. Complete school of technic for the pianoforte : including flexibility and independence, scales in all forms, extension, arpeggios in all forms, double notes, octaves and chords, trills, tremolo, glissando. 5 13 2 5 * * ^^ffi *^=^s 3 14 2 5 1 3 2 4 2 5 4 2 4. I m i i 66 Double Notes Through the practice of double notes, evenness of touchand general technical skill are materially advanced. Thematching of strong fingers against weak, imposes contin-ual restraint on the one, and extra effort on the extended double note practice, the results of thisequalizing process are quickly obser
. Complete school of technic for the pianoforte : including flexibility and independence, scales in all forms, extension, arpeggios in all forms, double notes, octaves and chords, trills, tremolo, glissando. 5 13 2 5 * * ^^ffi *^=^s 3 14 2 5 1 3 2 4 2 5 4 2 4. I m i i 66 Double Notes Through the practice of double notes, evenness of touchand general technical skill are materially advanced. Thematching of strong fingers against weak, imposes contin-ual restraint on the one, and extra effort on the extended double note practice, the results of thisequalizing process are quickly observable in the per -formance of single, as well as in double note passages. The hand position remains nearly the same as in scale-playing. In the execution of double sixths the fingers takea long curve, and there is more or less unavoidable turn -ing of the hand in anc* out from the wrist, which should be M. M lessened as much as possible. Practice at first legato, with a close, light touch,with andwithout rhythms, increasing in height and strength of fin-ger stroke as seems advisable. A free staccato (combining finger and wrist movements]employed on groups of 4, 6, or 8 notes, (pausing and relax-ing the muscles between each group) largely facilitates pr
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