular
conditions. On many of these points, moreover, we find
that it is obviously unwise to attempt to bind every individual
down to the same conventions. On the other hand, it must
also be reiterated, that there are several points where atten-
tion cannot be too carefully given. These are :
a) : Sufficient distance between shoulder and key, so that
the upper-arm may lie sufficiently forwards ; our chair being-
for this purpose also sufficiently removed from the instrument,
but in the centre of the key -board.
~b) : The difference in the actual movement of the finger it*
self, exhibited most markedly when the finger is well raised
previously to the act of touch ; and which demands that we
start with it far more fully bent for Thrusting-touch than for
Olinging-touch.
c) : Adjustment of the position of the wrist or hand later-
ally to the needs of the passage ; the hand being straight
with the keys in five-finger positions ; turned slightly inwards
for scales and arpeggi ; and turned in the direction the pas-
sage is travelling, in the case of double-notes passages.
d) : Ample distance between Knuckle and Key-board, with
avoidance of the inwardly-held knuckle.
0) : Above all things, care in preparing every finger over
every key, before using it ; and care to aim Key-use to the
place in Key-descent where tone emission commences.
RECAPITULATORY
OF CHAPTER XXIII., AKP OF
PART IV
Finger, yerti- I ) : Two quite distinct positions of the finger are
cally consid- available* The difference Between the two is more
ered * noticeable when the finger is raised than when it is
depressed with its key :
