SCHOOLOF THE

PIANO PEDAL

BY

W. S. B. MATHEWS

$1.25

BOSTON: OLIVER DITSON COMPANY

"'TV

^x^ (Lovl^- TlA^h-c^.

HAROLD

]

RYBRIGHAMY" Wi

PROVO, UTAH

Digitized by the Internet Archive

in 2012 with funding from

Brigham Young University

http://archive.org/details/schoblofpianopedOOmath

SCHOOLOF THE

PIANO PEDALCONTAINING

Explanations of the best usage, and fully illustrated by numerous selections from

the works of Bach, Beethoven, Chopin, Franz, Heller, Liszt, Schumann

Tchaikovsky, and many original studies; ranging in difficulty

from the second to the fifth grade. An indispensable

supplement to all Systems of Technic and

Series of Graded Studies.

BY

W. S. B. MATHEWSAuthor of "The Great in Music," "Studies in Phrasing," and Associate Editor of

"Mason's Fundamental Piano Technics."

BOSTON

OLIVER DITSON COMPANYNEW YORK CHICAGO PHILADELPHIA

C. H. DITSON & CO. LYON & HEALY J. E. DITSON & CO.

Copyright, MCMVI, by Oliver Ditson Company

^rjiladelfctya-

rpryn t TDp AP VBRIGHAM YOUNG UNIVERSITY.

PROVO, UTAH

tntromtctovo

THE REASON OF THE BOOK

The Pedals of the Pianoforte are a vital part of the tone-controlling mechanism, since they add to the

tonal effect elements which cannot be put there from the keyboard. To pedal well requires long practice,

close hearing, and constant and many-sided attention. To pedal a piece well is more difficult than to write

out a really artistic fingering for an individual hand.

The pedals are the more indispensable because, since Chopin, composers do not generally write the

notes in all instances as they are meant to sound, but as the hands have to play them. The remainder is

left to the uncertain indication of an occasional " lSeb. " here and there in the music. Artistic pedaling, there-

fore, is not only a question of making the playing sound better, but often of bringing out an idea which but

for the pedal would not be heard at all. Pedaling is an art requiring as careful and as systematic study

as scale-work, arpeggios, or any element of the technic. Fine playing is impossible without the pedals.

Pedal technic requires to be taken up very early in the course, during Grade II at latest. During

this grade all the manners of using pedals explained in Chapters III, VII, VIII, IX, and X have to be

carefully mastered, including the theoretical explanations appertaining to them. The pupil is to learn

all of the pieces of this grade. During Grade III he begins again and reviews all the matter and the easy

music in all the chapters, including Chapter XI. In Grade IV he again reviews all the theory and the

pieces and adds those of Grade IV. In Grade V, the same. Thus at the end of the book he will have

completely covered the usual pedal uses at least three times, and should begin to have a degree of taste and

discretion in this direction, too often wanting.

Every piece studied must be thoroughly memorized and by reviewing kept in memory. In Chapters

VII, VIII, and IX the pedal is begun with the first study. In Chapters X and XI the notes are first learned.

Every lesson is intended to sound like a piano recital, even when the pieces are easy. It is not a ques-

tion of "How much?" or "How many?" but "How?"

As will be seen from the Table of Contents, the musical pieces are from the finest sources in the litera-

ture of the instrument. I prize particularly the number of easy pieces, of exceptionally fine grade. The

pieces from Bach might have been more numerous to advantage, but space lacked.

I am indebted to Mrs. Blanche Dingley-Mathews for several easy pedal studies for children, some of

them very unusual in the suggestions they offer. I am also indebted to her assistance in more careful mark-

ing of pedal effects in various of the studies and for various suggestions for making the Pedal Method more

practical for use with children.

PEDAL MATERIAL FOR CHILDREN

Early during Grades I and II, the subject of pedal must be taken up seriously. Begin with the exercises in

Resonance, Chapter III. Go on with the Ear exercises in Chapter IV. Then proceed to the Studies in Chapter VII, Nos.

8 to 12, inclusive. In Chapter VIII, the Mazurka of Chopin, Tchaikovsky Waltz, and the Intermezzo from the Chopin

Funeral March are available for small hands. Chapter IX is very important. Within these grades the pupil should learn

Foerster's Peace oj Evening, the Schumann Soldier's March, and the Bach A Little Prelude in C minor. Chapter X is

even more important, the illustrative material for small hands being Tchaikovsky's The Pet Bird's Funeral March,

A Tender Dream, and A Little Humming Song by Schumann. The Studies for pedal on silent chords, Nos. 54 and 55,

are very important and available within these grades. When this kind of foundation has been laid, and the pedal has been

habitually applied in all pieces studied, according to the artistic demands of the music, the more difficult material will

follow, according to the judgment of the teacher.

Contents

INTRODUCTORY: THE REASON OF THE BOOK

EASY PEDAL MATERIAL FOR CHILDREN

CHAPTER ONEThe Pedals and their Relation to Music i

CHAPTER TWOClassification of Pedal Uses i

CHAPTER THREEThe Sympathetic Resonance of the Pianoforte -. 2

Examples of Resonance. Nos. 1 to 5 3,4, 5, 6

CHAPTER FOUREar Exercises 7

CHAPTER FIVE

Pedal Notations 7

CHAPTER SIX

Foot Technic 9

Pedal Extension for Children 10

CHAPTER SEVENPedal for Melody Legato 10

Studies. Nos. 8 to 13 11, 12, 13

Canzonetta in D Major. Heller 14

Pedal Study in B Minor. Heller 16

Romance of the Evening Star. Wagner Liszt 17

My Peace Thou Art. Schubert-Liszt. (Abridged) 19

The Last Hope— Melody. Gottschalk 21

Melody in F. Rubinstein 22

CHAPTER EIGHT

Pedal for Connecting Basses with their Chords 25

Mazurka in B Flat. Chopin 26

Her First Waltz. Tchaikovsky 28

The Avowal. "Carnival." Schumann 29

Grand Prelude in D Minor. Heller 30

Intermezzo of the Funeral March. Chopin 32

Album Leaf. Schumann 33

vii

CHAPTER NINEPedal for Connecting Chords 35

The Peace of Evening. Alb. Foerster 36

Soldier's March. Schumann 38

A Little Prelude. Bach 38

Intermezzo from Nocturne in G Minor. Chopin 40

March Movement from First Novellette. Schumann 41

Largo Appassionato, from Sonata No. 2. Beethoven 43

Good Night, My Heart. Franz-Dresel 46

CHAPTER TENPedal for Atmosphere 47

The Pet Bird's Funeral March. Tchaikovsky 48

A Tender Dream. Tchaikovsky 48

A Little Humming Song. Schumann 50

Prelude in C Major. (Well-tempered Clavier No. 1.) Bach 51

Melody from Nocturne in G Minor. Chopin 53

Prelude in B Flat Minor. (Well-tempered Clavier No. 22.) Bach 55

Ave Maria. Arcadelt-Liszt 56

Ave Verum Corpus. Mozart-Liszt 58

The Prophetic Birds. Schumann 60

Prelude in A Minor. (Well-tempered Clavier No. 20.) Bach. 62

The Famous Invention in F. Bach 64

Prelude in C Sharp Major. (Well-tempered Clavier No. 3.) Bach 66

Intermezzo from First Kreisleriana. Schumann 69

Episode in Second Kreisleriana. Schumann 70

CHAPTER ELEVENThe Tone-sustaining Pedal 72

Pedal Point from Etudes Symphoniques. Schumann 74

Prelude in C Sharp Minor. Rachmaninoff 75

Cadenzas 76, 77

CHAPTER TWELVECurious and Unusual Pedal Effects 78-79

First Pedal Study with Silent Chords. B. D. M 80

Second Pedal Study with Silent Chords. B. D. M 81

CHAPTER THIRTEENThe Soft Pedal. (Una Corda) 82

Example from Schumann's "Warum?" 83

vni

g>rf)uxil *t tyt iltattu i^rtral

<£tyaj)tcr (But

THE PEDALS AND THEIR RELATION TO MUSIC

[ODERN pianos have generally three pedals: —The one upon the right is called the Damper Pedal, or simply The Pedal.

The middle pedal is called a Tone-sustaining Pedal; it is, in fact, a limited

form of the Damper Pedal.

The one upon the left is called the Soft Pedal.

In controlling piano tones for the expression of musical ideas, there are always two

things to think about: To start the tone properly (as to time, power, and quality) accord-

ing to the idea; and to end the tone at the moment when its office has been fulfilled. Both

these operations are primarily effected by means of the key; a touch starts the tone by

actuating the hammer; releasing the key ends the tone by permitting the damper to fall

upon the string. (The damper is a cushion of felt, which habitually presses against the

string to prevent it from vibrating.)

The pedals interfere with these results in several ways: The Soft Pedal diminishes

the power of tone expected from a given touch; the Damper Pedal secures the tone from

closure through release of the keys, and it therefore goes on sounding until its vibration

impulse is exhausted, or until the pedal is released. The Tone-sustaining Pedal does

the same for certain selected tones. It is possible, therefore, for the playing, however

well conceived as to keyboard manipulation, to be completely ruined by the pedals.

Moreover, the pedals afford a variety, of highly artistic effects, which are impossible

without their assistance. A piano can no more be played artistically without the pedals

than a horse can be well ridden without bridle or control..

The principles of artistic pedaling are now to be considered.

CLASSIFICATION OF PEDAL USES

[HEN the right-hand pedal is pressed down, all the dampers are held away from the

strings. If a tone is played while the dampers are thus raised, two results follow:

The tone continues sounding until its vibration energy is exhausted, regardless whether

or not the key is held. In addition to such prolongation of tone, various near relatives of the

tone volunteer to sound in sympathy with it, thus improving the tonal richness and beauty.

If several tones in succession are sounded while the pedal is pressed down, hurtful

confusions arise, destructive of the musical effect; hence in using the pedal it is necessary

first of all to learn accurately what to expect, especially in the accessory vibrations pro-

moted by the pedal.

Prolongations by means of the pedal fall into three classes: Melody tones, Bass tones

awaiting their chords, and Chords which but for the pedal are broken off while the hand

is preparing for the next ensuing chord. Each of these is explained in detail. (See Chapters

VII, VIII, IX.)

Sympathetic Vibration is desired for greater beauty of tone, and for what is called

"atmosphere"; also for a real confusion. (See Chapters X and XL)

All uses of the pedal involve all these different things, and owing to the preoccupation

of attention with the kind of effect immediately sought, the player often remains uncon-

scious of hurtful confusions in another quarter. Hence the discreet use of the pedal

begins with the doctrine of Sympathetic Resonance, and the art of hearing it and feeling

it, whether as an assistance or a detriment to the intended musical effect.

©THE SYMPATHETIC RESONANCE OF THE PIANOFORTE

Y Sympathetic Resonance of the pianoforte is meant the voluntary sounding of a

piano string, not actuated by a hammer, but awakened sympathetically by a

related string vibrating elsewhere upon the same instrument, or a tone played or

sung close by. Sympathetic resonance is the source of the "responsive" feeling which

fine instruments have to the player.

The ultimate ground of sympathetic resonance is the compound nature of Tone.

Every musical tone, besides the fundamental (.the pitch we think we hear), consists also

of various higher octaves, fifths, thirds, and ninths, which sound more or less over the

three and a half octaves next higher than the key sounded. These softer tones, which

we do not consciously hear, but which greatly enrich and beautify the quality of tone, are

in fact produced by segmental vibrations of the string, whose full length gives us the fun-

damental pitch of the tone. Several of these very soft "partial tones," as they have been

called, are capable of awakening to vibration their own strings upon the instrument.

The organization of this resonance scale of the tone is shown in No. i, and elsewhere.

The sympathy of these harmonic partial tones is a universal addition to pianoforte

effect, often of great beauty, but occasionally for most mischievous confusion.

Taking any tone as fundamental, its partial tones will be its own 8th, 12th, 15th,

17th, 19th, flat 21st, 22d, 23d, 24th, 26th, and 29th in the same scale. Or classified, its

own four next higher octaves, three fifths (12th, 19th, and 26th), two thirds very faint

[3]

(17th and 24th), flat 7th of its second octave (flat 21st), and the 9th of its third octave (23d

from fundamental).

In No. 1 the complete resonance scales of C, E flat, and F sharp are written out in

notes, as far as the nth partial. After learning these and being able to play them at call,

the student must work out in like manner the resonance scales of every tone in an

octave of the chromatic scale, taking one or two tones at a lesson. The resonances of

each tone are always reckoned in the scale of that tone, according to the scale numbers

written below the notes in No. 1.

"N91

C and its Partials E flat and its Partials

i I ^=frf=r0—*- £5 *=f mm ^

m15

17 19 r>21 22 23 24 26 29 15 17 19 t>21 22 23 24 26 29

8 1212

3 wtk

F sharp and its Partials

pi w\

\,2l 22 23 24 26 29

,„ 12 15 17 ^

ate i j r ££epi

When the foregoing can be found without serious difficulty, then break them up,

requiring the octaves at one time, the fifths at another, and the thirds and ninth at another,

until the pupil easily finds the resonances which should belong to any tone

The next step is to test these resonances, which may be done in two ways: First,

by holding a bass fundamental and sounding its partials one by one, and listening for the

response, as shown in groups in Nos. i (a), i (b), i (c), etc. When a degree of ease is gained in

this method, then reverse the process, holding one of the upper resonance keys and sound-

ing the fundamental very forcibly, holding the pedal for about a second, then releasing

it. The partial tone whose key is held will be heard, more or less faintly, according to

the individual piano, some being freer than others. This is shown in Nos. i(e), i(f), i(g), etc.

Take care to test whether the faint resonance tone heard is actually produced by the

string whose keys are held. This will appear if upon releasing the key the resonance

tone stops.

[4]

Before testing the octave resonances in combination, as shown in i (a), it is proper to

test each one by itself. Holding the bass key silently, sound one octave only, and listen

for its response. Then let up the bass key and put it down again silently and test the

next octave, and so on until all are done. Do the same with the fifths and thirds. The

second octave partial is often almost, or quite imperceptible ; it is, however, always present

in the tone when properly awakened. As a rule, only one ninth answers, the 23d from

the fundamental ; but occasionally the octave of this, the 30th, also responds. These will

answer as tested in i(d), but not as tested in i(j). The partial is too delicate to awaken its

string to vibration. All these resonances come out much better upon the very best of

concert-grand pianofortes, and in fact the ease and completeness with which these reso-

nances respond affords a very good measure of the vibratory qualities of an instrument.

A curious example of a secondary resonance will be observed if a fifth is held silently

while its fundamental is forcibly sounded (as if i(h) were played, holding the G below the

one written). In this case the fifth will answer, but not the key held; the tone heard will

be the octave above, the same written in i(h).

