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SCHOOL
OF THE
PIANO PEDAL
BY
W. S. B. MATHEWS
$1.25
BOSTON: OLIVER DITSON COMPANY
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Digitized by the Internet Archive
in 2012 with funding from
Brigham Young University
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SCHOOLOF THE
PIANO PEDALCONTAINING
Explanations of the best usage, and fully illustrated by numerous selectionsfrom
the works of Bach, Beethoven, Chopin, Franz, Heller, Liszt, Schumann
Tchaikovsky, and many original studies; ranging in difficulty
from the second to the fifth grade. An indispensable
supplement to all Systems of Technic and
Series of Graded Studies.
BY
W. S. B. MATHEWSAuthor of "The Great in Music," "Studies in Phrasing," and Associate Editor of
"Mason's Fundamental Piano Technics."
BOSTON
OLIVER DITSON COMPANYNEW YORK CHICAGO PHILADELPHIA
C. H. DITSON & CO. LYON & HEALYJ.
E. DITSON & CO.
Copyright, MCMVI, by Oliver Ditson Company
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THE REASON OF THE BOOK
The Pedals of the Pianoforte are a vital part of the tone-controlling mechanism, since they add to the
tonal effect elements which cannot be put there from the keyboard. To pedal well requires long practice,
close hearing, and constant and many-sided attention. To pedal a piece well is more difficult than to write
out a really artistic fingering for an individual hand.
The pedals are the more indispensable because, since Chopin, composers do not generally write the
notes in all instances as they are meant to sound, but as the hands have to play them. The remainder is
left to the uncertain indication of an occasional " lSeb.
" here and there in the music. Artistic pedaling, there-
fore, is not only a question of making the playing sound better, but often of bringing out an idea which but
for the pedal would not be heard at all. Pedaling is an art requiring as careful and as systematic study
as scale-work, arpeggios, or any element of the technic. Fine playing is impossible without the pedals.
Pedal technic requires to be taken up very early in the course, during Grade II at latest. During
this grade all the manners of using pedals explained in Chapters III, VII, VIII, IX, and X have to be
carefully mastered, including the theoretical explanations appertaining to them. The pupil is to learn
all of the pieces of this grade. During Grade III he begins again and reviews all the matter and the easy
music in all the chapters, including Chapter XI. In Grade IV he again reviews all the theory and the
pieces and adds those of Grade IV. In Grade V, the same. Thus at the end of the book he will have
completely covered the usual pedal uses at least three times, and should begin to have a degree of taste and
discretion in this direction, too often wanting.
Every piece studied must be thoroughly memorized and by reviewing kept in memory. In Chapters
VII, VIII, and IX the pedal is begun with the first study. In Chapters X and XI the notes are first learned.
Every lesson is intended to sound like a piano recital, even when the pieces are easy. It is not a ques-
tion of "How much?" or "How many?" but "How?"
As will be seen from the Table of Contents, the musical pieces are from the finest sources in the litera-
ture of the instrument. I prize particularly the number of easy pieces, of exceptionally fine grade. The
pieces from Bach might have been more numerous to advantage, but space lacked.
I am indebted to Mrs. Blanche Dingley- Mathews for several easy pedal studies for children, some of
them very unusual in the suggestions they offer. I am also indebted to her assistance in more careful mark-
ing of pedal effects in various of the studies and for various suggestions for making the Pedal Method more
practical for use with children.
PEDAL MATERIAL FOR CHILDREN
Early during Grades I and II, the subject of pedal must be taken up seriously. Begin with the exercises in
Resonance, Chapter III. Go on with the Ear exercises in Chapter IV. Then proceed to the Studies in Chapter VII, Nos.
8 to 12, inclusive. In Chapter VIII, the Mazurka of Chopin, Tchaikovsky Waltz, and the Intermezzo from the Chopin
Funeral March are available for small hands. Chapter IX is very important. Within these grades the pupil should learn
Foerster's Peace oj Evening, the Schumann Soldier's March, and the Bach A Little Prelude in C minor. Chapter X is
even more important, the illustrative material for small hands being Tchaikovsky's The Pet Bird's Funeral March,
A Tender Dream, and A Little Humming Song by Schumann. The Studies for pedal on silent chords, Nos. 54 and 55,
are very important and available within these grades. When this kind of foundation has been laid, and the pedal has been
habitually applied in all pieces studied, according to the artistic demands of the music, the more difficult material will
follow, according to the judgment of the teacher.
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Contents
INTRODUCTORY: THE REASON OF THE BOOK
EASY PEDAL MATERIAL FOR CHILDREN
CHAPTER ONE
The Pedals and their Relation to Music i
CHAPTER TWOClassification of Pedal Uses i
CHAPTER THREEThe Sympathetic Resonance of the Pianoforte -. 2
Examples of Resonance. Nos. 1 to 5 3,4, 5, 6
CHAPTER FOUR
Ear Exercises 7
CHAPTER FIVE
Pedal Notations 7
CHAPTER SIX
Foot Technic 9
Pedal Extension for Children 10
CHAPTER SEVEN
Pedal for Melody Legato 10
Studies. Nos. 8 to 13 11, 12, 13
Canzonetta in D Major. Heller 14
Pedal Study in B Minor. Heller 16
Romance of the Evening Star. Wagner Liszt 17
My Peace Thou Art. Schubert-Liszt. (Abridged) 19
The Last Hope— Melody. Gottschalk 21
Melody in F. Rubinstein 22
CHAPTER EIGHT
Pedal for Connecting Basses with their Chords 25
Mazurka in B Flat. Chopin 26
Her First Waltz. Tchaikovsky 28
The Avowal. "Carnival." Schumann 29
Grand Prelude in D Minor. Heller 30
Intermezzo of the Funeral March. Chopin 32
Album Leaf. Schumann 33
vii
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CHAPTER NINE
Pedal for Connecting Chords 35
The Peace of Evening. Alb. Foerster 36
Soldier's March. Schumann 38
A Little Prelude. Bach 38Intermezzo from Nocturne in G Minor. Chopin 40
March Movement from First Novellette. Schumann 41
Largo Appassionato, from Sonata No. 2. Beethoven 43
Good Night, My Heart. Franz-Dresel 46
CHAPTER TEN
Pedal for Atmosphere 47
The Pet Bird's Funeral March. Tchaikovsky 48
A Tender Dream. Tchaikovsky 48
A Little Humming Song. Schumann 50
Prelude in C Major. (Well-tempered Clavier No. 1.) Bach 51
Melody from Nocturne in G Minor. Chopin 53
Prelude in B Flat Minor. (Well-tempered Clavier No. 22.) Bach 55
Ave Maria. Arcadelt-Liszt 56
Ave Verum Corpus. Mozart-Liszt 58
The Prophetic Birds. Schumann 60
Prelude in A Minor. (Well-tempered Clavier No. 20.) Bach. 62
The Famous Invention in F. Bach 64
Prelude in C Sharp Major. (Well-tempered Clavier No. 3.) Bach 66
Intermezzo from First Kreisleriana. Schumann 69
Episode in Second Kreisleriana. Schumann 70
CHAPTER ELEVEN
The Tone-sustaining Pedal 72
Pedal Point from Etudes Symphoniques. Schumann 74
Prelude in C Sharp Minor. Rachmaninoff 75
Cadenzas 76, 77
CHAPTER TWELVE
Curious and Unusual Pedal Effects 78-79
First Pedal Study with Silent Chords. B. D. M 80
Second Pedal Study with Silent Chords. B. D. M 81
CHAPTER THIRTEEN
The Soft Pedal. (Una Corda) 82
Example from Schumann's "Warum?" 83
vni
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THE PEDALS AND THEIR RELATION TO MUSIC
[ODERN pianos have generally three pedals: —The one upon the right is called the Damper Pedal, or simply The Pedal.
The middle pedal is called a Tone-sustaining Pedal; it is, in fact, a limited
form of the Damper Pedal.
The one upon the left is called the Soft Pedal.
In controlling piano tones for the expression of musical ideas, there are always two
things to think about: To start the tone properly (as to time, power, and quality) accord-
ing to the idea; and to end the tone at the moment when its office has been fulfilled. Both
these operations are primarily effected by means of the key; a touch starts the tone by
actuating the hammer; releasing the key ends the tone by permitting the damper to fall
upon the string. (The damper is a cushion of felt, which habitually presses against the
string to prevent it from vibrating.)
The pedals interfere with these results in several ways: The Soft Pedal diminishes
the power of tone expected from a given touch; the Damper Pedal secures the tone from
closure through release of the keys, and it therefore goes on sounding until its vibration
impulse is exhausted, or until the pedal is released. The Tone-sustaining Pedal does
the same for certain selected tones. It is possible, therefore, for the playing, however
well conceived as to keyboard manipulation, to be completely ruined by the pedals.
Moreover, the pedals afford a variety, of highly artistic effects, which are impossible
without their assistance. A piano can no more be played artistically without the pedals
than a horse can be well ridden without bridle or control..
The principles of artistic pedaling are now to be considered.
CLASSIFICATION OF PEDAL USES
[HEN the right-hand pedal is pressed down, all the dampers are held away from the
strings. If a tone is played while the dampers are thus raised, two results follow:
The tone continues sounding until its vibration energy is exhausted, regardlesswhether
or not the key is held. In addition to such prolongation of tone, various near relatives of the
tone volunteer to sound in sympathy with it, thus improving the tonal richness and beauty.
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If several tones in succession are sounded while the pedal is pressed down, hurtful
confusions arise, destructive of the musical effect; hence in using the pedal it is necessary
first of all to learn accurately what to expect, especially in the accessory vibrations pro-
moted by the pedal.
Prolongations by means of the pedal fall into three classes: Melody tones, Bass tones
awaiting their chords, and Chords which but for the pedal are broken off while the hand
is preparing for the next ensuing chord. Each of these is explained in detail. (See Chapters
VII, VIII, IX.)