2) : The Tfiraslfnff-imger is more bent the higher the prepara-
tory raising and it tends to unbend as it descends towards, and
with, the key*
The nail-phalanx consequently remains almost vertical (per-
pendicular) both in the raised and in the depressed position of
the finger* This verticality of the nail-joint most carefully
be insisted upon with the raised finger, otherwise we shall neither
attain a true thrusting-touch, nor real brilliancy*
3) : The Clinging-l inger becomes more open, the higher its pre-
liminary raising, and it tends to close upon the keys in descend-
ing ; or it may even be applied to the key without any change
from the preliminary flatter position, for the more extremely
sympathetic tone-qualities*
4) t The tip of the finger, close to the nail, reaches the key
in Thrusting-touch ; whereas the fleshy part, opposite to the
nail, does so in Clinging-touch* In Ctinging-touch^the flesh is
consequently pressed against the nail, and it even tends to creep
round the latter*
5) : In Bent-attitude, the fingers should all be nearly equally
rounded* But if the little-finger is abnormally short, we may be
compelled to use it slightly straighter, in spite of the consequent
disadvantage for thrusting-touch*
6) : Ample preliminary raising of the finger is healthy, when
308
BECAPITULATOEY OF CHAPTER XXIII., AND PART IV, 309
there is time for it, and provided we do so solely for the sake of
using; our fingers freely. We must, however, not allow
such finger-raising to become our Object, in place of key-ase*
We must also carefully avoid hitting the key, in consequence of
such ample raising* Raising the finger off the key should
be avoided, when the same finger has to reiterate its note rapidly*
7) : It is upon the proper condition of the Upper-arm, that
depends the proper action of the fingers in both attitudes, as ex-
plained in Part III*
8) : The difference in movement between Bent
and Flat attitudes is less exhibited by the Thumb
than it is by the fingers* There is nevertheless a slight tendency
for the thumb slightly to open-out towards (and with) the key in
Thrusting-touch ; and for it slightly to close upon the key in
Qinging-touch*
9) : The movement of the thumb arises near the wrist-end of
the hand* This may cause difficulties unless noted, owing to the
fact that the movements of the other fingers arise at the knuckle*
Tie Fingers, in JO) : In Hand-touch (Wrist-touch), the required
^fand-Touch. fingers should assume their depressed condition rela-
tively to the Hand, before the latter descends* In rapid passages
the required fingers u remain behind/* as the hand rises from i1s
preceding notes*
_. _, If): The return (or risingf) movement of the
Fmger-Stac- P . <, rr o * / <
linger diiiers in Maccato, m strict correspondence to
the respective difference between the Thrusting and
Clinging conditions of the finger and arm during the act of key*
descent*
In Thrusting-touch, the front two phalanges of the finger rise
from the key into exactly the same bent position they started
from, before descent* In Clinging-touch, on the contrary,
these two front phalanges continue their folding-in movement
slightly beyond the moment of Tone-commencement; the necessary
rebound of the key being assured by allowing the knvckle-phatanx
to rebound at that moment, just as happens in the bent-finge*
form of Staccato*
310 ON POSITION.
Fingers, Hori- 12) : Seen from above, the fingers should teach
zontally Con- the centre of their keys* In the case of white-key
sidered. passages the middle-finger should reach its white
key dose to the front-edge of the black keys, the remaining fingers
reaching their keys slightly behind this position slightly nearer
the outside edge of the key-board, each finger according to its
relative shortness* 1
J3) : "When the fingering-position requires the thumb on a
black key, we must consider the edge of the black keys to form
the limit of the key-board for the time, and the other fingers
must, if required on the white keys, reach these befaveen the
black keys ; and if necessary the hand must be slightly turned
to permit of this, either to the left or to the right* 2
J4) ; The Thumb should have its nail-phalanx
Thumb Posi- f , , , , A f , .,< .. f f
tion always in a straight line with its key; unless we
require it to sound two adjacent keys simultane-
ously*
J5) : The position of each key should, whenever
ey- si ion. p OSS jj ) j^ > {^ fa tcc tly derived from the position of
keys previously played*
This is a vital matter, which however will accomplish itself
automatically, provided we duly insist upon the Act of Resting,
in one of its two forms, as previously explained*
J6) : The act of finding the position of a key, and the act of
depressing it, should always be regarded as two distinct acts, al-
though there need be no break in continuity between the two*
J7) j Position INSIDE the key is however the most vital point
of all the place in key-descent where the hammer is heard to
reach the string, the place to which all tone-making effort must
be carefully aimed to culminate and cease,*
Hand, Wrist, J8) : FIVE-FINGER fingering positions (whether
and Finger, complete or not) lying on adjacent keys, diatonic
Horizontally. Qt c k roma tic, should have the middle-finger in a
straight line with its key looking upon it from above*
1 It is a total fallacy to suppose that the fingers must reach their keys all
in the same line.
* Vide 18-22.
RECAPITULATORY OF CHAPTER XXIII., AKD PART IV. 311
19): THE SCALE, owing to the required passage of the
thumb sideways* demands a slightly cttfwardly-tufned "Wrist or
inwardly-pointing hand and fingers, as the normal position*
20) * THE ARPEGGIO, in addition to this normally out-
wardly-turned position of the Wrist, as in the scale* requires
slight lateral movements of the hand and wrist to enhance the
lateral stretch of the thumb and fingers*
21) : DOUBLE-NOTES SCALES* owing to the required passage
of the longer fingers over the shorter ones* require an inxvardly-
turned Wrist (or outwardly-pointing hand and fingers) when the
scale moves towards the end of the key-board natural to each
hand ; a position which is reversed on the return journey* In
short * the hand and fingers must here be turned in the direction
the scale is travelling*
22) j OTHER DOUBLE-NOTES PASSAGES arpeggi and the
like* require in addition to the last* slight lateral movements of
the hand and wrist*
23) : In double-notes passages* we cannot transfer the Resting-
weight in both of the parts forming the double progression at
those points where the turning under or over of the fingers oc-
curs* At such point the Resting-weight must be momentarily
supported by a single finger which thus acts as a pivot* while the
next two keys are prepared for depression*
24) : The hand, at the Knuckles, should be kept
sufficiently well raised off the keys by the fingers,
to give the fingers ample space for free action* The knuckles
should never be allowed to be lower than any portion of the
finger, when the latter is (with its key) in a depressed condition*
The knuckle may* on the contrary* form the highest point of
hand and finger* especially in the case of large hands, and in the
case of Thrusting-touch*
25) : There is no difficulty in acquiring this habit, provided
we remember that the knuckles should be kept up by the reaction
of the fingers against the keysj and provided we do not viciously,
force the arm down upon the fingers*
26) 5 The hand should be about level ; the little finger should
812 OK POSITION.
keep its side of the hand as well raised as the index-finger side of
the Iiand ; or if anything* the little-f inger side should fee favoured*
The only apparent exception is in the case of Rotation-touch,
when the hand itself tilts a little from side to side*
27) : Hand-touch (Wrist-touch), implies a movement of the
hand during" the act of key-depression* This movement arises at
the wrist-joint* and is visible as a movement of the hand at the
fcnuckle-end*
It is not necessary that this movement should exceed the dis-
tance from key-surface to key-bottom ; but the hand may* like
the f ingfer, play ^from a distance ^ when there is ample time for
such preliminary movement* Any such preparatory raising of
the hand* must however be followed by its falling upon the keys*
thus remaking contact without any real hitting; of the ivories*
28) : The fingers do not move relatively to the hand in
Hand-touch* (Vide JO*)
