A Pedal Method for the Piano (by Albert F Venino) (1893)

O CO

Z CO

CO

Venino,

Albert

F

A

_pedal

method for

the

piano*

New

ed*

MT

VENINO

PEDAL

METHOD

NEW

YORK

A

PEDAL

METHO

FOR

THE

PIANO

ALBERT

F.

VENINO

UNIVERSITY

OF

TORONTO

EDWARD

_JOHNSON

MUSIC

LIBRARY

IRew

JE&itton

ENLARGED

BY

A KEY

ON

PAGE

50

FOR INSTRUCTIVE PURPOSES

tfeto

EDWARD

SCHTJBERTH &CO.

Uontroii t

FORSYTH

BROS.

C.

DIECKMANN

COPYRIGHTED,1898,BY

EDWARD

SCBTT3ERTH &CO.

TO

PREFACE.

The

amount

of criticism _{great pianists}

have

called forth

would

fill

volumes.

The

touch

x technique, power, individuality, interpretation

and

intellectuality of each have been carefully noted; yet one point has been

left_untouched,

and

that one of the

most

_important, viz.: the _pedal the

life-giving

power

tothe _pianist, that

which

vitalizes a _compositionas _{the sunlight}

vitalizes

dormant

colors, orthe breaththe

human

body.

Is it not time that this

much

abused

and

_continually sinned _against

appendage

of the piano shouldreceive proper recognition,

and

be placed in

the front rank of obstacles in a _pianist's career to _{be thoroughly mastered}?

Many

of the _pianists use the _pedal so _{verydiscreetly} as to often_produce a_dry, lifeless

and

_{uninterestingperformance, while} the _majorityof teachers

do

notinstructtheir_{pupils sufficiently}in its _{use, either} becausethereexists

no

systemorbecause they considerit of small _importance.

This

was

_my

_{personal experience} asa_student,

and

it

was

not until after

several years spentat_{the StuttgartConservatory,}

when

I

went

to _Leschetizky

in_Vienna, that I realized _{the greatpossibilities,} the wonderfuleffects,

which

could be _produced

_by

the _pedal.

How

different the

same

_pieces, sooften heardbefore

and

since, soundedto

me

there!

How

much

_grander

and

_broader,

paintedin

warmer

colors in fact,

endowed

with life!

That

the pedal plays

athus_{importantpart, Liszt,} Rubinstein

and Paderewski have

_{clearlyproved.}

The

_proper use of the _pedal is one of the

most

difficult _{things to} be acquired

by

the _piano student difficult in _itself,

and

rendered

more

sobecause therehas been but imperfectlight

thrown

on the subject

by

those

_gone

before.

Some

_pianists

have

_pedaled

_by

instinct, others have analyzed

and

illustrated its use to afavored

few

of their _followers, but

no

one has left us the_legacyof_{a printed analysis}

and

_{an adequate system} forour_guidance.

I_{have longbelieved that the correct use of the pedal couldbe thoroughly} analyzed

and

systematized,

and

the productof that conviction isthisbook.

DEFINITIONS

AND

RULES,

THE

PEDALS.

1.

The

_{principalpedals of the}

modern

_pianoare the

_piano

_{pedal, orsoft} pedal, for theleft_foot,

and

the

_damper

_{pedal, for the right foot (erroneously}

calledloud_pedal, as it is _{often applied to pianissimoparts).}

2.

_They

_{are pressed}

down

eitherto diminishor_prolongthetone.

3. _(a)

The

soft_pedal acts

_by

_reducing the

number

of _stringsstruck

_by

the

_hammers,

as inthe

_grand

_{piano (anacorda).}

(b)

Or

it softens theirimpact, either

by

interposingastrip offelt, as

in_{the square piano, or}

(c)

By

diminishingtheir_{length ofblow,} as in_{the upright piano.}

4.

The

_damper

_pedal removes the

_dampers

_{altogether (tre corde)}

and

permits the player

by

judicious

management

with the _foot, so as to avoid confusion of sound, to_prolong

_{and augment}

the tone

_by

vibrations of certain

strings in

sympathy

with the onesstruck

and

in _higheroctaves.* This _pedal thus enriches

and

beautifiesthe tone.

POSITION

OF

THE

FEET.

5. _(a)

The

player'sright foot shouldbeplaced sothat the toes onlyjest

upon

the

_damper

_pedal.

The

heelof the foot should remain

firmly

upon

the floor.

(b) Thisrule also applies to the left foot

when

thesoft_pedal istobe used.

When

not usedthe foot shouldbe_placed tothe leftof

it, so that

when

required it can be _placed

_upon

_{the pedal} without _{raising the} heel.

6.

The

_{right footshould always be}in_position overthe

_damper

_pedal. 7.

The

_position of the feet should be _carefully attended to _before beginningto_play.

* _{See Helmholtz'sLectureon}

HOW

TO

USE

THE

DAMPER

PEDAL.

8.

_{Having assumed}

the _{proper position, the pupil should practiceusing}

the_pedal*

_by

a

downward

and upward

motion of the foot.

Care

should

be

takenthat the

up

motionis

made

_rapidly', allowing the pedal to

come

up

all

the

_way,

but without _taking the foot off _{entirely, else} a

_thumping

noiseis

produced.

9.

The

_{following pedal signs}will be

_employed

_{to designate precisely the} use of the pedal.

(a)

The down

motion

is indicated thus:

\,

and

signifies to press

down

_{the pedal.}

(b)

The up

motion

thus: _{/, signifying} to raisethe foot.

(c)

A

horizontalline, thus: - , attachedto the

"down"

sign indicates the continuation of the

down

pedal untilthe

next

"

_up

" _sign is reached.

Thus:

,

$>

--y

\

_

_/

\_

t

Continue.

10.

The

_pupil's attention is _again directed to the

_"up"

_{motion (/),} which, as stated in _8,

must

be _{accomplished rapidly,}

and

_{simultaneously}

with _{the first} tone in _everychange

_{of harmony.}

The

"down"

motion

(\^)

depends

somewhat upon

tempo,

and

consequently

upon

the duration of said

firsttone.

11. In the

two

_{following examplesthe pupil} willobserve that, while the

"up"

motion _always occurs at the instant

_of

_striking

a

key, the

"

down'" motion in the _adagio

_tempo

occurs

some

time _after the _{key has}been _struck, denotingthat thepedal

must

notnecessarily

be

used while thefingersholdthe

key, whilein the allegro

tempo

the

"down"

motion occurs

much

sooner.

