Muscular Education Conclusion

This implies, that we must acquire, and must subsequently form into habit, all those different sets of muscular-conditions (of activity and relaxation) which alone will best enable us to fulfill these differences in key-treatment, essential for the production of each difference in sound. The formation of correct habits of touch is ensured, when we understand what treatment the key requires for each different kind of sound, and the nature of the muscular conditions by means of which such key-treatment can be fulfilled. For we see, that contrast in sound can only be induced by contrast in the application of energy to the key. Therefore, to secure such contrast, the muscular conditions must be modified for each passage. Such habits of muscular combination, must then subsequently be associated mentally with their results in sound. The brain must remember the sensations associated with the successful execution of a passage. Ultimately this will enable us to provide these muscular conditions automatically in direct response to each stimulus from our musical imagination and judgment. In fact, we cannot be said to possess "The Art of Tone Production," until such muscular-response is absolutely in accord with every musical wish that we may feel. That is, until muscle responds to the promptings of musical feeling.

Playing the piano is like skating or riding a bicycle. It is a physical process involving natural ease, efficiency and complete coordination. It is unfortunate for the pianist that there is not the same demand for a "balanced activity" in learning to play that there is for the ice-skater in learning his skill. The skater must deal constantly with a rhythmic balance until it is achieved, or else be subject to dangerous falls. When playing the piano we should focus on rhythmic grace, playing one key and then the next. In doing so, achieve that rolling rhythm which alone is adequate for 1) the mastery of mechanics as well as 2) full musical development.