Part One Concerning Execution in General and its General Requirements sr {332] [have already taken the opportunity to touch upon one thing or another required for good execution, but in order thatthe student can comfortably survey the entire subject, Ihave arranged the various com- pponents of good execution in sequence in the present chapter, and now and then have added some observations which ate perhaps not generally known. & Whoever performs a composition so that the affect (character, ete), even in every single passage, is most faithfully expressed (made perceg- tible) and that the tones become at the same time 2 language of feelings, of this person it is said that he is a good executant, Good execution, therefore, is the most important, but atthe same time, the most dfficul: task of making music. 83 ‘One knows from experience that a composition leaves a very different impression depending on whether it is more or less effectively executed. Mediocre works can be uncommonly improved by a good and expres- sive execution, and on the contrary, the most moving Adagio, poorly _ executed, loses almost all of its effect, or even provokes unpleasant feelings. In the latter instance it can scarcely be believed that one is hearing the same composition which daring a good performance evoked sso much detight322 School of Clavier Playing Composers are to be pitied because they must so often surrender ‘their works to players who have no feeling and sense, for in such cases their aims are either not at all or only half achieved. Ozher artists are more certain of well-deserved applause for they per- form their own works themselves most of the time. $4 333] It becomes sufficiently clear from these few words that execution ‘aust be of the utmost importance for the musician. For even with all his facility in reading notes and in playing," he will never attain his main purpose, which is to move the heart of his listener, without good execu- tion. Whoever possesses both extraordinarily facility and good execu~ tion has attributes which are not only praiseworthy but also rare. §5 ‘Ja my opinion, the following characteristics are particularly typical of ‘good execution: (1) in general, an already achieved facility in playing and note reading, security in rhythm, and knowledge of thoroughbass as ‘well as of the composition to be performed; but in particular (2) clarity of execution, (3) expression of the predominant character, (4) appropri- ate use of ornaments and other devices of the same sort, and (5) genuine feeling forall the emotions and passions which are expressed in music." $6 ‘remarked in §4 that the attributes of a practicing musician do not consist merely in facile playing; nevertheless, a certain previously at- tained degree of the already mentioned facility, and as a consequence, good fingering (see p.129,§1) is, of course, assumed for good perfor- mance. For how should it be possible that tones played too slowly in succession in an unrelated fashion and often inappropriately repeated be able to produce those feelings in the listener which the composer in- tended to express in the composition? Would a masterful oration have its full effect if it were spoken by one who stutters? And even here, the {frequent repetition of single words would certainly not be as. detrimental to the continuity'as a similar defect in music. Is it possible to play with ‘coherence or to execute well without previously attained dexterity?” 323 Chapter Six: Execution believe that the necessity of this requirement has been sufficiently proved and may be regarded as a prerequisite 7 Ik goes without saying that security in chythm is likewise a necessary requisite for good execution so I have not [334] felt impelled to furnish evidence for this. (On this see the entire fourth part of the first chapter and particularly pp. 102~r04.) 58 A knowledge of thoroughbass is indispensable to good execution be- cause without this knowledge, the various rules concerning appoggia- turas and omaments, the required strength or weakness of consonant and dissonant harmonies, and the like, cannot be followed. Among the works in which the theory of thoroughibass is ex- pounded, the following distinguish themselves: C. P. E. Bach’s Versuch ier die wahre Art das Klavier zu spielen, part 2, and Kimberger’s Kunst des reinen Satzes in der Musik, supplement to part r. This laner work already presumes some knowledge of thoroughbass and is therefore especially to be recommended for skilled players.** $9 ‘Whoever reads a poem he does not kmow and which is not completely comprehensible to him would probably find it dificult to declaim every single passage in such a way that a listener possessing good taste would find nothing left to be desired. This is also certainly the case in music. Not until a musician knows @ composition will he be able to play every pact of it with complete skill and with the required expression. Whoever ‘can do this with a composition completely unknown to him is certainly to be envied in this regard; even the greatest masters of art maintain that it is possible in only a very few cases to express the character of a composition which they do not know, that is, down to every last rnuance.**Part Two Concerning the Clarity of Execution §10 ‘The clarity of execution is chiefly dependent upon (1) the mechanical execution itself, (2) the emphasis which certain tones receive, and (3) the proper connection and separation of musical periods (see §23)."” rr 1335] Mechanical clarity requires that even for the most rapid passage as, well as for the essential and extempore omaments, every tone must be played with its proper intensity, plainly and clearly separated from the ‘others. Those who play with lack of clarity either leave some of the tones out completely (the tones are “choked out” or “skipped over”), or at least they are not fully and clearly separated from one another, Sim- ilarly, when the Keys are struck too hard or soft, the execution can become unclear. This is also true ifthe Keys are played in a too detached manner, or ifthe fingers are allowed to remain on the Keys too long. $12 Whoever would read a poem and the like in such a way thet it becomes ‘comprehensible to the listener must place a marked emphasis on certain ‘words or syllables. The very same resource is also at the disposal of the practicing musician. The question which then arises ist What tones are to receive a special emphasis (accent)? It would be difficult to specify every one, but those which are especially to be so treated are: (1) those tones which fall on @ strong beat or on an important part of the measure and (2) the beginning tones of sections of a composition and phrase ‘members.”