MT to DB: When slurring from low to high, you get the high note from the level of the preceding low note. Drive the low note to the desired level of the high note.

LVB: Would you like to talk about intervals?

JMk: Oh yes, very much so. That was one of the earliest things too that you must play the life of the intervals, the real value of the interval to play an “a” and then a fifth higher, an “e”, consecutively with the preparation for the interval, the pressing off of the low note and the arrival of the high note in good form, the arrival being an achievement rather than impact was very important to him and that the low note must sound as though it is going to go to exactly the note it is going to go to. No mistake about it whatsoever, it is a calculated leap. If you leap a certain distance you know where you’re going to, just like a dancer’s going to leap a certain distance, he or she knows exactly the distance they are going to leap and they know how they are going to land. It’s not going to look like a difficult thing, and you have to push off in order to make it, like a high jumper has to push off a certain amount in order to achieve altitude. And that was very much the case with him. Also upward intervals were played on an under curve upward, and down intervals were played on an over curve downward on a loop of some sort or other, that give you a feeling of motion and of driving something just as much as, I suppose rushing down a roller coaster and sort of coasting up the other side. There’s a certain trajectory that the notes come on and you provide it and the notes come on it.