O

CO

CO

CO

Venino, Albert F A pedal method for the piano* New ed*

MT
J

PEDAL METHOD
NEW YORK

VENINO

EDW. SCHUBERTH & CO.

A PEDAL METHO
FOR THE PIANO

ALBERT

F.

VENINO

UNIVERSITY OF TORONTO

EDWARD JOHNSON MUSIC LIBRARY

IRew
JE&itton
50

ENLARGED BY A KEY ON PAGE

FOR INSTRUCTIVE PURPOSES

tfeto

EDWARD SCHTJBERTH &

Uontroii
t

CO.

C.

DIECKMANN

FORSYTH BROS.

H.

LE SOUDIEB

COPYRIGHTED,

1898,

BY

EDWARD SCBTT3ERTH & CO.

(The right of translation it reserved by the publishers^

TO
taatlliani /iDason

PREFACE.

The amount
volumes.

of criticism great pianists have

called

forth

would

fill

The touch x

intellectuality
left

technique, power, individuality, interpretation and of each have been carefully noted yet one point has been
;
:

the pedal the lifeuntouched, and that one of the most important, viz. giving power to the pianist, that which vitalizes a composition as the sunlight
vitalizes

dormant

colors, or the breath the

human body.
continually sinned against

Is

it

not time that this

much abused and

appendage of the piano should receive proper recognition, and be placed in

the front rank of obstacles in a pianist's career to be thoroughly mastered ? Many of the pianists use the pedal so very discreetly as to often produce

and uninteresting performance, while the majority of teachers do not instruct their pupils sufficiently in its use, either because there exists no
a dry,
lifeless

system or because they consider it of small importance. This was my personal experience as a student, and
several years spent at the Stuttgart Conservatory,
in Vienna, that I realized the great possibilities,

it

was not

until after

went to Leschetizky the wonderful effects, which

I

when

could be produced
painted in

by

the pedal.

How
me

different the
!

same

pieces, so often

heard before and since, sounded to

there

How much
life
!

grander and broader,

warmer

colors

in fact,

a thus important part, Liszt,

That the pedal plays Rubinstein and Paderewski have clearly proved.
is

endowed with

The proper
acquired

use of the pedal

one of the most

difficult

things to be

by the piano
pianists

student

difficult in itself,

and rendered more so because

there has been but imperfect light thrown on the subject

by those gone

before.

Some

have

pedaled

by

instinct,

others

illustrated its use to a favored

few of

their followers, but

have analyzed and no one has left us

the legacy of a printed analysis and an adequate system for our guidance.
I have long believed that the correct use of the pedal could be thoroughly

analyzed and systematized, and the product of that conviction

is

this book.

ALBERT

F. VENINO.

DEFINITIONS

AND RULES,

THE PEDALS.
The principal pedals of the modern piano are the piano pedal, or soft for the left foot, and the damper pedal, for the pedal, right foot (erroneously called loud pedal, as it is often applied to pianissimo parts).
1.

2.

3.

They are pressed down either to diminish or prolong the tone. (a) The soft pedal acts by reducing the number of strings struck by
(b)

Or

it

the hammers, as in the grand piano (ana corda). softens their impact, either by interposing a strip of in the square piano, or

felt, as

(c)

By

diminishing their length of blow, as in the upright piano.

The damper pedal removes the dampers altogether (tre corde) and permits the player by judicious management with the foot, so as to avoid confusion of sound, to prolong and augment the tone by vibrations of certain This pedal strings in sympathy with the ones struck and in higher octaves.*
4.

thus enriches and beautifies the tone.

POSITION OF THE FEET.

5.

(a)

The

player's right foot should be placed so that the toes only jest upon the damper pedal. The heel of the foot should remain

firmly upon the floor.

(b)

This rule also applies to the left foot when the soft pedal is to be used. When not used the foot should be placed to the left of
it,

6. 7.

so that when required it can be placed upon the pedal without raising the heel. The right foot should always be in position over the damper pedal. The position of the feet should be carefully attended to before

beginning to play.
*

See Helmholtz's Lecture on Physiological Causes of

Harmony in

Music.

HOW

TO USE THE DAMPER PEDAL.

8. Having assumed the proper position, the pupil should practice using Care should be the pedal * by a downward and upward motion of the foot. taken that the up motion is made rapidly allowing the pedal to come up all the way, but without taking the foot off entirely, else a thumping noise is
',

produced.
9. The following pedal signs will be employed to designate precisely the use of the pedal.

(a)

(b)
(c)

The down motion is indicated thus: \, and signifies down the pedal. The up motion thus /, signifying to raise the foot.
:

to press

A horizontal line,

thus: -

sign indicates the continuation of the " Thus: next " up sign is reached.
,

$>

-y
Continue.

attached to the

"down"

down

pedal until the

_/ \_

is again directed to the "up" motion (/), must be accomplished rapidly, and simultaneously 8, The "down" motion (\^) with the first tone in every change of harmony. somewhat upon tempo, and consequently upon the duration of said depends

The pupil's as stated in which,

10.

attention

first

tone.
11. In the

two following examples the pupil will observe that, while the motion always occurs at the instant of striking a key, the " down'" "up" motion in the adagio tempo occurs some time after the key has been struck, denoting that the pedal must not necessarily be used while the fingers hold the
key, while in the allegro tempo the

"down" motion

occurs

much

sooner.

