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HAROLD B. UEUBWWSBSGHAM YOUNG UNJVcRSlTYPROVO, UTAH


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Digitized by the Internet Archivein 2012 with funding fromBrigham Young University


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First Pedal Studies.Preface.

These pedal studies for very young players were written originally for my own use in teachinas I found my young pupils eager to use the pedal before the music they were playing required

The studies are designed as necessary and sufficient material to establish firmly the habitmotion for the foot, as well as a keen sense of hearing, in order that the effect of the pedal mabe the better appreciated

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It may be necessary in some cases to give a few simple exercises for the foot alone. In thesgreat care should be taken that the heel rests firmly on the floor and the ball of the foot touchethe pedal in all movements.

Counting should be insisted upon in order that the motion of the foot correspond exactly witthe notation.

In the following exercises as well as in the studies, the foot should press the pedal down at thnote and hold it during the time value of the note. The foot is raised for the rest but should remaincontact with the pedal, that there may be no waste motion and also that the habit of intimacy betweethe foot and the pedal may be formed:-

Again: Count steadilyj press the pedal down at the note; release the pressure on the 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 mabetter appreciate the relation between cause and effect as applied to the pedal it would be well to shothe action of the piano and to explain the working of the dampers in their effect upon the vibratioof the strings.

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

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Press the pedal down; strike low C forcibly and presently one may hear the overtones- the octavthe tenth and twelfth, etc.

These overtones so reenforce the fundamental tone as to add greatly to the volume of sound anhence the name u loud pedal is almost universally used. It is better, however, to use the name damer 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 thatbeginner could use them. There are also pedal studies but they demand so much technical skill othe hands that they lie beyond the power of young players. I consider that the latter part of the firyear 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 ancan be alternated with the latter part of Melody Pictures by Margaret R. Martin, and Miniature Melodies by Jessie L. Gaynor. HAROLD B. LEE LIBRARYBRIGHAM YOUNG UNIVERSITYPROVO, UTAH


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First Pedal Studies.Play with one finger and count carefully. JESSIE L. GAYNOR

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Favorite Movements FromFamous Piano Concertos.Edited, rinrfvred and Phrased, with Intro-ductory Not* and Annotations

By I. PHILIPP.(Paris Conservatory.)

The Concerto is so closely allied to virtuosity and idecomposition that the study of its form and component paris essentially a part of the curriculum of every school, andnecessity for piano musicianship. In fact, many of thmore prominent teachers are now using parts of Concertoin place of Sonatasone of Mr. Philipp's purposes in thpresent compilation. Heretofore it was necessary to buycomplete concerto, singly, in order to get the desired movement, and, at a price in excess of this Collection of Favorite Movements.

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DATE DUEiZZ3nn n / ^QQum t '' ' '33')oct : : e 3

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_JDEMCO 38-297


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3 1197 00345 7394


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First Pedal Stu Die 00 Gay n