UC-NRLF c-m B M 070 310 A PEDAL METHOD FOB THE PIAIirO ALBERT F. VENINO to ■,■.■■,':,■ '.:■■,.' m>x t6i',.'-: •'■■■■..'.' i\.' -",■;, \- / A PEDAL METHOD FOR THE PIANO BY ALBERT F. VENINO IHevv lEMtiott ENLARGED BY A KEY ON PAGE 50 FOR INSTRUCTIVE PURPOSES NetD Yortt: EDWAKD SCHUBERTH & CO. (J F. H. MliYER) 23 Union Square Honlion : FORSYTH BROS. C. D I EC KM ANN Sternwarten St. 79 H. LE SOUDIER 1894. Copyrighted, 1893, by EDWARD SCHUBERTH & CO. (T7ie right of traimlatluti, vi reseroed hy the puhlishers.) TO IPClilliani /IDason nT'2-' PREFACE. The amount of criticism great pianists have called forth would fill volumes. The touch, technique, jjower, individualit}^, 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 to the pianist, that which vitalizes a composition as the sunlight vitalizes dormant colors, or the breath the human body. Is it not time that this much abused and continually sinned against appendage of the piano should receive 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 very discreetly as to often produce a dry, lifeless and uninteresting performance, while the majority of teachers do not instruct their pupils sufficiently in its use, either because there exists no system or because they consider it of small importance. This was my personal experience as a student, and it was not until after several years spent at the Stuttgart Conservatory, Avhen I went to Leschetizky in Vienna, that I realized the great possibilities, the wonderful effects, which could be produced by the pedal. How different the same pieces, so often heard before and since, sounded to me there ! How much grander and broader, painted in warmer colors — in fact, endowed with life ! That the pedal plaj^s a thus important part, Liszt, Rubinstein and Paderewski have clearly proved. 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 so because there has been but imperfect light thrown on the subject by those gone before. Some pianists have pedaled by instinct, others have analyzed and illustrated its use to a favored few of their followers, but no one has left us the legacy of a printed analysis and an adequate system for our guidance. I have long believed that the correct use of the pedal could be thoroughly analyzed and systematized, and the product of that conviction is this book. Albert F. Venino. mvt s. DEFINITIONS AND RULES. THE PEDALS. 1. The principal pedals of the modern piano are the 2^i<^i^^o jyeclal, or soft pedal, for the left foot, and the damper j^edal, for the right foot (erroneously called loud pedal, as it is often applied to pianissimo parts). 2. They are pressed down either to diminish or prolong the tone. 3. (a) The soft pedal acts by reducing the number of strings struck by the hammers, as in the grand piano {ii7ia corda). (b) Or it softens their impact, either by interposing a strij) of felt, as in the square piano, or (c) By diminishing their length of blow, as in the upright piano. 4. The damper pedal removes the dampers altogether (ti'e coi^de) 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 ones struck and in higher octaves.* This pedal thus enriches and beautifies the tone. POSITION OF THE FEET. 5. (a) The player's right foot should be placed so that the toes only rest upon the damper pedal. The heel of the foot should remain firmly upon the floor. if>) This rule also applies to the left foot when the soft pedal is to be used. When not used the foot should be placed to the left of it, so that when required it can be placed upon the pedal without raising the heel. 6. The right foot should always be in position over the damper pedal. 7. The position of the feet should be carefully attended to before beginning to play. * See Helmholtz's Lecture on Physiological Causes of Harmony in Music, 6 HOW TO USE THE DAMPER PEDAL. 