Adagio,

Allegro;

Or, in other words, the hands _(fingers) and foot should not descend together, but asthefingersstrike thefootis_raised, then pressed

down

after.

The

_pupil

must

endeavor

_by

faithful_{practice to}

overcome

the natural _tendency of _lowering

hand

and

foot _together,

and

_perfectly master the

somewhat

unnatural

movement

above _described, for if this is _{thoroughlyacquired} and applied automatically the basis of correctpedaling is laid.

* _{The word}"

damper"before pedalwill nowbedispensed with, as pedalisuniversally under-stood to mean thedamper tor loud) pedal, and istheoneofwhich this bookwilltreat (with the exception of afewremarks onthe"third pedal").

tin the author's opinion these pedal signs should leavenoroomfor doubtasto theprecise

moment of pressing: down, continuing and raising thefoot,andareanimprovementontheold

SYNCOPATION

OF

THE

PEDAL.

12.

The

manner

of _using the _pedal as

shown

is termed

"

syncopa-tion of the _pedal," i. e.y the

down

_{pedal (analogous} to theaccented

note) occurs after a

_key

_(keys) has been _struck, thus _{falling \>n} a

weak

beatora fraction ofabeat.

Compare

thefollowing illustrations:

Syncopation of notes,

i 2 3

sync, of the Fed

3 3 4

1234

Q

i, 2 3 4 3 3, 4

PRELIMINARY

EXERCISES.

13. Practice the _{following exercises}with each

hand

separately, the left

hand an

octave lower:

Andante

.

"

14.

_Play

the _followingexercise _{with each hand, using} the second_finger throughout.

The

"down"

motion must

occur before the

key

is released.

This _{applies to}allof theexercises.

Allegretto.

15.

The two

_following exercises are alike in _melody, but differ in

tempo and

duration of _{notes, consequently}inthe use of the_pedal also.

c.Adagio.

P

d

._Allegretto .mo.de.rato.

16. Exercise e should

be

_practicedwith _{great care,} as it is _{of frequent} occurrence

and

_verydifficult.

The

_pedal as used here is

termed

quick syn-copation.

The

effect to _{be produced} is a continued

sound

of the c. _(See

C.

Andante.

(For the left handonly.)

Beethoven.

9

and

a

most

discordant

and

_disagreeable sound _results,

and

_{verynaturally}so.

We

have

two

_entirely different _chords, each _{distinctly exclusive,} each

demanding

to be heard alone,

and

therefore each requiring a separate pedal.

Thus:

22. It_{follows, then, that as long}as the

_harmony

remains

_unchanged

the pedal

may

also continue _unchanged,

_^fhe

pedal, _however, is_{not always}tobe

used

where

the

_harmony

in itself

would

_permit it, butrather

where

a desired

effectrequires it.

23.

The

pupil will next distinguish thedifferent registers of tones. In the_bass, or lower _register, are found_{the longest}

and

thickest _strings,

which

consequently producegreater

volume and

continueto soundlongerthan those in _{higherregisters.}

^

24. In the middle _register the _strings a*e shorter

and

thinner,

and

will

therefore_produce less volume.

J

25.

The

_higher

_up

we

_proceed the shorter

and

thinner

do

we

find the

strings, consequentlyless

volume and

duration oftone.

26.

The

_{pupil having carefully}

_gone

over the _above, will _readily

com-prehend

_why

diatonic or_{chromatic progressions} will

sound most

_disagreeable

and

obscurein the Bass

when

blended

by

the pedal.

10

27.

Whereas

in the middle _{register they sound} less _disagreeable and incomprehensible.

28.

While

in the _{higher register}the _{pedal can hardly bedispensed with.}

The

_pupil should _repeat the _{foregoing pedal experiments}

_many

_times,

29.

The

modes

of_{usingthe pedal}

_may

be classified asfollows;

(a)

The

pedalgoverned

by Tempo

and

Duration of

Tone* (b)

The

pedalgoverned

by

the

Harmonic

Element. (c)

The

pedalgoverned

by

theMelodic Element.

(d)

The

pedal governed

by

the Pitch

_of

Tones, the _higher tones permitting of

more

constant use of thepedal than the lower

ones.

NOTE. Uponfirstconsiderationitwould seemas_though it_requiredhundreds ofrulestocoverall

contingencies of pedaling,which must necessarilybe governed andinfluenced bythe endless

varietiesof rhythmic, melodicand harmoniccombinations. Theauthor, however, deemsit

expedient toestablishasfewrulesaspossible,andthe pupiluponinvestigationwillfindthatall

questionswhich mayberaised in regard to pedalingcanbeconveniently placed underand governed by oneor the other of theabove rules or thefewexceptionswhich followthem.

A.

THE PEDAL

GOVERNED

BY

TEMPO

AND

THE DURATION

OF

TONES.

30.

When

the

_tempo

is slowthe duration of tones is _{naturally longer,}

and

the ear _{has better opportunities toapprehend} each individual combination of sounds.

31.

To

avoid confusion of soundsdiscordant

and

_offensive to the earit is advisable to _{changethe pedal}

on

all tones _{(from whole}notes to sixteenths

inclusive) that expressharmonic ormelodicprogression. EXERCISES.

2.

Adagio.

Mozart.

32. _{In the following examples}the

_tempo

is _{increased, thereby shortening}

the duration of tones _represented

_by

_eighth or sixteenth notes to such an extent that _they

_may

_{be executed without change of pedal, as the discordant} sound does not

become

apparent. Syncopation of the pedal, however,

must

take place on the_first tone or chord _following such short _tones,

whether

in the Bassor Treble.

*

3.

Allegretto.

Foran_explanation ofmeasures 9,10, 11 ,.14,16;see'Tbtyr governed by Har -tnonic element."

B.

THE

PEDAL GOVERNED BY

THE

HARMONIC

ELEMENT.

33.

The

use of the_pedalisdictated

_by

the

harmonic

_{element, as follows}:

(a)

When

a great

volume

of tone is_{required during repetitions of} the

same

chord.

_Example

_3, measures _9, 10

and

11.

[b)

When

the

accompaniment

consistsof

harmonic

figurationthrough

which

the

_melody

seems to _float,or into

which

it is

woven.

