You mentioned that to avoid gaps between repeated notes, you can play the key at it's lowest height, so that the dampers are still off the string while playing. Is this recommended when playing chords as well (repeated chords or chords with some same notes)? Should you use this technique when playing all music (fast or slow) when legato is required, as in the case when you play a phrase?

-- Troy Atkins (antz12345@care2.com), July 11, 2004

Answers

This "close-playing" technique is not always necessary, eh? If the damper pedal's in use, then it's not needed for legato, though you might still use "close-playing" if the music must be very soft. And sure, why not use it for chords, too? As always, your own judgment must help you decide techniques for various passages. Always keep uppermost in your mind the SOUND that will accomplish the musical purpose.

Thanks for writing!

jb

(By the way. I remember saying this, but not where. Was it "To Hear Ourselves As Others Hear Us"? Or Know Thy Piano"?)

-- James Boyk (boyk@performancerecordings.com), July 12, 2004.

Please do not start a new thread with each response on the same topic! Just add to the existing thread.

Troy Atkins wrote: Thanks for responding. Yes, if the damper pedal is in use, then "close-playing" is not necessary, unless the music must be played very soft. That makes sense, because the hammer is close to the string when you are "close- playing", so it will sound softer. But, the question I'm really trying to ask is: Should I use this technique for all my phrasing or should it be used selectively? If it should be used selectively, then when is the best time not to use "close-playing"? When the music is fast and loud? Is it ok to mix it while you are playing, or is it better technique to stick with or without "close-playing" throughout the musical composition?

This is getting too complicated. I guess I think we should use it when we need it for help with softness or legato; and not when we don't need it. After all, the "closeness" of playing is just one of many many factors that add up to determine how we play a passage. (By the way, do you have a good teacher, wherever you are? These are really questions for him or her.)

-- James Boyk (boyk@performancerecordings.com), July 13, 2004.