Tag: playing technique
Two or More notes by the Application of a Single Motion Through Time
In today’s earlier blog post (6/23/19), about Albeniz’s Orientale, reference is made (see footnote three, ***) to a forthcoming blog: two or more notes from one single continuous gesture through time. This is it. The specific gesture referred to is one I refer to under the nickname of “heel-toe” (a borrowing from organ foot technique).
Sit in front of a table or desk top.
Rest the crease of the wrists on the very edge of the table.
Flex the wrists vertically so that the following two things happen at once: the wrist remains in contact with the desk as it flexes, and, the remainder of the hands are raised above the desk so that the the finger tips are at the highest elevation above the desk and the parts of the palm nearest the wrist are at the lowest elevation above the desk.
Next: flex (almost snap) the wrist back downwards, causing the hand to
slap back down on the table.
Do this a second time, but with this difference: as the wrist un-flexes, and the hand comes back down, the wrist rises an inch or two above the desk. The result will be that the energy with which the hand slams back down the desk top has increased several fold.
In organ technique, when using the feet on the pedal keyboard, it is often the case that the pedal for one note is depressed using portion of the shoe nearest the heel, and the the pedal for the next note, especially if it lies at a relatively close distance to the first pedal, is depressed using the toe portion of the same shoe. This is simpler to do, and usually faster than trying to use the same part of the shoe for both consecutive notes.
Any single motion, that contains a spatially distinct beginning and an ending part to its course of motion, can occur faster than two single-intended motions. Whether one is playing octaves, or thirds, or chords, or sixths, or even just a series of single notes, “heel-toe” can produce two sounds in not much additional time to what it would take to produce only one such sound. In this, and in other examples of one motion replacing two motions, the single motion develops more force and energy than the single motions. The more energy a motion contains, the more successful it is in executing a specific mechanical effect, especially if one “steps down” or “compresses” the more overt form of that motion into a scaled down, more compressed, version of the motion. By becoming more condensed into a smaller spatial gamut, and attains at the same time a greater physical efficiency. There is no technical problem at the piano keyboard that cannot be solved, or better solved, by the application of a greater deal of energy.