29) : The height of the Wrist is determined by
The Wrist, ,< ... r Jr *. T , f .. . ,
the position or the lingers* its normal position is
usually about level with the knuckles, or slightly lower* if these
are well-raised* The wrist-level may* however* vary con-
siderably without causing any discomfort, provided we do not
confine ourselves either to an exaggeratedly high or low position
of it*
Rapid octave passages are moreover usually found easier with
the wrist-level slightly higher than the normal,
30) : The wrist must alternately rise and fall* slightly, when
a passage requires the thumb on alternate black and white keys*
In this case the wrist is lower for the black key than for the
white key* But the movement should not be greater than will
just suffice to enable the Elbow to remain quiet*
Wrist and 31) : Lateral movements are required of the
Arm. wrist, fore-arm and upper-arm* to enable us to
bring the finger-tips over their keys* The larger the distance to
5>e reached* the larger is the portion of the limb chosen* by means
of which to execute the movement*
32) : These lateral movements of the fore-arm and upper-
RECAPITULATORY OF CHAPTER XXIII., AND PART IV. 313
arm and their relationship to those of the thumb and wrist, 1 re-
quire very careful attention, when first karning the scale and
arpeggio*
33) * A rotary movement of the hand and fore-arm may ac-
company the act of touch, when the extreme fingers of the hand
are required to sound notes* This movement is then substituted
for the more usual descending movements of the finger, hand or
arm* In such * rotation-touch * the required fingers should
be placed in their depressed position, preliminarily to the act of
touch* 2
34) : The actual height of the Fore-arm depends on the posi-
tion of the Wrist* The most natural position is about level; or
with the under-surf ace of the fore-arm slightly higher than the
keys at the wrist, and slightly lower than these at the elbow*
35) : Correct position of the upper-arm or elbow
Arm or Elbow ^ mos * important* This is an absolutely vital mat-
ter j for it is impossible to obtain either freedom of
reach, or the free weight of the Upper-arm, unless the latter slopes
sufficiently forward^ from the shoulder* The whole arm*
from shoulder to wrist* must hence be opened- out almost into an
obtuse angle* 3
36) : The elbow, viewed from behind, should while thus lying
forward, be neither pressed to the side, nor should it be unduly
protruded sideways* The elbow must nevertheless freely
change its position sideways, when a passage travels to the more
extreme portions of the key-board*
. 37) : Vertical movements of the arm are of two
kinds, either of the whole arm from the shoulder,
or of the fore-arm alone, from the elbow*
The beginning and the end of each phrase is usually accom-
panied by arm-movement*
38) : The position of the body itself is mainly
o y- osi ion. < j etetm | ne( j fey the necessity for having the arm suf-
1 Vide 18-22.
5 We should recall, that rotary-adjustments must accompany almost every
act of touch, although mostly unaccompanied by TOtaiy-movement, and there-
fore invisible.
* Vide Fig. 20, page 301.
314 <OT POSITION.
ficiently opened-out, as described in 35* Sufficient distance is
therefore required between f/ie shoulder and the key-board; and to
enable us to give this, we must sit sufficiently distant from the
instrument*
This requisite distance from the key-board can be obtained in
two ways: either (a) while sitting perfectly upright (or nearly
so), or (b) while leaning forward from the hips without stoop-
ing* This choice depends upon the length of the arm rel-
atively to the height of the body from the hips*
Height of 39) : The chair should be placed in the centre of
Seat. the instrument* Its height is determined by the
height and position of the body from the hips* When the chair
is too high, we are compelled to move uncomfortably far away
from the instrument* to ensure the requisite distance between
shoulder and key* as described in 35 and 38* Music-stools are
often found insufficiently depressable*
40) : The feet* when employed upon the pedals*
should reach the latter with the ball of the foot*
while the edge of the heel is placed upon the ground* and takes
the weight of the leg*
The left foot, when not required upon the una corda pedal,
should be placed further back than the right one (on its pedal)
and with the sole alone reaching the ground*
Unnecessary 4f):AlI unnecessary " movements should be
Movements. strictly eschewed* Even those secondary move-
ments, required to enable us to test ourselves for freedom, and
which must be greatly exaggerated in the learning-stage, should
nevertheless subsequently be gradually reduced to the smallest
limits compatible with a due fulfilment of their purpose*
Main Points of 42) : The main points requiring attention in
Position-Sum- Position, are as Mows :
mary.
RECAPITULATORY OF CHAPTER XXIII., AND PART IV. 315
a): Sufficient distance between boulder and key., with
the eat sufficiently removed from the instrument to
admit of this.
b): The distinction between the two kinds of finger-
movement, with the linger sufficiently bent before
its descent, in thrusting touch.
c) : Avoidance of the depressed knuckle.
d): JLateral adjustment of the hand and wrist to each
particular passage ; the hand being turned Inwards
for single-notes scales and arpeggi, and turned in the
direction travelled, during double-notes passages*
e) : Above all things, one should insist (a) that each fin*
ger is in position, and feels each key, before the act
of key-depression proper is commenced 5 and (b), that
the position in key-descent is aimed for, where key-
depression culminates in sound-beginning; so that
each key-propulsion is aimed % to culminate at the
very moment that the hammer reaches the string.
Subsidiary Points of importance are:
f ) : Mot to allow the hand to slope towards the fifth fin-
ger unless apparently so during the movement of
Itotation-touch .
g) : To keep the thumb well away from the hand,
with the nail-phalanx in line with its key.
h) : Mot as a rule to allow the fingers to reach the keys
near the outside edge of the key-board.
j ) : The slight re-adjustments of wr is t-li eight, in passages
with the thumb alternately on black and white
keys.
k ) : In Hand-touch, and Arm-touch, the assumption of
the depressed position of the fingers relatively to the
bands, before the down-movement of the hand or
arm.
i ) : Attention to the two alternative return-movements of
the finger In thrusting or clinging Finger-staccato,
respectively.
CHAPTEE X5IV.
CONCLUSION.
Glossary and Summary of the main teachings of this work.
1. THE Act of Playing demands perception
* n *- an d facility in two distinct directions : (a) Musi-
cmctory the ;. _ _ . _ . _ M-J.
act of playing : cal-perception, and (b) Tecnnical-iacmty.
2. Musical-perception implies that of Feel-
ing* and that of Shape.
3- Technique implies (a) knowledge of the requirements
of Taste, and (b) knowledge of, and facility in Key-treatment.
4. Key-treatment, again, has two aspects : (a) Knowledge,
or perception of the instrument's requirements, and (b) knowl-
edge of, and facility in muscularly fulfilling these.
Part II Instru- & Tone-production can solely be wrought
mental aspect by causing the key to move.
of Key-treat- 6. Loudness depends purely on the degree
ment: o f speed attained by the key during its descent.
7. Beauty of tone depends on our inducing this key-speed
as gradually as possible. Tone control depends upon the same
element.
