'^"w
-g-a-s^-
THE
'pedalf
the
of
THEIR RELATION
Jiano-jfoFle
TO PIANO-FORTE PLAYING AND
THE TEACHING OF COMPOSITION
AND ACOUSTICS.
FOUR LECTURES DELIVERED AT THE CONSERVATORY
MUSIC, IN VIENNA.
Ry HANS SCHMITT Translated by FREDERICK
COPYRIGHT,
1893,
S.
LAW.
BY THEO. PRESSER,
Mr 2.2/7
S<3
INTRODUCTION. The importance of the pedal be overestimated.
It
is
not too
as
an
much
to artistic piano playing can effect of
to say
from the earliest compositions of Thalberg use, and yet no question of technic has been so
music ful
almost
Liszt,)
much
all
modern piano
depends upon
its skill-
While touch
neglected.
has been analyzed in the most minute manner, every movement of finger, wrist and arm noted with the greatest accuracy, the study of the pedal, as Herr Schmitt re-
marks, has hardly gone beyond the standpoint of instinctive feeling on the part of To demonstrate the importance of the pedal from an artistic point of the player. view, and to discover the causes which impel the finished player of
objects of the following
it
delivered collected It
various uses
work, which consists of four lectures originally
by Herr Schmitt in the Vienna Conservatory and published in book form.
of Music,
and subsequently
be confidently asserted that no one has made so thorough
may
study of this
Herr Schmitt, and the practical results of his investigations, together with position as an acknowledged authority on the question of pedal effects, are such
subject as his
as to require
He
no apology
for
an English translation of his work.)
conversation upon the subject with
relates that in
latter expressed himself as follows:
"I consider th
Anton Rubinstein, the
properly using the pedal as the most difficult problem of higher piano playing, and if we have not as yet heard been fully the instrument at its best, the fault possibly lies in the fact that it understood
how
As Schmitt of
exhaust the capabilities of the pedal."
as to the
The student uses of the pedal
is
recommended
may
instrument should be all
an authority is present position than any-
justly remarks, this utterance from the lips of such
importance of the subject and that can be adduced.
more weight
thing else
to
art of
to read this
work
its
at the piano
so that the different
be practically tested as they occur. Where practicable, the full grand piano in perfect tune, to ensure the production of
the effects herein given, this being
point upon which great stress
is
laid
by the
author.
Many piano, and since
of the examples are taken from if
many
the most familiar compositions for the
they should be studied in their connection with the original, out of their more daring examples in the third chapter,
possible,
proper connection, will sound wild and confused, lacking the working up to
which alone
justifies their use.
Teanslator.
climax
I'M FEB IS OF THE
PI^6-F0^E. CHAPTER
I.
has talent uses the pedal well, he who has none uses it This dictum seems to be about the gist of the scanty explanations badly. on the use of pedal found in the older piano methods. Thus far the
He who
question hardly seems to have gone beyond the standpoint of instinctive feeling on the part of the player, but in view of its importance it seems
significance and to investigate the original causes which impel the finished player to his various uses of the To reach as far as possible these two aims is the object of this pedal.
well worth the effort to demonstrate
its
work. practical knowledge of piano playing, Presupposing in the reader we will omit any explanation of the mechanism of the pedal, and begin that of sustaining the tone without the ith its most common effect
action of the fingers.
known
that on the piano
tone sounds just as long as the key struck is held down, and ceases to sound when the key is allowed to But if the pedal be used, the tone sounds as long as the pedal is rise. It is well
makes no the same time
held
down
foot,
or at
it
difference
whether the finger be
whether, for example,
raised before the
chord be played so
-*- *-—
Hand. or so:
Foot.
Fed.
Effect.
Only when the tone must be sustained
is
to be held
the key.
down
is it
longer time than the pedal absolutely necessary that the finger remain on
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
voices cease at the
same time.
only in exceptional cases that
all
the
long tone by the Since, then, every key struck staccato can produce aid of the pedal, the player thus gains rest for his fingers, which detract nothing from the length of the sound.
by players and composers are what radically distinguish modern music for the piano from that of the older The majority of sound effects Klangwirkungen attained by school. modern pianists and composers, depend upon this use of the pedal. These
rests
In order
and
to gain
their skillful use
precise notation for the pedal,
we
will
abandon the
usual and unreliable signs for its use, Ped. and :f:, (which indicate the rising and the falling of the dampers upon the strings), and henceforth use 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
means
of connecting tones which are too far In such cases the tones are struck apart to be connected by fingers alone. staccato, and, while they are sustained by the pedal, the hand makes the is
the only
skip to the remote keys, not releasing the pedal until they are struck,
Effect.
As executed by
By
the hand.
the
foot.
e.
g.:
i=!
%=f*= =^*=£
•I—
THE PEDALS OF THE PIANO-FORTE. In order to reach
distant
key the finger must necessarily observe
rest, e.g.\ Allegro.
As
As
On
¥W=&
written.
-*— kftr—
played.
the other hand, the pedal must also observe
second time,
used
Allegro.
1—
written
As played two tones
is
two
can be
e.g.:
As
If these
rest before
*,l
rests occur at the
occasioned, which
if
same
time,
never so
disconnection between the
slight,
is
enough
to destroy
continuity of sound, e.g.: Allegro.
Hand.
EEpEt *-f
Foot.
In order therefore, fingers
and those
to preserve the requisite legato, the rests for the
for the foot
must be
so divided that they never
come
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 together.
foot rise, so that in continuing the exercise there is
movement
first
the fingers and then the foot, e.g.:
always an alternate
g?
Effect.
Execution, (a) (6)
Hand. Foot.
if
»f*
I.
*f'
*f,'
THE PEDALS OF THE PIANO-FORTE. In 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
and
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 special line below the staves. Also, in order to avoid cumline can be drawn bering this pedal line with rests of small value, as above at
6,
through the head of the note presses
down
In case
the pedal
this writing
when
little later
it
is
wished
than
too
show that the would indicate. to
foot
much
time from the lesson, let the first, precisely as it should be
teacher play the passage three times 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
show again by exampl
how
In the passage should sound. this way the pupil learns to appreciate the advantage of this use of the pedal from the contrast between the two different effects. as at
first,
to
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. [2^_
Ped.-a
_^_
ritardando.
V-4V-W—0—W-
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. can be easily and surely played with the simple fingering of the common 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.
2,
$%Wf '-IHTOPS& Without the pedal
as to render
it
this passage requires such complicated fingering almost impossible of faultless execution.
The best way to accustom pupils to use the pedal in have them first play the scale of in triple measure,
this
manner
observing
the third count, e.g.
Right H.
S-r-si
3ES
fe=4:
is to
rest
on
X— etc.
ISZILZ^ZZZISIZ -P-
Left H.
The next
step
is to
observe the rest on the
At
last
press
first
down
the pedal in the same rhythm, but to
-£—
2"^
count, as follows
the two movements should be executed together,
etc.
e.g..'
..
s^a
etc.
K. Foot.
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 ing chords by means of the pedal.
then more and more rapidly B. H.
study in bind-
First play slowly, counting aloud;
also in different keys.
p-|*f-|*f-{*f-i*fHi
THE PEDALS OF THE PIANO-FORTE.
Foot.
Even where the
tones are connected by the fingers the pedal should
The common rule for legato playing is same manner. 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 previous tone, not having been damped, is sustained still longer. In word in legato passages, if the foot move exactly with the fingers the tones be taken in the
sound as follows:
As executed by
the fingers.
As executed by
(c)
the
foot.
Effect.
This mingling of sounds can only be avoided
pedal after the key
a)
is
As executed by
(6)
by.
pressing
down
the
struck.
the fingers.
As executed by (c)
1-
Ijg
the foot.
**vt'-
,_0—
f*
-^
11
Effect.
In the following passage from Heller's Etude, Op. 46, 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.
a. bad.
Foot.
The first Song without Words by Mendelssohn, should also be played the same manner, the pedal coming on the second sixteenth of each quarter note.
An
excellent pedal exercise is to play the scale of in triple measure, pressing down the pedal on the second count and letting it rise on the
This should be practised until
first.
it
can be played in rather
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 disThe following exercise will remedy this fault, but one must be sonance.
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. careful to
lift
etc.
-,
£*fe=* 1-
Foot.
see t=
t=
rr
rtw ^-
etc.
^^ffgJg^Jg
etc.
^•tt,
,.^-fg'..Jflg
Pfi-g^
This habit of taking the pedal after the tone to the player if he wishes his playing to sound cult
Jfefr
because the
foot,
to
certain extent,
is
absolutely necessary
clear.
moves out
It is
:it
first diffi-
of time with the
THE PEDALS OF THE PIANO-FORTE.
10
fingers.
No
one, however, should shrink from the labor of acquiring it an indispensable requirement for artistic playing and is cer-
since
tainly not so difficult as the similar effort in filling the bellows of harmonium or cabinet organ.
as only in rare cases- can the foot move composition simultaneously with the fingers, e. g. at the beginning of or after general rest. In playing staccato tones it is also allowable, since It is the
more necessary,
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.
rests occur
between the notes
in all other cases
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
but also serves to sustain them, ~~
Effect.
As executed by
By
the
the hand.
foot.
tones
e.
\J~
g.
which are remote from each other
THE PEDALS OF THE PIANO-FOKTE.
il
Nicht schnell
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
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.: it
As
As
written.
:3zf:g= 4=— *-g-
^ESE
executed.
Foot.
(a) (6)
We now
:p=H
bad."
good.
arrive at
freedom of playing which belongs distinctively
who
means of increasing uses the pedal as the power touch. In legato playing the grade of power is limited, the being dependent both upon the pressure from the arm and upon the stronger will raising of the fingers; the higher the fingers are lifted be the touch. But the fingers cannot be raised greater distance than is partly limited by they are long, so that in legato playing their strength the If this be insufficient, nothing remains but to abandon their length. In this case the fingers play staccato while the tones are conlegato. to the realm of the virtuoso,
nected by the pedal.
THE PEDALS OF THE PIANO-FORTE.
12
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 minor Concerto, tbe beginning of Weber's Concertsttick, and the run before the last two pauses in the variations in flat
by Mendelssohn.
Also the following passage at the end of Schumann's Kreisleriana,
must be played staccato, although pressly marked by slurs.
No.
3,
in the original the legato
is
ex-
Sehr aufge regt.
'&£=2=b-ti
I-
As writtem
BE -*/^-
as
executed.
Foot.
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 rethe stronger the tone the more staccato the touch, until the quired 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
crossing of the
THE PEDALS OF THE PIANO-FORTE. and stronger should be the touch in the beginning of Rubinstein's minor Concerto, and in the chords of the left hand in the following example, which is taken from Liszt's Etude, No. 1. Sva
(Prelude.) Presto.
(b)
As
T~ it
_._
2l
executed.
fe
-*
*-
ek T<
4-W-
Timid instructors may be not little alarmed at the freedom of touch here recommended. Many will not be able to rid themselves of the idea that th
tone struck with the pedal becomes different as taken from the key. That it is in nowise altered can
haracter of
soon as the finger is be practically tested by turning away from the player and endeavoring to detect the moment in which the finger is withdrawn, while at the same time, the tone is sustained by the pedal. In this way it will be
tone it is entirely immaof perfectly clear that for the duration terial while the dampers are raised, whether the finger holds down the
made
key or not. Those not physically strong and whose fingers are weak must find assistance in the staccato if they wish to vie with those of strong physique,
and who possess naturally strong touch. manner of playing in passages where the pedal is not adSuch missible would of course be broken and disconnected, but in all cases can be used the effect is precisely the same whether the where the the tones are played legato or staccato, provided they are struck with
same
force.
more This use of the pedal also serves to beautify the touch. The The pauses time one has to prepare the touch the finer it can be made.
THE PEDALS OF THE PIANO-FORTE.
14
between the tones can be utilized by arranging the fingers while in the way that the finger which is to play the strongest tone is air, in such held somewhat stiffly and more bent than the others, so that its tip proFor instance strikes with stronger touch. jects, and in consequence, 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 in
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, and may be struck more strongly than the other tones of the chord, e.g.:
m^-^^i=^i=^=I=^
This use of the staccato in connection with the pedal also serves as means of repose from the labor of playing. Even the holding of full and extended chord somewhat strains the muscles, and
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 the hands when in the air in order to rest the mussmall hands, cles
from the strain of the previous stretching.
