HAROLD B. LEE L?

BRARY
BRIGHAM YOUNG ERSTW?
PROVO, UTAH
Arthur Whiting
PIANOFORTE
PEDAL STUDIES
PART I

Elementary Use
of THE
Damper Pedal
(REVISED EDITION)

PART II

Use of the Damper Pedal

IN
Phrasing and Tone-Color

Each, 111.50

New York : G. Schirmer

BOSTON : THE BOSTON MUSIC COMPANY
Copyright, 1904, by G. Schirmer
Copyright, 1912, by G. Schirmer /
'Wy

-
 Digitized by the Internet Archive
in 2012 with funding from
Brigham Young University

http://archive.org/details/pianofortepedals01whit
121

32=

Arthur Whiting
PIANOFORTE
PEDAL STUDIES
PART I

Elementary Use
of THE
Damper Pedal
(REVISED EDITION)

PART II

Use of the Damper Pedal

IN
Phrasing and Tone-Color

Each, $1.50

New York : G. Schirmer

BOSTON : THE BOSTON MUSIC COMPANY
Copyright, 1904, by G. Schirmer
Copyright, 1912, by G. Schirmer

J
 HAROLD B. LEE LIBRARY
BRfGHAM YOUNG UNIVERSITY
PROVO, UTAH
 INTRODUCTION
The pedal is the soul of the pianoforte
Anton Rubinstein

_ ~ Intelligent listeners will agree twelfth, fifteenth, etc. ; for instance, C produces
The Damper , , . *
i

that the pianoforte is as truly overtones in this order:

Pedal .
* , , .

alive with the pedal, as it is

zx&z
dead without and those who are wont to
it; *
speak of the " loud " pedal would describe it
more accurately by calling it the "live " pedal. I I I I II II II II II II ll II III

C eg c egbt?cd e fggab!?bQ:c
Conservatives of the last century evidently 12 3 4 5 6 7 8 9 10 11 12 13 14 15 16

looked on the damper pedal as a luxury to be If these overtones up to c" are written in
used for special effects. Many conscientious score, showing the relative number of vibra-
teachers of the present day accept it as a tions to one vibration of the fundamental tone,
mixed blessing; while others hope that their they will appear thus:
pupils, divinely aided, may display what they
the mysterious and indescribable *z
regard as
talent for using the pedal ; relieving them-
selves from responsibility by the thought that =55
the faculty is born, not made.
The author hopes
r to show in --A-
Systematic . _
~I raining this series of studies that

an
, j , i
elementary pedal technic can
be taught; and that later, with this technic,
the student will be prepared to undertake in-
telligently the less teachable problems of
tone-color and artistic phrasing. Rudiments
of the art should be learned with the general
rudiments of pianoforte playing, in order that
si^i
the young pianist, guided by systematic
knowledge, may early form good habits. -72-

Sympathetic This chord i W[

Overtones

with pedal, glows ; whereas The overtones, except from the longest

the same chord, without pedal, is dull and strings, are too weak to be distinctly heard
almost colorless. The reason for this, a scien- but, when the dampers are raised by the pedal,
Helm- the wires corresponding to the overtones
tific one, is explained exhaustively in
holtz's "Treatise on the Sensations of Tone." throughout the instrument are brought into
sympathetic vibration;* thus a note struck
The principle involved is that of Sympathetic
Vibration. Every tone has its overtones
"The existence of these overtones is proved by the following test:

(harmonics or partial tones). A pianoforte silently press down the key of a low note, as &_ 11 and, without pedal,

string, at the impact of the hammer, vibrates strike a short, strong blow on any or several of the notes corresponding
to its first eight overtones; whereupon the same sound will be heard vibrat-
not only as a whole but also in segments, pro- ing in the wiie of the key held down. Other interesting experiments are
ducing with the fundamental tone its octave, described by Helmholtz.

17074 111
gives forth its fundamental tone and over- would, of necessity, be much finer than at
tones amplified by this vibration ; a multi- present ; for all students would be guided by
tude of sound rays, making a rich, lustrous their hearing.
color.
Their cultivated ears, trained to delicate
The student should early make
feeling for consonance and dissonance, and
Registers a study of the different regis-
accustomed to a would
liquid, iridescent tone,
ters of the pianoforte and the
lead them to beautiful effects, of which we
characteristics of each. He will find the vibra-
to-day have but faint glimpses and sugges-
tions in the lower part so strong that an interval
tions. In this hypothetical state, the listen-
less than a fifth is unbearable, while the more
ing pianist would be the rule ; the player who
moderate strength of the middle register
leaves listening to others, the exception. The
allows all intervals to be used effectively.
listening pianist, as a matter of course, would
The vibrations of the upper part are so short-
be a non-pounding pianist; his efforts would
lived and weak that no dampers are provided
be toward persuasion, rather than force; and
for them.
the pianoforte, through the development of
This triad is muddy, because the its peculiar qualities, would become a character-
* istic, not an imitative, instrument. Composers
strong overtones, being crowded, beat against
and contradict each other. The same chord would regard it as a sustaining instrument,
and its kinship to the harp would be recog-
in this register SeSe is harmonious, and nized in a more general use of the sonorous

the highest notes in the instrument have so arpeggio figures.

little character that any three may sound at
r> The author believes many; of
the same time without disagreeable effect. PRESENT .

