PROLONGED or organ tones are not possible on the pianoforte. From the moment the hammer strikes the string the tone begins to diminish in volume and soon fades away. One of the chief arts of the pianist is to sustain a tone throughout the full value of the note which represents it, and this is accomplished either by steady pressure on the key or by the use of the open pedal, frequently misnamed the loud pedal. The use of the word "loud" in this connection is illogical and misleading. The word "open" is much better, because this pedal, when pressed, causes the dampers to be raised from the strings, thus leaving them open, and so prolonging the tones. Furthermore, the open pedal is constantly used in the softest and most delicate passages. Its mission is simply to prolong the tones, whether loud or soft. In either case the tone dies rapidly away, and the pianist, sensitively aware of this, and feeling the necessity of keeping up the volume of sound, is led unconsciously to anticipate or take the next tone a little before its due time. The effect of this process in continuation is to produce a feeling of unrest on the part of the hearer, and is fatal to repose. On this account Thalberg earnestly recommends to piano-students that "the tones invariably be held throughout their absolute or exact value" (see "L'Art du Chant"). Tones can be sustained, so far as this is possible on the pianoforte, in two ways, namely, by means of the open pedal or by holding down the keys firmly during the exact value represented by the notes. How can this value be determined? Solely through the medium of the ear. "The proof of the pudding is in the eating." The proof of musical sounds, as to quality and duration, is in the listening.
This being granted, it seems to follow that all signs, such as "Ped.," *, or √ √, etc., should be discarded as being even worse than useless, for when pupils pay careful attention to them they are apt to be guided solely by the eye. They press down the pedal at the sign "Ped.," and release it at the following asterisk (*), doing this in a merely perfunctory way, and hence they either fail to produce a true legato effect or err in the opposite direction of an over-legato, which results in a confusion of sounds. This may be best avoided by practising on an instrument of fine musical quality and beautiful singing tone, which promotes the habit of listening attentively, and thus contributes in the highest degree to the development and training of the ear.
It is true that musical temperament is inborn, and those who possess it have native insight, and hence develop with rapidity. There are, however, very many who are not "to the manner born." Such are obliged to acquire habits through persistent and persevering effort. All travel the same road, but the genius flies while the less gifted plods along. However, for the benefit and consolation of the latter, I remind them that the tortoise left the hare asleep and won the race. The ear should be cultivated for music, the eye for painting, the mind in both; and the heart especially in music, because the latter is the "language of the emotions."
A little pedal study from my work entitled "Touch and Technic" (Part IV, page 18), will serve to illustrate what I mean. It is on an elementary plane and can easily be accomplished by a beginner with a little care and ordinary perseverance.
It is to be played with only one finger, and the tones of the melody must receive special emphasis so as to stand out clearly, and they must be sustained by means of the open pedal throughout the exact length of time represented by the notes. The crescendo and diminuendo must be observed according to direction, and as a help to this effect the soft pedal may be used simultaneously, either all of the time or occasionally, in an experimental way and according to fancy. This promotes the faculty of judgment and leads to individuality, a very desirable result.
The melody is on the middle line and the accompaniment on the outer lines. The melody must predominate in power, and must be sustained throughout the exact value of its representative notes, which are mostly dotted halves, viz.:
. This is accomplished by firmly pressing the open pedal, the finger in the meanwhile playing the accompaniment. Thus the tone is sustained solely by means of the pedal. Carefully observe the effects of crescendo < and diminuendo >. Play strictly in time.
In the final measure still continue the pedal pressure after the C in the treble has been played. There are now four tones sounding together. Now replace the finger, silently and without striking, on the melody key E. While still pressing this key raise the foot from the pedal. This leaves the E sounding alone. Hold down the key until the tone has quite died away.