Adagio,

Allegro;

other words, the hands (fingers) and foot should not descend together, but as the fingers strike the foot is raised, then pressed down after. The pupil must endeavor by faithful practice to overcome the natural tendency Or,
in

of lowering hand and foot together, and perfectly master the somewhat unnatural movement above described, for if this is thoroughly acquired and applied automatically the basis of correct pedaling is laid.
The word " damper " before pedal will now be dispensed with, as pedal is universally undermean the damper tor loud) pedal, and is the one of which this book will treat (with the " exception of a few remarks on the third pedal "). tin the author's opinion these pedal signs should leave no room for doubt as to the precise moment of pressing: down, continuing and raising the foot, and are an improvement on the old
*

stood to

system,

viz.:

Fed. and

*,

as that cannot be used so as to indicate Syncopation of the pedal

12).

SYNCOPATION OF THE PEDAL.

of using the pedal as shown is termed " syncopaof the pedal," i. e. y the down pedal tion (analogous to the accented note) occurs after a key (keys) has been struck, thus falling \>n a weak beat or a
12.

The manner

fraction of a beat.

Compare the following

Q

illustrations :

Syncopation of notes, 2 3 4 i i,

sync,

of the Fed

3,

1234

PRELIMINARY EXERCISES.
13. Practice the following exercises with each

hand

separately, the left

hand an octave lower:

Andante
.

"
Play the following exercise with each hand, using the second finger The "down" motion must occur before the key is released. throughout. This applies to all of the exercises.
14.

Allegretto.

The two following exercises are alike in melody, but differ and duration of notes, consequently in the use of the pedal also. tempo
15.

in

c. Adagio.

d Allegretto
.

.mo.de.rato.

16. Exercise e should be practiced with great care, as it is of frequent occurrence and very difficult. The pedal as used here is termed quick synThe effect to be produced is a continued sound of the c. (See copation.

Appendix A.)

C.

Andante.

(For the

left

hand

only.)

Beethoven.
i

*EI-

>

.M

-h

-h

and a most discordant and disagreeable sound results, and very naturally so. We have two entirely different chords, each distinctly exclusive, each demanding to be heard alone, and therefore each requiring a separate pedal. Thus:

22. It follows, then, that as long as the harmony remains unchanged the pedal may also continue unchanged, ^fhe pedal, however, is not always to be used where the harmony in itself would permit it, but rather where a desired
effect

requires

it.

23. The pupil will next distinguish the different registers of tones. In the bass, or lower register, are found the longest and thickest strings, which consequently produce greater volume and continue to sound longer than those
in

higher registers.

^
24. In the middle register the strings a*e shorter and thinner, and will therefore produce less volume.

J
25.

The higher up we proceed

strings, consequently less

the shorter and thinner do we find the volume and duration of tone.

26. The pupil having carefully gone over the above, will readily comprehend why diatonic or chromatic progressions will sound most disagreeable and obscure in the Bass when blended by the pedal.

10

27.

Whereas

in

the middle register they sound less disagreeable and

incomprehensible.

28.

While

in the higher register the pedal

can hardly be dispensed with.

pupil should repeat the foregoing pedal experiments many times, listening attentively, until absolutely satisfied as to the effect produced.

The

29.

The modes
(a)
(b)
(c)

of using the pedal

may be

classified as follows;

(d)

The pedal governed by Tempo and Duration of Tone* The pedal governed by the Harmonic Element. The pedal governed by the Melodic Element. The pedal governed by the Pitch of Tones, the higher
ones.

tones

permitting of more constant use of the pedal than the lower

NOTE.
it would seem as though it required hundreds of rules to cover all contingencies of pedaling, which must necessarily be governed and influenced by the endless varieties of rhythmic, melodic and harmonic combinations. The author, however, deems it expedient to establish as few rules as possible, and the pupil upon investigation will find that all questions which may be raised in regard to pedaling can be conveniently placed under and governed by one or the other of the above rules or the few exceptions which follow them.

Upon first consideration

A.

THE PEDAL GOVERNED BY TEMPO AND THE DURATION

OF TONES.

30. When the tempo is slow the duration of tones is naturally longer, and the ear has better opportunities to apprehend each individual combination

of sounds.
31.
is

To avoid

confusion of sounds discordant

and

offensive to the ear

it

advisable to change the pedal on all tones (from whole notes to sixteenths inclusive) that express harmonic or melodic progression.

EXERCISES.
1 . Very slow.

2. Adagio.

Mozart.

32. In the following examples the tempo is increased, thereby shortening the duration of tones represented by eighth or sixteenth notes to such an extent that they may be executed without change of pedal, as the discordant sound does not become apparent. Syncopation of the pedal, however, must

take place on the first tone or chord following such short tones, whether in the Bass or Treble.
*

3. Allegretto.
!j

l/Rrti*

||

AM

AJ=

For an explanation of measures 9,10,

11 ,.14,16; see'Tbtyr governed by Har tnonic element. "

B.

THE PEDAL GOVERNED BY THE HARMONIC ELEMENT.

33.

The use of
(a)

When
When

the pedal is dictated by the harmonic element, as follows : a great volume of tone is required during repetitions of

the same chord.

[b)

Example

3,

measures

9,

10 and 11.

the accompaniment consists of harmonic figuration through which the melody seems to float, or into which it is woven.

This

is

generally the case

when

the Bass remains unchanged

during one or more measures or when the Harmonic element is predominant. See also example 3, measures 14 and 16.