* Besides these, there are (3) various tones to be stressed in performance which will be discussed in §15 in more detail. | | ' 325 Chapter Stx: Execution What ). ‘weak beats mean has been explained on p.go ff In addition, I would like to remark at this point that for a fine perfor mance, aside from the first and most important note in a measure,’ the second strong beat is also played with emphasis, although not as notice- ably as the first beat which is always more important. Consequently, the following notes are to be played approximately" at the indicated de- grees of strength, without regard for their longer or shorter values. __ (3361 the composer doesnot wis this Kind of realization in certain places, then he must expressly specify the opposite. For SUS Lee le In general, the above rule is only valid for as long as no indica- tion of forte and piano, etc., appears, or until an exception becomes necessary for other reasons. gig. ‘The beginning tone of every period” and the like must be given an even more marked emphasis than an ordinary strong beat. Sicctly speeking, these beginning tones are themselves stressed to a greater or lesser degree according to whether they begin a larger or smaller part ofthe whole, that is, after a full cadence, the beginning tone [ofthe following section] must be more strongly marked than after a half cadence, or merely after a phrase division, etc. Here is an example which serves to illustrate these points in concise fashion| 326 School of Clavier Playing As necessary as itis to place an emphasis on the first tone of a section or plarase member, itis also important to keep the follow ing limitation in mind: only the first tone that falls on a strong. ust be so stressed. The a marked with an o in the sixth should therefore not be [337] struck as loudly 2s the following b, although that section as a whole should be played ‘more strongly than the preceding one. Violations of this are ‘often committed, for a first tone which is only transitory in its importance and marked forte is often played as loudly as the following note on a strong beat. 515 “There are still a variety of single tones which must be played with emphasis. To these, other than appoggiaturas (p.209, §19), belong especially those intervals which are dissonant withthe bass (a), or ‘through which (oy means of a tie) dissonant intervals may be prepared (2), further, syncopated notes (c), intervals*" which do not belong to the diatonic scale of that key, by means of which one has modulated (@)." those tones which are distinguished by their length; highness, and Towness (c), the intervals which become important because of the basic harmony (f), and so forth. NO For what reasons dissonances (a) are to be played with more emphasis than consonant intervals will be explained further be- 327 Chapter Six: Execution low ($32). That syncopated notes should be stressed imme- diately upon entrance, consequently on a weak part of the ‘measure, has already been called to attention on p.102. This species of note is employed, among other reasons, to interrupt for a while an all too great uniformity, [338] and to effect, as it were, a shifting of the normal placement of beats. This goal would not be reached if the first half of these notes we have been discussing were played wealdy and the second half given emphasis. ‘The notes Ihave marked with a « must be played with some- what greater strength $16 Besides the notes which have been specified here, there are still a variety of others which should be accented and for which it would be difficult to establish rules. Moreover, since itis not probable that every keyboard player will always comectly apply the cited rules, [have al- ready made use of the sign » *'*in my easy and short sonatas as an indication of such a stress or accent. For I still believe that the accent which is so essential for good execution, in certain cases can be as litle left up to the discretion of the performer as can, for example, the extempore use of forte and piano or of one of the essential ornaments. Various composers have in the meantime also made use of the same sign over notes which are to be accented; I conclude from this that they are of the same opinion as I in this regard and that they sanction the sign shown above If the word accent were still used today with the same meaning it formerly had (see p.461, note 1) then I would have chosen 2 word for this sign with a similar meaning, 87 Another means of accent, which is to be used much less often and with sreat care, is lingering on certain tones. The orator not only lays more emphasis on important syllables and the like, but he also lingers upon them a litle. But this kind of lingering, when it occurs in music, cannot, of course, always be of the same duration, for it appears to me328 School of Clavier Playing to depend primarily upon (1) the greater or lesser importance of the rote, (2) its length and relationship to other notes, and (3) the harmony ‘which is basic to them, 518 Because it is recognized by everyone, I do not have to provide evidence for the possibility of lingering somewhat longer on a very important note than on one less important. Therefore the question is simply: what are the more important notes and how long can they be held out? I have sought to make known the many notes which can be accented in §13-15 and these [339] are mainly the ones which, depending on the circumstances, can be lengthened. The other tones on which a brief hesitation may take piace must be felt by the player himself, for who is able to demonstrate every possible case? As far as how long a note should be held is concerned, I would like to establish the rule that it should at the most not be lengthened more than half of its value. Usually the holding of a note should be only scarcely perceptible, for example, when a note becoming important enough to receive an acci- ental is already marked by the height of its pitch, or by an unexpected change of harmony, etc. That the following note loses as much of its value as has been given to the accentuated note