前一章已探讨过踏板的复杂问题,从而引出了以下新的问题:钢琴是否真的能发出如歌的声调?钠琴是否真的能进行连奏?专家们的结论是不可能。我们暂时把他们的意见放在一边,大胆地假定他们的见解有误。在踩琴板和上述两个“错误见解”之间始终存在着千丝万缕的联系,这是无可怀疑的事,而这一点在前一章里也已经进行了深入的论述了。通过全面或部分发挥和声的作用,或者促使那些未颤动的琴弦进行共振,踏板有许多微妙而有效的途径来来影响声音的质量,但是演奏者并不能永远随心所欲地妥录的掌握好这个分寸,而且在 The previous chapter explored the complexities of pedals, leading to the following new questions: Is the piano really capable of making a melodic tone? Is the sodium can really make a legato? Expert conclusions are impossible. We temporarily set aside their opinions and boldly assumed that their views were incorrect. It is beyond doubt that there is always an inextricable connection between the pedal and the two “wrong ideas”, as discussed in the previous chapter. The pedal has many subtle yet effective ways to affect the quality of the sound by either fully or partially harmonizing it or by forcing the undamped strings to resonate, but the performer does not always have the right command of this Sized, but also in