Sympathetic Vibration is desired for greater beauty of tone, and for what is called
"atmosphere"; also for a real confusion. (See Chapters X and XL)
All uses of the pedal involve all these different things, and owing to the preoccupation
of attention with the kind of effect immediately sought, the player often remains uncon-
scious of hurtful confusions in another quarter. Hence the discreet use of the pedal
begins with the doctrine of Sympathetic Resonance, and the art of hearing it and feeling
it, whether as an assistance or a detriment to the intended musical effect.
©
THE SYMPATHETIC RESONANCE OF THE PIANOFORTE
Y Sympathetic Resonance of the pianoforte is meant the voluntary sounding of a
piano string, not actuated by a hammer, but awakened sympathetically by a
related string vibrating elsewhere upon the same instrument, or a tone played or
sung close by. Sympathetic resonance is the source of the "responsive" feeling which
fine instruments have to the player.
The ultimate ground of sympathetic resonance is the compound nature of Tone.
Every musical tone, besides the fundamental (.the pitch we think we hear), consists also
of various higher octaves, fifths, thirds, and ninths, which sound more or less over the
three and a half octaves next higher than the key sounded. These softer tones, which
we do not consciously hear, but which greatly enrich and beautify the quality of tone, are
in fact produced by segmental vibrations of the string, whose full length gives us the fun-
damental pitch of the tone. Several of these very soft "partial tones," as they have been
called, are capable of awakening to vibration their own strings upon the instrument.
The organization of this resonance scale of the tone is shown in No. i, and elsewhere.
The sympathy of these harmonic partial tones is a universal addition to pianoforte
effect, often of great beauty, but occasionally for most mischievous confusion.
Taking any tone as fundamental, its partial tones will be its own 8th, 12th, 15th,
17th, 19th, flat 21st, 22d, 23d, 24th, 26th, and 29th in the same scale. Or classified, its
own four next higher octaves, three fifths (12th, 19th, and 26th), two thirds very faint
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[3]
(17th and 24th), flat 7th of its second octave (flat 21st), and the 9th of its third octave (23d
from fundamental).
In No. 1 the complete resonance scales of C, E flat, and F sharp are written out in
notes, as far as the nth partial. After learning these and being able to play them at call,
the student must work out in like manner the resonance scales of every tone in an
octave of the chromatic scale, taking one or two tones at a lesson. The resonances of
each tone are always reckoned in the scale of that tone, according to the scale numbers
written below the notes in No. 1.
"N91
C and its Partials E flat and its Partials
iI
^=frf=r0—*-£*=f mm ^
m
1517 19 r>21 22 23 24 26 29 15 17 19 t>21 22 23 24 26 29
8 1212
3 wk
F sharp and its Partials
pi w\,2l22 23 24 26 29
,„ 12 15 17 ^
ate i j r ££epi
When the foregoing can be found without serious difficulty, then break them up,
requiring the octaves at one time, the fifths at another, and the thirds and ninth at another,
until the pupil easily finds the resonances which should belong to any tone
The next step is to test these resonances, which may be donein
twoways: First,
by holding a bass fundamental and sounding its partials one by one, and listening for the
response, as shown in groups in Nos. i (a), i (b), i (c), etc. When a degree of ease is gained in
this method, then reverse the process, holding one of the upper resonance keys and sound-
ing the fundamental very forcibly, holding the pedal for about a second, then releasing
it. The partial tone whose key is held will be heard, more or less faintly, according to
the individual piano, some being freer than others. This is shown in Nos. i(e), i(f), i(g), etc.
Take care to test whether the faint resonance tone heard is actually produced by the
string whose keys are held. This will appear if upon releasing the key the resonance
tone stops.
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[4]
Before testing the octave resonances in combination, as shown in i (a), it is proper to
test each one by itself. Holding the bass key silently, sound one octave only, and listen
for its response. Then let up the bass key and put it down again silently and test the
next octave, and so on until all are done. Do the same with the fifths and thirds. The
second octave partial is often almost, or quite imperceptible ; it is, however, always present
in the tone when properly awakened. As a rule, only one ninth answers, the 23d from
the fundamental ; but occasionally the octave of this, the 30th, also responds. These will
answer as tested in i(d), but not as tested in i(j). The partial is too delicate to awaken its
string to vibration. All these resonances come out much better upon the very best of
concert-grand pianofortes, and in fact the ease and completeness with which these reso-
nances respond affords a very good measure of the vibratory qualities of an instrument.
A curious example of a secondary resonance will be observed if a fifth is held silently
while its fundamental is forcibly sounded (as if i(h) were played, holding the G below the
one written). In this case the fifth will answer, but not the key held; the tone heard will
be the octave above, the same written in i(h).
The object of these and many similar exercises is to educate the ear to feel these
delicate additions which resonance makes to the tones actually. played.
N91a
Resonances-o-
_o_TE IE -O-
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ppp
R.H. Sounding
P^2ffm JL
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P-o-
if
L.H. held Silently
Jf Jf
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<fca. <fco. *
e r> fResonances J
*
P^3= PR.H. held silen
m XE
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L.H Sounding
^ri—*/
1
i -«-»-
is
*
Jdl
is
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is
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<&0.& jr jf<&b» <&>.*
*r«&&.# <&*>.#
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[5l
OTHER EXAMPLES OF RESONANCES
Number 2 admits of being played in several different ways, each of which involves a
slightly different result of the resonance. First way: Fasten down the low bass D with a
weight which will hold that key and not interfere with any other. Then, after pressing the
pedal down, play the first three chords very forcibly. Release the pedal at the end of the
measure, and a little later the entire chord will be heard sounding quite strong, entirely pro-
duced by the bass strings, which have not been played. Moreover, this resonance is
strong enough to awaken into vibration again the strings played in the first measure.
This will be the second way. After playing the chords and releasing the pedal as before
and hearing the chord sounding from the bass strings, now place the fingers silently upon
the keys as indicated by the small notes in measures 2 and 3. Presently the chord will
gain a little in strength, and if now the fundamental D be released, the chord will be still
heard going on in its own strings which are held, and which have been awakened again
from the bass resonance.
If the pedal be held entirely through the four measures, the chords will be a great
deal stronger; but they will be simply prolongations of those in the first measure, resonance
being covered up by the primary vibrations of the strings played.
N92
HAndante
1
Resonance
4 i—<—^5
**— —
-o-
4 J J —7S
Jf
tvl 1 g f p
<fca. *
TJL TT-
A similar effect can be shown by first holding a silent bass, and playing forcibly over
it in succession the tones of its own chord. No pedal. When the playing stops the entire
chord will be heard sounding from the bass string silently held.
Practically the same result will be obtained by taking the pedal before playing the
chord tones, and then taking the low bass silently after they are played and before releasing
the pedal. When the pedal is released about a second later, the chord will be heard res-
onating as before from the bass strings.
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[6]
N93Without Pedal
5 feeWith Pedal
m mA~TT-o-
-o- -«-
^s. gf
^'pp
% 2 iJ.
pp
3ZI
^s:S
silent <&>.silent |"
A like resonance will be awakened if the tones of a chord be sung forcibly into
the instrument while its fundamental is silently held, No. 4. This resonance will answer
from the fundamental, or if the tones of the chord be held silently while the singing is
being done. At the close the entire chord will be plainly heard in either case. Thus in
place of holding the silent chords written in No. 4, the fundamental bass C can be held
with practically the same result.
N94Voice Effect Voice Effect
This principle is occasionally employed for reinforcing short chords, as illustrated in
No. 5. (To be carried out in like manner upon other chords.)
N? 5
Sound forcibly
Hold silently
without soundingV
Sympathetic
resonance
i £=
S-o-
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i*=E
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/
[7]
(Etjapter
iFourEAR EXERCISES
rINCE the only reason for using the pedals at all is to be found in the addition
which the pedals make to the effect of the notes well played without the pedals,
and since the exact application of pedal must depend entirely upon the sensi-
tive hearing of the player (owing to inevitable differences in pianos and the incomplete
notation of the music), it follows that most careful attention must be given by young
students to hearing every variety of pedal addition. This is especially true of the use of
pedal for promoting resonance and musical quality of tone.
The pupil should be able to hear from the other side of the room the moment when
the pedal takes effect upon a single tone or upon a chord. In case the piano is not very
free in its resonance, place the pupil near the instrument, but with back to the keyboard.
Then begin by sounding a single tone, - middle C, for instance, — holding it four
beats. Bring in the pedal upon the second beat, the third beat, and the fourth beat; the
pupil is to be able to hear upon which beat the pedal was taken, solely by the addition it
*
makes to the tone.
Apply the same exercise to chords, selected at pleasure. Exercise7
gives examples
of this kind. Many others should be added by the teacher, in different keys, but always
in the middle range of pitch, where they are perhaps easier to hear.
Such exercises should be reviewed repeatedly for several lessons. The pupils should
try such experiments upon each other, at home.
—
N96Repeat each measure as often as necessary in different orders.
Played
4-
=1F=
—4-ed",
A
r
-*>
4r —-4 r H »- J_
r T
PEDAL NOTATIONS«
^^-"'HE traditional notation of the Damper Pedal consists of the abbreviation (&d.,
4^ J placed by the composer as nearly as possible where the pedal is meant to take
^^effect; the closing of the pedal effect is indicated by a star (0). The mark
%d. itself occupies a space often covering several notes; and the engraver occasionally
impairs it still farther by moving it to some point affording more room for engraving it in
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[8]
N9 7
a neat and attractive manner. Moreover, no matter how carefully placed, the response
of the pedal will be more or less prompt according to the manner in which the piano is
regulated. This mark is therefore approximate only. The distinguished Russian pianist,
Siloti, proposes the mere letter P. and * which permits marking when very short and
frequent changes are needed.