The object of these and many similar exercises is to educate the ear to feel these

delicate additions which resonance makes to the tones actually. played.

N91a

Resonances-o-

_o_TE IE -O-

-»--»-

XT ftpppp

R.H. Sounding

P^2 ffm JL

P

nw

Pm -o-

if

L.H. held SilentlyJf Jf

S<fca. <fco. *

e r> fResonances J

*

P^3= PR.H. held silen

m XE

tiy

L.H Sounding

^ri—*/1

i -«-»-

is

*

Jdl

is

»

Pm

is

P

i «-

is

-o-

*=

<&&.*

sf<&0.&

jr jf<&b» <&>.*

*r«&&.# <&*>.#

[5l

OTHER EXAMPLES OF RESONANCES

Number 2 admits of being played in several different ways, each of which involves a

slightly different result of the resonance. First way: Fasten down the low bass D with a

weight which will hold that key and not interfere with any other. Then, after pressing the

pedal down, play the first three chords very forcibly. Release the pedal at the end of the

measure, and a little later the entire chord will be heard sounding quite strong, entirely pro-

duced by the bass strings, which have not been played. Moreover, this resonance is

strong enough to awaken into vibration again the strings played in the first measure.

This will be the second way. After playing the chords and releasing the pedal as before

and hearing the chord sounding from the bass strings, now place the fingers silently upon

the keys as indicated by the small notes in measures 2 and 3. Presently the chord will

gain a little in strength, and if now the fundamental D be released, the chord will be still

heard going on in its own strings which are held, and which have been awakened again

from the bass resonance.

If the pedal be held entirely through the four measures, the chords will be a great

deal stronger; but they will be simply prolongations of those in the first measure, resonance

being covered up by the primary vibrations of the strings played.

N92

HAndante

1

Resonance

4 i—<—^5**—

^

—-o-

4 J J —7S

Jf

tvl 1 g f p

<fca. *

TJL TT-

A similar effect can be shown by first holding a silent bass, and playing forcibly over

it in succession the tones of its own chord. No pedal. When the playing stops the entire

chord will be heard sounding from the bass string silently held.

Practically the same result will be obtained by taking the pedal before playing the

chord tones, and then taking the low bass silently after they are played and before releasing

the pedal. When the pedal is released about a second later, the chord will be heard res-

onating as before from the bass strings.

[6]

N93Without Pedal

5 feeWith Pedal

m mA ~TT-o-

-o- -«-

^s. gf

^'pp

% 2 i J.

pp

3ZI

^s:S

silent <&>.silent |"

A like resonance will be awakened if the tones of a chord be sung forcibly into

the instrument while its fundamental is silently held, No. 4. This resonance will answer

from the fundamental, or if the tones of the chord be held silently while the singing is

being done. At the close the entire chord will be plainly heard in either case. Thus in

place of holding the silent chords written in No. 4, the fundamental bass C can be held

with practically the same result.

N94Voice Effect Voice Effect

This principle is occasionally employed for reinforcing short chords, as illustrated in

No. 5. (To be carried out in like manner upon other chords.)

N? 5

Sound forcibly

Hold silently

without soundingV

Sympatheticresonance

i £=

S-o-s

£ *

i*=E

sT

B1

^=5

3EE^

*/

i I

/

[7]

(Etjapter iFour

EAR EXERCISESrINCE the only reason for using the pedals at all is to be found in the addition

which the pedals make to the effect of the notes well played without the pedals,

and since the exact application of pedal must depend entirely upon the sensi-

tive hearing of the player (owing to inevitable differences in pianos and the incomplete

notation of the music), it follows that most careful attention must be given by young

students to hearing every variety of pedal addition. This is especially true of the use of

pedal for promoting resonance and musical quality of tone.

The pupil should be able to hear from the other side of the room the moment when

the pedal takes effect upon a single tone or upon a chord. In case the piano is not very

free in its resonance, place the pupil near the instrument, but with back to the keyboard.

Then begin by sounding a single tone, - middle C, for instance, — holding it four

beats. Bring in the pedal upon the second beat, the third beat, and the fourth beat; the

pupil is to be able to hear upon which beat the pedal was taken, solely by the addition it

*

makes to the tone.

Apply the same exercise to chords, selected at pleasure. Exercise 7 gives examples

of this kind. Many others should be added by the teacher, in different keys, but always

in the middle range of pitch, where they are perhaps easier to hear.

Such exercises should be reviewed repeatedly for several lessons. The pupils should

try such experiments upon each other, at home.

— r

N96Repeat each measure as often as necessary in different orders.

Played

4-

=1F=—4-Ped",A r

-*>

4r —-4 r H »- J_ r T

PEDAL NOTATIONS«

^^-"'HE traditional notation of the Damper Pedal consists of the abbreviation (&d.,

4^ J placed by the composer as nearly as possible where the pedal is meant to take

^^effect; the closing of the pedal effect is indicated by a star (0). The mark

%d. itself occupies a space often covering several notes; and the engraver occasionally

impairs it still farther by moving it to some point affording more room for engraving it in

[8]

N9 7

a neat and attractive manner. Moreover, no matter how carefully placed, the response

of the pedal will be more or less prompt according to the manner in which the piano is

regulated. This mark is therefore approximate only. The distinguished Russian pianist,

Siloti, proposes the mere letter P. and * which permits marking when very short and

frequent changes are needed.

A second notation, of French origin, consists of a horizontal line carefully drawn under

the notes intended to be included in the pedal. The beginning and ending are made as

exact as possible by means of a little turned-up point : I 1 I 1 or|

'|-

—

'

Mr. William H. Sherwood has proposed a modification of this line in a manner making

it more easy to mark in the pupil's music. It has been used by a few publishers, but

pianists of the older school have not yet generally approved of it.

The Sherwood mark: t-—""' J—

—

i""1 l—-

—

1 *—- '

Dr. Schmitt, of Vienna, has proposed still another notation, consisting of a one-line

staff for the pedal part, which is written out in notes for the time the pedal is to be held

and rests for its discontinuance. (See No. 7, below.)

This line is so cumbersome, and adds so much to the difficulty of reading the music,

that as yet no publisher has adopted it, except in a few instances for technical purposes.

It is a curiosity rather than a practical notation. Moreover, Dr. Schmitt himself is guilty

of markings by means of it which effectually defeat the intention of the pedal in the pas-

sages in question.

In the following line from Chopin's favorite Nocturne in E flat, all five of these forms

are employed :—

Andante

* _b&=$=$ mP^$+ *

y g 5f-_*U* fcg fj i.#< +& ££ *f

etc.

mw v~> UJTraditional <£efc «•'&&

Siloti P * PFrench 1 1 1

Sherwood 1- 1 u—

V*w u^~u? t^^

% l&t>. #<&o. #<&fc &<&>. *<&>.

* p * p * p * p * p_J J_1 1_ J L J L J L

* P_l I

&<&0. %%b.* P * P

#<£efc •* P *

J L -1 L

Schmitt notation

*efc J'"8"

%' y ^ f ipr f f f ' f f fThe whole five as above written mean the same thing. They intend the pedal to be

taken momentarily after the bass is sounded and before the finger leaves the key, and to

[9]

hold the bass during its chords. The object of the pedal coming later than the finger

is to avoid taking in the end of the previous melody tone, which almost always happens

when the bass is pedaled precisely upon the beat. This later coming in of the pedal is

almost universal, and is known as the "syncopated" pedal.

Dr. Schmitt's notation, when carefully done and carried out, is accurate. It shows

when the pedal is meant to act and how long it is meant to continue. All the others are

mere approximations, which, owing to the varying promptness or sluggishness of pedal

actions, have to be modified and governed by the ear of the player to fit the music and

the individual piano. This is the only true ground of rational and artistic pedaling. The

notations are merely suggestive for first steps. Schumann seems to have been the first

great composer to recognize this fact, and he accordingly marks the l&b. once at the begin-

ning of a movement and rarely mentions it afterwards, intending the player to use it wher-

ever it has the effect of promoting the musical intention.

In the musical examples of the present work the usual signs (Sed. *, when appearing,

are the marks placed there by the composers or authoritative editors. These cannot, as

a rule, be taken literally, since they often prolong the pedal too much for the best modern

pianos. The more accurate applications of the pedal are carefully explained in the anno-

tations, and indicated in the music by the French line II . This line is authoritative

wherever placed and must be followed. It is often omitted in cases where it has previously

occurred in the same piece, the object being to secure intelligent pedaling by ear.

Wherever the line is used to indicate the pedaling it is understood that the pedal is

to be taken just after the note below which the line begins has been sounded. It is also

understood that, unless otherwise marked, the pedal is to be held until just the moment

when the succeeding melody tone or harmony is about to sound, in such a manner that the

tones connect, but do not intermingle.

All markings arc approximate and require the supervision of an attentive and sen-

sitive ear. A discriminating mind is also advantageous.

Chapter Sir

FOOT TECHNIC

XN using the Damper Pedal, the heel rests upon the floor, and the toe, just short

of the ''ball" of the foot, touches the pedal lever.

In taking the pedal, press down far enough to raise the dampers from the

strings, but no farther. If the piano is properly regulated, this will be no more than

halfway down.

In releasing the pedal, retain touch of the pedal lever; do not jerk the foot awTay and

permit the "boom" as the damper frame comes against the strings.

[io]

The pedal is almost invariably taken after the tone is begun, and not in advance.

This avoids catching the previous tone and intermingling it with the new one — a very

bad fault.

Also, in releasing the pedal, do so not with the key release, but a little later, at just

the moment when the new tone is about to sound, in such a way that there is no break of

tone between them.

In order to secure perfect quiet in pedaling and the habit of coming in later than the

accents and beats, such exercises as the following are advisable.

t. Pedal eight measures (4-4), taking the pedal at "two" and "four," releasing it

at "three" and "one."

2. Pedal eight measures (4-4), taking the pedal at "two" and releasing it just as

"one" begins.

3. Counting six, take the pedal at "two," releasing it at the end of "three"; also at

"five," releasing it at the end of "six."

Various other times of taking and releasing the pedal should be done at demand of

the teacher.

Experiment 1: Take the pedal from a high toe, putting it down very forcibly.

A smart "tap" of the shoe upon the pedal will be heard. Avoid this.

Experiment 2 : Release the pedal by jerking the foot away.

A "boom" of the dampers on the strings will be heard. Avoid it.

PEDAL EXTENSION FOR CHILDREN

7'he common habit of entirely neglecting the pedal in early instruction is wrong,

because it fails to establish the habit of listening to the resonance of the instrument and

neglects connecting the foot with the tonal effect of the instrument until a period in educa-

tion when it is much more difficult to establish this connection as a habit. Hence chil-

dren in the second grade should learn how to pedal artistically all the nice little pieces

they play which afford scope for pedal improvement. The teacher is to be judge.

For this purpose a Pedal Extension is very desirable, which brings the pedal levers

within reach of the foot of the child. Several of these little mechanisms are on the market,

costing about $3.50. One of these should be supplied unhesitatingly, as a necessary part

of the pianoforte, for the child's practice.

(Etjajiter Sttottt

PEDAL FOR MELODY LEGATO

LL three purposes in prolonging tones by means of pedal are alike in this: A

tone definitely sounded is to be prolonged until some other tone comes along

to connect with it. The melody tone prolonged is to connect with the next

[»]

melody tone. The bass lone prolonged is to connect with its chord. The chord prolonged

is to connect with the next chord. The car therefore must control the pedaling, and listen

for these connections.

All these are sometimes called syncopating uses of the pedal, because the pedal enters

after the tone has been produced. The difference in using lies entirely in the mind of

the player, who has to remember whether he is prolonging one kind of tone or another,

and his intention of joining it to something else, and to listen for that connection.

The proper time to take the pedal is as early as convenient after the tone has been

produced ; the proper time to leave it is at the precise moment when the new tone is ready

to join to it.

The principle of Melody Pedaling is completely covered in the simple forms following,

Nos. 8 to 12. They should be transposed into many different keys at the demand of the

teacher.

In No. 8 a series of half notes is pedaled out into a series of whole notes, the sounds

continuing four beats for each tone instead of two.

Begin by pedaling line (b), observing the time of taking and leaving the pedal.

Then, without pedal, play line (a). Observe the long rests which occur alternately

with the tones.

Then play line (a) and pedal line (b). The result will be like line (c). The teacher

is to watch for breaks or confusions. The pupil must play from memory.

N98The pedal is to be taken slightly earlier than the count "three"

(J, 84)

Finger

Kesult

In No. 9 two voices are carried with a single finger of one hand, the playing finger

to be chosen by the teacher, and each finger in turn to master the exercise. Perhaps it

will be better to begin with the second finger of the right hand, then the second finger of

the left hand, and so on with one finger after another until all have tried it. Pedal for

legato of soprano precisely as in the scale exercise preceding.

J _-8 4)

N99

Iim

TJ-

k>\\ \ 1 i £ m m & ^jl -I L J U J u -I L.

NO 10

m

[12]

In No. 10 the same principle is carried out with more details in the second voice.

The whole notes are to sound legato. Pedal for these. All the notes of this exercise are

played with one finger, to be selected by the teacher from either hand. Continue the

practice until each finger in turn has had its exercise.

(J -.96)

i iB-D.M.

3f

-o- "TT" -O- XE -O- TT -€> XT

gffi^ £ U ^ ^m wm £i ¥ $J L. J L a l JL

In No. 1 1 the same principle is carried out in chords. The pedal is used for melody

legato, therefore it is used twice in each measure, as marked. Play all the notes with the

same hand, the object being to acquire the habit of sustaining melody tones with pedal,

when compelled to leave their keys for any purpose. After playing this with the right

hand, the left hand should take it in turn, and it is important to bring out the melody as

clearly with this as with the right hand.

N911

flJ -84)

pt g^^m tm ZEE

Pedal Ji. J L J L J L j 1

S >' r>i m mmI J d 1 ^^ ^m 5^mm$ m p\

\os. 12 and [3 arc two melodies harmonized in outline, to be played with a single

finger and pedaled for melody legato, precisely as in the examples preceding. No. 1 2 suggests

a three-voiced movement. The passing eighth note in the melody (mm. 6, 7, 8, etc.) takes

the pedal by itself. Each of these should be worked out with different selections of fingers,

of either hand in turn, because this method of sustaining tones is liable to occur with any

linger of either hand. It is also a useful exercise to transpose them into other keys, as

directed, for additional practice.

