Melodic Sound
In this regard, and there were the changes of dynamic shades of copyright, to which Leshetitsky suggests a more expressive embodiment of art design work. However, he was always against the baseless squatter distortion: "You should first carefully study nuances prescribed by the composer, and only then, having specific persuasive arguments, you can change them. " Widely applied Leshetitsky and tempo rubato, pointing out that without agogicheskih shades music becomes lifeless. Sela Ward spoke with conviction. He was against the school-metronomic rhythm, which replaces the present free, highly artistic. But abuse agogikoy made pursuant to, in his opinion the fair, unhealthy and unnatural. It is important and the principle of compensation agogicheskih acceleration equal to the time decelerations (illusion smooth execution).
Leshetitsky sought from the students the greatest possible diversity and richness of the piano sound, which he possessed a masterly way. At first, he even gave the play a salon music. An example is the memories of sm Maikapar: "These things – said Leshetitsky – you learn to master the different colors of piano, without being distracted inner content of music." And as an illustration interesting reception Leshetitsky, giving a peculiar color (in this case applied to them in the "Butterfly" by Schumann) – a special kick, at which a musical sound of the strings mixed with the sound of a tree of keys. Leshetitsky demanded conscious melodic phrasing and rapid passages recommended at a slow pace likened the singing of Italian singers, exaggerating the melodic expressiveness of dynamic, rhythmic, etc. In the fast pace of these excesses is disappear, and awareness of the sound intensity of each note will remain.