Non-Legato Conundrum

Non-Legato Conundrum

Non-legato is a common articulation found in a pianist’s pianistic vocabulary.

It goes without saying that non-legato is poles apart to legato, but it is also different to its “shortened” relatives, such as the staccato and tenuto. Staccato, for instance, is more commonly understood and honoured, but non-legato on the other hand can often be misinterpreted or conveniently neglected, since, well, there’s nothing to indicate its presence. No special sign (like the dash on a tenuto note) or anything to, at least, make us feel guilty if we failed to act upon on this discretely nuanced articulation.

And here comes one of my eternal internal questions, that I every so often bring up in gatherings, and it usually goes like this:

“ Hi guys!” (me talking)

“Oh…. Um…. Hi Nikos, we are very…. um… happy that you caaame…”

“How’s things?!”

“Well, not so bad. Yourself? How’s…. um… life?”

“Yeah, not too bad at all. Should a non-legato have its own, special and unambiguous sign?”

Well, most of my partying “interviewees” would laugh and promptly dismiss my question, and, to be honest, I wouldn’t blame them.

Firstly, because this non-legato versus mezzo-staccato, versus tenuto, versus detached-playing extravaganza has baffled one too many pianists since the advent of the modern piano.  Secondly, because, who am I to even ask this juvenile question and, thirdly, because not everything in life should be served on a plate. Right? Sometimes in life we should just do something not because it is just spelled out to us but because it may belong to a customary tradition; that means, in our piece we may just play non-legato because that’s how that particular piece is always being played.

Non-legato on piano Figure 1: From Rachmaninov’s prelude No.3 Op.32; Did Rachmaninov wanted staccato here? Maybe he desired tenuto or mezzo-staccato? Maybe. Who knows? I think he wanted non-legato: very energetically and non-mellowing playing.

Non legato is an articulation in its own right. Even though we can argue that non-legato literally means the absence of legato, however it is not wise to just determine that non-legato articulations are either attached to the staccato or the tenuto denominations.

Here are some of the main points that we should be able to call to mind when we are faced with the conundrum of the non-legato:

  1. Non-legato is indeed a unique articulation. For many pianists and scholars non-legato signifies a group of articulations that are not legato. Read some more about non-legato here.
  2. Non-legato is (obviously) different to staccato, staccatissisimo and any other articulation that includes staccato in its body and, frankly, should not emanate the… staccatiness of the staccatoed
  3. Non-legato is different to tenuto since it does not require the sense of ceaseless compression—as if you were to crescendo a note.
  4. Non-legato is different to portato since there is no need to pronounce a note (more obvious is long non-legato passages).
  5. In non-legato there are normally no slur or dot marks above a note—or any other marks, for that matter.
  6. Non-legato interpretation depends, amongst others, on:
    • Type of passage (non-legato could be articulated differently within the same piece).
    • Composer; It could have a different essénce amongst composers.
    • Provenance of a particular musical interpretation of the same work.
  7. Duration of all non-legato notes within the same passage should be comparable.
  8. If we were forced to declare the precise duration of a non-legato note (be it quaver, crotchet or other) we would say (albeit hesitantly) that it should be held for 80% of a note’s original duration—a bit less and it should linger on the staccato sphere, a bit more and it could be mistaken to leggiero.

 

Copyright © 1st of April 2020 by Nikos Kokkinis

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Staccatissimo and Its Differences to Staccato

Staccatissimo and Its Differences to Staccato

In music we have two similar words to describe two musical pals, the staccato and the staccatissimo.

Each comes with its own notion, of course, but sometimes it is very difficult to distinguish between the two, especially when we listen to a performer playing a piece new to us.

Those two not so well-documented articulations can be used interchangeably depending on context, but also on the composer. Often, it can be hard to separate them even within the works of the same era. Depending on context, their implementation is usually very easy to decide, however.

Here’s an example that the staccato, can be translated differently within the same piece. In the second movement of Mozart’s famous K 545 sonata, we are asked to approach the staccato in a more subtle manner. Notice that in bar 58 of the second movement—the ligature does not exist in the urtext edition—the staccato should have a light and airy feel, almost as if the performer was trying to “featherly” lift the melodic line to the skies in this G major scale.

Mozart k545

However, this time in the third movement of the same sonata the staccato on the semiquavers signals a more exciting moment, longing for the performer to thrill their audience as the piece bears towards its finale:

Mozart staccato

In both of those instances the staccato would inevitably sound differently. The performer cannot do much here, since the stories of both movements are contrasting. The performer should just let themselves go, and would feel adrift by the music, since the composer himself dictates the performance of this articulation through the speed, the rhythm and the gestalt of the sound of this passage.

