A lot in this chapter seems close to our modern approach to the piano… it is interesting how quickly pianists were trying to understand and take advantage of the fully developed instrument’s capabilities. The most drastic changes are the use of the entire arm, and avoidance of tension. I was wondering why each successive shift in thinking about the correct physical approach rendered the previous ones obsolete. For example, strict finger movement was abandoned for the wrist and forearm. But maybe the tone quality which results from finger movement without help from the arm could be useful in some contexts. Or, pivoting the arm from the elbow can produce a tone different from a completely free and relaxed one, which might be useful in other contexts. Another similar example is how Deppe insists that all motion should be curved, and flat fingers produce a “lifeless or wooden” sound. But a “wooden” sound could be appropriate in some cases, so it would be useful to know how to reproduce it. I would probably agree with Mason, that the “true touch… has the origin further back in the arm,” and while this may be a good generalization I think there is also benefit from exploring the different gradations of involving the arm for the purpose of having a vast array or tone colors at one's disposal.
I thought Deppe’s description about the aesthetic element of physical movement was interesting, how it should always match the music naturally without breaks, including rests. For me, the starting point is always the music, which should dictate how the physical approach will match the content. If it does not fit, then I would always go first to the music rather than trying to adapt the physical approach since the physical element should always be a natural result of musical material, a process that cannot be reversed.
It might be important to remember that everyone’s own physical approach to playing will be slightly different, so Mason is an particularly good model in that he worked and experimented so much to find the right way to produce the type of sound he wanted... I should try to follow this example more often.
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I also have wondered why when one new technique starts to gain popularity the others become obsolete. I think modern piano technique is beginning to realize the benefits of a variety of techniques, and to not settle on one specific technique, but to incorporate multiple techniques. I think the decision on what technique to use should be what feels most comfortable to the pianist, so long as it convey's their musical goals.
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