Judge Key Resistance by making contact with key

Always feel the resistance of the key by means of the process described below. Unless you insist on judging what you are doing during each key-descent, you cannot make music, except by accident. Therefore be sure to feel the key and judge its resistance before setting the key into motion. Moreover, this necessity proves that any system of teaching founded on such misconceptions as key-striking or hitting is incorrect. This would preclude judging the resistance of the key. The 1) movement to the key is always a comparatively slow process, however 2) the movement with the key may on the contrary be a very swift one. This is a distinction not realizable through the eye, to which the correct action may seem like a blow. In other words, the fingers descend slowly towards the key to make the initial contact, and after contact has been made a gradual acceleration of the key occurs towards the keybed. Hence arose, in days gone by, all that fallacious teaching of "keystriking."

Question: What is the dual nature of key attention? Key-attention or technical attention is a dual form of attention:

1. You must feel the key, so as to supply the requisite force to move it with the properly graduated acceleration
2. You must listen for the beginning of each sound, so that you may successfully time and apply the force required before tone is produced during key-descent.

One cannot choose the required force to apply, unless you know how each note should sound in your mind.
It is therefore only through this form of attention.

Attention to music through the piano-key

for every note that you can successfully forge the bond between each conceived musical effect, and its material realization through the key of the keyboard.
Sensing the key is the main factor towards expressing what you musically feel. There never has been any musical playing without the conscious or subconscious intervention of sensing the key.