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Use words and sentences in an impulsive, impressive manner without local effort. Articulation must be rhythmically in sympathy with the movement or the rhythm of the song. Even though the voice may flow freely on the vowels, the articulation must not be hurried, nervous or spasmodic. This style of articulation often disturbs the legato flow and spoils the general effect.
It seems as though Mozart had expected something of the kind, for he has given but few and meagre indications of the expression. the notes of which we believed to sound softly legato; the tenderly whispering touched us as with wings of angels, and before the solemn admonitions and questionings of
"In weight playing the fingers seem to mould the piano keys under them, the hand and arm are relaxed, but never heavy. The maximum of relaxation results in the minimum of fatigue. In legato playing, for instance, the fingers rest upon the fleshy part behind the tip rather than immediately upon the tip as they would in passage work when the player desired to have the effect of a string of pearls.
"Adagio molto espressivo, sempre legato," she read next. O, here's another with some more. Andante patetico." And she began to glance over the music. "O dear me," she thought, "he must be terribly modern! It all seems discords to me. Let's try the air. It is very strange, it seems familiar." She began to sing it, and suddenly broke off with laughter.
If the player does not know what the phrase means; how to interpret it, how will he be able to bow it correctly? "And there are so many different nuances, especially in legato. It is as a rule produced by a slurred bow; yet it may also be produced by other bowings. To secure a good legato tone watch the singer. The singer can establish the perfect smoothness that legato calls for to perfection.
It is difficult to get pupils to play a perfect legato who have had years of training with high finger action, something which should be taken up for non-legato and staccato finger work after the more difficult legato touch has been mastered. "The subject of tone production is one which is much neglected by piano teachers.
This process of vowel-making is so smooth and open that a succession of legato vowel-sounds can be produced with only one stroke of the glottis, the vowel sounds flowing into each other, or each, seemingly, issuing from the other. Consonants are formed within the upper cavity of resonance, the mouth, some by the tongue alone, some by the combined action of tongue and lips.
How may the mechanics of playing be distinguished from the larger subject of technic? With what has technic to do? What channel in the study of pianoforte must the pupil develop most thoroughly? Name three epochs into which the subject of touch may be divided. How does weight playing differ from the high angular playing of the Czerny epoch? How should the fingers rest in legato playing?
Riemann phrases the study with a multiplicity of legato bows and dynamic accents. Kullak prefers the Tellefsen metronome 80, rather than the traditional 96. Most of the others use 88 to the quarter, except Riemann, who espouses the more rapid gait of 96. Klindworth, with his 88, strikes a fair medium.
Sing this exercise first semi staccato, afterwards legato. The special object of this exercise is to relax the jaw, the face, and the throat muscles. A stiff, set jaw always means throat contraction. In this exercise, if sung in every other respect according to directions, a stiff jaw would defeat the whole thing, and make impossible a correct production of every high tone.
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