14

example 5 the pedal must be changed at the beginning of each as to continue it for more than a measure (two or three) would admit measure, of too much diatonic-melodic progression, which must sooner or later become In the last measure it is self-evident that the final chord offensive to the ear.
34. In

must sound distinctly alone, hence the change of pedal on the

6.

A flat.
Chopin.
op. 27, N92.

Lento sostenuto.

35. In the above example many pianists change the pedal once, and some even twice, in a measure. Essipoff and Leschetizky use the pedal as given here. Paderewski syncopates the pedal at the beginning and middle of

measures 3 and 4 respectively.

15

Sometimes a melodic succession is based upon some harmonic combiand therefore the pedal need not be changed. In the following nation, example the low F (being the foundation upon which .the entire harmonic combination rests) must be sustained with the pedal until a change of harmony Thus the pedal takes place, as it is obvious that a harmonic effect is desired. adds volume and richness of tone color otherwise unattainable.
36.

7.

Rnbin|tein

37.

The Berceuse

of Chopin

is

another example in which the pedal

is

governed by the harmonic accompaniment regardless of the melody. measures will suffice to confirm this.

few

Chopin. Op. 57.

C.

THE PEDAL GOVERNED BY THE MELODIC ELEMENT.

38.

When a melodic succession, based on some harmonic combination, without or with but little accompaniment, it being evident that a appears melodic and not a harmonic effect is desired, the pedal should be syncopated with each melodic progression.
39.

hoven desired a harmonic

is

In the following example one might be disposed to think that Beeteffect (as the first appearance of the melody given,
of

repetition
is

melody

repeated a

dispel at once all

chord) were it not for the fact that this of times with an accompaniment so simple, as to doubt and stamp it as a purely melodic progression.
the

same

number

16
9. a

Allegro assai

Beethoven
>P.

2, NO

40. In the following example, although the

six

measures,* the pedal must be governed during 'progresses diatonically and lies in a lower register.

harmony remains the same by the melody, as that

10.

Etwas langsamer.

Schumann.
Op.28,N?3.

The pupil must carefully follow the pedal signs, as the changes do not occur exclusively with the melodic progressions, but sometimes with the accompaniment, as in measures 7 and 11.

D.
41.

THE PEDAL GOVERNED BY THE PITCH OF TONES.

The pedal can be applied
the

when in

board), and
*

to scale passages (diatonic or chromatic) upper registers (extending down to about the middle of the keycontinued so long as the Bass or harmony remains the same.
is

In this instance the Bass

an Organ point, for an explanation of which see Appendix A.

17
11.

Andante con, Var

VAR.

Haydn

12. VAR. V.

Schubert..

Op.l42,N9

3,

18
VAR.II,

i3.Leggiero

brillante.

19

Chopin.^

Op^ll,

J>

lj>

20
42. The following example of glissaudo from Liszt's 10th. Rhapsodie, should be pedaled as follows
:

Diszt.

Vivace.

43.

As

a further example of pedaling chromatic runs,

different selections

from

Liszt's

F-minor Concert-study

may

the following prove of interest

not only to the student, but also to the virtuoso.

(a)

The

scintillating run in the right hand, and the B-natural in the Bass (the latter should be accentuated octave very strongly), cover a multitude of sins; the successive

glittering,

hand would otherwise sound very badly with The examples from this Concert-study one continuous pedal. must be played very rapidly and fluently, else the pedal cansixths in the left

not be used as designated here.

Liszt. Concert Etude,

minor.

OS SIA.

tn area to.

21

(5)

In measures 1 and

2, the

foot

is

raised

when the harmony

in changes, and remains so during the chromatic progression 3 and 4 In contradistinction to these, measures the Bass.

demand a

continued longer, but must be changed on the first and third beat in order to preserve a certain amount of clearness.

rushing,

roaring effect.

The pedal

is

therefore

(c)

In

this,

For an explanation of the reason

the succeeding measures, see

the pedal

is

continued for five and three-quarter measures. it is then omitted, and also in
76.

accelerando e rinforzando

^ IF
te

r*

;
r.f

MMi

fil

23

dolctssimo egualmente.

(d)

Here the pedal is omitted for the same cause referred to in example c. In measures 4 and 5, the pedal is pressed down after the C in the right hand has been played. In order to accomplish this properly, it must be held a trifle longer than its actual value. This, however, is not necessary in measure At the end of 3, as the B and C are an octave higher. measure 6, the pedal is syncopated on account of the lower register and chromatic progression.

25

-/V

EXCEPTIONS
44.

A.
registers,

The pedal
Also,

is

sometimes Msed during scales in lower

is

when a

chaotic or rumbling effect

45.

desired.

when

desiring to

make

a crescendo

more marked and

forcible.

4G.

By making
is

frequent changes of the pedal, a sufficient amount of

clearness

preserved.
Liszt.

18 Allegro moderate.

2nd Ballade

26

47. In the following example, the

tempo

is

extremely suggestive and char-

acterizes the entire composition, Presto tempestuoso, turmoil, ruin, destruction,

Presto tempestuoso

Chopin-Liszt

Example 20, illustrates the use of the pedal in scale-passages to crescendo -more powerful.
2tt

make

the

VAR.V.

Schubert. Opl42,N93

27

EXCEPTIONS

B.