N°12 B.D.M.

m ^ m1

—

-

& -&

J L. J l_

k

->H \ 1

J

m m £

J l_

I

J LJ t

P

m i mm

No. 13 consists of a slow melody and an accompaniment suggesting a four-voiced

movement. All the tones are to be played with one single finger (indicated by the teacher,

or taken in rotation throughout the two hands), the legato preserved by means of the

pedal. At the marks (a) and (b) the finger comes back to the melody and resumes the

sustained tone (as indicated by the quarter note) ; and as soon as it has done this the pedal

is released, thus causing the harmony to cease, after which the pedal is taken again, to

prolong the melody tone legato with the next. This device is of frequent occurrence in

fine music, and it is a very pretty effect. So also at (c), where the harmony changes during

the sustained tone, the finger resumes the melody while the pedal is being released and

opened again for the new chord.

(Second Way:) Later it will be very useful to take the Tone-sustaining Pedal at

(d), (e), (f), and (g), for prolonging the melody, meanwhile changing the Damper Pedal

as marked bv the lines.

N913

|^4-^ -o-

J l_

r7s

J L

m'(a)

-©-

_i t_

331

B. D. M.

#

1

-Ot

(e)

£(d)

W I 1 t

I :»—rr

£

^ms?\

J L

te

-^-

J L

(b)

JL

£

W^3TJ L

i

ZEE

J U

m i

-o-

J L

m3EJ I

5^^J U

£

£

1331

J l_

sJ U

*

g

PPi

-o-

33:

yi3i> 1 r*^ (f)

^m(c)

pps*

(g)

m P£

3

[14]

CANZONETTA IN D MAJOR

No. 14 Stephen Heller. Op. 45, No. 22. (Abridged)

In this lovely Canzonetta the notes, contrary to frequent practice, show precisely how the melody is

meant to sound, and ignore the fact that after playing the dotted quarter the right hand has to leave the

key and play the group of four i6ths, the final 8th in each measure being put in by the left hand crossed

over the right. In the Introduction, where there is no melody, pedal for the chord, — i.e., once in each

measure. As soon as the melody begins, pedal to get that legato, therefore, twice in each measure, as indi-

cated by the pedal lines. The pedal marks of Heller are here left in (<&&. and * ), but they are insufficient

and inaccurate, since the proper legato of the last melody tone of each measure is quite as important as

that of the first. This legato necessarily fails without the pedal, because the left hand has to return to its

proper work in the bass.

N214Allegretto con moto (J - ?6)

L.H.

#<&&,

riten.2 a tempo

il canto ben pronunziato

LH. R.H. L.h.5i _g_

[i5l

# <&>

i¥fe± £ 1

3#*2 5

£ 3fa:F

I

y*

^ ^ u*? S3£s y v y y e ^^ IZ±P =^-y—

^

<&>. * <&2>. # <&>.

* <&&. •"?-?—y-

<&&. &

fad-t—'*

£

S miz:

=fe I

* M=

i;•

z?y y 7: Cf 1 '/

£

-m—^Z—

3EU

'rraa

3:

25

^

£

fl£36U

J L J I I L I I L

J I 1 L _1 I I L

I*F^

51 ferdendosi

& <Sed.

1

dim.

^r^

y

ggr

32

y

&by—y- tz5i I

* <fca.

\>> f

* <&a.

gsi

3 *

/T\

£E=feV

f^P*

P

EE

5t

"ST

J I 1 L J U

% <fcfc *

PEDAL STUDY IN B MINOR

No. .5 [See page 16]Stephen Heller

In this study the melody is meant to be practically legato, the accented 8th note lasting through the

time of about three 8ths. Thus the writing shows not how it is meant to sound, but how the hands will

be engaged. Meanwhile, if the pedal is used as marked, the musical effect will follow. Liszt and most

later writers also notate their music in this way, — i.e., according to the performance of the hands and not»

according to the sound meant.

Pedal for soprano melody. Take the pedal in time to catch the first 16th in the bass, for this is the

proper bass of the measure, and intended to sound through at least three beats. It is not necessary to pedal

again upon the fourth 8th note of the measure. The hands carry this legato. Small hands may facilitate

this study by omitting the lower notes of the right-hand octaves, in mm. 25 and 26. This brings the study

within reach of small hands.

[i6]

NQ15Andantino (Aioo)- x=«p

#R.H.

w2&& Cm.

i *

m, i*

—

PP^2 LH'

y *

i sy ^

^ aii«*£y 4

HELLEK

£/r xi

,4_

# <&z>. #<&a. * <£a>. #

feb 5iSi

^£SM=te ^T^E

,4

Egy *

^

^h&#y 4

£

^si^—

*

/ , fll

^=a

6^47 4

<£&. * * <s& * <&a. *4

IO , h i # ^ :iQ a ^jy—

»

^11 ;r^'^vsa ^§ CLi§

sI ^ fe/q*

»i# ^ # *8* <fe>. * <S&.

iftME<## *fc=-

I82

f

w,n< :'^P

i ip

* <&*#&*.#T.S.

wm5^/2W-^L *

§F^#<£*>. * <&Z>. *

[i?]

ROMANCE OF THE EVENING STAR(Wolfram)

No. 1

6

Tiinnhauser. Richard WagnerArranged from Liszt

Pedal for melody connection, precisely as in Nos. g, 10, n. Be sure that every melody tone is pre-

cisely connected with the next following, without the two successive tones intermingling in the slightest

degree. A simplification is made from Liszt by taking the running arpeggios with fewer notes to a

measure. This makes it very much easier to play, while the harmonic effect remains the same.

N°16

J*- 104 to 112)esfress.

tesempre lento, ma un foco fiu moto m/2 g w v

I £2 i i

a mWAGNER

3

IJ I 1.

P££ ^lif.I?T^"-

*4±

Oh star of

PP

eve. thy

i

ten

_i i 1

der

i5±i^P

op n^ h fe

y i 4 - rbXJLW^£ S&

m*.'.— 5 3

) P fp. p E P.

eh ^ L 5^

fe ^pgL

beam Smiles in my spir its

TO »

^l^v jjy br fl.sa 1

6

trou

7

bled dream.

iggg?P, N

Pw^&1p ^ ^ zfcfc

P" 4

.4 i 3

m^£* ? 2

From hearts that

» £5 4j

£=£=£

ne'er its

poco rit.

hP^

T r p

3 2-Gh

trust be

SiJL J! - 7 7^

trayed

^j9tJV?

\

%

Greet where she

ig|7 7

P ¥

v r t p

pass - es the

^m*Jk£ 7 7

r r p

peer less maid.

f3t^7

1

fiji 7 7

^

iffisiiBear her be

7 7

yond this

a 5Jy-tt -

7

) v v :2=5t

^^7-

;

[i8]

fe " t^ m 2 ^ 2 4-Jb

5 i fe=k

swor.s5 1

3t7g^feg

2 3^ 2

I«—«

T^7vale of sor row, To 'ields of light

^ £ki-

*Sthat know no

jj^/>oco rit.

7*5i± S: 7 7

mor - row.

ji77

feJ

fr—

p

i>fl « P?r^ 7 7

5 V J

sempre una corda

un poco rit.

Bear her be - yond

» i ^ i

this'

2.

ife

vale.

^of

,4

fi&0.

p#<&&.

# <£eo.

iJ*^^ .yj

Eruff* rflW^ Ji i^ 7

,

^jae**

sor

» *

row, to

3 J»

ere

fields

T

seen

of

2

light that

feJ

- *oco a toco riien

^ M i ll

IB

do

h

f7 7 K V 7

*f7 Viq

±:zf P

* '•&&. #<&o. * <&>. # <&o. <fc&. #

#^tf})

ffnssA h=59 t

- /T\

5 V7fr V

£ ^^ -£-£

R.H K

know no

If

vpiu lento

mor -

R.|H,_KjHrow.

a temfo

j.1

/Ts» 3 # 1 P^ *# :

P 7 7 77 $ 7-

&B<&>.

7

<&o. * <&o. # <£&. #<&o. *

[19]

"MY PEACE THOU ART"(Du bist die Ruh)

No. 17 Franz Schubert

Transcribed by Franz Liszt

In the Liszt arrangement of the first verse of Schubert's song, My Peace Thou Art, the pedal is employed

mostly for the melody, and follows the melody tones, sustaining them and enriching them.

Take the pedal very slightly after each melody tone, and sustain it until its succeeding melody tone is

just about to sound, as indicated by the pedal lines. In the Interlude a degree of confusion is created by

holding the pedal through two beats, but this is pardonable, since it was precisely this break in sweetness

which Schubert had in mind.

In the second stanza the fingers should be in contact with the keys at the moment the touch begins,

the finger-points being the principal motive power, slightly assisted by arm impulse. The melody is pre-

cisely the same as in the first stanza, and the notes are indicated by a short line over each. Pedal for melody

legato.

N217 SCHUBERT- LISZT

iR.H.ma.

molto espressivo ma semplice

12fjfjy

Jr^

A

y V \> H =FP^PP-^-p

legatissimo_i 1 1

I I 1

1

1 i_ J 1 1 i_i u u

•,:

[i'i, J'' 1 1 $

m 1 JlA jEJrm b 44in j-

4 *j* ^=^\>, m p » p ~ p r *r *r ^m*=t § ^3 p^3 f

p - p

j 1 1

1

1 J I I l_l U U l_J

J I I I I L

R

IS —0— m R&p M mF^S —0— m —m—P—F— .fi-r-4 1

rn 7

In

**n '

_iL*_ _^—=_

terlude

•

~Y~~ ~f—

k/y HjI

—

>

~%r~/ 1 4 7

-—

J L J L J U J L -I U J L J I 1 l_

ben pronunziato il canto

R.H.

I fei8 :

*

5"

g^-F-t f 1^1senza agitazio

L.H

P I i=^ 5^i=^ ^^ fP ^5i 4 * JJ u

sempre dolce e legato molto

J L

# <&*.

j i_ J L

* «&fc

J l_

# '£*. *

[aol

tHE

8'

L=L

S'M v* »* =£i f

ah i8'

M4

¥±s ^"4^P-r-

J L

<&&. # <&2>. *J L

J L J L

<£a>. # <3a. *•

* it

8

m y i ;

;

^

rM ?* 1 P s

<Sft *<£». *If

1 I

-i i_ J L J L

<&*. * <&i.

* <&*.

Louis Moreatj Gottschalk

THE LAST HOPEMELODY

No. [8 [See page 21

1

The melody is in the soprano voice, and occasionally is transferred from one hand to the other, as

indicated by the short, straight line over each melody note. Study these out and get the melody connected

in mind before trying to play the whole. Pedal for melody legato, and be sure that the melody quality is

just the same in the notes played by the left hand as in those played by the right.

[21]

N918 gottschalk:

*<&*. *c&d.

<&>. * c&>. * c&5. * * c&d. * c&d.

'1

^9-

* S& * «£&. * '&>• *

<&>, * <&>.#<£*. # <£*>. * <£*. * «£&.

[22]

Anton Rubinstein. Op. 3, No. 1

MELODY IN F

No. 19

77/r Form: The repeat at B is not observed after the Da Capo, but the second ending at C taken

instead. The first Interlude is omitted after the Da Capo and the second taken instead. The melodic

changes of idea are indicated by the letters A, B, C, D, E, F, etc., which indicate points where new matter

begins.

The Technic: The Melody is conceived as a tenor quality, lying in the middle voice, and played with

the two thumbs cooperatively, which must carefully observe a keyboard legato. In nearly all the measures

the left thumb comes in at the second beat (i.e., beginning the second half of each measure). In the division

marked II, however, the right hand manages this melody by itself, while the left thumb adds a second mel-

ody. This should be heard equally with the higher voice, shading louder or softer at pleasure of the player.

The accompanying chords are often just as effective if left slightly before the melody keys.

The Pedal: The pedal is invariably taken at the first beat, and held until the second melody tone Is

about to sound. It is better to omit the pedal during the third beat (the left-hand note), but use it again

upon the fourth, and the first. This prevents pedal confusion of the second and third melody tones. In

the Interludes the pedal can be used with each bass note, for atmosphere. The tone-quality of the melody

should be full and satisfying, but not loud, except at the climaxes, and always very musical.

NG 19 RUBINSTEINModeratoA

c&2>. *(&d. *

<&a. #&a. %:&a. * <&a. # <&x>.

<&2>. *$£>. * <&». * <&>. <&a. # ^ <&>.#

[23]

<&a. *p *<&>. * p p p p p <&,

cresc.

<Se>. * p<sa. # <s».

p p p p «&

Ptw mosso

* <&>. <Sea.c&a. <£&. *

<£*. <&*. <&2>,

1st Interlude

E B.C.

9—y- *—¥

1? W^s £=^ £ ik.

F=3f

2n_d Interlude, to be played in place of 1 SS Interlude after the D.C.

=y=a 7 t>« :7 bJ* 7 «

=

5 4

^f I?=^^ -*-

-• •- m ±±L.H.

*

g K *# 5#-

-3 l- -3 a-

£-Or-

£ ^^

[24]

t> y

fP

i=Jfc

^•M- ^e

r

44

fF

-»—•- I ± i+ i_A_JL

V31

2f

u.

?5=^

rP

-• •-

dim.

J

B^RJT.4

«—:

—

4-

T

Am *=r= l=>*#

H

H

> « yy j* y +

t1 * 1 lU

i=Kc « •

f £cresc. r^

J*/" cresc.

i ^i.J J nJ

£

> 1- 'i^4 -*—4 *—.»—»—.t h

feEE Bf £ f

U

^

S'j

•J—

f

¥ ?*£*. *•

£y • y « a >FT1 ,fri

^4*=* a=*= =3 y A y S-lr^-W^ f=& r-fdim.

4 s

gi

• »

1A 3^

i« L^

^^^=^ i»—-r

*a*.j'

i ii

tits.* <2£fc.

» <&*. * «a. * £tfc *«&. $&. *

*kfc. *$*fc «t«k «&*.<£cb. %<$&, $«*

Usl

PEDAL FOR CONNECTING BASSES WITH THEIR CHORDS

VERY large part of modern music for the pianoforte consists of a flowing can-

tilena, or melody, supported with an accompaniment consisting of a low bass tone

on the accented beat (occasionally elsewhere) and one or more chords in the middle

range of the piano. Almost invariably such basses are to be prolonged by the pedal until

their chords have been connected with them.

When the movement is quick and the left hand has to travel more than an octave to

reach the chord, the time of holding the bass with the finger is very short; therefore take

the pedal almost instantly after touching the bass key.

. In many of the Nocturnes of Chopin the pedal is indicated to be prolonged through the

measure, but modern pianofortes have so much more vibration than those which Chopin

knew, that confusion almost always arises in the melody if the pedal be held so long. The

player must watch for this and release the pedal whenever the melody begins to blur.

Thus most of the Chopin pedaling has to be materially shortened from what he wrote.

