Hi, I have started watching the videos on how the piano works and, besides complimenting you, I would like to ask if it is possible to explain what you mean (video no. 6) when you talk about playing on the escapement or pearly touch... do you perhaps mean that one must play on the first part of the key and not at the bottom with suspension of weight, obtaining a detached sound? In fact, I take the liberty of giving you an idea for discussing how to handle the key in future videos on piano technique. thanks henry
In jeu perlè, the fingers fall with their own weight without participation from the forearm. Wrist always soft. The falling of the fingers by gravity causes a small "slap" on the key and the hammer sounds even before the key has reached the bottom. This happens because the escapement lever receives a little nudge and launches the hammer upwards against the string, almost without the need to "escape" completely. Hence also playing "sur l'échappement". A particular sound, gentle, crisp, very suitable for certain passages in Debussy's music. I use it in the last variation of the second movement of the Appassionata. Everything becomes uniform and light, but without loss of clarity. It is a bit like speaking softly from a distance and articulating the lips very clearly. I saw on Sky television, András Schiff playing Bach's French suites using this technical "mode" a lot. Hand very free. Furthermore, in Bach, it can help to diversify the voices.
Studying Op 10 no. 1? I wouldn't say so, it is all on the forte. Playing on the escapement means letting the fingers fall with the help of gravity and no participation from the arm muscles. Achieving a forte with this technique is not possible. It is used very often, as Paolo correctly told you regarding Debussy.
so how do I play loudly? or how do I use my arm muscles? for example, to play loudly I feel that I also use the triceps of my arm and I apply more force on the keyboard, but I don't know if I am on the right track. What do you think? bye Fabio
But of course ..the arm and the shoulder help. It is unthinkable to use the strength of the fingers on the tenths!!! Steady fingers and rotation will help the execution. But not only that. You must be on the positions, as I have already said, think not as 1245, but as 2451.
Now, you are probably studying slowly. The slow tempo must have more supports. Gradually, increasing the speed, you will find the anchorage on the main accents, which will benefit from this greater importance of energy. One cannot find the right balance immediately. It is certain that at speed, the notes between one accent and the next benefit "automatically" while the next support is arriving. One must know how to find this calm exchange of energy between accented notes and "passing" notes, without these
