“Escence of the pianistic execution” , according to Vicente Scaramuzza. Ch. 1 S. 4

Section 4, Chapter 1 – with some elaboration from J. Rezzuto

Once we have successfully achieved the position explained earlier in our piano lessons – holding the weight of the arms on the fingertips – we will then attempt to work on Scaramuzza’s “Table Tematica.” This is a very pragmatic piano exercise in the form of a numerical chart designed to help piano students explore “finger action” without the distraction of having to play and identify note names.

The concept of using the same weight and applying it to all different fingers constitutes the basis for producing an equal tone. Only by transferring the same finger weight from finger to finger can we achieve the same sound quality from the 4th and 2nd finger, for example, when playing the piano.

Piano lesson note: The so-called use of “arm weight” in piano playing is based on the concept that every time a body is set in motion, it reacts according to the concepts of potential, resistance, and support. In our specific case study: a. the fingers develop the potential; b. the keys offer resistance; and c. the end of the forearm that touches the wrist, the support.

Once we have achieved this goal, we are ready to face the most difficult challenge in our piano teaching: calibrating the correct and specific weight needed to produce the desired dynamics. This difficulty will be addressed first when we analyze finger and wrist movements. All calibration will be particularly related to the distance at which we place the fingers on the keys. The farther away, the stronger, and the closer, the softer the sound response we will get from the piano.

The point of support will change depending on the movement we are working on; for example, in the case of wrist/palm movement, the forearm will become it. Relaxing the arm is primarily intended to provide a constant pull that feeds the grip of the fingers, especially at the tips, every time they are in contact with the piano keyboard.

Regarding weight regulation, Scaramuzza, one of the best piano teachers in history, used to say that the correct weight would be determined by our own ear and judgment of the tone quality when learning to play the piano correctly. The paradox, which we need to clarify in our piano lessons in London, is that this technical approach starts by affirming that we direct all the weight of the arm towards the fingertips, so eliminating part of it goes against this idea. In fact, there are many natural factors that will help with weight control. One of them is musical synergy and accentuation (we will develop these concepts in later sections on how our piano lessons in London are).

Total relaxation of the arm muscles ensures that the emotional stress of performance does not become a reflexive obstacle. This process is inherently challenging primarily because it goes against our most natural reactions. Basically, we are naturally conditioned to contract our muscles when preparing to perform a demanding physical activity, and it is this specific tendency that we must combat in order to be ready to perform professionally. That is why we need to work intellectually to develop alternative automatic reactions that allow us to navigate these natural scenarios.

#ScaraMuzza