A second notation, of French origin, consists of a horizontal line carefully drawn under
the notes intended to be included in the pedal. The beginning and ending are made as
exact as possible by means of a little turned-up point :I 1 I 1 or
|
'|-
—Mr. William H. Sherwood has proposed a modification of this line in a manner making
it more easy to mark in the pupil's music. It has been used by a few publishers, but
pianists of the older school have not yet generally approved of it.
The Sherwood mark: t-
—""' J—
i
""1 l
—- 1 *—-
'
Dr. Schmitt, of Vienna, has proposed still another notation, consisting of a one-line
staff for the pedal part, which is written out in notes for the time the pedal is to be held
and rests for its discontinuance. (See No. 7, below.)
This line is so cumbersome, and adds so much to the difficulty of reading the music,
that as yet no publisher has adopted it, except in a few instances for technical purposes.
It is a curiosity rather than a practical notation. Moreover, Dr. Schmitt himself is guilty
of markings by means of it which effectually defeat the intention of the pedal in the pas-
sages in question.
In the following line from Chopin's favorite Nocturne in E flat, all five of these forms
are employed :
—
Andante
* _b
&=$=$ m^$+ *
y g 5
f-_*U* fcg fj i.#< +& ££ *fetc.
mv~> UJ
Traditional <£efc «•'&&
Siloti P * PFrench 1 1 1
Sherwood 1- 1 u—
V*w u^~u? t^^% l&t>. #<&o. #<&fc &<&>. *<&>.
* p * p * p * p * p_J J1 1_ J L J L J L
* P_l I
&<&0. %%b.* P * P
#<£efc •* P *
J L -1 L
Schmitt notation
*efc J"8"
%' y ^ f ipr f f f'
f f fThe whole five as above written mean the same thing. They intend the pedal to be
taken momentarily after the bass is sounded and before the finger leaves the key, and to
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[9]
hold the bass during its chords. The object of the pedal coming later than the finger
is to avoid taking in the end of the previous melody tone, which almost always happens
when the bass is pedaled precisely upon the beat. This later coming in of the pedal is
almost universal, and is known as the "syncopated" pedal.
Dr. Schmitt's notation, when carefully done and carried out, is accurate. It shows
when the pedal is meant to act and how long it is meant to continue. All the others are
mere approximations, which, owing to the varying promptness or sluggishness of pedal
actions, have to be modified and governed by the ear of the player to fit the music and
the individual piano. This is the only true ground of rational and artistic pedaling. The
notations are merely suggestive for first steps. Schumann seems to have been the first
great composer to recognize this fact, and he accordingly marks the l&b. once at the begin-
ning of a movement and rarely mentions it afterwards, intending the player to use it wher-
ever it has the effect of promoting the musical intention.
In the musical examples of the present work the usual signs (Sed. *, when appearing,
are the marks placed there by the composers or authoritative editors. These cannot, as
a rule, be taken literally, since they often prolong the pedal too much for the best modern
pianos. The more accurate applications of the pedal are carefully explained in the anno-
tations, and indicated in the music by the French line II . This line is authoritative
wherever placed and must be followed. It is often omitted in cases where it has previously
occurred in the same piece, the object being to secure intelligent pedaling by ear.
Wherever the line is used to indicate the pedaling it is understood that the pedal is
to be taken just after the note below which the line begins has been sounded. It is also
understood that, unless otherwise marked, the pedal is to be held until just the moment
when the succeeding melody tone or harmony is about to sound, in such a manner that the
tones connect, but do not intermingle.
All markings arc approximate and require the supervision of an attentive and sen-
sitive ear. A discriminating mind is also advantageous.
Chapter Sir
FOOT TECHNIC
XN using the Damper Pedal, the heel rests upon the floor, and the toe, just short
of the ''ball" of the foot, touches the pedal lever.
In taking the pedal, press down far enough to raise the dampers from the
strings, but no farther. If the piano is properly regulated, this will be no more than
halfway down.
In releasing the pedal, retain touch of the pedal lever; do not jerk the foot awTay and
permit the "boom" as the damper frame comes against the strings.
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The pedal is almost invariably taken after the tone is begun, and not in advance.
This avoids catching the previous tone and intermingling it with the new one — a very
bad fault.
Also, in releasing the pedal, do so not with the key release, but a little later, at just
the moment when the new tone is about to sound, in such a way that there is no break of
tone between them.
In order to secure perfect quiet in pedaling and the habit of coming in later than the
accents and beats, such exercises as the following are advisable.
t. Pedal eight measures (4-4), taking the pedal at "two" and "four," releasing it
at "three" and "one."
2. Pedal eight measures (4-4), taking the pedal at "two" and releasing it just as
"one" begins.
3. Counting six, take the pedal at "two," releasing it at the end of "three"; also at
"five," releasing it at the end of "six."
Various other times of taking and releasing the pedal should be done at demand of
the teacher.
Experiment 1: Take the pedal from a high toe, putting it down very forcibly.
A smart "tap" of the shoe upon the pedal will be heard. Avoid this.
Experiment 2 : Release the pedal by jerking the foot away.
A "boom" of the dampers on the strings will be heard. Avoid it.
PEDAL EXTENSION FOR CHILDREN
7'he common habit of entirely neglecting the pedal in early instruction is wrong,
because it fails to establish the habit of listening to the resonance of the instrument and
neglects connecting the foot with the tonal effect of the instrument until a period in educa-
tion when it is much more difficult to establish this connection as a habit. Hence chil-
dren in the second grade should learn how to pedal artistically all the nice little pieces
they play which afford scope for pedal improvement. The teacher is to be judge.
For this purpose a Pedal Extension is very desirable, which brings the pedal levers
within reach of the foot of the child. Several of these little mechanisms are on the market,
costing about $3.50. One of these should be supplied unhesitatingly, as a necessary part
of the pianoforte, for the child's practice.
(Etjajiter Sttottt
PEDAL FOR MELODY LEGATO
LL three purposes in prolonging tones by means of pedal are alike in this: A
tone definitely sounded is to be prolonged until some other tone comes along
to connect with it. The melody tone prolonged is to connect with the next
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[»]
melody tone. The bass lone prolonged is to connect with its chord. The chord prolonged
is to connect with the next chord. The car therefore must control the pedaling, and listen
for these connections.
All these are sometimes called syncopating uses of the pedal, because the pedal enters
after the tone has been produced. The difference in using lies entirely in the mind of
the player, who has to remember whether he is prolonging one kind of tone or another,
and his intention of joining it to something else, and to listen for that connection.
The proper time to take the pedal is as early as convenient after the tone has been
produced;the proper time to leave it is at the precise moment when the new tone is ready
to join to it.
The principle of Melody Pedaling is completely covered in the simple forms following,
Nos. 8 to 12. They should be transposed into many different keys at the demand of the
teacher.
In No. 8 a series of half notes is pedaled out into a series of whole notes, the sounds
continuing four beats for each tone instead of two.
Begin by pedaling line (b), observing the time of taking and leaving the pedal.
Then, without pedal, play line (a). Observe the long rests which occur alternately
with the tones.
Then play line (a) and pedal line (b). The result will be like line (c). The teacher
is to watch for breaks or confusions. The pupil must play from memory.
N98The pedal is to be taken slightly earlier than the count "three"
(J, 84)
Finger
Kesult
In No. 9 two voices are carried with a single finger of one hand, the playing finger
to be chosen by the teacher, and each finger in turn to master the exercise. Perhaps it
will be better to begin with the second finger of the right hand, then the second finger of
the left hand, and so on with one finger after another until all have tried it. Pedal for
legato of soprano precisely as in the scale exercise preceding.
J _-8 4)
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NO 10
m
[12]
In No. 10 the same principle is carried out with more details in the second voice.
The whole notes are to sound legato. Pedal for these. All the notes of this exercise are
played with one finger, to be selected by the teacher from either hand. Continue the
practice until each finger in turn has had its exercise.
(J -.96)
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In No. 1 1 the same principle is carried out in chords. The pedal is used for melody
legato, therefore it is used twice in each measure, as marked. Play all the notes with the
same hand, the object being to acquire the habit of sustaining melody tones with pedal,
when compelled to leave their keys for any purpose. After playing this with the right
hand, the left hand should take it in turn, and it is important to bring out the melody as
clearly with this as with the right hand.
N911
flJ -84)
pt
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Pedal Ji. J L J L J L j 1
S >' r> m mmJ d 1 ^^ ^m 5^mmm p\os. 12 and [3 arc two melodies harmonized in outline, to be played with a single
finger and pedaled for melody legato, precisely as in the examples preceding. No. 1 2 suggests
a three-voiced movement. The passing eighth note in the melody (mm. 6, 7, 8, etc.) takes
the pedal by itself. Each of these should be worked out with different selections of fingers,
of either hand in turn, because this method of sustaining tones is liable to occur with any
linger of either hand. It is also a useful exercise to transpose them into other keys, as
directed, for additional practice.
N°12 B.D.M.
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No. 13 consists of a slow melody and an accompaniment suggesting a four-voiced
movement. All the tones are to be played with one single finger (indicated by the teacher,
or taken in rotation throughout the two hands), the legato preserved by means of the
pedal. At the marks (a) and (b) the finger comes back to the melody and resumes the
sustained tone (as indicated by the quarter note) ; and as soon as it has done this the pedal
is released, thus causing theharmony
to cease, after which the pedal is taken again, to
prolong the melody tone legato with the next. This device is of frequent occurrence in
fine music, and it is a very pretty effect. So also at (c), where the harmony changes during
the sustained tone, the finger resumes the melody while the pedal is being released and
opened again for the new chord.
(Second Way:) Later it will be very useful to take the Tone-sustaining Pedal at
(d), (e), (f), and (g), for prolonging the melody, meanwhile changing the Damper Pedal
as marked bv the lines.