Next, I compare Mozart to an eminent composer of the 21st century; a composer that has made his mark in the musical zeitgeist of the era, has infused his musical style widely and influenced one too many composers with his genius: me. You: (?) The piece I use in the example below is the Little Knight’s Horse from my collection of pieces Scenes From A Child’s Mind, that you should buy at once if you want to become an amazing pianist! ◔_◔

On we go. In the K 545 sonata, the staccatissimo in the urtext edition is vastly different to the staccatissimo in “Little Knight’s Horse”:

Here, Mozart’s staccatissimo compared to a contemporary work—a work played on the modern piano of course, a piano that would have been considered as an imaginary conception in Mozart’s era—will simply sound too different: Mozart’s has a more down-to-earth feel and a more sensible aftertouch, compared to the pointy stacatissimo pertained to the style that Little Knight’s Horse wants to achieve in its unconstrained-type of sound.

Below, Mozart’s staccatissimo is in actuality a more exciting staccato; often Mozart wrote staccato, but wrote the word “staccatissimo” next to it to simply imply that the passage is still staccato, but… even more staccato:

Mozart staccatissimo

The staccato on Little Knight’s Horse, however, is more forceful and not as tender as it would have been on Mozart’s delicate Keyboard instruments; it requires a more abrupt sound and longs for today’s mighty-sounding, rigidly-manufactured piano:

staccatissimo

So, what is the true difference between the two in mathematical terms, I hear you ask. Well, If I was forced to answer this today, and only if my life was depending on it, I would just say that “staccatissimo is when you hold a note for equally or less than a quarter of its original value”. And yes, it would just be simple to say that it is a shorter staccato, but always bear in mind that it really depends on the context.

I hope this makes sense. If it doesn’t, well, it doesn’t matter. This is just an article, and you won’t learn the piano from reading it, anyway. So, off you go! Go and do some practising already.

Copyright © 29 of February 2020 by Nikos Kokkinis

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What Is Staccato

What Is Staccato

Nothing in music is set in stone, fortunately, and thus reading on paper and trying to make sense of the ever-changing attributes of a musical articulation is no mean feat; tradition passed through the capable hands of an instructor is always paramount here, but various means of passing knowledge are in vogue today, such as trivial articles like the one you are reading right now, but that’s ok. So, please allow me to try to oversimplify the ever-defined Staccato:

Staccato is when a note sounds equal or shorter than half of its original value.

Still, is it always the case that a note that doesn’t sport its full sounding-length is indeed a staccato note?

Staccato differs from non-legato, mezzo-staccato and, of course, staccatissimo, even though it shares with them the same principle of duration-deprivation. However, what makes it different to its siblings and, more importantly, how can we be certain we are articulating it correctly in our piece instead of something else? Let’s find out a bit more:

Main characteristics:

1. To start with, for a staccato note to emanate the aesthetic of shortness it must not carry its full value—that goes without saying, of course, and every pianist would firmly make this assertion without qualification.
2. Then, a note should not sound “pointy” and sharp, because if it does, it would lean towards the staccatissimo sphere; so, yes, staccato is short but not that pointy.
3. The aftertaste of staccato (or aftertouch as we call it) should not linger around but should be prompt. So, pointy is again the word here, and as a general rule, we should avoid playing our staccato notes in that manner.
4. If we were forced to define staccato in “mathematical terms” we would say that it should occupy up to half of the length of a note’s full duration: If, for instance, we had a staccato on a crotchet, it should only be able to divide the crotchet in up to its half—no more, but it could be less. See example below:

staccato in Bach
Like many of my colleagues, in my annotated edition of Petzold’s minuets in G, I support that the
crotchets on the second bar of the G major minuet should be short to facilitate the sense of optimism
that this minuet arguably manifests—the facsimile, of course, does not explicitly indicate this universal editorial preference. Ideally, those notes should be held until we have reached to the midpoint of the note’s length—however, we must make sure here not to play non-legato if our intention is to play staccato. So, let’s see staccato graphically: 

bach staccato 

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Copyright © 1st of February 2020 by Nikos Kokkinis

 

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On Comparing Ourselves to Other Musicians

On Comparing Ourselves to Other Musicians

If music ever makes us feel uneasy or weary, it’s not because of its own “fault”; It will always be because we wanted music to fit our own small-time callings. 

Music is never at fault. It has a life of its own and can never be chained to ambitions by mere mortals, as we all are. Music is the one who decides upon us, I’m afraid, and not the other way around. Music by itself never traps you. It will never set you up for a trick or make you feel vulnerable. Music will never fail you. It will always be a most supporting companion.

So, music stops making sense and disappoints, when we expect to tame it and force it to fulfil our needs. And, when music doesn’t do what we want it to do, what do we do? Amongst others, we start comparing ourselves with the others. And the others are no less than mere mortals like us, and they equally compare themselves with others, they have needs and passions, and clashing thoughts, too.