48. The student must have observed that, as a rule, the pedal has been continued unchanged so long as the Bass (which generally establishes the 19 and 20, harmony) remained the same, with the exception of examples 18, which illustrate scale passages in lower octaves.

In examples 21 to an exception to this general rule. the Bass remains the same, it becomes inharmonic, creating and 22, although an Organ-point. The effect to be attained, is that or nearly that produced in the Bass should be the organ; i. e., in both examples the
49.

We

now come

upon

sustained throughout, without running the harmonic progressions above it into each other. The pedal must be syncopated very rapidly on every recurring D.

21 Poco maestoso.

>L

'.}

&-

10

Jf%

j-1

28

NOTE. Tne peuaJ may also instead of on the D.

toe

syncopated on the upper notes ol tne uass

i.

e.,

on A, B,

C, etc.,

PEDAL EFFECTS.
best explanation of what is meant by 'pedal effects" will be found in the illustrations. To create them requires not only a thorough knowledge The most difficult of of the pedal, but also a certain amount of ingenuity. " such effects to comprehend are what Leschetizky calls ' ' little pedal pressures No definite rules to govern them can be given. (kleine Pedal-Drucker).
50.

The

'

may

They seldom, if ever, extend past a quarter beat in a measure, and be said to be employed to prevent too much dryness. The 52. The following example is one of the most difficult in the book.
51.

The syncopation, pedal pressures here extend through two quarter beats. which takes place in measure six, must be executed very rapidly. That the
accompaniment must be played
lightly need hardly be

mentioned here.
Rubinstein
Op. 7O.

Measures 9 and

10

same as 5 and

6.

29

Beethoven
24.

Allegro con trio.

Op.2,

N9

3.

NOTE.

brilliant

The above manner of playing and easier.

this ending

is

advocated by Leschetizky.

It certainly is

more

53. The pedal can be very effectively used during scale passages ascending from the lower octaves into the higher, sometimes ending with a chord. The pedal should be continued through the entire scale, but must be either Such cases are syncopated or cut off short with the chord or last tone. found frequently in cadences.

Chopin
Ballade, Op. 23.

30
Liszt. Hungarian Fantasie, 26.

Liszt.
?

Ballade

54.

times used
55.

In contradistinction to examples thus far shown, the pedal when the blending of different harmonies is desired.

is

some'

Such pedal effects are of rare occurrence, but nevertheless exist, and by both composer and pianist. The effect to be created is a nebulous atmospheric one a blending of thought and vision, which can only
are sanctioned
;

be produced
56.

by one continuous

pedal.

Schumann's Papillons, Op. 2, is a series of twelve pieces. A few bars of the last number are given to illustrate the above remarks. In this part, the ancient "Grandfather's Dance," (which, according to an old custom, always

31
closed an

amusement)
it

waltz-theme as

forte, but grows softer and softer; until, finally, while the gradually dying away, the clock strikes six ; the old dance music grows fainter, a soft chord, and all has vanished as in a dream. In this example the pedal is pressed down and continued during twentyseven measures.

number begins
music
is

is played by the left hand, while the right plays the first This appears in the beginning of the collection of pieces.
,

Schnmana.

57. The Trio of Bach's minor Gavotte (played una corde and pianissimo) another example wherein the pedal can be useed from beginning to end, without change. Instead of detracting from the piece, the pedal thus applied rather heightens the effect.
is

58. The entire part rests upon the organ point imitation of a Bagpipe (Musette).

in the Bass,

and

is

an

Bach

32

minor Gavotte of Bach, the pedal (In the Trio of the as this piece lies in a lower register. ) quite frequently,
59.

must be changed

The

similar, in so far as all

pupil will observe that these examples (Bach and Schumann) are have an Organ point in the Bass, and the harmonies of

each consist, with but few exceptions, of two chords

Tonic

and Dominant.

60. From the above, we may conclude that only such pieces as contain few, but closely related chords, can be treated like the above illustrations. The effect, however, is not always desirable.

61. These pedal effects remind us of the landscapes of certain modern masters, whose principal charm consists not in clearly expressed form, but a peculiar atmospheric poetry of treatment. 62.
little

What can be accomplished in the way of unique pedal effects by a thought and study the two following examples, (as performed by

Paderewski), will illustrate:

Schubert -Liszt

63.

This example from the Schubert-Liszt Serenade

is

given here as found

in the present editions, except that the author's pedal marks are underneath At the end of the second measure, Paderewski's execution is as the old.

follows

After striking the

changed. measure.

last

octave the lower

is
is

The upper F

will then

sound alone, and

tied to the

released and the pedal F in the next

33
the same pedal effect In his Menuet a 1'antique, Paderewski introduces an octave below the long sustained D, then releasing it as by holding the
64.

follows

A 31.

m.<L

34

TWO-FINGER EXERCISE.
65 The following exercise has been prepared expressly for this work by Mr. William Mason, the object being to show how a sustained and singing tone, with perfectly pure legato effect, may be accomplished through the The co-operation of hands and foot or heys and pedal in combination. is simply the diatonic scale of C major, and it is surrounded melody by an

arpeggio accompaniment. It is intended for two fingers only, used in alternation. to be corresponding fingers of both hands better to use the second finger, beginning with the right hand,
plays the melody or scale.

and these are

At

first, it is

The arpeggio accompaniment

is

which always played with the

fingers in alternation, beginning with the second finger of the left hand. When this has been brought easily under control, the third, fourth, and fifth fingers, and even the thumbs, may be brought into service ; thus widening the

two

scope of the exercise by including the use of attention to the directions which follow
:

many

muscles.