Even
so
mighty
pianist
as Rubinstein does not disdain to avail himself of this advantage after fortissimo chords, frequently raises his clenched
and
hands high over
the keyboard, thus resting his fingers and gaining fresh strength for renewed efforts. Many an uninitiated observer may have regarded this as serious fault which he only an exaggerated mannerism— indeed, as tone pardons in the virtuoso because he produces so fine and powerful 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 to occur instinctively.
it
directly but allow
If after playing staccatissimo the hand be allowed complete relaxation it will of itself rise— the stronger the touch and the greater the
This allows it brief relaxation, the greater the height it will reach. fresh attack. period of rest, but one long enough to renew strength for touch The shock of staccato touch is decidedly greater than that of which retains the keys, and as on the piano the moment of percussion is
THE PEDALS OF THE PIANO-PORTE.
15
alone to be considered, staccato chords can be played with much more force than those requiring the fingers to be kept down. favorite use of the (Another, and 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
never
must
also be noted that since the pedal sustains the tone it must be employed where staccato effect is required, e.g.: in passages
like the following
Mendelssohn's Variations Seneuses.
iB
etc.
=5
The pedal may now be considered
whom
in
its
relation to the composer, to
of no less advantage than to the player. of the most effective uses of the pedal
it is
One
that originated by melody, leaving the hand free
Thalberg, in sustaining the long tones of to execute brilliant accompaniment. This effect
is
is
most frequently em-
note of the melody, ployed in grand arpeggios whose first note is also particularly in melodies played mainly with the thumb (Daumen-melo-
Of these, Charles Mayer's dien). best known example. Allegro
$£*
fe^A-iH$H—
Etude in
sharp major, furnishes the
THE PEDALS OF THE PIANO-FORTE.
16
Not only arpeggios, but ornamented chord can be made to fill the pauses between the as
rule,
piano, piece,
passages,
and even
scales
melody, but these,
when they
are played on the upper of the in the middle or lower part, e. g.: Pacher's salon
only sound well
and the melody Song of the Mermaid from Oberon. Allegretto.
Ifefc Eff£3 fi_
r*
ffiS
However
+r effective this
method
of ornamentation
may
be, it conceals
danger for the composer it tends to make the melody stiff and the rhythm monotonous. melody accompanied by runs brilliancy of is so great that meagreness of sound inevitably results if they are suddenly abandoned in the course of the composition in such case, if the composer has said A, he must also say B.
But
if
the same effect be continued
possible with the
one measure with that
number
of evil
aris
it is
only
notes of the melody if the composer has long note the next one must begin in like manner
melody demands the long tone at the will thus be seen that the rhythm of the
natural continuation of the
beginning of every measure.
It
so
THE PEDALS OF THE PIANO-FORTE. greatly limited since each measure After the run is finished the melody can
melody tone.
is
must begin with
17
long
with only be short notes, or the first note must be followed by one equally as long, which is only possible in time. So, for example, the entire Etude in sharp by Mayer moves only in three rhythms II
In
all three
the long note occurs at the beginning of the measure, and so
arrangement from Oberon by Pacher, which moves constantly in the same rhythm as the first one of the Etude. In nearly all compositions of this kind each measure begins with long tone, which causes wearisome monotony of rhythm, and in the end, fatal family resemblance to each other. is it
in the
Composers who especially devote themselves to this manner of writing, sacrifice melody to sound, and rhythm to effect. The great difference which results from the freedom of movement in be readily seen by comparing the so-called Perpetuum Mobile, from the Sonata in major by Weber, with the quoted above. series of tones
may
Presto.
In
this the
remains
stiff.
melody itself moves freely while the melody of the former Although the notes of the accompaniment follow each
other with rapidity, they appear only as an embellishment of the melody. note could be omitted without Injuring In Weber's composition, not
the melodic flow, while in that of Mayer's, the melody can be played entirely alone, giving
composition.
picture,
if
faint one, of the spirit of the
sufComposers were not long in discovering that their compositions fered from this manner of writing, so that it soon came into discredit and It was, however, at present is considered worn out and commonplace.
THE PEDALS OF THE PIANO-FORTE.
18
thrown aside, and skillful management of the two hands was devised by which the melody could move on without
too effective to be entirely
waiting for the run to be finished, thus avoiding the tiresome uniformity
of
e.g.
Heller.
practical
method
rhythm,
performance
is
to write
Op.
46,
Etude No.
of gaining
25.
clear understanding of the
simple melody, omitting the runs,
mode e.
The melody with entirely to the left
the right hand,
e.
of
g.
simple accompaniment was also sometimes given hand, while the accompanying runs were played
g.
Thalberg,
Fantaisie on Les Huguenots.
THE PEDALS OF THE PIANO-FORTE.
19
8va Maestoso.
t*.
jj
1~ *— 1-
•*• -0-
§I^B= e-*— 8^.
1=
*_Mt-fi-*t ~l
THE PEDALS OF THE PIANO-FORTE.
20
In the course of time composers have become more and more inventive in their use of the pedal.
Even remote chords
are used to
fill
in the
good example of which pauses between tones sustained by the pedal, furnished by the conclusion of Liszt's Mazeppa Etude
s,
/t fdE
-s—
%va
_JM-
2EOEBe
is
*T
&±i2z»fcfcH
Si
ii
lit
••
;;
0-0-+
&-—
I'MT «—
f-in-
These chords
may
belong to different harmonies, provided they occur on the upper part of the keyboard e. g. Phantasie Schmitt 8va.
Adagio. Sva....
-8j*
ypfr
£•#.:£
^gt
Wl
marcato.
§*•
pp
marcato.
mqMu pn^g&3p& Q-f-
J~'T
T~m
THE PEDALS OF THE PIANO-FORTE.
tu may
168,
22*
particularly favorable circumstances, even scales lying rather also be used, but only when the long notes consist of fortissimo
chords, as in the following example
Op.
marcato.
rrr
Under low
21
by Ch. Mayer :-
which
is
taken from the Etude,
Maestoso energico.
^rfSSSS&^r-*—
Fed.
tr ~rrY
trfc
sometimes occurs that the long notes of melody are accompanied by shorter notes of the same pitch. In such cases the long tone is struck tones are strongly and sustained by the pedal, while the accompanying tone e.y: played piano, the pedal being released only at the end of the long It
PP
Fed.
THE PEDALS OF THE PIANO-FORTE.
22
manner the long tone
melody is brought out and susThis effect tained, although broken by shorter tones of the same pitch. can be found in Heller's Etude, Op. 47, No. 16, 21st measure—also in the fourth measure before the return of the theme in the first movement of Beethoven's Sonata in minor, Op. 90:— In
this
~^0r .0.
-0r -0r
-^- -4-
of the
-*t-
-^ -^ -^
M-
*'
_^-
aPP aPP aPP 111 I— 1.1 :£dE^-*-*-*-E'-*-*-«- E«£=3- *—«,- *—*-— *— *PP
1111.1
-j
-0-
E-s The most ever,
is
that
it
{-*
-0-
j*.
fs
fl
significant advantage of the pedal to the composer, howfrees him from the necessity of limiting chords to such as can
be readily executed by the average hand. This result has of great change in the manner of writing for the piano. Before Liszt, Beethoven and
thus possibly giving the
wrought
the only ones who exceeded few extensions, having the compass of
Weber were
Beethoven wrote tenth, which occur principally in his Concertos in this limit.
itself
flat
and
major;
impulse to the subsequent use of wide intervals. Weber, in his Sonata in flat, uses chords extending to but in his case tenth, and in his Concertstiick, chords with an eleventh the use of wide intervals seems fortuitous, in so far that his hands were first
In large enough to strike all the notes of these chords at one time. 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 extended chord positions was given by Henselt in his charming Etudes, and Op. 5. We told by Bendel in his book, Geist and Technik Op. des Clavierunterrichtes," that Henselt possessed 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 indisTn case of small pensable to those who wish to play his compositions.
hands, extended chords can only be played in arpeggio, the necessity of
THE PEDALS OF THE PIANO-FORTE. this
manner
of performance naturally varying with the size
and
elasticity
In Henselt's compositions, however, the sign of the arpegWhen, then, is it allowable to break the chord? gio occurs very rarely. This question admits of As long as the hand can very simple answer
of the hand.
stretch the required interval, the tones of the chord are struck together; 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
Care should be taken where no sign is compelled to do so. placed, to play the tones as quickly as possible one after the other, in
is
to give as nearly as
may
be the effect of
solid chord.
This freedom in the use of extensions made possible by the pedal, has In greatly influenced the manner of writing {Setzweise) for the piano. the lower part of the instrument chords in extended positions sound much better than those in close positions. From acoustics we learn thai low, close position does not exist. only necessary to compare the sound of this position
in the nature of musical It is
sounds
with
this
Sr
~&r
to discover the difference in
use Composers have become more and more daring in their chords farther and tended positions they have set the tones
farther apart in order to bring out the fullest possible resonance from the When the extreme limit of what even the largest hand instrument.
could execute in arpeggio was reached, chords of
and seven parts the hand by rapid
five, six,
were built up, which were played in two positions of and of the fingers over the passing of the thumb under the fingers
thumb, which gave almost the
effect of
solid chord; e.g.
:—
Maestoso.
*—=_
4-*
U+.
U-0-
THE PEDALS OF THE PIANO-FORTE.
24
Perhaps the most daring example of this manner of chord writing is to be found in the Mazeppa Etude by Liszt, in the left hand part during the major. Another well-known example is the passage in signature of 48, No. 1, by Chopin. major from the Nocturne in
Such chords are easier of performance if they are divided between manner of has finished, the two hands, one beginning after writing which naturally allows of very wide positions e. g. Molto adagio,
i*_-4-#If—Jt -rr
n-
»:
F=£ <&-
-T
r+
Fed.
Even
were found insufficient and still another form was devised: after both hands had finished, the arpeggio was continued by the hand which had begun at first; e.g.: these
extended
positions
THE PEDALS OP THE PIANO-FORTE. l.
Adagio.
25
H.
The sixteenth notes
are to be played very rapidly.
1.
-^^
*.
s*
4:
fr
/W.
This has the advantage of allowing the
melody with great distinctness. of playing
is
afforded in the
new
left
hand
to bring out the
well-known example of
this
edition of Henselt's Etude,
manner hanks-
were Bird. of his Etude, "If Storm," and the ending also abounds in this crossing Rubinstein's "Etude on False Notes"
giving after the
hands.
another peculiarly effective in groups the tones are not struck singly but
There
is still
kind of arpeggio in which e.
g.
.—
THE PEDALS OF THE PIANO-FORTE.
:t==fe
-•-
•«•
UL found in Willmer's transcription of Mendelssohn's Wedding March; also at the close of the second movefine
ment
example of
this is to be
Schumann's Fantaisie in major, Op. 17. Sometimes sufficient room cannot be found on the two staves for the composer to marshal his troops of notes, and this has made necessary new manner of notation. When two staves fail to furnish enough space to represent clearly all the different parts with their notes of varying value, three staves jean be used, which device Liszt was the first to emof
Mazeppa Etude. one composition in which even
ploy, as, for example, in the
There
is
four staves are used at one
time, viz., Henselt's Concerto; e.g. jru
Larghetto.
^^*^
g,
*»T *3
ss
*#F
THE PEDALS OF THE PIANO-FORTE. It
is
well
known
27
that Rubinstein has never written out his remark-
able arrangement for two hands of the Overture to Egmont by Beethoven, because of the necessary labor, since to secure clear notation four staves
would almost constantly be required. Such transcriptions, and those like Procession from Lohengrin, depend almost of the pedal.
arrangement of the Bridal entirely
upon the
skillful use
This manner of writing has been not unfitly termed the
orchestration of the piano, since by its aid no tone of orchestral score is lost, and the arranger also finds opportunity to add something of his own, since by assistance of the pedal the player's fingers are, so to speak, multiplied.
clever brochure on the pedal, "L'Ame du Alfred Quidant composition for the piano Piano," Paris, chez Marquet et Cie, gives which can be played throughout with but one finger, yet by the skillful
use of the pedal
it
makes an
orchestral effect
e.
g.