This is _{generally the case}

when

the Bass remains

_unchanged

during oneor

more

measures or

when

the

Harmonic

element is_predominant. Seealso

_example

_3, measures

14 and

16.

14

34. In

_example

5 _{the pedal}

must

be

_changed

at the _beginningof each

measure,as tocontinueit for

more

than a_{measure (two or three)}

would

admit oftoo

much

_{diatonic-melodic progression,}

which

must

sooner orlater

become

offensivetotheear. In thelast

measure

it is self-evidentthat thefinalchord

must sound

_{distinctly alone,} hence the

_change

of_pedal

on

the

A

flat.

Chopin.

6.

Lento

sostenuto. op.27, N92.

35. In theabove

_example

_many

_{pianistschangethe pedal once,}

and some

even twice, in a measure. _Essipoff

and

_Leschetizkyuse the _pedal as _given

here. Paderewski _syncopates the _pedal at the _beginning

and

middle of measures 3

and

4_{respectively.}

15

36.

Sometimes

a melodic succession isbased

_{upon some harmonic}

combi-nation, and therefore the _pedal need not

be

_{changed. In the following}

example the low

F

(being the foundation

upon which

.the entire harmonic combinationrests)

must

be sustained with the pedal until a changeof

harmony

takes_{place, as}it is obvious that aharmonic effect isdesired.

Thus

_{the pedal}

adds

volume and

richness of tone color otherwise unattainable.

7. _Rnbin|tein

37.

The

Berceuse of

_Chopin

is another

_example

in

which

the pedal is

governed

by

the harmonic

_{accompaniment}

_{regardless of the melody.}

A

few

measureswill sufficeto confirmthis.

Chopin. Op. 57.

C.

THE

PEDAL

GOVERNED

BY THE

MELODIC

_ELEMENT.

38.

When

a melodic _succession, based on

some

_{harmonic combination,}

appears without orwith but little _{accompaniment,} it _being evident that a melodic

and

not aharmonic effect is _desired, the_{pedal should be syncopated} with each melodic _progression.

39. _{In the followingexample one}

_might

be _disposedto thinkthat

Beet-hoven

desired a

harmonic

effect _(asthe first _appearance of the

_melody

given,

is a _repetition of the

same

chord) were it not for the fact that this

melody

is_{repeated a}

number

of times with an

_{accompaniment}

_{so simple,} asto

9.

a

Allegro assai

16 Beethoven

>P.2,NO

40. In _{the following example, although} the

_harmony

remains the

same

during six measures,* the pedal

must be governed

by

the melody, as that 'progresses diatonicallyand liesin a lowerregister.

10.

Etwas

langsamer.

Schumann. Op.28,N?3.

The

_pupil

must

_{carefully follow the pedal signs,} as the _changes

do

not occur_exclusivelywiththe melodic_{progressions,}but sometimes withthe accom-paniment, as inmeasures7

and

11.

D.

THE PEDAL

GOVERNED

BY THE

PITCH OF

TONES.

41.

The

_pedal can be _applied to scale

passages (diatonic or chromatic)

when

inthe _{upperregisters (extending}

down

to about the middle of _the key-board),

and

continued solongasthe Bass or

harmony

remainsthe same.

*_{Inthisinstance the Bassisan Organ}

17

11.

Andante

con,

Var

VAR.

H

,

Haydn

12.

VAR.

V. Schubert.. Op.l42,N9 3, i

A

A

18

VAR.II,

19

J>

lj>

Chopin.^

20

42.

The

_following example of glissaudo

from

Liszt's 10th. Rhapsodie, should be pedaledas follows:

Diszt. Vivace.

43.

As

a further

_example

of _pedaling chromatic runs, the following

different selections

from

Liszt's

F-minor

_{Concert-study}

_may

_proveofinterest

not onlyto_{the student,}butalsoto thevirtuoso.

(a)

The

glittering, scintillating run in the right hand, and the octave B-naturalinthe Bass

(thelattershould be accentuated

very strongly), cover a multitude of sins; the successive sixths in the left

hand would

otherwise

sound

_{very badly with}

one continuous _pedal.

The

_examples

from

this _{Concert-study}

must

_{be played veryrapidly}

and

fluently, else the pedal can-not be usedas _designatedhere.

Liszt.

Concert Etude,

F

minor. OSSIA.

21

(5) In measures 1

and

2, the foot is raised

when

the

harmony

changes,

and

remainsso during the chromatic progression in the Bass. In contradistinction to _these, measures 3

and

4

demand

a _rushing, roaring effect.

The

_pedal is therefore continued _longer, but

must

be

_{changed on}

thefirst

and

third beatin_{order to preserve a certain}

amount

ofclearness.

(c) Inthis,thepedaliscontinuedforfive

and

three-quarter measures.

For an

_explanationofthe reasonitisthen _omitted,

and

also in

the_{succeeding measures,} see 76.

accelerandoe _rinforzando

^

r*

;

r.f

MMi

fil

IF

23

dolctssimo egualmente.

(d)

Here

the pedal is omitted for the

same

cause referred to in example c. In measures 4

and

_5, the _pedal is _pressed

down

afterthe

C

in _{the right}

hand

has been _played. In order to accomplishthis _properly, it

must

be held atrifle _longer than itsactual value. _{This, however,} is not _necessary in measure 3, as the

B

and

C

are an octave higher.

At

the end of measure _{6, the pedal} is _syncopated

on

account of the lower

25

-/V

EXCEPTIONS

A.

44.

The

_pedal is sometimes

Msed

_during scales inlowerregisters,

when

a

chaotic or_rumbling effectisdesired.

45. _Also,

when

desiring to

make

a crescendo

more marked and

forcible.

4G.

_By

_making

_{frequent changes} of _{the pedal, a} sufficient

amount

of

clearness is _preserved.

18

_{Allegro moderate.} Liszt.

26

47. Inthe_{following example,}the

_tempo

is_{extremelysuggestive}

and

char-acterizesthe entire_composition, Presto_{tempestuoso, turmoil, ruin, destruction,}

Presto

_tempestuoso

Chopin-Liszt

Example

20, illustratesthe use of the_pedalin_{scale-passages to}

make

the

crescendo -more powerful.

27

EXCEPTIONS

B.

48.

The

student

must

have observed _that, asarule, the pedal has been continued

_unchanged

so _long as the _{Bass (which generally} establishes the

harmony)

remainedthe same, withthe exception of examples 18, 19

and

20,

whichillustrate scale _passagesin loweroctaves.