8. Having assumed the proper position, the pupil should practice using the pedal * by a downward and upward motion of the foot. Care should be taken that the up motion is made rapidly^ allowing the pedal to come up all the way, but without taking the foot off entirely, else a thumping noise is 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. (5) The up motion thus : /, signifying to raise the foot, (c) A horizontal line, thus : , attached to the "down" sign indicates the continuation of the down pedal until the next "up" sign is reached. Thus: X^ \ / \_ / 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 every change of harmony. The "down" motion (\^) depends somewhat upon tempo, and consequently upon the duration of said first tone. 11. In the two following examples the pupil will observe that, while the "up" motion always occurs at the instant of striking a key., t\\Q '''' diOWTi'''' motion in the adagio tempo occurs some time after the key has been struck, denoting that the pedal must not necessarily be used while the fingers hold the key, while in the allegro tempo the "down" motion occurs much sooner. Adagio, Allegro. W -e- K - \ t^o o * ^ ^o- ^ \ / \ i \ i\ I ^ \ A A r\_t Or, in other words, the hands (fingers) and foot should not descend together, hut as the fingers strike the foot is 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 thoroughly acquired and applied automatically the basis of correct pedaling is laid. * The word "damper'" before pedal will now be dispensed with, as pedal is universally under- stood to mean the damper lor loud) pedal, and is the one of which this book will treat (with the exception of a few remarks on the " third pedal "). t In the author's opinion these pedal sij^ns should leave no room for doubt as to the precise moment of pressing down, continuing and raising the foot, and are an improvement on the old system, viz.: Ped. and », as that cannot be used so as to indicate Syncopation of the pedal (§ 12). SYNCOPATION OF THE PEDAL. 12. The manner of using the pedal as shown is termed " syncopa- tion of the pedal," i. e., the down pedal (analogous to the accented note) occurs after a key (keys) has been struck, thus falling on a weak beat or a fraction of a beat. Compare the following illustrations: Syncopation of notes. sync, of thePed.- 1334 1234 123 4 31 \_7 L PRELIMINARY EXERCISES. 13. Practice the following exercises with each hand separately, the left hand an octave lower : ia. And.inte. J -6f- I i p ^ m \ J 14. Play the following exercise with each hand, using the second finger throughout. The *'down" motion must occur before the key is released. This applies to all of the exercises. D. Allegretto. 15. The two following exercises are alike in melody, but differ in tempo and duration of notes, consequently in the use of the pedal also. I c. Adajrio ^ i jSt i f9- 22 ^ d.^AlIegretto jnoderato 16. Exercise e should be practiced with great care, as it is of frequent occurrence and very difficult. The pedal as used here is termed quick syn- copation. The effect to be produced is a continued sound of the c. (See Appendix A.) 8 e. Andante. (For the left hand only.) Beethoven. Tf. ^ f i3eeinov( A _A- A A A A 3 -A A A A AAA 7 17. The preceding and following exercises should at first be practiced very slowly, then gradually faster and faster. fj i ^ \_A A. -0 A A A A. A A P ■» — i^ = A A A_V 18. As the above exercise is gradually played faster the time elapsing between the ''up " and " down " motion must necessarily grow shorter. 19. Before proceeding to Part II. it will be necessary for the pupil to study carefully the following pedal experiments, the results of which form the fundamental principles upon which the rules in this book are based. 20. The pupil will observe that, whether the following is played legato or staccato, the pedal produces the same effect in so far as it prolongs the tones, which collectively constitute the G major chord. 5¥n; i \=: -9 J 21. Now use but one pedal throughout for the following combination of tones and a most discordant and disagreeable sound results, and very naturally so.. We have two entirely different chords, each distinctly exclusive, each demanding to be heard alone, and therefore each requiring a separate pedal. Thus : m y \_ 22. It follows, then, that as lo7ig as the harmony remains unchanged the pedal may also continue unchanged. The pedal, however, is not always to be used where the harmony in itself would permit it, but rather where a desired effect requires it. 23. The pupil will next distinguish the different registers of tones. In the bass, or lower register, are found the longest and thickest strings, which consequently produce greater volume and continue to sound longer than those in higher registers. ^ \ J 24. In the middle register the strings are 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, consequently less volume and duration of tone. s IE ^ « =»=^ \ / 26. The pupil having carefully gone over the above, will readily com- prehend why diatonic or chromatic progressions will sound most disagreeable and obscure in the Bass when blended by the pedal. 