Music in the making; Pedaling

Music in the making. Produced by Milliken university under a grant from the Educational Television and Radio Center in cooperation with the National Association of educational broadcasters. The Milliken School of Music presents concert pianist Elizabeth Travis head of the piano department in a recorded consideration of peddling Professor Travis will talk about the problems involved and call attention to the correct and incorrect techniques regarding peddling musical illustrations will be played by Betty Roth. And now a few measures from debut gardens in the rain. Anton Rubenstein once said that the pedal is the life and soul of the piano.

The certainly the best friend the pianist has at his disposal to overcome certain material drawbacks of the pianist Constitution. The pedals are a source of variation on color and their judicious use can expand and amplify many of the effects produced by the pianists fingers. Our opening theme for robot one of the many and fascinating effects we were able to obtain by the various uses of the pedal we were turning to it and do other examples in a few moments. It has been said that paddling is the most baffling to teach of all the branches of piano playing without keen perception and demanding ear the full advantages of the pedals are lost. There are always been certain misconceptions about the use of the pedal. For example so often one asks Can I hold the pedal here whereas the right question more often than not should be can I omit the pedal here.

The pedals deal with quality and color comb not with quantity while it is true that the right pedal correctly termed the damper pedal sets into vibration all of the strings. Thus enhancing the volume and while it is also true that the left pedal Grech be called in a Korda acts as a mute and permits the hammer to strike only one of two strings. It still remains a fact. That the artistic use of the pedals come from a conception of them as factors in tone coloring not as AIDS in playing loudly or softly. Listen to a chord played with that pedal. And now the same chord with pedal a. The definitely has a greater resonance results from the string with the sympathetic strings

as a harmonic progressions one harmony for the US. Example with clear pedalling. This brings us to the importance of paddling. If you connect that to the.

Result if you put the pedal down at the same instant you depress the next key in a finger passage necessarily the first note with the next finger. Therefore if the dampers at that very moment. This will prevent the previous notes damper from shutting off the top hence the small or discordant sound. Listen to both hands pressed for each note with the. Same scale properly. The first badly peddled with each new chord.

Of the same passage properly pedal the pedal rising each chord goes down. Or to put it very simply pedal coming up as the fingers go down. In working out pedalling we must be careful to allow the pedal to rise sufficiently damp the intended sound. Otherwise we will continue in spite of the pedal having also must remain up long enough to stop the vibrations of the strings lower and more powerful ones or the so-called damping effect will result. This means that the lower strings of the instrument will continue to sound while the upper ones are silenced.

Sometimes however this half effect is actually required. This use of the pedal enables us to play changing harmonies in the upper register of the instrument. Bass note like this. The beauty was gardens in the rain. We'll close our program is the greatest contributor of our times to the technique of piano playing. And no branch of it is contribution more important than the use of the pedals as one writer has put it. Impressionism is concerned with motion rather than Station. That is to say this concerned with the appearance of the thing under certain light rather than with the thing itself with vagueness and suddenly a passing reflexes rather than with clean cut characters lines or structures Debussy's music is for the most

part characterized by an iridescent play of a dreamy unrelated chords and a fraidy broken color. The liberation he brought about from the strict rules of harmony has resulted in the use of the petals which before his time was unknown consonance and dissonance have become less clearly defined in Debussy's music. PETALING occupies a position never dreamed of before. True but possible. However let's. Work straight the importance.

Professor Elizabeth Travers assisted by Benny Rauf has brought you a recorded

consideration of heavenly. Music in the making was produced by Milligan university under a grant from the Educational Television and Radio Center. This program is distributed by the National Association of educational broadcasters. This is the end of the tape network.