49.

We

now

come

to an _{exception to} this_generalrule. _{In examples} 21

and

22, althoughthe Bass remains thesame, it

becomes

inharmonic, creating an_Organ-point.

The

effect to be _attained, is _{that or nearly thatproduced}

upon

the _organ; i. _e., in both _examples the

D

in the Bass should be sustained_{throughout, without running}the

harmonic

_progressions

above

itinto eachother.

The

_pedal

must

_{be syncopated very rapidly}

on

everyrecurringD.

21

Poco

maestoso.

U

10 j-1

28

NOTE. TnepeuaJmayalsotoesyncopated ontheuppernotesoltne uass; i.e., on A,B, C,etc.,

insteadofonthe D.

PEDAL

EFFECTS.

50.

The

_{best explanation of}

what

is

meant

_by

'_'pedaleffects" willbe

found

in theillustrations.

To

create

them

_{requires not only a thorough}

_knowledge

of the _pedal, but alsoacertain

amount

of _ingenuity.

The

most

difficultof sucheffectsto

_comprehend

are

what

_Leschetizkycalls ''little_{pedal pressures}"

(kleinePedal-Drucker).

No

definite rules togovern

them

can

be

given.

51.

_They

_seldom, if_ever, extend _past a _quarter beat in_{a measure,}

and

may

be saidto

_{be employed}

to_preventtoo

much

dryness.

52.

The

_following

_example

isone of the

most

difficult inthe book.

The

pedal pressures here extend through two quarter beats.

The

_syncopation,

which

_{takes place} in measure six,

must

be executed veryrapidly.

That

the

accompaniment must

be playedlightly need hardly be mentioned here.

Rubinstein Op. 7O.

29

24. Allegro

con

trio.

Beethoven

Op.2,N9 3.

NOTE. Theabovemannerof playingthisending is advocated byLeschetizky. Itcertainlyismore

brilliantandeasier.

53.

The

_{pedal can be veryeffectivelyused during}scale _{passagesascending}

from

the lower octaves into the higher, sometimes ending with a chord.

The

_pedal should

be

_{continued through} the entire scale, but

must be

either syncopated or cut off short with the chord or last tone.

Such

cases are found_frequentlyin cadences.

Chopin

30 26. Liszt. Hungarian Fantasie, Liszt. ? Ballade

54. In contradistinction to _examples thus farshown, the pedal issome' timesused

when

the_blending

_of

_different

harmonies

isdesired.

55.

Such

_pedal effectsare_{of rare occurrence,} but nevertheless_exist,

and

are sanctioned

_by

both

_{composer and}

_pianist.

The

effect to

be

created isa nebulous atmospheric one; a blending of thought

and

vision,

which

can only

be produced

by

one continuouspedal.

56.

Schumann's

_{Papillons,Op.} 2,isaseries oftwelve _pieces.

A

few

bars

of the last

number

are_givento illustrate the

above

remarks. In_{this part,}the ancient "Grandfather's

_Dance,"

_{(which, according}toan old _{custom, always}

31

closedan

_amusement)

,isplayed

by

theleft hand, while the_{right plays the}first waltz-themeasit_appears in the _beginning of the collectionof_pieces. This

number

_{begins forte,} but

_grows

softer

and

_{softer; until,finally,} while the

music is _gradually

_dying

_away, the clock strikes six

; the old dance music

grows

fainter, asoft chord,

and

allhas vanished as ina dream.

Inthis

_example

_{the pedal}is

pressed

down

and

continued during twenty-seven measures.

Schnmana.

57.

The

TrioofBach's

D

minor

Gavotte _(played

una

corde

and

_pianissimo)

is another

_example

wherein the _{pedal can}

be

useed

from

_{beginning to end,}

without_{change. Instead of detracting}

from

the_piece, the _{pedalthus applied} rather heightens theeffect.

58.

The

entire _part rests

_upon

the _{organ point}

D

in the Bass,

and

is an imitation of a

_Bagpipe

_(Musette).

32

(Inthe Trioofthe

G

minor

Gavotte of Bach, the pedal

must

be

changed

quite frequently, as thispiece liesin

a

lower_register.)

59.

The

_pupil will observethat these _{examples (Bach}

_{and Schumann)}

are

similar, inso far asall have an

_Organ

_pointin _{the Bass,}

and

the harmonies of eachconsist, with but

few

exceptions, oftwo chords Tonic

and

Dominant.

60.

From

the _above,

we

_may

conclude that _{only such pieces} ascontain few,butcloselyrelated chords,canbe treatedlike theabove illustrations.

The

effect, however, isnot always desirable.

61.

These

_pedal effects remind us of the _{landscapes of} certain

modern

masters,

whose

principal

charm

consists not in clearlyexpressed form, but a peculiar atmospheric poetryoftreatment.

62.

What

can _{be accomplished} in the

_way

of _{unique pedal}effects

_by

a little _thought

and

_study the

two

_{following examples, (as performed}

_by

Paderewski), will illustrate:

Schubert -Liszt

63. This

_{example from}

the Schubert-LisztSerenade is_given hereas found

in _{the presenteditions, except} that _{the author's pedal}

marks

are underneath the old.

At

the end of the _{second measure, Paderewski's} execution is as

follows:

After _striking the last octave the lower

F

is released

and

the _pedal changed.

The

upper

F

willthen sound_alone,

and

is tiedtothe

F

in thenext measure.

33

64. Inhis

Menuet

a1'antique,

Paderewski

introduces the

same

pedal effect

by

holdingthe

D

an octave

below

the long sustained

D,

then releasing

it as follows:

A 31.

34

TWO-FINGER

EXERCISE.

65

The

followingexercise has

been

_prepared

expressly forthis

work by

Mr.

_{William Mason,}

the _{object being}to

show

how

a sustained

and

_singing

tone, with perfectly pure legato effect,

may

be accomplished through the co-operation of hands

and

foot or heys

and

pedal in combination.

The

melody

is _simply the diatonic scale of

C

_major,

and

it is surrounded

_by

an

arpeggio accompaniment. It is intended for

two

_{fingers only,}

and

these are to _{be correspondingfingers} ofboth

hands

usedin alternation.

At

first, itis

better to use the second _{finger, beginning with the right hand,}

which

_always

plays the

melody

or scale.