10 ' ^' 'II 27. Whereas in the middle register they sound less disagreeable and incomprehensible. # * )>« ^^ m • 28. While in the higher register the pedal can hardly be dispensed with A A K — 1 , -I « K V. J The pupil should repeat the foregoing pedal experiments many times, listening attentively, until absolutely satisfied as to the effect produced. Part Kfi. 29. The modes of using the pedal may be chissified as follows; {(() The pedal governed by Temjyo and Duration of Tonet^ (fj) The pedal governed by the Ilarmonlc Element. (c) The pedal governed by the Melodic Element. (d) The pedal governed by the Pitch of Tones ^ the higher tones permitting of more constant use of the pedal than the lower ones. Note.— Upon first consideration it would seem as thoug'h it required hundreds of rules to cover all contingencies of pedaling, which must necessarily be governed and influenced by the endless varieties of rhythmic, melodic and harmonic combinations. The author, however, deems it expedient to establish as few rules as possible, and the pupil upon investigation will tind that all questions which maj' be raised in regard to pedaling can be conveniently placed under and governed by one or the other of the above rules or the few exceptions which follow them. A.— THE PEDAL GOVERNED BY TEMPO AND THE DURATION OF TONES. 30. AVhen the tempo is slow the duration of tones is naturally longer, and the ear has better opportunities to apprehend each individual combination of sounds. 31. To avoid confusion of sounds discordant and offensive to the ear it is advisable to change the pedal on all tones (from whole notes to sixteenths inclusive) that express harmonic or melodic progression. Exercises. 1. Very slow. xIjuuCjuuCa^^ 12 2. Adagio. E ^^ £ ^ ^rQ?^ Mozart 'VJ\J\U\J^Jj^ ^ /\_A_Ay\-A^ t ^^ ^ w. E If*' i'P: / P *.(: h3 ^^ ^—^ t5- * 4n M- TM. !L 5T^ _A. 32. In the following examples tbe 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 Bass or Treble. 3. AUegfCtto. Schubert . Op 142»N9 Z. ^ ^ m s v--^'- i ^ f ! ^^ fe gg 10 k « // ^ i I / \ aZi_a ^^ i fT?' 5>^ 9- 9^ /^ ^ * At this point the repetition in ii higher octave is omitted in order to introduce as much new harmony as possible. 13 I P i4 ^ ^ ^ ?:w ^ o /^ -5- #-^ # # # ^ yc y^ A A. ^ dc r^ For an explanation of measures 9,10, ll,14,16;see'P -TT I 5- 4l> J- 53^ a__!a A_7i / \ B.— THE PEDAL GOVERNED BY THE HARMONIC ELEMENT. 33. The use of the pedal is dictated 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. (i) When the accompaniment consists of harmonic figuration through which the melody seems to float, or into which it is woven. This is generally the case when the Bass remains unchanged during one or more measures or when the Harmonic element is predominant. See also example 3, measures 14 and 16. 5. ^ .. A;)?) i > m bcauinann 14 ^m ^ te I? Ui^;)'^i>^ i fi;>I^M^ m p i j> S ^^=^ :- M I ^ i :i4i H. I I ^ W--A ^ ¥ A ^ A A 34. In example 5 the pedal must be changed at the beginning of each measure, as to continue it for more than a measure (two or three) would admit of too much diatonic-melodic progression, which must sooner or later become offensive to the ear. In the last measure it is self-evident that the final chord must sound distinctly alone, hence the change of pedal on the A flat. Chopin. \ 6. Lento sostenuto. op. 27, n?8. 35. In the above example many pianists change the pedal once, and some even twice, in a measure. Essipoff and Leschetizky use the pedal as given here. Paderewski syncopates the pedal at the beginning and middle of measures 3 and 4 respectively. 15 30. Sometimes a melodic successioti is based upon some Jiarnionic eomhi- nation^ and therefore the pedal need not be changed. In the following example the low F (being th(3 foundation upon whicli the entire harmonic combination rests) ini^st be sustained with the ]>edal until a change of harmony takes })lace, as it is obvious that a liarmonic effect is desired. Thus the pedal adds volume and richness of tone color otherwise unattainable. RnbinsteiD Op. 23. 37. The Berceuse of Chopin is another example in which the pedal is governed by the harmonic accompaniment regardless of the melody. A few measures will suffice to confirm this. Chopin. Op 57 C— THE PEDAL GOVERNED BY THE MELODIC ELEMENT. 