D these desirable results may be

Use of the pedal appropriate to these differ- Possibilities . /
brought about with the piano-
ent conditions comes from experience and
forte as it is, if p'anists will adopt such a wisely-
thought.
generous use of the pedal as to make the raised
It is tempting to imagine what dampers, during performance, normal.
An
the evolution of the art might
Hypothesis There will be the natural striving for a sing-
have been if the pianoforte,
ing, musical ;ouch, as, with free wires, a hard,
from the beginning, had been made with the
dampers up when at rest, instead of touching inflexible tone, often the result of playing
without sufficient pedal, becomes unbearable";
the wires, as is now the normal state. In that
and pupils, urged to listen, will almost in-
case the strings would vibrate, after being
stinctively adapt the touch to such a sensitive
struck, until silenced by the player, who, by
and responsive instrument. This is not over-
pressing with the foot, would force the damp-
looking the great importance of effects with
ers upon the wires, as the hand on the harp
closed dampers, which serve as an indispen-
strings arrests their vibration. The possibili-
ties of the beloved instrument in the hands sable contrast to rich, vital tone, and which
of a novice under these conditions would be are as essential to proper phrasing as the down-
less terrible than might be supposed, for a child,
ward inflection of the speaking voice.

is would be taught to damp the

his first lesson, ~, ~ The first object of these stud-
I HEr ACULTY
1
.
J
sound by moving the foot, being warned by to develop
,

and
T
of Listening
les
..... is
r critical
his own ears against neglect of this important discriminative power
.

in the
rule. Even the lawless household strummer pupil through his sense of hearing, and to
would be compelled, in self-defence, to wipe accustom him to a long-sustained harmonic
out some of his worst effects. plane, employing, at times, the full compass
The coordination of the hands and foot of the keyboard. This example of an har-

IV
 monic plane, broken by a premature raising Another purpose of the stud-
of the pedal, ies is attainment of the diffi-

8va cult Legato, or "Syncopated,"

pedalling, as it is sometimes called. The
proper binding of two detached chords re-
quires that the first be held by the foot until
the second is struck, at wnich instant the pedal
is shifted. Both chords are heard for a fraction
of a second (the time required to release the
pedal), and in this flash of time the edges of
Fed. the two harmonies are welded so that no break
is perceptible. The up-movementof the pedal
represents a common error of even advanced
should be simultaneous with the down-move-
students.
ment of the keys ; but an exact rule for the
The uncritical player shuts off an accumu- following down-movement of the pedal cannot

lation of sounds like this, from a vague feeling be given, as different conditions and effects

that "the pedal must not be held too long;" must be considered.
the listening and thinking pianist, on the con-
trary, finds that when these low, middle and
To insure clearness it should be somewhat
delayed in connecting strongly - vibrating
high notes are made to sound at the same time
by holding the pedal through, the effect is
chords ; but in other cases it may follow the
up-movement immediately.
sonorous and harmonious. The dim appre-
hension of the function of the pedal, expressed
When the down-movement is considerably
in the feeble negation "it must not be held
delayed, the chord is heard to swell ; this,
too long," should change to definite knowl-
however, is a special effect, somewhat aside
edge, the result of listening and thinking, of
from the a>m of elementary pedal legato,
its effective duration.
which should be, to keep the sympathetic
There are, at the beginning overtones in, practically, continuous vibration.
The Ankle of the book, a few exercises
for the quick and rhythmical The player should determine for himself
moving of the foot alone. They should not the effective uses of the down-pedal, as con-

be neglected, as a loose and active ankle is as stant exercise of critical judgment through
important as a free wrist. the sense of hearing will strengthen his grasp
of all acoustical questions.
The signs Ped. * are ob-
Pedal
viously inadequate to the The "retained bass" is il-
Indication Advanced
exact science that pedalling lustrated by two elementary
Pedalling
should become. Their use gives the player exercises of a useful func-
only an approximate idea of the composer's tion of the pedal.
intention in complicated passages, and is

frequently inaccurate and obscure. In these Exercises are given to develop

Control of
studies, pedal time-values are indicated by independent action of the foot
the Pedal
notes between the staves ; and students are and to correct involuntary
urged to give them their exact value, the changes of pedal. While these are muddy
shiftup and down being made by a quick apd discordant, they train the mind to follow
movement of the foot, the upward motion a definite pedal-part, even though opposed to
beginning on the beat. musical instinct.

