The copper country evening news. [volume] (Calumet, Mich.) 18??-1907, 1896-10-24


M Many n.y. beautiful effects NAV !.
Ny this use of the pedal Dc prMs
All movements q, p, ,S
natural ta,n habitual or here SSoy are stl
tam states of conscIoos'ary Ia
ra alp play ,. ys certain muscles ju,, We
Is Tor this reason thar ,OSest level.
WINES wines taught to play p Ossa 5 son
Sans differing movem sassase vi
nand and arm by diTa "en's Of
ar anus II not infreQuently SanD 'sa'As
az, az instructor ,n scatters br oaSDen' q
the land, through his n ",oadeast ov
h isI n"aas,a which he Inher r ps'sl
ms, ms ancestors. 1t may reaS, l,'ed irs
that this is radically w ,uaally be sec
s such would not be the c cass and and a
pies. "''osophic prne
In playing the piano bon,,.
' essariiy be formed, and %o VIII asa
based ON the natural law =, nOVeneul
OF the body are more eas n ea sp
ana when acquired enable -, REQUIRED
press musical thoughts mo Us 10 ey
NJ anu ha more rorcioly than habits t ssar
a. naphazard. Technlc. as aS,, ,oFns
piano playing, is the nowo @ applied
81 II
nn,s al, thoughts. This involves ap'e'
only the ability to play tSa 10
a no'eS WIN correct fingers, bur va %Ups
such control of the muscles ana ,eqal'e
'hat all gradations of tonsI a aI nerve
10y, 10y pe expressed. Piano plavins
oeeh compared to an electric cn. ing
,he musical thought emanatos ,"na
Drain; passes through the nerves V u,.l
move the muscles to be used ,ho s
strikes the key, the hammer o., ing ause
WIRE which in its turn produces y.
the ear conveys the tone hack -
Drain thus completing tba uv
weak or sluggish muscles ths nav
noe readily yielding themselves 10 n
nervous stimulus flowing from
brain, will break the circuit ana
musical phrase will fall shor, :, ~
conception.
In piano playing the purely man,
intellectual phrase finds IFS eynros.'.
in the circumscribed movements !, ~
fingers and hand, using the knucL,.
wrist as tac center of motion n.
sages from Bach's "Fugues and vDvss
tons admirably illustrate this .o,.
ment. An emotional phrase dem,,a
more freedom of movement which a
iirmness of the elbow-the emotion,
length of the forearm rssa
lily supply. Climaxes and passlon,,
of musical feeling dem.r
the added strength and wider swim,
through space of the entire arm fpp
The vital center of the shoulder
II is not always necessary that u,s
broad gestures from the shoulder As an.
used in oratory should be used in MAN,
playing. as the energy can be brourh
rom the shoulder, the vital center Al
so from the mental or emotional cen.
Lers or from various combinations A
he vital. mental or emotional evnter
without tearing passion TO tatter
This knowledge of the psychological
divisions of the arm gives clear and ex.
lct reasons for the use of the upp-
forearm, wrist and fingers in piano
playing. q subject which has heretoicr,
been misty and formulates thOroughly
he principles of all varieties Of touch
| consider the wrist the DISTRIBUTE,
enter of the energy of the upper and
orearm. 1t is impossible for the nery,
MS stimulus from the brain 10 be prop.
rly conducted to the finger tips when
he many tendons that pass through
he wrist arc tense. Almost every pupil
'eginning the study of the piano has
ONE unconscious mannerism or tries