Music in the making Pedaling
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Music in the making. Produced by Milliken university under a grant from the Educational
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Television and Radio Center in cooperation with the National Association of educational
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broadcasters.
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Music presents concert pianist Elizabeth Travice head of the piano
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department in a recorded consideration of peddling
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Professor Travis will talk about the problems involved and call attention to the
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correct and incorrect techniques regarding peddling musical
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illustrations will be played by Betty Roth. And now a few
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measures from debut gardens in the rain.
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The puddle is the life. It was certainly the
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best friend the pianist has at his disposal to overcome certain material drawbacks of the
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pianist Constitution. The pedals are a source of
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variation on the color and their judicious use can expand and amplify
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many of the effects produced by the pianists fingers. Our
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opening theme for robot one of the many and fascinating effects we are able to
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obtain by the various uses of the pedal we were turned
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it on to other examples in the few moments it has been said. The
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pedaling is the most baffling to teach of all the branches of piano playing
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without keen perception and demanding ear the full advantages of the pedals are
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lost. There have always been certain misconceptions about the use of the
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pedal for example so often one asks Can I hold the pedal
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here whereas the right question more often than not should be
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can I omit the pedal here. The
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pedals deal with quality and color of tone not with quantity.
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While it is true that the right pedal correctly termed the damper pedal
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sets into vibration all of the strings thus enhancing the volume
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and while it is also true that the left pedal Grech be called a Korda
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acts as a mute and permits the hammer to strike only one of two strings. It still
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remains a fact that the artistic use of the pedals come from a conception
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of them as factors in tone coloring not as AIDS in playing loudly or
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softly. Listen to a chord played with the pedal.
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And now the same chord with pedal.
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The tone is definitely sustained. Mellowed has a greater resonance
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results when we sound a chord or a note with all the dampers raised from the strings by
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the use of the pedal and for this reason when the dampers are raised from the strings
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the sympathetically inclined higher strings are roused into action by lower
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ones. In addition give the sound a note as a harmonic.
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When harmony for.
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Example.
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This brings us to the importance of pedalling. If you
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connect that to the next a bad
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result. If you put the pedal down at the same instant you depress the next key
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in a finger passage you will necessarily be holding up the first note with the next
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finger. Therefore if the dampers
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at that very moment. This will prevent the previous notes damper from descending and
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shutting off the tongue. Hence the small or discordant sound.
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Listen to both hands pressed for each note
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with the key.
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And the same scale properly.
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The first badly peddled with each new chord.
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The same passage properly pedal the pedal rising each chord.
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Or to put it very simply coming up as the fingers go down.
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And working out pedalling. We must be careful to allow the
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sufficiently damp. We intend to
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continue in spite of the pedal having also
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must remain up long enough to stop the vibrations of the strings lower and more
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powerful ones or the so-called damping effect will
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result. This will
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continue to sound upper ones are silenced.
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Sometimes however this half or half effect is actually required.
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This use of the pedal enables us to play changing harmonies in the upper register of the instrument
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like this.
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The beauty was gardens in the rain. We'll close our program. Is the
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greatest contributor of our times to the technique of plant opening a new
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branch of it is his contribution more important than the use of the petals
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as one writer has put it. Impressionism is concerned with motion rather than
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Station. That is to say this concerned with the appearance of the thing
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under certain light rather than with the thing itself with
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bigness and suddenly of passing reflexes rather than with clean cut
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characters lines or structures Debussy's music is for the most
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part characterized by an iridescent of a dreamy unrelated chords
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and of broken colors. The liberation he brought about from the strict
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rules of harmony has resulted in the use of the petals which before
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his time was unknown consonance and dissonance have become
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less clearly defined in Debussy's music. PETALING
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occupies a position never dreamed of before.
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True i
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possible.
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Work straight importance.
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Professor Elizabeth Travis assisted by Betty Roth has brought you a recorded
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consideration of.
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Music in the making was produced by Milligan university under a grant from the
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Educational Television and Radio Center. This program is distributed by the National
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Association of educational broadcasters. This is the end
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E.B. Radio Network.
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This program has been transcribed using automated software tools, made possible through a collaboration between the American Archive of Public Broadcasting and Pop Up Archive. Please note that no automated transcription is perfect nor is it intended to replace human transcription labor. If you would like to contribute corrections to this transcript, please contact MITH at mith@umd.edu.