In some cases, as, e.g., the Mazurka following (No. 20), Chopin marks this pedal use,

but at the same time indicates a staccato for the melody, and to make sure of this he inserts

a rest, which the pedal entirely covers up. Artists differ at different times in handling

contradictions of this kind; they decide which they prefer on the whole, the effect of the

rest, which as a silence in the melody is sometimes very effective; or the pedal. Often they

compromise by playing for the connected bass once through and for the rest the second

time through.

It is not certain that Chopin intended the rest as such, but really meant to illustrate

the treatment of the right hand, which was intended to spring up very staccato, with the

effect of a strong accent. The notation generally shows what the hands are expected to

do, rather than the precise way in which the music should sound. Unquestionably this

is true of the Heller Study, No. 15, the melody in the Intermezzo of the Chopin Funeral

March, No. 24, also Schumann in the Album Leaf, No. 25.

This is a point where players have perhaps more range for judgment than they would

have wished, since what every true artist desires above everything else is to produce the

effect Chopin, Schumann, or Liszt intended.

[26]

MAZURKA IN B FLAT

No. 20 Frederic Chopin. Op. 7. No. 2

In this Mazurka the pedal is used to connect the basses with their chords. In mm. 1, 2, 3, and many

others, there is a rest marked in the melody after the first half beat. The pedal, if used, will conceal this

re>t. Inasmuch as Chopin marked the pedal as we have it, or nearly so, it is thought that what he meant

was a bounding and spirited accent, rather than a staccato quality in the sense of short duration. Accord-

ingly, play the accent rather forcibly at these points, but employ the pedal. In case it is desired to observe

the actual silence indicated by the rest, two ways are open: Fither to take the pedal on the second beat,

thus losing the low bass, or to prolong the low bass with the Tone-sustaining Pedal. The latter is a fine

exercise. In the second period observe Chopin's caution, to omit pedal (legato e senza Pcd.). There is a

third way of managing the staccato in mm. 1, 2, etc. Hold the bass about a half beat or a trifle longer, and

play the soprano staccato; then catch the bass with pedal after the staccato in the right hand. This is

an effective expedient.

NQ 20 CHOPIN

<&2>. <&a. * <&d. * <&>. * <£efc * <&&.

(CHOPIN) "legato e senza Ped. "

)Wb faiU^<4P'

m * *— $lAl \>+ +pp sotto voce

una corda

5fc —

-

—

^WXm

:^fiZuL%~^ %

HER FIRST WALTZ(From Album for the Young)

No. 2i [See page 28] P. I. Tchaikovsky

Natural!}' a somewhat impassioned occasion, as we see from the abandon with which the Fair Can-

tilena comes in a beat too late, and occasionally tosses her head after an accent (the rest after the accent,

mm. 2, 3, 10, 11, etc.). As a rule, pedal during the first two beats. Where the original marks "*&d." and

"#" occur, extensions exist, making the pedal indispensable.

In case it is desired to preserve the utmost force of the break, indicated by the rests in mm. 2, 3, etc.,

the Tone-sustaining Pedal can be used to prolong the bass without covering up the treble. The Editor

regards the Damper Pedal as better; it can be managed by holding the bass key with the finger until the

right hand has sprung up from the staccato melody key, then take the Damper Pedal.

THE AVOWAL(From the Carnival Suite)

No. 22 [See page 29] Robert Schumann. Op. 9

In this very impassioned and charming bit, the pedal is employed to connect the basses with their chords,

as indicated by the pedal lines. In such places as at (a), where the melody has an appoggiatura in advance

of the main tone, it is better to pedal a little later, holding the bass a trifle longer with the finger so as to

catch it with the pedal. This avoids prolonging the dissonant appoggiatura into the resolution tone.

Small hands may simplify this piece by playing only the lower tones of the octaves in the second period,

but playing them stronger than would otherwise be necessary, since the object of the octaves is to impart

breadth.

GRAND PRELUDE IN D MINORNo. 23 [See page 30]

Stephen Heller. Op. 45, No. 15

This highly effective and sonorous composition is made up of two motives, first introduced at A and B,

respectively. Wherever motive A occurs, the bass tone is to be prolonged throughout the duration of its

chord; therefore, taken at the third count and held to the end of the second in the next measure, as indicated

by the pedal lines. The motive B is pedaled mainly for better quality, as indicated by the pedal lines.

In addition to using the Damper Pedal, as already indicated in motive A, the first tone can be taken

with the Tone-sustaining Pedal and prolonged through the passage, as indicated by the Tone-sustaining

line below' the notes. Meanwhile use the Damper Pedal as before. The two together add greatly to the

sonority of the passage. In resuming the principal subject, at E, small hands may omit the octaves and

play the passage as at A. It is not so good, but it will answer. Observe the light and shade, and above

all take care that the heavy chords have always a musical quality.

[28]

N9 21

Vivace TCHAIKOVSKY

Ui J- * & ^: ^^ S ^^p

y f P £ £ ?fj-r62) p

tzE L=i i? i

«* * i^r *_£

I I I 1 L I 1

I II 1

p ^P^ £ £ bJ- ^p

y r p I15^-

fc=Z2 ¥rinf

^m fc=E t=f l=E ii t=E J* ^i

—

e

Ib

3B

ft * J. ais ^^ £1 4S H3-^^iS^Ef $ ? ; i

,nf-

Pg^ *_£t=Efe

I Ji Jp i—J-^ Xs ^

fe^ F v

1 4 Fine.

? raI HP I pEiqe ^ ^r=P^S

X-^-i XP

t J. J.

rinf

P^$ ii5 ,

I? m

[=9]

Imm m

mf

1

5

fed

^

'J ,

iIS 3Mr E

rinf.

fe^P^

PIP 1 I F C P IP—

C

^rfX

rinf.

MgI ^^

«r

^=5:

"»/

3 1

i ^^ a\ Q m

z^-TS

I

DC.

Efefe? *?

/'

^ * <p zqg I4-

I££e£-2-

5 8

SCHUMANN

fN9 22

Passionato (J -. 72 to so)

rf^j L-fft^^a)

^lhH~l=^^:

3=&=**

1

e: 1 ,£

kT*Pc.T»fl

b)

f^t

# 3=?

^S1 1 1 1 1 1 1 •

•/• ?f

4 5 5' '# * * #-

4 5 4 5 ,4 4n Jli 3 i g£,g^.iglie^^ .M 4

* */

[3o]

N?23^ Poco maestoso (Jr66)

i» k

BHELLER

* £fefe^

4

t A4

* **=*=*=*3 If SI ^g£

aiifi-s

as£./*

T.S.Pedsf *s

if sf f

Pi^a.9- 1 #=fe £ ^ 1

^ fm 0-

t mI* ?m yBE

j i

4 :_

J L

24

J L

to. to.

to. #to. * to. *to. *

f 7 I P ? I

43

1 ?^ i ?".!.§? a ap /

ww mT.S.Ped if

Sf

%9- i

j££fcfeP ^ P ss #-# 3o IZI

to.# to. &to. L J u -I I

to. # to. *to.

* f

!l

f i 4* t 4

2 W W43

B S ^^ =•?=

*J\ f

*^mp f p

s m mf

1m f=& 3 PPS? « F ? y^^?

J L

24

j i_ 4 L J L

24u

* to. to. # to.

m m * aS- i*^e^ : 7 it; ^ ? cig1

"

?1•—1»

T.S. _« 2;

^ ^ ^L

iJ2.9- i S^

Ii|P ^ m

t> ^ ff^Tto. »

3r :_

j'u

to.

IIII

f f4

* II *

-I'L

* to.J u

* to.

fS

#' f f P f

P#¥^m EEf M0-

ij f f r> Sr^J L

24

j i I

* to. to. * to..

[3i]

m &D

5432

1

5432

Si^ 1 m w^sfc.

f f p p

i%&

p14

decresc.

i£m ss im m i1ti • m §

tf' p^I f^

i

24 <&>.

J L J L J L

T.S.i # <&*>. * <&a.

J L J L J L

gg It-

* tit

—

;: i ^3 ^'rp fW £

r9#e

JI

§_l< I g

fen.

S1- ifen.

fen.

u*/- ff*

££I

P-

J L J 1 1

J T.S.

fe£ J'L

5

* Witt*t m f f *

* <£a.

42-*—

»

* c&a. * ffcfc

*4 8-1— t ^ *g

f ¥ ^^^r=» I'•

\ fi s^30$. j. y

;

y ^ ./•

p rH i gtfep ^^<£&.

SI * <&2>. #

#a i s

^^r

* -0 •• <

4

1^* i

1

•/" fJk-

l i

ten.

^f^

i 1 1—1 1—

•

i

fe

£

/en. foco riten

*/"

F*f

S

rf=^^

J i i i I

~4a. *

rf1,

J S1

Ii

8'

5fe

^=^fe

^f5^

1

</' ^* 3^

p?l- ^^I 1 J L

<£*>. * <fo>. #

W*tr

i*s;

J u

<$*. & <&&. •* <£*.

INTERMEZZO OF THE FUNERAL MARCH(From Sonata in B flat Minor)

No. 24 Frederic Chopin. Op. 35, No. 2

This beautiful melody affords attractive practice in connecting arpeggio basses into chords by

means of pedal. The marks (jited. and •# are approximately those of Chopin himself, and they indicate his

desire to blend the harmonic support into a gently murmuring harmonic background. Upon modern

pianos, with vibration so much longer than any that Chopin knew, this pedaling will create confusion in

the moving 8ths of the melody. Therefore it is more refined to pedal as indicated by the pedal lines. Aslight confusion will still remain when two 8ths occur during the same pedal, but they are not serious. At

(a), (b), (c), (d), etc., the upward movement of the melody in the same chord does not necessitate changing

the pedal. Were the movement descending, it would be necessary to make the change. Should the melody

be played with Soft Pedal, in the repetition (as is very common), the Damper Pedal is used just the same.

Available for small hands.

N9 24 CHOPIN

&<&>. & <&*. #<&>. *

fe^feLu.—.fc^L—,^-f^ iy Ay Ay tyy r>^<$&. * (&d. & <&*>• * *&&. * JT- r^L1

[ £-4 iuuulj 11 11

<£&. #&fc. # <&fcI l'uU L_I I 1 I I 1 L

BM4 3 4-«-

i4

fV» **^ ^d)

as*£/<to.

11 11 1

1

11—

1

<fca. #<&a. # <&>. * c&a.

-ipy tty^ i>

[33]

ALBUM LEAFNo. 25 Robert Schumann. Op. gg, No. 3

The notation of this Album Leal follows the principle mentioned before of writing the notes as the

hand has to play them, rather than as they are meant to sound. The grace note in the bass is the actual

foundation of the harmony, and is to be prolonged during the chords which occur above it. Hence it is

necessary to play this tone very slightly in advance of the beat and to catch it with pedal, prolonging it as

indicated in the pedal lines below the notes. The dotted halves in the left-hand part are held out with the

fingers. The piece can be simplified for small hands by omitting the lower notes of the octaves in the bass

part in mm. 18, ig, 20, 21, etc., striving to replace the octave effect by making the remaining tones as full

and satisfying as possible without playing them forte. This piece i-- one of the best pedal studies in the

book.

No. 25

fflai

Very slow and song--ful (J -112 to 126)

2. ^ 2 -

SCHUMANN

5 ^^£ r-

p

m 5E^F £ £ tt

£ £24

E

I ^ I j^U<&>. ft <$&. # (<

fo.

14J L

14

•# <£&. * <&& #

^

•^/l

14

LJ-Lm

* j. j>

I ^c J L2J> J L.

£ ^£

-3

' £

s:

r£

J L

I

^

i±

£_

* — i ~ 2 1

£ ?J L

^ s 5 ^s3EE

1

£e£ £

^ J * i'to.

J L

* <fcfc

1?Ta

8 r^ 1*

»* <£&>. *

j* 1P i

<£a. * <&>.

"5= **

[34]

±* =zz:1^ 3

i S £-i5>-

¥

Sa^r

i i F

j§ j-4

F

±=*

i inri 1

1

1

1

1'

i

1

5—?J L

to. * 'l

I

¥

*

^^i it _i

i 1*i»^ P^£ *

r^ h ;

PP^£± 9i>~2H

P

s izJt i>»r*y £w

j ^r T fr

t£$

I \k X^ ^ ^ at?2:

"5 CIL

J L

JL _j| 1 to. * to, to. * to. *

i& i Jr^i ££

* 4 * UJJLsM * i *S * *3*fr tr =£ ^to. * to. * to. # to. * to.

lit/

* to.

P ^ ^ s?* *

f rr

.S [>p <v

f

1* * J iEE£?

jS3Z=5

to. * to. • to. *25 una corda

[35]

PEDAL FOR CONNECTING CHORDS

XN Polyphonic music, chords, as such, rarely or never occur, the tones composing

the chords actually heard during the piece coming into their places incidentally to

their melodic motion, each following its own thread. In music of this kind the

pedal is used very sparingly, if at all. Modern music, however, no longer expects chords

to be connected by the fingers upon the keyboard, as they have to be upon the organ,

because the prime quality of a chord in modern music is what might be called its har-

monic solidarity, or harmonic unity,- -the effect of a single compound klang in which,

while all the individual tones are clearly to be made out, the prime effect is that of the

chord, as such.

This effect cannot be produced by finger touch alone, except by virtuoso fingers of

high potency. All weaker hands have to obtain the harmonic effect by the use of hand

or arm touches. And since it is of the utmost importance to have the tones of the chord

all begin precisely together, the hand has to be firmly energized and raised slightly from

the keys, preparatory to taking the chord. Thus, in a succession of chords, there is a

break in keyboard continuity after every chord. This break is bridged over by means of

the pedal, which must be taken just after the chord is sounded, and released at the very

moment when the new chord is beginning to sound, in such a way that the chords are

connected, but not intermingled in the slightest. Good pianists do this unconsciously.

The use of the pedal in this manner also adds resonance to the chord by permitting

the relatives of the tones to aid it; it thus contributes what is later on called "atmosphere,"

or general blending effect. The student will be reasonably safe in taking as a general

rule the principle that all chords take the pedal, excepting those that are too short in dura-

tion for the pedal to be used.

The young student in adding the pedal to such a study as No. 26, etc., should not

begin the pedal study until he has learned the music well. In such studies as Nos. 25

and 23, where the pedal is the only way of obtaining a complete bass, the pedal is taken

with the first study. So also in Nos. 14, 15, 16, etc.

THE PEACE OF EVENING

(Abendfriederi)

No. 26 [See page 36] Alban Foerster. Op. 63

This charming and musical piece is conceived in the spirit of a part-song for voices, relieved later on

by a solo by the leading voice, in this case soprano. The tone is to be very mellow, musical, pervading,

and satisfying.

