Concentrating on proprioceptive images drives your internal vibration to your instrument, giving life to your musical ideas over your natural breathing as if you would sing them : then your instrument amplifies and projects them around. As soon as your instrument seems forgotten, since you are relaxing yourself on your sound center (the location of which is felt from your appropriate body preparation), you feel as if you were directly plugged to your musical speech : you do not pay attention to the so-called technical problems, and become the actual master of your instrument.
To really enjoy it, you should play soft and full tones in order to better drive the sound emission. The full sensation of your sound requires some progression, beginning with a slow, soft and precise pattern : such a practicing indeed gives time to your vibrating sound to deploy and settle in your voice, enhancing your sensations flow from your belly bottom down to your heels. Then, keeping your sound source located as low as possible, makes you hold your optimal and fat vibration longer and longer. This way, you physically understand how your musical thought can drive your instrument.
[Steinhausen on the psychic origin of technique : in 1905, several months after the appearance of Rudolf Maria Breithaupt‘s Die Natürliche Klaviertechnik, Dr. Friedrich Adolph Steinhausen’s Die Physiologische Fehler und Umgestaltung der Klaviertechnik (“The Physiological Misconceptions andReorganization of Piano Technique“) was published.]
Beginning practice starts with too much expenditure of force. The elimination of too much muscle action is the real basis for developing agility.
While the mind is dominating and determining this goal, the whole arm is “the animated tool“, but always, only the tool.
[Ferruccio Busoni (1866-1924) was the first to emphasize consistently the importance of mental factors in the pianist’s practical work. He presented his ideas in his edition of the Bach Well-Tempered Clavichord (1894).]
Busoni suggests that, until the musical meaning becomes clear, one should not touch the instrument. Because the demands of the keyboard tend to force one to forget about musical meaning, mental practicing away from the instrument plays an important part in the preparatory work.
1/3 – When a stimulus creates excitation, the result is a discharge of impulses. Inhibition suppresses superfluous (or even harmful) excitation. The restraining, coordinating and protective role of inhibition is of utmost importance in the integrative activity of the central nervous system (…)
2/3 – Slow and extremely even playing is indispensable, not only for obtaining clear proprioceptive sensations but for strengthening the inhibitory process.
3/3 – For strengthening the inhibitory process, I recommend practicing pianissimo, extremely evenly, in slow as well as in faster tempos. The student should also be able to regulate both sudden and gradual increase or decrease in volume in any section of the composition and in any conceivable tempo. The ability to do this, plus the ability to slow down and to stop at any given moment, is the best proof of proper balance between excitatory and inhibitory processes.
When a pianist realizes a given musical idea, the tonal image, the auditory stimulation (conditional stimulus), must always precede the motor reaction (unconditional stimulus), in performance as well as in practicing.
The musical incentive has to be a signal provoking the motor activity. Otherwise the latter, the technique, can easily become an end in itself.
Each time an intricate passage is repeated, its execution demands a new adaptation, and so acquiring technique appears as adjustment. Repetition, instead of dull drilling, now becomes a trial solution, a trial always rationally prepared.
During one practice period, several conscious well-prepared repetitions of a troublesome spot in a piece can be sufficient. When we repeat that spot too many times, our attention is weakened and consequently distracted : unconscious repetition would probably obliterate the positive results we had achieved.
(…) the increase of tempo while studying a musical composition should proceed gradually, and this increase must often alternate with slow and very careful playing. The ability to play evenly and the ability to slow down at any point in a passage serve as criteria of precise and sufficient inhibition. (…) Deep legato practicing is extremely useful for strengthening weak nervous processes.
“The full acoustic picture of the music must be lodged in the mind, before it can be expressed through the hands.“ Then the “playing“ is simply the manual expression of something [a pianist] knows.
The Art Of Piano Playing