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Only when the tone must be sustained a longer time than the pedal
is to be held down is it absolutely necessary that the finger remain on
the key.
THE PEDALS OF THE PIANO-FORTE.
In case of the other fingers this is immaterial, e.g.
This shortening of the touch should be seldom allowed in polyphonic
music; least of all in fugues, as it is only in exceptional cases that all the
voices cease at the same time.
Since, then, every key struck staccato can produce a long tone by the
aid of the pedal, the player thus gains rest for his ringers, which detract
nothing from the length of the sound.
These rests and their skillful use by players and composers are whai
radically distinguish modern music for the piano from that of the oldei
school. The majority of sound effects ( Klangwirkungen ) attained Ivy
modern pianists and composers, depend upon this use of the pedal.
In order to gain a precise notation for the pedal, we will abandon the
usual and unreliable signs for its use, Peel, and :$;, (which indicate the
rising and the falling of the dampers upon the strings), and henceforth
use a line below the staves, upon which, by means of notes and rests, the
exact duration of the pedal can be determined, thus avoiding all possible
misunderstanding.
The pedal is the only means of connecting tones which are too far
apart to be connected by fingers alone. In such cases the tones are struck
staccato, and, while they are sustained by the pedal, the hand makes the
skip to the remote keys, not releasing the pedal until they are struck, e.g.:
Effect.
As executed by the hand.
By the foot.
THE PEDALS OF THE PIANO-FORTE.
In order to reach a distant key the finger must necessarily observe a
rest, e.g.:
Allegro.
As written.
As played.
=F?-g-f— *—fa— z
r
w
On the other hand, the pedal must also observe a rest before it can be
used a second time, e.g.:
Allegro.
As written — & 1 — &
As played
T
If these two rests occur at the same time, a disconnection between the
two tones is occasioned, which if never so slight, is enough to destroy
continuity of sound, e.g.:
Allegro.
Hand.
Foot,
In order therefore, to preserve the requisite legato, the rests for the
fingers and those for the foot must be so divided that they never come
together. This can be done in the following manner: first strike the key,
and later press the pedal. As soon as the foot is down let the finger be
removed and strike the succeeding key, but after it is struck let the
foot rise, so that in continuing the exercise there is always an alternate
movement : first the fingers and then the foot, e.g.:
Effect.
Execution.
(a) Hand.
(6) Foot.
6
THE PEDALS OF THE PIANO-FORTE.
Iu order to draw the greatest advantage from the sustaining power of
the pedal, in teaching, the pupil should be made fully conscious of this
shortening of the touch. This is best done by the teacher writing down
as above at a and b, under the notes, their real value as played, and the
exact duration of the pressure of the foot on the pedal, by means of notes
and rests on a special line below the staves. Also, in order to avoid cum-
bering this pedal line with rests of small value, a line can be drawn
through the head of the note when it is wished to show that the foot
presses down the pedal a little later than the note would indicate.
In case this writing out takes too much time from the lesson, let the
teacher play the passage three times: first, precisely as it should be
executed, with the pedal, the fingers rising before the value of the notes
has expired ; then by the fingers alone, without the pedal, using the same
shortened touch, however rough it may seem; and lastly, with the pedal
as at first, to show again by example how the passage should sound. In
this way the pupil learns to appreciate the advantage of this use of the
pedal from the contrast between the two different effects.
In the same manner chords and octaves can be played legato, which,
by the fingers alone cannot be joined at all, or only with great difficulty.
e. g.:
Grave.
&0_ _0_ ritardando.
Ped.-e-
'/
*
v
i ^ ^
I— r
^
1/ 1/
1/
HI
Less extended chords whose tones end together, can also be joined
by the pedal, thus greatly simplifying the fingering. For example, the
following passage from the finale of Beethoven's Sonata in (' major, Op.
THE PEDALS OF THE PIANO-FORTE.
2, can be easily and surely played with the simple fingering of the com-
mon chord in three parts by using the pedal immediately after each
chord. Each one should be played staccato, but sustained by the pedal,
which is released at the moment the next chord is struck, e. g. :
*-'■ *: -*•-.
Without the pedal tins passage requires such a complicated fingering
as to render it almost impossible of a faultless execution.
The best way to accustom pupils to use the pedal in this manner is to
have them first play the scale of C in triple measure, observing a rest on
the third count, e.g. :
Right H. | ,
:3=5:
-*— rd
£
-*— r-&-
-&-
-£— l
etc.
Left H. | I ' '
The next step is to press down the pedal in the same rhythm, but U
observe the rest on the first count, as follows : a; - ^ p" —
At last the two movements should be executed together, e.g.:
J
etc
R. H.
-1
%z=A
-&-
etc.
C.£2_
Foot
L. H. |
4 *
_L
JL
-&-
_L
T
The tones will, of course, sound throughout the entire measure, since
they are always sustained either by the finger or the foot.
The following exercise can be practised similarly as a study in bind-
ing chords by means of the pedal. First play slowly, counting aloud,*
then more and more rapidly — also in different keys.
R. H. _ .^.
Z»V- q a
-*s—
I
(2—
U A X *hh ^
-<&-
o-
L. H. an octave lower.
Foot. XP IX-fH *-!*-
i9-
r
-k-r^-
-»■
[£-!*■ -
L <5<-
I
I«tH*H
THE PEDALS OF THE PIANO-FORTE.
-<&r
--T
-jg-
mm
-Si
-Si-—
t=g-
r -S>— : 1 1 T—&:
1_*_«__J|
Foot.*-[g-f-*-[ g -j * p 1 * f 1 y "j g '~' N~[ 5 '—N-[ s '— \-*-f-
Even where the tones are connected by the fingers the pedal should
be taken in the same manner. The common rule for legato playing is
that one key must be held down until the next key be struck. But while
the key is down its damper has no effect upon the string, and if the pedal
be used for the succeeding tone at the instant the key is struck the pre-
vious tone, not having been damped, is sustained still longer. In a word :
in legato passages, if the foot move exactly with the fingers the tones
sound as follows:
( a ) As executed by the fingers.
( b ) As executed by the foot,
(c) Effect.
P
1ST
-& —
:s>~
f
— *
-U, • » L
i
P
&-
-7ST& -
—&■&■
This mingling of sounds can only be avoided by pressing down the
pedal after the key is struck.
_ i
[a) As executed by the fingers.
(6) As executed by the foot. (
(c) Effect.
-&-
-<9-
- 3
-gs-
-&-
+*-f^-
-L*_
S— r»-
r>-
S>-
In the following passage from Heller's Etude, Op. 4(5, No. 11, if the
pedal be used exactly at the beginning of each measure the effect is bad,
Since the last tone of the measure previous will be prolonged into the
measure following; but if it be taken with the second sixteenth of each
measure the passage will sound clear.
THE PEDALS OF THE PIANO-FORTE.
Andante.
Sipis
a. bad._^ L
-U
Foot.
+
44
t
b. good."
-0-0
l_a.
■0-0-
-Jsl£
01
>a-j aff> !-
& IP I
The first Song without Words by Mendelssohn, should also be played
in the same manner, the pedal coining on the second sixteenth of each
quarter note.
An excellent pedal exercise is to play the scale of C in triple measure,
pressing down the pedal on the second count and letting it rise on the
first. This should be practised until it can be played in rather a quick
tempo.
In legato passages where the tones are preceded by grace notes it is
particularly difficult to use the pedal in this way, because the player is
apt to press it down before reaching the principal tone, thus creating dis-
sonance. The following exercise will remedy this fault, but one must be
careful to lift the fingers with precision in playing the small notes and
only bring the pedal down after the principal note has been reached. It
should also be practised until it can be played rapidly.
etc. etc.
This habit of taking the pedal after the tone is absolutely necessary
to the player if he wishes his playing to sound clear. It is at first diffi-
cult because the foot, to a certain extent, moves out of time with the
10
THE PEDALS OF THE PIANO-FORTE.
fingers. No one, however, should shrink from the labor of acquiring it
since it is an indispensable requirement for artistic playing and is cer-
tainly not so difficult as the similar effort in filling the bellows of a
harmonium or cabinet organ.
It is the more necessary, as only in rare cases can the foot move
simultaneously with the fingers, e.g. : at the beginning of a composition
or after a general rest. In playing staccato tones it is also allowable, since
rests occur between the notes; in all other cases the pedal must be used
later, even if the difference in time be very slight, as otherwise either
gaps between the tones, or dissonant harmonies result.
But few players are aware of the necessity of this rule; those of fine
musical feeling generally observe it instinctively — others do not, and this
neglect is the chief reason that the pedal is used so frequently with bad
effect.
The pedal not only connects tones which are remote from each other
but also serves to sustain them, e.g. :
Effect.
As executed by the hand.
:E:
■&-
3E
-£—
■&-
By the foot.
1.
I
--
.11
The greater the distance between the keys to be struck and the smaller
the hand of the player the more frequently must the pedal be used.
Modern compositions for the piano abound in extensions and widely
spread chords which cannot be reached, even by the largest hand. Such
chords must be played arpeggio, %. c, one tone after the other, the \\ hole
being sustained by the pedal.
In this case only the first tone possesses the full value of the written
note, each successive tone coming a little later than the one preceding,
but by the rapidity witli which this is generally executed the loss of time
is almost imperceptible.
The following passage from Schumann's Kreisleriana, No. 2, affords
an example of this. Without the pedal the left hand part would sound
very broken.
THE PEDALS OF THE PIANO-FORTE.
11
Nicht schnell
t=8*z
l?=>tw
:ffii- t-tf
i i
r
etc.
f^^-l — J-W— «--g*— J -r^-J-^
ped.-- |-r— f
*
X
If f f II
In widely extended chords the pedal should be used at the beginning
of the arpeggio, since otherwise all the tones will not sound together. If
it be used after the chord has begun, only the later tones will be sustained,
those first played being previously silenced by the fall of the dampers, e.g.:
As written.
As executed.
Foot.
(a)
( b ) good
We now arrive at a freedom of playing which belongs distinctively
to the realm of the virtuoso, who uses the pedal as a means of increasing
the power of his touch. In legato playing the grade of power is limited,
being dependent both upon the pressure from the arm and upon the
raising of the fingers ; the higher the fingers are lifted the stronger will
be the touch But the fingers cannot be raised a greater distance than
they are long, so that in legato playing their strength is partly limited by
their length. If this be insufficient, nothing remains but to abandon the
legato. In this case the fingers play staccato while the tones are con-
nected by the pedal.
12
THE PEDALS OF THE PIANO-FORTE.
Fortissimo passages must therefore often be played staccato, even
when the legato is expressly indicated. Concert literature, especially that
of late years, abounds in examples of this style of playing, e.g.: measures
132 and 133 in Rubinstein's D minor Concerto, the beginning of Weber's
Concertstuck, and the run before the last two pauses in the variations in
E flat by Mendelssohn.
Also the following passage at the end of Schumann's Kreisleriana,
No. 3, must be played staccato, although in the original the legato is ex-
pressly marked by slurs.
Sehr aufgeregt.
As written.
-f^J^-
as executed.
r-P r
fcfc2:
— I
si-t^n-i-
-3-»-
-E-A
»-3 — I-
■=!-- N3-
I
Sr
Foot.
The crossing of the two parts can only be surely executed when each
hand, after striking its key, is raised high enough to allow the other hand
to slip under it. The degree of staccato depends upon the strength re-
quired ; the stronger the tone the more staccato the touch, until the
utmost force is required, when the greatest possible staccato must be
employed, in order to gain rests between the tones long enough to admit
of the whole arm being raised high enough above the key-board to be
thrown with full force upon the keys.
In this way only, for example, will the finale of the Etude, No. 25,
from Heller's Op. 47, attain its proper brilliancy and effect. Still shorter
THE PEDALS OF THE PIANO-FORTE.
13
and stronger should be the touch in the beginning of Rubinstein's D
minor Concerto, and in the chords of the left hand in the following ex-
ample, which is taken from Liszt's Etude, No. 1.
(Prelude.) 8va
Presto. - -T" :*:
a ) As written
A
m
W-
(6) As executed.
-N-
pB^^±
I
t^^*
la
9
&
I
— e-
-s>-
i \
.1
r
44?-
1
Timid instructors may be not a little alarmed at the freedom of touch
here recommended. Many will not be able to rid themselves of the idea
that the character of a tone struck with the pedal becomes different as
soon as the finger is taken from the key. That it is in nowise altered can
be practically tested by turning away from the player and endeavoring
to detect the moment in which the finder is withdrawn, while at the
same time, the tone is sustained by the pedal. In this way it will be
made perfectly clear that for the duration of a tone it is entirely imma-
terial while the dampers are raised, whether the finger holds down the
key or not.
Those not physically strong and whose finders are weak must find
assistance in the staccato if they wish to vie with those of strong physique,
and who possess a naturally strong touch.
Such a manner of playing in passages where the pedal is not ad-
missible would of course be broken and disconnected, but in all cases
where the pedal can be used the effect is precisely the same whether the
tones are played legato or staccato, provided they are struck with the
same force.
