Introductory.-- Piano technique has to do with the physical aspects of
piano playing. It is concerned with the control of appropriate muscles for
the production of the required type of tone at a given time, and with the
digital dexterity required in drawing music from the keyboard; it implies
an ability to get the best possible tonal effects from the instrument, together
with the indispensable qualities of imagination and judgment. Technique
varies greatly between the requirements for rapid passages and those for
the cantabile rendition of a melody; between a sustained legato style and
a breezy staccato; between heavy chords and those having melodic inner
voices; and between that necessary for a tremendous climax and that needed
for extremely delicate phrases.

Keyboard and Fingers.-- Touch is an inseparable part of technique and
the term is used in various shades of meaning; it may refer to the methods
of the player in his keyboard work, or to the effect he produces by these
methods. It may also refer to the tone of the piano considered in the
abstract. Thus we may speak of the "touch" of a piano being uneven, un-
certain, light, deep, sympathetic, etc. In the development of technique the
first aspect above mentioned is the one most vitally concerned. There
must be complete coordination between mind and muscles at the moment
the key is depressed. The fingers acquire strength in supporting the weight
of the hand and arm, and the distribution of the weight becomes accurate
both in direction and intensity.

Economy of Motion.-- The correct execution of piano music requires great
economy of motion and the vigorous action of certain muscles must be
accomplished with no exertion of muscles that are not concerned with the
performance of the composition. The most serviceable technique is that
which results from a mechanical action that is almost entirely automatic;
this can only be acquired by the daily repetition of natural movements based
on a clear understanding of the physiological processes involved, as well
as the mechanical aspects of the piano.

Production of Tone.-- The tone-producing agent in the piano is the ham-
mer, and the pianist's finger, hand and arm are parts of the long lever
which operates this agent. Therefore it becomes apparent that many muscles
will be involved in the production of tone, and that the ideal technique will
avoid as much as possible any interruption of the continuity of the lever.
If this be true the point of contact, that is, the key, must be a part, so to
speak, of the finger at the moment any tone is sounded. A method of
technique, then, that involves raising the finger and striking the key, is

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