That instrument is capable of sounds which are loud or soft; but in between there are many, many degrees of sound which may be played. To be able to produce many varieties of sound, now that is what I call technique, and that is what I try to do. Fortunately for us, Horowitz lived long enough to be recorded with advanced modern equipment, so there is no lack of evidence of the great colouristic effects he could produce on the instrument.
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When you are able to do that, when you have real colour in your playing, the interpretation cannot be artificial With the colour, the register in your fingers, you can create an atmosphere without slowing down or speeding up. Clearly, the art of "singing" on the piano cannot be reduced merely to the ability to produce a variety of beautiful sounds.
The matter of unifying these sounds into a phrase is of paramount importance in achieving a singing quality. It is evident that the pianists discussed here admired and were influenced by one another.
However, there was also a different, "external" source of inspiration. He was my ideal, and when I thought of composition I thought of song and Chaliapin. Vladimir Horowitz often phrased in the similar way, sometimes even going against the phrasing and dynamic indications of the composer. His opening of the Scriabin Etude op. Vladimir Horowitz plays Scriabin Etude op.
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Horowitz also greatly admired Chaliapin and often parodied his singing to the delight of Rachmaninoff. But the man whose art had an even greater impact on him was the Italian baritone Mattia Battistini. I was interested in Battistini and Caruso and on the piano I would try to imitate the singers.
That is still true of me today. The most important thing on the keyboard is colour and singing. I would much rather go to the opera than to piano recitals.
At piano recitals I was bored. They play good octaves, double notes, so what? They all sounded the same. Anton Rubinstein , I later learned, told his pupils the same thing. Try to imitate the sound of the human voice, he kept saying. He was the greatest of the bel canto baritones and very free in his style. He was always sliding from one note to another.
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I never heard a singer with such a portamento. I loved it.
Octave technique on the piano - Classic | Jazz piano
I try to do it on the piano. You can do it with the pedals. I do it all the time. When, in changing from one chord to the next, the damper pedal remains depressed long enough, so that there is an overlapping of the two harmonies for a moment, a singing quality, the result of the legato pedalling, is produced. In this connection it should be remembered that the pedal is not merely a means of tone prolongation but also a means of colouring - and pre-eminently that.
At times we can produce strange, glasslike effects by purposely mixing non-harmonic tones. I only need to hint at some of the fine, embroidery-like cadenzas in [the Chopin] Concerto Andante, measures , and Such blendings are productive of a multitude of effects, especially when we add the agency of dynamic gradation Horowitz, whose exquisite pedalling was deeply admired by many of his colleagues, spent much time on it with his pupils.
It was a beautiful effect Harmonies seemed suspended in the air, helped by the slight harmonic clash when the harmonies were pedalled through Differentiation of layers. The feature which is quite unique to the Russian school is the most extraordinary ability to split the musical texture into polyphonic layers of various density and colour. It is especially effective when inner voices are exploited.
There is an intermediate articulation called either mezzo staccato or non-legato sometimes referred to as portato. In music for Classical string instruments , legato is an articulation that often refers to notes played with a full bow , and played with the shortest silence, often barely perceptible, between notes. The player achieves this through controlled wrist movements of the bowing hand, often masked or enhanced with vibrato.
Such a legato style of playing can also be associated with portamento. In guitar playing apart from classical guitar legato is used interchangeably as a label for both musical articulation and a particular application of technique—playing musical phrases using the left hand to play the notes—using techniques such as glissando , string bending , hammer-ons and pull-offs instead of picking to sound the notes. The fact that the same finger is both setting the string vibrating and setting the pitch leads to smoother transitions between notes than when one hand is used to mark pitch while the other strikes the string.
Legato technique to provide legato articulation on electric guitar generally requires playing notes that are close and on the same string, following the first note with others that are played by hammer-ons and pull-offs.
Octave technique on the piano
Some guitar virtuosos notably Allan Holdsworth , Shawn Lane and Brett Garsed developed their legato technique to the extent that they could perform extremely complex passages involving any permutation of notes on a string at extreme tempos, and particularly in the case of Holdsworth, tend to eschew pull-offs entirely for what some feel is a detrimental effect on guitar tone as the string is pulled slightly sideways. The term "hammer-ons from nowhere" [ citation needed ] is commonly employed when crossing strings and relying solely on fretting hand strength to produce a note but on a plucked string.
Many guitar virtuosos are well-versed in the legato technique, as it allows for rapid and "clean" runs. Multiple hammer-ons and pull-offs together are sometimes also referred to colloquially as "rolls," a reference to the fluid sound of the technique. A rapid series of hammer-ons and pull-offs between a single pair of notes is called a trill. Legato on guitar is commonly associated with playing more notes within a beat than the stated timing, i. This gives the passage an unusual timing and when played slowly an unusual sound.
However, this is less noticeable by ear when played fast, as legato usually is. There is a fine line between legato and two-hand finger tapping , in some cases making the two techniques harder to distinguish by ear. Generally, legato adds a more fluid, smooth sound to a passage. Please note all our free deliveries are curbside , which means your item s will be delivered to the curbside, driveway or near your building. All freight deliveries will require a signature for release.
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