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[14]
CANZONETTA IN D MAJOR
No. 14 Stephen Heller. Op. 45, No. 22. (Abridged)
In this lovely Canzonetta the notes, contrary to frequent practice, show precisely how the melody is
meant to sound, and ignore the fact that after playing the dotted quarter the right hand has to leave the
key and play the group of four i6ths, the final 8th in each measure being put in by the left hand crossed
over the right. In the Introduction, where there is no melody, pedal for the chord, — i.e., once in each
measure. As soon as the melody begins, pedal to get that legato, therefore, twice in each measure, as indi-
cated by the pedal lines. The pedal marks of Heller are here left in (<&&. and * ), but they are insufficient
and inaccurate, since the proper legato of the last melody tone of each measure is quite as important as
that of the first. This legato necessarily fails without the pedal, because the left hand has to return to its
proper work in the bass.
N214Allegretto con moto (J - ?6)
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PEDAL STUDY IN B MINOR
No. .5 [See page 16]Stephen Heller
In this study the melody is meant to be practically legato, the accented 8th note lasting through the
time of about three 8ths. Thus the writing shows not how it is meant to sound, but how the hands will
be engaged. Meanwhile, if the pedal is used as marked, the musical effect will follow. Liszt and most
later writers also notate their music in this way, — i.e., according to the performance of the hands and not»
according to the sound meant.
Pedal for soprano melody. Takethe pedal in time to catch the first 16th in the bass, for this is the
proper bass of the measure, and intended to sound through at least three beats. It is not necessary to pedal
again upon the fourth 8th note of the measure. The hands carry this legato. Small hands may facilitate
this study by omitting the lower notes of the right-hand octaves, in mm. 25 and 26. This brings the study
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[i6]
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[i?]
ROMANCE OF THE EVENING STAR
(Wolfram)
No. 1 Tiinnhauser. Richard Wagner
Arranged from Liszt
Pedal for melody connection, precisely as in Nos. g, 10, n. Be sure that every melody tone is pre-
cisely connected with the next following, without the two successive tones intermingling in the slightest
degree. A simplification is made from Liszt by taking the running arpeggios with fewer notes to a
measure. This makes it very much easier to play, while the harmonic effect remains the same.
N°16
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[19]
"MY PEACE THOU ART"
(Du bist die Ruh)
No. 17 Franz Schubert
Transcribed by Franz Liszt
In the Liszt arrangement of the first verse of Schubert's song, My Peace Thou Art, the pedal is employed
mostly for the melody, and follows the melody tones, sustaining them and enriching them.
Take the pedal very slightly after each melody tone, and sustain it until its succeeding melody tone is
just about to sound, as indicated by the pedal lines. In the Interlude a degree of confusion is created by
holding the pedal through two beats, but this is
pardonable,since it was precisely this break in sweetness
which Schubert had in mind.
In the second stanza the fingers should be in contact with the keys at the moment the touch begins,
the finger-points being the principal motive power, slightly assisted by arm impulse. The melody is pre-
cisely the same as in the first stanza, and the notes are indicated by a short line over each. Pedal for melody
legato.
N217 SCHUBERT- LISZT
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THE LAST HOPEMELODY
No. [8 [See page 21
The melody is in the soprano voice, and occasionally is transferred from one hand to the other, as
indicated by the short, straight line over each melody note. Study these out and get the melody connected
in mind before trying to play the whole. Pedal for melody legato, and be sure that the melody quality is
just the same in the notes played by the left hand as in those played by the right.
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[21]
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[22]
Anton Rubinstein. Op. 3, No. 1
MELODY IN F
No. 19
77/r Form: The repeat at B is not observed after the Da Capo, but the second ending at C taken
instead. The first Interlude is omitted after the Da Capo and the second taken instead. The melodic
changes of idea are indicated by the letters A, B, C, D, E, F, etc., which indicate points where new matter
begins.
The Technic: The Melody is conceived as a tenor quality, lying in the middle voice, and played with
the two thumbs cooperatively, which must carefully observe a keyboard legato. In nearly all the measures
the left thumb comes in at the second beat (i.e., beginning the second half of each measure). In the division
marked II, however, the right hand manages this melody by itself, while the left thumb adds a second mel-
ody. This should be heard equally with the higher voice, shading louder or softer at pleasure of the player.
The accompanying chords are often just as effective if left slightly before the melody keys.
The Pedal: The pedal is invariably taken at the first beat, and held until the second melody tone Is
about to sound. It is better to omit the pedal during the third beat (the left-hand note), but use it again
upon the fourth, and the first. This prevents pedal confusion of the second and third melody tones. In
the Interludes the pedal can be used with each bass note, for atmosphere. The tone-quality of the melody
should be full and satisfying, but not loud, except at the climaxes, and always very musical.
NG 19 RUBINSTEIN
Moderato
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[23]
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[24]
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Usl
PEDAL FOR CONNECTING BASSES WITH THEIR CHORDS
VERY large part of modern music for the pianoforte consists of a flowing can-
tilena, or melody, supported with an accompaniment consisting of a low bass tone
on the accented beat (occasionally elsewhere) and one or more chords in the middle
range of the piano. Almost invariably such basses are to be prolonged by the pedal until
their chords have been connected with them.
When the movement is quick and the left hand has to travel more than an octave to
reach the chord, the time of holding the bass with the finger is very short; therefore take
the pedal almost instantly after touching the bass key.
. In many of the Nocturnes of Chopin the pedal is indicated to be prolonged through the
measure, but modern pianofortes have so much more vibration than those which Chopin
knew, that confusion almost always arises in the melody if the pedal be held so long. The
player must watch for this and release the pedal whenever the melody begins to blur.
Thus most of the Chopin pedaling has to be materially shortened from what he wrote.
In some cases, as, e.g., the Mazurka following (No. 20), Chopin marks this pedal use,
but at the same time indicates a staccato for the melody, and to make sure of this he inserts
a rest, which the pedal entirely covers up. Artists differ at different times in handling
contradictions of this kind; they decide which they prefer on the whole, the effect of the
rest, which as a silence in the melody is sometimes very effective; or the pedal. Often they
compromise by playing for the connected bass once through and for the rest the second
time through.
It is not certain that Chopin intended the rest as such, but really meant to illustrate
the treatment of the right hand, which was intended to spring up very staccato, with the
effect of a strong accent. The notation generally shows what the hands are expected to
do, rather than the precise way in which the music should sound. Unquestionably this
is true of the Heller Study, No. 15, the melody in the Intermezzo of the Chopin Funeral
March, No. 24, also Schumann in the Album Leaf, No. 25.
This is a point where players have perhaps more range for judgment than they would
have wished, since what every true artist desires above everything else is to produce the
effect Chopin, Schumann, or Liszt intended.
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[26]
MAZURKA IN B FLAT
No. 20 Frederic Chopin. Op. 7. No. 2
In this Mazurka the pedal is used to connect the basses with their chords. In mm. 1, 2, 3, and many
others, there is a rest marked in the melody after the first half beat. The pedal, if used, will conceal this
re>t. Inasmuch as Chopin marked the pedal as we have it, or nearly so, it is thought that what he meant
was a bounding and spirited accent, rather than a staccato quality in the sense of short duration. Accord-
ingly, play the accent rather forcibly at these points, but employ the pedal. In case it is desired to observe
the actual silence indicated by the rest, two ways are open: Fither to take the pedal on the second beat,
thus losing the low bass, or to prolong the low bass with the Tone-sustaining Pedal. The latter is a fine
exercise. In the second period observe Chopin's caution, to omit pedal (legato e senza Pcd.). There is a
third way of managing the staccato in mm. 1, 2, etc. Hold the bass about a half beat or a trifle longer, and
play the soprano staccato; then catch the bass with pedal after the staccato in the right hand. This is
an effective expedient.
NQ 20CHOPIN
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HER FIRST WALTZ
(From Album for the Young)
No. 2i [See page 28] P. I. Tchaikovsky
Natural!}' a somewhat impassioned occasion, as we see from the abandon with which the Fair Can-
tilena comes in a beat too late, and occasionally tosses her head after an accent (the rest after the accent,
mm. 2, 3, 10, 11, etc.). As a rule, pedal during the first two beats. Where the original marks "*&d." and
"#" occur, extensions exist, making the pedal indispensable.
In case it is desired to preserve the utmost force of the break, indicated by the rests in mm. 2, 3, etc.,
the Tone-sustaining Pedal can be used to prolong the bass without covering up the treble. The Editor
regards the Damper Pedal as better; it can be managed by holding the bass key with the finger until the
right hand has sprung up from the staccato melody key, then take the Damper Pedal.
THE AVOWAL(From the Carnival Suite)
No. 22 [See page 29]Robert Schumann. Op. 9
In this very impassioned and charming bit, the pedal is employed to connect the basses with their chords,
as indicated by the pedal lines. In such places as at (a), where the melody has an appoggiatura in advance
of the main tone, it is better to pedal a little later, holding the bass a trifle longer with the finger so as to
catch it with the pedal. This avoids prolonging the dissonant appoggiatura into the resolution tone.
Small hands may simplify this piece by playing only the lower tones of the octaves in the second period,
but playing them stronger than would otherwise be necessary, since the object of the octaves is to impart
breadth.
GRAND PRELUDE IN D MINOR
No. 23 [See page 30]Stephen Heller. Op. 45, No. 15
This highly effective and sonorous composition is made up of two motives, first introduced at A and B,
respectively. Wherever motive A occurs, the bass tone is to be prolonged throughout the duration of its
chord; therefore, taken at the third count and held to the end of the second in the next measure, as indicated
by the pedal lines. The motive B is pedaled mainly for better quality, as indicated by the pedal lines.
In addition to using the Damper Pedal, as already indicated in motive A, the first tone can be taken
with the Tone-sustaining Pedal and prolonged through the passage, as indicated by the Tone-sustaining
line below' the notes. Meanwhile use the Damper Pedal as before. The two together add greatly to the
sonority of the passage. In resuming the principal subject, at E, small hands may omit the octaves and
play the passage as at A. It is not so good, but it will answer. Observe the light and shade, and aboveall take care that the heavy chords have always a musical quality.
