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

Blake Proehl

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.

Figure 3.3.2. Exercise chap.1, no. 541

For a More Certain Performance of a Group

Part two of Hummel’s “Art of Playing the Piano Forte” focuses on practical exercises to acquire the “correct and appropriate application of the fingers of both hands.” He is also very focused on making his system of fingering applicable to the demands of the way the piano was being played in the 1820s. His exercises are divided into ten chapters that total around a thousand exercises. There is a great variety with regard to the types of exercises and on whether it is of a musical or simply technical nature. These exercises contain many suggestions as to the use of legato and the prolonged touch in either of the functions so far discussed. Examined in the following sections is Hummel’s use of the prolonged touch, or at least something very close to it, to achieve a greater technical stability and a greater richness in sonority.

On Account of Better Connection

In his introduction to these exercises, he states four remarks that he will be making at times in the subsequent exercises. The third remark is of particular interest with regard to the prolonged touch: "what note, on account of the better connexion[sic] and more certain performance of the group, must occasionally be held something longer than its strict time.” This instruction he states will be indicated by a star. The definition that a note is held longer than its notated length fits the prolonged touch. However, much of what Hummel notates, especially in the first chapter of exercises, is not really the prolonged touch, but rather to make sure the execution of a passage with an interval is legato. Certainly holding the note longer to connect it to the following material will make a legato and give the pianist a more confident hand position. Larger intervals on Hummel’s instrument really do need this extra effort to produce legato. But this is not the idea of the prolonged touch that has been dealt with or established in this research.

Figure 3.3.1. Hummel short remarks2

The following are some basic examples of where Hummel asks for notes to be overheld to produce a legato sound. There are many more exercises that use this technique in a more musical context. Figure 3.3.2 demonstrates parallel broken sixths and figure 3.3.3 contains legato, parallel broken octaves. The interval of a seventh and a fifth is shown in figure 3.3.4 with the first note of the interval overheld.

Figure 3.3.3. Exercise chap. 1, no. 953

Figure 3.3.4. Exercise chap.3, no. 1074

Figure 3.3.5 is worth mentioning since it represents some of the quirks of these exercises. First of all, there is no legato marking, and yet Hummel calls for a legato octave in the middle of the measure. Second, the octave is split between beats one and two rather than how it is usually placed within a beat unit. The third quirk is that each measure starts with an interval of a seventh, but that interval is not notated to be legato. The reason for this curious notation must have to do with the position change the hand has to make at the end of the first beat to the beginning of the second beat. This will allow the pianist to have greater certainty in grasping the next group of notes.

Figure 3.3.5. chap. 4, no. 645

Within this concept of a legato interval, Hummel also puts in another use for the slightly longer touch. Besides creating a legato interval, in certain cases, it also gives greater harmonic clarity or emphasis. Figures 3.3.6 and 3.3.7 both have a chord progression before the exercise begins to show the basis of the material. Both of these cases show a chord progression. Hummel asks for the note to be lengthened within a harmony to emphasize it and allow the harmony to be clearly heard rather than a series of intervals.

Figure 3.3.6. Exercise chap. 3, no. 226

Figure 3.3.7 Exercise chap. 3, no. 157

Richer and More Harmonious

While there are many exercises in chapter one that contain this star, it is not until the second chapter, where the thumb in passed under the fingers or the fingers over the thumb, that he introduces two examples that give a greater understanding of his use of the prolonged touch. In the first example (figure 3.3.8), he gives broken chords with the direction that the “thumb may dwell somewhat longer on the key than the strict time of the note would require, while the other fingers play on.”8 The notated example he gives demonstrate this principle In (a.) the thumbs holds down the note for twice its normal length, but in (b.) the notes that the thumb have are held for the entire time of that chord. A little later in the document, a similar example (figure 3.3.9) is given except instead of the thumb, the little finger is allowed to dwell somewhat longer.

Figure 3.3.8. Dwelling with the thumb on the key9

Figure 3.3.9. Dwelling with the little finger on the key10

With the example from figure 3.3.8, Hummel also gives a more detailed list of reasons to use this technique, stating that “the hand is kept more steady, the performer has a more certain point of support, and the execution becomes richer and more harmonious.”11 The first two points relate to his first explanation about making the performance of a group more certain. By fixating on a single note to find a chord (rather than just an interval as in the previous section), the performer can be more confident in the delivery of a passage. When Hummel attributes this technique to creating a richer and more harmonious execution, this sounds very similar to the descriptions of the prolonged touch. And when examining the (b.) part of each example, that realization matches the long note notation for the prolonged touch that Czerny describes.