Coming to piano, we often compare our playing with that from people whom we consider accomplished. “Not a bad thing”, a wise and principled teacher might say to his pupil. “You should always look up and compare yourself to the best!” he might have innocently said to his student. But when comparing ourselves to people with accomplishments, accomplishments that we, individually, see important, we are putting ourselves up for inconvenient truths; we will simply learn that we are, naturally, not as good as those people. 

So, the faults that will spring from comparing ourselves with our peers indiscriminately, can be endless; we compare ourselves to people with different life-stories than ours, people that have reached their own limits through their own, unique, musical journey, that we cannot possibly comprehend. We put ourselves against beings that have had a different provenance in their musical lives, and will more certainly have a different ending. That comparing endeavour on our part is arguably not a reasonable thing to do. 

Having said that, however, we can never escape from our humaness. Due to our very nature, we will never be able graduate to full growth, and so we will naturally compare, gloat, hate, gleefully anticipate the failure of our peers, smile horribly to their artistic “defeat”, and all this to be able to play some wonderful music.
Is this horribleness worth it, though?

Oh yes, I think it is. 

Good luck on your musical endeavours

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Copyright © 2020 by Nikos Kokkinis 

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Sitting at the Piano

Sitting at the Piano

In this article we talk about how to sit at the piano, which is one of the most important factors in our quest to conquer pianism.

… At the end of the day, it doesn’t matter how you position yourself to play this wonderful instrument of ours, the piano; Even if you sit at a perfect distance from the keys, on the most eloquent of stools, wearing the most pianistically acceptable of attires and have the most voguish inspiration, if your sound is not up to scratch, your positioning would just look like a fantastical and farcical scene from low-budgeted Hollywoodian knock-off.

I mean, sitting on a piano stool and playing Schnittke’s preludes was never on the agenda when our early ancestors butchered each-other mercilessly for better access to resources, at the dawn of our human species. Natural positions and motions of our bodies were the norm back then as they are now, of course, and in many instances our bodies had to stretch, twist or do all sorts of strenuous positions; like when we had to pick an apple from a tree or bow to enter our low-ceilinged abode. However, all those awkward movements and positions weren’t done in repetition, so as to make a big, heavy wood make some wonderful noise…

Today’s piano, on the other hand, demands from us, performers, to just sit there for hours on end, moving our fingers up and down, left and right, sideways and backwards to create wonderful sounds by artfully manipulating this intriguing piece of wood.

But the question here is: Does sitting properly at the piano really matters?

 

Does the Sitting Position Really Matter?

According to Glenn Gould (my opinion) it doesn’t. Gould wasn’t going to win any sitting at the piano competitions. Still, he was such a masterful pianistic tactician that controlled the piano oh so eloquently, that his legacy will remain forever strong to woe us all.

What I’m trying to say here, is that at the end of the day, the music is what counts. Not the sitting position, nor the length of our fingernails or our mental capacity at the time of the performance. Musical accomplishment is paramount; and nobody ever complained that “this pianist played fantastically, but his performance would have been better if he had a straight back”. To be honest, I must admit that I like Gould’s playing so much, that I wouldn’t like him to change anything in his sitting position and how he corners the piano to achieve his musical goals. I couldn’t care less if he developed the worst kind of lumbar arthritis to play Scarlatti, because his whole, including his, arguably, beaten-up body, was there, present, to create great musics; I think, in all my extravagant writing right now, that he would have agreed with me.

He would have said,

“Yes, Nikos, you are absolutely right, indeed. I do not care about my low sitting position that has hindered my physique for so long, because I care more about the music. Look, all the voguish professors of the piano have always something to say about sitting at the piano, but they never complained about my own sitting position. You know why Nikos, my dearest friend? Because they like my piano playing, so they cannot justify their teachings, however correct may they be. But, they can scold their students to not sit that low… Funny, isn’t it?”

And I would say to him,

“Thanks for agreeing with me Glenn! I promise you that one day I will write a legendary article, on an even more legendary website, that will celebrate your sayings.”

“Thank you Nikos. I’m sure your article would be legendary. And your site will be legendary, as well! Just make sure that the title of your website has something to do with this old instrument of ours, the piano, and stay humble, as you are. But, by the looks of it, you surely will be writing a legendary article since you look no less than a legendary pianist yourself. I do not think you would fail. You seem sincere, thoughtful and a great chap, amongst others. I wish you all the best in your future musical endeavours. You’re such a great guy, and once again, thank you for everything.”

“Thanks Glenn, you seem to be a great guy, as well. Well, not as great as me, of course, but there you go. They can’t be all winners. So long!”

Sitting Position and Interpretation 

So, do I say that sitting position cannot affect interpretation? Well, it can. But as with the famous rock stars that destroyed their voices to sing their soul properly and celebrate their didactical musics, the same applies to the piano; Sitting properly is only good if it helps us perform better. Nothing good will come out of proper sitting if the performer only practises sporadically, or if he doesn’t care about his art as a whole.

