Because of these reasons, co-ordination between forearm-rotation and fingers should first be studied in passages needing a
reversal, rotationally, each time from note to note. When the hands are first played together, passages should be chosen,
so far as possible, which need the rotational help in similar direction in both hands, and which, therefore, move melodically
by contrary motion. In the early stages, both
- in the case of a real beginner, and
- in the case of someone who has been playing incorrectly technically for years,
this practice of passages by contrary motion melodically, and with constant reversals from note to note rotationally, should be practiced until it becomes second
nature. Using this methodology, the rotatory adjustments are more likely to be provided correctly since the direction of rotation is analyzed individually for each hand.
Studies and pieces which exemplify such conditions should therefore be chosen.
Music for the student, at this early stage, should also be written in accordance with these principles.
It is even possible to make this mistake of antagonistic and self-defeating rotational actions, while your hand lies
quite loosely and inactive upon the keyboard. Let your hand lie loosely on the keyboard-surface, and see whether your forearm is rotationally free.
The state we wish to avoid is an antagonistic muscular exertion while balanced on the surface of the keys.
This rotatively free condition of the forearm is always a pleasant sensation,
since it gives the player confidence that he is going to play easily and is not going to play with technical restraint.