Pianoforte Pedals.

New Zealand Graphic, Volume XXVI, Issue XXI, 25 May 1901, Page 965

Pianoforte Pedals.

So much used ' so little understood ! A sermon on the pedal- of the piano could very well be based on such a text. It is the indiscriminate use of the damper pedal that ofctirues makes piano placing intolerable, while a judicious use of this pedal does so much to add to the charmof a beautiful piece of music. Most pianos have two pedals, but some have three. When only two, the right-side one is the damper or sustaining pedal, the left is the soft pedal. The third pedal permits some notes to vibrate, while others are damped. This pedal, when titled to a piano, is placed between the otiier two. The manipulation of the pedals is so closely connected with touch and tone production, that every one learning to play should at the earliest opportunity become acquainted with the rules as to their proper management. THE DAMPER OR SUSTAINING PEDAL. The most important pedal in the piano is the damper or sustaining pedal. By pressing down this pedal we move the dampers back from the strings upon which they press, allowing the sounds of the notes struck to i« prolonged, and als.. bringing out sounds from the -ympatuet - eally vibrating strings, thus giving more richness and adding a trifle more volume to the note struck. AH the keys (excepting those in the upper part, where there are no dampers, generally about Ij or 2 octaves', when touched, remove the dampers from the strings, just as the whale of the damperare shifted by the pedal in the manner described, thus prolonging the sound of a note up to a certain point a- long as held down ; but immediately the finger leaves the note the 'damper returns to itformer place against the string. The principal function of trie damper action is in reality the placing of the dampers against the strings to prevent tones from being prolonged when not required. . Playing without the dampers would cause a terrible noise, for the sounds from the different notes struck « onld be heard at the same time, and also the harmonic—of such notes. Pressing down the dampei pedal dues not increase toe volume of tone of the individual notes struck, but the prolongation rin a series of notes! of each separate note sounded calls forth the respective harmonics of such notes, thus in effect giving a trifling addition to the volunu oi tone generated by the prolonged notes. By careful observation, the erroneous idea that the damper pedal is used for the purpose of playing loudly will be easily dispelled. SOME ADVANTAGES FROM I SE OF THE PEDALS. 1. To sustain notes (extensional which tbe fingers cannot liold down for the required duration, including pedal-points. 2. To add richness and singing quality in tone-colouring, mon particularly for meLxly playing. X To assist (by damping* in punctuation for slurred notes, also when rests occur. 4. To sustain and connect, also to separate, successive harmonies. 5. To connect widely spnad chords, ami to enable skips to be made to sound legato. 8. To aid legato playing generally. 7. To enrich the renonance of tons* by roiaforoeaeat of their haraeaia,

x. To retain the tone, thus allowing rest to the fingers if fatigued. 9. To sustain melody notes when an a* vompaniment requires the hand to stretch beyond its natural reach. 10. T>> produce e--ho effects. —W. H. WeM*.