Tin's use of the pedal also serves to beautify the touch. The more
time one has to prepare the touch the finer it can be made. The pauses
J4 THE PEDALS OF THE PIANO-FORTE.
between the tones can be utilized by arranging the Angers while in th«
air, in such a way that the finger which is to play the strongest tone is
held somewhat stiffly and more bent than the others, so that its tip pro-
jects, and in consequence, strikes with a stronger touch. For instance:
in the following four measures, if it be desired to bring out, first, the
lowest tone, then the second, third and fourth tones in succession, with
more strength than the others in the same chord — first the thumb, and
then the second, third and fifth fingers must be successively held more
stiffly and bent than the others, so that one after the other the C, E, O
and C may be struck more strongly than the other tones of the chord, e.g.:
&
e
-s- — F g F g F
—8 1 >-0 u
— s-
-l§-
>-&- 1 -&- -&-
This use of the staccato in connection with the pedal, also serves as a
means of repose from the labor of playing. Even the mere holding of a
full and extended chord somewhat strains the muscles, and compositions,
which, like the most difficult piano music of the present day, are full of
daring chords and stretches can hardly be played to an end without the
rests made possible by the pedal.
After great extensions it is of advantage — particularly to players with
small hands, to close the hands when in the air in order to rest the mus-
cles from the strain of the previous stretching. Even so mighty a pianist
as Rubinstein does not disdain to avail himself of this advantage and
after fortissimo chords, frequently raises his clenched hands high over
the keyboard, thus resting his fingers and gaining fresh strength for re-
newed efforts. Many an uninitiated observer may have regarded this as
an exaggerated mannerism— indeed, as a serious fault which he only
pardons in the virtuoso because he produces so fine and powerful a tone
in spite of his so called fault, which is in reality, the cause of the
admired effect.
In this connection it must be remarked that this closing of the hand
should be involuntary ; the player should not will it directly but allow
it to occur instinctively.
If after playing staccatissimo the hand be allowed complete relaxa-
tion it will of itself rise— the stronger the touch and the greater the
relaxation, the greater the height it will reach. This allows it a brief
period of rest, but one long enough to renew strength for a fresh attack.
The shock of a staccato touch is decidedly greater than that of a touch
which retains the keys, and as on the piano the moment of percussion is
THE PEDALS OF THE PIANO-FORTE.
15
alone to be considered, staccato chords can be played with much more
force than those requiring tbe fingers to be kept down.
(Another, and a favorite use of the pedal with many players must
not fail to receive mention — it serves to prolong the last chord on the
right-hand page of the music, so that it may be turned without breaking
the sound.)
It must also be noted that since the pedal sustains the tone it must
never be employed where a staccato effect is required, e.g.: in passages
like the following: Mendelssohn's Variations Serieuses.
etc.
The pedal may now be considered in its relation to the composer, to
whom it is of no less advantage than to the player.
One of the most effective uses of the pedal is that originated by
Thalberg, in sustaining the long tones of a melody, leaving the hand free
to execute a brilliant accompaniment. This effect is most frequently em-
ployed in grand arpeggios whose first note is also a note of the melody,
particularly in melodies played mainly with the thumb (Daumen-melo-
dien). Of these, Charles Mayer's Etude in F sharp major, furnishes the
best known example.
Allezro
.fi.
8
In such cases the pedal is indispensable.
16
THE PEDALS OF THE PIANO-FORTE.
Not only arpeggios, but ornamented chord passages, and even scales
can be made to fill the pauses between the tones of the melody, but these,
as a rule, only sound well when they are played on the upper part of tfie
piano, and the melody in the middle or lower part, e. g.: Pacher's salon
piece, Song of the Mermaid from Oberon.
Allegretto,
m^
#-*
a
:£:
±z
_UL
#-*
-#-«-
rzf*
£. LL ^ i
:t:
I
-i
However effective this method of ornamentation may be, it conceals
a danger for the composer— it tends to make the melody stiff" and the
rhythm monotonous. The brilliancy of a melody accompanied by runs
is so great that a meagreness of sound inevitably results if they are sud-
denly abandoned in the course of the composition ; in such a case, if the
composer has said A, he must also say B.
But if the same effect be continued a number of evils arise : it is only
possible with the long notes of the melody — if the composer has begun
one measure with a long in,te the next one must begin in like manner — so
that a natural continuation of the melody demands the long tone at the
beginning of every measure. It will thus be seen that the rhythm of the
THE PEDALS OF THE PIANO-FORTE.
17
melody is greatly limited since each measure must begin with a long
tone. After the run is finished the melody can only be continued with
short notes, or the first note must be followed by one equally as long,
which is only possible in double time. So, for example, the entire Etude
in F sharp by Mayer moves only in three rhythms :
J
t 9 g • \\ O ' 9 •
In all three the long note occurs at the beginning of the measure, and so
is it in the arrangement from Oberon by Pacher, which moves constantly
in the same rhythm as the first one of the Etude. In nearly all compo-
sitions of this kind each measure begins with a long tone, which causes
a wearisome monotony of rhythm, and in the end, a fatal family resem-
blance to each other.
Composers who especially devote themselves to this manner of writ-
ing, sacrifice melody to sound, and rhythm to effect.
The great difference which results from the freedom of movement in a
series of tones may be readily seen by comparing the so-called Perpetuum
Mobile, from the Sonata in C major by Weber, with the Etude quoted
above.
Presto.
•p. *-- e - <*- ^*- *S- *•- -j
: etc.
In this the melody itself moves freely while the melody of the former
remains stiff. Although the notes of the accompaniment follow each
other with rapidity, they appear only as an embellishment of the melody.
In Weber's composition, not a note could be omitted without injuring
the melodic flow, while in that of Mayer's, the melody can be played
entirely alone, giving a picture, if but a faint one, of the spirit of the
composition.
Composers were not long in discovering that their compositions suf-
fered from this manner of writing, so that it soon came into discredit and
at present is considered worn out and commonplace, ft was, however,
18
THE PEDAES OF THE PIANO-FORTE.
too effective to be entirely thrown aside, and a skillful management of the
two hands was devised by which the melody could move on without
waiting for the run to be finished, thus avoiding the tiresome uniformity
of rhythm, e.g. : Heller. Op. 46, Etude No. 25.
?$=*=£== *
Ped. — f -
Hr — i-;— Mf
-»-•-
-i
A practical method of gaining a clear understanding of the mode oi
performance is to write out the simple melody, omitting the runs, e.g. :
The melody with a simple accompaniment was also sometimes given
entirely to the left hand, while the accompanying runs were played by
the right hand, e.g. : Thalberg, in his Fantaisie on Les Huguenots.
THE PEDALS OF THE PIANO-FOKTE.
10
=,
S-'a i
Maestoso. ~f~ f .
*E^e=_EiE
■#— #
SS=i^
C x i»
8?w.
5*
«S
— I i 1 1 1 1-
rzli
=3p:
-1 — — 1—
-*# — *— $£-j£l-«*i
=1=1 1 E=p:
7-it-5— j-
St'a.
20
THE PEDALS OF THE PIANO-FORTE.
In the course of time composers have become more and more inven-
tive in their use of the pedal. Even remote chords are used to fill in the
pauses between tones sustained by the pedal, a good example of which is
furnished by the conclusion of Liszt's Mazeppa Etude : —
^=eE?j
-=— —0r-mr9r
3— -0-0*
5 i
-0-0-0-
-0-0-0-
m
- 1 '00 0—^r
8?/a
5 r
1 • 00 — 0-
5S
IV-
-(«-
B in
-«—
— i —
I
v
-h-
P
I
V
1 1 ^
I
4V
1 1 \
i
These chords may belong to different harmonies, provided they occur
*n the upper part of the keyboard ; e. g. } Phantasie Schniitt : —
Adagio. 8z>a 8va
j* # A m m F"*™^ A 30- H 0- J ~- AAA
y?P marcato. ' ' tnarcato
t
-'-
-0 — 0— e>~ I -i
s»-
-0
u u u
THE PEDALS OF THE PIANO-FORTE.
Sva.
21
1/ u u y U "I f ^ V V
Under particularly favorable circumstances, even scales lying rathei
low may also be used, but only when the long notes consist of fortissimo
chords, as in the following example which is taken from the Etude,
Op. 168, by Ch. Mayer :—
Maestoso energico.
It sometimes occurs that the long notes of a melody are accompanied
by shorter notes of the same pitch. In such cases the long tone is struck
strongly and sustained by the pedal, while the accompanying tones are
played piano, the pedal being released only at the end of the long tone : e.g:
PP
Y->f>-»-
1—
Pea'.
-&-
i
'22 THE PEDALS OF THE PIANO-FORTE.
Til this manner the long tone of the melody is brought out and sus.
tained, although broken by shorter tones of the same pitch. This effect
can be found in Heller's Etude, Op. 47, No. lt>, 21st measure— also in the
fourth measure before the return of the theme in the first movement of
Beethoven's Sonata in E minor, Op. 90:—
aPP
PP aPP 111
pp
rr a i"!"
«=:1=:l=pzzn=3=FS---2--2--J=r-i
L-2-tXSE
fr-g- — = ~rA 1 1 1— r
•- -*- -•- -•- -»- -*- -^- -tf-
W aPP aPP aPP
J_4— L-^-4-4— U~l— I 1 1 r-J — 1—4—4-
e-* H f* 1* 1
The most significant advantage of the pedal to the composer, how-
ever, is that it frees him from the necessity of limiting chords to such as can
be readily executed by the average hand. This result hasof itself wrought
a great change in the manner of writing for the piano.
Before Liszt, Beethoven and Weber were the only ones who exceeded
this limit. Beethoven wrote a few extensions, having the compass of a
tenth, which occur principally in his Concertos in E fiat and G major;
thus possibly giving the first impulse to the subsequent use of wide
intervals. Weber, in his Sonata in A fiat, uses chords extending to a
tenth, and in Ins Concertstiick, chords with an eleventh ; but in his case
the ust' of wide intervals seems fortuitous, in so far that his hands were
large enough to strike all the notes of these chords at one time. In
this connection it may be remarked that in his time the keys of the piano
were narrower than those of to-day.
The most powerful general impulse toward the use of widely ex-
tended chord positions was given by Henselt in his charming Etudes,
Op. 2 and Op. 5. We are told by Bcndel in his book, " Oeist and Technik
ties Clavit runterrichtes," that Henselt possessed a naturally great power of
extension, which he augmented by an assiduous practice of wide intervals.
But even he has written chords too widely spread to be able himself to
strike all the tones of the chord at once, thus rendering the pedal indis-
pensable to those who wish to play his compositions. Tn case of small
hands, extended chords can only be played in arpeggio, the necessity of
THE PEDALS OF THE PIANO-FORTE.
23
this manner of performance naturally varying with the size and elasticity
of the hand. In Henselt's compositions, however, the sign of the arpeg-
gio occurs very rarely. When, then, is it allowable to break the chord?
This question admits of a very simple answer: As long as the hand can
stretch the required interval, the tones of the chord are struck togethei ;
when the distance is too great to admit of this, they are played one after
the other. One player, therefore, will not play arpeggio where another
is compelled to do so. Care should be taken where no arpeggio sign is
placed, to play the tones as quickly as possible one after the other, in
order to give as nearly as may be the effect of a solid chord.
This freedom in the use of extensions made possible by the pedal, has
greatly influenced the manner of writing { Setziveise) for the piano. In
the lower part of the instrument chords in extended positions sound
much better than those in close positions. . From acoustics we learn that
in the nature of musical sounds a low, close position does not exist.
It is only necessary to compare the sound of this position
-
etc.
■iS>-
\
Only through the pedal can the full resonance of the piano be brought
out, and often by very moderate technical powers. As an example com-
pare Heller's Etude, Op. 45, No. 15.
Liszt was among the first to use the pedal in this manner, and he it
is who has carried this method of writing for the piano to its culmination,
so that in this point it may be possible for others to equal him, but hardly
to surpass him.
From this, his pre eminence as a writer for the piano can readily be
seen. The instrument may be said to have experienced a new birth since
he first gave the impulse to these different pedal effects. Even its
structure has been changed to meet the demands made upon it by Liszt
and his followers. (If, for example, Rubinstein should attempt to play
28 THE PEDALS OF TEH PIANO- FOKTE.
with his usual force his transcription of the Egmont Overture upon one
of the old-time spindle-legged pianos, it is certain that at the end of the
performance but little of the instrument would be left.)
Great as are the advantages derived by the composer from the pedal,
none the less worthy of consideration are the consequences of a too great
use of its newly discovered efiects. Rhythm, harmonic flow, and free
thematic development all suffer through the misuse of the pedal.
As already shown in the F sharp Etude by Mayer, the rhythm be-
comes monotonous when the pauses between the tones of the melody are
tilled with runs, because the ear always expects the same effect at the
same place. (It would almost seem as though the composer were not
able to banish the spirits he had called up ; he is so crowded and pursued
by the same persistent figure that the hearer soon thinks, "Something
less effective would have more effect".)
Every increase of the tone-mass seems particularly unfavorable to
rhythm. All the enrichments which the pedal adds to composition tend
to impart more or less heaviness to rhythm and harmonic progression;
the law of inertia is particularly manifest in case of large masses of tone.
In the^orchestra we also find the same effect: the varying rhythms, and
even the general pauses with which Beethoven works such wonders, in
our noise-loving age appear more and more rarely; if, by chance, a well-
timed silence occurs in our modern music it involuntarily makes the
impression of an inspiration.
This neglect of rhythmic feeling in our. composers may perhaps be
attributed in part to the daily study for years of finger exercises and
velocity studies in the same rhythm.
Speaking in general, it seems as though the history of music mani-
fests changes similar to those in the history of painting. At certain
epochs color was especially cultivated; in others, drawing enjoyed the
pre-eminence. Our present music seems in particular to be characterized
by a development of tone color. Such beautiful and unexampled tone
combinations as occur in the finale of Wagner's Tristan and Isolde will
afford sufficient material for wonder and study for generations to come.