8. Opportunity for causing or influencing tone, absolutely
ceases the moment the hammer reaches the string and re-
bounds therefrom.
9. This moment, the beginning of the note (the moment of
transition from Silence to Sound) must be listened for, so that
our propulsion of the key can be accurately aimed to it.
10. The key, in the shape of weight and friction, offers
resistance to movement.
11. The energy required to overcome this resistance,
316
SUMMARY AND CO2TCLUSIOK. 317
varies with, different keys, and with the speed at winch we try
to impel them.
Part III, the 12 - ^ e can ^J gauge key-resistance, by
Muscular as- physically feeling* it through the muscular-sense,
pect of Key- before and during Key-depression.
treatment. g ^3 rp-j^ ^ Q Attention during performance
is dual, since it implies attention musically and attention in-
strumentally. "We must listen inwardly and outwardly, so
that we hear what should be, and so that we also hear the ac-
tual result ; and we must meanwhile constantly feel thegiving-
way point of the keys, so that we can gauge the necessary
efforts.
14. Since the key must be reached so carefully, the con-
tact should never be in the form of an actual blow, unless ac-
curacy as to notes and expression do not matter.
15. The act of Touch is consequently a Duplex process
excepting in the case of ppp-Temzio or Legato :
It consists of the two acts (a) of Besting, and (b) of Adding
Energy to the key to move it.
16. The act of Besting (which is continuous during each
phrase) may either occur (a) at surface-level of key -board, or
(b) at bottom-level of key-board.
This slight difference in Besting- weight constitutes the
difference in Basis between Staccato and Tenuto, or Legato.
17. The first (or lighter) form of Besting does not assist
key-depression. The second (or heavier) form does ; being
slightly heavier, it suffices to overbalance the key into de-
flection.
Both forms of Besting serve to tell us where the keys are,
and their resistance.
18. The absolute^ is obtained by employing this second
form of the Besting, unassisted by any Added-impetus.
19. The Added-impetus (Energy momentarily applied
to the key during descent) is meanwhile required in all
touches (except in ppp-Ten. or Leg.) to induce the requisite
tone-amount and quality.
318 THE AE1 OF TOUCH.
20. This Added-impetus must absolutely cease to exist at
the moment that sound-emission begins, in Legato as well
as in Staccato.
21. The Added-impetus can be muscularly provided in the
following three forms of Touch-construction or formation :
1st Species : Finger-exertion alone, with passive hand
and self-supported arm.
%d Species: Hand-exertion behind the finger, with self-
supported arm.
3d Species: Momentary lapse in arm-support, behind
the hand and finger exertions.
22. The Muscular-components which provide the Act of
Touch are therefore : (a) Finger-exertion, (b) Hand-exertion,
and (c) Arm-weight.
23. The sensations of correct touch are hence always UP-
WABDS upwards by reaction from the key, against knuckle
and wrist.
This, because we can only positively feel the actions of the
finger and hand, and not the operation of arm-weight, since
the latter is derived from lapse in muscular-exertion.
24 Movement during key-descent, depends on which of
these three components is slightly in excess of the other two
at the moment. The resulting distinctions of movement are
termed : Finger-touch, Hand-touch and Arm-touch.
25. The third Species is available in either of two Sub-
genera : either as " Weight-touch " or as " Muscular-touch."
This, because the combination of the three touch-components
may, in this Species, be started either (a) by Weight-release
that of the arm, or (b) by Exertion that of the finger and
hand.
The first makes for roundness of tone ; the second for brill-
iance and even hardness.
26. Hardness or harshness is bound to ensue if we ap-
ply arm down-force to any appreciable extent, and when we
apply our efforts too far doivn in key-descent.
27. We should therefore be careful always to play " only
to the sound."
SUAIMABY AND CONCLUSION. 319
28. Quality of tone is moreover influenced by the two di-
verse Attitudes of the finger and upper-arm, respectively
termed, the " Clinging " and the Cb Thrusting."
The first helps towards sympathetic (and carrying) tone,
ihe second towards brilliant (and short) tone.
29. It is the condition of the upper-arm (or elbow) that
determines in which of these two ways the finger shall act.
30. Most of the finger's work must be done by the Knuckle-
phalanx ; this applies equally in clinging and in thrusting at-
titude.
31. To obtain the most sympathetic effect, we must pro-
vide key-descent through the co-operation of the clinging atti-
tude with the third species, in the latter's weight-initiated
form.
32. Arm-weight, when employed in the Added impetus,
must automatically cease its operation in response to the ac-
curately-timed cessation of the up-bearing stress at the wrist-
joint.
33. The transfer of the Besting weight should likewise
be an automatic process, occasioned by the accurately-timed
cessation of the supporting duty of the finger last used.
34. Perfect freedom is imperative in all the movements
and muscular actions employed in playing, freedom from
contrary-exertion.
35. Rotary-freedom of the fore-arm must be insisted
upon, as well as horizontal and vertical freedom of the wrist-
joint. Rotary actions are required for every note.
Lack of rotary-freedom, especially, is one of the most com-
mon faults, since the here continually required adjustments
mostly remain invisible.
36. The shoulder must be at such a distance
Part , on f rom the instrument, as will enable the arm to be
opened-out almost into an obtuse angle, thus
enabling us to employ its Weight when required.
