staccato + tenuto

TC3

Okay, so here's the relevant notation:

It's generally described as playing them held but with a pulsing feel that still suggests some separation.

I have (had) formal training on saxophone and upright bass. I know how I would approach this on either of these (via control of breath or bow). But I'm at a loss as to how to play it on piano ...

Is this even a thing that can be done on piano? If not, why does the piece I'm currently working on have this notated?! 😃

MRC

TC3 Is this even a thing that can be done on piano?

No, not in the way that it can be done on a stringed instrument or a wind instrument. Sometimes there are things notated in piano music that are strictly speaking impossible to achieve on a piano. We need to look at the context and see if we can, somehow, maybe, achieve the illusion of what is indicated. Depending on the passage in question, pedalling, rubato, control of relative note lengths and control of relative dynamics can all play a role.

One thing to try is to imagine how you think the passage should sound if it were played by a string or wind ensemble, and imagine what difference it would make if this notation wasn't there. This can help you get a feel for what the composer is trying to express with this notation, and may thus help shape the way you play it.

If you could post the passage where this notation occurs, I might have some more precise ideas.

BartK

Piano playing is about making illusions. Of course, it's not really possible to change the way the tone is sustained like on a wind or string instrument. You can only imagine the effect that the composer intended and try to make the illusion of producing that effect.

On the piano, staccato+tenuto usually means a more deliberate and full sound that's sustained for longer but still detached. You can achieve that with a flatter finger and wrist movement instead of a sharp finger staccato.

However, for a half note I don't think it really makes a difference because the piano sound decays (especially a note so high up). Here I think the composer just wants you to keep the note sustained as long as possible but don't connect it to the next one.

TC3

MRC Thanks! Yah, I'll take a picture and share it a bit later this evening.

TC3

Okay, attached. LH, from the fifth measure shown.

Ithaca

TC3 FWIW, I think the idea is that the left hand in combination with the right should provide that pulsating feeling.

TC3

Ithaca I think I see what you mean. I'll give that a try. Thanks!

MRC

Ithaca FWIW, I think the idea is that the left hand in combination with the right should provide that pulsating feeling.

Absolutely. Always look at the whole picture.

A nice thing about this passage is that the two hands only play together on the first beat. This makes it easier to play differently with left and right. To see how it feels and sounds, you might try:

RH louder, LH softer
RH softer, LH louder
RH shorter, LH longer
RH longer, LH shorter
Once you've got comfortable playing the passage in all these ways, you should be able to find a good combination that creates the desired pulsating effect.

Ithaca

MRC TC3 I tried it last night, after posting. Even though I know what it should sound like - I used to play the flute (and the oboe in a pinch), so I know that pulsating feeling intimately - I can't figure out how to make it sound right on the piano.

TC3, do you mind sharing the name of the piece? I'm tempted to search out a recording; I'm wondering if I hear it, then maybe my brain will have a better of idea of what to tell my fingers to do.

TC3

Ithaca It's an arrangement of "Basin Street Blues" from this book. Unfortunately, it didn't come with MP3s, so I don't have a reference.