Although Wagner's tone drawing (melody) may not be ranked with
his tone color (orchestration), such works, as being the creations of a
genius opening new paths to art, in spite of many a mannerism, are of
far more significance than the most successful productions of the best
trained mediocrity.
THE PEDALS OF THE PIANO-FORTE. 29
These observations upon Wagner and the music of the latest period
have more bearing than appears upon our subject. Many of Wag-
ner's most brilliant passages are, in reality, only pedal effects genially
transcribed for the orchestra; as, for example, the conclusion of the
Overture to Tannhauser, the "Ride of the Valkyries" and the "Magic
Fire Scene."
A proof of this is found in the fact that in two-handed arrangements
of these compositions for the piano the original effect can be produced
upon the instrument only by means of the pedal.
When it is considered that the majority of composers begin their
careers as pianists, it is manifest that a close connection exists between
the manner of composing for the piano and that of composing for other
instruments; every notable change in the manner of writing for the
piano has been followed by a like change in all departments of musical
composition. The trills and ornaments, for instance, which formerly
were considered necessary on account of the short duration of the tone of
the piano, are disappearing not only from piano music as the instrument
gains in power and resonance, but also from that written for the orchestr?
and the voice.
These observations are by no means unconnected with our subject
The attention which every influence upon the general style of composition
deserves renders tnem the more appropriate, since it is precisely the
modern use of the pertai which has occasioned such a revolution in the
manner of composing loi the piano.
Thematic development suffers through the pedal, in so far as its
use is not allowable in quiet passages where progressions occur by
the regular steps of the scale. The tranquil movements made up
equally ot chord and scale passages which were formerly in vogue are,
therefore, gradually disappearing from the music of to-day — indeed, it
almost seems, from the present universal use of the pedal, as though the
scales were going out of fashion, so seldom do they occur, particularly
in the middle portion of the piano. Thus, for example, in all Schu-
mann's works not a single scale, having an extent of three octaves, can
be found.
Progressions which move by regular decrees of the scale in a
tempo too rapid to admit of a change of the pedal with each tone are at
30 THE PEDALS OF THE PIANO-FORTE.
present generally met only at points where a change of harmony takes
place ; e. g. : —
X
In the middle voices, however, fewer sustained tones and notes foreign
to the harmony occur than in the older polyphonic music.
Liszt, indeed, by his transcriptions of Bach's organ fugues, has de-
monstrated that the most complicated polyphonic music can be played
upon the piano with the aid of the pedal; but only a virtuoso well versed
in all the refinements of the pedal can make possible a performance
which may excel in clearness a competent four-handed execution of these
works.
During the last few decades the technic demanded by the most diffi-
cult music for the piano seems to have remained about the same ; a further
development appears hardly possible— the mechanism of the instrument
being unaltered — since it is naturally limited by the size and elasticity of
the hand. Certain it is that already too much has been required from the
hand, and that ladies with small hands must often reluctantly deny
themselves some of the fairest blossoms of modern piano music*
The importance to which the pedal has in our days attained can be
appreciated when we consult the older piano schools. From what is to
be seen in his Grand School for the Piano, Hummel seems to have
regarded the pedal mainly as a means of creating confusion. Nowhere
does he consider it indispensable, and even under the most favorable
circumstances he regards it only as an agreeable adjunct, which may
always be omitted without prejudice to the composition. He seems
never to have discovered how much the instrument gains in resonance
by the use of the pedal, apparently holding it immaterial for beauty of
tone whether, during a long tone, the pedal be used or not. That it
is not immaterial will be shown in the following chapters.
*Selmar Bagge once jestingly suggested that the octave coupler of the old I'hys-
narrnoniea be introduced in the piano, in order to put an end to the astonishment
over the feats in octaves accomplished by virtuosos, rossibly some inventive genius
may yet discover the possibility of simultaneously striking remote keys with but a
moderate power of extension in the hand, which would open a new era in the art
of piano playing.
THE PEDALS OF THE PIANO-FORTE. 31
Of all the authors, Czerny has given the most complete treatment
of the question in the third and fourth volumes of his grand School
for the Piano, which, strictly speaking, belongs to the newer school
of piano playing, but even he by no means exhausts the subject. He
also commits the error of requiring the pedal to he used when the key
is struck, instead of pressing it down afterward, as should generally be
the case. From this error the author of this work was perhaps only
preserved by the. fact that he did not examine the work in question
until after he had finished his own investigations — a chance which for-
tunately allowed him to master the subject by practical experience.
In Kullak's Art of Touch can also be found some explanation as to
the use of the pedal.
(Almost ludicrous it was to the author when, possessed by the fear
that possibly Marx, in his long treatise on piano effects, Allgemeine
Compositio7ixh/i/-r, might have anticipated him in the results of his labor,
he found, on hastily examining the book, that the word pedal was not even
once mentioned )
32 THE PEDALS OF THE PIANO-FORTE.
CHAPTEK II.
The effect of the pedal in strengthening and beautifying the tone
cannot be explained without touching upon the existence of overtones.
By overtones is meant that series of tones heard in connection with the
prolonged vibration of every low string in the piano, accompanying the
tone produced. These tones occur in a definite order : if, for instance,
Ml
this C, SLZ _ be strongly struck and the tone sustained, the ear,
being held close to the string, will detect the following tones, sounding
very softly, yet perceptibly, in connection with the fundamental C : —
C eg e e g B
=e=-E^:Ei
3=i2-
m
%V-
-»-
4 5 8
-is
THE PEDALS OF THE PIANO-FORTE.
33
large C* without allowing it to sound, and then strike the small c above,
strong and staccato, whereupon the tone c will sound clearly from the C
string and be sustained by it as long as the key is held down. In like
manner the same string can be made to produce its other overtones, g,
c, e, g, "b flat, as follows :—
Sounding. /
Silent.
Effect,
Ee;
:S:
mm
=3=*=-
=11
-19-
-&-
i
--T
-&
*For those not familiar with the usual method of designating the keys of the
piano by letters, the following table is subjoined, showing each key of the piano
with its corresponding letter: —
(**
c
D
E
F
G
A
B
C
D
E
F
G
A
B
k^
— I —
— i —
— i —
— i—
w
—0—
—9—
-•—
d
a
b
\i
f g a
7T~^
c (T e T g a b
cd efgab ecleT
87V7
34
Till: PEDALS OF THE PIANO-FORTE.
Sounding.
Silent.
Effect,
i=qz£
T-
m
m^m
-&-
-&-
s>-
W & u^ U ___
'-S &■
Employing the same method with the tones
c~ flat), is slightly reinforced
by the weak 7th (Fflat), and the loth (F) by the 3d (g) and the 5th (e).
All the tones, ciieTga Ffe F, do not correspond exactly in pitch to
the overtones of the large C, — 7 should be higher, a, lower. This lack of
exact correspondence can be verified by the wavering of these tones which
ensues when they are sounded. When the a is sharply struck a figure
S== • The
resembling a turn will be produced, thus:
-I-**- -#-
wavering of a tone indicates the presence of at least two tones; in this
case it shows a difference of pitch between the tone which sounds and the
one which is isolated.
THE PEDALS OF THE PIANO-FORTE.
35
It is also noticeable that the 14th overtone, hfe. wavers, while the 7th, bl?,
is steady ; this points to the conclusion that the Uk of the untempered scale
does not form a true octave with the h& below.
The sympathy of related strings to each other is most strikingly illus-
trated by silently pressing down one key and then striking several, or all
of its overtones, whereupon they will ring out on the string from which
the damper has been raised.
Sounding.
Silent.
Effect.
S:
EE!
-«S?-
T
m
t-q:
'-J±-
Sounding.
Silent.
Effect.
<-0-
4*:
-T
-&-
^
--i-
.iS_ .
^8
-*-
36
Till-: PEDALS OF THE PIANO- FOKTE.
Sva.
Sounding.
Silent.
-&-
The sensitiveness of the fundamental string to the vibration of its
related strings is rendered still more apparent by its unresponsiveness
when unrelated tones are struck, in which case, although a slight rever-
beration is heard, the effect is not to be compared to that of the harmoni-
cally related tones. Tbis can be tested by pressing down the large C
and striking one of its unrelated tones, C sharp, d sharp, f sharp, etc.
The effect of the pedal is to free all the strings from their dampers, so
that in addition to the string set vibrating by the direct blow of tbe
hammer, all its related strings vibrate sympathetically. Tbis can be
shown as follows : press down the pedal and then strike the small c
v
staccato ; then noiselessly press down tbe large C, and release the pedal,
still holding down the C. The c, although faint, will be heard, showing
that it occurs as the first overtone of the string C, which vibrates in its
first division.
That the string of the fundamental tone vibrates in like manner with
the remaining overtones when they are played with the pedal can be
readily demonstrated by isolating the C as before, after playing any or all
of its overtones with the pedal.
Echo. (
Finger. |
Foot.
£B=
Sounding.
A
Silent.
|B=^ii^^ii^
-&-
-<5>-
_!
&-
•&-
1 1.
THE PEDALS OF THE PIANO-FORTE.
37
Thus far we have only considered the relationship of tones as occurring
from below and rising upward, taking the ascending series of the overtones
as the basis of our investigations. Reversing this method, it will be
found that the upper tone of each interval formed by the overtones with
the fundamental tone will sound if it be isolated and the lower tone struck.
As expressed in notes the effect is the same, whether we play thus: —
Sounding.
Silent.
Sounding.
EBi
-j-s-
I
or thus: vS'zE:
-«*-
-&■
Silent.
=1=
-72-
Ped.-Q-
.1.
-JJ
Ped.-Q-
-&-
1
only in the first case the tone will be somewhat fuller, since the longer
string gives a stronger sound.
In the following intervals the same tone is heard, whether the- lower
or the upper tone be isolated, from which it follows that the tones have
relations below as well as above, and we furthermore find that the order
of the related tones below forms a complete inversion of the related tones
above : — l
**>-
-&-
-19-
w-
--&-
-&-
-&-
Taking c, for instance, as the fundamental tone, its related tones
ibove are as follows :—
8va
km. -21 \
i
:t=:
Reversing this order, we have the following series : —
Sir
=t
b^S:
St'u.
38
THE PEDALS OF THE PIANO-FORTE.
Its relationship to c can be proved by striking c with the pedal and
isolating, in succession, c, F, C, A flat, F, D, C ; in each case (Twill sound.
Sounding. Silent.
?=BEH=MEi
-o
=t=
!iH
/w.e-
t
■i— [J-s^ £ II o -
s>
&■&•
J-,
o.
:=t:
/TV
■Hi
F-±-
J
while those of the lower series give the fundamental tones.
Silent.
Sounding.
Ebe±:
n
-«?--
Jl
It follows then, since c~has seven related tones below it, that when c
Is played with the pedal it is also heard as an overtone from each one of
these seven tones— faintly, to be sure, but taken together they have by no
means an unimportant influence upon the tone. This can be shown by
first striking c without the pedal and comparing its effect with the fol-
lowing example, in which the ^ sustained by uniting the seven weak
undertones is even stronger than the tone produced by striking the string
alone.
THE PEDALS OF THE PIANO-FORTE.
Sounding.
39
;e:
-J&-
!S?I
-&-
Silent.
§3E
-H-
-*&
^72~
Sva. bassa.
-&
1.
— u
(A better example of the effect of the pedal upon the tone can hardly
be found than in the contrast between the dryness of the first c and the
fullness and beauty of the second.)
High tones have more relations below than above, and low tones
more above than below. The number of high and related tones is most
symmetrical in the middle strings of the piano, and it is this symmetry
which makes the middle tones of the instrument the finest when the
pedal is used.
The following examples will illustrate the singular sympathy of re-
lated tones in whatever position they are struck, i.e., either nearer- to or
farther from the fundamental tone than they naturally occur; e.g. : g is
the second overtone of c ; if g be struck and c be isolated, naturally the
g is heard ; c. g. : Sounding. Silent.
S£ "f~
i
££ C
-s-
7?—
"
— e-p-*-
Tt wi'd, however, also sound if the G
be struck au octave lower ; e. g. :
HI
Sounding.
Silent.
:E:
S— !»-*"
.11
II
Sounding.
Silent.
and even if it be struck below c , e.g.
:e;
=p
— z2-
-e— «*--
■M
40
THE PEDALS OF THE PIANO-FORTE.
Hence it appears that related overtones never appear in any octave lowei
than the one in which they naturally occur rising upward from the
fundamental tone.
With the related undertones the contrary is the case: f is the second
undertone of c— if c be struck and f be isolated the c is naturally heard ; e. g.:
A Silent.
:t:
-s?-
-&-
-£-
JJ
if, however, f be isolated an octave higher, C will be heard an octave
jigher; e.g.: A Silent.
-j—
r
/IS
-s-
HI
and if it be isolated two octaves higher, thus:
r~ I —
■*-■
instead of
— *
C will also be beard two octaves
higher.
Thus it appears that related undertones vary in position with that of
the isolated fundamental. Tones belonging to both relations can be
united ; e. g. : Silent
I
:t:
-Y5>-
It will be noticed that such tones are similar to the harmonic tones of
the violin and zither ; they are, in fact, none other than harmonic tones pro-
duced on the piano by similar conditions. The violinist by gently
pressing the fourth of the string gains its second octave; the pianist
produces the same effect by noiselessly pressing down the fourth. The
following example will prove that the pianist can vie with the violinist
THE PEDALS OF THE PIANO-FORTE.