"We must be seated sufficiently distant from the instrument
to admit of this.
320 THE ACT OF TOUCH.
37. "We must distinguish between the " flat " and " bent "
positions and movements of the finger, that respectively accom-
pany the Clinging and Thrusting attitudes, and their corre-
lated upper-arm conditions.
38. The wrist and hand must constantly adjust their
position laterally, so that we can easily connect fingering-posi-
tions by means of lateral movements of the thumb, etc.
The wrist must meanwhile be neither too high nor too low ;
and it must change its height, slightly, when the thumb al-
ternates between black and white keys.
39. The hand must be level, since the little-finger would
otherwise be placed at a disadvantage. More important still,
the knuckles must never be permitted to fall in, as a normal
position.
40. The fingers should not move during key-descent, ex-
cept in Finger-touch.
41. The thumb, in its normal position, should be well
away from the hand, and its ^ail-phalanx should always be
in the same line as its key, unless it is required upon two keys
simultaneously.
42. Above all things, we must always insist on being
properly in position over and even on each key, before
using it, so that Energy can be applied to it, vertically.
43. Each of the keys forming a passage must not be con-
ceived as a separate unit ; each key's position must be con-
ceived and must be found as a particular distance from each
preceding key, or set of keys.
44. In conclusion :
The student and teacher must once again be warned not
to forget the purpose of Technique whilst studying its neces-
sary details. The reminder is essential, for in studying these
details, the mind is apt to dwell on one aspect of the problem,
to the almost complete exclusion of the others. Thus,
in endeavouring to secure the visible effects of correct Position
and Movement, we are apt to forget that these are quite sub-
SUMMARY AND CONCLUSION 321
sidiary to those of correct Condition the muscular actions
and inactions required of ns by the key, at the moment.
Again, although we may not lose sight of this more
important matter, we may so concentrate our mind on the re-
quired Muscular-conditions, as to cause us to forget to apply
these, accurately-timed, to the key ! And even if we do not
forget this, we shall nevertheless fail, unless we do meanwhile
use the key only in response to the promptings of our Musi-
cal-sense ; for " Execution " itself should always be prompted
by the performer's wish to give expression to his Musical-
sight.
Hence, we must study the details of Position only for the
sake of obtaining the Muscular-act at its easiest, and we must
apply the latter only in answer to the resistance the keys are
constantly offering us in varying measure. And while thus
muscularly judging the key, we must do so solely for the sake
of the Musical-effect perceived to be necessary by our musi-
cal intelligence and feeling.
In short we must apply Energy to the key, only in strict
response to what we feel is there needed to fulfil the Sound
we musically wish at that moment.
A final Summary follows.
FINAL SUMMARY
F SOME OF THE MAES' TECHNICAL POINTS TO BE INSISTED UPON IN
TEACHING- OURSELVES AND OTHERS. 1
L We must remember : how sound can only be made through
key-movement ; and how beauty of tone can only be obtained by
insisting upon the gradual depression (gradual propulsion) of each
key ; and how we must listen for the beginning of each sound,
if we would accurately " aim " the efforts by which we intend to
produce it.
II. We must remember : how Touch consists of the two ele-
ments, the Resting and the Added-impetus ; how the one is con-
tinuous and the other not only dis-continuous, but always as
short-lived as in Staccatissimo. How the act of touch is
muscularly mainly built up of the three components, Finger and
Hand exertion, versus Arm-weight, etc., and why we must there-
fore always feel the act of touch as one of leverage upwards.
How these components can be combined into three main species
of Touch-formation, of which the third offers us the two great
distinctions between Weight and Muscularly-initiated touch, with
the consequent divergences in Quality of tone ; and how Quality
is further influenced by the opposite Arm-and-finger conditions re-
spectively termed Clinging and Thrusting. How Weight
must be ceased automatically, and how this also applies to the
act of transferring weight in Legato. Also the great im-
portance of insisting upon the Rotary-adjustments of the fore-
arm ; and how the doctrine of Ease implies perfect freedom from
contrary-exertion in all the movements and actions required, in-
cluding those horizontal ones of the Hand and Wrist.
1 These last Summaries are useless, unless the preceding portions of thi*
work have been studied.
322
FINAL SUMMARY. 323
HI. How Position, whilst mainly a result, and not a cause,
includes nevertheless some points of importance : such as the
sufficiently-opened arm ; the difference between the raised bent
and flat finger ; the lateral adjustments of the hand ; and the
teaching, that every key must be felt before being played, and
must be found as a lateral distance from its preceding fellow.
IV. Above all things, we must always remember that the ul-
timate purpose of our study is not to obtain correct Movements,
nor correct Muscular-habits, but that our purpose is to obtain Com-
mand over Musical-expression. With this purpose in view,
we must, in playing, constantly feel key-resistance, so that we
may thus be muscularly prompted to fulfil the requirements
both of Key and Music.
Good tone-production can in fact be thus defined : we must al-
low Key-resistance and Musical-sense to prompt us easily to move
each key at requisite speed and increase of speed, to a definite
Place in Time and Key-descent.
Y2
APPENDIX TO PART IV.
