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By Keith Wyatt

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13. of the HOW TO PLAY THE PIANO 52 THE PRACTICE OF OCTAVES I now come to Octave Technique for which every sort of studies have been and continue to be written. Now the real octave wrist, combining great strength with high nervous tension and suppleness, is a gift of nature, like the capacity for playing staccato bowing on the violin. But those who do not possess the power can develop it There are several methods of playing octaves, to a limited extent. one being with a loose wrist and the 5th finger slightly stiffened.

Again, above purely mechanical instrument, the great object must be to produce gradations of tone without the sound being either forced, harsh or stiff. Moreover, the cardinal principle in the production of such all tone is that the body, and especially the wrist, remain in complete relaxation. Nothing tends so much to hardness of tone on the piano as any any part of the body. Also to obtain this most precious quality of flexibility, the articulation of the fingers must be entirely generated by the muscles of the hand, and controlled, as I have rigidity in already explained as regards force, by the forearm.

See Fig. ) Having thus described what I consider the rjerfect position of proceed to explain how to exercise the fingers in order to retain that position, and make it become a habit. This the hand, I will now HOW TO PLAY THE 88 PIANO be arrived at by practising in the following manner / Press the down well arched on to five consecutive white notes, and hold them down altogether. Then lift each finger in turn, holding the others down meanwhile, and strike the key with the lifted finger, will : fingers all the time that the hand is perfectly supple and relaxed, and that nothing is stiff/^This exercise, done every day for five minutes by each hand separately, will soon give the fingers and hands a perfectly easy and natural position upon the keyboard, taking great care and preserve the cup shape of the palm of the hand.

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