the figuration is far better suited to the violin than to the hand
in connection with keys.]
[Footnote 215: This by reason of its combined powers in melody,
harmony and rhythm. Some of these qualities it shares, to be
sure, with the organ; but the organ is inherently lacking in
rhythm, and its solid, block-like tones do not exercise the same
fascination upon the imagination as do the fleeting sounds of
the pianoforte. It is, of course, possible and desirable to enjoy
both instruments—each in its own proper sphere, and each for
its characteristic effects.]
Likewise the two pedals,[216] when their technical names are
understood, imply their own meaning, just as their popular des-
ignations hint at the way in which they are often abused. The
pedal employed by therightfoot, properly called the “damper
pedal,” is so named because, by its action,allthe dampers of
the key-board may be raised simultaneously. This allows the
strings to vibrate together and to send forth great waves of col-
ored sound like those produced by an Aeolian harp; an effect
similar to that heard when a sea-shell is held to the ear. The pi-
anoforte, in fact, has aptly been called “a harp laid on its back”
to which the action of keys has been applied. Accordingly an
open, flowing style (arpeggio) is one of the idioms best suited to
its nature. To secure proper contrast, a massive, chordal style is
sometimes employed by such composers as Schumann, Brahms
and Franck—even at times by Chopin himself; but that the
extended arpeggio (often merely two voices, with the body of
tone secured by the pedal) is the norm may be seen from almost
any page of Chopin’s compositions. The resonance and carrying
power of these waves are intensified by raising the lid[217] of the
pianoforte; for then they are brought to a focus and projected
into space. The effect produced by raising the dampers is ap-
propriate and beautiful, not alone with consonant chords but,
at times, equally with chords that are unrelated; which, were
they sustained for long by an organ, would be intolerably harsh.
But the tone of the pianoforte is so fleeting that such a mix-
ture ensures great brilliance and warmth without undue jargon,
and is thus akin to the blending of strange colors by modern
painters. Many people, in fact, play the pianoforte with toolit-
tle, rather than toomuch, pedal; or with too much pedal used
the wrong way! A definite attempt should be made to cultivate
a feeling for color and warmth of tone; a hard, colorless tone