Wrist Stroke in Long Octave PassagesWhen playing extended octave passages, such as the Liszt arrangement of "The Erlking," should the endeavour be to play all from the pure wrist stroke; or is it well to relieve the strain by an occasional impulse (a sort of vibration) from the forearm? Is there any advantage in varying the height of the wrist?In extended octave playing it is well to vary the position of the wrist, now high and then low. The low position brings the forearm into action, while the whole arm coöperates when the wrist is held high. From the wrist alone such pieces as "The Erlking" cannot be played, because the wrist alone gives us neither the power nor the speed that such pieces require. Besides, the octaves, when all played from the wrist, would sound "cottony." The wrist alone is to be used only in light, graceful places.
Wrist Stroke in Long Octave Passages
When playing extended octave passages, such as the Liszt arrangement of "The Erlking," should the endeavour be to play all from the pure wrist stroke; or is it well to relieve the strain by an occasional impulse (a sort of vibration) from the forearm? Is there any advantage in varying the height of the wrist?
In extended octave playing it is well to vary the position of the wrist, now high and then low. The low position brings the forearm into action, while the whole arm coöperates when the wrist is held high. From the wrist alone such pieces as "The Erlking" cannot be played, because the wrist alone gives us neither the power nor the speed that such pieces require. Besides, the octaves, when all played from the wrist, would sound "cottony." The wrist alone is to be used only in light, graceful places.