Give especial

C with the second finger o the right hand. Press the on the second half of beat one, and hold it firmly until beat four, damper pedal when it must be immediately released. Just before its release, the left hand, on the second half of beat three, silently and without striking, presses the key which had previously been struck with the right hand, and holds it lightly but
66. First, play

firmly until the proper time for playing the melodic tone of the following measure. These directions for playing apply equally to every measure throughout the exercise. 67. Practice the first measure alone and by itself, until so thoroughly mastered that the fingers, hand, and foot, move as automatically and unconsciously as the feet do in the act of walking. When this result has been attained,

the mind will be at liberty to occupy itself with the constantly changing harmonies of the arpeggio accompaniment in succeeding measures. 68. Second, do not omit, or postpone until a later period, the observation of the marks of expression, viz. f. andjP., cresc. and dim., ritard and. accel., as well as manner of touch, dynamic effects of emphasis and accent ; and while playing listen carefully to the effects of light and shade resulting therefrom. Otherwise, habits of omission will be contracted, and these are just as hard to overcome as are faults of commission. Hence, while observing the foregoing directions for practice, give simultaneous attention to these essential matters. 69. Third, and finally, the second finger of the right hand, which plays the melodic tones, should fall upon the keys with more force and weight than is used in the accompaniment it should also be allowed to linger with a slight This is in order to give prominence and a pressure on the key for a moment. effect to the melody, while contrast and perspective are accomplished singing by playing the arpeggio accompaniment with a lighter and less sustained In one or two places, however, the harmonic effect is pressure upon the keys. made prominent by a greater emphasis of the tones of the accompaniment, as indicated by the marks of expression. An artist with musical temperament and poetic sense, produces a beautiful effect with the simplest means, such as a plain chord or scale progression ; and in order to attain so desirable a result, it
:

is

at

marks of expression should no time be overlooked or postponed, but always carried out into act, and ihus artistic habits are cultivated from the outset.
essential that in practice attention to the various

35

Pattern

32* Andante espressivo.

Put down the pedal

beat four.

This

is

and lift it precisely at in every measure throughout the exercise. to be done

at the second half of beat one,

this tone is necessary, after the close of the piece, and be finally heard alone, dying away after all other tones have ceased. Give also especial and careful attention to the repeated change from the right hand to the left, back to the right, and so on, occurring in the last four measures.
a.

The key C is struck here far the last time, and a strong accentuation of
it

so that

may continue to sound throughout and even

70. Students, who have thoroughly mastered the study by William Mason, have no trouble in giving a correct rendition of the following example from Rubinstein's F-minor Barcarole. The pedal is syncopated on the E-fla and sustained with the thumb until it is again (1st measure) of the left hand,
will

struck

by
is

E-flat of the next measure,

process

This is tied to the \n the accompaniment. on which the pedal is again syncopated. The same repeated in measure 3.

the right hand

thumb

Rubinstein.

71.

A similar example
is

is

found in the G-major Barcarole, by Rubinstein,

with the exception that the prolonged note remains in one and the same hand, while the pedal is changed. In measure 1, the foot is raised precisely on the

down again until the first beat of the next of pedal on the last beat of measure 2 is necessary, on account of the change of harmony. In measure 3, the pedal, which has been syncopated on the E-flat, is released precisely on the fourth beat, and pressed down again on beat five, (thus isolating and prolonging the melodic tone). It
fourth beat, and

not pressed

measure.

The change

IB then continued until the change of harmony takes place on the second beat of the next measure, when it is again syncopated and continued until beat Here the foot must be raised, as the melodic progression would become five. blurred. The pedal is not pressed down again until after the E-flat of the

next measure.

The balance of

this

measure

is

pedaled like measure

3.

37

34.

Rubinstein. Barcarole,

li

THE HALF PEDAL.

sometimes happens that a Bass tone is to be sustained as an organwhile the same hand may have changing harmonies in the higher registers. point, There is, of course, but one way to sustain it, namely with the damper pedal
72. It
:

But one continuous (unless the instrument has a third or sustaining pedal). would blur the harmonic changes, while syncopation of the pedal would pedal Between these at once discontinue the Bass tone which should be sustained.
two extremes there is a happy medium, which consists in permitting the foot This is to come up only half way, and pressing it down again rapidly.
repeated as
73.

many

times as the case

may

require.

the

may be combined "up and down"

half pedal

The

designated
signs.

by

a horizontal line drawn through

-/Jj.
is

Thus:

The following example

fourth Nocturne.

illustrating the above,

the last measure of Field's

the

Explanation

The pedal can be continued from

A in the

Bass until

the G-sharp (second beat) is reached, when the half pedal should be used with Great care must be observed that each sixteenth note and with the final A. the foot
is

not raised too high, else the Bass tone

A will not continue to sound

Higher tones (shorter strings) are readily discontinued by the The organ-points under exception B, differ from this use of the half pedal. last in so far as in the former the organ-point is repeatedly sounded, affording
to the end.

the opportunity of changing the pedal.

35.
Nocturne.

In Part TIT. of this book, an example from the A-flat Prelude of Chopin is given to illustrate the use of tho sustaining pedal. It will also serve as an example for the half pedal.

