Exposition

The Prolonged Touch: Finger Pedaling and Legatissimo in Classical and Early Romantic Piano Music (2020)

Blake Proehl
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open exposition

About this exposition

The term prolonged touch comes from Carl Czerny and is synonymous with finger pedaling, legatissimo, overlegato, and, in some cases, legato. This was a common technique used by the early pianists who took it out of the practices of harpsichord, clavichord, and organ playing. Its use in piano music declined during the Romantic period and beyond, due to the development of the piano and its sound, the advancement of damper pedal technique, and a more "literal” reading of notation. My research aims to understand how and where in music the prolonged touch was used in Classical and early Romantic piano music. Passages describing this technique were found in treatises and works by C. P. E. Bach, Türk, Milchmeyer, Adam, Hummel, Moscheles, Czerny, and more. From these passages, I examined the ways the aforementioned composers notated or indicated the use of this technique in their compositions. Next, based on what the treatises tell, I organized categories of musical applications of the prolonged touch. And then I gave examples from piano literature to further illustrate their use within each category. Finally, I demonstrated my artistic use of the prolonged touch in Mozart’s Sonata in F major, K. 332.
typeresearch exposition
keywordsplaying techniques, piano, legatissimo, legato, Instruments & Techniques
date24/02/2020
published15/06/2020
last modified15/06/2020
statuspublished
share statusprivate
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urlhttps://www.researchcatalogue.net/view/539727/539728
doihttps://doi.org/10.22501/koncon.539727
published inKC Research Portal
portal issue1. Master Research Projects


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nameCzerny op 500 p1 186
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nameCzerny op. 335 p.8 legatissimo
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nameFigure 2.11. Brahms’ simplified French notation, mm. 1-4
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nameMozart K. 498 I mm.62-68
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nameMozart K 498 III mm.1-4
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nameMozart K. 498 III 58-66
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nameFigure 2.4. Bach’s slurred prolonged touch example
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nameFigure 2.4. Rigler’s slurred prolonged touch example
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nameFigure 2.5. Türk’s slurred prolonged touch
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nameFigure 2.6. Milchmeyer’s legato usage
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nameFigure 2.7. Adam’s slurred prolonged touch in sixteenths
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nameFigure 2.8. Adam’s slurred prolonged touch in triplets
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nameFigure 3.2.1. Adam forming a melody
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nameFigure 3.2.2. Cramer etude 5, mm. 1-3
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nameFigure 3.2.3. Beethoven’s simple notation of Cramer etude 5
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nameFigure 3.2.4. Cramer etude 7, mm. 1-4
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nameFigure 3.2.5. Cramer etude 23, mm. 1-2
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nameFigure 3.2.6. Cramer etude 24, mm. 1-2
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nameFigure 3.2.7. Realization of Beethoven’s instructions for Cramer etude 24