goes without saying. Holding a note for a longer or shorter time depends also on the length of the note and its relationship to the others, for it should be easy ‘enough to understand that one can linger longer on a quarter note than. ‘ona sixteenth, If shorter note values follow an accented note then a hold may be dispensed with, because in this case the longer note accents itself without assistance. ‘When I said that « hold also depends on the basic harmony, I ‘meant that the hold should be very short or there should be none at all, if through the hold a mistake in the harmony comes about in the bass oF in another voice. By means of some presupposed knowledge of thor- ‘oughbass, it is easy to recognize those cases where a hold should or should not take place. I will only include a few contrasting examples here. At a a hold can be made without disadvantage to the harmony, at +, however, not. w, o (e (peer) ot goat) 329 Chapter Six: Execution In example b fifths would result if one were to lengthen the b by a dotas in exemple c, but even 2 very short hold would not be pleas~ ant here Concerning holds for complete passages, the most needful things will be said below in §65 ff $19 {340] Just as the words: “He lost his life not only his fortune” can have an entirely different meaning according to the way they are punctuated (He lost his life, not only his fortune, or, He lost his life not, only his fortune), in the same way the execution of a musical thought can be made unclear or even wrong through incorrect punctuation, ‘Thus, iffa keyboard player, other than atthe end of a musical period, does not join the tones together well and consequently divides a thought where it should not be divided,” then he makes the same mis- take that an orator would ifthe latter would pause in the middle of a word and take a breath, I have indicated this incorrect kind of division in the following examples by rests. ‘If a musician would play through 2 point of rest in the music without breaking the continuity—in one breath as it were—this would be as faulty and contrary to purpose as if, while reading, one would read beyond the point where a phrase or a sentence ends without inter- ruption. Consequently, the following execution in a would be com- pletely in opposition to musical sense. 2 forte of eee s 7 = Eee Since I do not remember having ever read anything about musi- ‘cal punctuation and its relation to execution in an instructional work on keyboard playing, [ will go into more detail concerning this very important subject for the musical practitioner, for [ am ‘convinced that the following remarks could have some influence ‘on correct (logical) execution330. Sehool of Clavier Playing §20 ‘Answering the two following questions is of particular importanc explanation of this subject: (1) How can one execute a musical thought 341] with suitable continuity and separate two periods from one an- other, without doing injury to the progress of the meter? (2) How does ‘one recognize existing places of rest in a composition? §21 “The requisite means for executing a musical idea with continuity and for separating two periods from one another by means of the éxecuiion are the following: 1. A musical thought which has not been completed may never be vided by lifting the fingers from the keys at the wrong time (er by rests). Therefore, the first examples shown in §19 must be executed as follows: Periods must not be separated even in the bass, therefore the fingering in the following example (a) and the execution which ‘would result from it would not be good. The fingering in b and c is very much better. For moving the fifth finger from one key to another causes a short pause which after the g is incorzect; on the contrary, the first c of the second measure may appropriately be separated from the following c. As subtle as this observation ‘may seer to many, itis all the more necessary to make, since the mistake is so common. In general, the left hand is also usually far more neglected, in this regard, than the right." +2. The end of a period is made more perceptible, if om its last note, the finger is gently lifted from the key and the first note ofthe following period is played somewhat more strongly. Consequently, through this raising of the finger there results a short rest which must always be counted in the duration of the last note of the period, as in b r | i 331 Chapter Six: Execution = o If the composer has himself included a rest after the last note of the period, as below in c, then the above observation is unnecessary because the finger {342] will be Lifted from the key anyway. OF course, even in this case, the last note is given a somewhat shorter duration than its actual value requires. Therefore the execution in d is even more common than that in example c, o ar T gy For a very refined execution, with regard to the lifting up of the fingec, one must take into consideration whether the periods are larger or smaller and more or less joined to each other. The finger is lifted sooner from the key at the end of a full cadence, cor such a conclusive note is played with a shorter duration than ‘when only a phrase member of the composition has been com- pleted. If passage of gentle sensitivity follows a fiery and brisk thought, then both periods must likewise be more carefully sepa- rated than would be necessary if they were of the same character, etc. Yet, deficiencies in this refined type of execution would perhaps be excusable, if only players would not offend so notice- ably against the proper separation of the periods. 922 As necessary as itis to raise the finger from the key at the end of a period, the execution would be just as wrong ifthe raising of the finger ‘were accompanied by a violent stroke, as in example «. ‘One hears this incorrect kind of playing very often, when the phrase division is indicated by the usual sign for a detached tone, as in ¢. For many players have the mistaken idea that a detached tone—as332 School of Clavier Playing one is accustomed to call it in musical phraseology—is to be played with a certain violence. In order to prevent this incorrect kind of perfor- mance wherever possible and at the same time to make the smaller and less perceptible phrase members recognizable, I have made use of @ new sign in my short sonatas, giving the necessary explanation in the Preface to the first part. This sign which I simply call the Einschnitt [phrase division, phrase member, etc.] is shown above in d.