17074
 A good grand pianoforte, in and lower part without pedal if there is any
;

The perfect tune, is the proper in- sound after the hands leave the keys, a regu-
Dampers tuner should tighten the damper
strument for pedal study. lator or
The condition of the dampers may be tested mechanism.
by striking a very strong chord in the middle

New York, 1904

707*
VI
 I

Damper Pedal Movement

Place the ball of the right foot on the damper pedal ; the foot in line with the lever, and
the heel, as a pivot, kept on the floor.

The up- and down-movement of the pedal should be as noiseless as possible; the foot
should not leave or strike the lever.

Allow the dampers to rest firmly on the wires by a full upward movement.
Notes indicate the duration of the pedal. The time (beats) should be counted aloud.

- Adagio.

1. Pedal ^ Jz jt I-hsLs 1 [ |s
i 2

When the pedal is used in legato passages, the up-movement of the foot must be on the beat y
the down-movement following as early as possible.

The two movements may often be felt as one, beginning on the primary accent.

This is called the Legato (Syncopated) pedal, and its use is indicated in these studies by
a diagonal line through a note.

Adagio.
B
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tegatissimo.
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Practise these exercises until a very rapid shift can be made with a loose ankle.

774
 n.
The Sustained Pedal.
This exercise demonstrates the sustaining- function of the damper pedal and the tonal purity of the overtone
system; also that vibrations of primary notes in the lower and middle parts of the pianoforte tend to wipe out
vibrations of chromatic notes in the upper register.
Use the third finger of the right hand throughout. 8

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17074
 III.

The Legato Pedal.

Proper use of the pedal in legato, whether to connect detached chords or to keep the sympathetic over -

tones continually sounding, is a quick up - movement of the foot (simultaneous with a down -movement of the

keys) which should entirely silence the previous notes. The down - movement of the foot should follow as soon

as clearness will allow.

Andante.
Use the third fingers throughout.

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Andante espressivo.
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4 4- 4 4 4 4-4 44 4-4 4 4 3
^
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a tempo

o
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17074
3*
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22

Grazioso e con sentimento.

18.
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17074
 23

i -O-
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a t* i i s 4

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17074
24

i WLfi *PLI :
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crescendo

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poco accelerando^

s
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17074
 25

A firm pressure -touch should give these chords an organ -like quality.

Sostenuto molto.
mf
a W=? s XI &=3 -O-
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$ ^r ^=5;
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-et

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11

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17074
26
Largamente

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2
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fe
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^
% $ 22
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p p-^r j

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rallentando

17074
 When & W. etc is preceded by a rest the pedal is to be put down just after the note is struck and 27
before it is released.

Andante espressivo.
The left hand alone.
1

crescendo
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17074
28

crescendo

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17074
 29

# ^ a tempo
M-
m =

i- + WP- h
7 7 -*- r^ Ji i-j-^^f-

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17074
30
IV.
The Retained Bass
The 6
pedal, at the sign should be raised sufficiently to silence the upper tones while retaining the sound
,

of the lower ones, and then instantly depressed.

Andantino.

21
i as
4fe
^
First time ff. Second time mf.

& 6" -e- -

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:==
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4

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if P
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17074
 31

Adagio.

22/
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M
$2

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3=5
5*
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^^
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1 -sMsi
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jl-|ji
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e ^ * E *=

(Chorale "St. Anne.")

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(rb 1 i j z -* *^- tmm
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mm ^ m m f f ft
t-ffa-ft-
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/
mj

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lf
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fci JEE m ]t- e ^^^ i
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diminuendo

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Vt

^
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*//
17074
32
V.
The Staccato Touch with Pedal.
Poco lento e grazioso.
The right hand alone.

mfl

^0.\ 4 ^ rr

sempre staccato
P fkl

( 2 -*-* * ^ *

* P3
u %- 0mi

4 i J VP

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17074
 33

4
fc=*
9
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-0-=- -0-=- -e-*- -G-
4

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F
rf p rl i

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1 >. - 1

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^ -#
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m
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-
m
e
k:
p
^poco
-6^1-

rallentando
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p a tempo

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p r -
VP
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17074
34 VI.
Various Uses of the Pedal
Allegro amoroso.

