I think, perhaps we should be considering not weight but potential and kinetic energy. A played finger loaded with a weight behind it has very little potential (and therefore very little kinetic) energy. A finger that is intelligently and strategically placed (so as to create the maximum potential energy) in the instant before keystroke would be a better technique than just crushing your fingers into the keybed, with the weight of your arm. After a key is played, the only weight required is either that to hold that key down so its tone is continued or to provide a pivot point for other parts of the playing mechanism. The correct load(s) is/are to be determined by the individual and his instrument. More is not always better.

I believe it was Anton Rubinstein (and correct me if I'm wrong) who told a young Josef Hoffman, "Play it with your nose, but play it well!"

In other words, he didn't really care what one did to make the sound, just as long as it sounded good.

KISS

Pete

Yes of course. I am known to do that

Yes, it's better to avoid letting weights falling onto the fingers, like the keyflap or so

Regarding support of body weight beside the fingers - I have seen a video of Arthur Rubinstein, where he not only used the support of the shoulders, but the whole body. He literally jumped off the chair for very strong chord playing.

I agree with Pete, as long as it sounds good, it is all ok.
And I also agree with John, that for soft legato playing there is a very relaxed body, shoulders, arms, fingers required. Also to feel the gravity force of the fingers weight in order to produce soft and evenly sound.

[OT] Did you see that video clip of Igudesman and Joo where this happens ? I thought that was rather funny.[/OT]

I agree with cydonia,
unlearning bad technique is very difficult. I'd almost rather my students not practice at all than practice the wrong way. It's hard to "undo."
Less tension in your hand is what it comes down to.

[ ."
Less tension in your hand is what it comes down to.[/quote]

Very good point. Less tension. and does not mean NO TENSION.---

hello everybody thanks for all your replies.

i appreciate

but still i have a problem about many fast chromatic octaves....

here you go, playing 4,5,4,5,4,5,fingers....for a while and perhaps for few years and treated as a dessert for every practice session-including other major works.

and good luck, by all mean dnt injur your fingers..

I disagree - I don't play chromatic octave runs with strict alternating fingers 4 and 5. Because it is not ergonomic to use the 5th finger on a black key and the 4th finger on a white key what would happen this way. Instead, as others wrote already, use the finger 4 for black keys and finger 5 for white keys. Or better, if you have large hands, use also finger 3. E.g., right hand starting from c to the next higher octave: c: 5, c#:4, then 5,3,4,5,4,5,4,5,3,4,5 (next c). This way a lovely legato is possible (unfortunately not for the other notes played with the thumb), and with time it can get very fast too without creating unnecessary tension in the wrist.

sorry Olaf, that was my oversight...4ths on black key only, 5 on white keys eg b and c;e and f.