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The thin, bent, elastic stick of the bow, with its greater length of sweep, gives the modern player incalculable advantages over those of an earlier age, enabling him to follow out the slightest gradations of tone from the fullest forte to the softest piano, to mark all kinds of strong and gentle accents, to execute staccato, legato, saltato, and arpeggio passages with the greatest ease and certainty.
One corner of Chum's upper lip was curled back, displaying a businesslike if snowy fang. His head was lowered. Deep in his furry throat a succession of legato growls were born. The plain-clothes man knew much about dogs. He knew, for example, that when a dog holds his head high and barks there is no special danger to be feared from him.
Quod nisi Paullinus, cognito provinciae motu, propere subvenisset, amissa Britannia foret: quam unius proelii fortuna veteri patientiae restituit, tenentibus arma plerisque, quos conscientia defectionis et propius ex legato timor agitabat, ne, quanquam egregius cetera, arroganter in deditos et, ut suae quoque injuriae ultor, durius consuleret.
This scale is by far the most difficult of all. To play it with true legato, at any desired degree of force or speed, in any desired rhythm and with any desired touch, is one of the most difficult achievements in all music. Yet the young pupil will literally turn up his nose at the scale of C Major and at the same time claim that he is perfectly competent to play a Beethoven Sonata.
This works out in scales and arpeggios with a variety of touches one hand playing a passage or scale staccato while the other plays legato, and vice versa." Asked if he taught technical material without a book, Mr. Heffley replied: "No, I generally use the Heinrich Germer work, as it covers the ground very satisfactorily; it is compact, concise, and complete in one volume.
The 'cello murmured a gentle undertone; the first violin sang as sweetly and delicately as a bird, her legato perfect. The second violin fingered her notes through, but the voice of her instrument was not heard at all. The leader glanced at her once, with a frown between his fine eyebrows, but Charlotte played dumbly on.
Or compare the light legato movement of "Bird of the wilderness, blithesome and cumberless," with the heavy staccato movement of "Waste endless and boundless and flowerless." Yet, for all its expressiveness, the music of verse can never stand alone. It is too bare and tenuous by itself to win and keep the attention or to evoke much feeling.
The proposition confronting the singer is a difficult one. When he attempts the dramatic he finds that it destroys his legato. He loses the sustained quality of the organ tone, which is the true singing tone, and bel canto is out of the question. This is what is urged against the operas of Wagner and practically everything of the German school since his day.
All authorities, in the first place, admit that Chopin created an entirely new style of playing the pianoforte. Many have pointed out the peculiarities of this style the use of extended and scattered chords, the innovations in fingering which facilitate legato playing, the spray of dainty little ornamental notes, the use of the capricious tempo rubato, and so on.
The student will see some pianist make wonderful progress and will sometimes imitate him without giving the time or effort to study that the other pianist has given. The artist will spend months upon a Chopin valse. The student feels injured if he cannot play it in a day. "Look, I will play the wonderful Nocturne of Chopin in G, Opus No. 2. The legato thirds seem simple?
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