Oates for Tanger
Wed, 26 Jun 2002
Greater precision, or energy of my fingers.
"We shall conclude these observations on practice, with the following hints. - That a knowledge of fine effects, and elegance of arrangement, is only to be acquired by a certain gradation, which, however, will be greatly accelerated by our being as little as possible conversant with those that are vulgar, inelegant, and
unscientific; and by our being as early as possible introduced to those that are not so.--That there is naturally something so flattering to ourselves, in our first productions in the fine arts, whether in versifying, drawing or fiddling, if I may be pardoned the expression, that unless we exercise on them the more rigid judgements of criticism, and good taste, we shall greatly over-rate their merit: hence the number of musical, as well as other coxcombs.
A young performer would be least liable to be the dupe of this self-complacency, who should repeatedly enquire within himself, whether there be any defect in his production, that can be mended; or, if he prefer the expression, whether it be possible to heighten, or superadd to any of its beauties: by these means, he will make important discoveries, and arrive at greater excellence.
Thus the flute-player, after having reduced a given musical phrase into tolerable good time and evenness of tone, may ask himself - Can there be any greater exactness of time given to any one of these notes? Are they all equally perfect, in respect to tone? Do they possess that quality which the French call perlé, as if the passage had all the roundness, smouthness, and brilliancy of a string of pearls? Can I, by any greater precision, or energy of my fingers upon the holes, produce that beautiful addition to sound, called resonance? What will be the difference of effect, betwixt this passage, done in piano, and forte? Can I play still more piano, without altogether stifling the tone? Is this piano clear and resonant? Does it expire on the ear? Does it possess that softness and sweetness , implied in the word dolce? Are not the upper notes rendered confused, in so great a quickness of succession, by being too strong and resonant? Are they not much more distinctly heard, by the sound being reduced? What will be the effect of beginning this phrase, or passage, very softly, increasing the sound, and then diminishing it? At what part of the the phrase should it be increased and diminished? Are there any certain rules for this sort of management of sounds? But I am insensibly anticipating the little I have in my power to say, on the delicate, but important subject of the next Chapter."
John Gunn, The Art of Playing the German Flute, chapter VII.
Posted at 22:50 #