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nameFigure 3.2.8. Hummel's melodic line in groups of three
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nameFigure 3.2.9. Hummel's melodic line in groups of four
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nameFigure 3.2.10. Hummel's melodic line in groups of two
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nameFigure 3.2.11. Fétis on creating a melody
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nameFigure 3.2.12. Czerny on creating musical lines
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nameFigure 3.2.13. Czerny's melodic brilliant passage
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nameFigure 3.2.14. Schubert’s Moments musicaux, D. 780, no. 1, mm. 30-33
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nameFigure 3.2.15. Schubert’s Moments musicaux, D. 780, no. 1, mm. 37-40
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nameFigure 3.2.16. Schubert’s Moments musicaux, D. 780, no. 4, mm. 1-10
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nameFigure 3.1.1 Bach, Sonata III, movt. 3, mm. 1-8
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nameFigure 3.1.2. Cramer etude 15, mm.1-2
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nameFigure 3.1.6. Czerny’s legatissimo in Op. 500, pt. 3
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nameFigure 3.1.4. Czerny and quick arpeggio chords
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nameFigure 3.1.5. Czenry’s brilliant passage of harmony
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nameFigure 3.1.3. Beethoven’s Sonata in G major, Op. 14, no. 2
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nameFigure 3.3.1. Hummel short remarks
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nameFigure 3.3.2. Exercise chap.1, no. 54
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nameFigure 3.3.3. Exercise chap. 1, no. 95
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nameFigure 3.3.4. Exercise chap.3, no. 107
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nameFigure 3.3.5. chap. 4, no. 64
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nameFigure 3.3.6. Exercise chap. 3, no. 22
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nameFigure 3.3.7 Exercise chap. 3, no. 15
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nameFigure 3.3.8. Dwelling with the thumb on the key
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nameFigure 3.3.9. Dwelling with the little finger on the key
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nameFigure 3.3.10. Exercise chap. 6, no. 13
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nameFigure 3.3.11 Exercise chap. 6, no. 7
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nameFigure 3.3.12. Exercise chap. 4, no. 76
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nameFigure 3.3.13. Exercise chap. 2, no. 78
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nameFigure 3.3.14. chap. 1, no. 99
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nameFigure 3.3.15. Exercise chap. 4, no. 96
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nameFigure 3.3.16. Exercise chap. 4, no. 69
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nameFigure 3.3.17. Exercise chap. 4, no. 85
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nameFigure 3.3.18. Exercise chap. 2, no. 145
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nameFigure 3.3.19. Exercise chap. 2, no. 244
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nameFigure 3.3.20. Exercise chap. 2, no. 182
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nameFigure 3.3.21. Exercise chap. 2, no. 176
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nameFigure 3.3.22. Exercise chap. 2, no. 158
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nameFigure 3.3.23. Exercise chap. 5, no. 30
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nameFigure 3.3.24. Exercise chap. 5, no 38
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nameFigure 3.3.25. Exercise chap. 5, no. 23
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nameFigure 3.3.26. Exercise chap. 6 no. 46
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nameFigure 3.3.27. Exercise chap. 4, no. 41
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nameFigure 3.3.28 Exercise chap. 7, no. 29
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nameFigure 3.3.29. Exercise chap. 7, no. 45
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nameFigure 3.3.30. Exercise chap. 1, no. 75
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nameFigure 3.3.31. Exercise chap. 4, no. 17
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nameFigure 3.3.32. Exercise chap. 1, no. 94
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nameFigure 3.3.33. Exercise chap. 1, no. 171
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nameFigure 3.3.34. Exercises chap. 2, nos. 224 & 225
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nameFigure 3.3.35. Exercise chap. 7, no. 28
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nameFigure 3.3.36. Exercise chap. 2, no. 204
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nameFigure 3.3.37. Exercise chap. 7, no. 48
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nameFigure 2.1. Bach, Sonata VI, movt. 2, mm. 1-8
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nameFigure 2.2. Moscheles' French style notation
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nameFigure 2.3. Pauer’s French style notation
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nameFigure 4.1 K.332, movt. 1, mm. 1-4
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nameMozart 332 I 23-24
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nameFigure 4.3. K. 332, movt. 1, mm. 33-34
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nameFigure 4.4. K. 332, movt. 1, mm. 48-59
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nameFigure 4.5. K. 332, movt. 1, mm. 84-92
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nameFigure 4.7. K. 332, movt. 3, mm. 31-35
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nameFigure 4.8. K. 332, movt. 3, mm. 48-65
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nameFigure 4.9. K. 332, movt. 3, mm. 12-20
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nameFigure 4.10. K. 332, movt. 3, mm. 112-117
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nameFigure 4.6. K. 332, movt. 2, mm. 1-2
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nameFigure 1.1. Beethoven's arrangement
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nameFigure 1.2. Hummel's arrangement, mm. 8-14
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nameFigure 1.3. Czerny's arrangement, mm. 6-15
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nameFigure 1.4. Hermann's arrangement, mm. 8-14
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nameFigure 1.5. Rösler's arrangement, mm. 6-17
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nameFigure 1.6 Winkler's arrangement, mm. 6-15
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nameFigure 1.7. Engel’s accompanying group
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