41
in the production of harmonic tones ; e. g. : —
f T — *-
C«)
(6)
:e;
(a) Tones appearing of themselves.
Adagio assai.
Sounding.
:e^_=i^:
$=%.
-0-
*
Silent. | (6) Tones either struck or noiselessly pressed down.
Sounding.
Silent.
SEiEi
-*— s — =»-
(a)
(6)
W:
:E=£
-(2
:i
~N=-=r-
"^fe^l
•^ Silent.
-ft=r4
-!$"-
-•-
-*-
Silent.
Sounding.
— i^-s-
Sounding.
:^=£-~
"- ^ — %^~ — ^-5--^ — fr-^-3- — g
Si
-»-=!-* -
Even Jow tones can he produced in this manner in their original
pitch ; e. g. : —
Sounding.
A
■*
£^3eE*E!
Silent.
IE:
A
■£■
-m-
-y-=*-£-
-M-£-
§*
■+-
- is — — »■
J2fi-
42 THE PEDALS OF THE PIANO-FORTE.
Thus it will be seen that in playing with the pedal many related
strings vibrate in addition to those actually struck. Not only tones
directly related to the strings originally set into vibration are heard, but
the longer they are sustained with the pedal, tbe more strings begin to
vibrate, because new relationships are constantly forming. For instance :
as soon as g is heard as the second overtone of C, the string g is set into
vibration, and in turn becomes the fundamental of a new family of
tones; soon after, ilent - Sounding.
S-E=_M£
Sounding. .+£l
:p=t»
-E-*
_i_
'<$£
=f
Sounding.
VXJt
s t*-
-i-#-
~tg—
J.
. 5 U._i_«_JJ
The finest effect is produced when high and low chords are struck
together, and the related tones between them are isolated ; e. g.: —
Adagio
V TT j* — ^4 1 -
-
33
E^:*=S:
-g
g
Sounding. Silent. Sounding. Silent. Sounding. Silent.
mM-
4-
--»-4-
-»-
-P-
J
-B 5 S - =
— r £&-
ssjy
-«-
/w.
_a.
Sz'tf. bassa.
-3-»-
-3-#
_i_
-#-^-
-jS>-
i6
THE PEDALS OF THE PIANO-FORTE.
Sounding. Silent.
•#-
23t=fc==t=
Sounding.
Silent.
Sounding.
Silent.
~JZT
-T-
:=P
-=i-#
JL.
=£
G>-
-0-
JL.
-I
Thus far it seems to have entirely escaped the attention of composers
that this sympathetic sounding of related strings can be effectively em-
ployed in compositions for the piano. Even the silent isolation of several
tones previously played with the pedal, although producing an extremely
Tine effect, has never been used; e.g.: —
Andantt.
Sounding.
b*-—f>
Such a use of the pedal produces a particularly appropriate effect in
the following passage from Beethoven's Sonata in C sharp minor: —
Presto agitato. .
P¥§ : e :
4*§
f
+1?
HSot
PES:
^K
■Gr*
THE PEDALS OF THE PIANO-FORTE.
Silent.
47
also in Liszt's Hungarian Fantasie; e. g. .•—
(Note carefully the silent chord in the left hand and the rest in the
second measure of the pedal line.)
Bernhardt Stavenhagen frequently takes advantage of this pedal
iffect; e.g., in the following passage from Liszt's Sonata in B minor: —
.*. .^°^L
feEEcttES
Andante sostenuto.
B
±2
±A
^
t%!s=S
«
ft2-| J— ^ =1j
-#-H 1—
' Sounding.
• a ^
*»-
i*3=t
s^ipE
e>-
I
4±
-»-
Fed.'
2
-&-
\-&-
*J +•- U Silent.
13
-fC"
f^rnrfrv
18
THE PEDALS OF THE PIANO-FORTE.
In this example he fills the rests which exist in the original between
A and B by the isolated chord of F sharp major, which, by its ethereal
timbre, forms a fascinating transition into the tender and poetic move-
ment which follows.
Fundamental tones may also be very effectively mingled with over-
tones ; e. g. : —
Adagio.
-&-
-
*
■nr
-rrHl
Skillful players occasionally produce effects by the fingers which
resemble these pedal effects; e.g.: —
Lento. I rfi i
:4:
•_9 —
4
I
-si n
etc.
-*- -#-
instead of
;£=^g3t=
Players sometimes.take the liberty of playing the notes of an accom-
panying chord rather than the notes of the melody above, even when not
THE PEDALS OF THE PIANO-FORTE.
49
so directed, in order to bring out the melody more clearly. Such a free-
dom may be allowed in the following passage from Schumann's Sonata
in G minor: —
Sehr schnell.
Measures 4 and 5 are better played thus: —
feM-
IjE
T
m
Sometimes the last note of an accompaniment may be shortened and
the pedal omitted in order that the ear may more easily follow the
melody. This, in case of soft melodies with an insignificant accompani-
ment, is frequently done. For instance, the figure of the accompaniment
in the Berceuse by Chopin is generally played by virtuosos as follows :—
60
e-2£=fi=ri
E£pj=R==Ez=
THE PEDALS OF THE PIA.NO-FORTE.
-i — •-
•i i
Andante.
SljlEE
:f=*
instead of
'' ( >^.
&'
i — n
in this passage !
rit.
•-*
-0-t-
-i — h
^1
Pt^=fi
Such alterations should, of course, only be made after due considera-
tion, and are never allowable in polyphonic compositions, since in such
works all the parts are of equal importance, which is not the case in
melodies with simple accompaniments. Such liberties would be the less
necessary if the accompanying tone could be suddenly diminished, leaving
the melody in its original strength, but, unfortunately, only the beginning
and the cessation of the tone are at the command of the player, a sudden
descrescendo on the same string being impossible. "Where, however, in
rapid arpeggios and running passages a diminuendo is required, the pedal
must be released at the instant the decrease of tone should occur. A good
example of this is found in the first movement of Schumann's Sonata
in G minor: —
Ausserst rasch.
^a)good.^ P
(6) bad. |— P
+T
•H— «
THE PEDALS OF THE PIANOFORTE.
51
This rule is less applicable to broken chord passages in slow tempo,
which, even in descending, can be played with the pedal decrescendo to
the end; a tine effect can be obtained by playing in this manner the
following passage hum. Beethoven's JSonata in C sharp minor : —
Adagio, {poco agitato?)
w i
n
-I— »— -v--0-\— F 1— I— h
g -4-F-i— fa*—
-#-+■
Ss
SfeE
/
P
molto dim.
m
-&i.
,~& r ^
-e-*-
— (©-
J77-
f -
-&•
-&-
HI
By thus sustaining the pedal the tones played during the crescendo
In the first measure are prolonged into the third measure, so that the
pianissimo tones of the last two measures are heard, as it were, behind
a veil.
An exact knowledge of the overtones of each note is of great value
to the player, since every upper tone can be made fuller by strongly
striking one of its deeper related tones.
52
THE PEDALS OF THE PIANO-FORTE.
As an example, the long D in the conclusion of the tenth Song
Without Words by Mendelssohn can only be sustained to the end by
bringing out strongly the lower D with the thumb, that being the next
lower related tone ; each time it is firmly struck, the upper D is excited
to renewed vibration and thus prolonged.
Agitato e con fuoco
I
-2— H — #-•-#-»-#-• !-•-##-#-»-#- \-m~
7 t Q — ' ' ' — ' — ' — ' — 1« ' — ' — ' — ' — ' — r —
^5 — | — | — i — | — | — | — tp_| — | — | — | — | — 1| —
-0-
.-*-
-51--!
-si-sa-
It is immaterial whether the other tones be struck with the same
degree of strength or not, as only the related tones exercise any decided
influence upon each other. This can be readily shown by the two follow-
ing examples: —
Silent.
Silent.
Sounding.
Silence
V V V
Sounding D.
THE PEDALS OF THE PIANO-FORTE 53
CHAPTER III
Thus far the pedal has been considered only in its effect on the single
tone or chord, if it is to be sustained during a succession of tones, the
rules foi its use become more complicated When this succession belongs
to one chord, the general rule is to hold the pedal until the chord changes,
each change of harmony being followed by a change in the pedal. In
order to avoid dissonances from the mingling of different harmonies, the
pedal must not strike exactly with the new chord, but a trifle later.
(See Chapter I, page 7.)
This necessitates on the part of the player a knowledge of what
tones form a chord. A good student generally gains this knowledge in
the practice of such chord passages as are found in most collections of
finger exercises; a direct study of harmony, however, is of course prefer-
able. It must also be remarked that arpeggios in close position taken
with the pedal sound much worse on the lower part of the piano than in
the middle or higher part
A charming effect is sometimes produced by the retention of the
pedal during changing harmonies on the upper keys. This effect closely
resembles that of a music box, which possesses no dampers.
Sva
-#- -a- J — -#- m -> — -F- m •*— "•- --F- »
Sempre Pedal.
JZ .*. +. 7- -f- -#- - -f- -#- m
H-fc 1 1 1 1 1 1 * 1 1 F 0-
The lower the pitch of the chords the less endurable becomes this
holding of the pedal during changes of harmony, and on the very low
keys even the close position of a broken chord played with the pedal
sounds more or less false. When, therefore, a pure tone is desired, it is
best to employ the pedal only as the arpeggio approaches the middle por-
tion of the piano. For instance, in the following example, the pedalling
B is decidedly better than A. Should its effect, however, be thought too
dry, the pedal can be used as in C.
54
THE PEDALS OF THE PIANO-FORTE.
Sva.
A.
B
_fi.
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s>-
-s>-
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Relatively speaking, the best effect of low, close positions occurs in
the case of the chord of the diminished seventh. ^
r"--
_L
~L
*>-
— — ff-HI
Low minor chords seem to sound a trifle better than major chords
of the same pitch; the difference is, however, so slight that it is hardly
worth while considering, as all deep, close positions sound more or less
harsh when they stand alone. The effect is different when a deep, broken
chord is accompanied by full chords in a higher position, since in such a
case the dissonance of the low tones is covered by the clear ring of those
above ; e.g.: —
Allegro moderate.
•3T
THE PEDALS OF THE PIANO-FORTE. 55
It must not be understood, however, that the pedal should never be
used with unaccompanied, close positions of low chords, since it may
readily occur that such a mingling of tones is necessary in order to
characterize the spirit of the composition. For artistic purposes much
can be used which is not strictly beautiful, and in exceptional cases, even
that which is ugly, since thus only art becomes the medium of trans-
lating the varying emotions of mankind. Where, however, purity of
tone is required, recourse must be had to .the order of intervals offered by
Nature in the series of overtones. The finest effect is produced when the
arpeggio corresponds to this progression ; e. g. : —
&va
L. H. ZZ
-It- 1— l -
r r tf H
Where absolute beauty of tone can be disregarded, much can be
allowed. In such cases the pedal can be used in scale passages, and it
even renders possible the striking together of adjacent keys, as will be
shown further on.
The use of the pedal in scale passages is least allowable when the
tones move with but moderate rapidity and equal strength in the middle
or lower portion of the piano; with the highest tones it is immaterial
whether it be used or not, since the shortest strings of the piano possess
no dampers. For this reason the pedal can very rarely be employed in
the older polyphonic music, since it generally moves by regular steps
of the scale with but little strength and rapidity, its range being also
limited to the middle octaves of the instrument. In some compositions
of that school which contain broken chords it can be introduced, but
generally speaking, its effect in scale progressions is best if one tone— or,
what is still better, a full chord — be struck fortissimo. In this case the
relationship of tones again plays an important part. In order to show
once more the striking difference between related and unrelated tones,
56
THE PEDALS OF THE PIANO-FORTE.
press down noiselessly the large C with the left hand, and then play the
scale of C major fortissimo in octaves with the right hand ; e.g.: —
R. H. playing.
smmmm
„ As echo : the chord
of C major.
L. H. silent.
After the run has been finished, only the tones C, E, and G, related
to C, will be heard. The unrelated tones, F, A, and B, are silent, while
the~d may sound faintly as the ninth overtone. This shows that the
free string C, out of the entire scale, has only linked itself to its related
tones. This experiment is still more interesting if the scale be played
with the pedal and the C isolated afterward ; e. g.: —
R. H. playing with one finger,
Presto plissando.
L. h. silent.
As echo ; the
chord of C major.
L. H. silent.
-|-r-
+r
-t-r
^_i_— _^.
HI
From this can be deduced the important rule, that the pedal may
be used with scales or ornamented chord passages if at any point one
tone or chord be struck with great force. The lower and stronger
this tone or chord the quicker and lighter the run, and the higher it lies
the better will be the effect; e. g. : —
THE PEDALS OF THE PIANO-FORTE.
&va
57
< Z glissando.
^m
#-*
T-*
•-#-
*>
-0-0
•-*
if -0-P r r
ff
sfz
i I I
m^EE^
±-0 2r-
<-
<-
<-
-1-;
o
o-
HI
In this case, as in the previous examples, the tones of the scale which
»re related to the chord, group themselves around it and the unrelated tones
die away; not so soon as in the foregoing examples, but in a short time
they entirely disappear, while the related tones are sustained. It must
be well understood that such a use of the pedal requires the greatest
possible fortissimo in the strong tone or chord. "Without this, or with
mere equality of strength, the passage will sound wild and confused; the
related tones will not form themselves around the dominant tone, but
scatter, so that it may very well happen that of two players using the
pedal alike, one will make a good effect — the other, a bad one.