The pedal is used to connect the chords, precisely as directed in No. 23, and precisely as the scale is

played legato by one finger and pedal, in No. 8, Chapter VII. In carrying out the principle, several difficul-

ties arise. First of all, there is the plain case, where the pedal is applied syncopatingly, just after each

chord, as in mm. 1, 3, etc. Then there are several cases where one or more changes of chord occur within

the measure, and during the prolongation of most of the tones, as in mm. 2, 4, etc. Here we consider each

half note a new chord, and pedal as marked, but hold the long notes with the fingers. A vanishing tone,

like the 8th, which leads from m. 7 to m. 8, is also pedaled. So also the passing quarter in m. S. In m. 10

and in many other places the middle voice indulges in 8ths. Here it is better to pedal the accent, and pedal

again when the half note comes in the alto voice, and prolong this to the next chord. In the second period,

where the soprano has a cantilena, pedal not at all, or as marked by the pedal lines.

[36]

N926(J, 96)

II

3 52S

52-7\- ^ 3

LFOERSTER

1 33: P3^S-o- & of: f

P*=f

rr^sc. «/•w

gap^ -o-331 =g= g g rV it *&

I I I I I II II II II I I I I IL jiL j i 1

1

1

1

1

1

1

1

1

1

1

1

i

341

i\^~—331

f 5

cresc.

-o- k g l? «—

f

5—

^

TVuna corda p

I T

^^ tS-'

tre corde

—i© ^

P^t

j i 1

1

1

1

1

1

i i 1

1

1

1

ii ii 1

imA little faster

II 5 -—"1

£^5:2¥ 15^ r-*

*/* jt^P /oco rifc P

^^ £ J3XI I I I I I i I I 1 I 1 i_

77J u J L J 1 I

Ia-^.5

Si m? W^r^ TWTtm m

i:

m.«f

mi mm — &

%S*

I I I I I I I 1 I 1 I 1 L

# -3-

ia tempo

f o> PP-

tw

Idim.

cresc.poco rit.

m ^s£ =S=g^ J L J LU£

m[37]

V h r fYl" 1

f tm f j=9L

-o-^=f-0-*- F

-Gr- 33:

f- r

10—^s5 2

J I I 1 I L J L -J u J I 1 I—

I

4 2U J I I

felH 5J tfJ^J -

cresc. mnf' dim. P

3e§e—^—M>-

^ b^ - ^ ^ e » ^

p fi t

f'

if7 r4i>ll 1 l 1

I I I 1 L J L J I 1 L

~3~~z—

r

_i 1 1

*F54

-*>-* *

u.cresc.

sat3 *FP=fr—=—0 1_ 0—0—W

£%m xr:

j 1 1

1

1 J i_

m m+ d mif cresc.

rzi I jj tir^ ^^Ss^;^=^ p=^ ^j 1 1

_l I 1 ,5 ,

L J L

mCoda

•?s

"257

i 1B?tt

«5"

dim.

^/>oco nf.

-»

j^

*/»« y r/? v l^ 3: NV E

-o-

J l_ J L J L

TT

(38]

ISQ27

I

SOLDIER'S MARCH(From Album for the Young)

No. 27 Robert Schumann. Op. 68

It is generally supposed that Schumann did not intend the rests to be closely observed between the

chords here and in many other places in his works. What he meant was probably an individualizing of

the chords, each slightly separated from the next. Thus the actual silence will be very short, scarcely per-

ceptible as silence. Yet the "chords have to be rather strong and brilliant. The pedal is used with each

chord, but the chord is not connected to its successor, but the pedal left just before. The heavy unison

after the double bar, is legato, and without pedal.

SCHUMANN

2 2 K \ _ 1 * * „ 2 m % 3

* \t5

fesb ^k m * Z m7 %' 7 £=iz^ y 07¥ 0—0r=f f r=?

f f

*>h rfQ fc£ S fei m i^ fe§ 11-1

r~ V

w~5

l 1

42 3

I 1 etc.

^m55

£>_& k^h

5

1

*

i^ ^^5j v i v•; S- v j y ^

*f

f)y ilv ? :

:1^ fe£ f^ is I^ £ =3: £23

4 «

N928

? T

7 K 74 a-

5^42. 3

y-g^-*

&3 4

^fe

* I:*

^ £ i

1JL

W^t

t

7^

f£3Efe

yBni

A LITTLE PRELUDE(Abridged from Six Little Preludes)

No. 28 Johann Sebastian BachThis very original and attractive prelude is composed over a bass motive of three notes (the two 8ths

andthe quarter (a), which occurs over and over,like an ostinato, and is carried through an interesting harmonicsuccession. The chord upon the accent always lasts through two beats, hence the pedal includes this much,in every measure. It would be permissible to pedal the two 8ths into a single chord, but to do this destroystheir character as an ostinato motive; therefore pedal each 8th by itself. Observe carefully the indications

of varying force. The pedal also imparts an atmosphere, and relieves the dryness which otherwise dis-

tinguishes the i6ths. If young pupils find this piece difficult to memorize, take shorter portions, and learn

the progression of accented basses, for this is the backbone of the piece. When a bass fundamental is several

times repeated to different chords, next learn these chords in their order, noting carefully how they changeunder the fingers. In this way it will yield to study. Merely playing it many times will seldom memorize it.

lOto J S. BACH

[39]mmdim

JO mJ Kl

^ l''l.J

* f-J

3 5

S3 1 4 g^S*^PP

iJLia 3*/

1rtfr l-1. l

tV' * *

pp2

j * n i

jrjwya/•oco cresc.

JU LJ L -JU L_l L"3 4

$ m-ILJ i__i L ji_i i—ietc.

^J^W

2 gsr«^ * ^

PH^P* ^

7 3 5 1 3 -£ * 1 3 1

*JTJ JJJ}*}?$

£ myn;jjj^i

-«—g-

cresc.

£ m& f ^ t+=t »

5

, Q I, 1—JV-X-it-l 13 i-

3 5 .

p una corda

^3 £

3

—

1 4 a

^RP£

-S-^-T

^^ra

* ^2 5 £

U .. '2 4j 4 2 5 2 2 2

ti i-7jn

)t* 35 3

I 1 1

m^ $ ^it*

dim.

fes*=3=*^?

i ^

Molto tranq. rrt.

n „ 4 « 2 1 4 ?V\

rall.V^

Uo]

INTERMEZZO(From Nocturne in G Minor)

No. 20 Frederic Chopin. Op. 37, No. 1

The chords in this passage are intended to be soft and full in tone, and played in a very reposeful man-ner, hut with the upper, or melody voice, slightly more prominent than the others — yet very slightly. In

mm. 4, 8, 12, etc., grace notes occur before the melody voice. This grace note is played at the same time

as the bass and other voices, retarding the soprano tone just so much — which must be very little indeed.

The pedal is used to connect the chords, and is employed with each chord throughout in the mannerexplained at the beginning of this chapter. The customary marking to pedal a repeated chord without

changing i> not desirable. Thus in m. 1, the two chords of A flat are pedaled individually. Where the

bass has octaves, play the melody voice a little stronger than elsewhere, to justify this stronger bass.

N929CHOPIN

%b. <£*.<&2>. %S>.

^#fci

^n

T

mmnm w

1

i*P iTT-gTf

PB^=?l

fefWljjV,

if*m \>

m

UM 12^0 4 L& 4 5 ^x.

^=!=^^E|p* ' J II I

I

I I m=*=*^EFE=£# -; # * 3 jf l- ; h* f 3r- ; - : - : 3 * 3**4

*^tfefeM

P

* h fJf f f i& 6 4 3 5 4--

5

=fcrs

m ^0* 35

^T

^^#Tnf

?/7S

3 1!

n'fc « di«.

[41 ]

MARCH MOVEMENT(From First Novellctte)

No. 30 Robert Schumann. Op. 21

As a study in strong, vigorous, brilliant chords, the principal idea of Schumann's First Novellctte is

one of the best. In this case Schumann has already marked the chords staccato; therefore we do not try

to connect them, but simply employ the pedal with each chord to improve its quality. The pedal is left

sooner than if legato was intended, so that there is a very slight moment of silence between the chords.

Where the bass runs up in octaves to an accent, the pedal is user! during all three of the notes, and here wecarry the rush quite up to the accented tone, where it ends. Incase the vibration of the piano is very free,

such triplets as those in mm. 6 and S may be pedaled twice, once for the octave and again for the next two

notes close on to the succeeding chord. Such uses are practically universal in brilliant music.

LAROO APPASSIONATO

(From Sonata in A)

No. 31 [See page 43] Ltjdwig van Beethoven. Op. 2, No. 2

This thoroughly characteristic and profound slow movement from Beethoven's Second Sonata is one

of his best. It consists of a very serious melody, with its appertaining chords, and under it a series of de-

tached low bass tones, like a double bass pizzicato. (The strings picked with the fingers.) The difficulty

is to secure a perfect connection of the chords and yet not impair the pizzicato of the low basses. There

is one way only to do this, which is to take the pedal just after the second bass tone of each beat, long enough

to cover the break between the chords which would otherwise be inevitable. (See pedal lines below the

notes.) This use of the pedal is precisely the same a-- in (lie chord examples already given, excepting that

in this case we delay the application of the pedal to the very last moment of each chord compatible with

its advantageous use. When thebassis in 8ths and the force great, every chord takes the pedal, for sonority.

In the second period, at B, in the heavy passage in B ilat (period C), pedal once in each beat, as indicated.

The confusion of the passing tone is tolerated in view of the intensity of the action. Where the principal

theme returns, with 16th note figuration in the alto (period D), the pedal is used as at first.

No. 30

Marcato e forte (Jr iostoi26)

Very marked and strongb)

SCHUMANN

<£&. *

1 * in tfci_»

"^is £ w *W^W^ a <>» "2

v- 9-0-

mf f

s £ £-P «

3kT* te*-* *~tt *=£«=E,J. J.S f

[42]

ii £S k Sf

sf f* * S m

*f fw

9^ i

f

Sg§ ^f^ Jtf—

i

££-tJ 8-

^>4k<&&. *

i te*b)

£ n dba tit Ifm §&jtt is ftf

iza ilz p«rf« HP9¥5tt2 1!» w P-P-#-

H?^

5*1 *

spi

tn * 1 *P*

3^3 2 tW !> fIP F

<£&. *

m Amm. $% m W¥3 9S:f f~.

* 9f

Wk1

f f^z-

<5k *&> *

<fr J J- Jerf

| f* ^ h*

-

.!*••

i*/•

^7

,S££* I *L

TA

sT

fe ii

•Sa. «

5(#-&—

:-J

5 %-

% P fJ -

tt' ^T 3^ *

3^-w—

zg: ^ V

I

i * +±: ^-

ifsbt*^ m

itf ftif

iz;—a~

[43]

N2 31

*Largo appassionato (J = 62)

A tenuto sempre

BEETHOVEN

M£ 2S

^ ' tt 4 ^ */~

*y i _^=^ i

7 ^ 7 r 7 » ? M , r r_LT ?n» 7 1» ? r 7 > 7 » 7 r ? rri i i i

•4

staccato sempre

m 3=£ i*f

s41

S^ f=*

La ev> ' i i

i—i ., '

II

7 ~ 7 r 7 t 7 r 7 y 73 4 »

3^5 _1 -i 4fr

lUSl-cs»-

4r a—

a

3#=*J- * 4 *

i?.//.

i a i^ ife

J J Jj JP

JJ^'7 *

-2-^*

err 5%=a)

1 2

m 34

' R. 4«

ten.

^ffr * « $

r

si

r r_^i i i i

^frff?ffff2 4 2 1

8

stacc.

m *f *f ?f

-Zr

i t*"ST

s i #=^ +-^Jy£

^g ^ £jj 7=

g^fft^Wf! UJ^rTMfT/y

m41 3

£

1 5

pPft=»ns. i

^ p^-\*S

f)

1) j 3^ J

i4 ' 45

^ n ten

HP4 "-^3 4

1

45 21 3

* «=*5—

*

M-fii I

fr ff f-f,P^P^ -8—g- 4 ^g

Cten #• *y */

m fy *"=*'4g

ff

tntl(

l!l_ _,lj=3 !f# HB7 * Wr i * i rTv? ? i r 7 t ? r 7 y ? ' ^

stacc

Sfei*f

m S41

*l 13if"re»=?l :

"

pspi U, tit-i^

2t

i=?g

i i

i i

i i

i 1

[45]

ATM i

5_i2£J

42 tj 1 * '^ E E^^^

if

* *-3G

PP m£

=? f 3 5

I I ^ L I I

D ten.

i J J. J: i ^5

e)una corda

^ J i _^iif\E3•/*« ^ r IB^igi ?f -yp -yr ^r g

i ii

giacc.

U 7^ 7^ ^

M ,7 ) . =fc 3 SsI

;:» a i a l *

r~-2ifm^.

2 r

•/ft . p v ) ^^ i i1 t

— 7I ii ll ii 1 etc.

25

5 3 24

#M 3 W $ FF^a' i ,

m3 l 2 2 1 2 E

Tr~

2 1 21

J I 1,2

t-t-r f-

ppS /?s

F^F -3r

?

^ i,L

^»*^ =t-

f^P

I!

3

>» J I 13 2 4T r-'* L

cJ I I _J

[46]

GOOD NIGHT, MY HEARTNo. 32 Robert Franz

Transcribed by Otto Dresel

In the following song by Franz, each of the four voices has its own movement and needs to be played

legato, with little crescendos and diminuendos as the expression requires. It is therefore partly done by

finger work, but much helped out by arm assistance and a very sparing use of the pedal. Great care must

be taken to hold out all the longer notes their value. The pedal adds atmosphere and perfects legato in the

more important chords. In a simple succession of chords, as in m. 1, the pedal is used after each chord;

when passing notes occur, as at (a), the pedal is not taken for the first note, but for the second only, as the

object is to prepare for the next chord. The passing 16th in m. 2 is not pedaled. The pedal lines below

the notes give an idea of the uses advised.

N9' 32FRANZ-DRESEL

~~\\24time

3 SEiP^ Poco ritenS

[47]

PEDAL FOR ATMOSPHERE

XN all the applications of the pedal illustrated in the pieces previously given, besides

the specific addition to the tone (in the way of prolongation for connecting

melody tones, chords, or basses), we have always sundry other additions of

resonance above and below, according to the principles illustrated in Chapter III. These

additional resonances impart a certain quality to the effect which has been called "Atmos-

phere"; a sort of mistiness, or tonal halo surrounding the actual threads of the melody

and its harmonies, and imparting to the whole a charm which is lacking when the pedal

is omitted. Atmosphere is therefore not so much something to seek specifically as to

be included as an incidental by-product of pedaling necessitated for specific reasons.

