y years ago.

THE SIGNIFICANCE OF WEIGHT PLAYING

"In this method of playing, the fingers are virtually 'glued to the
keys' in that they leave them the least possible distance in order to
accomplish their essential aims. This results in no waste motion of any
kind, no loss of power and consequently the greatest possible
conservation of energy. In this manner of playing the arm is so relaxed
that it would fall to the side if the keyboard were removed from beneath
it. Since the hand and the arm are relaxed the back (top) of the hand is
almost on a level with the forearm.

"The high angular stroke which characterized the playing of the Czerny
epoch and which could hardly fail to cause tired muscles and unbearably
stiff playing, is seen very little in these days. By means of it the
student was taught to deliver a blow to the keyboard--a blow which
permitted very little modification to the requirements of modern
technic.

"In my experience as a pianist and as a teacher, I have observed that
the weight touch allows the greatest possible opportunity for the proper
application of those all-important divisions of technic without which
piano playing is not only inartistic, but devoid of all interest.
Weight playing permits nothing to interfere with discriminative
phrasing, complicated rhythmical problems, the infinitely subtle
variation of time for expressive purposes now classed under the head of
agogics, all shades of dynamic gradation; in fact everything that falls
in the domain of the artist pianist.

MOULDING THE FINGERS TO THE KEYS

"In weight playing the fingers seem to mould the piano keys under them,
the hand and arm are relaxed, but never heavy. The maximum of relaxation
results in the minimum of fatigue. In legato playing, for instance, the
fingers rest upon the fleshy part behind the tip rather than immediately
upon the tip as they would in passage work when the player desired to
have the effect of a string of pearls. The sensation in legato playing
is that of pulling back rather than striking the keys. In passages where
force is required the sensation is that of pushing.

"Much might be said of the sensibility of the finger tips as they come
in contact with the ivory and ebony keys. Most every artist has a strong
consciousness that there is a very manifest relation between his
emotional and mental conditions and his tactile sense, that is his
highly developed sense of feeling at the finger tips on the key