Playing Priority Number One: Evenness
September 20, 2019
A.B.’s lesson on 8/22/19
First, an example of a playing goal that depends in turn on evenness of sound.
Let us say we want to ‘orchestrate’ a passage, meaning that the piano must be capable of uttering a variety of tone qualities. Timbre change on the piano is most easily achieved as a secondary effect to changes in dynamic intensity of the sound. It is therefore advisable to first be able to level the tonal playing field so that every note speaks with an equal volume, regardless of its pitch range. Its duration, touch, attack, and way of connecting to the next note; all equal. Then, on this base of evenness, we can orchestrate by sculpting a ‘relief’. So, timbre and orchestration at the piano have a prerequisite evenness of sound, then that evenness can then be altered specifically.
If we make a list of important goals in our practicing, it would include both the ability to orchestrate and the ability to play evenly. However, evenness has a priority over orchestration. Some goals simply depend on first attaining mastery in some other goal. Differences among sound, including timbre, cannot be noticed in a constantly changing, uneven tonal environment.
The same dependency on evenness as a prerequisite applies to:
- Having a clearly articulated rhythm.
- Crafting the ‘shape’ of a phrase.
- Revealing the structure of a piece.
- Responding to different emotional states through sound.
Before being able to play a crescendo or a decrescendo we need to have a foreground of – evenness, that makes it clear to a listener that certain notes are getting progressively softer or louder. Anything to do with sound, rhythm, fingering, and interpretation depends first on the ability to play evenly.
Evenness is a complex amalgam of different facets.
- The way one note connects to the next.
- The loudness of the notes.
- The same quality of sound regardless of each note’s duration.
- The quality of the touch, and of the onsets of the sounds.
- The extraction of the same resonance in the sound regardless
of pitch range constant,
These evenness-es must then be combined when two hands are playing together, or whenever there is more than one voice occurring at the same time.
A.B. has a tendency to want to try perfect the tiniest details in a piece before addressing the more general and mundane matter of evenness. This prioritization doesn’t minimize the importance of the details, it just postpones their achievement for just a moment. For once the passage is even, A.B. finds that the details are more easily controlled and perfected.
Another example. Before choosing the ‘best’ fingering, be able to play the sequence of notes evenly regardless of the fingers being used. Then, the final choice of fingering is made in a more revealing atmosphere, so that the effect of the passage is not primarily dependent on the fingering but that rather the effect is clear in the pianist’s mind prior to any particular fingering.
Playing the “correct” notes would seem to be on an equal level of importance to ‘evenness’. Psychologically, though, trying to get the right notes to sound, without first demanding that they sound evenly, has the counter-intuitive effect of adding time to the process of learning the correct notes.
Once the pianist explores evenness, she or he becomes more and more sensitive to when evenness is not occurring. And with this growing awareness, the parallel question evolves: how fine a tolerance should go into setting the standard for the evenness. At what point does the evenness ‘click in’ as factor that brings a passage to life? And related to this is the question: how much of evenness is measurable on a sound meter? How much is dependent on an actual conglomeration of factors that intuitively the ear must be aware of and process?