Hand Use Application to generate Sound

To enable the finger to do its work efficiently with the key, you must exert the hand downwards upon it, each time momentarily and individually with each finger, during the moment of key-descent, so as to form a stable basis or foundation for its action.

A certain portion of our playing-limb must either be (invisibly) exerted or left lax, so as to form a stable and secure foundation or basis for the exertion or movement of the finger, hand and forearm.
Definite statements are required as to which portions of a limb to leave passive or supported, and which to exert. That alone will help us. Whereas, merely to name the point (joint or hinge) where the limb must be immobile during the act of touch, does not inform us how to produce such immobility ( stable foundation) from which to exert our limb effectively. It is not clear to the player

1. what to do, nor
2. what not to do,

by allowing a certain part of our bodily hinges to remain immobile (for the moment) .

To be told to render a bodily-hinge immobile or "fixed" can only lead to stiffness, and general technical incapacity. The term "Fixation" should not be used by the pianist. Instead the fulcrum at the wrist must remain firm for the hand. It can be harmful and "anchorage" is a term which describes the desired state of the fulcrums. While, as pointed out, both are quite uninformative as to the cause of well doing as to what we have to do to produce such needed stable foundations for our work against the key.

It is clear that without such help from the hand (visible or invisible) there is no foundation for the finger to work against for you cannot apply the "strong" muscles of the finger without also exerting the hand (metacarpus); and without such hand-help, finger action alone is too uncertain and feeble. Also, vice versa, it is obvious that you cannot bring your handforce to bear upon the key, without a corresponding exertion of the intervening finger visible or invisible as the case may be.

NOTE. Indeed, it would be a great convenience, at the piano, if we had a separate hand for each finger. Since we only have one hand available for each set of five fingers, we must be careful to use it five times as often as we do the fingers, since that one hand has to be applied individually, for each of these five fingers. Whenever a so-called "finger-passage" is not clear-cut, or powerful enough, always recall the fact that you really need ten metaphorically speaking. The fault is corrected instantly if you correctly apply the hand-force (not Movement!) each time individually for each finger unless you are holding yourself stiffly rotationally.

In the world of piano playing, the notion that a pianist needs "ten hands" is a metaphor that speaks to the extraordinary complexity and coordination required in this art form. Each finger, while a distinct and independent entity, must act in harmonious concert with the others, akin to the way individual musicians in an orchestra blend their unique sounds into a symphony. Imagine the piano as a vast, uncharted landscape. Each key represents a territory to be explored, and the pianist, with only two hands, must traverse this expanse with the dexterity and precision of a skilled adventurer. But the piano demands more than just two hands can provide; it calls for a multitude of touch, emotion, and intention. This is where the metaphor of "ten hands" comes into play.
Each "hand" in this metaphor symbolizes a different facet of the pianist's artistry:

1. The Hand of Precision: This hand strikes each key with impeccable accuracy, ensuring that notes are played correctly and rhythms are maintained.
2. The Hand of Emotion: It brings the music to life, infusing each note with feeling, from the gentle caress of a tender melody to the passionate crash of a crescendo.
3. The Hand of Agility: This hand navigates the rapid, complex passages, dancing across the keys with swift, graceful movements.
4. The Hand of Strength: It provides the power and force needed for bold, dramatic sections, commanding the piano with authority.
5. The Hand of Delicacy: In contrast, this hand plays with softness and subtlety, whispering through the more intimate, nuanced sections of the music.
6. The Hand of Harmony: This hand understands the relationship between notes, crafting chords and harmonies that weave a tapestry of sound.
7. The Hand of Rhythm: It keeps the beat, the heartbeat of the music, maintaining the tempo and driving the pace of the piece.
8. The Hand of Expression: This hand shapes the phrasing and dynamics, giving the music its unique voice and character.
9. The Hand of Imagination: It interprets the music creatively, adding personal touches and innovative flourishes that make each performance unique.
10. The Hand of Connection: Lastly, this hand reaches out to the audience, conveying the story and emotion of the music, creating a bridge between the performer and the listeners.

Just as a conductor seamlessly weaves together the sounds of an orchestra, a pianist must unify these "ten hands" to create a cohesive and compelling musical experience. Each hand, while an individual contributor to the performance, is part of a greater whole, working in unison to master the complexity and beauty of the piano's repertoire. This is the art and the challenge of the pianist – to become not just a player of notes, but a weaver of musical magic, using not just two hands, but ten.