Players who have the skill to bring the melody out clearly soften
many dissonances even without the pedal ; the related tones blend with
the melody, while the others fade away. An interesting experiment can
be made, showing what an influence one strong tone has upon the others.
In striking a chord with the pedal, on listening attentively, the tones
will also be heard in arpeggio, or in succession, one after the other. This
arpeggio always has the strongest tone of the chord for its starting point.
If, in the following chord, 3fc— the lowest tone be made
the strongest, the arpeggio is heard as follows :—
58 THE PEDALS OF THE PIANO-FORTE.
if the upper tone be made the strongest, it is heard as follows : —
tumpm
the third and fourth times moving twice as slowly ; the fifth and sixth
times four times as slowly. It is still more remarkable if seven tones be
struck together, the middle one being the strongest, in which case the
arpeggio begins in the middle and moves both up and down from that
point; e.g.: —
This shows that the strongest tone is, so to speak, the focus from
which the tone-waves emerge, all the other tones being governed by it.
In connection with the use of the pedal in scales, the question of the
instrument comes into consideration. It is well known that upright
pianos have a weaker bass than grand pianos. Now, if the composer
relies upon the greatest fortissimo in the bass of a grand piano, in order
to use the pedal during a long scale, the passage which on such a piano
will sound well or at least be endurable, will be ineffective, or sound
badly on an upright piano.
There is also a meat difference between instruments of the same
kind, — not all grand pianos have an equally good bass and treble. The
stronger the bass, the longer the pedal can be sustained during scales
played after low, strong tones. On a good grand piano much can be
executed which otherwise would be considered impossible. The only
rule that can be given to decide how far this use of the pedal can be
carried, is to depend entirely upon the ear, and to release the pedal as
soon as its effect is bad.
THE PEDALS OF THE PIANO-FORTE.
59
Even double scales in sixths sound well with the pedal, provided
they are played with the utmost rapidity, and the sustained tones with
greatest possible strength ; e. g. : —
Allegro energtco.
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t± — ^ — |
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.-#- -*-
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.-*■ +-
.0-1..
.-I-
^ t«
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Low scales can also be played beneath a melody, as in the following
passage from Beethoven's Sonata in C, Op. 53, popularly known as the
"Storm Sonata." The rolling effect thus produced gives it a peculiarly
characteristic coloring.
60 THE PEDALS OF THE PIANO-FORTE.
Allegro con brio.
ygg— - Ui,L^U ^^U| ^ • J — — ^^ — (co ^rj T~*~~H
P/0 \/
Low scales played with the utmost strength and rapidity beneath
fortissimo chords, produce a powerful effect, resembling the roll of
thunder; e.g., Thalberg's Fantasie on the Huguenots: —
Agitato.
A .
i=jfc
E
-0 1 K
I ' I
»-
-0—0--
$t
-0 — i-
fS.f-
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&&
ES
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ff
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u
THE PEDALS OF THE PIANO-FORTE.
61
fcS:
-0-
ff
etc.
1 — *W^t — -i — I — I I— i ■5fis^5S^"feSs^^iL— — f-
Under particularly favorable circumstances, even the chromatic scale
can be played in the bass if one tone of the scale be brought out with
great power, as the C $ in the following example : —
$fc#
Allegro vivo.
PS
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--
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-G> 0—0-
&Of:
-£L-
sr
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<52
THE PEDALS OF THE PIANO FOKTE.
In all the preceding eases the effect of the pedal is not a purely
musical one, but is particularly appropriate for the imitation of the un-
fettered powers of nature — storm, thunder, etc. The dissonances resulting
from the mingling of the unrelated tones only serve to heighten the idea
of elementary conflict, and in all casee where the utmost development of
virtuosity is artistically allowable, this use of the pedal is of surprisingly
powerful effect.
In orchestral music similar effects are also found. Of these, the'
finale of the Tannhauser Overture, by Wagner, is the most popular
example, and the same master's Fire Magic, from the Walkiire, the most
daring. The rich profusion of melodic figures in these and in similarly
treated orchestral works is only rendered possible by the sustained
fortissimo tones of the melody. A great many compositions for the
piano, as well as for orchestra, look almost incredible to the eye, when it
is considered what is actually heard at one time, through the sustaining
power of the pedal on the one hand, and on the other, by what stands
together in the orchestral score. In such cases it almost seems as though
the ear were less sensitive than the eye.
To give an extreme example of the extent to which this use of the
pedal may be carried, the author has written out several measures from
which, on paper, an ear-splitting discord would be inferred, but when
played with the utmost strength on a concert grand piano are not only
endurable, but even produce an almost brilliant effect. It will be seen
that the ear supports unexpectedly well, particularly in the third measure,
the striking together of five adjacent keys, but only in case the bass be
played with the greatest possible strength : —
K. H. two octaves higher.
Allegro vivo.
_B-__ *mM—
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— I — i— — #-fi — = — %
-m — m — «- -#-*» •»■
■g — g — *-' P h-
rn^K
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THE PEDALS OF THE PIANO-FORTE.
63
8va.
*— %* *# l»
m
J SSr
-•■ -#* -0*- -•' -#* -•* -•* -5
4#-
-*» — ~
-<5>-
T
t
*-»
Such a manner of writing is, of course, only allowable, if at all, in
passages where great sonorousness is desired ; in all others the effect would
be much too harsh. Even the greatest climax should seldom go as far as
the above example, which is only given as a curiosity, but passages
almost as daring can be found in the modern concert literature. As an
example can be quoted the trill of the major ninth which Liszt
continues during several pages in the finale of his transcription of
Mendelssohn's Wedding March : —
8i'a.
j 1 1 U
-e-r-
r
i
-G>-
-*
■fr-HI
In an ordinary treatment of the subject, a trill of a major second
would have been used, or at most, an octave tremolo, but for Liszt neither
of these resources possessed the necessary brilliancy, so he devised the
shriller effect of the trill of the ninth. Its use is facilitated by its high
position and the fortissimo chords of the melody in the middle portion of
64
THE PEDALS OF THE PIANO-FORTE.
the keyboard. When this passage is played with the requisite degro
of execution, the effect of the trill on the ear is that of an octave some-
what sharp.
Such deceptions are not uncommon. A similar one can be produced
in the Scherzo from the Sonata in G minor by Schumann. If the first
two measures are played with sufficient bravura, as at ( 6 ), the effect will
be the same as in the original, (a), provided the (I and g~ in the right
hand are strongly brought out. This arises from the fact that every
sharply struck second begins to waver, giving the effect of a trill :—
.0 — -
— 3
-*- — — 3-« — — ^-8—
A
■0 — — a -# — — a -» — — tr* — * — s-0 • — » • its
r~ r uv W% BS It mlP" f f
:^ — t
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r==:
rtj
#* *»*
3
-i-s^i— 3 — i-^^i — 3-
C
i-
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A
+
-»— n.
In the examples thus far quoted, the condition has always been made
that one strong, harmonic tone be struck, which, by reason of its strength,
controls all the discordant elements brought together by the use of the
pedal. Under peculiarly favorable circumstances, scales and runs can be
played with the pedal, without any such dominant tone. In this May
Rubinstein produces one of his finest pedal effects. In rapid, fortissimo
scales, either major or minor, played with both hands throughout the
whole extent of the piano, he sometimes uses the peclal ? omitting it,
however, in ascending, as the scale reaches the middle tones and only
resuming it in descending when the same point is again reached.
THE PEDALS OP THE PIANO-FORTE.
63
B. H. an octave higher.
Prestissimo.
£fc
£3E
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— S3 — 9* — ^~
-^1 »• — 4* — -P— — I—
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This effect forms the greatest fortissimo of which the piano is capable,
and only the limitation in the use of the pedal in connection with the
greatest strength of touch renders it endurable to the ear. The lower
tones being the strongest, the pedal is held down while each new tone is
struck with sufficient force to overpower the one preceding. In the
middle tones, which are not strong enough to overpower the low tones,
the pedal is omitted, but it is difficult for the ear to decide just at what
point this takes place. During the few tones immediately following its
release, the bass strings still sound, and only die away as the weaker
tones are reached, and these in turn sound as full as those preceding^
since they no longer contend against the roar of the low tones.
The pedal may be used for a short time with double runs, if they are
played in the most rapid tempo; e. g., the scale in tenths just before the
conclusion of Chopin's Ballade in G minor. This effect should not be
continued for too long a time, or it becomes rough and unmusical, and
for this reason the pedal can seldom be sustained in playing the chromatic
scale, which, having twelve tones in the octave, progresses more slowly
than the diatonic scale, which has but seven tones in the octave. The
66 THE PEDALS OF THE PIANO-FORTE.
pedal can only be used with the chromatic scale in short passages, or, if
it be desired to use it with a long chromatic scale, or in passages composed
of progressions with varying harmony, the foot must be raised and
lowered frequently in a trilling manner, in order to avoid a too great
confusion. This use of the pedal may at first seem impossible, but as a
case in point the chromatic scale in the finale of Chopin's Scherzo in B
minor can be taken. Artists always play this passage with the pedal,
and rightly so, since only through its use can the despairing passion of
the composition be adequately depicted. If such passages are performed
with the utmost clearness of touch, their character is lost, and one is
strongly reminded of the manner in which Czerny's School of Velocity
should be played.
A difference can be found between the major and minor modes; low
minor scales sound somewhat better with the pedal than major scales in
the same position. A still greater difference exists between ascending
and descending scales. If the pedal be used in an ascending scale, all the
tones of which are played with equal strength, the effect will be extremely
false; but if a descending scale be played in the same manner, the effect
will be decidedly better. This arises from the fact that in descending
the tones increase in strength, so that each new tone overpowers the one
preceding. From this may be deduced the rule that, in descending the
scale with the pedal it is not necessary to play fortissimo, but on the
contrary, a far finer effect is obtained by beginning the scale pianissimo
and making a crescendo in descending. The effect is best when it is
supported by a corresponding harmonic accompaniment; e.g.; —
Sva.
Allegro. 'jfl
-»■
-&-
THE PEDALS OP THE PIANO-FORTE.
6?
jfizr
^a ' — — _ — m — — _ — i — l__ 1
rit.
PP
-&-
In this case each tone overpowers the one preceding more readily in
consequence of the crescendo. The unrelated tones also die away sooner,
because they are not sustained by the tones of the chord in the accom-
paniment. By skillful management an ascending scale can also be
played with the pedal. The effect is somewhat better if the first and
third tones of the scale are at the distance of a minor third and the scale
be played crescendo, from pp, to forte : —
TranquiUo.
-0-
• -
0-
i~
-0 — r- •■-
• * 0-
p
ff
-0-0
tr:
1-^-
-&
-]-;-
Soft descending scales with the pedal produce the most charming
effect when preceded by an arpeggio played forte, carried up t<> thy
highest tone.
68
THE PEDALS OF THE PIANO-FORTE.
Sva
Allegro.
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• * F • ' ip*s25 [
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Even the chromatic scale played in this way sounds remarkably
tslear and pure: —
Sva
Allegro.
I
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IBM
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THE PEDALS OF THE PIANO-FORTE.
69
In such cases the tones betray no trace of mingling with each other.
This is due to a combination of circumstances, all favorable to tbe use of
the pedal : first, the unrelated tones of the scale are in the minority, since
every tone of the chord occurs twice in the same place, once forte in
going up the arpeggio, and again piano in coining down, while the un-
related tones of the scale occur but once, and then piano; secondly, the
scale descends, which, as we have just seen, is favorable to the use of the
pedal. Thus it happens that the dissonant tones are, as it were, swallowed
up by those consonant to the harmony.
Many passages might be cited where the pedal may be used in this
way ; e. g., the beginning of the Concertstuck by Weber : —
Larghetto.
f ( s/arcafo.')
R. H
-S>-
TO
THE PEDALS OF THE PIANO- FORTE.
It is by no means essential that an extended arpeggio should precede
the scale. It is only necessary to accent somewhat sharply two or three
harmonic tones in the passage before the scale, as in the first measure
of the following example — indeed, scales and arpeggios lying rather high
can be played with an uninterrupted use of the pedal if, in the passage
immediately preceding them, the fundamental tone of the chord be brought
out rather more than the others. For instance, the second, third, fourth,
and fifth measures of the following example can be played with an
unbroken use of the pedal if the D flat, occurring in the right hand, be
always slightly accented: —
Chopin : Berceuse.
Andante.
8va ,
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Scales in octaves may also be executed in this way,
THE PEDALS OF THE PIANO-FORTE.
71
In the following passage from Beethoven's Sonata in C major, Op. 53,
the veiled effect thereby produced seems to be particularly appropriate : —
Allegro con brio.
fell
:e=a;
Ped.
±:
-»-
7:
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*\ —
f
g:
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-0-
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One of the most charming effects on the piano is that of the echo.
If one calls into the piano when the dampers are raised from the strings
an echo is heard returning the call with the characteristic timbre of the
voice. The instrument is naturally even more responsive in echoing its
own tones.
Every tone figure can be heard as an echo when the damper pedal is
sustained. This effect is particularly applicable to tones which lie rather
high, and can be used in Liszt's compositions especially in almost
numberless instances. The trill furnishes one of the finest effects of the
echo. If the following be played : —
Vivo.
