Piano teaching : its principles and problems . is noiseless, and thus freefrom the cracking sound which often results from a too vigorousapplication of foot power. Then, impress upon your pupil thefact that the damper pedal is a good servant but a bad him carry out your exercises, keeping his ear constantly onthe alert to appreciate the necessity for putting down the pedalnearly always after the note it is to sustain, and to detect anyblurring of tones caused by a too prolonged depression. Thepossibilities of color effects which lie in the use of the softpedal and in the manipulatio
Piano teaching : its principles and problems . is noiseless, and thus freefrom the cracking sound which often results from a too vigorousapplication of foot power. Then, impress upon your pupil thefact that the damper pedal is a good servant but a bad him carry out your exercises, keeping his ear constantly onthe alert to appreciate the necessity for putting down the pedalnearly always after the note it is to sustain, and to detect anyblurring of tones caused by a too prolonged depression. Thepossibilities of color effects which lie in the use of the softpedal and in the manipulation of botWpedals in cooperation, Ishall refer to in a later chapter (page lC^D. The indefinite andoften inaccurate directions for pedal use found in most pianomusic make it necessary for you to revise them upon a clearerbasis. For this purpose I advise the adoption, in connectionwith the damper pedal, of the sign I I, the down-stroke denoting the depression of the pedal, the horizontalline its continuance, and the up-stroke its removal, thus:. For the soft pedal, the usual signs una corda (u. c.) and trecorde (t. c.) seem sufficiently comprehensible. While I have suggested a continuous course for each divisionof technical work, you of course understand that no one kindis to be dwelt upon for a long time, to the exclu- variety in ten-sion of the others. Occasionally, if the pupil evi- nlcal Practlce-dently needs the drill, two kinds of technical work can be givenhim conjointly, in homeopathic doses, such as a short exercisefor finger gymnastics and a few scales; but it is better, in gene-ral, to work along one line for several lessons, and then to inducevariety by changing off to another. When the first species isagain taken up, you will resume at the point where you left off. 68 PIANO TEACHING A subject closely interwoven with that of technic is that offingering, by which is meant the use of the correct fingers uponAttitude of the the keys involved in musical progressions. Anthe
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