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Piano Mastery
Talks with Master Pianists and Teachers

written by "Brower, Harriette, 1869-1928"
... each way, especially for arpeggios. The principle I have referred to is the difficult point; a few doses of this remedy, however, bring the hand up into order again." The pianist turned to the keyboard and illustrated the point very clearly. "As you see, I slant the hand considerably across the keys," he said, "but this oblique position is more comfortable, and the hand can accommodate itself to the intervals of the arpeggio, or to the passing of the thumb in scales. Some may think I stick out the elbow too much, but I don't care for that, if by this means the scale becomes smooth and even. OVERHAULING ONE'S TECHNIC "I have to overhaul my technic once or twice a week, to see that everything is all right—and of course the scales and arpeggios come in for their share of criticism. I practise them in legato, staccato and in other touches, but mostly in legato, as that is somewhat more difficult and more beautiful than the others. "Perhaps I have what might be called a natural technic; that is I have a natural aptitude for it, so that I could acquire it easily, and it stays with me. Hofmann has that kind of natural technic; so has d'Albert. Of course I have to practise technic; I would not allow it to lapse; I love the piano too much to neglect any part of the work. An artist owes it to himself and the public to keep himself up in perfect condition—for he must never offer the public anything but the best. I only mean to say I do not have to work at it as laboriously as some others have to do. However, I practise technic daily, and will add that I find I can do a great deal in a short time. When on tour I try to give one hour a day to it, not more." Speaking of the action of fingers, Mr. Bachaus continued: "Why, yes, I raise my fingers whenever and wherever ...

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