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title: Speed and Anticipation
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We went back to the Czerny etudes, Op. 799 (?) No. 28 (?). I described how I was struggling with speed on the 16th note
passages. So Sir instructed me to play the etude at a comfortable tempo. I noticed I had experienced more ease with
playing now. With a bit of hiccups (because I was failing to anticipate certain passages of the piece), I had managed
to finish the etude. Then Sir instructed me to play the etude as fast as I could.

He related to me the "Argerich technique"--the hands likened to a praying mantis' limbs, and the fingers swiftly brushing
to hit the keys sharply but providing flexibility in the navigation of the other fingers when playing rapid passages.

Then he told me to play the thirds, and recalled the illusion of "connectedness" of the thirds, given there are "pivots"
where you can play in a somewhat legato manner. This is a fake legato, but it can be convincing enough.

I played the rest of the Czerny etudes which I have played before, and I have never felt so good. It's interesting to observe
the body naturally shaping legato passages when the shoulders are broad and open--which has been pointed out by Sir. I
think this is an adaptation to the geometry of the keyboard being lateral...thus the body being lateral makes sense
when operating on the geometry of the keyboard.

[Add image of Maene-Viñoly curved keyboards here.]