# £*£ g ±
m
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&
1
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JJ
II
the trill is heard as an echo in the second, third, and fourth measures— at
first very faintly, but gaining in strength later on. This method is therefore
ineffective; if the finger-trill is to blend with the echo-trill the former
must at first be played ff and diminished to ]>p, when it must be played
as softly as possible and finally cease entirely, only to begin again in
somewhat slower tempo, accelerando and crescendo; e. g.: —
72
ff.A A
THE PEDALS OF THE PIANO-FORTE.
decres.
H h-
poco rit.
accel.
fc.
'&:
—E-*
.1.
&>-
.1.
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J
If this execution be carried out precisely as given, neither the player
nor the hearer will be able to tell whether the hammers really strike the
strings or whether the pianissimo trill is merely an echo. The player is, of
course, supposed to possess the ability to play the trill ff as well as pp.
Not only the trill but every rapid tone figure, especially when it lies
high, can be played in this way; e.g., the thirty-second notes just before
the entrance of the theme in Liszt's Rigoletto Fantasie, many places in
his Hungarian Fantasie, etc.
Suc'h passages produce a remarkable effect in concerts, not only
because they are beautiful in themselves, but because they seem mys-
terious to the hearer, who is not able to discover how they are produced.
Another fine effect is gained by playing an arpeggio ff with raised
dampers; then, after a pause, without lifting the pedal, playing the same
arpeggio, somewhat more slowly and pp. The pp can be still further
reduced by using the soft pedal — una corda.
Liszt, the poet of sound, originated this effect and applied it in his
transcription of the "Spinning Song" from the Flying Dutchman; e.g.:
Sva
(The second time slower and pp; the same in D minor.)
As a consequence of the foregoing rules, it may be stated, not without
hesitation and with much reserve, that the pedal may be used momen-
tarily with every tone figure if the tones following its use be played with
THE PEDALS OF THE PIANO-FORTE. 73
sufficient strength. The stronger these are given, the better is its effect.
This is particularly the case in major scales where great brilliancy is
required; c. g., tbe C major scale in octaves in Weber's Invitation to the
Dance; also, in stormy passages like the following from Mendelssohn's
Concerto in G minor : —
Molto allegro con fuoco.
R. H. A _
-0-M-0
ga Jmi l aflb l tffAggB^ ^si
L. h. an octave lower.
^ | i, I I J il
This intermingling of tones can be particularly employed in com-
positions of a wild and gloomy character, but it should never be allowed
to last too long, else the effect becomes harsh and discordant in the
extreme.
Where the figure demands a rolling or swelling effect, frequent short
strokes of the pedal, resulting in a trilling movement of tbe foot, are
more desirable than too long a pressure at one time.
In the finale to the Sonata in B flat minor by Chopin, and in the
Pastoral Overture, Op. 126, by Heller, this method of using the pedal can
be employed with fine effect ; e. g. : —
Heller : Pastoral Overture, Op. 126.
Molto allegro.
A-- ; -■*. h t
& — r 1 *— 0-g— — | -i ^ ft — r
fo=p=ig ^= Tm ^ ^fTT^ f Tdnr- r~t
It will be observed that these two measures entirely lose their char-
acter if the pedal be not used. In this and in similar eases the crescendo
thus acquired is a most valuable adjunct in producing a climax. Players
74
THE PEDALS OF THE PIANO-FORTE.
who, like Rubinstein, possess a technic enabling them to steadily increase
the strength of tone can sustain the pedal many measures, particularly
in the middle portion of the instrument.
In giving as an example of this use of the pedal, the following
passage from Beethoven's Sonata in D minor, Op. 31, it must be clearly
understood that it is by no means to be considered as a model — it is taken
as an extreme illustration to show that what sometimes appears impos-
sible is not always so in reality : —
Allegro.
^R. h.
it# Q
nan staccahssimo
\ — i-
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The pedaling given in this example is favored by the constant
recurrence of the a, which allows the player to observe the rule previously
given, which is to increase the strength of each successive tone.
It would, indeed, be dangerous if such a use of the pedal were to be
prescribed in all similar cases and for all players. Critics who admire
such tours deforce by the virtuoso are often the first to condemn the
means by which the effect is produced. It must be clearly understood
that it is only allowable in passages of the highest excitement, and then
THE PEDALS OF THE PIANO-FORTE. 75
only to those whose endurance and strength of touch are so far developed
as to admit of a constant crescendo. The instant that this steady increase
of tone is neglected, the sustained use of the pedal becomes unbearable,
so that none but players possessing the highest degree of technic should
ever attempt such an effect.
In this connection the question of locality comes into consideration.
In large halls, virtuosos carry the use of the pedal to a much greater
extreme than in small rooms. When the principal tones are brought out
with sufficient strength, the unrelated tones soon disappear, and only
those essential to the harmony are clearly heard at a distance.
It often seems in large spaces as though a war ensued between the
sound waves, in which the strongest tone appears as victor; around it
gather its related tones, the others being lost on the way, and thus it
occurs that only the strong tone and its relations penetrate to any great
distance. Mozart's father, in his violin school, recommends the artist to
consider the size of the room in which he plays, and particularly in his
performance of the trill. He says : " In playing a solo, one must consider
the place where it is played. In a small room, a rapid trill will have the
best effect; in a large hall, on the contrary, where there is an echo, or if
the hearers are somewhat remote, a slower trill will be better."
Since the tones are only brought into relationship with each other by
correct tuning, it is evident that the instrument should be in as perfect
tune as possible, in order to secure all the advantage from this relationship.
In this connection it must be noted that there are two systems of
tuning recognized by science. The piano is tuned after what is known as
equal temperament, so called in contradistinction to natural temperament,
the difference between them being that in the latter the relations of the
tones to each other are true in only one key, but in that key they are
absolutely true, while in the former the intervals are equally true in all
keys, but in no key are they as true as in the one key of the natural scale.
At present the piano is tuned only in equal temperament, which was
first introduced in the time of Bach, who, it is well known, wrote his
forty-eight preludes and fugues, two of each in every key, for the "well-
tempered clavichord," thereby showing his intention that they should be
played upon an instrument admitting an equal use of all the keys. It is
possible that this lack of tempered instruments impelled both Bach and
Handel to write the numerous consecutive numbers of their suites in the
sam<* key.
76 THE PEDALS OF THE PIANO-FORTE.
The system of equal temperament is certainly less true than that of
natural temperament, but that it is so faulty as some scientists would
have us believe is by no means proved. As a matter of fact, the differ-
ence is not so great as to prevent the relationship of strings tuned after
the tempered scale, as is shown in the sympathetic sounding of the over-
tones when one of two related strings is set into vibration. In an
orchestra, where possibly the violins are heard in C, while at the same
time the B flat clarinets play in D and the F horns in G, the natural
temperament would be of no value, especially as no Mind instrument is
in itself entirely true, and even the most reliable vary in pitch through
changes of temperature.
The most frequent fault found with the system of equal temperament
is that it renders music characterless, since through its use all enharmonic
intervals sound alike. This reproach is, however, unfounded. Even on
the piano, where the tones remain wholly unchanged, enharmonic inter-
vals make an entirely different effect, because they appear in different
surroundings ; e. g. : —
Andante. ..
The diminished third (2) sounds worse than the major second (7),
and the augmented sixth ( I ) worse than the minor seventh (9). The
impression produced by any interval is dependent on the interval which
precedes it. The purest consonance can offend the ear if it appear
in the wrong place, and this is easily explained: Every interval inter-
sects the air by invisible lines.* When a new interval is heard the air
is again divided into lines which correspond to the new interval. If
the lines of the second interval show a likeness to those of the first in-
terval, they harmonize and no disturbance results; if there be but little
correspondence or none at all, a conflict ensues which strikes the ear un-
pleasantly. If the interval last sufficient time, this momentary struggle
comes to an end, the air adjusts itself to the new conditions, and only then
*This is illustrated and rendered visible by the well known experiment of
Chladni, in which sand strewn upon glass plates is made to assume distinct figures,
when the glass is thrown into vibration by means of a violin bow
THE PEDALS OF THE PIANO-FORTE. ?•
does every interval sound like its enharmonic interval, so that it can r*
solve in either way ; e. g. : —
Adagio.
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This is the reason that composers instinctively prolong the interval
by which they wish to make an enharmonic change; they hold back its
resolution until the ear has forgotten the impression made by its entrance.
In practice a distinction is felt between enharmonic tones, though
not in the manner as established by acoustics A musician feels the
difference between dissonances which resolve upward and those which
resolve downward and instinctively anticipates the resolution up or down,
as the case may he. In this way distinctions occur which even contra-
dict the laws of acoustics : E sharp, for instance, should be lower than
F, but in the following example, by the instinctive rising toward its
resolution, it is in reality played higher • —
: * — r-^3 — r=l= i=
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Since Helmholtz acknowledges that Joachim plays the violin in
equal temperament and Bach declares that he considers the tone of an
instrument tuned after the tempered scale to be the finest, it would appear
that the ear can adapt itself to equal temperament to such an extent that
what is absolutely correct seems less correct than that which is faulty.
The subtleties of the natural scale seem to V»e of little avail for prac-
tical use, and at present the tempered scale is almost universally regarded
as the compromise needed to meet all the exigencies of the different keys
It often happens in piano transcriptions of organ compositions, as
well as in original compositions for the piano, that a low tone must be sus-
tained as a pedal point, while changing harmonies are played by the
iame hand above; e.g.: —
78
THE PEDALS OF THE PIANO-FORTE.
R. H.
Ii. H.'
Allegro. 8va.
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If the pedal be used in the ordinary manner, as at A, the passage
becomes confused; if it be released, as at B, the tone is not sustained to its
full value. The only way to secure a clear performance of the varying
harmonies and at the same time to sustain the long tone, is as follows :
At the beginning of the long tone, place the foot firmly upon the pedal ;
if it be desired to use the pedal a second time without breaking the
sustained tone, raise the foot slightly, and then bring it down again
as quickly as possible. This extremely brief touch of the dampers
exercises a different effect on the different strings: The high strings
possess less vibratory power than the low strings, so that this action of
the pedal is enough to stop their vibration; it is too brief, however, to
produce the same effect on the latter, which, while the higher strings are
damped, still continue to sound. This can be practically tested by play-
ing the first and third lines of the preceding example, each with the
pedaling as shown at C, where this use of the pedal is indicated as
follows : —
THE PEDALS OF THE PIANO-FORTE.
79
The oftener the foot is lowered and raised, the more freely will the
strings sound — it almost seems as though the stroke of the dampers acted
favorably in prolonging their vibrations. If, for instance, in the last three
measures of the Nocturne in A major by Field the pedal be used with
every eighth note, the low A of the first measure sounds fuller in the
end than if it had been used with every quarter note.
It is not necessary that the tones over the bass should be very high ;
even tones lying rather low can be silenced while the bass is sustained.
The finest example of this is the following passage from Mozart's Fan-
tasie in C minor : —
I
P
etc.
E-r
1
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jj
The advantage of this use of the pedal is greater than might at first
be imagined. It can be employed in nearly all cases in which the pedal
point occurs in the bass, where the great majority of pedal points are
found. As examples can be given : Brahms, Variations No. 9, Op. 1M ;
Field, close of the Nocturne in A major, No. 4; Mendelssohn, Rondo
Capriecioso, at the beginning of the Presto; Beethoven, Sonata in C
major, Op. 53, particularly in the beginning of the last Tempo.
Rubinstein employs it with long tones of medium pitch in order to
renew (aufzufrischen ) the tone and also to cause it to vibrate. The first
effect he gains by using the pedal as indicated at (a) in the following
example. It resembles the effect produced by a singer changing his
register or the violinist his string during a sustained tone.
In the vibrato the foot must press the pedal lightly only part way
down. The strings are alternately checked and freed, and this results in
the continual appearance and disappearance of sympathetic tones, and
this is also helped by the friction of the woollen threads of the damper
80
THE PEDALS OF THE PIANO-FORTE.
on the strings, which tends to keep up their vibration. In passages of ex«
eitement which suddenly concentrate on one tone it is possible by this
manner of pedaling to give it an unexpected warmth of feeling and sen-
timent, resembling the vibrato in the voice : —
(«)
Lento.
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In this use of the pedal, low tones are more easily sustained than
high tones, but it can be applied even to the latter. The higher, however,
the sustained tone lies the more strongly must it be struck, and the more
lightly must the others be played. It can even be reversed, so that the
long tone lies above the accompanying tones; indeed a high tone can
be sustained while a descending scale is being played provided the scale
be played decrescendo and the foot trill the pedal. In such a case, care
must be taken to sit a little farther than usual from the instrument, since
the trill is more easily executed when the foot is somewhat extended.
A singularly romantic but appropriate effect can be produced by
such a performance of the conclusion of Beethoven's Sonata in C sharp
minor : —
Presto.
R. H. R.H. s ^^^
-O.-
L. H.
-!.
o
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THE PEDALS O* THE PIAXO-FORTE.
81
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Adagio.
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In the second and third measures the trill is played with both hands
in order to attain the greatest possible strength; in the fourth measure
the right hand plays alone decrescendo and ritardando, while the foot
trills the pedal. With a faultless technical execution, the trill sounds
from the beginning of the fourth measure until the end of the pedal trill,
gradually diminishing from its original fortissimo, until at last the bass
tones alone are heard, empty and desolate, seeming, like Schubert's Wan-
derer, to call to us from the depth: "There where thou art not, there
is joy."