38. When a melodic succession, based on some harmonic combination, appears without or with but little^ accompaniment, it being evident that a melodic and not a harmonic effect is desired, the pedal should be syncopated with each melodic progression. 39. In the following example one might be disposed to think that Beet- hoven desired a harmonic effect (as the 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^ as to dispel at once all doubt and stamp it as a purely melodic progression. 16 9. a Allegro assai; Beethoven )p. a,No 3 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 diatonically and lies in a lower register. fe 10. Etwas lang^amer. ^ Schumann^ Op.28,N9 3. \ Intermezzo 2 u Im V-"||7 7J^ | p7 7 .|y7^^ f f ^ T^fTV f' '? n f 5Sf ±± A IV-, The pupil must carefully follow the pedal signs, as the changes do not occur exclusively with the melodic progressions, but sometimes with the accom- paniment, as in measures 7 and 11. D.— THE PEDAL GOVERNED BY THE PITCH OF TONES. 41. The pedal can be applied to scale passages (diatonic or chromatic) ichen i?i the upper registers (extending down to about the middle of the key- board), and continued so long as the Bass or harmony remains the same. * In this instance the Bass is an Organ point, for an explanation of which see Appendix A. ^ i: 11. Andante con, Var Var.il -# Havdn. 'fe f i .K-U 1 — — ( (fee ^ r p _^ f 12. Var v. Schubert. Op.l42,N9 3j I I * - m tfti -^^ A ^ m TJJfif i ^fg 'j^ id^ ^. 7\ A 18 VaR.II. iB.Leggiero brillantc.^ L iszt Rhap. NO 12 19 14, b . ^ •---;- ^^ >^^Hg^^ Liszt. 15 8 4: ■;) i'^ Chopin. Op. 11, 3 K,J^Xi 2e b i ^ b u ^ — \ — ^ ft ^1 ^ i S" b ^ U^' /I iz* ^ I i) J) ^ t^^ ^^^ :^ te U I W' ^ :5r wm^ P ^ C^ /^•. i 20 42. The following example of glissando from Liszt's lOtli. Rbapsodie, should be pedaled as follows : Vivace. ^ ► Rhaj^.N9*0 43. As a further example of pedaling chromatic runs, the following different selections from Liszt's F-minor Concert-study ma}' prove of interest — not only to the student, but also to the virtuoso. (a) The glittering, scintillating run in the right hand, and the octave B-natural in the Bass (the latter should 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 very rapidly and fluently, else the pedal can- not be used as designated here. 17a OSS I A. 8- Liszt. Concert Etude, F minor St »f \\^ »>^ ^^ 21 (^>) In measures 1 and 2, the foot is raised when the harmony changes, and remains so during the chromatic progression in the Bass. In contradistinction to tliese, measures 3 and 4 demand a rushing, roaring effect. The pedal is therefore continued longer, but must be changed on the first and third beat in order to preserve a certain amount of clearness. 5 22 /v ^ ' (c) In this, the pedal is continued for five and three-quarter measures. For an explanation of the reason it is then omitted, and also in the succeeding measures, see § 76. M ^=■1 § ■^y— »■ i ,/. VP yT^i^p'i^tfP : h^^i>f ^ fe P res to. ^^^ ^^^ <^- ^ LHa^ [^« r rff^-^r^r^r r^ a b^ M^ pri^^^ f jr'-^ g^ s i. . * ft 1 ^ accelerando e rhfoizando. te ^- ^r^^^^^-fei J^.J?J.f_fJ?^,fj!;?1^>> -^ S fe J j.ffjjj^ff JjI a ^ ^ 3:^ i te 23 8- ,_ JJf^.^f jJ^^f Jji;_^,^g_i 2 1 3(2 , 1 4 3 , ., ffff^''f'yfffj^i,V. ',:,,-.r-. dimin. y dolchsimo egualmente . \ {d) Here the jjedal is omitted for the same cause referred to in example c. In measures 4 and 5, the pedal is pressed down after the C in the right hand has been played. In order to accomplish this proj^erly, it must he held a trilie longer than its actual 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 register and chromatic ])rogression. 24 17 i ^ S ^ i JJJ JJJJJJ^J^ b ^* 5^5 h JlJ | l J~ * g 1 ,^ r^ yv. ^^ ^^ kfe «■•• <-»■>•«»«*•««»■•• ^^ #Mn i : 2 I I 2 5 4 3 'l» |> tYTr^rrrr ^ i^ t±L V pi'h rif. ^•1 EXCEPTIONS A. 44. The pedal is sometimes used during scales in loicer registers^ Avhen a chaotic or rumblinu: effect is desired. 45. Also, Av^hen desiring to make a crescendo more marked and forcible. 4G. By making frequent changes of the pedal, a sufficient amount of clearness is preserved. 3 18 Allegro moderato. Liszt. 2nd Ballade — r_j\ w^^i^.. 26 ^ ^ •^ ,f i 'r^¥ P =^ o ^=t ^ (fcc 47. In the following example, the temj^o is extremely suggestive and char- acterizes the entire composition, Presto tempestuoso, turmoil, ruin, destruction. '"•.Presto tempestuoso. Chopin-Lis7,t Die Heimkehr. f \f7f f \f !