Motion of the Piano String

It is only by giving motion to the key, that we can by means of the "end of the hammer" communicate motion to the string and generate sound. This transfer of energy can only be effected during the hammer's brief contact and movement with the string, before the rebound occurs.
Let us thoroughly realize this important fact, that it is only through key-movement that we can produce sound. All energy that shall produce sound, must therefore be delivered to the key before and during the key's descent. This energy must be timed so as to produce the greatest key-speed at the very moment that sound emission is heard. This energy must commence at a moment that corresponds to the place in key-descent where the hammer rebounds from the string

Realizing that our object must be to create key-movement, we shall avoid striking the key as if it were a ball or nail. We shall on the contrary, project our minds to the hammer-end of the key. Our purpose will be, to move the string by means of that hammer-end. The end objective is to play the strings by means of the key.

Now we never dream of hitting or striking the tennis racket, the violin-bow, or the billiard-cue. Instead, we take hold of these tools and use them and this is precisely how we should treat the piano-key.
When we wish to play a note, we must first equip finger end with the device we wish to employ and that is the key. We must take hold of that key, by placing a finger-tip against its surface.This will enable us to realize its weight and resistance through the muscular-sense. Thus realizing the weight of the tool we mean to employ, we must then proceed positively to aim with its opposite end which is the hammer-end.

We must aim with the key, for the key is not to be regarded as a ball, but rather in the context of a racket, cue, or other speed-tool.

With the finger thus equipped, the key will be felt to be but a mechanically provided continuation of the finger itself, an intimate connection and elongation of our body, ending only with the tip of the hammer. We shall feel that it is with that end of this tool (thus under our immediate control) that we have to aim, and create speed in the string.