*"* It isto be hoped that more composers will soon indicate Binschnitte, especially in [343] compositions for beginners, if they are at all concerned about the clear execution of their works and the propagation of musical knowledge. For ro matter how much can be said about individual feeting, the beginner does not possess it (as well as many teachers) even if he desires very ‘much to apply everything that belongs to a clear and excellent execu- tion.” One must therefore call his attention to them (phrase members) at every opportunity and come to the aid of the weaker ones as much as it is possible to do. To be sure, the sign itself is of litte value, but in teaching one should not forget that the sign 1 always a reminder of the thing itself If it is assumed that the lifting of the fingers from the keys on the last note of a peried is not incorrect but even a necessity, it then follows that, according to circumstances, a necessary liberty in fingering can be used. It is therefore not inappropriate in such ‘cases to strike two keys, one after the other, with the same finger, ete $23 Before I answer the question which I put up for discussion in §20, 1 must make some ebservations in advance, 50 that which follows is more comprehensible. have atten said that a complete composition could be suitably compared to a speech, for as the latter itself may be divided into smaller and larger parts or members, so is this also true of music. A main section of a larger composition is approximately the same as that which is understood as a Complete part in a speech, A musical period (sec- tion), of which there can be several in a main section, would be like that which is called a period in speech and which is separated from that which follows by a dot (). A Rhythnus*” can be compared with the smaller parts of speech which are indicated by a colon (:) or a semi- 333. Chapter Six: Execution colon (:). The phrase member {Einschnit], as the smallest member, is like that which would be separated by 2 comma (,. If it is especially ‘wished to include the caesura** with these, then one would have to compare it with the caesura of a verse (see Sulzer's allgemeine Theorie, article on Einschnitt). [344] Here are examples of every type of the aforementioned places of rest. In the examples marked a the close of a musical section or a ‘complete period is expressed; in the examples marked b the end of Rintimus is made perceptible; ¢ gives examples of phrase members, ‘and the rests in d, which do not permit actual repose, may be regarded as caesuras.* ‘A more detailed explanation of these points of rest and where, for example, they may be used, what basic harmony contributes to their effect, etc., is more a matter for composers. The musical practitioner needs only to be able to recognize them in order to suitably adjust his preparation of the composition S24 Among the points of rest which have been discussed, those which are shorter are naturally fel the least and for this reason I will explain them particularly in greater detail. Itis a certainty that those who are able to perceive a mere phrase division will be able to recognize even more the longer [345] points of rest. If such a phrase member ends with a rest, as in the examples marked c in §23, then it should be perceptible to even334 School of Clavier Playing the dullest senses; consequently, in this case, more signs would be superfluous. However, much more attention and @ much more refined perception is required to find phrase members quickly when they are not ‘separated from one another by rests as in the following examples. More painstaking composers make phrase members in smaller ‘note values recognizable by separating the note on which the vision falls from the following notes. For exampl {3461 The player must immediately raise the finger from the key for notes which are intentionally separated from those following in order to make the phrase division perceptible. But since this type of notation is not possible for larger note values, namely for quarters and the like, as in the following examples (a), then the notation shown in b or ¢ must be chosen. (I have given my reasons for using my own method of showing this in §22. The 335 Chapter Six: Execution notation in ¢ may mislead some beginners into making mistakes in counting.) $35 One of the best ways of learning how to find pirase di ‘making oneself aware of whether a composition begins with a full ‘measure or with two, three, or more eighth notes, or other note values (within an upbeat), because for the most part the phrase divisions fall on the same beat throughout. When the composition begins with an eighth note as an upbeat (as in 2), then all the following phrase members will commonly begin with the last eighth note of a measure, ete ® 4 a) o 2 z £ —— sepia oh Nevertheless, this criterion is not always reliable, for in order to bring more variety into the whole, composers are accustomed often to place phrase divisions on other parts of the measure in longer [347] composi- tions. Space does not allow for the insertion of examples of this type: I refer all those who wish to be further convinced of this to the frst of the sonatas with varied reprises of Bach, among others. ‘The more trained students, who after having played incorrectly ‘must zepeat some particular passage, should be required by their336 ‘School of Clavier Playing teachers to begin only at a phrase division and not at the place where the mistake was made. Thus the student will soon learn to feel what must be played as one unit and what therefore should not be separated, or what parts can be separated one from the other. More instruction concerning musical punctuation and its re- aquired execution can be found in Sulzer’s allgemeine Theorie io the article Vorirag. As an aid to learn how to feel phrase mem- bers, the author recommends the diligent practice of various ance compositions. Also short songs set forthe clavichord by ood composers are useful for this purpose. Part Three Concerning the Expression of the Prevailing Character $26 If everything that has been taught in the lest two parts is followed in the most meticulous way, it is still not possible to have good execution ‘because the most essential partis missing, namely the expression of the prevailing character