The First Principles Of Pianoforte Playing

A complete playing tutorial for self learners or school use.

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	RECAPITULATORY AND SUMMARY	51
	the key, beyond the moment that the latter's full depression is reached, forms the effect of tenuto. The duration of such Tenuto is determined by the duration of such Resting. k) : The effect of legato is induced by transferring such con­tinuously resting light Weight from key to key ; such Transfer­ence being unbroken for each Musical Phrase. I): Weight of less amount than this, insufficient therefore to cause key-depression, may be left resting on the keys without causing either Tenuto or Legato. It is such lightness in resting, that forms the Basis of all STACCATO effects, provided it is combined with an accurately-aimed Promptness in the cessation of the Energy that causes key-descent; for the keys are in this case left free to rebound the moment that Tone-production is completed. m) : Such combination (of light Resting and accurate Ceasing of the act of key-depression) also forms the secret of all great Agility in playing. n): It is futile to squeeze the key upon its bed with the object of inducing Tone; since sound, if produced at all, is given off before the key reaches its full depression. o): It is almost as futile to attempt to obtain good tone by knocking the key; since the concussion here caused at the key-surface forms waste of the Energy intended to create tone, and thus engenders inaccuracy in the tonal-result,—the actual tone obtained not corresponding to the tone intended. p) .- We find (also vide Part III) that instead of squeezing the key-bed, or hitting the key-top, that correct Tone-production de­mands :—that the finger be brought comparatively gently into contact with the key-board surface, so that the Energy requisite to move the key may be there estimated by our sense of key-resist­ance. As the key-resistance varies with each change in Tone-shading, this will lead to the requisite muscular-conditions being almost automatically prompted into existence,—in accurate re­sponse therefore to the dictates of our musical-consciousness as to Time, Tone-amount, Tone-quality, and Duration.