Schumann seems to have been the first great composer to fully appreciate this element

in poetic piano playing. It was said of him in his day that he used the pedal entirely

too much; since he came into close comparison with Mendelssohn, who used it very

little indeed.

In nearly every piece of modern music the pedal is indispensable for one or another

of the demands already discussed. Accordingly, when these are perfectly met, the desired

atmosphere will appear of itself, better or worse according to the capacity of the

individual piano for sympathetic resonance. But it is permissible to apply the same

principles to easy pieces where the pedal is not specifically necessary, as in the little songs

of the first and second grade, classical sonatinas, and the like, provided it be not made a

habit and result in a vulgar blurring of harmonic effects.

THE PET BIRD'S FUNERAL MARCH(From the Album for the Young)

No. 33 [See page 48] P. I. Tchaikovsky. Op. 39

In this strong and well-characterized funeral march the right-hand part is treated precisely as if each

melody tone were a chord, the arm element being important in the touch, and, whether played softly or

with more power, the tone to be serious, deep, and full. Pedal to make the harmonies legato, as indicated

by the pedal lines below the notes. In repeating after the D. C, use the soft pedal also, playing pianissimo.

A TENDER DREAM(From the Album for the Young)

No. 34 [See page 48] P. I. Tchaikovsky. Op. 39

The marks ^Ud. and the *#> below the notes are those of the author. The pedal-lines indicate the advised

applications of the pedal, which, while not absolutely indispensable to the integrity of the music, would

generally be thus made by an artist. The key to the new marking is at once to improve melody,

connect chords, and add "atmosphere." Be careful to give the melody the highly impassioned expression

required by its harmonies and the indications of power. Tn the second period (from B), the melody in the

left hand could be pedaled note by note advantageously, but it is not indispensable.

N9 33

mGrave J.-bojTCHAIKOVSKY

3^ a2 3 '£

ff"*i iJi a vc

^3^ In* i=f *=^ Fv V # w

ppuna corda

P

^^32

fe= h=4$

51 i l_

t I L J L J I I I II I

ik=*:

Fine.

-^ 3 2 ,—

&

3 a-rj i-j3 ,'j

%iN^= -#

tre corde

PP ~

^m/>.

9^% SB5^

B"8

J I I I I u

4

_l l_ J I I I I L

B

a ^SP i ?f^ ^f * r=^i v * 3F

i*> rinf.

P i g=gtg*i 9 . i tEfc * m

C I 1_J

e=fc

i i

3l I l 1 I 1 I 1 i l i ii 1 l l

NS 34

Andante espressivo (J = 72)

A 2mdolce

p con gran espress.

>v;>v j>* L- S

P-3

5^

v J> v 1) 7=^fr

T_.! i

La' L-

nw/

7_j^ 7 J^ 7 l,«Sf ' 1 ,

' Jj

4I i i

^^ITr

-2-4-

"H^J-

«'«/

h Y J^ 7 J^

J I 1 I 1 I 1 I 1 I I1

! I Li

Iff<&*. *

J C I I I L

149J

i S

£mm m

a«f

i Jlvjivji.

-*

5[—"^3

in't 4-

f

£

r^^si

i

dolce

S fc^§^§3=3i

J U -J I I I I L. J I I I H4OTf¥ + +<&& *

.0.C

A LITTLE HUMMING SONG

(From .l//;/n;/ for the Young)

No. 35 [See page 50]Robert Schumann. Op. 68

The pedal is not indispensable in this little song; but if taken with each melody tone, precisely as

if to preserve the legato, it will be found to add "atmosphere" and relieve the dryness of the accompaniment.

A similar effect can be produced by holding the low bass tone (like a melody) until after the second tone

of the accompaniment figure is played. Master notes before applying pedal.

[5o]

N? 35

Moderately quick (Jr96)SCHUMANN

4 §

s mm 1^2 3

£

^ 13^ 4 4 / 3 4

s

ln^3 4

%3 2 3 4 5 5

fefe I* i a i

¥ff

-<2_

3 ^ — i;

#—=-#

4

~P3-JA 1 4 5

4,5

i 4

J i J a J i J

42 4 ^"^3 1 2 i L_ 3 4-

rep^^ * .

»

i-* 1 "23 1

*J ^3-^ 4 4 3

1^2 1 2 1

ITT

i

?

i PP4 3

m^ppn

2 2. -; 1

» 25_^3

[SO

PRELUDE IN C MAJOR(Wohllemperirtes Klavier, No. i)

No. 36 Johann Sebastian Bach

This universally favorite prelude, being purely harmonic, is very much improved by pedaling for each

chord, — i.e., twice in each measure. The second note of the left hand, as well as the first, is held out its

full value. Much depends upon the quality of tone in the i6ths, which should be chord-like or melodic in

character, so evenly balanced with the first two notes of the left hand that the measure presents at once a

chord effect and a firm and reliable "motion" (or unbroken succession) of i6ths. There is a gradual cres-

cendo to m. 5; then it subsides, rising to forte in m. 7, following generally the marks of expression, which

are those of Czerny. At m. 18 the effect is very pianissimo, whence it gradually rises to a grand climax

upon the first chord of m. 20; thence diminishing to the close. Retard very much in the last four i6ths,

and "spread" (arpeggio) the closing chord. On this prelude (transposed) Gounod built his exquisite

Ave Maria.

N° °6

Allegro (J = 72 to 84)

i* 4

J.S.BACH5

V

& \1n-CtJ

Jig+^*h2* *

?pof- jpc-f *P *FT W=T FTIL.H

Plegato cresc.

g £ £^JL J L JL J L JL

gg 1m * m * 1m *~fl^^-43 1 2

1* =-# W ZM#7 -y

p^

r i^f

3 # £ £ £

^^ Sb flJffl

n^r" *p#-=—

#

^y

3 g^ 1

'~ r = i p. 1

t wm psg Pi #-= #

fcV 7 »,—J) .J *i> J

cresc.

uh feU ItA iJU£

SBp_J ?J>_J

1 JdJ

dim.

t * • 1 J) J ?i) J

i

§7 Ji^ 7-^g

[5=]

7

ji^Ji^7

j2 JJiJ P% P^pg/v>

t r

i& 7

j^-gp7

jsi'Pcresc.

t>:^J %j^

•4-^L

^P3

^ cresc

K^fc=^

dim.^ T^¥t 5

rr

*s>

7 j^ 7 pp 5JOT" jttJJJ WW^I

w w

rJ> _ j -?i>_ j

rrfsc.

f¥ ft J ^ J

T.S.

tCT 7

i^4J ^J — J n * =:iTi

JiJ

j7 I

^r

—

J Lr£

_L Lr

hr

i£_l L

r

P pjjjy- ^Jji P^ J — '

p^ J —

1

y ^ JlW.

*>: yi,Ji J .yi)_J

r rJ L.

3r

hi) J 4 J) =*

r

7 4^jJj7

4J J iJ

rJ L J L J L X

[53]

4^m tamatm

P

v ? i> J ? J> J

JSHJiH' J"JJP

pp una corda erf Zi'6.

¥^^ 1fe^

;#

J L •tT.S.

rca fan^ =S

do

a ! 4 a 4 '3 r\

Trr3£d * *

s K^4 2_l 4

5 fe

/C\

^ ZEEL^ ^

.

r r j i ii ii—

i

NOCTURNE IN G MINORNo. 37 Frederic Chopin. Op. 37, No. 1

This is the final and more ornate form of the principal melody in the Chopin Nocturne, of which No. 29

is the middle part. The usual pedal marks of this nocturne contemplate merely connecting the basses

with their first chord. The artist, however, would employ the pedal with even- chord, both for connection

and for atmosphere, as indicated by the pedal lines, which are to be carried out elsewhere when not marked.

In the second period, mm. 13, 14, 15, the pedal merely connects basses to their chords. In mm. 16, 20,

and 24 the Tone-sustaining Pedal can also be used advantageously for prolonging the low bass during the

succession of chords above it; meanwhile the Damper Pedal changes with each chord.

N2 37 -r,Ayw^^ dM#±j>, CHOPIN

<£a. # <%t>. % %b. # <$*. %

[54]

t ? r r M #3 4 2m U

1

5

J- J- A^ITT

^ ^!* !•

T.S^

i^m $

%b. % <&2>. % <&&. # <£&.1

4 5

14

$a. *

S& & <£*. *

[55]

No. 38

PRELUDE IN B FLAT MINOR(If ohltemperirtes Klavier, No. 22)

No. 38 Johann Sebastian Bach. (Abridged)

This exquisite prelude affords very useful practice in applying the pedal to improve the atmosphere

and intensify the accents, in a class of music where every musical person feels the need of it, yet few know

exactly how to make the proper use of it. All the moving voices must have a singing effect, and the indica-

tions of expression be carefully observed. The pedal is used as indicated by the pedal-lines, for intensifying

the accents and also (to most students unexpectedly) upon the note before the accent, in order to lead up

to the accent more forcibly. In the second line it is carried out as indicated in the first. Careless students

will need reminding that at (a) the tenor begins the same melody that the soprano had in the first line. All

tones must be sustained by the fingers their full value. To be played as legato as possible.

Andante sostenuto(Jcso)J.S.BACH

i ? 22 1 f

I ft S 4 5 54J,

3 \ * * * H J 3

No. 39 [See page 56]

AVE MARIAJacob Arcadelt. (16th Century.)

Transcription (Abridged) by Franz Liszt.

The quaint and lovely Ave Maria by the old Netherlandish composer, Jacob Arcadelt, is very attractive

in Liszt's version, which is here shortened materially. The melody itself consists of eight measures of very

simple diatonic music. As here given, it is repeated four times (A, B, D, E), with an interlude mainly in

minor mode (C). The pedal is not necessary in the first verse, although if carefully added it improves the

effect. In the second repetition (B) it is very necessary, for connecting the chord-like melody tones. So

also in the later repetitions. In the third repetition (D) the melody lies in the middle of the right-hand

octaves, and is doubled in the left-hand. There is room here for a great deal of discreet coloring, according

as the player chooses to permit the soprano or alto to color the passage by being a little more prominent.

•The harmonized version in full chords (E) can be played much more powerfully; but care must be taken

to subdue the force again and end softly.

[56]

NP 39

Andante (J - so)ARCADELT-LISZT

tefS

C 2

£ $ $f«n

$ ^^»=5 f£

^ f i?Tp frj=* 1^^ SS21

!

II? i^

*-^J :

foco marcato

1 ift

MP^ ^^T

is:1 2

2

IB=4Ba3* *

f

r P

s

£

J r"i id

pS#^

[57]

lAmm i *EfEfEi

poco forte e sostenuto

-G- 2un

WF^ *i1 ~75

—

V w

#

£ i s*"

& rT\-tt-

£ff3 l=t

Pi*f

4T slower

(rit.)

rT\ rT\-*>-

£ :zo:txtv—^~z: z? z:

—

w

No. 40 [See page 58]

AVE VERUM CORPUSWolfgang Amadeus Mozart

Transcribed by Franz Liszt

A study in sweet, pure chords, with a beautiful melodious quality in the chords and a leading voice

of superior value to the others. Throughout the hymn the pedal is used for connecting the chords and

enriching the melody by means of resonance.

THE PROPHETIC BIRDS

(From Forest Scenes)

No. 41 [See page 60] Robert Schumann. Op. 82

This famous and poetical piece by Schumann presents peculiar difficulties in pedaling, if one wishes to

gain by it the most good and the least possible harm. The pedaling generally marked (during each har-

mony) is not permissible upon a really good piano, inasmuch as it confuses the effect. On the whole, the

best way seems to be to pedal with each beat upon which a tone is produced, and to prolong the pedal almost

entirely across the long rests (upon the last half of the 2d beat and all of the 3d). In this way the dissonance

is prolonged into the chord, but it does not make a bad effect. To begin the pedal with the 32ds is to lose

the misty charm which Schumann seems to have had in mind. The pedal lines indicate this as nearly as

practicable, but they should be revised by careful hearing, according to the nature of the individual piano.

In the melody which forms the interlude, pedal for chords.

PRELUDE IN A MINOR{Wohltemperirtes Klavier, No. 20)

No. 42 [See page 62] Johann Sebastian Bach

This most excellent study affords fine opportunity for reinforcing the accents by means of the pedal;

it also needs the Soft Pedal occasionally, and, near the close, the Tone-sustaining Pedal and Damper Pedal

at once. The blurring of the A and G sharp, m. 1, and elsewhere when the pedal is used, is not objection-

able. The G sharp is dissonant and was added for the sake of its foreign accent (like imported nqbflity

in an evening party). The pedal lines show the applications intended. Learn the notes first, then add

each pedal in turn as required.

No 40

U.

Andante con pieta, piu tosto lento (J- 66)

dolcissimo

T

[58]

A - ve,

MOZART-LISZT

^m ±

una corda pp cantando angelico

^fef 31XT

I 1 I 1 L -I I 1 1 1 I I L

& <&a. «•

cor - pus,

2mm £

na

2

turn de Ma - ri - a vir g1

$^ ^3 r~r

ne.

& •&

P<£=:

r=r===^

« t5-

^Bn ^^~o~ l^rF J I I L J u -I L. J I 1 1 I L

^ve re pas - sum, lm mo - la - turn in

U» * #

cru

3i ^2 ^ =P f-*•

**sempre dolcissimo

3 ^=* m £ JT^M? ¥ f "irJr^<Sa>.

r<&a. & <&a. <&&. #

5: ce pro - ho mi - ne.

* Z^ M»-a

—

i i A-U

1il_

Tun poco marcato

k$L eHI ^ iP ^ ^$ ? £ ^ P 12

"to. * <Sa>. *<&>.r~

r

t&i ,j *

'A :i: r J

cu

4

jus

2

la tus per - fo ra - turn

42

Ep^i j « ^ *kj? g

/w>

«iespressivo, quasi mezzo forte

PP pp ,

ftft l J f^^

«&fc * <&*>.

/>/>

Mf » »i r #-^ Ins-

iiJ $r r > y fMi

#<&&.<&&. * <&a.

[59]

un da flu - xit et

*San

5

gui

i ~i~T~2 J'

- ne Sto

o 3 $2, 1, ^^m a \ 1 ,

,

7. *I

f fp t*^JB dolcissimo

ai^p^p ±i £^^f-

"r r t ^ET~Fno - bis prae

fe r?7-^a

£ta - turn in mor

r »±

tis ex

*=H« SP ^

quieto sempre una corda

i» # il Prr s f rFfm f P f

mi - ne, in mor

Mi^ a=J J £ T

± £EL» XI

m i i ^ s H3$ i 5 f^ r pf -r w« /oco rttf/^ (ma foco)

- tis ex - a mi - ne.*"

*-<5=g:

5 43 2

*332

*381

3 #

swiors. sempre dolcissimo e quieto

4A ^^ f^pi ±^^£ ^P TTro

3* <&o.