># Example 20, illustrates the use of the pedal in scale-passages to make the crescendo more powerful. 20. yAR.\. Schubert. 0pl42,NO3, 27 EXCEPTIONS ]i. •4S. The student must liave observed that, as a rule, the pedal lias heen coniinxLcd unchanged so long as the J^ass (which generally establishes the harmony) remained the same, with the exception of examples 18, 10 and 20, which illustrate scale passages in lower octaves. 40. AYe now come to an exception to this general rule. In examples 21 and 22, although the Bass remains the same, it becomes inharmonic, creating an Organ-j^oint. The effect to be attained, is that or nearly that produced upon the organ; i. e., in l)oth examples the D in the Bass should be sustained throughout, without running the harmonic progressions above it into each other. The ])edal must be syncopated veryrajndhj on every recurring D. 21 Poco maestoso Heller. Op. 4 5, Vol. II. 22. Pill Allegro. V ^ cresc. t ^ fq^ I Beethoven. Op. 2S. t poco i 'j pi A A A J A w- F 28 1 te ^ ^ A /\ -y^—. — 1 — 7L ^ £ ^\* Note.— Tne peuai may aiso Ije syncopated on t'ae upper notes of the Bass ; i. e., on A, B, C, etc, instead of on the D. PEDAL EFFECTS. 50. The best explanation of what is meant by "pedal effects" will be found in the illustrations. To create them requires not only a thorough knowledge of the pedal, but also a certain amount of ingenuity. The most difficult of such effects to comprehend are what Leschetizky calls "little pedal pressures" (kleine Pedal-Drucker). No definite rules to govern them can be given. 51. They seldom, if ever, extend past a quarter beat in a measure, and may be said to be emplo^^ed to j^revent too much dryness. 52. The following examj^le is one of the most difficult in the book. The pedal pressures here extend through tv^o quarter beats. The syncopation, which takes place in measure six, must be executed very rapidly. That the accompaniment must be played lightly need hardly be mentioned here. ^ RubinsteirL io. ■ 1 , Op. 70. ^"^^^ ! *v-^ Measures 9 and 10 same as 5 and 6. 29 24. Allegro con brio. Beethoven Op 2, NO 3 q M liH P t «i ^ !f^ if 3 kk i * 3 9 ^ i ^t±:^ ^^ \ii Note.— The above manner of playing this ending is advocated by Leschetizky. It ccrtainiy is more brilliant and easier. 53. The pedal can be very effectively used during scale i)assage8 ascending 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 frequently in cadences. Chopin Ballade, Op 2.3 30 Liszt. Hungarian Fantasie. Liszt. 2f? Ballade; 54. In contradistinction to examples thus far shown, the pedal is some times used when the hlending of different harmonies is desired. 55. Such jjedal effects are of rare occurrence, but nevertheless exist, and are sanctioned by both composer and pianist. The effect to be created is a nebulous atmospheric one; a blending- of thought and vision, which can only be produced by one continuous pedal. 56. Schumann's Papillons, Op. 2, is a series of twelve pieces. A few bars of the last number are given to illustrate the above remarks. In this part, the ancient "Grandfather's Dance," (which, according to an old custom, always 31 closed an amuseiiiont), is played l)y the left hand, while the right plays the first Avaltz-thenie as it appears in the beginninir of the collection of pieces. This, uiunber ue-lns forte^ but gnjws softer and softer; until, finally, while the music is gradually dying away, the clock strikes six ; the old dance music grows fainter, a soft chord, and — all has vanished as in a dream. In this exami)le tlie ])e(hil is ])rossed down and (continued during twenty- seven measures. Schamana. 57. The Trio of Bach's D minor Gavotte (played una corde and 2)ianissimo) is another example wherein the j^edal can be nseed from beginnino- to end, without change. Instead of detracting from the piece, the pedal thus applied rather heightens the effect. 58. The entire part rests upon the organ point D in the Bass, and is an imitation of a Bagpipe (Musette). 29. ^^. Bach ^ ^^ ^ ■-r ^W\ rm ~7T. g i ^^ ^^ fe fjL ^m 32 (In the Trio of the G minor Gavotte of Bach, the pedal must be changed quite frequently, as this piece lies in a lower register.) 59. The pupil will observe that these examples (Bach and Schumann) are similar, in so far as alKhave an Organ point in the Bass, and the harmonies of each consist, with but few exceptions, of tioo chords — Tonic and Dominant. 