“How perfectly ripping it would
be,” exclaimed Pamela, “to have an uncle who wasn’t always thinking about that
old pedal.”
“And how awfully jolly, on the
other hand,” murmured the uncle, “to have a nice that was.”
These remarks occurred after the
music-lesson. You see, Pam arrived to find me hot with a New Idea. That’s the
time pupils get cooked. There’s no escaping a man hot with a New Idea. He
bastes you, roasts you, and serves you up.
Of course, we all know that the
Sustaining Pedal – or do you call it the Loud Pedal? Well, get off the
piano-stool and listen to it. Put your ear close to the metal tongue. Is it loud? However, to get back to the
Idea: we all know that the Sustaining Pedal should be lowered after the notes have been struck,
especially when there is a passage of chords which must sound legato. We know
this, but are we sure we do it? How can we find a test? Here is one: the one
that disgusted Pamela. Though I will say this for her: she wasn’t disgusted
until she was caught.
Play this. Just an ordinary
legato chord passage: -

Now, if you have held on the
pedal up to the moment of striking each new chord, and have immediately raised
and lowered it, the effect will be the same as if you were still playing
minims. Perfectly smooth; joined without the cracks showing. But there are two
ways of doing it wrong.
If you take up the pedal before the new chord and lower again
with it, you “hear the crack,” and don’t get your legato. That’s what Pamela
did the first time. (“Uncle, I didn’t!”)
Or if you take up the pedal after the new chord and lower it still
later, you not only blur the chord, but you don’t catch it at all with the
lowered pedal. Then you hear a very big crack indeed, and that’s what Pamela
did the second time. (“Going off, Pam? Good-bye.”)
Try both wrong ways, and then the
right way. And finish up by playing the whole exercise in minims, right and
both wrongs. Then I’ll be satisfied. :-)
An article by Harry Farjeon - Music and Youth, February 1925! :-)
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