without which no listener can be moved to any great degree. This effect, which isthe highest goal of music, can only be induced when the artist has the capacity to become infused with the predominant affect and to communicate his feelings to others through the eloquence of music. Expression is therefore that part of « good execution in which the true master, full of genuine feeling for his art, distinguishes himself noticeably from the average musician, Mechanical skill can ultimately be learned by much practice; only expression pre- supposes—other than mechanical facility—a broad range of knowledge, and above all things, a sensitive soul. It certainly would be a futile en- eavor, therefore, if one were to attempt to enumerate in order every- thing that is required for expression and to specify all of this through rales, because expression depends so much on that which no rule can teach, namely on the individual feelings themselves. Nevertheless, there are (348] some means which can more or less contribute to the strength cening of expression and which to some extent can be put down in the form of written instruction, although it is even in this regard incompara bby better to listen to singers and players of great sensitivity. For as has been said, certain subtleties of expression cannot really be described; they must be heard. 827 ‘The words: will he come soon? can merely through the tone of the speaker receive a quite different meaning. Through them a yearning4338 School of Clavier Playing desire, a vehement impatience, a tender plea, @ defiant command, irony, ctc., can be expressed. The single world: God! can denote an exclama- tion of joy, of pain, of despair, the greatest anxiety, pity, astonishment, ‘etc., in various degrees. In the same way tones by changes in the execution can produce a very different effect. It is therefore extremely necessary to study the expression of feelings and passions in the most careful way, make them one’s own, and learn to apply them correctly. 28 Outside of those requirements mentioned in the two previous paragraphs that are indispensable for expression, I also include (1) the suitable degree of loudness and softness of tone, (2) the detaching, sustaining, and slurring of tones, and (3) the correct tempo. S29 Even with the most painstaking markings, itis not possible to specify every degree of loudness and softness of tone."* The many words we have for this purpose are by far not sufficient for the indication of all possible gradations. The player must himself feel and learn to judge ‘what degree of loudness and softness of tone is required by the charac ter of the music to be expressed in any given case. The adding of forte ‘and piano specifies the expression only approximately and in general; to ‘what an excess would these words have to be added if every note which required a special shading would be so indicated. $30 {349} Concerning the intensity of tone required in any given case, I content myself in remarking that generally, compositions of a spirited, happy, lively, sublime, magnificent, proud, daring, courageous, serious, fiery, wild, and furious character” all require a certain degree of loud ness. This degree must even be increased or decreased according to ‘whether the feeling or passion is represented in a more vehement or ‘more moderate manner. What a number of degrees of loudness are thus required for all this! And now let us consider that in each composition various gradations are again necessary which must all be in a proper__ relation to the whole. A forte in an Allegro furioso must therefore be @ 339 Chapter Siz: Execution ‘great deal louder than in an Allegro in which only a moderate degree of Joy prevails, etc. ‘Compositions of a gentle, innocent, naive, pleading, tender, moving, sad, melancholy and the like, character all require a softer execution. The degree of loudness, however, must exactly correspond to ‘each of the sentiments being expressed and as a result is ifferent in ‘most of the cases just mentioned. As with compositions which are to be played forcefully, other than the strength already due to them [i.e., that which is marked in the music), a still even greater degree for a for tissimo must be possible, and in the same manner, @ piano and pianis- simo should be possible in compositions that are to be played softy. Note 1. The composer often specifies the main degree of loud- ness or softness by the words sempre forte or sempre piano which are placed at the beginning of the composition. The sem- pre, however, should not be taken too lite is only saying that the execution should be soft. Certain musical thoughts, in spite of this, must be suitably modified according to the affect (played stronger or weaker). Note 2. In the application of forte and fortssimo™ I must warn against a very common mistake. Many players strike the keys with such force or press them down so violently in order to maintain the sounding of the tone that (particularly in one~part passages) the tone becomes too high [in pitch] and consequently impure. It is probably for this reason among others, that some persons, of whom I myself know a few, do not value the clavi- chord as much as they should, or even might have an antipathy toward it, [350] because they believe that playing expressively and impurely are inseparable. However, the overemphasis of the tone is for the most part the player's fault or comes from a too ‘weak stringing of the instrument.” Even played with the greatest possible degree of strength, the tone must not go higher in pitch; it is simply a matter of the way in which the key is struck o pressed down. That itis possible, however, to play with expres- sion and not to commit this mistake is proved by all really good clavichord players.Se) School of Clavier Playing $31 To specify whether a specific passage must be played somewhat louder cr softer than the preceding and following is utterly impossible; never theless, one can generally assume that the livelier parts of 2 composition ccan be played louder and the tenderly singing, etc., parts can be played softer, even if in the first case no forte, and in the second, no piano has been indicated. When a musical thought is repeated, then itis custorn- ary to play it sofly the second time, provided it has been played loudly the first. On the other hand, a repeated passage may also be played louder, especially