Before starting to approach any of our repertoire pieces we should make sure we have warmed up our mind so it processes the information in the right way. Every single sense should be in charge of its specific task regardless how confident we feel about any particular score. With the latter I mean that we can’t compensate a lack of aural memory with an overuse of our visual skills. We can’t play what we don’t understand in its most basic level; in other words we should know how a piece sounds to be able to build up muscular reflections based on this aural remembrance.
For this reason our warming-up-scales play a very specific role at the beginning of each session: they help us synchronizing our pitching imagination with certain muscular movements that lead us to play the right notes. It is for this reason that we should never look at our fingers when playing scales as this attitude will prevent us from connecting this imaginary sounds to this particular muscular reflections. The visuals of the keyboard can prove to be very confusing and they are by far more difficult to organize than the rather primary reflections build up upon sound relationships.
I normally put a particular emphasis on the importance of thinking about the singers when we warm up. I will always say in my piano lessons: “Only if we sing the piano instead of playing it is that we will be closer to understand how marvelous the entire piano practicing process could become”