The

_arpeggio

_{accompaniment}

is_{played with} the

two

_fingersin_{alternation, beginning with} the second _{finger of the} lefthand.

When

thishas _{been brought easily}

under

_control, the _{third, fourth,}

and

fifth

fingers,

and

eventhethumbs,

may

be brought

into service; thus wideningthe

scope of the exercise

by

including the use of

many

muscles. Giveespecial

attention tothe directions

which

follow:

66. First, play

C

with the second finger o the righthand. Press the

damper

pedal

on

thesecond halfof beat one,

and

hold it_firmlyuntil beat_four,

when

it

must be

_immediatelyreleased. Justbefore its release,the left _hand,

onthe second halfof beat_{three, silently}

and

without _{striking, presses the}

_key

which had

_previouslybeen struckwith_{the righthand,}

and

holdsit

lightlybut firmlyuntil the proper time for playing the melodic tone of the following measure.

These

directions for_{playing applyequally toevery}

measure

through-out the exercise.

67. Practice the first

measure

alone

and

_by

_itself, until so _thoroughly masteredthatthefingers, hand,

and

foot,

move

as automatically

and

unconsci-ously asthefeet

do

inthe act ofwalking.

When

thisresulthas been_attained, the

mind

will

be

_{at liberty} to

_occupy

itself with the _{constantly changing} harmoniesof the _arpeggio

_{accompaniment}

in _succeedingmeasures.

68. Second,

do

notomit, orpostponeuntilalater_{period, the observation of}

the

marks

_{of expression,} viz.: _{f. andjP.,} cresc.

and

_{dim., ritard}and. accel., as

well as

manner

_{of touch,}

_dynamic

effects of _emphasis

and

accent;

and

while

playing listen _{carefully to} the effects _{of light}

and

shade _{resulting therefrom.} Otherwise, habitsof omissionwill

be

_contracted,

and

these are_justashardto

overcome

as arefaults of commission. _{Hence, while observing}the _foregoing

directions for_{practice, give simultaneous} attention to these essentialmatters.

69. Third,

and

finally, the secondfinger of theright hand,

which

plays the melodictones, should fall

_upon

the _{keys with}

more

force

_{and weight}

than

isusedinthe

_{accompaniment}

; it should alsobe allowedto lingerwith a_slight

pressure

on

the

key

fora

moment.

Thisisinorder to_{give prominence}

and

a singing effectto the _{melody, while} contrast

and

_{perspective areaccomplished}

by

playing the arpeggio

accompaniment

with a _lighter

and

less sustained pressure

upon

the keys. In one or

two

_{places,however,} the

harmonic

effectis

made

_prominent

_by

a_{greateremphasis}of the tones of the accompaniment, as

indicated

_by

the

marks

of _expression.

An

artistwith musical

_temperament

and

_{poeticsense,produces a}beautifuleffectwith_{the simplestmeans, such} as a plainchordorscale progression;

and

inorderto attain so desirable aresult,it

isessentialthatin_{practice attention to the various}

marks

_{of expression should}

at

no

time

be

overlooked or_{postponed, but always} carried out into act,

and

35

Pattern

32* Andante espressivo.

Put

down

the_pedal at the secondhalf ofbeatone,

and

lift it_precisely at

beatfour. Thisisto

be done

in _every

measure

_throughoutthe exercise.

a. ThekeyCisstruck here far thelasttime,and astrong accentuation ofthistoneisnecessary,

sothatitmaycontinuetosound throughout and even afterthecloseofthe piece,and befinally

heardalone,dyingawayafterallother toneshaveceased. Givealso especialandcareful attention to the repeatedchange fromthe righthandtotheleft,backto theright,andsoon,occurringinthelast

70. Students,

who

have thoroughly mastered the study

by

William Mason,

will

have no

trouble in _{giving a} correct rendition of the _following

_example

from

Rubinstein's

F-minor

Barcarole.

The

_pedal is _syncopated

on

theE-fla

(1stmeasure) ofthe lefthand,

and

sustainedwiththe

thumb

until it is _again

struck

_by

the_right

hand

thumb

\n the _{accompaniment.} This is tied to the

E-flatof the_{next measure,}

on which

the pedal is_again

syncopated.

The

same

processis_repeated in

measure

3.

Rubinstein.

71.

A

similar

_example

is

found

inthe

_G-major

_Barcarole,

_by

_Rubinstein, withthe_exceptionthat the _prolongednoteremains in one

and

the

same

_hand,

while the _pedalis _changed. In

measure

_1,the foot is_{raised precisely}

on

the fourth beat,

and

is not_pressed

down

_again until the first beat of the

next

measure.

The

_change

of_pedal

on

the lastbeatof

measure

2is_necessary,

on

account ofthe

_change

of

_harmony.

In

measure

3, the pedal,

which

has

been

syncopated

on

theE-flat, is_{released precisely}

on

the fourthbeat,

and

pressed

down

_again

on

beatfive, (thus isolating

and

prolongingthemelodictone). It

IBthen continued untilthe

_change

of

_harmony

_{takes place}

on

thesecond beat of the _{next measure,}

when

it is _{again syncopated}

and

continued until beat five.

Here

the foot

must be

_raised, asthemelodic_progression

would become

blurred.

The

_pedalisnot _pressed

down

_again until _afterthe E-flat of the next measure.

The

balance ofthis measure is _pedaledlikemeasure3.

37

34.

Rubinstein. Barcarole,

li

THE

HALF

PEDAL.

72. It _{sometimes happens} thataBasstone istobe sustained as_an organ-point,while the

same hand

may

have changing harmoniesinthehigherregisters.

There

is, of course, but one

way

to sustain it,

namely

: with the

_damper

_pedal

(unlessthe instrument has athird or sustaining pedal).

But

one continuous

pedal

would

blur the harmonic changes, while syncopationofthe pedal

would

atoncediscontinuethe Bass tone

which

should be sustained.

Between

these

two

extremes thereisa

_{happy medium, which}

consists in _permitting the foot

to

_{come up}

_{only half}

_{way, and}

_pressing it

down

_{again rapidly.} This is

repeatedas

many

timesasthe case

_may

_require.

73.

The

half_pedal

_may

_{be designated}

_by

a horizontalline

drawn

_through

the

combined

_"up

and

down"

signs.

Thus:

-/Jj.

The

_following

_example

_illustratingthe_above,isthelastmeasureofField's

fourthNocturne.