2 'o2

iliij3~1

I* i ^* -cr

.p^4^ 3l= =£^XT

<£&. 3 « <&fc *

[6o]

N2 41

Lento, molto teneramente (Jr63)

Very slow and tender

SCHUMANN

L-sa*^=^-

1*

4/^1

•~2;

^S ^^

* jfEi i£:-. „i^* »

^fe 7 j \

i 5=fc

s; 3:

i^

3:

J I 1 L J L J L J L

±=4

fL\-

fcEfc

M

N' rP * a

i

2x i«e=a *^i

TiO£F*^

f=*¥:

-:it£mJ LI I i_

<£*. #J I

I L J I 1 I I I I I (L

#

mz^ i •* P* I

m =E

v v

5<&>.

J L J J- J L

f^rJ I 1

*35

w

IP2 1 4

[6i]

^4m fe

hpp

i* =3e

jV= Ebpt£

iEEfc i

Ifc

Fine.

5E$

:=c 5e£it

fI"IT

J L

#

Slower (Jt54;

5^T

J L

/>/> <&>.J I

* <&fc

I*

5 4

Si ^ ?=i *-r*

^5 r^ n ** t^*>

i«5 1It -J il JJ

J& Q J"3i

i

J-3

t—r r*

SE* Hz±

Dal Segno

1=1*tza: g Q,

a:

« ***=fc # 1*-*^*5

±Y $ j g J- J J = -n -^fr

PPSoft Pedal

(una corda) irT^SP£

r—

r

* " somewhat slower

(foco rit)

[62]

N9 42Allegro (J.r56to72)

$mJ.S.BACH

^Jp

a _ m mJi>

fffi

jp

m sz

I I

T. S.

*2

i l

,1

<&a.

8 U

*

ij^r^rrffrrEggg

54

1 3

%3 I

^ ElCEiC^ji

^^*» ££jo doJce

3 5 4

*rrrP**t *^2-1 =^—1-

I 1

J I 1

f i * 5 ^ 5 i, 2 5 12

5 4cresc.

pT^JtSJm jLff-^r

i i i i j i i

&m m m m i Uljy

^*r

' VtyiUil*+* W^F 4 1

I ( u7 y 5 2 1

T. S.

t63 ]

4

J. & «

H* fa 4

=4

rfiw./? una corda

^ ^^fs

7 71 4—1

—

z-

4 I

I »

Tone sustaining Ped.

4 L> ,V i^^t A2 1 2 4 1

-y—y-

y=jt-—

r

t re F# *• a w—v

J tre corde dim.

s iJ9 una corda

^#I

^0 tre corde

0-m ife-y—y-

? :im *r*=*2 1 12

T.S..1 3

J L

I4 ggm L 3se ^= 31 _'r i

^ > y?^g 3

i i

2 3 5^ «-

ISy

*4

3

i_

5 ri i

i j

[64]

THE FAMOUS "INVENTION IN F"No. 4 ^

Johann Sebastian Bach

In this extremely pleasing example of thematic work, the pedal is useful to emphasize accents and to

impart a certain momentum which cannot so well be obtained without it. Team the piece well before apply-

ing the pedal at all; then carefully study to apply it as here indicated by the pedal lines.

N9 43

Vivace J^96toios)f)

J. S. BACH

mm ffffrfffr*ff :nr f-mh^-d

Z- - y

m m mwg -1—

s

1 4

rrfrfrfrf- •0- 4- 4 —=—£ P=t

dim. cresc.

m p4 '

o

if tiUOJ. » * J I

y

^^ I

s

f fffrtui1 _5

I 1

fe3§dim.

m ^^^/>

3:

'" '

i i

H— JEtes*.

£g=§ £2 l LU

[6 S ]

I

4

fte **>-^^

£r

Si i i 1 i 1

4I 1 . Lj 3

*_ m PF P

¥rfiw. cresc.

3= S^1 5

313 2

5 2 4

i1 3 4 1 3 1

h^^ ^^cresc.

£4 1

I 1

4 2I 1

PI I I I

1= Ii3=iP5

/?\Sy

^ * isdim.

m ffrp Ff r.rr r

r

j^

j

^—*^-^— 1

—

:g=*

/T\

fc£* ' 9 Jo ^I I 1 I I I 1 l 1 1 1

[66]

PRELUDE IN C SHARP MAJOR(WofUtemperirtes Klavier, No. 3)

No. 44 Johann Sebastian Bach

The student unaccustomed to Bach may observe that the principal subject of this prelude consists of

seven measures, and an 8th measure which bridges across to the next following idea. The main melody

occurs six times, at A, B, C, D, E, and F, in C sharp, G sharp, D sharp minor, A sharp minor, F sharp,

and C sharp. The connections from each of these repetitions to the next must be very carefully learned^

With the last note of m. 32 a new idea begins, which occurs several times, often in the bass, as in 35, etc.

In m. 63 there is a charming pedal point begun, also again an octave lower in m. 87. When the harmony

moves off the pedal, at m. 73, a strong crescendo begins, culminating upon the accent in m. 77; also in

m. 81. The last three chords should each have the time of a full measure, and be slightly retarded at that.

Pedal indicated in the pedal lines. The main subject is improved when pedaled for two beats in each meas-

ure. This prelude is a charming composition, extremely modern in spirit, despite its age.

N9 44

Vivace (J: 92)J.S BACH

A 4 2 2 4 2 - 2

iW>iHi!ttm ft 0. m ft m *E fm f

PP

9^ SE

cresc. f dim. P

£ £ £ £ m s££ £AJ L

A&™> rrr '

2 13 14 3! £ £ a £ ££

1 a s

P

A^m 1 is-8-3"

cresc.

12 5 2 1 5rr T-5-

s dvm.

§

[67]

to =1 p H4

it-

tl? i3 23 i2 x£ * 2 2- 1

44

i irrffr 1*!a *-m-*.

^mkiiufrrrr fo^Wfrtey

^Ffrff £-¥^2H r -t t- ^Z=i r

2 3

* 5 * J U

jyy§g«#l 1 23 H * y 3 ^ £ 2 . - 2

I^SX£tf£ f*fffftr #H* 3Mi

P -t rj i—

i

12 14

s

§taa j g iji * «_

* «

*

^jp cresc y

gj^ m *=£ ^^ * *WW

3 13

^%ttfrrrrrirrrrrri rfr£

-i-s-

3 1 l 1.

j^Bg3 l

s e §siS#^-#- gp***

rftwt.

v:

Vf^ rp £ IS

p ur a co rda ad lib cresc.

T «" T 3"

[68]

rr^ff>«_ g. Lmfi^f-rc.f ?* *3 4 '

5Ife^j .' h i a

J

j'uVi i>»'fi.

1 2

Pg^ P?f* »g^

pi^^ ^

pffftin

icresc.

l^MI IfMJj

XT

x

y 7.M ^

INTERMEZZO FROM THE FIRST "KREISLERIANA"No. 45 [Sec page 69] Robert Schumann. Op. 16, No. 1

Perhaps the easiest way to find the lovely soprano melody here, which the notes do not at first indicate,i^ to observe that the figure upon which the piece is made, consists of two triplets of i6ths in each half meas-ure. Suppose we count these one to each note, and observe that the music always begins with the last

note of a former triplet, as if upon a count "six." The melody tones are always those counted "six, one."Thus, four melody tones in each full measure, and always upon the rhythm "six, one." Now the accentedtone, in place of ending as a mere 16th, is prolonged during the time of five i6ths (in other words, to count"five"), ending in time to avoid the next melody tone. This prolonging is effected by means of the pedal.

In addition to prolonging the melody tones, the pedal blends the harmonic background and adds atmos-phere. The melody tones arc to be musical, melodious, not loud, but pervading and satisfying. The pedallines below the music suggest the correct use of pedal. The short melody tone (at "six") is not pedaled.

[69 ]

No 45

(J, 60) rjS 4

^H **_ > ,n >J1

fell •'" Jpr/~ rJ

pto, ^ ^

SCHUMANN

4. _ 4.

i ^5=^

r^ ^ pf^j I i

una cordaI 1 i i j c

-I

Per % -mi i

<%*. *

a j)«n > fea j /i ii^ •)> ^ gp^g ^rr Fr % |g ft. p' i s sPs

fi fl,^ a*k 5

^H4 buJl i^ J) J

—

big£tr ^f

i i ip^l ft^ tiff

_i i i i i i i

I* -ft* ^ I JY .M Jii/i Vi M ^ j>

sp *^Cr ? i

I^ & site*

n't

2£

JV J> /1 >XA —A i

—

m m ,=,JiV -Jp Rrft *Cr Ps*

I

7g i #

<&&. *

rt'-yo M fo ii a^ 1. sijr

2.

Ii: ^v

gg fr 1m % >pa M frj I (UJ pj I ^^

[7°]

EPISODE IN THE SECOND "KREISLERIANA"^r , Robert Schumann. Op. 16, No. 2

The chords in this mysterious Episode are intended to melt into each other, in a legato as perfect as

possible, suggesting the organ, yet curiously enough entirely impossible upon that instrument. The fingers

cling to the keys and there are very few interruptions to the legato. Hence the pedal is not indispensable,

but when employed it adds atmosphere. Whenever a slight break in finger legato is necessary, the pedal

is added to cover the break. The ascending sequence of 8ths, at the beginning of the second period, takes

the pedal upon each 8th. All the long chords take the pedal for quality.

N2 46

Rather slowly (J -so)SCHUMANN

^Liii'lHT"'V p fllfl

I II I I 1

1

11 2 1 ?23 5 4 3

I II II II 1

1

-4

\*i "JLi ft

1 4.

ri

3 24

I ll_

te£1 mr^ f w W

n bjnn a.mW^ S^^^SBipl ]t"^^fpi

2h|sSw *

i|J»M

p** T l g 1 2 »u^. =

I I

32

1 etc5

1 1

5 4

1

SI-

'S*.

[7']

54 5 ad lib.

I4 5

O!

Adagio

-* *-P «- P £ & LT^v

sIP

S JA. Wm TU * >1 1 2

I jg* -i—

#

ffp: £34

*-f i *

^^ '

to. *

Tempo I

ifepgpjj

Ii ^

-6-

•7\

J.

»> IL

^Sb accel 5

to.

Adag-io

4

Tto.

i £2^

1

r

Jl^V

*a

i;

TTT7.

*=kW^J~*

to. # to. •$• to. * to. * to. * to. *

72

etjajiter tEletorn

THE TONE-SUSTAINING PEDAL

^^^^HE middle pedal upon most modern grand pianofortes is what is known as a

1 J Tone-sustaining Pedal, a modification of the Damper Pedal.

The Tone-sustaining Pedal arrests the falling of whatever dampers may be

raised at the moment it is pressed, and thus prolongs the tones then sounding. Single

tones or Chords can be thus prolonged. No other dampers are affected. The sole object

of this pedal is to prolong a sustained tone while various harmonies are carried on above

it or in connection with it.

The Tone-sustaining Pedal is always taken with the left foot, except when it chances

to be needed in connection with the Soft Pedal — an extremely rare contingency.

The Tone-sustaining Pedal is pressed just after the tone has been sounded which it is

desired to prolong; or at any later interval before leaving the key.

As the technic of using the left foot in this way requires practice, it is necessary to

give careful practice to this important adjunct to clean playing, and above all things form

the habit of hearing what this pedal does.

Begin with a scale exercise, like No. 8, prolonging the tone by means of the Tone-

sustaining Pedal, taking it at the second beat and leaving it just as the new tone is about

to sound. The effect will be precisely the same as when the same exercise is played with

the Damper Pedal, excepting that in using the Tone-sustaining Pedal no sympathetic

resonance is awakened. The effect is therefore clearer, quite without what has been

called "atmosphere."

When this exercise can be done easily by the aid of this pedal, the melody being en-

tirely legato, go on with Nos. 12 and 13, in which the Tone-sustaining Pedal is used for

the melody legato, and the Damper Pedal in connection with each single tone except the

melody. This is for the purpose of accustoming the two feet to work together and

independently.

[73]

When these are done easily, go on with the Canzonetta by Heller, No. 14, and carry

the melody legato by means of the Tone-sustaining Pedal. Do not use the Damper Pedal

at all in this piece, when practicing it for the present purpose. Later on, add the Damper

Pedal to blend the arpeggio together, but still depend upon the Tone-sustaining Pedal

for melody legato.

A great variety of effects are possible by means of this pedal which cannot be other-

wise attained. For example, play the Romance to the Evening Star, No. 16, using the

Tone-sustaining Pedal for prolonging the low bass tone, playing the melody legato by

means of the fingers, and no other pedal except in the arpeggio passages near the close.

The effect is good.

A striking use of this pedal is possible in the Chopin Mazurka in B flat, No. 20. Here

Chopin deliberately demands two opposite things. He marks the first tone staccato with

a rest after it, and takes the pedal at the same time to prolong the bass. The result neces-

sarily is that the little staccato and rest arc buried under the prolonged vibration of the

pedal. Now play the same mazurka, taking the Tone-sustaining Pedal with the low

bass tone (i.e., just after it, but before leaving the key), then go on. Here we preserve

the staccato and the Chopinesque catch indicated by the rest, while at the same time we

have a bass to lean upon.

The Heller Prelude in D minor, No. 23, can be played, using the Tone-sustaining

Pedal for the prolonged bass tone, in this case holding it entirely through the next chord.

It is necessary to do considerable practice with Tone-sustaining Pedal and Damper

Pedal together, in order to accustom the feet to independent action, the Damper Pedal

affording the desired resonance, while the Tone-sustaining Pedal limits itself to sustain-

ing a particular tone. It is of great use in cadenzas, where it is often impossible to pro-

long an underlying bass without generating confusion, even when the lower tone is fun-

damental to the passage. Examples are given from Liszt (Nos. 49, 50).

PEDAL POINT FROM "ETUDES SYMPHONIQUES"

No. 47 [See page 74] Robert Schumann. Op. 13

The imposing pedal points in the Finale of Schumann's Eludes Symphoniques illustrates the artistic

value of the Tone-sustaining Pedal in cases where strong chords occur above a prolonged and sonorous bass.