38

Another very charming pedal effect, which, though familiar to many may be entirely unknown, to the amateur is caused by the upper These harmonic overpartials, or harmonic overtones of a fundamental tone. tones are produced by strings which vibrate in sympathy with any given tone or tones (best, lower tones). That is to say, if the C string of the great octave is struck with sufficient force (the dampers being raised by means of the pedal) its upper partials will after awhile become audible (the higher tones less so
74.

good

pianists,

than the lower).

Illustration:

if
Strike with force.

Upper partials or
overtones.

75. Students are referred to a lecture

by Helmholtz on "Physiological

in Music," which thoroughly explains this phenomenon. After reading this, they are earnestly requested to experiment for themselves, the following illustrations being deemed sufficient to arouse their interest and

Causes of

Harmony

to spur

them on

in search of other effects.

36?

ft J

39

The foot is prolonged by the pedal until the great C is pressed down silently. raised on the first beat of the third measure, when these upper partials will continue to sound as though reflected by the mute tone. Mr. Arthur Friedheim has kindly contributed an example (from his
unpublished Concerto), which illustrates the practical application of the above.

While the orchestra

it

sustains the D-flat major chord, the pianist plays the

same

in different registers (abbreviated here). Finally, the keys forte^ repeating The the notes in the last measure are pressed down silently. represented b^
effect is that of

beautiful diminuendo of tone.

an organ heard in the distance, and the entire example Carefully observe the pedal signs.

is

37,

Largo.

Arthur Friedheim

.*

Pull Orchestra.

THE OMISSION OF THE PEDAL.

76. The most beautiful of all pedal effects is that obtained by leaving out the pedal at the proper moment. This somewhat ambiguous remark is to be understood as follows continued use of the pedal, even if syncopated at
:

the proper time, is just as certain to become monotonous as a continued repetition of some melodic progression or rhythmical figure. It is, therefore, of the to introduce at the proper moments what might be termed greatest importance

breathing spells, (Luft) or, in plainer words, discontinue the use of the pedal for a shorter or longer period, as the case may require. To know when to intro;

duce these breathing spells, how long to continue them, and when again to use the pedal, requires a most artistically gifted nature, one endowed with anaesthetic sense of sound.

40
77. In cases
cally,

where the tempo

?)

(chromatically

the pedal

slow and the melody progresses diatonimay be used during two or three such prois

gressions, but the foot must be raised either on the third or fourth melodic tone. 78. In the following illustration from Schumann's "Carneval," both the old

and new system of pedal-signs is given. The former, as found in the present editions of this example, floods the entire piece with pedal, causing at times The author's mode of a blurred effect and many unpleasant dissonances.
pedaling eliminates these bad effects. Explanation At the end of measure 6, the foot should be raised with the In measures 8, 10, 11 and 12, the pedal is last quarter note (breathing spell).
:

discontinued

also because the

not only on account of too much diatonic melodic progression, but change from such persistent use of the pedal is as refreshing as a
after several days of continual sunshine
all

summer shower

appears we enjoy it

for when the latter again ; In measure 13, the pedal is syncopated on the of the accompaniment, as the change of harmony takes place at that instant.

the more.

Schumann
Carneval.

38.

79. The B-flat major Prelude of Chopin, given here in its entirety, will give the student further opportunities of realizing the effect of these breathing It has been chosen, because it is so often pedaled either with one conspells. tinuous pedal throughout each measure, or syncopated on each beat. Both ways are unsatisfactory, because such pedaling becomes obtrusive and monotonous. The mode of pedaling adopted here, tends toward making this gem what it no doubt was intended to be by the composer a trans-

parent, aerial, tone-poem.

Praeludium.
^

39.
Cantabile,

42

43

fc
'55

ti
I A_
A

44

TKTKTK+

THE SUSTAINING PEDAL.

80. A few words in reference to the sustaining pedal, which is destined to become of great value to the pianist, will not be amiss. It is found between the damper and soft pedal, and will sustain a note or chord, but will not sustain runs

The third or sustaining pedal, (unlike its many short-lived predehas come to stay; although it has not received universal recognition cessors), yet, because but few piano manufacturers have applied it to their instruments. In the concert room it has scarcely been used at all, perhaps because pianists
of any kind.
its importance. While it is true that there are comfew instances where it can be applied in our past and present piano paratively music, there is no doubt that its importance will influence future composers.

have not fully realized

ITS USE.
81. This pedal is applied when it is desirable to sustain a single tone or chord exclusively, and must be pressed down after the key (keys) has been It is only affected by the soft and struck, but before it has been released. when they have preceded it. In the few examples given here, damper pedals

the pupil will perceive the advantages gained by using the sustaining pedal. The tone sustained by this third pedal enables the performer to change the damper pedal as often as necessary, or dispense with it altogether, without
affecting the sustained tone.
82.

The

foot should be pressed

down upon

the third or sustaining pedal

immediately after striking a key, and should remain down so long as it is necessary to sustain the tone, or while repetitions of the sustained tone occur.
40.
Presto.
Schumann. Op.28,NQ3.

46

reached.

The octave D may be The octave G is

sustained until the fourth beat of measure four

is

treated in the same manner,

i.

e.

sustained until

the fourth beat of measure eight.

The damper pedal used

in measures 3

and 4

heightens the eifect.

Praeludium
41.
Allegretto.

Chopin. Op, 28, N9 17.

83.