Explanation:

The

_{pedal can be continued}

from

the

A

inthe Bassuntil

the_{G-sharp (second beat)} is_reached,

when

the half_{pedal should be used with} each sixteenthnote

and

withthefinal

A.

Greatcare

must be

observed that the footisnotraised_{too high,} elsethe Basstone

A

will not continueto sound

to the end.

_Higher

tones _{(shorter strings)} are _readily discontinued

_by

the use of the half pedal.

The

_organ-points under _{exception B,} differ

from

this

last in so farasinthe former_{the organ-point} is_{repeatedlysounded, affording}

the_opportunityof

_changing

_{the pedal.}

35.

Nocturne.

InPartTIT.ofthisbook,an examplefromtheA-flatPreludeofChopin isgiventoillustratethe use oftho sustainingpedal. It will alsoserve asan exampleforthe halfpedal.

38

74.

Another

_very

_charming

_pedal effect, which,

though

familiarto

_many

good

pianists,

may

be entirely

unknown,

tothe

amateur

iscaused

_by

the_upper partials, or

harmonic

overtonesofa fundamentaltone.

These harmonic

over-tones are _produced

_by

_strings

which

vibrate in

_sympathy

with

_any

_giventone or tones _(best,lower_tones).

That

is to_say,ifthe

C

_{string of the great octave}

is struckwith sufficientforce_(the

_dampers

_beingraised

_by

means

_{of the pedal)}

its _{upper partials will}after awhile

become

audible _{(the higher} tones less so

thanthe _lower). Illustration:

if

Strike withforce. Upperpartials

or

overtones.

75. Students arereferred to a lecture

_by

Helmholtz on

_{"Physiological}

Causes of

_Harmony

in_Music,"

which

_{thoroughlyexplains} this

_phenomenon.

After readingthis, theyare earnestly requested toexperiment for themselves, the_followingillustrations_being

deemed

sufficient to arouse their interest

and

to_spur

them

on

insearch of othereffects.

36?

/

M

_y

ft

J

39

prolonged

by

the pedal until_{the great}

C

is_pressed

down

_silently.

The

footis

raisedon thefirstbeatof the third _measure,

when

these _upper partials will

continue to sound as_though reflected

_by

the

mute

tone.

Mr.

Arthur

Friedheim has _kindly contributed an _{example (from} his

unpublishedConcerto),

which

illustratesthe practicalapplication of the above.

While

the orchestra sustains the D-flat

_major

chord, thepianistplays the

same

forte^ repeatingit _{in different registers (abbreviated here). Finally, thekeys}

represented

b^

the notes inthe last measureare pressed

down

silently.

The

effectisthat of _{an organ heard} in the _distance,

and

the entire _example is a beautiful

diminuendo

oftone. _Carefullyobserve_{the pedal signs.}

37,

Largo.

Arthur Friedheim.*

PullOrchestra.

THE

OMISSION

OF

THE

PEDAL.

76.

The

most beautiful of all _pedal effects is that obtained

_by

_leaving out the pedal atthe_proper

moment.

This

_{somewhat ambiguous remark}

is to

be understoodasfollows:

A

continueduse of the pedal, even if_syncopated at

the _propertime, is _{just as certain} to

become monotonous

as acontinued

repeti-tionof

some

melodic_{progression orrhythmical figure.} It_{is, therefore, of the}

greatestimportance tointroduce atthe _proper

moments

_{what might}

be termed breathing spells, (Luft); or, in plainerwords, discontinue the use of the pedal

fora_{shorter or longer period,}asthe case

_may

_require.

To know when

to

intro-ducethese _{breathingspells,}

how

_longto continue_them,

and

when

_again touse the _{pedal, requires} a

most

_{artistically gifted nature,} one

endowed

with

40

77. Incases

where

the

_tempo

is slow

and

the

_melody

_progresses diatoni-cally, (chromatically?) the pedal

may

be

used during

two

or three such pro-gressions,butthe foot

must

beraised either

on

the third or fourth melodictone.

78. Inthe_followingillustration

from Schumann's

_{"Carneval," both}the old

and

new

_{system of pedal-signs}is

given.

The

former, as found in_{the present}

editions of this_example,floods the entire _piece with_{pedal, causing} at times a blurred effect

and

_many

_unpleasant dissonances.

The

author's

mode

of pedalingeliminates these

bad

effects.

Explanation:

At

the

end

of

measure

_6, the footshould

be

raisedwiththe

last _quarternote _{(breathingspell).} In measures 8,10, 11

and

12, thepedalis

discontinued _{not only on account}of too

much

diatonicmelodic_progression,but

alsobecausethe

_{change from}

such_persistentuseof the_pedalis_{as refreshing as a}

summer

shower

after several_daysof continual sunshine;for

when

thelatteragain

appears

we

enjoyitallthe more. Inmeasure _{13, thepedal}is_syncopated

on

the

G

of the_{accompaniment,} as the _changeof

_harmony

_{takes place at that}instant.

Schumann

.

Carneval.

38.

79.

The

B-flat

_major

Preludeof _{Chopin, given} here in its _{entirety, will} givethe student further opportunities of realizingtheeffectof thesebreathing spells. Ithasbeen chosen, because it isso often _pedaledeitherwith one con-tinuous _{pedal throughout each measure,} or_syncopated

on

each beat.

Both

ways

are _{unsatisfactory,} because such _pedaling

becomes

obtrusive

and

monotonous.

The

mode

of _{pedaling adopted here,} tends

toward

_making

this

_gem

what

it no doubt

was

intended to be

_by

the

_composer

a

trans-parent, aerial, tone-poem.

Praeludium.

39.

Cantabile,

43

fc

_ti

'55

I

_I

44

TKTKTK+

THE

SUSTAINING PEDAL.

80.

A

few words

in reference to_{the sustaining pedal,}

which

is destinedto

become

_{of great value to the}pianist, willnot

be

amiss. It is

found

between the

damper and

soft_pedal,

and

will_{sustain a note or chord,}butwillnotsustainruns

of

any

kind.

The

_{third or sustaining pedal, (unlike}its

_many

_short-lived

prede-cessors), has

come

to stay; althoughit has not _{received universal recognition}

yet, becausebut

few

piano manufacturers haveapplieditto theirinstruments. Inthe concert

room

ithas _scarcelybeen usedat all, perhaps because pianists

have not _fullyrealized its _importance.