,-V
-\-k
resonance of the piano be brought
Only through the pedal can the moderate technical powers. out, and often by very full
As an example com-
No. 15. pare Heller's Etude, Op. 45, this manner, and he it Liszt was among the first to use the pedal in for the piano to its culmination, is who has carried this method of writing others to equal him, but hardly so that in this point it may be possible for to surpass him.
be writer for the piano can readily as his pre-eminence this, new birth since The instrument may be said to have experienced
From
seen.
^ven to these different pedal effects. the impulse gave Liszt the demands made upon it by structure has been changed to meet should attempt to play and his followers. (If, for example, Rubinstein
he
first
its
THE PEDALS OF TEH PIANO-FORTE.
28
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 performance but little of the instrument would be left.)
end
of the
Great as are the advantages derived by the composer from the pedal,
none the
too great worthy of consideration are the consequences of use of its newly discovered effects. Rhythm, harmonic flow, and free thematic development all suffer through the misuse of the pedal. less
sharp Etude by Mayer, the rhythm bethe melody are comes monotonous when the pauses between the filled with runs, because the ear always expects the same effect at the same place. (It would almost seem as though the composer were not
As already shown
in the
crowded and pursued by the same persistent figure that the hearer soon thinks, ''Something less effective would have more effect".)
able to banish the spirits he
had
called
up
he
is
so
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 also find the same effect:
large masses of tone.
In the orchestra we the varying rhythms, and even the general pauses with which Beethoven works such wonders, in our noise-loving age appear wellrarely; if, by chance, 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 velocity studies in the same rhythm.
and
Speaking in general, it seems as though the history of music manifests 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
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. by
development of tone
color.
Although Wagner's tone drawing (melody) may not be ranked with
his tone color (orchestration),
such works, as being the creations of genius opening new paths to art, in spite of many mannerism, are of far more significance than the most successful productions of the best
trained mediocrity.
THE PEDALS OP 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 Wagner's most brilliant passages are, in effects
reality, only pedal genially transcribed for the orchestra; as, for the conclusion* of the example, Overture Tannhauser, the "Ride of the Valkyries" and the
"Magic
Fire Scene."
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. proof of this
When
is
considered that the majority of composers begin their careers as pianists, it is manifest that close connection exists between it
is
manner
of composing for the piano and that of composing for other instruments; every notable change in the manner of writing for the
the
piano has been followed by
like
change in
all
departments of musical
The trills and ornaments, for instance, which formerly composition. 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 orchestra
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 them the more appropriate, since it is precisely the
modern use of the pedal which has occasioned such manner of composing for the piano. Thematic development use
is
through the pedal, passages where progressions
suffers
not allowable in quiet
revolution in the
far as its
occur by
The tranquil movements made up regular steps of the scale. were formerly in vogue are, equally of chord and scale passages from the music of to-day— indeed, it therefore, gradually disappearing as though the almost seems, from the present universal use of the pedal, scales were going out of fashion, so seldom do they occur, particularly in all SchuThus, for example, in the middle portion of the piano. an extent of three octaves, can mann's works not scale, having
the
single
be found. of the scale in degrees move which regular by Progressions of the pedal with each tone are of admit to change too rapid tempo
at
THE PEDALS OF THE PIANO-FORTE.
30
present generally met only at points where place;
of
harmony
takes
e.g.
In the to the
change
voices,
however, fewer sustained tones
harmony occur than
Liszt, indeed,
by
notes foreign
in the older polyphonic music.
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 virtuoso well versed in all the refinements of the pedal can make possible performance
which may excel in clearness
competent four-handed execution of these
works.
During the last few decades the technic demanded by the most difficult music for the piano seems to have remained about the same further development appears hardly possible
the
mechanism
of the instrument
being unaltered since it is naturally limited by the size and elasticity of Certain it is that already too much has been required from the the hand. hand, and that ladies with small hands must often reluctantly deny
themselves some of the
The importance
fairest
blossoms of modern piano music*
which the pedal has in our days attained can be From what is to appreciated when we consult the older piano schools. be seen in his Grand School for the Piano, Hummel seems to have means of creating confusion. Nowhere regarded the pedal mainly as does he consider it indispensable, and even under the most favorable circumstances he regards it only as an agreeable adjunct, which may to
He seems always be omitted without prejudice to the composition. never to have discovered how much the instrument gains in resonance by the use of the pedal, apparently holding
immaterial for beauty of That it long tone, the pedal be used or not.
tone whether, during is not immaterial will be
shown
it
in the following chapters.
*Selmar Bagge once jestingly suggested that the octave coupler of the old Physharmonica be introduced in the piano, in order to put an end to the astonishment over the feats in octaves accomplished by virtuosos. Possibly some inventive genius yet discover the possibility of simultaneously striking remote keys with but of extension in the hand, which would moderate new era in the art open
may
of piano playing.
THE PEDALS OF THE PIANO-FORTE. Of
the authors, Czerny has given the most complete treatment of the question in the third and fourth volumes of his grand School all
the Piano, which, strictly speaking, belongs to the newer school of piano playing, but even he by no means exhausts the subject. He for
commits the
error of requiring the pedal to be used when the key is struck, instead of pressing it down afterward, as should generally be From this error the author of this work was perhaps only the case. also
he did not examine the work in question chance which foruntil after he had finished his own tunately allowed him to master the subject by practical experience.
preserved by the fact
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 of his labor, Compositionslehre, might have anticipated him in the results he found, on hastily examining the book, that the word pedal was not even once mentioned.)
THE PEDALS OF THE PIANO-FORTE.
32
CHAPTER
II.
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
The
effect of the pedal in
prolonged vibration of every low string in the piano, accompanying the These tones occur in definite order for instance, tone produced. if, be strongly struck and the tone sustained, the
his C,
ear,
being held close to the string, will detect the following tones, sounding very softly, yet perceptibly, in connection with the fundamental
eg =1=
EE
e~
fe
If"
similar series will be found in the vibration of every string.
This phenomenon is occasioned by the fact that every vibrating string vibrates not only as The starting points for whole, but also in parts. these secondary vibrations are called nodal points, and occur in definite
mathematical proportions to the length of the string. The first nodal point is found in the middle of the string, and divides it into two equal thus giving the octave, the fundamental tone bearing to he proportion of one to two.
portions,
octave
The
twelfth
its
produced by the division of the string into three parts, each part vibrating independently as whole the second octave, by division into four parts, etc., the fundamental tone and its overtones is
The third tone, occurring in the simple proportions of 1, 6, 7, etc. for example, vibrates three times as often as the fundamental; the first of every three vibrations of the third overtone therefore coincides with the the same is true of the beginning of one vibration of the fundamental first of every four vibrations of the fourth overtone and of the first of
every five vibrations of the
fifth overtone, etc.
Strings possessing this coincidence of vibration are said to be related to each other, since in consequence of it any one of them will begin to vibrate as soon as another sounds in its vicinity.
The
relationship
may
be shown as follows
press
down
the key of the
THE PEDALS OF THE PIANO-FORTE. large
C* without allowing
it
to sound,
and then
88
strike the small
above
strong and staccato, whereupon the tone will sound clearly from the and be sustained string by it as long as the key is held down. In like manner the same string can be made to its other "6 flat, c, e, g,
Sounding.
Silent.
Effect.
as follows
produce
:—
fe^E^
overtones, g,
q=£:
eb;
.q:
B^
*For
~p
^m
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:
THE PEDALS OF THE PIANO-FORTE.
34
it^i
Sounding.
^8
S:i
Silent.
ZT.
Effect.
&—*
-2-
Employing the same method with the tones c"
bt
3.
-0-
=t=
10
11
12
13
14
15
will be found that they also are related to C, but that they vary conThis arises from the greater or less support given siderably as to strength. it
higher overtones by the lower overtones. The 9th overtone (dj, for instance, is stronger than the 7th
to the
b~
flat), it
being sustained by the 3d (g), nine being divisible by three, while seven stands alone. The 10th overtone (e~) is supported by the 5th (e~), while
The 12th (g), being divisible by 2, 3, 4, the 11th (T) again stands alone. and 6, is supported by the corresponding overtones, while the 13th (a), being indivisible, is much weaker. The 14th (T> flat), is slightly reinforced by the weak 7th tones,
flat), ~c
and the 15th (F) by the 3d (g) and the 5th
oT e~ f"
(~e).
do not correspond exactly in pitch to should be higher, a, lower. This lack of
aT bfe
the overtones of the large C,— exact correspondence can be verified by the wavering of these tones which
ensues
when they
resembling
wavering of case it shows one which
are sounded.
When
the
turn will be produced, thus:
is
yr
sharply struck
^^""tS
figure
The
tone indicates the presence of at least two tones in this difference of pitch between which sounds and the
is isolated.
THE PEDALS OF THE PIANO-FORTE.
36
It is also noticeable that the 14th overtone, bk, wavers, while the 7th, 55, is steady this points to the conclusion that the til of the
does not form
true octave with the
untempered
bfe
scale
below.
The sympathy of related strings to each other is most strikingly illustrated 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.
ee;
Silent.
Effect.
Sounding.
Silent.
Effect.
Hf^H
THE PEDALS OF THE PIANO-FORTE.
36
R. H.
Sounding.
$va
§^Hgsigg|g SsH^ Ii.
*£§
H.
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 slight reverberation is heard, the effect is not to be compared to that of the harmoni-
This can be tested by pressing down the large and striking one of its unrelated tones, sharp, etc. sharp, sharp, The effect of the pedal is to free all the strings from their dampers, so cally related
tones.
in addition to the string set vibrating by the direct blow of the hammer, all its related strings vibrate sympathetically. This can be
that
shown as follows
press
down the pedal and then strike the small
then noiselessly press down the large C, and release the pedal, holding down the C. The c, although faint, will be heard, showing
staccato still
occurs as the
that
it
first
division.
first
overtone of the string C, which vibrates in
its
fundamental tone vibrates in like manner with the remaining overtones when they are played with the pedal can be as before, after playing any or all readily demonstrated by isolating the
That the string
of
its
of the
overtones with the pedal.
Echo. Sounding. Finger.
|^pp=
Foot.
*•
19
^i^s!
gj^
-
THE PEDALS OF THE PIANO-FORTE. Thus
37
we have only
far
from below and
considered the relationship of tones as occurring the series of the overtones rising upward, taking
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
As expressed
in no es
Sounding.
he effect
if it is
or thus:
JJ
first
we
Sounding.
Ped.-Q-
string gives
the same, whether
Silent.
£3E£
only in the
be isolated and the lower tone struck.
Silent.
3^E
Ped.'Q—
will be
case
(ELS'
play thus:
somewhat
fuller,
sirtce
the longer
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
complete inversion of the related tones
above:-
Taking
c",
for instance, as the
above are as follows
fundamental tone,
its
8va.
f=t=p-Xz Reversing this order,
we have
the following series :—
8va.
related
*!
tones
38
THE PEDALS OF THE PIANO-FORTE. Its relationship to
can be proved by striking
isolating, in succession, c, F, C,
Sounding. Silent.
flat,
F, D,
with the pedal and
in each case (Twill sound.
THE PEDALS OF THE PIANO- FORTE. Sounding.
example of the effect of the pedal upon the tone can hardly be found than in the contrast between the dryness of the first 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
(A
pedal
better
is
used.
The following examples
will illustrate the singular
sympathy
of re-
whatever position they are struck, i. c, either nearer to or is farther from the fundamental tone than they naturally occur e.g.:
lated tones in
the second overtone of is
be struck and
if
Sounding.
heard; e.g.
be isolated, naturally the
Silent.
§EB
Sounding. [t
will,
however, also sound if the
be struck an octave lower
e.
EE^E
g.
Sounding.
md
even
if it
be struck below
Silent.
e.g.
Silent.
THE PEDALS OF THE PIANO-FORTE.
40
Hence
appears that related overtones never appear in any octave lower than the one in which they naturally occur rising upward from the it
fundamental tone.
With
the related undertones the contrary
undertone of c^-if c~be struck and
is
be isolated the
the case: is
is
the second
naturally heard
e.
g.:
Silent.
If,
however,
higher
e.
be isolated an octave higher,
will be heard
an octave
Silent.
g.
to
and
if
it
be isolated two octaves higher, thus instead of
Eli
will also be
heard two octaves
higher.
Thus
appears that related undertones vary in position with that of the isolated fundamental. Tones belonging to both relations can be united e. g. Silent. it
-s>— It will be noticed that such tones are similar to the
harmonic tones of the and zither they are, in fact, none other than harmonic tones produced 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 OP THE PIANO-FORTE. in the production of harmonic tones
e.
