How to Use the PedalPlease tell me how to use the pedal. I find that in some pieces there is no mark under the measures to show me when it should be used. Is there any rule which you can give me?Assuming that you have in mind the artistic use of the pedal, I regret to say that there is no more a rule for this than for the mixing of colours upon the palette of a painter who strives for some particular shade or tint. He knows that blue and yellow make green, that red and blue make purple; but those are ground colours which he can rarely use. For the finer shades he has to experiment, to consult his eye and his judgment. The relation between the pedal and the player's ear is exactly"ALPHABETICAL_INDEX_OF" similar to that of the palette and the painter's eye. Generally speaking (from sad experience) it is far more important to know whennotto use the pedal than when to use it. We must refrain from its use whenever there is the slightest danger of unintentional mingling of tones. This is best avoided by taking the pedalafterstriking the tone upon which it is to act, and to release it promptly and simultaneously with the striking of the next tone. It may be at once taken again, and this alternation must be kept up where there is either a change of harmony or a succession of "passing notes." This is theonly positive rule I can give, but even this is often violated. Let your ear be the guardian of your right foot. Accustom your ear to harmonic and melodic clarity, and—listen closely. To teach the use of the pedal independent of the action of your own ear is impossible.
How to Use the Pedal
Please tell me how to use the pedal. I find that in some pieces there is no mark under the measures to show me when it should be used. Is there any rule which you can give me?
Assuming that you have in mind the artistic use of the pedal, I regret to say that there is no more a rule for this than for the mixing of colours upon the palette of a painter who strives for some particular shade or tint. He knows that blue and yellow make green, that red and blue make purple; but those are ground colours which he can rarely use. For the finer shades he has to experiment, to consult his eye and his judgment. The relation between the pedal and the player's ear is exactly"ALPHABETICAL_INDEX_OF" similar to that of the palette and the painter's eye. Generally speaking (from sad experience) it is far more important to know whennotto use the pedal than when to use it. We must refrain from its use whenever there is the slightest danger of unintentional mingling of tones. This is best avoided by taking the pedalafterstriking the tone upon which it is to act, and to release it promptly and simultaneously with the striking of the next tone. It may be at once taken again, and this alternation must be kept up where there is either a change of harmony or a succession of "passing notes." This is theonly positive rule I can give, but even this is often violated. Let your ear be the guardian of your right foot. Accustom your ear to harmonic and melodic clarity, and—listen closely. To teach the use of the pedal independent of the action of your own ear is impossible.