Still, even though our personal Ithaca should be to play music at its best, at the same time we should also care about our own wellbeing; we should not cause injury to our bodies, because, at the end day of the day, we need to be fit to keep creating music. But, if I, personally, had to choose between great pianism and painless back I would take the former any day of the week.

So the main thing we need to understand before deciding on our sitting position is that we will have to spend, like it or not, a considerable amount of our lives sitting on that piano bench, provided that we want to achieve some appreciable musical result, of course. The anonymous folk couldn’t have said it better when he was asked on the street “how do you get to Carnegie Hall?” —he wittingly replied “practise, practise, practise.”

So, with that said, here are some general suggestions:

  • Sit by slightly bending forwards, towards the piano; Avoid bending your back backwards, not only to avoid weight imbalance but also to refrain from straining your lower back.
  • Do not sit with a perfectly straight back—well, you had to read it somewhere. Sitting with a straight back only exacerbates any stiffness in your lower back and you lose your balance with the keys; As I implied at the beginning of this article, for millions of years our ancestors never had to sit upright—well, not for too long, that is—So why would you do it? I never sat with a straight back when I played the piano and guess what happened: my back never had any problems. However, every time I had to straighten myself and sit properly at a dinner or an important venue, my lower back started to suffer. So, do not sit up straight when playing the piano. And it looks funny, anyway. Well, take my advice with a pinch of salt, to be honest, because every human body has its own peculiarities. Still, do check out legends like Horowitz; he played by slightly bending forwards. So, keep lower back ever so slightly slouching towards the piano; this way you won’t supercharge your lower back, forcing it to hold the weight of your body or deal with the intensity of your playing.
  • Your elbows should be ideally in front of your belly—hopefully not a huge belly like mine, because you’ll be in trouble—and not hanging by your sides. This way you will have more room to manoeuvre yourself up and down the keys.
  • Wrists should stand ever so slightly lower than the top of your palm when charging the piano; If you sit too high, then the wrists will be higher than the back of your hand, and thus, it will contribute to tonal imbalance when playing chords or demanding fingerwork—some teachers argue that approaching the keys from “above” releases tension to your wrists and allows the fingers to move faster along the keys—I still believe it hinders your intimacy with the piano, if anything.
  • Choose a seat height and stick with it in the long term. Indeed, travel with your own piano bench—Philosopher Marshall McLuhan said that “We become what we behold. We shape our tools, and thereafter our tools shape us.” So.

As I have said one too many times, music is paramount. The sitting position, strong partner as it is of our art, can be the defining factor that separates us from the masses. And, who knows, your inelegant sitting position could contribute positively to your pianistic art down the line.

Good luck.

 

Copyright © 30th of November 2019 by Nikos Kokkinis

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Pianist Magazine releases bumper holiday issue
Includes 2020 Piano Buyer’s Guide and plenty of seasonal scores to learn

Don’t miss out on the fantastic Pianist Magazine bumper holiday issue!

Readers will find the usual 40 pages of sheet music worth over £20. Christmas classics such as Silent NightWinter Wonderland and Angels from the Realms of Glory all feature. For the more classically-minded, there’s Schumann’s Wintertime I, Lyapunov’s Chanteurs de Noël and MacDowell’s Winter. And some.
Each issue of Pianist magazine features masterclasses on hot piano-playing topics. Inside this issue you will find masterclasses on:

  • How to master the tricky passages in a piece, written by Mark Tanner
  • The best technical exercises for beginners and lower-intermediates, written by Graham Fitch (watch his accompanying video lesson, too)

The issue includes three ‘how-to-play’ lessons, where professional pianists guide you through three of the featured scores. Melanie Spanswick discusses Biehl’s For your birthday (Beginner level), Nils Franke addresses Cimarosa’s Sonata C.27 (Intermediate) and Lucy Parham gets to grips with Glinka arr. Balakirev The Lark (Advanced).

Other features inside Pianist issue 111:
– Learn about the Circle of Fifths in our Playing by Ear series
– Win a Korg piano just in time for Christmas
– Teacher help desk: what to do when a student hasn’t practised
– How to improve your sight-reading, from expert Paul Harris

“Pianist is the magazine for people who love to play the piano. Whether you’re new to the instrument or an advanced-level amateur, the magazine offers professional advice, pages of sheet music and step-by-step lessons. It’s like having a private piano teacher in the comfort of your own home. With 40 pages of specially selected sheet music, access to 60 video lessons and a team of experts answering your piano-playing questions, Pianist perfect tool for every piano lover.”

Pianist Magazine is an oasis of the piano. I wholeheartedly recommend it to all my readers. 

Nikos Kokkinis