41
g.
b;
a)
(a) Tones appearing of themselves. Adagio
assai.
Sounding.
-*-s: Silent^
=>I
s.
(6) Tones either struck or noiselessly pressed down.
Sounding.
Silent^
fl
(a) Silent.
&*—
Ps?fe£^M -ta
(6)
_!1
4^4 «*=*=^S-
Silent.
Sounding.
Sounding.
.fr,
-w<-3-=i-
Even Jow pitch e. g. :—
v.l£=s
qi
-p
-q^
fezj3i
tones can be produced in this
pqi
manner
in their original
Sounding.
Ws.
V-3-S-
E-=H*-
Silent.
ee;
fe
-—
^-*
FV3-£-
*g s?g=
^^ r=
THE PEDALS OF THE PIANO-FORTE.
42
Thus
will be seen that in playing with the pedal many related Not only tones vibrate in addition to those actually struck.
strings
it
directly related to the string originally set into vibration are heard, but the longer they are sustained with the pedal, the more strings begin to
as soon as vibration,
new
relationships are constantly forming. For instance is heard as the second overtone of C, the string is set into new family of and in turn becomes the fundamental of
vibrate, because
begins to vibrate, being the second overtone of g, and tones; soon after, and duration of the original in like manner, according to the tone, new relationships constantly develop, until all the strings of the
instrument are set into vibration. long tone played with and without the Without pedal should be carefully dwelt upon and practically tested. the pedal it is heard as and, in fact, only one line single straight
The
difference
between
As soon, the string directly struck by the hammer. full tone is sustained by the pedal it begins to wander— it however, as widens and spreads until at last the whole instrument rings, the tone
vibrates— that of
gaining in beauty and breadth the longer it lasts, since it is constantly gaining new relations. The ear, to be sure, receives only the impression the tone, the related tones being distinguished with difficulty, or possibly
not at
all,
but in reality they also
more intense and sympathetic quality
to the tone.
for the effect of the pedal
that of
on the ear
is
The
us re
best comparison the eye color
degree of lustre, yet the great difference between lustrous and non-lustrous materials is well known, as, for in-
of
fabric is not altered
stance, that
by
its
between satin and crape of the same hue.
and beautifies the tone, it should be used with every single tone and chord whose duration is long enough to admit of the foot being lowered and raised during the same, whether Since, then, the pedal strengthens
In this case, the length of the note the composer has indicated it or not. forms sign for the pedal. So, for example, should the j^edal be used in the following passage from Beethoven's Sonata in minor, Op. 31, No. Lar^o.
^__
KJ_-
-h
_C.
J^—
Up
>p—
te
\-h—
I!
THE PEDALS OF THE PIANO-FORTE. It
may,
therefore,
be given as
43
that each note of
rule
melody
should be played with separate movement of the pedal, except in case of short notes, when the pedal is omitted. It must not be forgotten that
in order to prevent any mingling of the tones the foot must be little later than the fingers. (See Chapter I,
the
page
moved
7.)
From what has been said, it follows that in slow tempo, or ritardando, pedal can be used much oftener in each measure than in quick tempo,
or accelerando.
mechanism
such that
cannot move with great rapidity, but it can be used with very short notes, provided they are separated by sufficiently long pauses. Its
is
j. t*
#=*
=&E*
PeJ.-E.-t-%-*
q-
5-|
naturally most effective when used in beginning the tone, which strongest at the moment of percussion and thus more fully excites its It
is
it
is
related tones
in the following example:
see
Thalberg, Etude in
no
Op
45.
:^=q:
-''''-I 2: -v-
Ee;
E-"ret,
even
if it
ill result
-*—x
*-
rr
be used some time
see
.*
$=#
if after,
-^r
r* 'r
-^
of the tone slight strengthening
THE PEDALS OF THE PIANO-FORTE.
44
Andante.
J2-
EE
HI
»-
(b)
i^m;
fee: -^-
-f This slight crescendo Concertstiick
may
also in the
-i-S"i
be employed in the beginning of Weber's
beginning of the Capriccio in
minor, by
Mendelssohn. Since the peda possible pianissimo
he wishes only
the tone
strengthen is
required
it
murmur from
it
follows that
should not be used.
where the
Rubinstein,
finest
when
the piano, invariably omits the pedal.
This rule does not, of course, apply to such cases in which the pedal must be used to sustain tones played staccato.
The following examples
will
show how the sympathetic sounding
of related tones can be practically applied
Sounding. Adagio.
r-
THE PEDALS OF THE PIANO-FORTE.
45
#* SISEE '^S
sfe
i=sp
*-M1 The only
application of this sound-effect
It
effective
by Thomaschek. is less
when
is
to be
found in an Eclogue
higher chords are isolated, and the tones of
the same chord are played below
e.
g.
:—
Silent. 5ilent
\tr
Sounding.
Sounding.
Sounding.
SEE*
^^
_3_—
»5^
-e-*4
ggiltali 1_,
and low chords are struck produced when high tones between them are isolated e. g. :— together, and the related
The
finest effect is
Adagio.
*a^= ^>
tstz.^
Sounding. Silent.
^•-|-f-
Sounding. Silent. Sounding.
{-
^-{—
Silent.
^r^r"
THE PEDALS OF THE PIANO-FORTE.
46
Sounding. Silent.
Thus that this
Sounding. Silent. it
Sounding.
Silent.
have entirely escaped the attention of composers sympathetic sounding of related strings can be effectively em-
far it
seems
to
ployed in compositions for the piano. Even the silent isolation of several tones previously played with the pedal, although producing an extremely fine effect, has
never been used; e.g.:
Sounding.
Andante.
hL+fi
11
Such
use of the peda
produces particularly appropriate effect in the following passage from Beethoven's Sonata in sharp minor Presto agitato.
PEE
m.
^t^SJ
9t=t
THE PEDALS OF THE PIANOFORTE. Silent.
5=§=z3^=:^
also in Liszt's
-^=k-
Hungarian Fantasie Langsam.
e.
g.
:-
47
THE PEDALS OF THE PIANO-FORTE.
48
example he fills the rests which exist in the original between sharp major, which, by its ethereal by the isolated chord of and poetic movefascinating transition into timbre, forms ment which follows. In
this
Fundamental tones may
also be
very effectively mingled with over-
tones; e.g.: Adagio.
Jrr
ee
±it-
t-»-
Sounding.
Sounding. <_,_
fP
Silent.
Silent.
#^a
Sounding.
JE— •If— \+_
Silent.
1-
-=-
ii
players occasionally produce effects resemble these pedal effects; e.g.: Skillful
Lento.
r^M
Hr
rt-r
by the
fingers
mmm£±=mw iisi im etc.
pp
instead of
which
PejejE^eese^ TOP »—
etc.
Players sometimes take panying chord rather than th
liberty of playing the
note
of the
of
an accom-
melody above, even when not
THE PEDALS OF THE PIANO-FORTE.
49
so directed, in order to bring out the melody more Such freeclearly. dom may be allowed in the following passage from Schumann's Sonata minor in
Sehr schnell.
mlrtJi
53
i=t=±II
gi!^i
fr-fr-ff
!zfcg^= Measures
and
are better played
thus:—
Iji:
us
and note of an accompaniment may be shortened follow the the pedal omitted in order that the ear may more easily in case of soft melodies with an insignificant accompani-
Sometimes the
melody.
ment,
is
last
This,
frequently done.
For instance, the
figure of the
accompaniment
THE PEDALS OF THE PIANO-EOKTE.
50
Such alterations should, of course, only be made after due consideration, 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 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,
descrescendo on the same string being impossible.
sudden
Where, however, in
diminuendo is required, the pedal rapid arpeggios and running passages must be released at the instant the decrease of tone should occur. good
example of
this is
found in the
first
movement
of
Schumann's Sonata
minor:
in
Ausserst rasch.
P^
•H—
?—
(a)
good.^—
(6)
bad.|~^
+T-
fl
THE PEDALS OP THE PIANO FORTE. This rule
51
broken chord passages in slow tempo, in can even be with the which, descending, played pedal decrescendo to fine effect can be obtained by the end playing in this manner the is
less applicable to
follow following ing passag passag
from Beethoven's Sonata in
Adagio, [poco agitato.} -r
sharp minor :—
t.^m
t— fc-P-
¥* SpEE: "Z^.
^HHB
—&-
thus sustaining the pedal the tones played during the crescendo the in the first measure are prolonged into the third measure, so that as it were, behind pianissimo tones of the last two measures are heard,
By
veil.
An
value exact knowledge of the overtones of each note is of great since every upper tone can be made fuller by strongly
to the player,
striking one of
its
deeper related tones.
THE PEDALS OF THE PIANO-FORTE.
52
in the conclusion of the As an example, the long Without Words by Mendelssohn can only be sustained to
bringing out strongly the lower each time it lower related tone to
tenth Song the end by
with the thumb, that being the next
is
firmly struck, the upper
is
excited
renewed vibration and thus prolonged. Agitato
con fuoco
I.
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 This can be readily shown by the two followinfluence upon each other. ing examples
Sounding D.
Sounding. ft— I— -»
ip-
to-3-
ig
PHE PEDALS OP THE PIANO-FORTE,
53
CHAPTER Thus
far the pedal has
been considered its effect on the only single to be sustained succession of tones during
tone or chord; if it rules for its use become more complicated. When this succession belonm to one chord, the general rule is to hold the pedal until the chord changes each change of harmony followed being by change in the pedal In order to avoid dissonances from the mingling of different harmonies the pedal must not strike exactly with the new trifle later chord, but (See Chapter I, page 7.)
This necessitates on the part of the player knowledge of what tones form chord. good student generally gains this knowledge in the practice of such chord passages as are found in most collections of
finger exercises able.
must
direct study of
also be
harmony, however,
is
of course prefer-
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. It
sometimes produced by the retention of the pedal during changing harmonies on the upper keys. This effect closely resembles that of music box, which possesses no dampers.
charming
effect is
8va.
Sempre Pedal.
feE 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 broken chord played with the pedal keys even the close position of
sounds more or best to
less false.
When,
therefore,
is
desired,
it is
as the arpeggio approaches the middle porinstance, in the following example, the pedalling
employ the pedal only
tion of the piano.
For
decidedly better than A. Should dry, the pedal can be used as in C. is
pure tone
its effect,
however, be thought too
THE PEDALS OF THE PIANO-FORTE.
54
Sva.
.-
-13
fi
-^---
B.
-'J
if
r^+r-
c.-
Relatively speaking, the best effect of low, close positions occurs in the case of the chord of the diminished seventh.
'i
Low minor of the
chords seem to sound
same pitch; the
difference
worth while considering, as
when
all
trifle
better
than major chords
however, so slight that it is hardlydeep, close positions sound more or less is,
The
when
deep, broken chord is accompanied by full chords in higher position, since in such case the dissonance of the low tones is covered by the clear ring of those
harsh
they stand alone.
above; e.g.: Allegro moderalo.
effect is different
THE PEDALS OF THE PIANO-FORTE.
65
must not be understood, however, that the pedal should never be
It
used with unaccompanied, close positions of low chords, since it may readily occur that such 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 translating 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 arpegg arpeggio io correspo corresponds nds
progression
e.
g. .•— Sva.
R. H.
ff
:S=i=fc pj
m\J
Ul
'Ezz
l. h.
fr Where allowed.
\-
z—
Mi
absolute beauty of tone can be disregarded, much can be in scale passages, and it In such cases the pedal can
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 moves by regular steps the older music, since it generally
polyphonic also of the scale with but little strength and rapidity, its range being some compositions limited to the middle octaves of the instrument. be introduced, but of that school which contain broken chords it can is best if one tone—or, its effect in scale generally speaking,
what
is still
better,
progressions full chord— be struck fortissimo.
an important part. relationship of tones again plays
In this case the
In order to show
THE PEDALS OF THE PIANO-FORTE.
56 press
down
with the
noiselessly the large
left
hand, and then play the
major fortissimo in octaves with the right hand
scale of
e.
g.
r. h. playing.
As
ff**\~\
echo; the chord of
major.
L. h. silent.
After the run has been finished, only the tones C, E, and G, related to C, will be heard.
the"d
may sound
The unrelated
tones, F, A,
This experiment
with the pedal and the
R. h. playing
is still
with one
l.
