You cannot refine your touch without refining your ear.
One physical constant that is indispensible for producing rich, nuanced tone is a flexible
wrist.
Josef Lhevinne wrote:
“The smaller the surface of the first joint of the fingers touching the key, the harder and
blunter the tone; the larger the surface, the more ringing and singing the tone.”
It is not always necessary to play physically legato to create the legato sound. In fact,
efforts to connect notes physically may make the melodic line less smooth than by
playing it non legato (naturally, with the help of pedalling).
Whereas Liszt reached new horizons in matters of velocity, Debussy raised the level of
awareness of touch control to an unprecedented height.
The more notes that are struck simultaneously, the more important the issue of voicing
becomes, particularly in loud playing. Nothing on the piano sounds more vulgar than a
loud chord in which all the notes shout indiscriminately.
In classical textures the highest note of the chord is almost always the melodic one and
needs to be highlighted.
Phrases cannot sing without the pianist listening between the notes.
Chapter 2 – Technique
I believe that two pillars form the foundation of good piano technique ... the “economy
principle” requires the pianist to be economical in his movements, not to use a bigger part
of his body when a smaller part will suffice. This formula must address musical needs as
well as technical ones.
The “extension principle” requires us to regard each of the various segments of our piano
playing anatomy as the continuation of the adjacent parts, with each individual unit
always ready to support and share the work with the others.
The hand becomes the guardian of the position. Excessive and prolonged stretching is, in
fact, a frequent cause of hand injuries.
Make transitions or leaps smoother by preparing for them as early as possible.
The pianist should adjust the position of his body to give more room to the hand if it
moves towards the middle of the keyboard.