when the composer has made it livelier through elab- trations. in general, one must even play single tones of importance with ‘more emphasis than the others. sa Good taste has made it a rule that dissonances or dissonant chords must ‘generally be struck with more force than consonant ones, for the reason thatthe passions should be especially aroused by dissonances.” If one considers this rule particularly with relation to the degree of the disso- nance, it then follows thatthe sharper the dissonance (35t] or the more issonances contained in a chord, the louder must the harmony be played. Yet, this rule cannot and should not always be sticly followed, because otherwise, too much variety is likely to result. Here are some harmonies which are strongly dissonant and must therefore be played with emphasis, i pi Joes je ‘The following chords are less dissonant. Therefore they require more moderate degree of loudness. ea tbe eae SSS ‘That chords which are more or less consonant should be played ‘with varying degrees of loudness is probably too great a subtlety and ‘only a matter for the very skilled player. 341 Chapter Six: Execution $35 ‘The harmonies, by means of which a modulation into a somewhat , unless the composer has presumed that the player would introduce this variation in touch himself. Afterward the staccato ag holds good. 343 Chapter Six: Execution In playing detached tones one lifts the finger from the key when half the value of the note is past and pauses for the remaining period. It goes without saying that tones which are to be played softly can also be detached: (354] nevertheless one hears all detached tones played loudly by some players, without differentiation, quite contrary to cor- rect expression ‘Mistakes are often made with respect to detaching tones, for a number of people are accustomed to striking keys as quickly as possible without regard for the values of the given notes, even ‘though in most cases the finger should remain on the key long enough to take up at least half of the note’s duration. In general, in performance of detached notes, one must particularly observe the prevailing character of the composition, the tempo, the re~ quired loudness or softness, etc. If the character of a composi- tion is serious, tender, sad, etc., then the detached tones must not be as short as they would be in pieces of a lively, humorous, and the like, nature, Occasional detached tones in a songful Adagio are not to be as short as they would be in an Allegro, For forte one can play detached notes a litte shorter than for piano. ‘The tones of skips in general have a more pronounced staccato than the tones in intervals progressing by step, ete 837 The playing of notes which are slurred and yet detached [Tragen der ‘Téne) is signified either as shown in a or by the word appoggiato.** ‘The dot indicates the pressure which every key must receive and by the curved line the player is reminded to hold the tone out until the duration of the given note has been completed wo @ 0, (One should guard against the overexaggeration of 2 tont—al- ready mentioned in $30, note 2—which some call howling.344 School of Clavier Playing $38 “The slurring (binding) of tones is commonly shown by a curved line as in the following examples. If all tones of @ composition or most of its paris are to be slurred, then this manner of treatment is indicated at the beginning by the word legato.” Often curved lines are written only over the first measures and serve to indicate [355] to the player that he should continue to use this form of execution, until the contrary is designated by strokes or rests.** ‘For tones which are to be slurred, the finger should be allowed to remain on the key until the duration of the given note is completely ‘past, 50 that not the slightest separation (rest) results. By the length of the curved line, the composer indicates how many tones are to be slarred together. For example: o ® ‘At a-all eight tones are slurred and in } each group of four tones is slurred. It should be observed, in addition, that the note on which the curved line begins should be very gently (and almost imperceptibly) accented, In example g this gentle emphasis falls (contrary to the rele ‘hich is otherwise to be followed) on the weak notes marked with +, and in hon f4, d, bs, etc, The sign at K signifies that all the notes are to be slurred; nevertheless, the frst, third, fifth, and seventh tones are to bbe very softly marked ‘When there is a curved line over harmonies which are to be slowly arpeggiated, as in the following examples, itis custom- ‘ary, especially in compositions of agreeable character, and the ‘Wee, to let the fingers remain on the keys undl the appearance of ‘the next harmony. For this reason the following measures (ay can 345 Chapter Six: Execution be played as shown in b. However, I would not recommend the overly uncertain notation of a in this case. CH $39 [356] At times some tones should be slurred and others detached. It is ‘customary to signify this type of execution as shown in a. { have given ‘the correct execution in b. The arrangement of note values in c and d ‘would be incorrect. $40 For tones which are to be played in customary fashion (that is, neither detached nor slurred) the finger is lifted a litle earlier from the key than is required by the duration of the note. Consequently, the notes in a are played approximately as in 6 or c, depending on the circumstances. If there are some notes intermingled which should be held out for their full value, then ten. or renuto is written over them (d).