W3-
has only linked interesting
isolated afterward
*-,*-*
more
e.
while
if
itself to its related
the scale be played
g.
finger. ii.
PCT #"*"== ^*& ^|Jgg3-
,,
silent,
This shows that the
faintly as the ninth overtone.
free string C, out of the entire scale,
tones.
and B, are
h.
silent.
Asecho; the
chord of
major.
h. silent.
-It From
1— this
can be deduced the important
rule,
be used with scales or ornamented chord passages
tone or chord be struck with great force. this tone or
that the pedal
any point one The lower and stronger if at
chord the quicker and lighter the run, and the higher
the better will be the effect;
e. a.
.•—
may
it lies
THE PEDALS OF THE PIANO-FORTE.
61
Sva. #-
SI SB
glissando.
irw
+-*
-#
t« w=s
«=n-m-rri=t:
fe -i^Hi In
this ease, as in the previous examples, the tones of the scale
which
are related to the chord, group themselves around it and the unrelated tones short time die away; not so soon as in the foregoing examples, but in
It must sust stai aine ned. d. related tones are su they entirely disappear, while the use of the pedal requires the greatest be well understood that such Without this, or with fortissimo in the strong tone or chord.
possible
sound wild and confused; the dominant tone, but related tones will not form themselves around the well happen that of two players using the scatter, so that it may very make good effect— the other, bad one. pedal alike, one will
mere equality of strength, the passage
will
skill to bring the melody out clearly soften Players who have the the related tones blend with many dissonances even without the pedal An. interesting experiment can the melody, while the others fade away. tone has upon the others. be made, showing what an influence one strong the tones chord with the pedal, on listening attentively, In striking This or in succession, one after the other. will also be heard in arpeggio, its starting point. has the strongest tone of the chord for arpeggio always the lowest tone be made chord, the in following If,
^=
—J-
the strongest, the arpeggio
is
heard as follows :—
THE PEDALS OF THE PIANO-FORTE.
58 if
the upper tone be
made
the strongest,
it is
heard as follows
the fifth and sixth the third and fourth times moving twice as slowly It is still more remarkable if seven tones be times four times as slowly. struck together, the middle one being the strongest, in arpeggio begins in the middle and moves both up and point;
which case the
down from
that
e.g.':
This shows that the strongest tone is, so to speak, the focus from which the tone-waves emerge, all th othe 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 weaker bass than grand pianos. pianos have Now, if the composer
upon the
grand piano, in order to use the pedal during piano long scale, the passage which on such will sound well or at least be endurable, will be ineffective, or sound badly on an upright piano. relies
There
kind,— not
is
greatest fortissimo in the bass of
also
all
great difference between instruments
grand pianos have an equally good bass and
the same treble.
The
stronger the bass, the longer the pedal can be sustained during scales On played after low, strong 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
soon as
depend entirely upon the
its effect is
bad.
ear,
and
to release the pedal as
THE PEDALS OF THE PIANO-FORTE. Even double
59
sound well with the pedal, provided with the are utmost rapidity, and the sustained tones with played they scales in sixths
greatest possible strength
e.
g. .-—
Sva.
Allegro energico
*3:
l^^frnfffiiiifffP'tUi
**m
tf «=t
JJWPF
eS
-#--*-
G=l tt*
tt =m=t ft
§1111 1/
&/«.
-»-^-H-l
>—
lc
P-|
rrr melody, as in the following can also be played beneath in C, Op. 53, popularly known as the Sonata Beethoven's from passage peculiarly "Storm Sonata." The rolling effect thus produced gives it
Low
scales
characteristic coloring.
THE PEDALS OF THE PIANO-FORTE.
60 Allegro
£>-%T-^
brio.
THE PEDALS OP THE PIANO-PORTE.
Under
61
particularly favorable circumstances, even the chromatic scale can be played in the bass if one tone of the scale be brought out with the as in the following great power, :— jf
example
Allegro vivo.
-e-
r-r-TTT
THE PEDALS OF THE PIANO -FORTE.
62
In
the preceding cases the effect of the pedal is not purely musical one, but is particularly appropriate for the imitation of the unfettered powers of nature storm, thunder, etc. The dissonances resulting all
from the mingling of the unrelated tones only serve to heighten the idea of elementary conflict, and in all casec where the utmost development of is
virtuosity
artistically allowable, this use of the pedal is of surprisingly
effect.
powerful
Of these, the In orchestral music similar effects are also found. finale of the Tannhauser Overture, by Wagner, is the most popular
example, and the same master's Fire Magic, from the Walkure, the most The rich profusion of melodic figures in these and in similarly daring. treated orchestral works is only rendered possible by the sustained
tones of the melody. great many compositions for the for orchestra, look almost incredible to the eye, when piano, as well is considered what is actually heard at one through the sustaining fortissimo
of the pedal on the one hand, and on the other, by what stands In such cases it almost seems as though together in the orchestral score.
power
the ear were less sensitive than the eye.
To give an extreme example
of the extent to
which
this use of the
be carried, the author has written out several measures from which, on paper, an ear-splitting discord would be inferred, but when concert grand piano are not only played with the utmost strength on pedal
may
It will be seen endurable, but even produce an almost brilliant effect. 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 ft.
h. two octaves higher
Allegro vivo.
THE PEDALS OF THE PIANO-FORTE.
63
8va.
mmmmmmn -r-r-
-? *-*-H
Such manner of writing is, of course, only allowable, passages where great sonorousness is desired in all others the be
much
too harsh.
Even the
-*-*-
if
at
effect
all,
in
would
greatest climax should seldom go as far as the above example, which is only given as curiosity, but passages almost as daring can be found in the modern concert literature. As an
can
example
be
quoted
continues
the
the major ninth which Liszt pages in the finale of his transcription of trill
of
during several Mendelssohn's Wedding March 8va. -*-
Presto,
-fi
-*-
*-
-fi-
trill of an ordinary treatment of the subject, would have been used, or at most, an octave tremolo, but ll),
major second for Liszt neither
of these resources possessed the necessary brilliancy, so he devised the Its use is facilitated by its high shriller effect of the trill of the ninth. in the middle portion of position and the fortissimo chords of the melody
THE PEDALS OP THE PIANO-FORTE.
64
When
this passage is played with the requisite degree of execution, the effect of the trill on the ear is that of an octave some-
the keyboard.
what sharp. similar one can be produced Such deceptions are not uncommon. If the first minor by Schumann. in the Scherzo from the Sonata in 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 This arises from the fact that every are strongly brought out. trill sharply struck second begins to waver, giving the effect of
hand
^rU
Mt
l5-p*l #— =H»
=-•
srHP
.a
rrt
=-»
Jfa
-#—3-
rr
*1
aaaaGaasasa -fty.a.ja
In the examples thus far quoted, the condition has always been made that one strong, harmonic struck, which, by reason of its strength, controls all th pedal.
Under
discordant elements brought together by the use of the peculiarly favorable circumstances, scales and runs can be
In this way played with the pedal, without any such dominant tone. In rapid, fortissimo Rubinstein produces one of his finest pedal effects.
major or minor, played with both hands throughout the whole extent of the piano, he sometimes uses the pedal omitting it, the scale reaches the middle tones and only ascending, however, resuming it in descending when the same point is again reached. scales, either
THE PEDALS OF THE PIANO-FORTE. r. h.
(5-1
an octave higher.
flt-JUt-
BBaaMa
^BS^^B This
effect
forms the greatest fortissimo of which the piano
=£
is
capable,
in the use of the pedal in connection with the The lower it endurable to the ear. greatest strength of touch renders new tone is tones being the strongest, the pedal is held down In the struck with sufficient force to overpower the one preceding.
and only the limitation
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 its During the few tones immediately following point this takes place. and only die away as the weaker release, the bass strings still sound, 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 short time with double runs, if they the scale in tenths just before played in the most rapid tempo; e. g., conclusion of Chopin's Ballade in
minor.
This
effect
are
the
should not be
and unmusical, and continued for too long time, or it becomes rough in playing the chromatic for this reason the pedal can seldom be sustained more slowly tones in the octave, progresses scale, which, having twelve lhe in the octave, than the diatonic scale, which has but seven tones
THE PEDALS OF THE PIANO-FORTE.
66
scale in short passages, or, if pedal can only be used with the it be desired to use it with long chromatic scale, passages composed of progressions with varying harmony, the foot must be raised and
lowered frequently in too great trilling manner, in order to avoid This use of the pedal may at first seem impossible, but as confusion. case in point the chromatic scale in the finale of Chopin's Scherzo in
Artists always play this passage with the pedal, minor can be taken. and rightly so, since only through its use can the despairing passion of If such passages are performed the composition be adequately depicted. 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.
between the major modes; low minor scales sound somewhat better with the pedal than major scales in still greater difference exists between ascending the same position. 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 difference can be found
descending scale be played in the same manner, the effect This arises from the fact that in descending will decidedly better. the tones increase in strength, so that each new tone overpowers the one false;
but
if
preceding. scale
From
this
with the pedal
may
it is
be deduced the rule that, in descending the not necessary to play fortissimo, but on the
far finer effect is
contrary,
and making supported by
crescendo in descending.
The
effect is best
corresponding harmonic accompaniment $va
Allegro.
-•-
obtained by beginning the scale pianissimo
~£l
e.
g.
when
it
is
THE PEDALS OP THE PIANO-FORTE.
In
67
this case each tone overpowers the one preceding more readily in The unrelated tones also die away sooner, of the crescendo.
consequence because they are not sustained by the tones of the chord in the accomBy skillful management an ascending scale can also be paniment. The effect is somewhat better if the first and played with the pedal. minor third and the scale tones of the scale are at the distance of third
be played crescendo, from pp, to forte :—
»t
3*—
gsgZJFf— "pt=
B3-0ffrfffi gg 13***"
-rr
the most channlrt* Soft descending scales with the pedal produce carried up to the forte,
effect
when preceded by an
highest tone.
arpeggio played
THE PEDALS OF THE PIANO-FORTE. 8va.
-*-#
Allegro.
^n»-
/-
nt.
feSS: 53iz£
*f 8va
+r #—
Adagio
emii ppi
Even clear
the chromatic scale played in this
and pure:—
%-&-
It:
way sounds remarkably
THE PEDALS OF THE PIANO-FORTE.
In such cases the tones betray no trace of mingling with each combination of circumstances, all favorable to the This is due to
other.
use of
the pedal: first, the unrelated tones of the scale are in the minority, since same place, once for fr in every tone of the chord occurs twice in the in coming down, while the ungoing up the arpeggio, and again piano 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
swallowed
were, happens that the dissonant tones are, as up by those consonant to the harmony. be used Many passages might be cited where the pedal may
pedal.
way
Thus
e. g.,
it
it
the beginning of the Concertstiick by
Weber:—
*-*.
*•/
i-r
in this
~r
Sva.
-|-x-
'S&fXr-
OF THE PIANO- FORTE.
THE
70
an extended arpeggio should precede the scale. It is only necessary to accent somewhat sharply two or three harmonic tone3 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 For instance, the second, third, fourth, out rather more than the others. and fifth measures of the following example can be played with an It
is
by no means
essential that
unbroken use of the pedal always slightly accented: Chopin
if
the
flat,
occurring in the right hand, be
Berceuse.
Andante. 8va
IS#r^
%va.
^^Bjjp^jp^i^i Jn=£
-.0=-,
1_
Scales in octaves
may
also be executed in this
way.
THE PEDALS OP THE PIANO-FORTE. In the following passage from Beethoven's Sonata
71
in
major, Op. 53, seems to be particularly appropriate :— thereby produced
the veiled
Allegro con brio.
*=^
BEgi
*=fc
r^E
igEEEEEE At/.
One
of the
most charming
effects
when
on the piano
is
that of the echo.
the dampers are raised from the strings an echo is heard returning the call with the characteristic timbre of the The instrument is naturally even more responsive in echoing its voice. If one calls into the piano
own
tones.
sustained.
high, and
numberless echo.
when
the damper pedal is This effect is particularly applicable to tones which lie rather can be used in Liszt's compositions especially in almost The trill furnishes one of the finest effects of the instances.
