Waterbury evening Democrat. [volume] (Waterbury, Conn.) 1887-1895, 1894-05-24
THE IEET HAND.
Its Claims Are Frequently Neglected, Espe.
cially In Playing the Pianoforte.

Its Claims Are Frequently Neglecteos Espe-
cially In Playing the Pianoforte.
It is often found that the bass part is
neglected to very large extent in
pianoforte music, except in those cases
where it is to be taken with the right
hand, and although neglected when
convenient it is sometimes resource if
danger is at hand. When an effective
and brilliant passage is being executed
by the right hand, the claims Of the left
hand are frequently overlooked, yet il
this same brilliant passage is progress
ing with less desirable interest, and
there is danger Of failure, resort is
taken to the left hand, which is sudden
1y brought out with unaccountable prom
inence in the hope that it may COM
pensate the deficiencies of its less fortu-
nate neighbor. How often also does
student hold on q chord in the left hand
with a tight grasp three times longer
than it's correct value if an awkward
and difficult passage in the right hand
has to be overcome? By doing SO they
feel that there is something to seize
hold of in this calamity, as it has an in
clination to give feeling of steadiness
to the right hand. Such resources should
be strictly avoided. Chopin said that
the left hand ought to serve as a ''chef
d'ochestre to the right hand" by which
he probably meant that the left hand
should beat time regularly in spite of
the liberties taken with the right.
On no other instrument of music is
the inequality of the strength of the
hands more apparent than upon the pi-
ano. The left hand of the players upon
stringed instruments has to do the
greater share of the work, and in wind
instruments the amount of tone pro-
duced must necessarily be the same in
both hands. When chords are played on
the organ, either forte or piano. the de-
gree of sound produced mot the char
acter of sound) is the same in both hands,
and in all loud and brilliant parts the
passages for the left hand are of the
same strength and brilliancy as those
for the right. Likewise, in good string
quartet, the effects of light and shade,
tone and expression, are unanimous
one part does not overbalance nor over
ride another, but all unite to produce
the results indicated by the notes and
signs of expression.
The majority of amateur pianists
make their crescendoS and diminuendos,
where they are marked conformity for
both hands, with their right hand only,
although they have the intention to
carry them out with both and are even
under the impression that they are sue
ceeding. In the same way, all the other
marks of expression, phrasing and style
marks are carefully carried out in the
right hand when marked conformity for
both, but far less so, OF not at all, in
the left hand. 1t is unity in production
Of expression that forms brilliancy.
There are of course portions in all music
where certain parts dominate over 9TH
ers. On the pianoforte this can only be
accomplished by using the greatest dis
erection, especially when the prominent
part and an accompaniment have to be
executed by one hand. If the parts are
not properly balanced throughout, it
alters their progression, which results
in confusion. Should there be only one
prominent part to be played, whether
in the right or the left hand, the other
parts may be subdued as when accom-
panying singer; but, as rule, the sub
DUNG of the accompaniment is too much
exaggerated in both cases, and the beau
tiful harmonies Of the bass, sometimes
the finest parts of the composition, are
passed over indifferently, thereby omit
ting to support the voice Or instrument
If support is given with discretion, it is
more advantageous than an exaggerated
ly subdued accompaniment, according
to The Etudc