Some

pianists play this part of the prelude

(Example 41) without the

using the damper pedal instead ; others, again, use the The author has here given both, sustaining pedal without any damper pedal. and would add the soft pedal, if that were possible.
sustaining pedal,
>42. Andante sostenuto.
Saint -Saens., o p .22.

47
sust. Fed.

f-

ULf

Off

A.

15

84. The value of the sustaining pedal must become apparent, as it is in the Bass of the above example with the almost impossible to sustain the damper pedal and give a clear, clean rendition.

85. Bach's A minor organ prelude, transcribed for the piano by Liszt, is a most interesting example for the " sustaining pedal." The A in the Bass needs to be sustained for more than a page, but in what way ? The damper The sustaining pedal, if used pedal can under no circumstances be used. immediately after striking the A, will also catch the C above it and sustain To make a slight pause in the upper voices and strike the "A" that also. alone would probably answer but, at the same time, cause a break in the upper The only proper voices, which would hardly justify the means employed.
;

is silently to before beginning the prelude and hold press down the with the sustaining pedal. Do not raise the foot until the Organ-point In this manner, the desired effect will be obtained. has ended.

manner
it

HINTS TO PUPILS.
fair decision

86. First master all technical difficulties before applying the pedal, as no with reference to the effect of the pedal can be arrived at while

stumbling through a piece.

87.
88.

Study Harmony thoroughly. Determine whether the Melodic or Harmonic element

is

predominant,

and govern the pedal accordingly.

89.

Do

not spoil staccato effects

by a

too liberal use of the pedal.

4S
90.

Allow yourself plenty of time before deciding whether or not to us

Test carefully, playing a part over

the pedal.
91.

many

times

both with

am

without pedal.

Your
it.

pedal, use

If

If a passage sounds well wit' ear must be supreme judge. are in doubt, do not hesitate to ask the advice of som you

good

pianist.

92. Pupils should at least be able to play the Sonatas of Clementi, Haydi and Mozart well before attempting to use the pedal, except when guided by CM

experienced teacher.
93.

search further.

After having studied the examples in this book, be not contented, bu Endeavor to find similar examples, and make yourself absolut

master of the pedal, remembering that to the earnest thinker and searche comes the reward of discovering tone-color effects, which to others must alway

remain obscure.

APPENDIX
.

*'

A.
c

..'.'

An

Organ-point
the

is

a tone which

is

sustained in a certain voice during a

(or throughout) irrespective of the the latter proceed from one chord to progression of another and perhaps, from one key to another, the sustained note must necesAt such moments it is sarily from time to time disagree with their harmony.

section of the

Theme, Phrase or Period,

other voices.

As

Inharmonic.

(Goetschius* Material used in Musical Composition.)

APPENDIX
.

B.

% The pedal-marking found in our piano music, impresses one with the idea that the composer did not think of tone-color while composing; but jotted down the pedal signs here and there after having finished the piece, simply to comply with a custom.

color

Franz Liszt was one of the few composer-pianists in whose mind toneand effect originated simultaneously with his musical ideas, and who took

pains to

its duration exactly where he desired it. true to a certain degree, no doubt, that composers give bui little thought to the pedal, rather leaving it to the judgment of the performer " 4 ' it is also true that many of our so-called Revised-and-fingered-by musicians;

mark the pedal and

it is

While

make matters

worse, by showing an utter lack of thought in reference to it, at; well as a total disregard of euphony. Pianists rightfully pay no attention to such indications of the pedal, but
use
it

according to their

own judgment

but with pupils

it is

not

so.

They

that the pedal as marked is always correct, very naturally take it for granted submitting to the superior wisdom of the composer, reviser or editor, and, in

consequence thereof, often

fall into

gross errors.

Eminent teachers and pianists take, no doubt, the greatest pains when and yet I do not hesitate to say that, were they to fixing the pedal signs, own pedal marked pieces, they would hardly use the pedal as play any of their they have marked it. And why ? Simply because pianists, as a rule, syncopate the pedal nine times out of ten, and that cannot be designated with the old
system of pedal signs. In many editions, the pedal marks are as often entirely wanting as they For example, would any pianist for a moment think of are misplaced.
playing the
first

Yet

this is revised

eleven measures of Beethoven's Op. 110 without any pedal? by a well known musician. Such instances are by no means

solitary occurrences,

but can be found by the hundreds.

use the pedal properly and with good effect is an art in itself, and requires earnest thought and study ; a well-trained musical ear and good judg-

To

ment being indispensable

A safe rule for general guidance, and

requisites.

one which covers most cases,

is:

"use

the pedal only when it will sound well." It is to be understood, however, that the performer following such a rule must possess the above mentioned qualities.

50

KEY.
1st Ques.

What

are the principal pedals of the

modern piano?

> .

Ans.

1.*

2d Ques. Ans. 2.
3d Ques.
Ans.
3,

How How
a.

are they used?

does the soft pedal act in a grand piano ?

does the soft pedal act in a square piano ?

4th Ques.
Ans.

How
How

3, b.

5th Ques.
Ans.

does the soft pedal act in an upright piano

3, c.

Ans.

6th Ques. How does the damper pedal affect a piano ? It removes the dampers altogether from the strings.

7th Ques.
pedals Ans.
?

"What position
a and
b.

should the feet assume when using the

5,

8th Ques.
Ans.

What motion of the foot is employed when using the pedal ? downward and upward motion.
Which
of these is the

9th Ques.
Ans.

most important ?

The upward motion.

Ans.