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[28]
N9 21
VivaceTCHAIKOVSKY
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[3o]
N?23
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INTERMEZZO OF THE FUNERAL MARCH
(From Sonata in B flat Minor)
No. 24 Frederic Chopin. Op. 35, No. 2
This beautiful melody affords attractive practice in connecting arpeggio basses into chords by
means of pedal. The marks (jited. and •# are approximately those of Chopin himself, and they indicate his
desire to blend the harmonic support into a gently murmuring harmonic background. Upon modern
pianos, with vibration so much longer than any that Chopin knew, this pedaling will create confusion in
the moving 8ths of the melody. Therefore it is more refined to pedal as indicated by the pedal lines. Aslight confusion will still remain when two 8ths occur during the same pedal, but they are not serious. At
(a), (b), (c), (d), etc., the upward movement of the melody in the same chord does not necessitate changing
the pedal. Were the movement descending, it would be necessary to make the change. Should the melody
be played with Soft Pedal, in the repetition (as is very common), the Damper Pedal is used just the same.
Available for small hands.
N9 24 CHOPIN
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[33]
ALBUM LEAF
No. 25 Robert Schumann. Op. gg, No.3
The notation of this Album Leal follows the principle mentioned before of writing the notes as the
hand has to play them, rather than as they are meant to sound. The grace note in the bass is the actual
foundation of the harmony, and is to be prolonged during the chords which occur above it. Hence it is
necessary to play this tone very slightly in advance of the beat and to catch it with pedal, prolonging it as
indicated in the pedal lines below the notes. The dotted halves in the left-hand part are held out with the
fingers. The piece can be simplified for small hands by omitting the lower notes of the octaves in the bass
part in mm. 18, ig, 20, 21, etc., striving to replace the octave effect by making the remaining tones as full
and satisfying as possible without playing them forte. This piece i-- one of the best pedal studies in the
book.
No. 25
fflai
Very slow and song--ful (J -112 to 126)
2. ^ 2 -
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[35]
PEDAL FOR CONNECTING CHORDS
XN Polyphonic music, chords, as such, rarely or never occur, the tones composing
the chords actually heard during the piece coming into their places incidentally to
their melodic motion, each following its own thread. In music of this kind the
pedal is used very sparingly, if at all. Modern music, however, no longer expects chords
to be connected by the fingers upon the keyboard, as they have to be upon the organ,
because the prime quality of a chord in modern music is what might be called its har-
monic solidarity, or harmonic unity,- -the effect of a single compound klang in which,
while all the individual tones are clearly to be made out, the prime effect is that of the
chord, as such.
This effect cannot be produced by finger touch alone, except by virtuoso fingers of
high potency. All weaker hands have to obtain the harmonic effect by the use of hand
or arm touches. And since it is of the utmost importance to have the tones of the chord
all begin precisely together, the hand has to be firmly energized and raised slightly from
the keys, preparatory to taking the chord. Thus, in a succession of chords, there is a
break in keyboard continuity after every chord. This break is bridged over by means of
the pedal, which must be taken just after the chord is sounded, and released at the very
moment when the new chord is beginning to sound, in such a way that the chords are
connected, but not intermingled in the slightest. Good pianists do this unconsciously.
The use of the pedal in this manner also adds resonance to the chord by permitting
the relatives of the tones to aid it; it thus contributes what is later on called "atmosphere,"
or general blending effect. The student will be reasonably safe in taking as a general
rule the principle that all chords take the pedal, excepting those that are too short in dura-
tion for the pedal to be used.
The young student in adding the pedal to such a study as No. 26, etc., should not
begin the pedal study until he has learned the music well. In such studies as Nos. 25
and 23, where the pedal is the only way of obtaining a complete bass, the pedal is taken
with the first study. So also in Nos. 14, 15, 16, etc.
THE PEACE OF EVENING
(Abendfriederi)
No. 26 [See page 36] Alban Foerster. Op. 63
This charming and musical piece is conceived in the spirit of a part-song for voices, relieved later on
by a solo by the leading voice, in this case soprano. The tone is to be very mellow, musical, pervading,
and satisfying.
The pedal is used to connect the chords, precisely as directed in No. 23, and precisely as the scale is
played legato by one finger and pedal, in No. 8, Chapter VII. In carrying out the principle, several difficul-
ties arise. First of all, there is the plain case, where the pedal is applied syncopatingly, just after each
chord, as in mm. 1, 3, etc. Then there are several cases where one or more changes of chord occur within
the measure, and during the prolongation of most of the tones, as in mm. 2, 4, etc. Here we consider each
half note a new chord, and pedal as marked, but hold the long notes with the fingers. A vanishing tone,
like the 8th, which leads from m. 7 to m. 8, is also pedaled. So also the passing quarter in m. S. In m. 10
andin
many otherplaces the
middlevoice indulges in 8ths. Here it is better
to pedal the accent, and pedalagain when the half note comes in the alto voice, and prolong this to the next chord. In the second period,
where the soprano has a cantilena, pedal not at all, or as marked by the pedal lines.
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[36]
N926(J, 96)
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(38]
ISQ27
I
SOLDIER'S MARCH(From Album for the Young)
No. 27 Robert Schumann. Op. 68
It is generally supposed that Schumann did not intend the rests to be closely observed between the
chords here and in many other places in his works. What he meant was probably an individualizing of
the chords, each slightly separated from the next. Thus the actual silence will be very short, scarcely per-
ceptible as silence. Yet the "chords have to be rather strong and brilliant. The pedal is used with each
chord, but the chord is not connected to its successor, but the pedal left just before. The heavy unison
after the double bar, is legato, and withoutpedal.
SCHUMANN
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A LITTLE PRELUDE(Abridged from Six Little Preludes)
No. 28 Johann Sebastian BachThis very original and attractive prelude is composed over a bass motive of three notes (the two 8ths
andthequarter (a), which occurs over and over,like an ostinato, and is carried through an interesting harmonic
succession. The chord upon the accent always lasts through two beats, hence the pedal includes this much,in every measure. It would be permissible to pedal the two 8ths into a single chord, but to do this destroys
their character as an ostinato motive; therefore pedal each 8th by itself. Observe carefully the indications
of varying force. The pedal also imparts an atmosphere, and relieves the dryness which otherwise dis-
tinguishes the i6ths. If young pupils find this piece difficult to memorize, take shorter portions, and learn
the progression of accented basses, for this is the backbone of the piece. When a bass fundamental is several
times repeated to different chords, next learn these chords in their order, noting carefully how they change
under the fingers. In this way it will yield to study. Merely playing it many times will seldom memorize it.
lOto J S. BACH
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[39]
mmdim
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Uo]
INTERMEZZO
(From Nocturne in G Minor)
No. 20 Frederic Chopin. Op. 37, No. 1
The chords in this passage are intended to be soft and full in tone, and played in a very reposeful man-
ner, hut with the upper, or melody voice, slightly more prominent than the others — yet very slightly. In
mm. 4, 8, 12, etc., grace notes occur before the melody voice. This grace note is played at the same time
as the bass and other voices, retarding the soprano tone just so much — which must be very little indeed.
The pedal is used to connect the chords,and
is
employed with each chord throughout in the mannerexplained at the beginning of this chapter. The customary marking to pedal a repeated chord without
changing i> not desirable. Thus in m. 1, the two chords of A flat are pedaled individually. Where the
bass has octaves, play the melody voice a little stronger than elsewhere, to justify this stronger bass.
N929
CHOPIN
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[41 ]
MARCH MOVEMENT
(From First Novellctte)
No. 30 Robert Schumann. Op. 21
As a study in strong, vigorous, brilliant chords, the principal idea of Schumann's First Novellctte is
one of the best. In this case Schumann has already marked the chords staccato; therefore we do not try
to connect them, but simply employ the pedal with each chord to improve its quality. The pedal is left
sooner than if legato was intended, so that there is a very slight moment of silence between the chords.
Where the bass runs up in octaves to an accent, the pedal is user! during all three of the notes, and here we
carry the rush quite up to the accented tone, where it ends. Incase the vibration of the piano is very free,
such triplets as those in mm. 6 and S may be pedaled twice, once for the octave and again for the next twonotes close on to the succeeding chord. Such uses are practically universal in brilliant music.
LAROO APPASSIONATO
(From Sonata in A)
No. 31 [See page 43] Ltjdwig van Beethoven. Op. 2, No. 2
This thoroughly characteristic and profound slow movement from Beethoven's Second Sonata is one
of his best. It consists of a very serious melody, with its appertaining chords, and under it a series of de-
tached low bass tones, like a double bass pizzicato. (The strings picked with the fingers.) The difficulty
is to secure a perfect connection of the chords and yet not impair the pizzicato of the low basses. There
is one way only to do this, which is to take the pedal just after the second bass tone of each beat, long enough
to cover the break between the chords which would otherwise be inevitable. (See pedal lines below the
notes.) This use of the pedal is precisely the same a-- in (lie chord examples already given, excepting that
in this case we delay the application of the pedal to the very last moment of each chord compatible withits advantageous use. When thebassis in 8ths and the force great, every chord takes the pedal, for sonority.
In the second period, at B, in the heavy passage in B ilat (period C), pedal once in each beat, as indicated.
The confusion of the passing tone is tolerated in view of the intensity of the action. Where the principal
theme returns, with 16th note figuration in the alto (period D), the pedal is used as at first.
30
Marcato e forte (Jr iostoi26)
Very marked and strongb)
SCHUMANN
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[42]
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[43]
N2 31
*
Largo appassionato (J = 62)
A tenuto sempre
BEETHOVEN
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[45]
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[46]
GOOD NIGHT, MY HEART
No. 32 Robert Franz
Transcribed by Otto Dresel
In the following song by Franz, each of the four voices has its own movement and needs to be played
legato, with little crescendos and diminuendos as the expression requires. It is therefore partly done by
finger work, but much helped out by arm assistance and a very sparing use of the pedal. Great care must
be taken to hold out all the longer notes their value. The pedal adds atmosphere and perfects legato in the
more important chords. In a simple succession of chords, as in m. 1, the pedal is used after each chord;
when passing notes occur, as at (a), the pedal is not taken for the first note, but for the second only, as the
object is to prepare for the next chord. The passing 16th in m. 2 is not pedaled. The pedal lines below
the notes give an idea of the uses advised.