Since in this use of the pedal the vibration of the strings is not
entirely checked, it should never be used where the tones are to be com-
pletely silenced. Its improper employment, as, for example, in the case
of changing harmonies in the bass, is, together with the common neglect
to take the pedal after the tone or chord, the most frequent cause of faulty
pedaling. The greatest evil of such a fault is that the pupil, and, it may
be added, too often the teacher, does not discover the origin of the
confusion. Both often give great attention to using the pedal at the
proper place, but not enough to the manner in which it is used. If the
stroke of the pedal is to be short, the pedal notes should be provided
with staccato signs; e.g.: — ^ P P . Possibly this manner of per-
formance is intended by the direction, Pedale grande, at the beginning
of the Finale in Schumann's Carnival Scenes (March against the Philis-
tines ).
Here it seems appropriate to mention several changes in the construc-
tion of the damper pedal which have in view its increased utility in
artistic playing.
Great hopes were at one time entertained of the Kunstpedal fart-pedal)
invented by Zacharia, but these were disappointed through its compli-
cated action and want of simplicity. In this pedal the damper-frame is
divided into eight portions; each one of which is acted upon by different
82 THE PEDALS OF THE PIANO-FORTE.
movements of four pedals, which can be either used singly or coupled in
such a way that all the dampers can be removed from the strings by one
stroke, as in the case with the ordinary pedal. Its advantage consists in
enabling the player to sustain single tones or even chords in one part' of
the piano, while at the same time staccato tones can be played else-
where. It is most effective when used to sustain high tones against lower
staccato tones; the reverse is not so successful, because such tones as
happen to be overtones of the sustained low tone are also prolonged.
In its use care must be taken to consider the limits of each of the
eight divisions into which the dampers are divided, and this exercised an
unfavorable influence against it in the eyes of pianists and composers who
were accustomed to an uncontrolled sway over the entire keyboard. It
may even be claimed that the piano has attained its present high position
mainly because the composer is untrammeled as regards compass.
Through this freedom it has opened a way for all other compositions,
those passages, for instance, which range throughout the entire orchestra ;
e.g., the motive of the overture to Genoveva, by Schumann, the accom-
paniment to the great aria from Oberon, by Weber, "Ocean, thou mighty
monster," have their origin in this manner of writing for the piano.
Possibly a greater familiarity with the Kunstpedal might have proved
its limitations less irksome than they at first sight appeared, but all
teachers united in agreeing that its management was too complicated.
Since in the use of the ordinary pedal mechanical difficulties are met at
every step, still greater must be those attending the use of the Kunstpedal,
with its four divisions and various movements — hence its disappearance
as a factor in the development of piano playing.
The labor of the inventor was, however, not entirely in vain. His is
the merit of having drawn the attention of piano manufacturers to the
important question of the pedal, and it is to this impulse that we owe the
sostenuto pedal, first invented by Steinway of New York, and after him,
by Ehrbar of Vienna, of which the latter seems to be the more successful.
The effect of this pedal is to prolong tones which are played during its
use after it is released, thus giving the player the power of playing
staccato, while at the same time other tones previously played with the
pedal are sustained.
It was designed to give an explicit and detailed account of these
various devices for the prolongation of especial tones, but space failing,
they can only receive mention in this connection. Should it he desired,
a more thorough review of them will be published at some future time
THE PEDALS OF THE PIANO-FORTE. 83
The last effect of the pedal to be considered is its effect upon the
action of the keys.
When a stronger tone results from the use of the pedal, it is not the
case merely because numerous related strings vibrate in sympathy with
the string originally struck, but also because the string in reality receives
a stronger blow. The effect of the pedal is to lift the dampers from the
strings, and this produces a lighter action of the keys, since the resistance
of the dampers is removed. With the pedal, therefore, the strength of
touch is increased by just so much strength of finger as is necessary to
lift the dampers, so that it is no imagination that the keys move more
easily and the strings vibrate more fully when the pedal is used.
Many manufacturers, in order to secure an easy action, make the
dampers too light, and the consequence is a continual confusion of tones,
resulting from strings insufficiently silenced.
The mechanism of the dampers is, unfortunately, not equally good
in all makes of pianos. The best is that in which they are attached to a
heavy frame which falls by its own weight upon the strings. Less effi-
cient is it in those pianos in which this frame is wanting, and many pedal
effects will be less successful on such instruments than on those possess-
ing it. The poorest arrangement of all, however, is that in the upright
piano of the old style. In this the dampers are pressed sideways against
the strings by means of a spring, which by coutinued use, loses its
elasticity, thus failing to press the dampers closely to the strings. When
this is the case, since the dampers move horizontally to the strings instead
of vertically, they do not fall upon them by their own weight, so that a
complete cessation of the vibration is not effected. This is the cause of
the extremely imperfect action of the pedal in almost all old upright
pianos.
When, however, an instrument has a faulty action of the pedal, it
becomes unsuitable for the player, and is particularly injurious to the
student. Not only does the ear become vitiated by continual dissonances,
but the technic suffers, since there is no guide for the correct performance
of the legato, staccato and legato having the same effect when the strings
are insufficiently damped. The scant favor which upright pianos receive
from teachers as instruments for practice can therefore be ascribed not
alone to its weak bass, but also to its imperfect damper action.
It must be said, however, that modern manufacturers of upright
pianos have largely remedied this defect, in that the damper frames are
now so constructed that each damper has its individual spring.
84
THE PEDALS OF THE PIANO-FORTE.
The action responds more readily if the pedal be used before the key
is struck. This can be done with good effect when a pianissimo chord is
played after a pause. The final chords of the Adagio from Beethoven's
Sonata in F minor, Op. 2, can he given with much more delicacy by
using the pedaling (6), instead of («) : —
Adagio, pp
/•>
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Thus far, in speaking of the pedal, only the damper, or so-called loud
pedal has been understood. The second pedal to the left of the damper
pedal, commonly known as the soft pedal ( Verschiebung), remains yet to
be considered. In grand pianos its effect is to cause a slight movement
of the keyboard to the right, in consequence of which the hammer strikes
one string, or sometimes two, instead of three, thus, with the same strength
of touch, producing a softer tone. It is to be used when the player wishes
a softer tone than his fingers alone are able to produce. The character of
the tone is also somewhat altered, since the string which is not struck,
being of the same pitch as the others, vibrates slightly in sympathy, lending
the tone something of an harmonic character. Stavenhagen, the virtuoso,
avails himself frequently of this means of expression, and by it produces
charming effects in compositions of an elegiac character, e.g., the Prelude
in D flat major by Chopin. Employed too frequently the effect is cloying.
The use of this pedal is generally indicated by una corda (one string) ;
sometimes by due corda (two strings) ; its discontinuance by tre corde
(three strings). During its use care must be taken not to play forte,
since the single string cannot bear as strong a blow as the three.
Still another mechanism of the soft pedal draws the hammers closer
to the strings so that the latter cannot be struck with so much force, thus
producing a softer tone. By this construction of the pedal the harmonic
timbre of the tone is lacking, but its mechanism is more >re^ise than
that of the older appliance by which it not unfrequently happens that the
THE PEDALS OF THE PIANO-FORTE. 85
Keyboard is carried too for, so that two tones instead of one are heard,
since the hammer strike the strings of the next tone as well as its own.
A still softer effect is produced by a third pedal, the old pianissimo or
flute pedal, which has recently been revived by the piano manufacturer.
Ludwig Bosendorfer. This is placed in the middle between the two
other pedals.
Its effect is to shove a strip of flannel attached to a frame between
the strings and the hammers, so that the latter strike the strings through
the flannel, which greatly diminishes the strength of the tone, the string
being damped at the moment of percussion. This pedal is found in
very old pianos; Adam, in his School for the Piano, designates it Pedole
celeste. In these old, lightly strung instruments, however, this kind of
damping acted so powerfully that the quality of tone was immediately
changed, which is probably the reason that artists of that time seldom
used it and that it was finally omitted, especially as the altered construc-
tion of the instrument arising from the introduction of iron frames
rendered it difficult of application.
To Herr Bosendorfer belongs the merit of having practically applied
the pianissimo pedal to the modern piano in spite of mechanical ob-
stacles, and in such a way as to entirely obviate the former change in the
quality of the tone. It has been repeatedly used in concerts with such
success that no uninitiated hearer suspected the employment of any es-
pecial contrivance; the character of the tone was so little altered that one
and all ascribed the extreme pianissimo effect to the skill of the player.
In case its use is desired for any length of time, it lias been so
arranged that by a side movement of the foot it can be brought into
position and suspended, thus requiring no outside pressure of the foot
to prolong the effect. This \z of particular advantage for students, since
by its aid all monotonous but necessary exercises, such as sca'es, choid
passages, five-finger exercises, etc., can lie practiced fortissimo, with but
comparatively little annoyance to the student's sense of hearing or that
of his neighbors'.
This pedal can be used frequently in compositions which require the
utmost delicacy, as, for example, the Berceuse and Barcarolle by Chopin,
and the first movement of the Sonata in C sharp minor by Beethoven.
Besides the damper pedal, the old pianos frequently possessed others ; e.
g., one which imitated the bassoon; another, the great drum,— which was
effected by a blow on the sounding board; a bell pedal; one to imitate
cymbals and other such infantile contrivances, now happily obsolete.
86 THE PEDALS OF THE PIANO-FORTE.
CHAPTER IV.
The question as to when the pedal should he used would be a verj
easy one to answer if we were to say, with the old Schools for the Piano :
"The pedal is always to he used when indicated, and never where the
proper signs are wanting."
This rule, for several reasons, is by no means satisfactory : first,
because some composers, taking it for granted that those who play their
compositions possess sufficient intelligence to manage the pedal properly,
fail to give directions for its use; secondly, because even the best com-
posers do not set down the signs with sufficient care; and thirdly, because
the signs themselves are not adapted to indicate with exactness a precise
use of the pedal.
Where no signs at all are given the student is indeed without a
guide, but their total lack is not so dangerous as erroneous directions,
since where they are wanting the player is obliged to reflect and supply
their place by his own ingenuity, but their presence implies the necessity
of observing them. It requires a great deal of independence to act will-
fully against the composer's- express directions. Schumann's practice of
placing "Pedal" at the beginning of many of his compositions as a
direction that it he used at the player's discretion is much safer than that
of many composers, who fill their compositions with numerous but faulty
signs for its use. It is not difficult to discover the cause of this imperfect
notation of the pedal. The writing down of the signs for its use, as well
as those for style and expression, is the last task of the composer. When,
however, this stage of his labor is reached, the composition has generally
become burdensome to him, so that frequently in haste to finish his
task, the most delicate part of his work, the signs for the pedal and fol
expression, are written down with lamentable inaccuracy. Too often the
care bestowed upon beauty of melody and correctness of harmony is
rendered of no avail by the false pedaling of the author himself. Another
common fault is to write down these signs at the desk, possibly without
having tested them at the instrument. If the pedal is to be noted exactly
as the author wishes, he should first play his composition in the proper
tempo, marking in pencil from measure to measure his own use of the
pedal. Then it should he played again, this time without interruption,
to verify the correctness of the si-±.
•h
92
THE PEDALS OF THE PIANO-FORTE.
Adagio. s\
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In this way the pedal effect is preserved and yet a mingling of
unrelated tones avoided.
It may be more positively asserted that the "sempre pedale" at the
conclusion of the sixth Song without Words is not intended to be ob-
served as there indicated; Mendelssohn certainly never wished it to be
played as he wrote it.
The method of noting the pedal by means of notes and rests upon a
separate line, used in this work, was devised by the author and was
recommended to general acceptance as long ago as 1S63 in Zellner's
Blatter fur Musik, and later (1864) in Bagge's Allgemeine Musikzeitung.
Experience has convinced him that it is the only reliable way to
express clearly the intention of the composer. It has been objected that
it renders the reading of the notes more difficult. This objection would
be reasonable if the composer had only to consider the convenience of
those who cast aside a piece after having once played it through. Those,
however, who wish to really study a work always welcome as an aid
every exact indication of the composer's meaning. Organists read three
staves at once — two for the hands and one for the feet; expert score
readers read even twenty staves at one time so that a single additional
line should prove no undue difficulty to the pianist. Neither is it
necessary at first to study the pedaling ; only after the fingering has
been mastered is a precise use of the pedal desirable, and this precision
can only be attained by means of the new notation.
Refinements such as are noted by N. B. in the two following ex-
amples, can only be indicated in that way: —
THE PEDALS OF THE PIANO-FORTE.
93
Schmitt, Op. 15.
Mendelssohn, Lied Nr. 22,
Adagio.
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All the different actions of the foot can be clearly represented, as
already shown, by musical signs; e.g., ,'^TT V . » fr\~~~~ , i i i I, etc.
Its use, especially in works of an advanced elementary and middle grade
would be of great service to the student, since it does not require him to
understand harmony, nor yet to possess the esthetic feeling which would
instinctively impel him to abstain from using the pedal where, otherwise,
the laws of harmony would allow it. He need only know the correct
value of the notes — the rest is the care of the composer.
When, however, the highest degree of finish has been attained, an
arbitrary use of the pedal can lie as little prescribed as an arbitrary
fingering; arrived at that stage, every artist orders his fingering as well
as his pedaling in such a way as to correspond to his own individuality.
Those, for instance, who possess a more than ordinary strength of
touch can go to greater extremes than others in sustaining the pedal.
Just as habits of correct fingering are formed by a long and constant
94 THE PEDALS OF THE PIANO-FORTE,
study of prescribed models, so, by a similar study in playing from
examples provided witb a proper notation for the pedal, can the habit
of using it with freedom and correctness be formed.