THE FALLACY OF "POSITION" WORSHIP
NOTE XVIII. To 1, Chapter XXII, page 273 : Most of the " teaching "
of Technique, hitherto, seems to have consisted in insisting upon the adoption
of such visible attitudes during rest and movement, as have ^ been exhibited
by successful players during performance. It was fallaciously assumed,
that if one could only succeed in making Position and Movement correspond
to those thus exhibited, that the result as to tone and agility would also cor-
respond !
Now the previous chapters have demonstrated the fact, that it is almost en-
tirely upon the paruticlar CONDITIONS of Action and Inaction of the arm, hand
and finger that each particular kind and degree of tone and of agility must of
necessity depend ; so that however closely one might succeed in observing
and in reproducing the precise positions and movements employed by a suc-
cessful player under all the varying requirements of Technique, yet this would
not form the slightest guarantee "that we should succeed in applying our
forces against the key in the same manner as he, nor that our tonal results
would prove similar. Indeed, owing to the fact that Position and Movement
give so unreliable an indication of those ever-changing conditions of muscular-
action and release which alone form the true cause of all tonal-effect, it is ob-
vious that the most painstaking copying of " the look of the thing " will prove
of no avail, unless we also happen to hit upon the required (but hidden) mus-
cular-changes required. On the other hand, it is also abundantly clear, that pro-
vided we do adopt the correct Condition of the limb during key-descent, and
apply such muscular-condition to the key in proper measure and proper time,
that correct Position and Movement must almost of necessity arise as a result
from such fulfilment of the laws of Key- treatment.
One may well marvel at the display of mechanical ignorance, want of
power of analysis and observation exhibited by teachers and artists, who
have spent their whole lives in endeavouring to help others to do the right
things technically, while they have nevertheless totally failed to observe those
most obvious rudimentary facts of muscular-action and key-action that form
the direct cause respectively of technical failure and success, both in themselves
and in their pupils and fellow-artists !
That the case is so black would be incredible, did we not every day have
proof of it, and did we not remember how irksome most artistic natures find
analysis and logical-reasoning. The consequence has been, that even the most
celebrated teachers of this last century have wofully failed to discern the true
causes of (or permits to) good Technique the A, B, C of the Piano, as found
in correct Key -treatment, instrumental and muscular.
For instance, in a work published last year, purporting to teach Technique,
$nd which is avowedly the "only authorised publication of the teachings" of
334
APKENBIX TO PAET IV. 325
LESCHETIZKY the justly-renowned Artist- teacher, 1 we fail to find any descrip-
tion of the true causes and explanations of correct Technique. Instead the
little advice given relatively to tone-production, relies almost exclusively on
Position and on Movement, and on the practice of carefully-planned methods
of Note-practice, on exercises, the practice of which does not, however, in the
least ensure that the learner will happen to discover for himself HOW he
should use the key or his own muscles, i.e. what key- treatment and muscu-
lar-habit should be, in any of its manifold aspects ! Thus, on referring
to this work, Chapter XIV., " On Touch- varieties," after pertinently quoting
'G'est le ton qui fait la musique^ we find the following:' 4 If the Cantilene
' is to be in the shape of a large strong tone, legato, then will Finger-force,
* alone, not serve. One must here help by means of Wrist-pressure in the
* following manner. One should reach the key lightly, and one should,
* without discontinuing the contact with the key, press the latter down
1 deeply by means of a rapid upward movement of the Wrist-joint ; * 2 wrist
' and finger joints being fixed at this moment. "
'* The same effect can also be attained by a quick, downward movement of
1 the Wrist. The wrist must return to its normal position immediately after
ference between Finger-staccato and Wrist-joint staccato depends on
' whether it is the Knuckle-joint or the Wrist-joint that provides the motise-
' force. Finger-staccato is, playing by means of thrown fingers. In wrist-
* staccato, the bent finger is thrown down upon the key by means of the wrist-
* joint. After a short sounding of the note (Nach kurzem Anschlag),the finger
' is to be immediately sprung back by means of the wrist- joint." A few
paragraphs further on we read, that the noise occasioned by the fingers tap-
ping or hitting the keys " cannot be avoided in staccato " 1 It is even sug-
gested that this noise can help the musical effect " in burlesque moments"!
No further advice is tendered as to the Act of Touch as to key-treat-
ment and the implicated muscular-conditions. And while we find no distinc-
tions drawn between the factors that cause Tone, and the factors that cause
Duration (Leg., and Stacc.), we also find that Position and Movement are
almost exclusively pointed to as the cause of all the effects instead of recog-
nising these as merely accompanying results, for the most part ! That is,
instead of any attempt to analyse the muscular factors that are the immediate
cause of all tonal effects, we find movements described and recommended,
which it is assumed mnst lead to the desired effects, movements moreover, in
this case, which, as a matter of fact do not at all necessarily accompany the
act of Singing-touch, although they may be allowed to follow* such act of touch
when itfis completed. 3 To the apparent non-recognition of the function
of Arm-weight, may also probably be attributed a certain hardness in forte
passages often observed in Leschetizky pupils.
All this does not detract from the splendid work done "by this great Master-
* " Die Gmiidlage der Methode Leschetteky," Malwine Bre.
2 ** Man berahrt die Taste leicht uud zwingtolme den Contac tmlt derselben aufougeben
durcli eine rasche Handgelencksbewegung nacli auf warts den Finger, die Taste tief mederzu-
drttcken."