N9' 32
FRANZ-DRESEL
~~\\24time
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[47]
PEDAL FOR ATMOSPHERE
XN all the applications of the pedal illustrated in the pieces previously given, besides
the specific addition to the tone (in the way of prolongation for connecting
melody tones, chords, or basses), we have always sundry other additions of
resonance above and below, according to the principles illustrated in Chapter III. These
additional resonances impart a certain quality to the effect which has been called "Atmos-
phere"; a sort of mistiness, or tonal halo surrounding the actual threads of the melody
and its harmonies, and imparting to the whole a charm which is lacking when the pedal
is omitted. Atmosphere is therefore not so much something to seek specifically as to
be included as an incidental by-product of pedaling necessitated for specific reasons.
Schumann seems to have been the first great composer to fully appreciate this element
in poetic piano playing. It was said of him in his day that he used the pedal entirely
too much; since he came into close comparison with Mendelssohn, who used it very
little indeed.
In nearly every piece of modern music the pedal is indispensable for one or another
of the demands already discussed. Accordingly, when these are perfectly met, the desired
atmosphere will appear of itself, better or worse according to the capacity of the
individual piano for sympathetic resonance. But it is permissible to apply the sameprinciples to easy pieces where the pedal is not specifically necessary, as in the little songs
of the first and second grade, classical sonatinas, and the like, provided it be not made a
habit and result in a vulgar blurring of harmonic effects.
THE PET BIRD'S FUNERAL MARCH
(From the Album for the Young)
No. 33 [See page 48] P. I. Tchaikovsky. Op. 39
In this strong and well-characterized funeral march the right-hand part is treated precisely as if each
melody tone were a chord, the arm element being important in the touch, and, whether played softly or
with more power, the tone to be serious, deep, and full. Pedal to make the harmonies legato, as indicatedby the pedal lines below the notes. In repeating after the D. C, use the soft pedal also, playing pianissimo.
A TENDER DREAM
(From the Album for the Young)
No. 34 [See page 48] P. I. Tchaikovsky. Op. 39
The marks ^Ud. and the *#> below the notes are those of the author. The pedal-lines indicate the advised
applications of the pedal, which, while not absolutely indispensable to the integrity of the music, would
generally be thus made by an artist. The key to the new marking is at once to improve melody,
connect chords, and add "atmosphere." Be careful to give the melody the highly impassioned expression
required by its harmonies and the indications of power. Tn the second period (from B), the melody in the
left hand could be pedaled note by note advantageously, but it is not indispensable.
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N9 33
mrave J.-boj
TCHAIKOVSKY
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A LITTLE HUMMING SONG
(From .l//;/n;/ for the Young)
No. 35 [See page 50] Robert Schumann. Op.68
The pedal is not indispensable in this little song; but if taken with each melody tone, precisely as
if to preserve the legato, it will be found to add "atmosphere" and relieve the dryness of the accompaniment.
A similar effect can be produced by holding the low bass tone (like a melody) until after the second tone
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[5o]
N? 35
Moderately quick (Jr96)SCHUMANN
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[SO
PRELUDE IN C MAJOR
(Wohllemperirtes Klavier, No. i)
No. 36 Johann Sebastian Bach
This universally favorite prelude, being purely harmonic, is very much improved by pedaling for each
chord, — i.e., twice in each measure. The second note of the left hand, as well as the first, is held out its
full value. Much depends upon the quality of tone in the i6ths, which should be chord-like or melodic in
character, so evenly balanced with the first two notes of the left hand that the measure presents at once a
chord effect and a firm and reliable "motion" (or unbroken succession) of i6ths. There is a gradual cres-
cendo to m. 5; then it subsides, rising to forte in m. 7, following generally the marks of expression, which
are those of Czerny. At m. 18 the effect is very pianissimo, whence it gradually rises to a grand climax
upon the first chord of m. 20; thence diminishing to the close. Retard very much in the last four i6ths,
and "spread" (arpeggio) the closing chord. On this prelude (transposed) Gounod built his exquisite
Ave Maria.
N° °6
Allegro (J = 72 to 84)
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[53]
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NOCTURNE IN G MINORNo. 37
Frederic Chopin. Op. 37, No. 1
This is the final and more ornate form of the principal melody in the Chopin Nocturne, of which No. 29
is the middle part. The usual pedal marks of this nocturne contemplate merely connecting the basses
with their first chord. The artist, however, would employ the pedal with even- chord, both for connection
and for atmosphere, as indicated by the pedal lines, which are to be carried out elsewhere when not marked.
In the second period, mm. 13, 14, 15, the pedal merely connects basses to their chords. In mm. 16, 20,
and 24 the Tone-sustaining Pedal can also be used advantageously for prolonging the low bass during the
succession of chords above it; meanwhile the Damper Pedal changes with each chord.
N2 37 -r,Ayw^^ dM#±j>, CHOPIN
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[54]
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[55]
No. 38
PRELUDE IN B FLAT MINOR
(If ohltem perirtes Klavier, No. 22)
No. 38 Johann Sebastian Bach. (Abridged)
This exquisite prelude affords very useful practice in applying the pedal to improve the atmosphere
and intensify the accents, in a class of music where every musical person feels the need of it, yet few know
exactly how to make the proper use of it. All the moving voices must have a singing effect, and the indica-
tions of expression be carefully observed. The pedal is used as indicated by the pedal-lines, for intensifying
the accents and also (to most students unexpectedly) upon the note before the accent, in order to lead up
to the accent more forcibly. In the second line it is carried out as indicated in the first. Careless students
will need reminding that at (a) the tenor begins the same melody that the soprano had in the first line. All
tones must be sustained by the fingers their full value. To be played as legato as possible.
Andante sostenuto(Jcso)
J.S.BACH
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No. 39 [See page 56]
AVE MARIAJacob Arcadelt. (16th Century.)
Transcription (Abridged) by Franz Liszt.
The quaint and lovely Ave Maria by the old Netherlandish composer, Jacob Arcadelt, is very attractive
in Liszt's version, which is here shortened materially. The melody itself consists of eight measures of very
simple diatonic music. As here given, it is repeated four times (A, B, D, E), with an interlude mainly in
minor mode (C). The pedal is not necessary in the first verse, although if carefully added it improves the
effect. In the second repetition (B) it is very necessary, for connecting the chord-like melody tones. So
also in the later repetitions. In the third repetition (D) the melody lies in the middle of the right-hand
octaves, and is doubled in the left-hand. There is room here for a great deal of discreet coloring, according
as the player chooses to permit the soprano or alto to color the passage by being a little more prominent.
•The harmonized version in full chords (E) can be played much more powerfully; but care must be taken
to subdue the force again and end softly.
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[56]
NP 39
Andante (J - so)ARCADELT-LISZT
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[57]
lAmm i *EfEfE
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No. 40 [See page 58]
AVE VERUM CORPUSWolfgang Amadeus Mozart
Transcribed by Franz Liszt
A study in sweet, pure chords, with a beautiful melodious quality in the chords and a leading voice
of superior value to the others. Throughout the hymn the pedal is used for connecting the chords and
enriching the melody by means of resonance.
THE PROPHETIC BIRDS
(From Forest Scenes)
No. 41 [See page 60] Robert Schumann. Op. 82
This famous and poetical piece by Schumann presents peculiar difficulties in pedaling, if one wishes to
gain by it the most good and the least possible harm. The pedaling generally marked (during each har-
mony) is not permissible upon a really good piano, inasmuch as it confuses the effect. On the whole, the
best way seems to be to pedal with each beat upon which a tone is produced, and to prolong the pedal almost
entirely across the long rests (upon the last half of the 2d beat and all of the 3d). In this way the dissonance
is prolonged into the chord, but it does not make a bad effect. To begin the pedal with the 32ds is to lose
the misty charm which Schumann seems to have had in mind. The pedal lines indicate this as nearly as
practicable, but they should be revised by careful hearing, according to the nature of the individual piano.
In the melody which forms the interlude, pedal for chords.
PRELUDE IN A MINOR
{Wohltemperirtes Klavier, No. 20)
No. 42 [See page 62] Johann Sebastian Bach
This most excellent study affords fine opportunity for reinforcing the accents by means of the pedal;
it also needs the Soft Pedal occasionally, and, near the close, the Tone-sustaining Pedal and Damper Pedal
at once. The blurring of the A and G sharp, m. 1, and elsewhere when the pedal is used, is not objection-
able. The G sharp is dissonant and was added for the sake of its foreign accent (like imported nqbflity
in an evening party). The pedal lines show the applications intended. Learn the notes first, then add
each pedal in turn as required.
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No 40
U.
Andante con pieta, piu tosto lento (J- 66)
dolcissimo
T
[58]
A - ve,
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[59]
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[6o]
N2 41
Lento, molto teneramente (Jr63)
Very slow and tender
SCHUMANN
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[6i]
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[62]
N9 42
Allegro (J.r56to72)
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t63 ]
4
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[64]
THE FAMOUS "INVENTION IN F"
No. 4 ^Johann Sebastian Bach
In this extremely pleasing example of thematic work, the pedal is useful to emphasize accents and to
impart a certain momentum which cannot so well be obtained without it. Team the piece well before apply-
ing the pedal at all; then carefully study to apply it as here indicated by the pedal lines.