Every tone
figure can be heard as an echo
If the following be played
:—
Vivo.
ff
h— fourth measurcs-at heard as an echo in the second, third, and therefore later on. This method first very faintly, but gaining in strength eeho-tr.ll the former is to blend with the if the finger-trill ineffective; must be pUyed when must at first be played ff and diminished to pp, to begin again In and finally cease entirely, only as as
the
softly
possible
somewhat slower tempo, accelerando and crescendo
e.
g.
THE PEDALS OF THE PIANO-FORTE.
72
decres.
poco
accel.
rit.
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.
course, supposed to possess the ability to play the
trill
The player is,
of
ff as well as pp.
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
Not only the
his
trill
Hungarian Fantasie,
etc.
remarkable effect in concerts, not only passages produce because they are beautiful in themselves, bu they seem mysterious to the hearer, who is not able to discover how they are produced. Suc*h
by playing an arpeggio ff with raised dampers; then, after pause, without lifting the pedal, playing the same The pp can be still further arpeggio, somewhat more slowly and pp. 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.:
Another
fine effect is gained
8va
(The second time slower and pp; the same
in
minor.)
consequence of the foregoing rules, it may be stated, not without hesitation and with much reserve, that the pedal may be used momentarily with every tone figure if the tones following its use be played with
THE PEDALS OF THE PIANO-FORTE. sufficient strength
This
The stronger these
73
are given, the better
is its effect.
particularly the case in major scales where great brilliancy is the required e. scale in major octaves in Weber's Invitation to the is
Dance;
also,
in
stormy passages minor
Concerto in
like the
following from Mendelssohn's
Molto allegro confuoco.
•-•-#
^JEE^ ii.
rJ§l8ElEE±y
H. an octave lower
-*-—
1.
This intermingling of tones can be particularly employed in comof wild and gloomy character, but it should never be positions allowed to last too long, else the effect becomes harsh and in the extreme.
Where
the figure demands rolling or swelling effect, frequent short strokes of the pedal, resulting in trilling movement of the foot, are
more
desirable than too long
In the
finale to the
pressure at one time.
Sonata in
Pastoral Overture, Op. 126, by Heller, this be employed with fine effect e. g. :—.
Heller
minor by Chopin, and in the method of using- the pedal can
flat
Pastoral Overture, Op. 126.
Molto
allegro.
two measures entirely lose their charIn this and in similar cases the crescendo
It will be observed that these
acter if the pedal be not used.
thus acquired
is
most valuable adjunct
in
producing
climax.
Players
THE PEDALS OP THE PIANO-FORTE.
74
technic enabling them to steadily increase the strength of tone can sustain the pedal many measures, particularly in the middle portion of the instrument.
who,
like Rubinstein, possess
In giving as an example of this use of the pedal, the following minor, Op. 31, it must be clearly passage from Beethoven's Sonata in understood that
as
an extreme
sible is
it is
by no means
illustration to
taken model show that what sometimes appears imposto be considered as
not always so in reality
Allegro. |Sr.
H.
*P[ j} Quasi staccatissimo.
^^^j^^^jft Ai^fe^^Alzg^ \f
l.
h. an octave lower.
r+'III 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
use of the pedal were to be
Critics who admire prescribed in all similar cases and for all players. such tours de force by the virtuoso are often the first to condemn the It must be clearly understood means by which the effect is produced.
that
it is
only allowable in passages of the highest excitement, and then
THE PEDALS OP THE PIANO-FORTE.
75
only to those whose endurance and strength of touch are so
as to admit of of tone
is
The
constant crescendo.
neglected, the
us
in
far
us
instant that this steady increase of the pedal becomes unbearable,
none but players possessing the highest degree ever attempt such an effect. so that
developed
of technic should
In
this connection the question of locality comes into consideration. In large halls, virtuosos carry the use of the pedal to much greater extreme than in small rooms. the principal tones are out
When
with sufficient strength, the unrelated tones soon disappear, and only those essential to the harmony are clearly heard at distance. It often
seems in large spaces as though
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 Mozart's father, in his violin school, recommends the artist to distance. consider the size of the room in which he plays, and particularly In playing solo, one must consider performance of the trill. He says
small room, In the place where rapid trill will have the played. is an echo, or if best effect; in large hall, on the contrary, where there slower trill will be better." the hearers are somewhat remote,
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
to natural temperament, equal temperament, so called in contradistinction of the the difference between them being that in the latter the relations are tones to each other are true in only one key, but in that key they
the intervals are equally true in all absolutely true, while in the former as true as in the one key of the natural scale. keys, but in no key are they
tuned only in equal temperament, which was wrote his introduced in the time of Bach, who, it is well known, two of each in every key, for the "wellpreludes and fugues,
At present the piano first
forty-eight
is
his intention that they should be tempered clavichord," thereby showing It is an equal use of all the keys. played upon an instrument admitting both Bach and of tempered instruments impelled lack this that possible of their suites in the Handel to write the numerous consecutive numbers
same key.
THE PEDALS OF THE PIANO-FORTE.
7G
The system
of equal
certainly less true than that of so faulty as some scientists would
temperament
is
natural temperament, but that it is matter of fact, the differhave us believe is by no means proved. As 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 overIn an tones when one of two related strings is set into vibration. orchestra, where possibly the violins are heard in C, while at the same
and the
horns in G, the natural temperament would be of no value, especially as no wind instrument is in itself entirely true, and even the most reliable vary in pitch through
time the
flat clarinets
play in
changes of temperature.
The most frequent
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 intervals
make an
fault
entirely different effect, because they appear in different
surroundings
e.
g.
Andante.
Je
~^S
&-t
32:
arr
J5&1
tt#£L
The diminished
&—\
10
than the major second (7), and the augmented sixth worse than the minor seventh The ). impression produced by any interval is dependent on the interval which The purest consonance can ear if it appear precedes it. in the wrong place, and this is easily explained: Every interval intersects the air
by
third (2)
invisible lines.*
unds
When
new
interval
is
heard the air
again divided into lines which correspond to the new likeness to those of the the lines of the second interval show is
first
in-
they harmonize and no disturbance results if there be but little conflict ensues which strikes the ear uncorrespondence or none at all, terval,
pleasantly.
comes
to
*This
If the interval last sufficient time, this
an end, the is
air adjusts itself to
illustrated
and rendered
momentary struggle the new conditions, and only then
visible
by
the
well
known experiment
of
Chladni, in which sand strewn upon glass plates is made to assume distinct figures, violin bow. when the glass is thrown into vibration by means of
THE PEDALS OF THE PIANO-FORTE. does every interval sound like e. g. :— solve in either way Adagio.
=3
be
This
1=5
its
enharmonic
77
interval, so that it
can
r*
^=fei=I^^ZEl IF
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. is
In practice
distinction
not in the manner
is
felt
between enharmonic
tones,
though
musician feels the by acoustics. difference between dissonances which resolve upward and those which resolve downward and instinctively anticipate the resolution up or down, In this way distinctions occur which even contraas the case may be. esta lish
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 :— dict the laws of acoustics
^1
JF^jF^SF^F^
Since Helmholtz acknowledges that Joachim plays the violin in considers the tone of an equal temperament and Bach declares that he 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 is faulty. what is correct seems less correct than that which absolutely
The
subtleties of the natural scale
seem
to be of little avail for prac-
at present the tempered scale is almost universally regarded the different keys. as the compromise needed to meet all the exigencies of
tical use,
and
It often
happens in piano transcriptions
of organ compositions, as low tone must be susthat
well as in original compositions for the piano, harmonies are played by the tained as pedal point, while changing
same hand above
e.
g.
THE PEDALS OF THE PIANO-FORTE.
78
8va....
Allegro.
R. H.,
rr
j.
i—•-*
•&&
L. H.
mv=
F*
A.
-tr*—
B.
Mr
^rr
C.
If the pedal
becomes confused;
if it
Mr
f>
in the ordinary manner, as at A, the passage is not sustained to its be released, as at B,
The only way to secure 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 full value.
be desired to use the pedal second time without breaking the sustained tone, raise the foot slightly, and then bring it down again
if
it
as quickly exercises possess less
as
This
possible.
extremely brief touch of the dampers
on the different strings: The high strings vibratory power than the low strings, so that this action of
different effect
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 shown at
pedaling as follows:— .".
.^.
the preceding example, each with the where this use of the pedal is indicated as
lines of
C,
THE PEDALS OF THE PIANO-FORTE. The oftener the foot is lowered and strings sound— it almost seems as though
raised, the
more
7!)
freely will the
the stroke of the dampers aeted If, for instance, in the last three
favorably in prolonging their vibrations. measures of the Nocturne in major by Field the pedal be used with of the first measure sounds fuller in the every eighth note, the low
end than It
is
even
The
if it
had been used with every quarter
not necessary that the tones over the bass should be very high lying rather low can be silenced while the bass is sustained.
example of minor
finest
tasie in
note.
this is the following passage
from Mozart's Fau-
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 of pedal points are point occurs in the bass, where the great majority can be given found. Brahms, Variations No. 9, Op. 24 As
The advantage
examples of the Nocturne in
Hondo
major, No. 4; Mendelssohn, of the Presto; Beethoven, Sonata in Capriccioso, at the beginning of the last Tempo. major, Op. 53, particularly in the beginning
Field, close
with long tones of medium pitch in order to The first renew (aufzufrischen) the tone and also to cause it to vibrate. at (a) in the following effect he gains by using the pedal as indicated Ins singer changing effect produced by the resembles It example. sustained tone. his string during register or the violinist Rubinstein employs
it
way In the vibrato the foot must press the pedal lightly only part and this result* Id down. The strings are alternately checked and freed, of sympathetic tones, Slid he continua appearance and disappearance this
is
also helped
by the
friction
of the of the woollen threads
damp*
THE PEDALS OF THE PIANO-FORTE.
80
which tends to keep up their vibration. citement which suddenly concentrate on one tone it manner of pedaling to give it an unexpected warmth on the
strings,
timent, resembling the vibrato in the voice Lento.
>-&-
In passages of exis possible by this of feeling and sen-
THE PEDALS OF THE PIANO-FORTE.
!M
J44
^**3ffi
RTO
S3
81
Adagio.
=1=n
^-^-E:K22.-&Z
fVHH+rfl In the second and third measures the in order to attain the
trill is
played with both hands
possible strength;
measure
in the fourth
the right hand plays alone decrescendo and ritardando, while the foot With faultless technical execution, the trill sounds trills the. pedal.
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 Wanderer, to call to us is
from the depth:
thou art
not, there
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 comIts improper employment, as, for example, in the case pletely silenced. of changing harmonies in the bass, is, together with the common neglect
to take the pedal after
The
pedaling.
to
or chord, the
greatest evil of such
most frequent cause
of faulty
fault is that the pupil, and,
it
may
be added, too often the teacher, does not discover the origin of the
often give great attention to using the pedal at the If the in which it is used. proper place, but not enough to the manner stroke of the pedal is to be short, the pedal notes should be provided
Both
confusion.
with staccato signs
e.
g. .•—
Possibly this
manner
of per-
intended by the direction, Pedale grande, at the begin oing the Philisof the Finale in Schumann's Carnival Scenes (March against
formance
is
tines).
in the construc-
seems appropriate to mention several changes increased tion of the damper pedal which have in view its
Here
it
utility in
artistic playing.
Great hopes were at one time entertained of the Kunstpedal (art-pedal its compliinvented by Zacharia, but these were disappointed through is In this pedal the damper-frame cated action and want of simplicity. is acted upon by different divided into eight portions, each one of which
THE PEDALS OF THE PIANO-FORTE.
82
movements such
way
of four pedals, which can be either used singly or coupled in that all the dampers can be removed from the strings by one
as in the case
with the ordinary pedal.
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 elsewhere. It is most effective when used to sustain high tones against lower Its
not so successful, because such tones as happen to be overtones of the sustained low tone are also prolonged.
staccato tones;
In
its
the reverse
is
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 way for all other compositions, those passages, for instance, which range throughout the entire orchestra to Genoveva, by Schumann, the accome.g., the motive of 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 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 as
its
four divisions
factor in the
and various movements— hence
its
disappearance
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 Ehrbarof Vienna, of which the latter seems to be the more successful.
The
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 effect of this pedal is to
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, Should it be desired, they can only receive mention in this connection. more thorough review of them will be published at some future time.
THE PEDALS OF THE PIANO-FORTE. The
last effect of the pedal to be considered is its
action of the keys.
