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HAROLD B. UEUBWW UNJVcRSlTY SBSGHAM YOUNG PROVO, UTAH

Digitized by the Internet Archive

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http://archive.org/details/firstpedalstudieOOgayn

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THE JOHN CHURCH COMPANY

CINCINNATI, CHICACO,

NEW YORK, LOPS IC, LONDON

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THE JOHN CHURCH COMPANY

CINCINNATI, CHICAGO,

NEW YORK, LEI P5IC, LONDON

First Pedal Studies.

Preface.
These pedal studies for very young players were written originally for my own use in teaching, as I found my young pupils eager to use the pedal before the music they were playing required it. The studies are designed as necessary and sufficient material to establish firmly the habit of motion for the foot, as well as a keen sense of hearing, in order that the effect of the pedal may
be the better appreciated
It

may be

necessary

in

some cases

to

give a few simple exercises for the foot alone. In these,

great care should be taken that the heel rests firmly on the floor and the ball of the foot touches
the pedal in all

movements.
in

Counting should be insisted upon

the

order that the motion of the foot correspond exactly with

notation.
In the following exercises as well as in the studies, the foot should press the pedal

down

at

the

note and hold

it

during the time value of the note. The foot

is

raised for the rest but should remain in

contact with the pedal, that there

the foot

may be

no waste motion and also that the habit of intimacy between

at the note; release the pressure on the

and the pedal may be formed:Again: Count steadily j press the pedal down
| J
it

pedal at

the rest

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These may be

still

further developed at the discretion of the teacher.

In order that the player

may

better appreciate the relation

the action of the piano

and

to

between cause and effect as applied explain the working of the dampers

to the in

would be well to show their effect upon the vibration

pedal
it

of the strings.

Explain some thing of sympathetic vibration, and overtones and give a practical illustration as
follows

Press the pedal down; strike low

the tenth

forcibly and presently one

may hear

the overtones- the octave,

and twelfth,

etc.

These overtones so reenforce the fundamental tone as to add greatly to the volume of sound and hence the name u loud pedal" is almost universally used. It is better, however, to use the name damper pedal since this pedal effects the dampers and the term "loud pedal" is sometimes misleading. We should use the damper pedal primarily to prolong the tone and not necessarily to make it longer. There is no end of beautiful examples for the use of the pedal but they are not edited so that a beginner could use them. There are also pedal studies but they demand so much technical skill of the hands that they lie beyond the power of young players. I consider that the latter part of the first year is none too early for a child to begin the use of the pedal if any ease in its use is to be acquired. These studies are designed to be given in connection with any second grade material and can be alternated with the latter part of Melody Pictures by Margaret R. Martin, and Miniature Melo dies by Jessie L. Gaynor.

HAROLD B. LEE LIBRARY BRIGHAM YOUNG UNIVERSITY PROVO, UTAH


Play with one finger and count carefully.

First Pedal Studies.

JESSIE
L.

GAYNOR

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By DR.
F.

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The
do a

This system of technics, the manual for the piano department of the Chicago Musical College, is an orig nal work in many respects, being practically an exposition cf the familiar experiences of every day teaching in a successful The book holds in compact form all that need be school. taught to insure that training of the hand essential to an early and easy virtuosity. The book provides for the necessary fundamental work and embraces all that is needed for the gymnastics of the lingers and essential to a thorough The plates and illustratraining and control of the hand. tions which have been prepared with unusual care, illustrate the proper position of hand, wrist and fingers. The skill of the author is so manifest on every page as to impress even the east discerning student with the perspicuousness of the work. Bound in flexible cloth. Price, $1.50.

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The title of the book conveys its purpose. It is primarily for the student, no matter of what progress, and as the title indicates is a treatise on the theory of music. It will be welcomed by those progressive teachers who sympathize with the demand for a treatise that should be thorough, compact and plain, one properly adjusting this too often Musical Essentials embraces distorted course of study. everything from the rudiments of Musical Notation to the study of Musical Form. The elementary portion is so plain that one who has no knowledge whatever of music can understand its precepts, while the progression of the study is so consistent, step by step, as to make the acquirement of a practical and theoretical knowledge of music a matter of regardful application only. The book is a veritable encyclopaedia of information. The book is especially suited to classes needing a practical and interesting treatise. Price, $1 .00.

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The Concerto is so closely allied to virtuosity and ideal composition that the study of its form and component parts is essentially a part of the curriculum of every school, and a In fact, many of the necessity for piano musicianship. teachers are now using parts of Concertos more prominent in place of Sonatas one of Mr. Philipp's purposes in the Heretofore it was necessary to buy a present compilation. complete concerto, singly, in order to get the desired movement, and, at a price in excess of this Collection of Favor-

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DATE DUE

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