N9 43
Vivace J^96toios)
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[66]
PRELUDE IN C SHARP MAJOR
(WofUtemperirtes Klavier, No. 3)
No. 44 Johann Sebastian Bach
The student unaccustomed to Bach may observe that the principal subject of this prelude consists of
seven measures, and an 8th measure which bridges across to the next following idea. The main melody
occurs six times, at A, B, C, D, E, and F, in C sharp, G sharp, D sharp minor, A sharp minor, F sharp,
and C sharp. The connections from each of these repetitions to the next must be very carefully learned^
With the last note of m. 32 a new idea begins, which occursseveral times, often in the bass, as in
35,etc.
In m. 63 there is a charming pedal point begun, also again an octave lower in m. 87. When the harmony
moves off the pedal, at m. 73, a strong crescendo begins, culminating upon the accent in m. 77; also in
m. 81. The last three chords should each have the time of a full measure, and be slightly retarded at that.
Pedal indicated in the pedal lines. The main subject is improved when pedaled for two beats in each meas-
ure. This prelude is a charming composition, extremely modern in spirit, despite its age.
N9 44
Vivace (J: 92)J.S BACH
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[67]
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[68]
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INTERMEZZO FROM THE FIRST "KREISLERIANA"No. 45 [Sec page 69] Robert Schumann. Op. 16, No. 1
Perhaps the easiest way to find the lovely soprano melody here, which the notes do not at first indicate,
i^ to observe that the figure upon which the piece is made, consists of two triplets of i6ths in each half meas-
ure. Suppose we count these one to each note, and observe that the music always begins with the last
note of a former triplet, as if upon a count "six." The melody tones are always those counted "six, one."
Thus, four melody tones in each full measure, and always upon the rhythm "six, one." Now the accentedtone, in place of ending as a mere 16th, is prolonged during the time of five i6ths (in other words, to count"five"), ending in time to avoid the next melody tone. This prolonging is effected by means of the pedal.
In addition to prolonging the melody tones, the pedal blends the harmonic background and adds atmos-phere. The melody tones arc to be musical, melodious,
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[69 ]
No 45
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[7°]
EPISODE IN THE SECOND "KREISLERIANA"
^r , Robert Schumann. Op. 16, No. 2
The chords in this mysterious Episode are intended to melt into each other, in a legato as perfect as
possible, suggesting the organ, yet curiously enough entirely impossible upon that instrument. The fingers
cling to the keys and there are very few interruptions to the legato. Hence the pedal is not indispensable,
but when employed it adds atmosphere. Whenever a slight break in finger legato is necessary, the pedal
is added to cover the break. The ascending sequence of 8ths, at the beginning of the second period, takes
the pedal upon each 8th. All the long chords take the pedal for quality.
N2 46
Rather slowly (J -so)SCHUMANN
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[7']
54 5 ad lib.
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72
etjajiter tEletorn
THE TONE-SUSTAINING PEDAL
^^^^HE middle pedal upon most modern grand pianofortes is what is known as a
1 J Tone-sustaining Pedal, a modification of the Damper Pedal.
The Tone-sustaining Pedal arrests the falling of whatever dampers may be
raised at the moment it is pressed, and thus prolongs the tones then sounding. Single
tones or Chords can be thus prolonged. No other dampers are affected. The sole object
of this pedal is to prolong a sustained tone while various harmonies are carried on above
it or in connection with it.
The Tone-sustaining Pedal is always taken with the left foot, except when it chances
to be needed in connection with the Soft Pedal — an extremely rare contingency.
The Tone-sustaining Pedal is pressed just after the tone has been sounded which it is
desired to prolong; or at any later interval before leaving the key.
As the technic of using the left foot in this way requires practice, it is necessary to
give careful practice to this important adjunct to clean playing, and above all things form
the habit of hearing what this pedal does.
Begin with a scale exercise, like No. 8, prolonging the tone by means of the Tone-
sustaining Pedal, taking it at the second beat and leaving it just as the new tone is about
to sound. The effect will be precisely the same as when the same exercise is played with
the Damper Pedal, excepting that in using the Tone-sustaining Pedal no sympathetic
resonance is awakened. The effect is therefore clearer, quite without what has been
called "atmosphere."
When this exercise can be done easily by the aid of this pedal, the melody being en-
tirely legato, go on with Nos. 12 and 13, in which the Tone-sustaining Pedal is used for
the melody legato, and the Damper Pedal in connection with each single tone except the
melody. This is for the purpose of accustoming the two feet to work together and
independently.
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[73]
When these are done easily, go on with the Canzonetta by Heller, No. 14, and carry
the melody legato by means of the Tone-sustaining Pedal. Do not use the Damper Pedal
at all in this piece, when practicing it for the present purpose. Later on, add the Damper
Pedal to blend the arpeggio together, but still depend upon the Tone-sustaining Pedal
for melody legato.
A great variety of effects are possible by means of this pedal which cannot be other-
wise attained. For example, play the Romance to the Evening Star, No. 16, using the
Tone-sustaining Pedal for prolonging the low bass tone, playing the melody legato by
means of the fingers, and no other pedal except in the arpeggio passages near the close.
The effect is good.
Astriking use of this pedal is possible in the
ChopinMazurka in
Bflat,
No.20.
HereChopin deliberately demands two opposite things. He marks the first tone staccato with
a rest after it, and takes the pedal at the same time to prolong the bass. The result neces-
sarily is that the little staccato and rest arc buried under the prolonged vibration of the
pedal. Now play the same mazurka, taking the Tone-sustaining Pedal with the low
bass tone (i.e., just after it, but before leaving the key), then go on. Here we preserve
the staccato and the Chopinesque catch indicated by the rest, while at the same time we
have a bass to lean upon.
The Heller Prelude in D minor, No. 23, can be played, using the Tone-sustaining
Pedal for the prolonged bass tone, in this case holding it entirely through the next chord.
It is necessary to do considerable practice with Tone-sustaining Pedal and Damper
Pedal together, in order to accustom the feet to independent action, the Damper Pedal
affording the desired resonance, while the Tone-sustaining Pedal limits itself to sustain-
ing a particular tone. It is of great use in cadenzas, where it is often impossible to pro-
long an underlying bass without generating confusion, even when the lower tone is fun-
damental to the passage. Examples are given from Liszt (Nos. 49, 50).
PEDAL POINT FROM "ETUDES SYMPHONIQUES"
No. 47 [See page 74] Robert Schumann. Op. 13
The imposing pedal points in the Finale of Schumann's Eludes Symphoniques illustrates the artistic
value of the Tone-sustaining Pedal in cases where strong chords occur above a prolonged and sonorous bass.
The Damper Pedal was formerly the only way of effecting this prolongation of the bass tone, and the una-
voidable result was great confusion, excusable only for the sake of the powerful ideas involved. The Tone-
sustaining Pedal, when applied as indicated by the pedal line below the bass, completely solves the difficulty,
affording a strong prolongation, and at the same time leaving the Damper Pedal to its proper use for sonority
and connection in the striking motive-chords occurring from time to time above (at a, b, c, d, e, f, and g).
These four strong chords (quarters) are forms of the leading motive of the Theme, upon which the whole
work is a series of variations.
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N9 47sf
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[75]
PRELUDE IN C SHARP MINORNo. 48 S. V. Rachmaninoff. Op. 3, No. 2
In this Prelude the Tone-sustaining Pedal was evidently in the mind of the composer. Take it approx-
imately as marked in the pedal line below the bass. Observe that the first long tone is not taken by this
pedal until it is nearly through. The object of this delay is to avoid prolonging the tone in too large a vol-
ume for the light chords which are played above it. When the same idea occurs later on where the over
chords are fortissimo, this caution is disregarded and the Tone-sustaining Pedal taken sooner. The
Damper Pedal is used with each chord all through, for connection and for beauty of tone. The combined
effect is charming and imposing.
N9 48
Lento
(Andante)
4 1
RACHMANINOFF
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[76]
CADENZA FROM "RIGOLETTO" FANTASIA
No. 49 Franz Liszt
Here again the extremely brilliant cadenza is founded upon the bass tone, A flat, the dominant of the
principal key, and the effect is much more imposing when this tone is prolonged entirely through, by means
of the Tone-sustaining Pedal, as indicated by the
pedal line below the bass. In Liszt's time he used
to hold the Damper Pedal entirely through the
cadenza, just as here marked for the Tone-sustain-
ing Pedal; such a prolonged usage, however, becomes
intolerable with our modern pianos, which are so
free in vibration, and sonorous. The Damper Pedal
is to be taken and left as indicated by the notation
between the staves.
N2 49
LISZT
^iBife
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8'
hh&!AliAhJi A ^ J'A&AflJiJJu^^" 5 5 tJ u
CADENZA FROM "LIEBESTRAUME," NO. 3
No. 50 Franz Liszt
This cadenza grows out of the bass tone E flat, the dominant of the principal key. The E flat is pro-
longed entirely through the cadenza, as indicated by the pedal line below the bass. Meanwhile the Damper
Pedal is taken and left as indicated by the pedal notations between the staves. This cadenza, the next
following, and many other like them, are useful exercises, and may be worked advantageously by students
who are not yet able to play them fast enough and with bravura for a public performance.
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[77]
N9 SO
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I 78]
CURIOUS AND UNUSUAL PEDAL EFFECTS
XNthe
"Paganini " characterization, in Schumann's Carnival, a pedal effect is marked
which at first sight seems impossible. This number closes with four very em-
phatic repetitions of the thirds, F-A flat, played low in the bass, extremely fort-
issimo (No. 51). While the pedal is still held, the hands are placed silently upon a totally
different chord, namely, that of E flat with seventh, the dominant of the number next en-
suing, the repetition of the Valse Allemande, which preceded the Paganini.
The entire Paganini number has been strong and quick, and these terribly forceful
sonorities of the low bass strings set the entire instrument into strong vibration— a vibra-
tion too complete to be properly described as " sympathetic;" Then, when the hands
have taken this silent chord (written in small notes), and the pedal is discontinued, the
new chord almost immediately emerges from the confusion, like a spirit voice. Schumann
marks the pedal to be taken again after the silent chord has begun to' sound.
