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The one who could play the trill perfectly might not be able, under any circumstance, to play an arpeggio with the requisite smoothness and true legato demanded, while the student who found the trill impossible possesses the ability to run arpeggios and cadenzas with the fluency of a forest rivulet.
A scale to be brilliant and powerful must not be too rapid. Every note must be round and full and not too legato rather a mezzo legato so that single tones, played hands together, shall sound like octaves. One of the most difficult things in rhythm, is to play passages where two notes alternate with triplets. Scales may be practised in this way alternating three notes with two.
He is said to have a glorious LEGATO just the very thing for the VARIATIONS." "Indeed?" said Maurice with a well-emphasised dryness. His tone nudged Dove's memory. "By the way, all congratulations, of course," he hastened to add. "Never heard you play better. Especially the MENUETTO. Some people sitting behind me were reminded of Rubinstein."
The pupil was instructed to go through these exercises first staccato, effected by a free movement of the wrist, an admirable means of counteracting heaviness and clumsiness, then legato-staccato, then accented legato, then pure legato, modifying the power from pp to ff, and the movement from andante to prestissimo.
Beethoven, who gave Czerny some lessons on the piano, made him pay particular attention to the legato, "of which," says Czerny, "he was so unrivalled a master, but which at that time the Mozart period, when the short staccato touch was in fashion all other pianists thought impossible.
Although I heard her play only one or two of her master's minor pieces, and under very unfavourable circumstances too namely, at the end of the teaching season and in a tropical heat I may say that her suave touch, perfect legato, and delicate sentiment seemed to me to bear out the above-quoted remark of M. Marmontel.
The ozone and the exercise and Paddy's legato stride all tended to key up my spirits, and I went along humming: "Bake me a bannock, And cut me a callop, For I've stole me a grey mare And I'm off at a gallop!" It wasn't until I saw Paddy's ear prick up like a rabbit's that I noticed the gun-boat on the trail ahead.
The difficulty of the other Preludes, Nos. 2, 5, 13, 19 and 21, lies in the delicate piano and legato technique, which, on account of the extended positions, leaps and double notes, presupposes a high degree of development. This is eminently a common sense grouping. The first prelude, which, like the first etude, begins in C, has all the characteristics of an impromptu.
Of course the voice must sing from the highest to the lowest note with a continuous legato flow. The movement of the body down with the first three notes and the reverse action, moving up and out on the last three, must be smooth and continuous. If this is done properly the reverse action will give a wonderful sensation of freedom, openness, and the power of low added resonance.
"I have to overhaul my technic once or twice a week, to see that everything is all right and of course the scales and arpeggios come in for their share of criticism. I practise them in legato, staccato and in other touches, but mostly in legato, as that is somewhat more difficult and more beautiful than the others.
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