However, Hummel is very clear in these examples that only the thumb or little finger is to be held for longer than the note duration. This would be inconsistent with the description of the prolonged touch which requires all chord tones to be held down until the finger is needed again. But this inconsistency is extant in his examples of creating a melodic line from certain note groupings (figures 3.2.8-10). None of them show that the chord underneath the melody is held, despite that several other treatises show a melodic line formed with a sustained chordal presence underneath. Either Hummel simply has a different technique, which is certainly possible, or he assumes the pianist will hold the other notes as well. Even if this is something unique to the Hummel school, the other schools, such as that of Beethoven, may have used this same idea but in a manner consistent with how Czerny uses the legatissimo or the prolonged touch.

The following example, figure 3.3.10, is another exercise from Hummel where, like many other exercises, chords are given to show the basis of the following pattern. The notation of the broken chords is the same as that of the long note notation described by Czerny. The prolonged touch is clearly being prescribed. Furthermore, each chord in the arpeggiated figuration never goes beyond the reach of the average hand, making the effect perfectly possible.

Figure 3.3.10. Exercise chap. 6, no. 1312

Just before figure 3.3.10, there appears a very similar exercise (figure 3.3.11). It also consists of slurred, arpeggiated chords that fit within the span of an octave. However, there are two major differences: it does not contain the long-note notation, and it does not contain the block chords to show what the exercise is based upon. So does this mean it is not performed in the same manner? Hummel’s star that signifies that a note should be held for longer than its normal duration appears on the exact same note where the longer note value of the Czerny’s prolonged touch notation should exist. This passage then should certainly be played with the prolonged touch.

Figure 3.3.11 Exercise chap. 6, no. 713

The chords before the start of figure 3.3.10 are the other difference that must be addressed. In the following example (figure 3.3.12), Hummel uses chords to show the basis of the exercise. Note that the chords are then arpeggiated in the exercise with a star on the first note of the first two chords. So the conclusion is that the arpeggiation should be heard as a chord with the fingers sustaining the chord tones, the prolonged touch.

Figure 3.3.12. Exercise chap. 4, no. 7614

Furthermore, in plenty of exercises, he indicates that fingers other than the thumb or little finger should be held down. This deviates from his seemingly rigid rules and In the following example from chapter two (figure 3.3.13), beats three and four of the first measure are already using fingers other than the thumb and little finger to hold down notes.

Figure 3.3.13. Exercise chap. 2, no. 7815

There is a plethora of examples where Hummel applies the prolonged touch to broken chords and arpeggiation. Figure 3.3.14 illustrates a great variety of broken chord patterns where Hummel asks for the notes to be held until the harmony changes.

Figure 3.3.14. chap. 1, no. 9916

Figure 3.3.15. Exercise chap. 4, no. 9617

Figure 3.3.16. Exercise chap. 4, no. 6918

Figure 3.3.17. Exercise chap. 4, no. 8519

Hummel also uses it on arpeggios that span more than an octave. Figure 3.3.18 is nearly identical to the initial example Hummel uses to give instructions on how to interpret his star marking. Figure 3.3.19 uses the prolonged touch on a part of each beat’s wide ranging arpeggios. Figure 3.3.20 goes as far as to use the technique throughout the arpeggiation.

Figure 3.3.18. Exercise chap. 2, no. 14520

Figure 3.3.19. Exercise chap. 2, no. 24421

Figure 3.3.20. Exercise chap. 2, no. 18222

Hummel also includes exercises especially for the left hand. Some of them appear to be accompanying figures. These passages are of a particular interest because they deal with the chordal pattern going beyond an octave and therefore out of a single hand position. Yet Hummel still prescribes the prolonged touch for these exercises. Figure 3.3.21 calls for only the second and fourth beat to have their notes held due to the leap happening on the first and third beats. Figure 3.3.22 starts with the prolonged touch, but the chord tones must be released in order to proceed to the next hand position at the end of each slur. Figure 3.3.23 sustains only the upper notes of the chord due to the leap from the bass.

Figure 3.3.21. Exercise chap. 2, no. 17623

Figure 3.3.22. Exercise chap. 2, no. 15824

Figure 3.3.23. Exercise chap. 5, no. 3025

Figure 3.3.24 applies the prolonged touch to every half beat but in slightly different ways. The tonic chord is always held throughout since it fits the span of an octave. However, the dominant goes to the interval of a tenth. In the first appearance, the lowest note is held until the hand needs to cross over. In the second appearance, the articulation changes and the application of the prolonged touch is only applied to the last two slurred notes in the triplet.

Figure 3.3.24. Exercise chap. 5, no 3826

The following passages also deal with left hand figures that go outside the range of one octave and therefore do not necessarily allow all the chord tones to be sustained by the hand. These examples also contain long bass notes that look like they call for the prolonged touch, but Hummel does not necessarily prescribe or allow that. In figure 3.3.25, Hummel instructs that the bottom note in the first beat of measure two must be played short. The reason must be to move the hand into position for the rest of the chord. But the bass note is notated as lasting an entire beat and not staccato. The only solution to get a longer lasting bass note is to apply the damper pedal.