The Damper Pedal was formerly the only way of effecting this prolongation of the bass tone, and the una-

voidable result was great confusion, excusable only for the sake of the powerful ideas involved. The Tone-

sustaining Pedal, when applied as indicated by the pedal line below the bass, completely solves the difficulty,

affording a strong prolongation, and at the same time leaving the Damper Pedal to its proper use for sonority

and connection in the striking motive-chords occurring from time to time above (at a, b, c, d, e, f, and g).

These four strong chords (quarters) are forms of the leading motive of the Theme, upon which the whole

work is a series of variations.

N9 47 sf *s

sempre con forza +

&§£^T.$..

^

£

t74]

1 2

* a 7 *

-**-

al

£

SCHUMANN

I

4. * "^ ga

^r§3 8 1

T5-

T.S.

*/ e)

*W il W Wk \ j1=1

jttejh ^rr j

jL

SEfc

A 3*

-r-

y

B3TrJJ^yJJj§e ^T.S. -r

7" »p y gg

/}

^T.S.

[75]

PRELUDE IN C SHARP MINORNo. 48 S. V. Rachmaninoff. Op. 3, No. 2

In this Prelude the Tone-sustaining Pedal was evidently in the mind of the composer. Take it approx-

imately as marked in the pedal line below the bass. Observe that the first long tone is not taken by this

pedal until it is nearly through. The object of this delay is to avoid prolonging the tone in too large a vol-

ume for the light chords which are played above it. When the same idea occurs later on where the over

chords are fortissimo, this caution is disregarded and the Tone-sustaining Pedal taken sooner. The

Damper Pedal is used with each chord all through, for connection and for beauty of tone. The combined

effect is charming and imposing.

N9 48

Lento

(Andante)4 1

RACHMANINOFF

[76]

CADENZA FROM "RIGOLETTO" FANTASIA

No. 49 Franz Liszt

Here again the extremely brilliant cadenza is founded upon the bass tone, A flat, the dominant of the

principal key, and the effect is much more imposing when this tone is prolonged entirely through, by means

of the Tone-sustaining Pedal, as indicated by the

pedal line below the bass. In Liszt's time he used

to hold the Damper Pedal entirely through the

cadenza, just as here marked for the Tone-sustain-

ing Pedal; such a prolonged usage, however, becomes

intolerable with our modern pianos, which are so

free in vibration, and sonorous. The Damper Pedal

is to be taken and left as indicated by the notation

between the staves.

N2 49

LISZT

^iBifeT.S

8'

hh&!AliAhJi A ^ J'A&AflJiJJu^^" 5 5 tJ u

CADENZA FROM "LIEBESTRAUME," NO. 3

No. 50 Franz Liszt

This cadenza grows out of the bass tone E flat, the dominant of the principal key. The E flat is pro-

longed entirely through the cadenza, as indicated by the pedal line below the bass. Meanwhile the DamperPedal is taken and left as indicated by the pedal notations between the staves. This cadenza, the next

following, and many other like them, are useful exercises, and may be worked advantageously by students

who are not yet able to play them fast enough and with bravura for a public performance.

[77]

N9 SO

8 k

*LISZT

8lf* 1L-. 2, 4 2i S

5 i t

wr WPf ttf^fkiaEfrforW0.aIp==£

dim.

m '- rlVf fhypJf,

tttfrfttMW Z0\.J>9HyyM

ryfrcfy&f^fc

3 2 1231426132423142518242 3 14231 4 2 6 1 8 2 4 2 3 1 4 2 6 1 3 2 /» 2 8*1

3,4,

,jj^<Qm&£ #lff^. i -h^ Ifft..,'^1 3 42 324181418

I 78]

CURIOUS AND UNUSUAL PEDAL EFFECTS

XN the " Paganini " characterization, in Schumann's Carnival, a pedal effect is marked

which at first sight seems impossible. This number closes with four very em-

phatic repetitions of the thirds, F-A flat, played low in the bass, extremely fort-

issimo (No. 51). While the pedal is still held, the hands are placed silently upon a totally

different chord, namely, that of E flat with seventh, the dominant of the number next en-

suing, the repetition of the Valse Allemande, which preceded the Paganini.

The entire Paganini number has been strong and quick, and these terribly forceful

sonorities of the low bass strings set the entire instrument into strong vibration — a vibra-

tion too complete to be properly described as " sympathetic;" Then, when the hands

have taken this silent chord (written in small notes), and the pedal is discontinued, the

new chord almost immediately emerges from the confusion, like a spirit voice. Schumann

marks the pedal to be taken again after the silent chord has begun to' sound.

The legitimacy of this chord of E flat from the heavy resonances of F minor does not

at first appear; but it will be found that most of the new tones are implied in the previous

sonority. E flat comes as the fifth of A flat; G as the ninth of F; B flat as the ninth of

A flat ; D flat alone is difficult to account for, unless we charge it to the general awakening

of the entire pianoforte. Upon good concert pianos this chord emerges very clearly and

distinctly. It is always heard from artists. Upon poor pianos it emerges less clearly,

especially upon small uprights; but with care it will come out.

N951(J : 72)

SCHUMANNK ^S

f S Jt ppp

if' sf i?f ?/'

m/T\

mW-*r

t § <&a. *#

[79]

Many concert artists have taken advantage of this principle in places where it is not

indicated by the composer. For instance, No. 52 is an extract from Beethoven's Sonata

Appassionata; artists often place their fingers upon the keys opening the measure marked

pp. before releasing the pedal from the strong chord of C major which fills up the previous

measure. Then upon releasing the pedal, and without sounding the new tone, it emerges

at first very softly, then stronger, giving this beginning of the soft passage a peculiarly

pleasing effect.

N9 52BEETHOVEN

(J-- 129)

^^ fmi* a # » • mSSiW\

ffPP

'^v^jtiiiM

etc.

fit* t 4kriW<s&. #

The great pianist, Busoni, has indicated an analogous proceeding in his edition of the

Bach Chromatic Fantasia, as shown in No. 53, which is from m. 30 of the Fantasia. After

playing the very heavy arpeggio upon the diminished chord of C sharp, the hands are

silently placed upon the keys indicated by the small notes; then when the pedal is released

the lower tones are cut off, and much of the strong vibration is diminished, the whole

amounting to a very graceful and artistic reduction of tone-volume, preparatory to the

running work of the next measure. Two measures later a similar effect is indicated upon

the diminished chord of F sharp, afterwards resolving into the chord of D major. Busoni

indicates taking the chord silently by the German word stumm; English, "mute."

Bach-Busoni

R.HN2 53

[8o]

FIRST PEDAL STUDY WITH SILENT CHORDS

No. 54

This study is meant to illustrate a pedal effect which Dr. Mason has been the first to explain. Observe

that it consists of a series of very strong arpeggio chords, played rapidly, and held with pedal. After each

arpeggio there is a chord marked ppp. This chord is not played, but taken silently. When the fingers

have it, the pedal is released and immediately taken again, which has the effect of reducing the sounding

tones to those of the ppp. chord. Just as soon as this very soft chord is heard, the hands prepare for the

next arpeggio, and the pedal is taken when it is begun, as marked. The final result consists of a series of

sustained chords, like those written upon the staves below, interrupted, however, by the arpeggios which

present the same chords in fuller volume. A very useful exercise in careful pedal work. Apply Damper

Pedal as indicated by the pedal lines, taking care not to dismiss the first pedal until the fingers are safely

upon the ppp. chord.

N?54 The way it is played

(J, 66 to 7-*

B.D.M.

L.H. L.H LH. LH.

[8i]

SECOND PEDAL STUDY WITH SILENT CHORDSNo. 55

To be played precisely like the foregoing. Pedal as indicated by the pedal lines below the bass.

N?55A$ played(J=«0)

B.D.M.

L.H. L.H. L.H.

vz ppp

m£-BM-. 4Wf -K4L

Msfz ppp

±L.H.

L.H.

£L.H.m L.H. L.H

£ i £-Hrft *tfr 2S__ ^ »s/S

#/#>

^ yy

#•ppp

-.ft

sfzppp

^s/s «:

/;///>

L.H.j i 1 i

—

-" 'L.H.i

—

L.H.j i 1 i

182]

etjapter £t)trtren

THE SOFT PEDAL (UNA CORDA)

^^^^HE pedal upon the extreme left is always the Soft Pedal, and its object is to reduce

1 ) the volume of tone. In grand pianos it also softens the tone-quality, and is

sometimes used for the purpose of this softening when the lesser volume could

be sufficiently well secured by the fingers upon the keyboard.

In square pianos and in some uprights the Soft Pedal interposes a narrow strip of

felt between the hammers and the strings. This mechanism is now rarely employed

except in connection with the middle pedal, on some uprights, to serve as a "practice

mute" to reduce the noise of practice.

In using the Soft Pedal the foot presses it down firmly as far as it will go, and holds

it there resolutely until it is desired to let it off, when it is released firmly and quickly, but

not by suddenly jerking the foot away, because this will produce an undesirable noise.

The Soft Pedal is used wherever its quality and reduced volume are desired. It is

generally used for a complete idea (phrase, measure, or pair of chords) and not for one

or two notes in the middle of an idea. The reason of this is that the Soft Pedal changes

the tone-quality, and therefore has a bad effect in the middle of an idea, by creating the

impression of two different pianos or voices taking turns in completing a single idea.

The only indication customary is the expression una corda (one string), written be-

tween the staves. When the discontinuance is indicated, it is by the term ire corde (three

strings), or sometimes by an abbreviation T. C. (this is very rare). The German term

Verschiebung ("shifting") is sometimes used.

The Soft Pedal upon the grand piano shifts the mechanism about an eighth of an

inch towards the right, whereby each hammer sounds two strings of the unison in place of

three. Formerly it sounded one string. Hence the name of the pedal.

[83 J

The Soft Pedal is rarely indispensable to the effect ; it merely is an assistance in getting

the tone softer and more tender, and it is often used by concert artists to save trouble in

the touch. It can be used at the pleasure of the player. In several of Gottschalk's com-

positions the indication "2 'Sed. " occurs. This means that both the Soft Pedal and the

Damper Pedal are to be used together; the Soft Pedal is held down during the phrase or

passage; the Damper Pedal is used according to the harmonic structure. This form of

direction is no longer employed.

In the following fragment from Schumann's Warum? an example is found where

the Soft Pedal is very useful. During mm. 3 and 4 the same chord is prolonged very

softly, and pulsated by very soft repetitions upon the off-beat. Here, in addition to the

Damper Pedal during the chord, the Soft Pedal also reduces the volume of tone.

W958SCHUMANN

3 4

#<&>. #<&*. «'$&

In order to afford sufficient material for practice, the Soft Pedal has been indicated

(una corda) in a number of the studies already taken up for other purposes. These are

Nos. 20, 24, 28, 31, 33, 36, 39, 40, 41, 42, 44, 45. Each of these should now be taken up

in turn for the purpose of adding the Soft Pedal as indicated. In the transcriptions from

Arcadelt and Mozart, by Liszt, the intention was to use the una corda all through; the

effect will be better if it is let off in the stronger passages; this will render its return more

pleasing. B 5-21

THE END

f**

VOLUMES OFEASY PIANO MUSIC

4V

Becht, Julius^

Clementi, Muzio(iurlitt, Cornelius

f

Kohler, Louis

Kuhlau, Franz

Mack, E.

Orth, L. E.

do.

Schumann, Robert

FAIRY FINGERS. (A Collection of Easy Dances)fc

SONATINAS. Op. 36, 37, 38. (Edited by Louis Kohler) .

ALBUM LEAVES FOR THE YOUNG. (Albumblatter fur die

Jugend.) Op. 101

CHILDREN'S ALBUM. (Kinder-Album.) Op. 210. Part I andII, each -k

SONATINAS. Op. 20, 55, 59. (Edited by Louis Kohler andF. A. Roitzsch)

THE BEGINNING OF MUSIC. (A Collection of Progressive

Pieces in the Easier Major and Minor Keys) ....MOTHER GOOSE SONGS WITHOUT WORDS. Op. 5.

(Seventy Easy Compositions for Piano) . . . .

ON THE WHITE KEYS. Op. 18. An Introduction to the Piano.(Twenty-four First Grade Pieces, without Accidentals, for Twoand Four Hands) ..... ...

ALBUM FOR THE YOUNG. (Album fur die Jugend.) Op! 68,

and Scenes from Childhood (Kinderscenen). Op. 15 .

Boards, $1.00loth (Gilt), 2.00

Paper, .50

Paper, .50

Paper, .75

Paper, .50

Paper, .50

Paper, 1.25

Boards, 1.50

Paper, 1.00

Paper, .50

EASY PIECES IN EASY KEYS. (Edited by L. E. Orth.) Vols. I and II, each . Paper, .50

FORTY VERY EASY PIANO PIECES .50

SONATINA ALBUM. (Edited by Louis Kohler) Paper, .75

YOUNG PEOPLE'S CLASSICS. Vols. I and II, eachj Bonds' 1*25

f Paper, 1.00

YOUNG PLAYERS' POPULAR COLLECTION. (Including Several Duets) . . - Boards, 1.25

( Cloth (Gilt), 2.00

DUETS FOR EQUAL PERFORMERS

Bachmann, Q. TWO LITTLE FRIENDS 1.00

Bohm, Carl BIRTHDAY MUSIC. Op. 250a 1-00

Diabelli, Anton TWENTY-EIGHT MELODIOUS EXERCISES. Op. 149 50

Gurlitt, C. THIRTY DUETS WITHOUT OCTAVES. Edited and arranged

in progressive order by Heinrich Kiehl ....... .75

Hiller, Paul FIVE RECREATIONS, from Op. 51 75

Low, Josef PRACTICAL COURSE IN FOUR-HAND PIANOFORTE PLAY-ING. In two books, each . 75

do. TONE PICTURES. (Bilder in Tonen.) Op. 191. Primo Part on

Five Keys. Books I and II combined. (For teacher and pupil). . . 1.00

Orth, L. E. ON THE WHITE KEYS. An Introduction to the Piano. Op. 18.

Includes Twelve Very Easy Duets without Accidentals .... 1.00

Spindler, Fritz • FIVE IMMORTELLES 75

Wohlfahrt, Heinrich SIX LITTLE DUETS, from Op. 87 50

EASY FOUR-HAND PIECES. Second and Third Grades . .-50

FOUR-HAND RECREATIONS. Third Grade . ,.50

FOUR LITTLE HANDS. First and Second Grade Duets, without Octaves. Arranged in

progressive order ..........••••• '-00

VERY EASY PIANO DUETS. First and Second Grades ... 50

OLIVER DITSON COMPANYNew York. C H- DITSON <S. CO. Chicago, LYON * HEALY Philadelphia, J. E DITSON 6. CO.

>>

BRIGHAM YOUNG UNIVERSITY,

3 1197 22508 2251

i&fgiHi..V iVl--'..