While

itistrue that there are

com-paratively

few

instances

where

it can be _appliedin our_past

and

_presentpiano

music, thereis

no

doubtthatits_importance will _{influence future composers.}

ITS

USE.

81. This _pedalis _applied

when

it is desirable to sustain a_single tone or chord _exclusively,

and must

be _pressed

down

after the

key

(keys) has been struck, but before it has been released. Itis _only affected

_by

the soft

and

damper

pedals

when

they

have

precededit. In the

few

_{examples given}here,

the pupil will _perceive the _{advantages gained}

_by

_using the _{sustaining pedal.}

The

tone sustained

_by

this third _pedal enables the _performer to

_change

the

damper

pedal as often as necessary, ordispense with it

altogether, without

affectingthe sustainedtone.

82.

The

foot should be _pressed

down

_upon

_{the third or sustaining pedal}

immediately after _striking a _key,

and

should remain

down

so _long asit is

necessary to sustain the tone, orwhile repetitionsof the sustained tone occur.

46

The

octave

D

_may

be sustained untilthe fourth beatofmeasure fouris reached.

The

octave

G

is treated in the

same

manner, i. e., sustaineduntil

the fourthbeat ofmeasure _eight.

The

_damper

_pedal usedinmeasures 3

and

4 heightensthe eifect.

41. Allegretto.

Praeludium

Chopin. Op, 28,N9 17.

83.

Some

_pianistsplaythis_{part of theprelude}

_(Example

₄₁₎ withoutthe sustaining pedal, using the

damper

pedal instead; others, again, use the

sustainingpedal without

any

damper

pedal.

The

author has heregivenboth,

and would add

thesoft_pedal, ifthat

were

_possible.

Saint -Saens., >42.Andante sostenuto. op.22.

47

sust.Fed.

f-

ULf

Off

15

A.

A

84.

The

value of the _{sustaining pedal}

must become

_apparent, as it is

almostimpossible to sustain the

G

in the Bassof the above

example

with the

damper

pedal

and

givea clear, clean rendition.

85. Bach's

A

minor

_{organ prelude, transcribed for thepiano}

_by

Liszt, isa

most

_interesting

_example

for the

"

_{sustaining pedal."}

The

A

in the Bass needs tobe sustained for

more

than _{a page,} butin

what

_way

?

The

_damper

pedal can under

no

circumstances be used.

The

sustaining pedal, if used immediatelyafter striking the

A,

will also catch the

C

above it

and

sustain that also.

To

make

a _{slight pause} in the _uppervoices

and

strikethe

"A"

alone

would

_{probably answer};but,atthe

same

time, cause a breakintheupper

voices,

which would

hardly justify the

means

employed.

The

only proper

manner

is_{silentlyto press}

down

the

A

before _{beginningthe prelude}

and

hold

it with the _{sustaining pedal.}

Do

not raise the foot untilthe _Organ-point

A

hasended. Inthis_manner, the desired effectwill beobtained.

HINTS

TO

PUPILS.

86. First masteralltechnical_{difficultiesbefore applying}the_pedal, as

no

fairdecision with reference to the effect of the _{pedal can be}arrived atwhile stumbling througha piece.

87.

_Study

_Harmony

_thoroughly.

88.

Determine

whetherthe Melodic or

Harmonic

element is_predominant,

and

_governthe_{pedalaccordingly.}

4S

90.

Allow

yourself plentyof time beforedeciding

whether

or notto us

the_pedal. Test carefully, playing a part over

many

times both with

am

withoutpedal.

91.

Your

ear

must

be

_supreme

_judge. If a _{passage sounds} well wit'

pedal, useit. If

you

are in doubt,

do

not hesitate to ask

the advice of

som

good

pianist.

92. _Pupilsshouldat leastbe able to_playthe Sonatas of Clementi,

Haydi

and

Mozart

well_{before attempting} to use_{the pedal, except}

when

_guided

by CM

experiencedteacher.

93. After having studied the_examplesin thisbook,

be

not contented,

bu

searchfurther.

Endeavor

to findsimilar_examples,

and

make

yourself absolut master of the _pedal,

remembering

that to the earnest thinker

and

searche

comes

the reward of discovering tone-coloreffects,

which

to others

must alway

remainobscure.

APPENDIX

A.

. ..'.'

*' c

An

_Organ-point is a tone

which

is sustained in a certain voice_during a

section of the

_Theme,

Phrase _{or Period, (or throughout) irrespective}

_of

the

progression

of

the other voices.

As

the latter _proceed

from

one chord to

another

and

perhaps,

from

one

key

to another, the sustainednote

must

neces-sarily

from

time totime disagree withtheir

harmony.

At

such

moments

it is

Inharmonic. (Goetschius* Material used in_{Musical Composition.)}

APPENDIX

B.

.

%

The

pedal-marking

found

in our piano music, impresses one with the idea that the

_composer

did not think of tone-color while _composing; but jotted

down

the pedal signs here

and

there after

having

finishedthe _piece, simply to

comply

with a custom.

Franz Liszt

was

one of the

few

_{composer-pianists} in

whose

mind

tone-color

and

effect_{originated simultaneously with}his musical_ideas,

and

who

took pains to

mark

the pedal

and

its_{duration exactly}

where

he desiredit.

While

it is true to a certain _degree,

no

_doubt, that _{composersgive}bui

little _thoughtto _{the pedal, rather leaving}ittothe

_judgment

ofthe _performer

it isalso true that

_many

ofourso-called4 '

Revised-and-fingered-by"musicians;

make

matters _worse,

_by

_showing

an utterlack of _thoughtinreference toit, at;

wellasa total_{disregard ofeuphony.}

Pianists rightfully

pay no

attention to such indications of_{the pedal, but} use it_according to their

own

_judgment

; but with pupils it isnotso.

_They

very naturally takeit forgranted that the pedal as

marked

is _{alwayscorrect,}

submitting to the superior

wisdom

of the composer, reviseroreditor, and, in consequencethereof, oftenfall into_grosserrors.

Eminent

teachers

and

_pianists take, no doubt, the greatest pains

when

fixing the pedal signs,

and

yet I do not hesitate to say that,

were

theyto

play

any

of their

own

pedal

marked

pieces,they

would

hardly use the pedal as they have

marked

it.

And why

? _{Simply becausepianists,} as arule, syncopate the pedal nine times out of _ten,

and

that _{cannot be designated with} the old system of pedalsigns.