3 Obviously, the ** rising "or "falling " wrist here allnded to, is an unconscious discovery (so
often made by artists) of what I have described as the " Aiming-test (Vide Chapter JTTJT., page
#07); movements which certainly prove of use provided they are employed (as they should be)
as a test to ensure the cessation (a) of all Action and (V) of all Weight, immediately that sound is
reached, the wrist rin'nT, when it is the Weight-element that first ceases its operation; and
the wrist falling, when it is the Finger-and-hand exertion that first ceases its operation upon the
key.
326 APPENDIX TO PABT TV.
teacher ; for although his results have apparently been achieved aimost en-
tirely by empiric methods, or by force of good example, yet he has proved
himself to be one of the giants of the nineteenth century.
"We find the same fallacy of relying mostly on the phenomena of Posi-
tion and Movement exhibited by those who profess to teach the methods
of another of the last century's really great teachers LUDWIG DEPPE, who
indeed was probably the most advanced of all the well known nineteenth-cen-
tury teachers. He, for instance, clearly recognised the necessity for the free
wrist, and its source, the ' * carried " arm ; also he instructed in touch by
weight-release, although he perhaps hardly recognised that the released
weight of the arm was the cause. (Vide "Die Deppeschs Lehre des Elamer-
spiels," E. CALAND.) On reading this little work one clearly perceives that
Deppe himself must have been able to obtain the true " sympathetic" touch-
quality, and that he stimulated his pupils to do likewise. His idea of the
''arm-carried hand " lapsing " upon the key," being indeed within reach of that
full realisation of the real facts of the case, which, after all, seems to have
eluded him. And this, in spite of what was truly a monumental striving after
Truth in the matter; especially when we take into consideration the state of
absolute ignorance of first principles and disbelief in there being any in
which he found the musical world. ( Vide Note to 29, Chapter XXIIL}
" TEE STRAIGHT FIFTH FINGER "
NOTE XIX. To Note of 6, Chapter XXIIL, page 281 : The doctrine that
the little finger should be held straight, or nearly so, even in "bent-finger " touch,
is another of those fallacies, which, having first arisen through inaccurate rea-
soning, have then become a tradition. That the little finger owes its fre-
quently supposed weakness to its being short, was the beginning of the fallacy.
The very fact of using it ** fiat " while the other fingers are employed in
the rounded form necessary for brilliance, would place it in a comparatively
disadvantageous position. To begin with, it would be more elastic than the
others. This would also most likely lead to its attempted re-enforcement, by
surreptitious thrusts from the arm, or else by a rotary poking action from the
hand ; for it is difficult to give the requisite 'thrusting action of the finger, if
we start with it straight. We must remember that * * thrusting touch " implies a
slight tendency of the finger to open-out towards the key ; true, this uncurling
must indeed be slight, but it must be sufficient to permit the finger to be
applied vertically to the key and this we cannot do, if it is straight in the
first instance, for it will then be compelled to pull inwards upon the key, as in
clinging touch. Moreover, the little finger is by no means so " weak" as it
is popularly supposed to be, as we find, when we ask even a child to grip us
with it As already indicated, its apparent weakness at the instrument results
in most cases from failure to adjust the Fore-arm Rotation-element to its
needs.
As the finger is a lever of the third order, it requires no very high grade of
elementary mechanical knowledge to prove how great is the delusion that the
finger gains in power by being straightened ! On the contrary, since its mus-
cular force is applied between the fulcrum (the knuckle) and the resistance
(the key), it follows that the straighter we hold the finger, the further off is its
work placed, and the less is its power.
The same argument, also, in another form, viz. : that the fingers must be
placed in as straight a line as possible on the keys that their tips should be
in as straight a row as possible is the climax of foolish reasoning.
The nearer the finger is applied to the edge of the key, the greater is the lever-
APPENDIX TO PART IV. 327
age (or power) exercised over the key, hence, again, we give the little finger
less power when we straighten it, for it then approaches nearer the fulcrum of
the key !
Moreover, the fingers form separate units, as a matter of fact ; each one is
provided with its own individual muscles. Evenness of result is hence attained
by the individual training received by each finger to fit it amongst its fellows
the muscles of the weaker ones are taught to exert themselves slightly more than
those of the stronger fingers. They are thus taught to create the same relative
effect upon the keys, each finger at its own particular point of contact rela-
tively to the others.
Meanwhile, do not let us lose sight of the fact, that evenness of finger is
induced, not so much by training the fingers into equal strength (or weakness),
as by obedience to the law, that the tone-making stresses should all be given in
strict response to what the keys themselves suggest by their resistance.
That is, if we constantly watch Key-resistance, as we should, then each finger
will more or less unconsciously adapt itself to the needs of the moment, and
evenness thus ensues automatically. And it could then be obtained even if we
used the fingers with the hand turned upside down !
"THE HIGH WRIST AND LOW WRIST DOGMAS"
NOTE XX. To 21, Chapter XXIII, :- While the height of the wrist is
perhaps the one point in Position which least demands hard and fast rules,
since it may (and must) vary considerably owing to so many considerations,
yet it seems to be the point around whicb debate has flourished most hotly and
dogmatically, probably owing to this very fact that the precise actual height
may vary with impunity according to personal idiosyncrasy ! For we find
players, with excellent technique, who strictly adhere to " low wrist," because
they have been brought up on that fad ; while we find others, equally excel-
lent, who employ the (t high wrist" whenever they possibly can. Obviously,
neither position is harmful, provided it is not exaggerated. Personally I find
that one position suits certain, passages, while the opposite one suits others.