Even in the most advanced stage it is sometimes desirable to pre-
scribe the pedal as well as the fingering with exactness. Liszt is by no
means a pedant, yet he does not hesitate in special cases to give an exact
fingering, thereby earning the gratitude of all who perform his works,
since they find, almost without exception, that his own fingering has a
characteristic effect in view.
In the highest grade of piano playing, therefore, the old signs for the
pedal might be retained, the new notation being reserved for passages
where precision is required ; still more serviceable, however, would be the
following characters : — | or | for Ped., the horizontal line being ex-
tended to the right as far as the pedal is desired, | or " instead of :fc
for the release of the pedal, the line being similarly extended to the left,
and [I or |_| for short strokes of the pedal.
However simply and practically the use of the pedal may be taught
by means of the new notation, it avails but little at present, since the old
method is still universally employed.
The inconvenience and inexactness of the old method are so pro-
nounced that the great majority of teachers do not attempt to teach the
use of the pedal. Many, in this connection, adopt the principle of poeta
nascitur, non Jit, like the deceased piano instructor, Horzalka, who said :
"My plan with the pedal is the same as that for the trill : he who makes
a good trill or uses the pedal well must be born to it, and for that reason
I attempt to teach neither."
One thing is sure: that by the present signs for the pedal, its proper
use is no simple mechanical function; the player must possess in an
equal degree with the composer a full understanding of the effect to be
produced — indeed, in a certain sense, he must often possess more intelli-
gence than the composer, since he is frequently obliged to make good at
the piano what the former has failed to do, or done wrongly, at his desk.
For this reason, the minuteness of the foregoing study will be seen to
be no less advantageous to the player than to the composer.
In addition, the player must be warned not to use the pedal merely
on technical grounds, i. e., to make the action lighter or to gain a support
for the foot. Since the heel alone rests upon the floor and the fore part
of the foot is held over the pedal in readiness to press it down, the foot,
THE PEDALS OF THE PIANO-FORTE. 95
particularly if it be small, is apt in time to become fatigued, and instinct-
ively seeks a support.
Tliis is especially the case in performing compositions which abound
in changes from one end of the piano to the other. Not only the foot,
but the entire body seeks support, and this is but too often found in the
pedal. The danger is greatest when the player is nervous and the action
of the instrument heavy. A common result of nervousness is to diminish
strength, and if in addition the action of the instrument is heavy, the
trembling player still more ardently desires a support. When his wearied
foot involuntarily sinks upon the pedal, he finds with relief that besides
gaining a rest for the foot, the keys move more easily ; it is but small
wonder that the pedal appears to succor him in time of need, or that he
unwillingly abandons such a welcome assistance, especially as it covers
all gaps resulting from notes passed over by sustaining the sound of those
which are played. On this last account the pedal is always a welcome
resource for those whose fingers are not sufficiently trained.
Happily, there are not many teachers like the one who gave his pupils
the judicious counsel to use the pedal at the beginning of every difficult
passage, and not to release it until the difficulty had been passed.
Unfortunately, even well-trained pupils become confused when they fall
under the power of nervousness, that evil spirit of the concert room.
When this fault arises from such a cause it is indeed a difficult one to
remedy.
As embodying the result of the preceding study of the pedal and its
effects the following concise rules are added, affording a resume 1 of the
foregoing chapters : —
The pedal is indispensable in all cases where the fingers must leave
the keys before the prescribed value of the note has been attained; e.g. : —
1. With skips that must sound legato.
2. In a succession of chords which are to be joined.
3. With extensions beyond the reach of the hand.
4. With the notes of a melody which cannot be sustained by the fin-
gers, owing to the hand moving to a distance in playing an accompaniment.
5. In pedal points which cannot be sustained by the fingers.
6. In playing long tones which are interrupted by accompanying
tones of the same pitch.
7. When the liberty is taken of shortening the touch : — ( a ) to gain
fresh strength ; ( b ) to prepare the touch ; ( c ) or to rest the muscles.
96 THE PEDALS OF THE PIANO-FORTE.
The pedal is desirable as a means of beautifying the tone. For thia
reason it must be used as often as the value of the notes allows; e.g. : —
1. (a) With every note long enough to allow the dampers to rise and
fall during its continuance.
( 6) With the longer notes when the long and short notes of a melody
are mingled.
(c) With very short notes when they are separated by sufficiently
long pauses.
2. As a means of strengthening the touch.
3. As an aid in procuring a pp touch.
4. In producing echo effects.
In the first of the following cases ot broken chords the pedal is
entirely allowable ; in the latter ones it is somewhat less so, but it can
still be admitted :—
1. With arpeggios in the middle and upper part of the keyboard
when the tones of the arpeggio harmonize.
2. With arpeggios which begin low in a "wide position" corres-
ponding to the harmonic order of the overtones.
3. With arpeggios which begin low but which begin with a minoH
third, especially if the movement be rapid; the best effect of such arpeg-
gios is that of the diminished seventh.
4. With arpeggios which begin with a major third or a perfect
fourth, played rapidly and accompanied by strong harmonic tones.
5. With all other kinds of broken chord passages if the composition
admits of a stormy character.
In the first of the following cases of scale passages the pedal is en-
tirely allowable; in the latter ones it is less so, but under certain condi-
tions it is still admissible : —
1. With soft descending scales which are preceded by a loud ascend-
ing arpeggio.
2. With scales beginning high and played crescendo to the middle
tones while a suitable harmonic accompaniment is played.
Its use is more daring when the scale lies low, but even then it can
be employed for a short time if it be played pp while a harmonic tone be
struck above — or if it be begun pp, then rising molto crescendo into the
middle tones, if at the same time it be sufficiently supported by harmonic
tones above. Still more daring is its use with double scales; in these the
THE PEDALS OF THE PIANO-FORTE. 97
pedal is only admissible when the scales are played presto in connection
with sustained^' tones. The most daring use of the pedal, and which is only
allowable for a short time in presto by a virtuoso, is to retain it during
Unaccompanied scales. In such a case the pedal must be released in an
ascending scale as soon as the middle tones are reached ; in descending
it can be retained throughout. Minor scales played in this way sound
rather better than major scales; the chromatic scale sounds worst of all.
Finally, players possessing the highest degree of execution can xise
the pedal momentarily in rapid playing with any tone-figure, in order
to attain more brilliancy in major keys and more passion in minor keys.
Such players can even retain the pedal in playing rapid tone-figures
as long as their strength of finger is sufficient to make a steady crescendo,
so that each tone overpowers the one preceding, but this is only allowable
in moments of the greatest excitement, and even then must not be carried
too far.
In large rooms more can generally be ventured upon than in small
rooms, taking it for granted that the principal tones are struck with
sufficient force.
The construction of the instrument has also an influence upon the
use of the pedal.
The pedal is not allowable in the following cases: —
1. With tones which are to have a staccato effect.
2. Likewise after slurred notes.
3. To prolong the duration of notes separated by rests which are
intended to receive their full value.
4. With the slow notes of a melody when they belong to the same
chord.
5. With slow scales and ornaments — also, in rapid scales if the
player's fingers be lacking in strength.
6. In quick tempo in decrescendo passages.
7. When the finest possible piano is required.
8. In slow practice, especially in such passages where the pedal is
only allowable in quick tempo.
The pedal is of almost no effect in passages confined to the highest
tones of the piano.
The pedal must be used anew with every change of harmony, save
that in the highest tones alone it can be retained during changing har-
monies if a music box effect be desired.
98 THE PEDALS OF THE PIANO-FORTE.
The pedal must be taken after the tone in the following cases : —
1. With every low tone which is joined by the fingers to one pre-
ceding in order to avoid dissonance.
2. In joining tones which the fingers are obliged to play staccato.
It is not allowable with an extended chord which is to be sustained
and cannot be held by the fingers.
The pedal must only be partially released in the following cases: —
1. With pedal points which the hand cannot sustain.
2. When it is desired to renew the tone.
3. When the tone is to be vibrated.
The foot must trill the pedal when a pedal point occurs in connection
with rapid scales or ornaments; or when it is desired to use the pedal
with tones not harmonically related.
The partial release and the trilling of the pedal are allowable in no
case where the tones are to be completely silenced ; nor, generally speak-
ing, with changes of harmony in the middle and bass tones.
The foregoing rules are particularly recommended to those preparing
to teach. Such will do well to memorize them, each one in connection
with its particular illustration, so that in teaching they may have both
the rule and its reason at hand, instead of an empirical direction to the
pupil to do so and so merely because the teacher wills it.
Many teachers are of the opinion that the use of the pedal should
not be allowed to young pupils, and since in any case its study is diffi-
cult, they generally postpone it indefinitely.
It seems, however, hardly reasonable to limit it to any definite age;
a child who is intelligent enough to learn to play well can also under-
stand how the pedal should be used. A certain tact should be observed
by the teacher ; no rule should be given but the one appropriate to the
passage in question, and as different cases arise different rules can be
applied until the child gradually masters the varying uses of the pedal.
Very young children have the disadvantage of not being able to
reach the pedal with ease; in the effort they make to place the foot upon
it the body is thrown out of position, so that a correct manner of playing
is impossible. To obviate this difficulty the author has devised a pedal
stool. This consists of an ordinary stool with two holes in the upper
board, the space between them corresponding to the distance between the
THE PEDALS OF THE PIANO-FORTE. 99
two pedals; through these holes two pegs are passed, which rest upon
the pedals. For greater convenience the pegs are capped, in order to
present a broader surface to the foot, and to prevent all unsteadiness they
pass through similar apertures in a second board below. In these boards
notches are made corresponding to the pedal wires so tbat they can be
brought close to the lyre. A practical experience has proved that by
means of this simple contrivance the use of the pedal is rendered prac-
ticable to even very young pupils.
Without accurate signs for its use the study of the pedal is at first
inevitably tedious to all pupils, both young and old. It may not, however,
be denied that it can be taught even under such a disadvantage, as
experience has shown, but it certainly demands a more than ordinary
talent to use all the refinements of which examples have been given.
This is by no means tantamount to agreeing with those who say: "He
who has talent uses the pedal well; he who has none uses it badly."
Talent alone does not suffice in gaining a complete knowledge of all
possible pedal effects. Even the most gifted cannot of himself exhaust
all the possibilities of his art; genius itself develops more rapidly when
it assumes the experience of others as its birthright, — or, in other words,
seeks instruction. The artistic use of the pedal can certainly be taught,
and tbat this work may largely contribute to this end is the earnest hope
of the author. The pupil should possess not only talent but zeal and
industry as well; talent is not the only factor which leads to the goal.
Therefore, instead of saying, " He who has talent uses the pedal
well," let us say, "He who uses the pedal well has talent."
Wtn H. h eyser <&» Co., Phila. , Pa.
STORIES OF STANDARD TEACHING PIECES
By EDWARD BAXTER PERRY PRICE, $1.50
The little touch of Romance, Anecdote and Educational
Information, which give zest to the lesson and happiness to
the pupil, is supplied by this captivating book.
Mr. Perry's famous book, "Descriptive Analyses of Piano-
forte Compositions," has helped and inspired thousands of
teachers and pupils. The new work will prove even more
useful because it deals with pieces from the third to the
seventh grades. The surest way in which to awaken the
interest of a dull pupil is to place in his possession a copy
of this work, which describes the pieces he plays — pieces like
the gems from Grieg, Godard, Nevin, Rubinstein, Schytre and
other composers of immensely popular music.
DESCRIPTIVE ANALYSES OF PIANO WORKS
By EDWARD BAXTER PERRY
PRICE, $1.50, CLOTH GILT
For the Musician For the Student
For the Teacher For the Concert Goer
Invaluable to Clubs and for Program Making
There are many books giving the structural and formal
analysis of great piano works, but there is none along the lines
that Mr. Perry has worked out. His work is poetic, dramatic,
and historical analysis or description of some of the greatest
and best known piano compositions. The emotional content
of the piece is analyzed — what the piece is meant to convey,
the circumstances surrounding the composer at the time of
inspiration, the legend or episode on which the composition is
founded, the scene depicted or the picture portrayed — in fact,
everything connected with the composer or composition that
will aid to a better understanding of the work in question or
its interpretation.
The book contains seven of the leading piano compositions
of Beethoven, four by Weber, eighteen by Chopin, eleven by
Liszt, and several each by Schubert, Rubinstein, Grieg, and
Saint-Saens.
60
Modern Progressive Logical
BEGINNER'S BOOK FOR
PIANO
By THEO. PRESSER PRICE, 75 CENTS
This is truly a Beginner's Book in every sense of the word.
So simple that the youngest child — children just out of kin-
dergarten — can readily understand it and make wonderful
progress. The following are a few.
Important New Features
which make it valuable to teacher and pupil alike :
Illustrations — In order to aid the young pupil numerous
illustrations are given, showing the proper position at the
Piano, the proper movement of the fingers, the lettered Key-
board, etc.
Large Notes — Very large notes are used in the first part
of the book ; this will help to impress it upon the minds of
young children.
Questions and Answers are given on all important sub-
jects relative to the lesson given; this will help the pupil to
memorize.
Writing Music — The writing of exerc'ses is introduced in
the very beginning, it being a recognized fact that this is a
great help to beginners.
There are many other features too numerous to mention.
Teachers who have very young pupils will readily recognize
the merits of this instructor, and are earnestly requested to
give it a trial.
1
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