In a conversation with Mr. Burnham in regard to methods of teaching, he
gave many helpful points, explaining how he had reduced technical
difficulties to a minimum through the exercise of a few simple
principles.
PRINCIPLES OF TOUCH
"The position and condition of the hand varies according to the
character of the music, and the tone you wish to produce. If you give
out a melody, you want a full, luscious tone, the weight of arm on the
key, everything relaxed, and a clinging, caressing pressure of finger.
Here then, you have the 'Melody Hand,' with outstretched, flat fingers.
If, on the contrary, you want rapid passage work, with clear, bright,
articulate touch, the hand must stand up in well-arched, normal playing
position, with fingers well rounded and good finger action. Here you
have the 'Technical' or 'Coloratura Hand.'
MELODY HAND
"The Melody Hand is weighty and 'dead,' so to speak. The touch is made
with flat fingers; the ball of the finger comes in contact with the key,
the whole arm, hand and fingers are relaxed--as loose as possible. You
caress the keys as though you loved them, as though they were a very
part of you; you cling to them as to something soft, velvety or
downy--with pressure, pressure, pressure, always.
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