It is easy to say that, according to the previously explained perspective, if all the action parts are collaborating then they will form a single piece with the hands and arms. This will only happen if every element sits gently and comfortably on each other, like the stones in a pyramid which just hold the position by being supported on each other.
When we understand that all fingers have to support the weight of the entire arm and forearm on each one of them, then the finger touch starts to make sense and we can start to perceive how we can actually profit from the continuous pull the weight of the arm excerpts against the finger’s gripping attitude. If we are following the right sensations then we will manage to perform with a firm, steady but elastic hand that can walk through the keyboard without shaking the wrists at all.
In the past the maestros use to allocate a coin on top of the students’ wrists to avoid superfluous movements. Without actually performing this anachronism we can still pay attention to our wrists in order to prevent the occurrence of any unnecessary and/or involuntary movements through the focusing and relaxation of those muscles which are not directly involved in the act of playing.
It is obvious that we will never be able to direct the same mass towards our finger tips when using only the finger action as when we allow our arms to get involved. Due to the latter is that we have 5 different movements to use for different purposes. These movements can be used in combination with each other or on their own to achieve different effects and to produce different levels of volume.
Coming back to the finger movement we always have to remember the fingers that are not effectively playing will remain ready to perform by being lifted. This lifting needs to happen naturally and should never be imposed. This readiness will translate into more relaxation and precision. If the lifting is exaggerated it will derive into tension, if it is not enough it will derive into a weakness of touch.
The managing of the weight becomes now the main focus when we consider refining the action; being the key to its mastering the understanding of how we deal with inertia while we perform.
The sensation we need to have in mind is the one we get when we comfortably sit on a sofa with our elbows totally relaxed and sitting on mushy arm rests. The feeling of freedom we get from this illusion should allow us to direct more mass to the tip of our fingers, helping our touch sense when monitoring the surface of the keys.
The balance between a very heavy hand and one that is inappropriately lifted is defined by another feeling: the “resting” sensation. The precision in the attack will be about engaging in the attack for as little time as possible while we prioritize the search for opportunities in which the mechanism remains idle, ready to play, but in total and elastic relaxation. At this point the challenge will be to define the duration of the attack so it never lasts too long and leading the fingers to over-press the keys when it is not necessary.