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Other players, however, have had the same thought, and have worked along the same line the thought that on the fingering used depends the quality of tone. For instance you might not play an expressive melody with a consecutive use of the fifth finger, which is called a "cold finger" by Thuel Burnham. He would use instead the third, a "warm finger," to give out a soulful melody.
A prominent figure in the musical life of Paris is Thuel Burnham, pianist and teacher. Mr. Burnham is an American, who for a number of years has made his home in Paris. He has studied with the greatest masters of his instrument on both sides of the water.
Thuel Burnham, a pupil of Mason and Leschetizky, has welded the ideas of these two masters into his own experience, and simplifies the matter of piano touch as follows: MELODY AND COLORATURA HANDS "The position and condition of the hand varies according to the character of the music and the quality of tone you wish to produce.
"The hand, in normal playing position, must stand up in well arched form, with fingers well rounded." Thuel Burnham. "I first establish an arched hand position, with firm fingers." Edwin Hughes. "I teach arched hand position." Alexander Lambert. "One must first secure an arched hand, with steady first joints of the fingers." Eleanor Spencer.
Thuel Burnham says: "Of my practise hours at least one is given to technic, scales, arpeggios, octaves, chords, and Bach! I believe in taking one selection of Bach and perfecting it transposing it in all keys and polishing it to the highest point possible. So with études, it is better to perfect a few than to play at so many."
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