In

_many

editions, the pedal

marks

are as often entirely

wanting

as_they

are misplaced.

For

example,

would

any

pianist for a

moment

think of

playing the first eleven measuresof Beethoven's Op. 110 without

any

pedal?

Yet

this isrevised

_by

a well

known

musician.

Such

instances are

_by

no

means

solitary occurrences, but canbe found

by

thehundreds.

To

_{use the pedal properly}

and

with

_good

effect is an art in_itself, and requires earnestthought

and

study; a well-trainedmusicalear

and good

judg-ment

_{beingindispensable} requisites.

A

safe rule_{for general guidance,}

and

one

which

covers

most

cases,is: "use the pedal only

when

itwill

sound

well." It isto be_{understood, however,}that the _{performerfollowing}such arule

must

_{possess the}

above mentioned

qualities.

50

KEY.

1st _Ques.

What

are the _{principalpedals} ofthe

modern

piano? . >

Ans. 1.*

2d

_Ques.

How

are _they

used?

Ans. 2.

3d

Ques.

How

does the soft_pedalact in a

_grand

_piano?

Ans. 3, a.

4th Ques.

How

does the soft_pedal act in a _{square piano}?

Ans. 3, b.

5th Ques.

How

does the soft_pedal act in

an

_{upright piano}?

Ans. 3,c.

6th Ques.

How

does the

_damper

_pedal affect_{a piano}? . . .

i

Ans. Itremovesthe_{dampers altogether}

_from

the _strings.

7th Ques. "What _position should the feet

assume

when

_using the pedals?

Ans. 5,a

and

b.

8th Ques.

What

motion

ofthe foot is

_employed

when

_{using the pedal}?

Ans.

A

downward and

_upward

motion.

9th Ques.

Which

ofthese isthe

most

_important?

Ans.

_{The upward}

motion.

10th Ques.

Why?

Ans. Because

when

made

use _of at the _proper

moment

it _prevents th6 blendingofdifferentharmonies.

llth Ques.

When

should the

_upward

motion

be used?

Ans. _{Simultaneously}

wij,h thefirsttonein everychangeofharmony. 12th Ques.

Upon

what

does the

downward

motion

_mainly

_depend?

Ans.

_Upon

the_tempo

and

consequently

upon

theduration _ofthe_fir,-ttonein every changeofharmony.

13th Ques.

What

difference is

found

inthe

mode

of_{applying the pedal}

inthe exercises

marked

_Adagio

and

_Allegro

_{on page}

6?

Ans. Inthelatter the

downward

motionoccurs sooner than in the_former.

14th Ques.

What

term

is _appliedtothis

mode

of_pedaling? Ans. _{Syncopation ofthe pedal.}

*_{Answers not}

51

16th Ques.

Give

a concise_explanation ofthe above term.

Ans.

As

the_fingersstrike the _keys the_foot is _{raised instantly, then} pressed

down

after.

16th Ques.

How

long

may

the pedal

be

continued

_unchanged?

Ans.

As

_long as the

_haYmony

remains _unchanged.

17th Ques.

Why

do

diatonic or _{chromatic progressions}

sound most

disagreeable

and

obscure in the bass or lower register

when

blended by

the pedal?

Ans. Because the strings are longer

and

thicker,producing greater

mlume

oftone

and

continuing tosound_{longer than}those.in_{higherregisters.}

18th Ques.

What

conclusionis

drawn

from

_{the previous}

answer

?

Ans. The _higher tones _{permit of}

more

constant use _ofthe _pedal than the lower ones.

19th Ques.

How

may

the

modes

of_usingthe _pedal

be

classified?

Ans. 29.

20th Ques.

How

should the pedal

be used

when

the

_tempo

is slow?

Ans. 31. Illustrate.

21st _Ques.

How

when

the

_tempo

is increased? Ans. 32. Illustrate.

22d

_Ques.

How

should the _pedal

be

used

when

_governed

by

the

harmonic

element?

Ans. 33,a

and

b. Illustrate.

23d

Ques..

How

should the pedal

be

used

when

governed

by

the melodic element?

Ans. 38. Illustrate.

24th Ques.

How

should the _pedal

be

used

when

_governed

_by

the

pitch of tones? . .

Ans. 41. Illustrate.

25th Ques.

When

is_{the pedal}

_{used during}

scales in lowerregisters?

Ans.

44

and

45. Illustrate.

26th Ques.

What

_exception is there to the _general rule of_applying the pedal asstated in 48?

Ans.

When

thebassisinharmonic,creating anorgan-point.

27th Ques.

What

isthe desired effectin sucha case?

Ans. Tosustainthe_{organ-point withthe pedal.}

28th Ques.

How

may

that

be

_{accomplished?}

Ans.

_By

_syncopating the _pedal on each _{repetition of} the orqan-&<int.

52

29th Ques. Is _{the pedal ever}

_{used during}

scales _ascending

from

the lower _{registers intothe higher}?

Ans. 53. Illustrate.

30th Ques.

Are

different

harmonies

ever

blended

_by

_{the pedal}?

Ans. Yes, but not frequently.

31st _Ques.

What

harmonic

_progressions

would

_permit

of

such

pedaling?

Ans.

Such

ascontain_few, but_closelyrelated, chords, as tonic

and

dominant. illustrate.

32d

Ques. Explain

what

is

meant by

the half_pedal?

Ans. It consist-;_{in permitting} the_footto

_{come up}

_only

_{halfway and}

_pressing

tf

down

_{again rapidly.}

33d

Ques.

When

is it_applicable? Ans.

When

_desiringtosustaina basstone.

34th Ques.

Why

not use the _{pedal continuously?} Ans. Becausethat wouldblurtheharmonic_changes.

-35th Ques.

Why

not syncopate the pedal?

Ans. Becausethat

would

at once discontinue the basstone, whichshouldbe sustained. Illustrate.

36th Ques.

What

is

_{meant by}

_upper

_partialsor

harmonic

overtones?

Ans. Certaintones

_produced

_bystrings which vibratein_sympathywith _any giventoneortones.

37th Ques.

What

are the

_upper

_{partials of} the

C

string ofthe great octave?

Ans. See_{illustration,page}38.

38th Ques. Explain the difference

between

Exs. 36 a

and

36 6.

Ans. See_{explanation,page} 88.

39th Ques.

When

should the useof_{the pedal be discontinued?}