It is the unflinching adherence to one position that proves objectionable. As
a rule quick passages are found really easiest with a higher wrist, especially
in the case of double-notes passages.
The point of real importance (as insisted upon in Part III.) is, that the
wrist- joint must defree. And it is this necessity, imperfectly recognised, that
has no doubt led to these two opposite dogmas on the subject. Thus we
found, that all Agility-technique demands that the arm be self-supported, with
the hand lying loose. If we unconsciously obey this rule and imperfectly
recognise its real significance, it follows that our instinctive feeling may cause
us slightly to raise the wrist, since this will be more suggestive of the * 4 dan-
gling" sensation of the loose-lying hand. Conversely, if we desire a
singing touch, and have more or less unconsciously recognised that it requires
the loose-left arm to weigh the keys (and hand) down, such elastic and almost
flabby state of the wrist and knuckle (here required at the moment of key-
descent) may naturally suggest a dropping-in of the wrist and even of the
knuckle.
So little, however, does the actual position of the wrist relatively to the hand
influence tonal-result, that the wrist-joint may at times be allowed to rise quite
high up, without in the least disturbing one's Technique. I have seen LISZT
himself assume an absurdly exaggerated position of this nature (obviously the
result of his Tinconscious sense of the correct muscular-conditions) although he,
of course, did not affect it normally. I have also seen others imitating a simi-
328 APPENDIX TO PAST IV.
lar position, or tlie opposite exaggeration, obviously hoping to induce thereby
the much coveted '* sympathetic touch " ; but as they had not realised the req-
uisite muscular conditions of really ** weighing the key " into sound their
movements were reduced to mere meaningless contortions and mannerisms.
It seems almost superfluous to add, that such great alterations of position
are not only not required, but that they are also in themselves not in the least
suggestive of the desired tonal results ! Nevertheless it is obviously in this
way that the various wrist ** methods" have arisen through imperfect rea-
soning. For instance, superficially it must have seemed to be an unim-
peachable syllogism to say :
a) u The wrist-joint must be free."
5) u If I let the wrist drop, then the wrist-joint is free."
c) " Hence a dropped wrist (i.e., a low wrist 1) means a free wrist."
Of course this would form admirable logic, were it not that its conclusion,
depends on a mere word-quibble ! For a dropping (or falling) wrist may cer-
tainly be assumed to be free at the moment, provided it be really falling. But
a wrist that is placed in a "dropped" or low position, is no more necessarily
in an unrestrained condition, than if it were placed high, or midway between
either extremes. The wrist-joint we must remember, is only free when none
of the opposing muscles are permitted to act, provided none of those muscles
are allowed to act, that are opposite in function to those required of the finger,
hand, and arm. And the wrist is not truly free, unless it is so not only verti-
cally, but also horizontally, and rotarily, as discussed in Chapter XVII. ( Vide
page 193, and preceding pages.)
PRINTED IN GREAT BRITAIN BY LOWE & BRYDONE (PRINTERS) LIMITED, LONDON, N.W.10
EDUCATIONAL WORKS FOR PIANOFORTE
by TOBIAS MATTHAY
With 22 Illustrations. Svo, pp. xlii -f- 328. 153. od.
THE ACT OF TOUCH
IN ALL ITS DIVERSITY.
Musical Times says:
"When Mr. Tobias Matthay first published his work, "The Act of Touch,
in 1903, it was received with very mixed feelings by the musical profession.
Many scoffed at the mere fact that an acknowledged expert required some
300 pages of closely printed matter to explain how to play the pianoforte ;
others regarded the book as a 'one-man's fad,' which would have its day
and be gone; others indignantly denied that" anything could be wrong with
existing methods, which had produced a Liszt, a* Rubinstein, a Madame
Schumann. But the wise, even if unable to grasp a tithe of the new gospel
at first, recognised the fact that here was something giving food for thought
and experiment.
"And now? The * one-man's fad' has within ten short years
altered radically the -whole system of modern pianoforte teaching.
The Matthay Principles, Matthay Doctrines, Matthay Methods, call them
what one may, they are known the world over, and probably never before
in art has an almost world -wide revolution been accomplished in
so short a space of time. Truly of art did Schumann say, 'Es ist des
Lernens kein Ende.' "
Crown Svo. 6s. od.
THE FIRST PRINCIPLES OF
PIANOFORTE PLAYING
Being an extract from the Author's "The Act of Touch." Designed
for School use, and with two additional chapters "Directions for
Learners and Advice to Teachers/'
Crown Svo. 35. od.
COMMENTARIES
ON THE TEACHING OF PIANOFORTE TECHNIQUE.
A Supplement to "The Act of Touch" and "First Principles."
Quarto. 125. 6d.
RELAXATION STUDIES
In the Muscular Discriminations required for Touch, Agility and Ex-
pression in Pianoforte Playing. Cloth bound (150 pages, 4to), with
numerous Illustrations and Musical Examples; with a portrait of the
Author.
Quarto. 2s. 6d.
THE PRINCIPLES OF FINGERING, LAWS OF
PEDALLING, etc.
An Extract from above.
BOSWORTH & CO. LTD.
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