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BRARY
BRIGHAM YOUNG ERSTW?
PROVO, UTAH
Arthur Whiting
PIANOFORTE
PEDAL STUDIES
PART I
Elementary Use
of THE
Damper Pedal
(REVISED EDITION)
PART II
Each, 111.50
-
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
Each, $1.50
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
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-
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
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-
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
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
707*
VI
I
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
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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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III.
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
Andante.
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A firm pressure -touch should give these chords an organ -like quality.
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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.
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*P i r-r *P L^-7-7-
M J>nt
5
77/ 7
5
Sr
J
MH'-
Jt
~^^T^S T*
3
/ diminuendo
f
te
VV 7-
5
5
i S S= lj 7
rallentando (/^) a tempo
[yMHj{
*
s
-- 6^ * 4-*
/ (CO
,6
rw i
P & S s= </
F
Tiji i J J
SS
(CO
17074
28
crescendo
t *m p^ s^s 3=^
-SF- h+ *ts= Jyyit -sf
P
mm 0 1 I f 5 'h j E
5
*
# l
)
7 7 jt
7-
j
j
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1
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7 1
7
p
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ts
diminuendo rallentando
:
00
i
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Vfc H^M?
f
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7
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s -f
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F=*
17074
29
# ^ a tempo
M-
m =
i- + WP- h
7 7 -*- r^ Ji i-j-^^f-
^
jt
p
&m V* \l
P#
k
I h s r
h
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27
-
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1
b
7 7 jf 7
6^ 6^ -=-
s S3 7 7
i r?
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
,
Andantino.
21
i as
4fe
^
First time ff. Second time mf.
-&! s- --
^ ^ S S i=s:
I f fe ^ It
S 3e^
*>u I
fe ^^ S *=
#
S
^5 ^ ^=
* ^
-- - 6>- ^h - &- ~& - 0- ^-
^ m t& W=
55
ggpii fc a
W 7
(^ W3
if P
'
"
:^^ ^
-* 6*- -ev^ - o- -e- -# (9- ^V -e~
3 ^ ^ ^ *=
17074
31
Adagio.
22/
i ^ffi
M
$2
ee^
3=5
5*
^
^^
^-
i
1 -sMsi
&*=
S^ 5^S
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94
CO e> 6> $S fi*
.
6>
v b bb
:
7*
J i * fe fe fe
jl-|ji
3*=f
e ^ * E *=
P &
(rb 1 i j z -* *^- tmm
*4L
mm ^ m m f f ft
t-ffa-ft-
- e 9 e- 6* (5 9 <9 (9 * -U
3P
/ *
S /
I
J
t If
#
I
^^ ^^ IE = tt- ft-
/
mj
i
lf
'-ij'- i
3 4
fci JEE m ]t- e ^^^ i
t
diminuendo
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S^f ^
,4
i ^^ M^- j^?
^
* *- - - II ^^ %^M M
*//
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
* *
#pi a
^ 4 ^
* f
k
JE :- a
f
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'/
4 - *
I ^^ f , ft f
I'
=: V
U * * 6*-1- ^ *
*
t Pf
*
if,
6^
f l
u
m
j^=
^
17074
33
4
fc=*
9
i*
^5 ^ ^P
-0-=- -0-=- -e-*- -G-
4
*
dNi J1 |j |
i
*
F
rf p rl i
ifrj^ r-f
f
j1
*
1 >. - 1
J^" -^ sU sb
? 13 # # # j
^ -#
*
m
diminuendo
-&
-
m
e
k:
p
^poco
-6^1-
rallentando
*
p a tempo
iM-
* *
4 *
J J * i
*
p r -
VP
i 4
* *
*=P=# I
I -> diminuendo poco rallentando
^fj
*- *
'
*- Jk= ^i
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 &-
-&-*- -&
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
* Jl I
&
i
i i ^
J. -*- 04 04 4 J4 04
*
^ I
W i
W ^ I
I
k
* I
b
4 IeH I * V p-
I *ra
I
It
a e
fc 3:
fi-
^5
F
^
-*6-
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:
"EC
as
1
17074
40
Moderate*.
1
^^m -6- 5"
3"
i * $
28/ *i Q=.
m i i t
J fi
i
*-/
*
J g
i
^-fit
m 2.
3S * i ^^
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1
o "m & J nz J ~g
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r*.
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-
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^^^^ Z22 J "ST
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te
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s:
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3 P^ 1121 I * a S ^5-
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#2
i
2r
3
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
i , n
*5
3
-12
2
1.^
4-3 5- *
:2 2- -4-
n#^
3
Al J- Al b
ft^-w ft Al A*
rtP
ff
i
*
p
I
2=2: 2=2^
I SrS:
P 7 7 j 7
=
| =====
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
A S a a. ^
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
. .
-J-=
U J. J> *
_
y y i y if
h-
y y
*>
u% \i
far t L- T
J>J J- JU J. J> * 4
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
-e^
i ^ :
U-a
^ -&r
7*7
1
^^
End of Part I
17074
Valuable Study Works for Piano
The Groundwork of the Leschetizky Method. Issued with his approval by his assistant,
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Artistic Piano-Playing as taught by Ludwig Deppe, together with practical advice on ques-
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James H. Rogers. The Development of Velocity. Part I. Scales. Part II. Arpeg-
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These studies are adapted for pupils in the medium grade.
Carl A. Preyer. Twenty Melodious Pieces in the Form of Etudes. Two vols.
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Wilson G. Smith. A Book of Suggestions for the Study of the Cramer Etudes.
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