83 effect
upon the
When
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 in receives string
The
stronger blow.
effect of the pedal is to
reality
the dampers from the strings, and this produces 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. lift
Many
the manufacturers, in order to secure an easy action, dampers too light, and the consequence is continual confusion of tones, resulting from strings insufficiently silenced.
The mechanism of the dampers is, unfortunately, not equally good The best is that in which they are attached to in all makes of pianos. heavy frame which falls by its own weight upon the strings. Less effipianos in which this frame is wanting, and many pedal effects will be less successful on such instruments than on those possesscient
is 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 by continued use, loses its spring, which
ing
it.
thus failing to press the dampers closely to the strings. When the case, since the dampers move horizontally to the strings instead
elasticity,
this is
of vertically, they do not fall upon them by their own weight, so that 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. faulty action of the pedal, it becomes unsuitable for the player, and is particularly injurious to the Not only does the ear become vitiated by continual dissonances, student. since there is no guide for the correct performance but the technic
When, however, an instrument has
suffers,
effect when the Btringa legato having the same receive are insufficiently damped. The scant favor which upright pianos from teachers as instruments for practice can therefore be ascribed not
of the legato, staccato
alone to
its
weak
and
bass,
but also to
its
action. imperfect damper
of upright however, that modern manufacturers in that the damper frames are pianos have largely remedied this defect, now so constructed that each damper has its individual spring. It
must be
said,
THE PEDALS OF THE PIANO-FORTE.
84
action responds more readily if the pedal be used before the key can be done with good effect when struck. pianissimo chord is
The
is
The final chords of the Adagio from Beethoven's pause. played after Sonata in minor, Op. 2, can be given with much more delicacy by using the pedaling (6), instead of (a) Adagio.
Thus pedal
in speaking of the pedal, only the damper, or so-called loud has been understood. The second pedal to the left of the damper far,
pedal, commonly known as the soft pedal Verschiebung), remains yet to In grand pianos its effect is to cause slight movement be considered.
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 It is to softer tone. wishes when the softer tone
the tone
being of
than his fingers alone are able
The character of which is not struck,
to produce.
somewhat altered, since the string the same pitch as the others, vibrates slightly in sympathy, lending is
also
something of an harmonic character.
avails himself frequently of this
means
Stavenhagen, the virtuoso,
of expression,
and by
produces the Prelude it
charming effects in compositions of an elegiac character, e.g., in I) flat major by Chopin. Employed too frequently the effect is cloying. The use of this pedal is generally indicated by una corda one string) its discontinuance sometimes by due corda (two strings) by tre corde During its use care must be taken not to play forte, (three strings). since the single string cannot bear as strong 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 softer tone. By this construction of the pedal the harmonic producing timbre of the tone is lacking, but its mechanism is more precise than that of the older appliance by which it not unfrequently happens that the
THE PEDALS OF THE PIANO-FORTE. keyboard since the
is
carried too
hammer
still
far,
so that
85
two tones instead of one are heard.
strike the strings of the next tone as well as
softer effect
its
own.
third pedal, the old produced by pianissimo or flute pedal, which has recently been revived by the piano manufacturer, Ludwig Bosendorfer. This is placed in the middle between the two is
other pedals.
shove
Its effect is to
strip of flannel attached to
frame between
the strings and the hammers, so that the latter strike the strings through the flannel, which greatly diminishes the strength of the the
moment of percussion. This pedal is Adam, in his School for the Piano, designates
being damped
very old pianos; In these celeste.
damping
lightly strung instruments, however, acted so powerfully that the quality of tone was
changed, which used it and that tion
tone,
at the
old,
is it
probably the reason that
was Anally omitted,
of the instrument
rendered
it difficult
arising
from
artists
string
found in it
Pedale
this
kind of
immediately of that time seldom
especially as the altered construc-
introduction of iron
frames
of application.
To Herr Bosendorfer belongs the merit of having practically applied the pianissimo pedal to the modern piano in spite of mechanical obway as to entirely obviate the former change in the stacles, and in such
It has been repeatedly used in concerts with such quality of the tone. success that no uninitiated hearer suspected the employment of any especial contrivance; the character of the tone was so little altered that one
and
all
ascribed the extreme pianissimo effect to the
In case
its
use
arranged that by
is
desired for
side
movement
any length of the foot
skill of
of time, it
it
the player.
has been so
can be brought into
no outside pressure of the foot position and suspended, thus requiring This is of particular advantage for students, since to prolong the effect.
by
its
aid
all
monotonous but necessary
exercises,
such as
scales,
chord
with but passages, five-finger exercises, etc., can be practiced fortissimo, sense of hearing or that comparatively little annoyance to the student's 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, sharp minor by Beethoven. and the first movement of the Sonata in old pianos frequently possessed others e. pedal, the which was imitated the bassoon; another, the great drum,— g., one which bell pedal; one to imitate blow on the sounding board; effected
Beside
by
th
damper
cymbals and other such
infantile contrivances,
now happily
obsolete.
THE PEDALS OF THE PIANO-FORTE.
86
CHAPTER The question
as to
easy one to answer
"The
pedal
if
we
IV.
when
would be verythe pedal should were to say, with the old Schools for the Piano
always to be used when indicated, and never where the
is
proper signs are wanting."
This
for several
rule,
reasons,
because some composers, taking
is
it for
by no means
satisfactory:
granted that thos
who
first,
play their
the pedal properly, fail to give directions for its use; secondly, because even the best composers do not set down the signs with sufficient care; and thirdly, because the signs themselves are not adapted to indicate with exactness precise
compositions possess sufficient intelligence to
manage
use of the pedal.
Where no
are given the student is indeed without signs at 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 It requires great deal of independence to act will-
of observing them.
Schumann's practice of fully against the composer's express directions. placing "Pedal" at the beginning of many of his compositions as direction that of
many
it
be used at the player's discretion
composers,
who
It is signs for its use. notation of the pedal.
as those for style
is
much
safer
than that
their compositions with numerous but faulty not difficult to discover the cause of this imperfect fill
The writing down
and expression,
is
of the signs for its use, as well the last task of the composer. When,
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 for
however, this stage of his labor
is
Too often the expression, are written down with lamentable inaccuracy. care bestowed upon beauty of melody and correctness of harmony is rendered of no avail by the
common
fault is to write
false
down
of the author himself.
Another
these signs at the desk, possibly without at the instrument. If the pedal is to be noted exactly
having tested them 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
Then
should be played again, this time without interruption, to verify the correctness of the signs, after which they may be written down in ink. Both times the proper movement must be observed, since pedal.
it
the pedal can be used
much more
frequently in slow tempo than in quick
THE PEDALS OF THE PIANO-FORTE. If the composition be played too slowly if too fast, not often too often enough.
tempo.
87
the pedal will be noted
better reason for the unreliability of the ordinary pedal signs is that they are not adapted to denote its use with exactness. Their forms are such that they cannot designate with the minuteness still
requisite
the portion of the measure where the pedal is required. The composer conscious of this defect, gives himself none too much trouble as to where
he places them generally under the bass, but sometimes between the staves; sometimes merely near the notes instead of directly under them, The manuscript next falls into the hands of the just as he engraver, the signs
who
follows the example given by the composer and also places where the space allows, so that when the composition
finally
reaches the player it is not astonishing that he, seeing lack of order in the whole arrangement, feels at liberty to work out his own ideas instead of those of the composer. signs and their observance
Thus
is
happens that the divergency between even greater than when the manuscript first it
This leaves the composer's hands. by the fact that the signs, Ped. and
want
of exactness
also increased
is
occupy too much space
to be
used
The old designations, proper pedaling often requires. were without dampers, and con sordini, with
as frequently as
senza sordini, even worse. Generally speaking, the pedal is only indicated where the chord changes; it is very seldom found marked for successive tones
Thus, for example, in no edition of Field's Nocturne in major do we find that the pedal should be used of the first measure, but in all again on the second and fourth quarters
which belong
editions
it is
to the
marked
same chord.
as at a, instead of being
as at
:—
Ped.
Ped.
Ped.
marked
^^
Ped.
Fed.*
Ped.
In Mendelssohn's Songs Without Words
fresh use of the pedal
case of successive netes of the melody very rarely enjoined in the
is
be-
other similar
the case is the same in longing to the same chord, and in writing down the is to be regretted that composers, It compositions. rule bearing upon all (*aei should have adopted as for the signs
pedal, the principle that
as long as an unbroken use of the pedal is allowable Fed. where the chord begins the tones belong to the same chord; we find as to whether the where it ends, without any apparent regard and
THE PEDALS OF THE PIANO-FORTE.
88
melody
suffers or not
under
this
want
siderate rule has been the cause of
most
satisfactory
manner
being finely sung. successive notes of
of discrimination.
much
of performing
This incon-
The confused piano playing. melody is to give it the effect of
however, the pedal be sustained during several melody they will sound together, which necessarily
If,
of singing destroys the singing effect, since no singer possesses the power If the melody is to be sung by the instrument, several tones at one time.
the pedal must be used for each note the value of which is great enough to admit of being sustained while the foot is lowered and raised; in case
of short notes, it can, after due consideration, either be omitted or retained, since the fault is not so perceptible in short tones.
An
almost countless number of examples could be given to show how careless composers have been in allowing the singing effect of their melo-
want of thought in noting the pedal, and even dies to be spoiled by If this those of the highest rank are by no means free from this reproach.
unbroken use of the pedal were applied only to tones of the same chord at all events, they accord one with it would at least be bearable, since, Far otherwise when melodies moving by regular degrees another. For an example, the following passage of the scale are thu3 played. minor is taken from an edition of Mozart's from Mozart's Fantasia in Sonatas revised by Moscheles Adagio.
_^^^|
1™"™"^
,,„-,_,
_^_
must be acknowledged that such
use of the pedal is far less allowable than the one in the third chapter, in the case of Beethoven's Sonata in minor, and there given as an extreme example, only to be It
used under exceptionally favorable conditions. The rapid tempo, in connection with the fortissimo touch of virtuoso, alone renders possible sustained use of the pedal, and only the highest excitement can such
justify
the mingling of tones which thereby results.
Here, however,
THE PEDALS OP THE PIANO-FORTE.
89
Moscheles
in an edition expressly prepared for purposes of instruction recommends the same use of the pedal in passage especially charn.UM*""oier *^ lzed by quiet and repose.
The many sins in this respect which occur in this edition may be the more readily pardoned when it is considered that Moscheles' own
compositions have received no better treatment at his hands. however, be confidently asserted that so finished an artist as
It
may
Moechetea
never used the pedal as he himself has noted it. Not only he, but nearly have erred in like manner. composers, No less an' authority than Rubinstein declares most of the pedal signs in works t<> Chopin's
unreliable.
Even composers who can hardly
rest at
may
be
night for fear that their com-
be criticised for want of clearness write down with the greatest complacency the most absurd pedaling. If, in many cases, the pedal be used as they themselves have prescribed, the effect to the ear is positions
when
when
wet sponge is passed over one writes with ink on blotting paper.
like that to the eye
As major,
pencil drawing or
model
of bad pedaling the Largo from Beethoven's Sonata in Hallberger Edition, may be quoted,— the following passage
in particular
st**Trtxr^"rr' m*F&3=*===z=**= 3H
r-r-F
The pedal should be used thus:—
--•-
:flc
THE PEDALS OF THE PIANO-FORTE.
90 Ped. ed.
The present signs fail to show with exactness when the pedal is not to be used, and also fail in the contrary case, to indicate its prolonged use. In passages where they are wanting the player generally feels free to
make
own
use of the pedal, unless the composer interfere with categoric "senza pedale." This, however, only shifts the difficulty, since who is to decide how long the direction holds good in case the author his
the ban thus laid upon it? An unbroken use of the pedal can be similarly indicated by the direction "sempre pedale," but here fails to raise
again the difficulty
how
determine
long the "sempre" observed. continual dispute among pianists Thus, for instance, there is as to whether, in the concluding measures of the first movement of the is
to
sharp minor by Mendelssohn, the "sempre pedale" should hold good to the end or not. Some insist that the pedal should be new chord is introduced; changed in the second measure
Fantasie in
others contend that
it
must be held
steadily to the end, maintaining that
the misty blending of tones thereby attained produces characteristic effect peculiarly appropriate at the end of this ballad-like composition.
