. 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. 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 sho
. 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. 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 pro-gress in double note playing. Brilliant passages are more ef-fectively rendered half-legato. Attention is called to the var -ious fingerings of the chromatic scale in minor thirds. Trans-pose at also in broken thirds THIRDS. 67 3 4 3 4 1 2 5 t 3 2 5 43 2 3 4 1 2 3 1 4 3 2 3 1 83 4bvi n ^3 tLdti m Lua f 2 4 2 23 | 4j 36 1 V 3 ^-^:s.*-^m. § * Q 434S4 5
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