*” o @ Bach says on p.112: “The notes which are neither detached nor slurred nor to be sustained are held down as long as one balf of their value.” But taken in general, this kind of playing does not seem to me to be the best, For (x) the character of a composition necessitates a variety of restrictions in this respect; (2) the dis- tinction between the tone which is actually detached and that346 School of Clavier Playing ‘which is to be played in the customary manner is practically abolished; and (3) the execution would probably become too short (choppy) if every note not slurred was held for only half of its value, and consequently the second half would be a rest, as shown above in ¢. Sar When two or more (consecutive) notes of the same pitch and name,* for example, ¢ and ¢, are joined together by a curved line, [357] then only + the first tone is struck and the finger remains on the Key during the uration of the remaining notes." Consequently the tied notes in exam- ple 1 must be held without interruption as in 2. Such tones are called ried or bound (ligatures) and the curved line used for this purpose js called a tie. With respect to the manner of treatment, the enharmonic change can also be placed in the same cate- ‘gory. If tones which are played by means of a single key (such as df and 2) are tied, especially when they are shorter note values or (358) tempos are rapid, usually only the first of the two tones is struck. For example: tat $42, When several notes are tied together, asin the following example, the held (bound) tone would eventually no longer be heard; therefore itis permissible, yes, often necessary in such cases to strike the key agai at times. In a moderate tempo, the ¢ marked by a +, that in the third ‘measure can certainly no longer be heard may again be struck. If the 347 Chapter Six: Execution tempo is very slow, then it would be possible to make use of this liberty in every measure. Ties are very often confused with the siurs mentioned in §38 because they both have the same form. It must be exactly deter- ‘mined whether the two tones with a curved line are to be played on only one or two keys, because the degrees alone are not always a reliable indication, Often tied notes and slurred notes occur in combination, as in examples a and c. I have shown the realization in b and di $43 ‘The particular ways in which 2 heavy or light execution can be brought about have been described in §36 to §42. For a heavy execution every tone must be played firmly (with emphasis) and held out until the very cend of the prescribed duration of the note. Light execution is that in which {359] every tone is played with less firmness (emphasis), and the finger lifted from the key somewhat sooner than the actual prescribed uration. In order co avofd 2 misunderstanding I must also remark that the terms heavy and light in general refer more to the sustaining or detaching of a tone rather than to the softness or loudness of the same, For in certain cases, for example in an allegro vivo, scherzando, vivace con allegrezza, etc,, the execution must be rather light (short) but at the same time more or less loud, whereas pieces of a melancholy char- acter, for example an adagio mesto, con affizione, etc., although played slurred and consequently with a certain heaviness, must nevertheless not be executed too loudly. In most cases, however, heavy and loud are indeed to be combined. ‘Whether the execution is to be heavy or light may be determined (2) from the character and the purpose of @ composition (845); (2) from the designated tempo; (3) from the meter; (4) from the note values used;eee 348 School of Clavier Playing and (5) from the manner in which the notes progress, etc. Besides, national taste, the style of the composer and the instrument for which ‘the composition is written must be taken into consideration, Sad Compositions of an exalted, serious, solemn, pathetic, and similar char- acter must be given a heavy execution with fullness and force, strongly accented and the like. To these types of compesitions belong those which are headed grave, pomposo, patetico, maestoso, Sostenuto, and the like, A somewhat lighter and markedly softer execution is required by compositions of a pleasant, gentle, agreeable character, consequently those which are customarily marked complacevole, con dolcezza, glis- sicato, lusingando, pastorale, piacevole, and the like. Compositions in which lively, humorous, and joyous feelings are predominant, for exam ple, allegro scherzando, buriesco, giocoso, con allegrezza, risvegliato, ete., must be played quite lightly whereas melancholy and similar af- fects particularly call forthe slurring of tones and portato [Tragen der Tone]. Compositions of the latter type are designated by the words con affizione, con amarezza, doloroso, lagrimoso, languido, and mesto among others. It is understood that in all of the aforementioned cases, various degrees of heavy or light execution must be applied. $45 [360] Compositions witich have a more serious purpose such as fugues, ‘well-composed sonatas, religious odes and songs, etc.," call for a heav- ier execution than, for example, certain playful divertimentos, humor- ous songs, lively dances, and the like. $46 Whether a heavy or light execution is to be chosen may also be deter- mined from the tempo. A presto must be played more lightly than an allegro; this in turn must be played more lightly than an andante, etc. In ‘general, the heaviest execution is called for by compositions in slow tempos. 349 Chapter Six: Execution 847 ‘That meter has very marked influence on heavy or light execution, or certaialy should bave, has already been mentioned in passing in the note 1 p.90 f. The following should be noted in this connection. The larger the values of the main beats of a measure, the heavier must be the execution. Therefore, a composition in 3/2 (a), for example, is played more heavily than it would be if it were in 3/4 (8) or even in 3/8 (c). ‘Thus Graun wanted to specify « heavier execution by the meter in ‘example d in combination with 2 faster tempo. « we ® a 1361) For this reason all tones in examples a and d must be played with emphasis and held down for their fll value. In 6 and e the execution must already be lighter and in c and fit must be very light. Even if adagio were written over éxamples c and f, a good player would: not play these tones with as much emphasis as inthe alla breve in a and 4. Moreover, it follows from what has been said that the meters 2/8, 4/8, 3/16, 6/16, and the like require the lightest execution Tncideatally, I should like to note that compositions in triple meters with short note values can be given a sort of comically hopping motion ifthe player accents the first note too strongly. 