The following manner
of performance
between these two opinions the melody, press release the pedal,
down
still
After the
left
silently the octave
holding
down
is
suggested as
compromise
hand has played the of sharp, sharp, and then
the octave, as follows:
THE PEDALS OF THE PIANO-FORTE.
01
Andante. -#-
m-j
m=±--
'-&**&
^A
SB
ffis
SSI -pw.
2-
The following passage from Beethoven's Sonata
near the end of the
first
in
minor, Op.
57,
movement, can be played similarly
ggnupgfp^s^i -1—1-
^t^^EBmB I-cH
a==^:
;-o:
---
12.
i^B^gggffcw^^fcg
THE PEDALS OF THE PIANO-FORTE.
92
Adagio.
-*-
,if
In this way the pedal
unrelated tone
effect
f-Hi is
preserved and yet
mingling
of
avoided.
be more positively asserted that the "sempre pedale" at the conclusion of the sixth Song without Words is not intended to be obIt
may
served as there indicated
played as he wrote
Th
it
to be
it.
method
separate line,
recommended Blatter
Mendelssohn certainly never wished
fiir
of noting the pedal by means of notes and rests upon used in this work, was devised by the author and was to general
Musik, and
acceptance as long ago as 1863 in Zellner's
later (1864) in
Bagge's Allgemeine Musikzeitung.
Experience has convinced him that
it is
the only reliable way to It has been objected that
express clearly the intention of the composer. it render th 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 piece after having once played it through. Those,
however,
who wish
to really
study
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 single additional line should prove no undue difficulty to the pianist. Neither
necessary at
first
been mastered
to
study the pedaling
only after the fingering has
precise use of the pedal desirable, can only be attained by means of the new notation. is
and
this precision
such as are noted by N. B. in the two following examples, can only be indicated in that way:
Refinements
THE PEDALS OF THE PIANO-FORTE. Schmitt, Op.
15.
88
Mendelssohn, Lied Nr.
Allegro.
22.
Adagio.
,-lL
fee-!
SE5 55
^m
li
N.B.
E-*
ff*r
cc #-
-*-
Ipllpi!^^^
S^=s^gE!:
N.B.
All the different actions of
tlie
already shown, by musical signs;
foot e.g.,
tr
+r-
can be clearly represented, as i"T"T^
~~
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, He need only know the correct the laws of harmony would allow it.
the care of the composer. an When, however, the highest degree of finish has been attained, little prescribed as an arbitrary arbitrary use of the pedal can be as orders his fingering as well fingering; arrived at that stage, every artist as his pedaling in such way as to correspond to his own individuality. more than ordinary strength ol Those, for instance, who possess
value of the notes— the rest
is
the pedal. touch can go to greater extremes than others in sustaining long and constant Just as habits of correct fingering are formed by
THE PEDALS OF THE PIANO-FOKTE,
94
similar study in playing from study of prescribed models, so, by proper notation for the pedal, can the habit examples provided with of using
it
Even
and correctness be formed.
with freedo
most advanced stage
sometimes desirable to preLiszt is by no scribe the pedal as well as the fingering with exactness. means pedant, yet he does not hesitate in special cases to give an exact in the
who perform his works, that his own fingering has
fingering, thereby earning the gratitude of all
since they find, almost without exception, 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 or for PecL, the horizontal line being exfollowing characters: or instead of tended to the right as far as the pedal is desired, for the release of the pedal, the line being similarly extended to the left,
and
or
f°
strokes of the pedal.
snor
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
nounced that the great majority of teachers do not attempt use of the pedal. nascitur,
non
Jit,
are
so pro-
to teach the
in this connection, adopt the principle of poeta like the deceased piano instructor, Honzalka, who said
Many,
plan with the pedal is the same as that for the trill he who makes good trill or uses the pedal well must be born to it, and for that reason attempt to teach neither."
"My
One thing
is
sure
that by the present signs for the pedal,
its
proper
no simple mechanical function; the player must possess in an full understanding of the effect to be equal degree with the composer certain sense, he must often possess more intelliproduced—indeed, in 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. use
is
For be no
minuteness of the foregoing study will be seen to advantageous to the player than to the composer.
this reason, the
less
In addition, the player must be warned not
on technical grounds, for the foot.
of the foot
is
make
to use the pedal
merely
the action lighter or to gain support Since the heel alone rests upon the floor and the fore part held over the pedal in readiness to press it down, the foot, i. e.,
to
THE PEDALS OP THE PIANO-FORTE. particularly if it be small, ively seeks support.
This
is
is
95
apt in time to become fatigued, and instinn-
especially the case in performing compositions from one end of the piano to the other. Not
which abound
in changes only the foot, but the entire body seeks support, and this is but too often found In the The danger is greatest when the player is nervous and the ac! ton pedal. of the instrument heavy. common result of nervousness strength, and if in addition the action of the instrument
is
to diminish
is
heavy, the his wearied
more ardently desires support. When foot involuntarily sinks upon the pedal, he finds with relief that besides rest for the foot, the keys move more gaining easily; it is but small wonder that the pedal appears to succor him in time of need, or that he welcome assistance, especially as it covers unwillingly abandons such all gaps resulting from notes passed over by sustaining the sound of those On this last account the pedal is always welcome which are played. resource for those whose fingers are not sufficiently trained. trembling player
still
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 When this fault arises from such cause it
spirit of is
the concert room.
indeed
difficult
one to
remedy.
As embodying
the result of the preceding study of the pedal and
effects the following concise rules are added, affording
its
resum6 of the
foregoing chapters
must leave indispensable in all cases where the fingers the keys before the prescribed value of the note has been attained; e.g..'—
The pedal 1.
Q> 2. (jj 3.
4.
is
skips that must sound legato. succession of chords which are to be joined. In With extensions beyond the reach of the hand.
With
With
linmelody which cannot be sustained by the the hand moving to distance in playing an accompaniment.
the notes of
owing to ^5. In pedal points which cannot be sustained by the fingers. (r 6. In playing long tones which are interrupted by accompanying tones of the same pitch.
gers,
7.
When
taken of shortening the touch:— (a) to gain reft the muscles. touch (c) or to (6) to prepare the
the liberty
fresh strength;
is
THE PEDALS OF THE PIANO-FORTE.
96
For this the tone. beautifying must be used as often as the value of the notes allows; e.g. .*—
The pedal reason
it
a)
1.
fall
of
With
to allow the
dampers
to rise
and
continuance.
its
the longer notes
are mingled. (c)
means
desirable as
With every note long enough
during b)
is
With very
when
short notes
the long and shor
when they
note
are separated
of
by
melody
sufficiently
long pauses. 2.
means
As an
law^*i-
As
4.
of strengthening the touch.
aid in
rocurm
In producing echo
In the
PP
touch.
effects.
of the following in the latter ones entirely allowable still
first
it is
broken chords the pedal is somewhat less so, but it can
be admitted:— 1.
when
With
arpeggios in the middle and upper part of the keyboard the tones of the arpeggio harmonize.
With
"wide position" arpeggios which begin low in ponding to the harmonic order of the overtones. 2.
corres-
With
minor arpeggios which begin low but which begin with third, especially if the movement be rapid; the best effect of such arpeggios is that of the diminished seventh. 3.
4.
With
5.
With
arpeggios which
begin with
perfect major third or fourth, played rapidly and accompanied by strong harmonic tones.
admits of
In the
all
other kinds of broken chord passages
if
the composition
stormy character.
of the following cases of scale passages the pedal is enin the latter ones it is less so, but under certain conditirely allowable tions it is still admissible 1.
first
With
soft
ing arpeggio. 2.
With
tones while Its use is
descending scales which are preceded by
loud ascend-
high and played crescendo to the middle suitable harmonic accompaniment is played.
scales beginning
more daring when the
be employed for struck above— or
short time
if it
scale lies low, but
be played
pp while
even then
it
can
harmonic tone be
be begun pp, then rising molto crescendo into the at the same time it be sufficiently supported by harmonic if it
middle tones,
if
tones above.
Still
more daring
is its
use with double scales;
in these the
THE PEDALS OF THE PIANO-FORTE.
97
only admissible when the scales are played presto in connection with sustained^tones. The most daring use of the pedal, and which is only short time in presto by allowable for virtuoso, is to retain it pedal
is
unaccompanied
scales.
In such
case the pedal
must be
during
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 use the pedal momentarily in rapid playing with any tone-figure, in order to attain
more
brilliancy in major keys
Such players can even
and more passion
in
minor keys.
retain the pedal in playing rapid tone-figures
as long strength of finger is sufficient to make 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 rooms, taking
it
for granted that
the principal
in small
tones are struck with
sufficient force.
The
construction of the instrument has also an influence upon the
U3e of the pedal.
The pedal is not allowable in the 1. With tones which are to have 2.
Likewise
3.
To prolong the duration
With the slow With slow
scales
of notes separated
by
rests
which are
full value.
notes of
chord. 5.
staccato effect.
after slurred notes.
intended to receive their 4.
following cases:—
melody when they belong
and ornaments— also,
in rapid
to the
scales
same
if
the
in strength. player's fingers be lacking 6. In quick tempo in decrescendo passages. 7.
When
8.
In slow
the finest possible piano practice, especially
is
required.
in such passages
where the pedal
is
only allowable in quick tempo. confined to the high* The pedal is of almost no effect in passages tones of the piano.
The pedal must be used anew with every change
of
harmony, save
can be retained during changing that in the highest tones alone it music box effect be desired. monies if
liar-
THE PEDALS OF THE PIANO-FORTE.
98
The pedal must be taken after 1. With every low tone which ceding in order to avoid dissonance. 2.
It
in the following eases is
joined by the fingers to one pre-
In joining tones which the fingers are obliged to play staccato. 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 1. With pedal points which the hand cannot sustain. 2. 3.
When When
The
foot
it is
desired to
the tone
must
is
renew the
cases
tone.
to be vibrated.
when pedal point occurs in connection ornaments or when it is desired to use the pedal
trill
the pedal
with rapid scales or 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 speaking, with changes of harmony in the middle and bass tones. to
The foregoing rules are particularly recommended to those preparing Such will do well to memorize them, each one in connection teach.
particular illustration, so that in teaching they may have both the rule and its reason at hand, instead of an empirical direction to the
with
its
pupil to do so and so merely because
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 difficult,
they generally postpone
it
indefinitely.
It seems, however, hardly reasonable to limit it
who is how the
child
intelligent
enough
to learn to play
definite age ell can also under-
any
certain tact should be observed pedal should be used. by the teacher no rule should be given but the one appropriate to the cases arise different rules can be passage in question, and
stand
applied until the child gradually masters the varying uses of the pedal.
it
children have the disadvantage of not being able to pedal with ease; in the effort they make to place the foot upon correct manner of playing the body is thrown out of position, so that
To obviate this difficulty the author has devised pedal impossible. This consists of an ordinary stool with two holes in the upper stool. board, the space between them corresponding to the distance between the is
THE PEDALS OF THE PIANO-FORTE. two pedals; through these holes two pegs For greater convenience the the pedals. broader surface to the
present
foot,
and
og
are passed, which rest upon are pegs capped, in order to
to prevent all unsteadiness they
second board below. pass through similar apertures in In these boards notches are made corresponding to the pedal wires so that they can be brought close to the lyre. practical experience has proved that by means of this simple contrivance the use of the pedal is rendered
ticable to
even very young
prac-
pupils.
Without accurate signs
for its use the study of the pedal is at first
It inevitably tedious to all pupils, both young and old. be denied that it can be taught even under such
may
however,
disadvantage, as
more than ordinary experience has shown, but it certainly demands talent to use all the refinements of which examples have been given. This
who
is
by no means tantamount
to agreeing
has talent uses the pedal well; he Talent not suffice in gaining possible pedal effects.
Even
with those
who
who
has none uses
say: it
He
badly."
knowledge of
all
the most gifted cannot of himself exhaust
the possibilities art; genius itself develops more rapidly when assumes the experience of others as its birthright, or, in other words,
all it
seeks instruction.
The
artistic use of the pedal
can certainly be taught,
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. and that
this
Therefore, instead of saying, "He who has talent uses the pedal well," let us say, "He who uses the pedal well has talent."
Wtn. /A Keyser &* Co., Fhila., Pa.
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Schmitt, Hans The pedals of the pianoforte
UNIVERSITY OF TORONTO
