Piano technique is more than the physical ability to render the printed page
of music accurately; it is the vehicle for interpretation, the key to musical
expression. Movement and meaning are so closely related to each other that the
specific character of the gesture is itself part of the message conveyed. For
example, musical continuity demands physical continuity, it being virtually
impossible to express a quiet, flowing line with either constricted or overly
energetic movement. Likewise, rhythmic vitality can be articulated only through
vigorous action. Technical decisions are thus never made in an artistic vacuum.
But having said this, I must also add that there is no single correct way to play.
Good technical training encourages exploration of a variety of approaches for,
by encouraging flexibility, efficiency, and surety -- whatever the artistic
purpose, performers become freer to follow their imaginations. In short, when
pianists are confident in their ability to create!
something extraordinarily beautiful at the keyboard, they dare to try. And
only by trying can they succeed.

Technique is like grammar; once it is a part of you, you speak without conscious
attention to it. In the same way, technical matters function below the conscious
level in mature pianists. Experimenting first one way then another, pianists mine
their deepest, most intuitive feelings about the music, seeking out a particular
mood, tone color, or expressive nuance. Ultimately their inner musical thinking
triggers the requisite movement so they experience no separation between muscular
exertions and musical goals.

The circumstances of the novice differ radically from those of the seasoned player;
consistent technical training must be made an integral part of the learning
experience. When first coming to grips with the relatively awkward conditions
surrounding purposeful movement at the keyboard, students should be instructed
in a healthy and efficient use of their bodies. Poor technical training slows
their rate of progress and inevitably limits pianistic growth. Clearly, pianists
and piano teachers can profit from a graphic, practical, and comprehensive treatment
of the biomechanics and pedagogy of piano technique, its means and ends, presented
in a cogent, organized manner.

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