10th Ques. Why? Because when made use of

at

the proper

moment

it

prevents th6

blending of different harmonies.

llth Ques.
Ans.

When

should the upward motion be used?

wij,h

Simultaneously

the first tone in every change of

harmony.

12th Ques.
Ans.

Upon what
the

Upon

does the downward motion mainly depend? tempo and consequently upon the duration of the fir,-t tone

in

every change of harmony.

13th Ques.
in the exercises

What

difference is

found in the mode of applying the pedal

than in the former.

Ans.

marked Adagio and Allegro on page 6 ? In the latter the downward motion occurs sooner

14th Ques.
Ans.
*

What term is applied to this Syncopation of the pedal.

mode

of pedaling?

Answers not given here may be found by

referring- to

paragraphs as indicated

51

16th Ques.
Ans.

Give a concise explanation of the above term.

As

the fingers strike the keys the foot is raised instantly, then pressed

down

after.

16th Ques.
Ans.

How

As

long as the

long may the pedal be continued unchanged? haYmony remains unchanged.

Why do diatonic or chromatic progressions sound most and obscure in the bass or lower register when blended by disagreeable
17th Ques.
the pedal? Because the strings are longer and thicker, producing greater mlume Ans. tone and continuing to sound longer than those.in higher registers. of

Ans.

18th Ques. What conclusion is drawn from the previous answer ? The higher tones permit of more constant use of the pedal than

the

lower ones.

19th Ques.
Ans.
29.

How may

the

modes

of using the pedal

be

classified?

20th Ques.
Ans.
31.

How

should the pedal be used

when

the tempo

is

slow ?

Illustrate.

21st Ques. Ans.

32.

How when
Illustrate.

the tempo

is

increased?

22d Ques. How should the pedal be used when governed by the harmonic element?
Ans.
33, a

and

b.

Illustrate.

23d Ques..
Ans.
38.

How

should the pedal be used when governed by the

melodic element?
Illustrate.

24th Ques. pitch of tones? Ans. 41.

25th Ques.
Ans.

How

should the pedal be used when governed by the

.
.

Illustrate.

When
45.

is

the pedal used during scales in lower registers ?

44 and

Illustrate.

26th Ques. What exception is there to the general rule of applying the pedal as stated in 48 ? When the bass is inharmonic, creating an organ-point. Ans.
Ans.

27th Ques. What is the desired effect in such a case ? To sustain the organ-point with the pedal.
28th Ques.

How may
syncopating

Ans.
Illustrate

By

that be accomplished? the pedal on each repetition of the orqan-&

<int.

52

29th Ques. Is the pedal ever used during scales ascending from the lower registers into the higher ?
Ans.
53.

Illustrate.

30th Ques.
Ans.
31st

Are

different harmonies ever

blended by the pedal ?

Yes, but not frequently.

Ques.

What harmonic

progressions

would permit

of

such

pedaling?
Ans.
illustrate.

Such

as contain few, but closely related, chords, as tonic

and dominant.

32d Ques.
Ans.
tf

Explain what

is

meant by the
to

It consist-; in

permitting the foot

half pedal ? come up only halfway and pressing

down again
Ans.

rapidly.

33d Ques.

When

is it

When

desiring to sustain

applicable ? a bass

tone.

Ans.

34th Ques. Why not use the pedal continuously? Because that would blur the harmonic changes.
-

Ans.

35th Ques. Why not syncopate the pedal? Because that would at once discontinue the bass
Illustrate.

tone,

which should be

sustained.

What is meant by upper partials or harmonic overtones ? Certain tones produced by strings which vibrate in sympathy with any given tone or tones.
36th Ques.
Ans.

37th Ques.
octave
?

What

are the upper partials of the

string of the great

Ans.

See illustration, page 38.

38th Ques.
Ans.

Explain the difference between Exs. 36 a and 36

6.

See explanation, page 88.

39th Ques.
77.

When

should the use of the pedal be discontinued?

Illustrate.

TABLE OF CONTENTS.
PART
The Pedals
Position of the Feet
I.

PAO
5 5
6

How

to

Use the Damper Pedal

Pedal Signs Mode of Application Syncopation of the Pedal

6 7
7
7

Pedal Experiments

Tone Registers ....

PART

II.

The Modes of Using the Pedal A. The Pedal Governed by the Tempo and the Duration of Tones " " " " Harmonic Element B.
f).

11

11

" "

"

D.

"

" "

"
"

Melodic Jtlement Pitch of Tones

13 15

10

EXCEPTIONS.
A.
B.

The Pedal Used During Scales in Lower Registers The Pedal Applied During an Organ Point in the Bass

25
27

PEDAL EFFECTS.
Pedal Pressures Their Application The Pedal Applied to Scales Running from Lower to Higher Octaves Blending Dili'erent Harmonies with the Fedal
Little

28 28
29
30 82 34
37

Some

of Paderewski's Pedal Effects

Study by William Mason The Half Pedal

. .

The Upper
Practical

Harmonic Overtones Application by Arthur Friedheim

Partials or

38
38

The Omission of the Pedal

39

PART
The Sustaining Pedal Its Use
Hints to Pupils Appendices A and

III.

48 43 47

Key

48 50

Venino, Albert F

piaxu

FACULTY OF MUSIC
LIBRARY

DATE DUE
FEB
1 5
\

HOURS
MON-THURS 8:30-9:45 FRIDAY 8:30-5:45 SATURDAY 10-4:45