Laws of Tone Production

The laws of tone-production apply equally to different kinds and conditions of players.
Because tone-production depends on accurate obedience given to the

1. mechanical,
2. physical, and
3. psychological

laws involved, it follows that such laws apply to all players, no matter how much they may differ physically.
These laws also entail slight modifications of activity and position, with different sizes of hand and finger as well as differences in arm weight.

The idea that there are stiff hands and fingers which have to be ground down to suppleness by exercises is also based on fallacy, except in those rare cases of incapacity through rheumatism. Stiff wrists and fingers are as a rule merely the outcome of incorrect muscular action or impeded action. This is characterized by action that is impeded by the unnecessary associated action of the opposite muscles (antagonistic set of muscles). Some pianists will make ten times the necessary effort to execute the simplest of movements. It is such so-called "stiffness", for example "restrained-movement and action", that directly prevents many students and artists from attaining good keyboard technique.

Not only does weak and bad tone result from incorrect movements, but agility, accuracy in legato and staccato cannot be attained when incorrect motions are employed. Accuracy with regards to rhythm seems impossible of attainment when the incorrect movements are employed. Technique becomes easy and certain as soon as the muscular and physical laws involved are strictly obeyed.

The art of tone-production consists of the production of all possible sound-effects from the instrument:

1. those of tone-quantity;
2. those of continuance ;
3. it includes also the attainment of agility.

The laws of Tone-Production apply equally to everyone, gifted and non-gifted. Certain endowments render easier the acquisition of agility and these are distinct from those which constitute a large pianoforte sound. Even the smallest natural piano sound, when properly produced, is capable of far larger volume of tone, and its modifications, than is generally supposed possible.
Facility in tone-production rests on knowledge and physical attainments, in two distinct directions :

1. Instrumental education and
2. muscular Education.

The key-treatment required for each kind of sound must be understood and the muscular conditions consummating each shade of treatment must be forthcoming.