24

**pm

ik
E^
:>
p . ^
ft
4 4
S ef
-5>-=-

I 3 3
e==fc

17074
 35

17074
36

17074
 37

VII.
Independent Movement of the Foot.
Some of the foregoing exercises are here presented in an exaggerated form of pedal legato in order

to develop independence of the foot by checking all involuntary action. The student thereby gains control
through mental concentration, undisturbed by temptation of the discord to raise the lever, and so learns
to follow arbitrary pedal notes. *

Moderate
-mt

i
3
E &-
-&-*- -&

25. G** J. * -fcp 4- M* *H-

s i &*-

&-

^ -**
i
4 *

*
^
4
P
4-4
t

&"'
&-*-
m I i <s^

tyd
-G^ \ 6^ %
-&- ^ 4 *** 4 ^4^ 4 4
y 'lyf S &2
* (S^-
* 9-&-
i XE

* The method of "teaching by exaggeration" has won an important place in modern pedagogics; it is indispens
able not only in connection with technical difficulties, but as an aid to giving a clear view of artistic prob
lems.

1707 4
38

Allegro
fc 5 I J \$=^F I
I /
75~
51

26. 4 04 #-* J. -*- ^U

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i
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*
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W ^ I
I

k
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b
4 IeH I * V p-
I *ra

4 *M# *M 4 4 ^L-^: *L-^

I
It
a e
fc 3:

fi-
^5
F
^
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s Jb
g

$
M 16

^
w>
^5-

W I -6 s-

04 S-*h 4 4 -* 4
*
IF
*
IZHI

p
1
S ^^ :g

17074
 39

Moderato.
&
i E =0 3 i
mf
27.<
* y u^ *
trri
iS
3^? *

diminuendo
I
i 1 ?? I E
=g i
#
iL -*K #** g* ^ ^
ag ;
5^
E IZ3
a IS

l
* 4=9^ e-
3
*
i?p
be
H -
ia
<
#- Msp
42-
M^ -** -^ *
L 1
*> h I 4' * a
*
f
crescendo
X 3* ^a
*
fr-
I zzz
ei 2:

f
ig

*
B fe
^s 5^

ft
w

a. / f
I :ar

i I'
h5
| s id
-5^
2S
#
* #' W -**- ^-^
:
^k
I H^ ^tz
.2.

S- r' p
:2:
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as
1
17074
40

Moderate*.
1
^^m -6- 5"
3"

i * $
28/ *i Q=.

m i i t
J fi

i
*-/

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J g

i
^-fit

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1

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te
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2r
3

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m 9 - ^5 i # i
77
*

1707 4
 41
Grazioso.
<s- empre legato
2 4 5 ? crescendo
3 3
ffifcffiji ffi * J "ffl * J !

29.< 12 6^
"8"

^ttfft |V j y p7 7
J
y I ^77^ i Ep

I ^ Tl ~ s **= =f m I m
a
* m
b
#-4* -# b * 4 V
4^4 Mr b
f^M A^ h* ft

V# 8 J yF?T"r j&j 1 -
7 7 J 7 ^=^ l 2=2: ^ 2=2:

diminuendo
i>
=5= 3 aJTuP
V^^fl}^ 2=*===
? W3 i r i j.
'

k 4^ Ix
4^4 4 J^* Ju J- ij
v %%
:

j ^ 1 1
j e |
p T
i
7
I 2=2: ^ 7 7
j
zE^Fr

a j-n
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3
-12
2
1.^
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n#^
3
Al J- Al b
ft^-w ft Al A*
rtP
ff

i
*
p

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2=2: 2=2^
I SrS:
P 7 7 j 7
=
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17074
42

iS
crescendo

W
m p m 1 1

^##
Ju
j i
f
yy-
Ju -^

i
-y y-
^
J>J J-

-y y-

Jul

z
7 y

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I i *=s *=g i =g j
-
1

u j- Ju u j b * -u

a
iitti;
I y y j
ese-e-s t -y

^ J
P^ Ji-J b J^-4
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U J. J> *
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i& ? i y y j jy_g ^T" y ^ b

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y y i y if
h-
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MH^ 7 J> y se i=5 -y-r i

-e-
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17074

d
 43
diminuendo

*^
*
Hi 'rr[j j
m *
fa g ,11 :

JJ J- -54- b U-4 U

I
jV'j tf 7 y | T s k r-r j
o
5
M
h i '*
y 7 j
" =
E|gE

p diminuendo

h -e^=

iS lil
i i i a I a=t m
|3>p diminuendo

SA
# 1 I litt i

iU J>J

^^
J, rr J- dr

i 44
ff
ii
1

f v l S i

2>2>2>

i
14

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i ^ :

U-a
^ -&r
7*7
1
^^

I & *=i *^e r i y g ii 5

a ** *
fii:
=

End of Part I

17074
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DATE DUE

MAY E)4T993

DEMCO 38-297