00. From the above, we may conclude that only such pieces as contain few, but closely related chords, can be treated like the above illustrations. The effect, however, is not always desirable. 61. These pedal effects remind us of the landscapes of certain modern masters, whose principal charm consists not in clearly expressed form, but a peculiar atmospheric poetry of treatment. 62. What can be accomplished in the wa}'' of unique j)edal effects by a little thought and study the two following examples, (as performed by Paderewski), w^ill illustrate: Schubert - Liszt. ^ I I I #=*=^ •7 7 u i /■L^V 34 TWO-FINGER EXERCISE. Qo. The following exercise has been prepared expressly for this 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 Leys 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 corresponding fingers of both hands — used in alternation. At first, it is 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 fingers in alternation, beginning with the second finger of the left hand. When this has been brought easil}^ under control, the third, fourth, and fifth fingers, and even the thumbs, may be brought into service ; thus widening the scope of the exercise by including the use of many muscles. Give especial attention to the directions which follow : 66. First, j^lay C with the second finger of the right hand. Press the damper j^edal on the second balf of beat o?ie, and hold it firmly until beat ^f our ^ when it must be immediately released. Just before its release, the left hand, on the second half of beat three^ silently and without striking, presses the key which had previously been struck with the right hand, and holds it lightly but firmly until the proper time for playing the melodic tone of the following measure. These directions for playing apply equally to every measure through- out the exercise. 67. Practice the first measure alone and by itself, until so thoroughly mastered that the fingers, hand, and foot, move as automatically and unconsci- ously as the feet do in the act of Avalking. When this result has been attained, the mind will be at liberty to occupy itself with the constantly changing harmonies of the arj^eggio accompaniment in succeeding measures, 68. Second, do not omit, or postpone until a later period, the observation of the marks of expression. Adz. : f. and ^9., cresc. and dmi.^ ritat'd 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, habits of omission will be contracted, and these are just as hard to overcome as are faults of commission. Hence, Av^hile observing the foregoing directions for practice, give simultaneous attention to these essential matters, 69. Third, and finally, the second finger of the right hand, which plays the melodic tones, should fall upon the keys Avith more force and Aveight than is used in the accompaniment ; it should also be alloAved to linger Avith a slight pressure on the key for a moment. This is in order to give prominence and a singing effect to the melody, Avhile contrast and perspectiA^e are accomplished by playing the arpeggio accom})animent Avith a lighter and less sustained pressure upon the keys. In one or tAvo places, hoAvever, the harmonic effect is made prominent by a greater emphasis of the tones of the accompaniment, as indicated by the marks of expression. An artist Avith musical temperament and poetic sense, produces a beautiful effect Avith the simplest means, such as a plain chord or scale progression ; and in order to attain so desirable a result, it is essential that in practice attention to the various marks of expression should at no time be OA-erlooked or postponed, but ahvays carried out into act, and thus artistic habits are cultivated from the outset. 35 Pattern ^ j ^ »'■ 32. Andante espressivo Put down the pedal at the second half of beat one, and lift it precisely at beat four. This is to be done in every measure throughout the exercise. af}p assionato. dim . a. The key C is struck here lor the last time, and a strong accentuation of this tone is necessarj\, so that it may continue to sound throughout and even after the close of the piece, and be finally heard alone, djMng away after all other tones have ceased. Give also especial and careful attention to- the repeated change from the right hand to the left, back to the right, and so on, occurring in the last, four measures. 