The Act of Timing

Realize that you cannot play any note with musical purpose without such accurate timing. Pianoforte technique is therefore essentially an act of "aiming" or timing the right activities of the limb at the musically right moment during key-descent an accurate timing of the beginning, culmination, and cessation of the needed limb exertions for each note. Solely by such act of timing, can you bind technique and music together.

Question: What role do the fingers, hand and forearm play at the moment of key-descent during Pianoforte playing? In pianoforte playing, the act of striking a key is far from a mere mechanical motion; it is a nuanced, controlled gesture that merges technique with artistic intent. A well-executed note is the result of intricate biomechanical processes involving the fingers, hand, and forearm, orchestrated to serve the musical objective of the piece. Understanding the role of each of these anatomical elements is critical for achieving both musical purpose and accurate timing.

The fingers are the points of contact with the keys and, therefore, are pivotal in determining the velocity and force applied during key-descent. The flexor and extensor muscles of the fingers work in coordination to initiate and control the speed and depth of the key press, which, in turn, influences the timbre and volume of the note. Additionally, the fingers must be adequately arched and aligned to transfer energy efficiently, ensuring that the note is struck with intended precision and clarity.

The hand acts as a stabilizing framework that supports the fingers' actions. The intrinsic muscles of the hand aid in controlling finger movement, providing the required stability for each note to resonate with purpose. Furthermore, the hand's role is critical in chord formations and intervals, where multiple fingers are engaged simultaneously. Through its skeletal and muscular structure, the hand provides the zonal control necessary for executing complex configurations accurately.

The forearm functions as both a lever and a conduit for transmitting energy from the larger muscles of the upper arm and the shoulder. It provides the leverage necessary for dynamic range and facilitates smooth transitions between notes or chords. Through pronation and supination, the forearm also aids in subtle rotational movements that enhance the finesse and fluidity of play, particularly during rapid scales and arpeggios.

At the moment of key-descent, these three components work in a synergistic manner. The fingers initiate the motion, guided by the velocity and force parameters dictated by the musical score and the artist's interpretation. The hand offers the stability and control required to execute this action with precision, while the forearm provides the necessary leverage and fluidity to transition seamlessly to the next note or chord. Moreover, the muscles and tendons involved are activated in a hierarchical, yet almost simultaneous, manner. This action chain commences with larger muscles (found in the forearm and hand) that establish the overall gesture, followed by the smaller muscles in the fingers fine-tuning the movement to impart the exact force and velocity on the key.
In summary, the biomechanics of pianoforte playing are intricate and purposeful, with each anatomical component ( fingers, hand, and forearm) contributing distinct yet integrated functionalities to achieve the desired musical outcome. Mastery over the complex interplay of these elements is essential for any pianist aiming for technical excellence and emotive expressiveness.

1. Regard the pianoforte as consisting of two distinct portions:
   1) the instrument itself, which can be used to generate sound, being the Strings and connected Sounding-board; and
   2) the machine uses the key and its mechanism, ending with the felt-covered hammer.
2. When you move the key down, its other (hammer) end tilts up like a see-saw, and in rising it gives up to the String any motion which you may have succeeded in imparting to the key while you were moving your end of it down.
3. The hammer reaches the String when your end of the key is nearly down, and the mechanism allows the hammer to fall back at that very moment. Any motion you wish to give the String through the hammer must therefore be imparted to it before that moment.
4. You can best become aware of that moment by listening for it, for it is the beginning of the sound. Anything you do to the key after that moment cannot possibly help to make the sound in any way.
5. The strings will however continue sounding (more and more faintly) until you let the key rise, when the descending Damper at once stops the sound.