Fallacy of Finger Lifting

To teach finger-lifting so as to be able to "strike" better, was one of the worst fallacies from piano teachers of the past. This methodology hinders any judging of the keys resistance, and therefore also precludes musical playing because of the uncertainty of being able to set the keys in motion with accuracy.

For quickly repeated notes that involve the same key, do not leave the surface of the key at all. For very soft effects do not even allow the keys to rise to surface-level. Do you have any information regarding the technique used to play a repeated note on the piano?

The technique used to play a repeated note on the piano is called "repeated notes" or "double notes" and involves playing the same note rapidly in succession with one finger or alternating fingers. Here are the steps to play repeated notes on the piano:

1. Place your finger on the key you want to repeat.
2. Rapidly lift and drop your finger on the key, producing a quick staccato sound.
3. As you lift your finger, be sure to release any tension in your hand and arm to avoid strain or injury.
4. Practice playing repeated notes slowly at first to develop accuracy and control, then gradually increase the speed.

There are a few variations of repeated notes, including playing with two or more fingers and playing with different dynamics (soft and loud). Experimenting with different techniques can add variety and interest to your piano playing. Repeated notes are commonly used in various genres of music, including classical, pop, and rock. They can add energy and excitement to a piece of music and are often used to create rhythmic patterns or to build tension before a climactic moment.

If you have already formed the habit of incorrectly pulling up your fingers or raising your fingers before settings the keys in motion, it is best for a time not to raise the tips beyond key-level, until you have formed the habit of taking hold of the key so that you can use gauge the resistance of the key. For a slow succession of notes, the whole arm (or the forearm only) may be moved.
For quicker passages, the hand may be moved. The second species gives hand exertion behind that of the finger, while the arm remains self-supported and permits greater variety of tone-quantity, while slightly reducing playing agility.
For the quickest, finger-movement only should be used which is first species touch.
The first species of touch construction depends on finger-exertion alone, with passive hand and self-supported arm. First species permits the fullest degrees of Agility, but restricts tone-variety to the narrowest limits.