36 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 the E-flat (1st measure) of the left hand, and sustained with the thumb until it is again struck by the right hand thumb in the accompaniment. This is tied to the E-flat of the next measure, on which the pedal is again syncopated. The same process is repeated in measure 3. 53. i te m ^ ^m Rabinstein« Op.30,N9 1 Ik ^^# ^ iJTJ ^ i * - ^ ^ ^r ^ f ^ 1 '\ A. |-f\tr^ f f' i ^¥ ' f^ ■J JTi, 71. A similar example is found in the G-major Barcarole, by Rubinstein, with the exception that the prolonged note remains in one and the same hand, while the pedal is 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 last beat of measure 2 is necessary, on account of the change of harmony. In measure 3, the pedal, Avhich has been syncopated on the E-flat, is released precisely on the fourth beat, and pressed down again on beat five, (thus isolating and prolonging the melodic tone). It is then continued until the change of liarmony takes place on the second beat of the next measure, when it is again syncopated and continued until beat five. Here the foot must be raised, as the melodic progression would become blurred. The pedal is not pressed down again until after the E-flat of the next measure. The balance of this measure is pedaled like measure 3. 37 [) , Rubinstein . Barcarole THE HALF PEDAL. 72. It soiiK'liiiK'S liap])eiis tlial a Bass tone is to bo sustained as an organ- point, while the same liand may have changing harmonies in the higher registers. There is, of course, hut one way to sustain it, namely: with the damper ])edal (unless the instrument has a third or sustaining pedal). But one continuous pedal would blur the harmonic changes, while syncopation of the pedal would at once discontinue the Bass tone which should he sustained. Between these two extremes there is a hap})y medium, which consists in permitting the 'foot to come up oidy /lalf V-dy^ and pressing it down again rapidly. This is repeated as many times as the case may require. 73. The half 2)edal may be designated by a horizontal line drawn through the combined " up and down " signs. Thus: ■ /% The following example illustrating the above, is the last measure of Field's fourth Nocturne. Explanation: The pedal can be continued from the A in the Bass until the G-sharp (second beat) is reached, when the half pedal shouhl be used with each sixteenth note and with the final A. Great care must be observed that the foot is not raised too high, else the Bass tone A will not continue to 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 far as in the former the organ-])oint is repeatedly sounded, affording the opportunity of changing the pedal. 35. P'eld. ^^ ""^"-^ Nocturne. In Part TIT. of this book, an example from the A-flat Prelude of Chopin is given to illustrate the use of the sustainin'^ pedal. It will also serve as an example lor the half iiedal. 38 74. Another very charming pedal effect, which, though familiar to many good pianists, may be entirely unknown, to the amateur is caused by the upper partials, or harmonic overtones of a fundamental tone. These harmonic over- tones are produced by strings which vibrate in sympathy with any given tone or tones (best, lower tones). That is to say, if the C string of the great octave is struck with sufficient force (the dampers being raised by means of the pedal) its upper partials will after awhile become audible (the higher tones less so than the lower). Illustration: m Strike with force. ^ 9-0- Upper partials or overtones. 75. Students are referred to a lecture by Helmholtz on "Physiological Causes of Harmony in Music," which thoroughly explains this phenomenon. After readino- this, they are earnestly requested to experiment for themselves, the followino- illustrations being deemed sufficient to arouse their interest and to spur them on in search of other effects. mute. Explanation : In example «, the C is pressed down silently (mute) and held firmly throughout the entire three measures, while the right hand plays the arpeggio, releasing the last key promptly. The result is as follows : the lower C string has been made to vibrate by playing its upper partials, and continues the tone of these for some time, as though prolonged l)y the pedal, only much fainter. In example h^ the order is simply reversed. The upper partials are 36> 39 prolonged by tlio })o«l;il until llio grout C is j>ressed down silently. The foot is raised on the first 1)eat of the third measure, when these upper i)artials will continue to sound as thouirh refieeted l>v tlie mute tone. ]\rr. Arthur Friedheim has kindly contributed an example (from his un})ublished Concerto), which illustrates the })ractical application of tlie above. While the orchestra sustains the I)-flat major chord, the pianist plays the same forte, repeating it in different registers (abbri'viated here). Finally, the keys represented by the notes in the last measure are pressed down silently. The effect is that of an organ heard in the distance, and the entire example is a beautiful diminuendo of tone. Carefully observe the pedal signs. 