Understanding How to Treat the Key

I believe that certain experiments with sound should be done when studying technique. Once the gestures are acquired to be able to produce different nuances and types of sound, then it should come naturally. It is no coincidence that technical exercises are usually performed in different dynamic registers, alternating staccato, portato, legato, articulated, pressure, etc., as well as in various positions on the keyboard. What I mean by this is that it never happens to me to play thinking about how to physically strike the key; instead, I think about the sound I want to achieve. Then of course, logically, if we want to play light and fast, we cannot think of using depth (affondo), as we would not have the material time to move quickly over the other keys, or alternatively, by staying at speed while using depth, we would obtain a sound that is too loud.

thank you very much

Carlo Zecchi insisted heavily on the concept: "when the sound is right, then the position is right". One should not think about how to treat the key; instead, it can be useful and stimulating to seek the right touch through experimentation. I agree with the concept that at high speeds, one cannot play at the bottom of the key.

for time reasons I am not studying much, but in my opinion knowing how to do something like this without having to spend too much time finding the right position or the right balance is very important, and this is so as not to waste too much time in study. for example, now I enjoy playing Chopin's Minute Waltz and I use the first part of the key to play fast and light, then in the cantabile part I use the key differently all the way to the bottom and I manage to play it almost from a cold start.

Alright. In the cantabile, you must sink in more. Even if it is not weight that achieves the forte, weight helps us to bind and reinforce the cantabile. Casella also says: it is useless to think of playing legato and cantabile if one does not play forte. Always vigilant regarding the duration-intensity proportion of the sound.

This one by Casella is very beautiful and useful.