Figure 3.3.25. Exercise chap. 5, no. 2327

Figure 3.3.26 certainly looks like the long-note notation for the prolonged touch. However, the reach is quite large and may not be possible for all pianists. Curiously, Hummel does notate for a prolonged touch in this passage, but not on the bass note. It is on the highest note and the position where the hand must leap to that the chord tones are held by the fingers. By indicating this, Hummel appears to acknowledge that the damper pedal must be used to sustain the entire chord, therefore leaving the bass note to the pedal.

Figure 3.3.26. Exercise chap. 6 no. 4628

Certain Groups of Notes That Contain a Melody

Many of the broken chord patterns and the way Hummel notates the exercises demand the use of the prolonged touch to create a musical line. There is a similar pattern that he uses many times and with great variety that helps to understand the many ways to play that pattern. Figure 3.3.27 does not indicate any legato but clearly shows a musical line in the top of the right hand and the top of the left hand with a harmonic part below each line.

Figure 3.3.27. Exercise chap. 4, no. 4129

The same type of pattern can be seen in figure 3.3.28, but there is an extra bit of information in measure two. Despite being the same pattern, the notation changes to only a string of sixteenth notes rather than the carefully written out parts. Immediately, the next measure is back in the original notation. Is measure two to be played in a different manner? In such a short exercise, this is hardly possible. Yet Hummel gives no clue that the first note should be held. The general articulation of the exercise is also not legato.

Figure 3.3.28 Exercise chap. 7, no. 2930

Figure 3.3.29 contains a very similar pattern, but is legato. The melodic line has been notated to be held. The chords before the exercise clarify that the top part is to be considered a unit with a chord below.

Figure 3.3.29. Exercise chap. 7, no. 4531

In the next example (figure 3.3.30), Hummel notates a star on the first note of each beat to indicate that it is held. The articulation is also legato and the chords before the first measure clarify the harmonic and melodic nature of the exercise. Hummel is calling for the prolonged touch to create a musical line.

Figure 3.3.30. Exercise chap. 1, no. 7532

In figure 3.3.31, Hummel uses a notation very similar to the last example. However, when the pattern changes in measures four and five, a different notation is used. Beats two and four are similar to the original pattern and are notated in more of a French style for clarity. This is presumably the same way that same broken chord pattern of the rest of the exercise is to be played.

Figure 3.3.31. Exercise chap. 4, no. 1733

In figures 3.3.32-33, a star is placed on every high note, effectively making those notes a musical line. This is further confirmed by the chords that Hummel gives before each exercise.

Figure 3.3.32. Exercise chap. 1, no. 9434

Figure 3.3.33. Exercise chap. 1, no. 17135

CONFLICTING SIGNALS

Due to the extremely large number of exercises Hummel provides, there exists a wide variety of similar patterns. This variety is helpful since it provides more information on specific patterns, but can also cause confusion due to the sometimes conflicting demands. Some passages call for prolonged touch despite there being no indication that the passage should be played legato, such as the two exercises in figure 3.3.34. Yet, despite appearing to be very similar to exercise 224, exercise 225 does not call for the prolonged touch to be used according to Hummel.

Figure 3.3.34. Exercises chap. 2, nos. 224 & 22536

Figure 3.3.35 appears to be an excellent candidate to apply the prolonged touch to create a musical line from the first sixteenth note to the last sixteenth note of each beat. Hummel does nearly this exact pattern in figures 3.3.27-31. The chords that the passage is based upon even show this type of connection. But the notation does not call for the first sixteenth note to be held and connected to the last. Instead, the second sixteenth note is where Hummel designates the prolonged touch to start.

Figure 3.3.35. Exercise chap. 7, no. 2837

Both figures 3.3.36 and 3.3.37 contain a chromatic line alternating with a pedal tone. Yet Hummel asks for two different executions of them. Despite it not being legato, exercise 204 has the notation to hold each of the chromatic notes longer. This demand becomes increasingly difficult in measure four where the leap is going past an octave. However, exercise 48 also is not legato at first but does not give instructions to hold any of the notes longer despite the pre-exercise material showing a chromatic musical line. Furthermore, in the end of the exercise, there are slurs to show legato and still no star indication is given.

Figure 3.3.36. Exercise chap. 2, no. 20438

Figure 3.3.37. Exercise chap. 7, no. 4839

The largest pitfall of all of these exercise is that there is no musical context to any of them. They don’t have a tempo marking or a descriptor of the affect desired. The way to think about these Hummel exercises, with respect to the prolonged touch, is to view them as options for similar passages in repertoire. It is likely that there will be multiple exercises that match a general pattern, and the performer may then make the best choice based on the notation and musical context of repertoire’s passage.