848 Various species of notes require, without regarding the Kind of meter, a more or less heavy execution. For example, if in a composition there350 School of Clavier Playing ‘occur mostly larger note values, namely whole, half, and quarter notes, then the execution must be generally heavier than if many eighth and sixteenth notes, etc., were intermingled, Dotted notes especially—in addition to the attention which must be given to the proper arrangement ‘of note values as well as to heavy or light execution-—require a very ‘varied treatment according to the context in which they occur. It is customary, for the most part, to dwell on dotted notes longer (and therefore to play the following shorter notes even more quickly) than the notation indicates. *** For example: [362] The realization of dotted notes as shown in b is generally chosen when the character of the composition is serious, solemn, ex: alted, etc., thus not only for an actual grave but also for overtures or compositions which are marked sostenuto, and the like. The dotted notes are executed in this case with emphasis, consequently they are prolonged. For the expression of livelier or more joyous feelings, the playing must be somewhat lighter, approximately as in c. The execution Shown in d is particularly chosen for compositions which are to be played in a vehement or defiant manner or those which are marked staccato." The keys are to be struck firmly, but the fingers should be raised sooner than they would be for places which are to be played with 2 certain soleran dignity, For agreeable and lyric thoughts and the like, dotted notes are prolonged ¢ litle as shown below in e—even though not too perceptibly; in any case they will be played more gently (less accented). Especially in such cases the short notes after the dot are to be played soflly and should be slurred. If second voice occurs with the voice containing the dotted notes, as in f, then the prescribed values are to be retained. 351 Chapter Six: Execution Now and then when several voices are invol er involved, the dotted notes ‘ze prolonged in only one voice and the short notes in both voices are played at tae same time in order that the whole be more uniform. ote Fa het ‘The short rests which take the place of dots are also often pro- longed in compositions of a lively character, and the like, as here in ®. (363) eee? nae « Figures in which the first note is short and the second i: e ond is dotted are slurred without excention and played for the most part in a caressing manner, The first (short) note, of course, 18 f be accented bit the em- phasis should be only a very gent The first note should not be rushed, especial ned, especially in slow tempo, because the melody can easily degenerate into fippancy, of lose its essential roundness if the first tone is played too short, and moreover, if, the dot is transformed into an incorrect rest, as in 6 g Formerly for similar figures, the first note was given a very daradon, Even Agricola sl wre: "When th shone nae comes first and a dot is placed after the second note, then the first note is played as quickly as possible and the remainder is given to the note which is dotted.” Bach, on the other hand, says on p.113:* “The first note should not be done away with too quickly if the tempo is moderate or slow.” hy352 School of Clavier Playing $49, Even with regard to harmony and the progression of some intervals, @ heavy or light execution is required. A composition with many disso- ances must therefore be executed more heavily than another in which for the most part light; Gonsoriant harmonies aré employed. Composi- tions with muckr passage work in general require a lighter execution than those in which many singable sections are found. In particulas, skipping passages are played more lightly than those which move by step, et. $50 In consideration of national taste, the style of the composer and the instrument for which 2 composition has been written, the following should be noted in illustration of $43. [364] A composition which has been written in the Italian na- tional taste requires in general 2 medium (between heavy and light) execution. The performance of a French composition must be lighter ‘On the contrary, the works of German composers for the most part demand 2 heavier and more robust execution. Tn the same way the style of a composer also presumes an individual mode of treatment. A composition of Handel, Sebastian Bach, etc., must be given a more empbatic execution than, for example, ‘a modern concerto of Mozart or Kozeluch, among others, ‘Sonatas for the harpsichord do not require the heavy execution swhich is taken for granted for those composed for the clavichord by C. PE. Bath, “Heavy or light execution, however, must not only correspond 10 the whole but also to every single part of a composition. In a composi- tion of animated character which is to be executed lightly there can appear passages which nobwithstanding the general character of the composition are more dignified and require a heavier execution. If I right express myself in the terminology of painting, then I would say that certain parts must be given light and others shadow, Therefore in fugues, for example, or compositions in strict style, the theme (subject) in particular, as well as the imitative parts must be executed with em- phasis, in order that they be more conspicuous. A majestic all” unisono also requires « heavy and forceful execution, uniess the composer has specified the opposite for certain reasons. 383 Chapter Six: Execution $51 Besides that which has been mentioned in this part, comect te vinced of this, a well-known composition should be played in its proper tempo and then too slowly or too fast immediately afterward. If the tempo is taken too slowly then even the most excellent composition will become feeble or dull; if the tempo is taken too fast, the clarity and at the same time the intended effect are either completely lost or atleast partly forfeited. I have especially noted that compositions which are marked vivace are usually played too fast. Presumably this term, which particularly specifies the kind of execution (p. 106), is incorrectly ap- plied only to the tempo. This must then be the reason that, for example, Graun’s aria (365] So stehet ein Berg Gores, etc, is often played much too fast. This is also frequently the case with compositions marked grave, maestoso, marcia, ete Moreover, I would like to refer to part 5 of chapter 1 with to tempo and addon) tothe notes on te 73 ad p10 that indeed in a number of publications” a Pendul or a Merro- ‘meter has been recommended for a more exact specification of ‘the tempo. Until now, however, only litle use has been made of this means. I therefore cannot help recomménding once more ses urgenty the survey of «composition already suggested on pair