The legitimacy of this chord of E flat from the heavy resonances of F minor does not
at first appear; but it will be found that most of the new tones are implied in the previous
sonority. E flat comes as the fifth of A flat; G as the ninth of F; B flat as the ninth of
A flat ; D flat alone is difficult to account for, unless we charge it to the general awakening
of the entire pianoforte. Upon good concert pianos this chord emerges very clearly and
distinctly. It is always heard from artists. Upon poor pianos it emerges less clearly,
especially upon small uprights; but with care it will come out.
N951
(J : 72)
SCHUMANN
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[79]
Many concert artists have taken advantage of this principle in places where it is not
indicated by the composer. For instance, No. 52 is an extract from Beethoven's Sonata
Appassionata; artists often place their fingers upon the keys opening the measure marked
pp. before releasing the pedal from the strong chord of C major which fills up the previous
measure. Then upon releasing the pedal, and without sounding the new tone, it emerges
at first very softly, then stronger, giving this beginning of the soft passage a peculiarly
pleasing effect.
N9 52BEETHOVEN
(J-- 129)
^^ fmi* a # » • mSSi
\
ffPP
'^v^jtiiiM
etc.
fit* t 4kriW<s&. #
The great pianist, Busoni, has indicated an analogous proceeding in his edition of the
Bach Chromatic Fantasia, as shown in No. 53, which is from m. 30 of the Fantasia. After
playing the very heavy arpeggio upon the diminished chord of C sharp, the hands are
silently placed upon the keys indicated by the small notes; then when the pedal is released
the lower tones are cut off, and much of the strong vibration is diminished, the whole
amounting to a very graceful and artistic reduction of tone-volume, preparatory to the
running work of the next measure. Two measures later a similar effect is indicated upon
the diminished chord of F sharp, afterwards resolving into the chord of D major. Busoni
indicates taking the chord silently by the German word stumm; English, "mute."
Bach-Busoni
R.H
N2 53
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[8o]
FIRST PEDAL STUDY WITH SILENT CHORDS
No. 54
This study is meant to illustrate a pedal effect which Dr. Mason has been the first to explain. Observe
that it consists of a series of very strong arpeggio chords, played rapidly, and held with pedal. After each
arpeggio there is a chord marked ppp. This chord is not played, but taken silently. When the fingers
have it, the pedal is released and immediately takenagain, which has the effect of reducing the sounding
tones to those of the ppp. chord. Just as soon as this very soft chord is heard, the hands prepare for the
next arpeggio, and the pedal is taken when it is begun, as marked. The final result consists of a series of
sustained chords, like those written upon the staves below, interrupted, however, by the arpeggios which
present the same chords in fuller volume. A very useful exercise in careful pedal work. Apply Damper
Pedal as indicated by the pedal lines, taking care not to dismiss the first pedal until the fingers are safely
upon the ppp. chord.
N?54 The way it is played
(J, 66 to7-*
B.D.M.
L.H. L.H LH. LH.
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[8i]
SECOND PEDAL STUDY WITH SILENT CHORDS
No. 55
To be played precisely like the foregoing. Pedal as indicated by the pedal lines below the bass.
N?55A$ played
(J=«0)
B.D.M.
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182]
etjapter £t)trtren
THE SOFT PEDAL (UNA CORDA)
^^^^HE pedal upon the extreme left is always the Soft Pedal, and its object is to reduce
1 ) the volume of tone. In grand pianos it also softens the tone-quality, and is
sometimes used for the purpose of this softening when the lesser volume could
be sufficiently well secured by the fingers upon the keyboard.
In square pianos and in some uprights the Soft Pedal interposes a narrow strip of
felt between the hammers and the strings. This mechanism is now rarely employed
except in connection with the middle pedal, on some uprights, to serve as a "practice
mute" to reduce the noise of practice.
In using the Soft Pedal the foot presses it down firmly as far as it will go, and holds
it there resolutely until it is desired to let it off, when it is released firmly and quickly, but
not by suddenly jerking the foot away, because this will produce an undesirable noise.
The Soft Pedal is used wherever its quality and reduced volume are desired. It is
generally used for a complete idea (phrase, measure, or pair of chords) and not for one
or two notes in the middle of an idea. The reason of this is that the Soft Pedal changes
the tone-quality, and therefore has a bad effect in the middle of an idea, by creating the
impression of two different pianos or voices taking turns in completing a single idea.
The only indication customary is the expression una corda (one string), written be-
tween the staves. When the discontinuance is indicated, it is by the term ire corde (three
strings), or sometimes by an abbreviation T. C. (this is very rare). The German term
Verschiebung ("shifting") is sometimes used.
The Soft Pedal upon the grand piano shifts the mechanism about an eighth of an
inch towards the right, whereby each hammer sounds two strings of the unison in place of
three. Formerly it sounded one string. Hence the name of the pedal.
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[83 J
The Soft Pedal is rarely indispensable to the effect ; it merely is an assistance in getting
the tone softer and more tender, and it is often used by concert artists to save trouble in
the touch. It can be used at the pleasure of the player. In several of Gottschalk's com-
positions the indication "2 'Sed." occurs. This means that both the Soft Pedal and the
Damper Pedal are to be used together; the Soft Pedal is held down during the phrase or
passage; the Damper Pedal is used according to the harmonic structure. This form of
direction is no longer employed.
In the following fragment from Schumann's Warum? an example is found where
the Soft Pedal is very useful. During mm. 3 and 4 the same chord is prolonged very
softly, and pulsated by very soft repetitions upon the off-beat. Here, in addition to the
Damper Pedal during the chord, the Soft Pedal also reduces the volume of tone.
W958SCHUMANN
3 4
#<&>. #<&*. «'$&
In order to afford sufficient material for practice, the Soft Pedal has been indicated
(una corda) in a number of the studies already taken up for other purposes. These are
Nos. 20, 24, 28, 31, 33, 36, 39, 40, 41, 42, 44, 45. Each of these should now be taken up
in turn for the purpose of adding the Soft Pedal as indicated. In the transcriptions from
Arcadelt and Mozart, by Liszt, the intention was to use the una corda all through; the
effect will be better if it is let off in the stronger passages; this will render its return more
pleasing. B 5-21
THE END
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f**
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VOLUMES OF
EASY PIANO MUSIC4V
Becht, Julius^
Clementi, Muzio
(iurlitt, Corneliusf
Kohler, Louis
Kuhlau, Franz
Mack, E.
Orth, L. E.
do.
Schumann, Robert
FAIRY FINGERS. (A Collection of Easy Dances)fc
SONATINAS. Op. 36, 37, 38. (Edited by Louis Kohler) .
ALBUM LEAVES FOR THE YOUNG. (Albumblatter fur die
Jugend.) Op. 101
CHILDREN'S ALBUM. (Kinder-Album.) Op. 210. Part I and
II, each -k
SONATINAS. Op. 20, 55, 59. (Edited by Louis Kohler and
F. A. Roitzsch)
THE BEGINNING OF MUSIC. (A Collection of Progressive
Pieces in the Easier Major and Minor Keys) ....MOTHER GOOSE SONGS WITHOUT WORDS. Op. 5.
(Seventy Easy Compositions for Piano). . . .
ON THE WHITE KEYS. Op. 18. An Introduction to the Piano.
(Twenty-four First Grade Pieces, without Accidentals, for Twoand Four Hands) ..... ...
ALBUM FOR THE YOUNG. (Album fur die Jugend.) Op! 68,
and Scenes from Childhood (Kinderscenen). Op. 15 .
Boards, $1.00
loth (Gilt), 2.00
Paper, .50
Paper, .50
Paper, .75
Paper, .50
Paper, .50
Paper, 1.25
Boards, 1.50
Paper, 1.00
Paper, .50
EASY PIECES IN EASY KEYS. (Edited by L. E. Orth.) Vols. I and II, each . Paper, .50
FORTY VERY EASY PIANO PIECES .50
SONATINA ALBUM. (Edited by Louis Kohler) Paper, .75
YOUNG PEOPLE'S CLASSICS. Vols. I and II, eachj Bonds' 1*25
f Paper, 1.00
YOUNG PLAYERS' POPULAR COLLECTION. (Including Several Duets) . . - Boards, 1.25
( Cloth (Gilt), 2.00
DUETS FOR EQUAL PERFORMERS
Bachmann, Q. TWO LITTLE FRIENDS 1.00
Bohm, Carl BIRTHDAY MUSIC. Op. 250a 1-00
Diabelli, Anton TWENTY-EIGHT MELODIOUS EXERCISES. Op. 149 50
Gurlitt, C. THIRTY DUETS WITHOUT OCTAVES. Edited and arranged
in progressive order by Heinrich Kiehl ....... .75
Hiller, Paul FIVE RECREATIONS, from Op. 51 75
Low, Josef PRACTICAL COURSE IN FOUR-HAND PIANOFORTE PLAY-ING. In two books, each . 75
do. TONE PICTURES. (Bilder in Tonen.) Op. 191. Primo Part on
Five Keys. Books I and II combined. (For teacher and pupil). . . 1.00
Orth, L. E. ON THE WHITE KEYS. An Introduction to the Piano. Op. 18.
Includes Twelve Very Easy Duets without Accidentals .... 1.00
Spindler, Fritz•
FIVE IMMORTELLES75
Wohlfahrt, Heinrich SIX LITTLE DUETS, from Op. 87 50
EASY FOUR-HAND PIECES. Second and Third Grades . .-50
FOUR-HAND RECREATIONS. Third Grade . ,.50
FOUR LITTLE HANDS. First and Second Grade Duets, without Octaves. Arranged in
progressive order ..........••••• '-00
VERY EASY PIANO DUETS. First and Second Grades ... 50
OLIVER DITSON COMPANYNew York. C H- DITSON <S. CO. Chicago, LYON * HEALY Philadelphia, J. E DITSON 6. CO.
>>
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