37. L'lrgo. Full Orchestra Voiles Orchester Arthur Friedheim.* iun^a. J'^-y THE OMISSION OF THE PEDAL. 76. The most beautiful of all pedal effects is that obtained by leaving out the ])edal at the proper moment. This somewhat ambiguous remark is to be understood as follows: A continued use of the pedal, even if syncopated at the proper time, is just as certain to become monotonous as a continued repeti- tion of some melodic progression or rhythmical figure. It is, therefore, of the greatest importance to introduce at the proper moments what might be termed breathing spells, (Luft) ; or, in plainer words, discontinue the use of the pedal for a shorter or longer period, as the case may require. To know when to intro- duce these breathing spells, how long to continue them, and Avhen again to use the pedal, requires a most artistically gifted nature, one endowed with an aesthetic sense of sound. 40 77. In cases where the tempo is slow and the melody progresses diatoni- cally, (chromatically ?) the pedal may be used during two or three such pro- gressions, but the foot must be raised either on the third or fourth melodic tone. 78. In the following illustration 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 examj^le, floods the entire piece with pedal, causing at times a blurred effect and many unpleasant dissonances. The author's mode of pedaling eliminates these bad effects. Explanation : At the end of measure 6, the foot should be raised with the last quarter note (breathing spell). In measures 8, 10, 11 and 12, the pedal is discontinued — not only on account of too much diatonic melodic progression, but also because the change from such persistent use of the pedal is as refreshing as a summer shower after several days of continual sunshine ; for when the latter again appears we enjoy it all the more. In measure 13, the pedal is syncopated on the G of the accompaniment, as the change of harmony takes place at that instant. Schumann. Carneval. ^^ V yv A- A 41 Vf'fnvd . 79. The B-Hat major Preluvle of Chopin, given here in its entirety, will give the student further opjjortunities of realizing the effect of these breathing spells. It has been chosen, because it is so often pedaled either with one con- tinuous 2^edal 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. ., . Op. 28. N9 21. 4|-n ^' 42 43 J\ l'\. U'K. t^ » 8 4 S 4 [,^ 44 i ^^^^ IT -t-^ r ^////. "nX7 ^art KKK. THE SUSTAINING PEDAL. 80. A few words in reference to the sustaining j)e(lal, which is destined to become of great vahie to the jiianist, Avill not he amiss. It is found between the damper and soft pedal, and will sustain a note or chord, but vnll not sustain runs of any kind. The third or sustaining pedal, (unlike its many short-lived prede- cessors), has come to stay; although it has not received universal recognition yet, because but few piano manufacturers have applied it to their instruments. In the concert room it has scarcely been used at all, perhaps because pianists have not fully realized its importance. While it is true that there are eoni- paratively few instances Avhere it can be applied in our past and present piano music, there is no doubt that its importance will influence future composers. ITS USE. 81. This pedal is 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. It is only affected by the soft and damper pedals when they have preceded it. 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, or dispense with it altogether, without affecting the sustained tone. 8'2. The foot should be pressed down upon the third or sustaining pedal immediatelv after strikinir a kev, and should remain doion so lono^ as it is necessary to sustain the tone, or while repetitions of the sustained tone occur. 40. Presto. Schumann. Jp.28,N