Example to show holding on of top note in Third Scales after lower note has been released.

though it will not be distinguishable in the sound of the rhythm. This method is, of course, only for slow practice; the action will disappear in fast tempi, but what will remain is a clearness of outline on the upper notes of the thirds, which is the object to be achieved. The wrist should be held higher than in ordinary scales, where it is kept low, except at the passage of the thumb. But by holding the wrist somewhat elevated in third scales, it ensues that the pressure of the top fingers is accentuated.

Although it be held higher than in single note scales, the wrist must still be kept absolutely relaxed, and the pressure must be obtained through the forearm acting direct upon the fingers. When the 5th finger is arrived at, it should be placed on the key on the side or ball of the finger, the wrist being meanwhile raised even a little more, and the hand inclined in the direction upwards to which it is proceeding. (Picture 4)

Descending, a similar inclined position is taken by the thumb. (Picture 5)

In the left hand it is the thumb in the ascending scale, and the 5th finger in the descending one which assumes the position.

At the end of this chapter on page 60 I give what I find the best fingering to be used for simple third scales, and also for chromatic scales in thirds.

Picture 1
Position of hand upon commencement of Third Scales

Picture 2
Position showing the raising of the lower finger whilst
the upper one is slightly stiffened and held on.

Picture 3
Position of hand in Third Scale after the progression from the
1st Third to the next one has been accomplished.

Picture 4
Right hand ascending assumes the above inclined position in
passing from the 5th and 3rd fingers to the 3rd and 1st.

Picture 5
Right hand descending, showing inclined position of the hand when
passing down from the thumb and 3rd fingers to the 5th and 3rd.