soon becomes, if constantly employed, rather cloying. The dy-
namic gradation of tone is primarily a matter for the control
of the fingers,i.e., the touch. The damper pedal is for sonor-
ity and color; the una corda for special shades, and all three
factors—touch and the two pedals—are combined in pianistic
effects which only a trained technique and artistic judgment
can regulate.[221]
[Footnote 220: The term dates from the period when this pedal
controlled three shifts: una corda, due corde and tre corde; the
hammer striking respectively one, two or three strings. The
whole mechanism is well implied in the German wordVerschiebung,
i.e., the shoving along—so frequent in Schumann’s works,e.g.,
the middle part of hisVogel als Prophetfrom theWaldscenen,
op. 82, No. 7.]
[Footnote 221: American pianofortes also have a middle pedal
called the “sustaining pedal,” by which tones in the lower register
may be prolonged. It has not proved to be of great value, though
there are occasional passages,e.g., the closing measures of the
second movement of César Franck’sViolin Sonata, where it may
be effectively employed.]
Even a slight analysis of Chopin’s style proves that it is based
upon logical inferences, drawn from the series of overtones as
they are generated and reinforced by the very nature of the
pianoforte. From the wide spacing of the lower tones of the
series Chopin derived the extended grouping of his arpeggios,
e.g.,
[Music]
[Music: Prelude, No. 19]
so that thechordof the10th, instead of the former grouping
within the octave, may be considered the basis of his harmonic
scheme. By this means a great gain was made in richness and
sonority. Another striking feature of Chopin’s style is found
in those groups of spray-like, superadded notes with which the
melody is embellished. It is evident, in many cases at least,
that these tones are not merely embroidery in the ordinary
sense. Rather do they represent a reinforcement of the over-
tones, ideally or actually present, in connection with bass tones
and chords used in the lower part of the musical fabric. As
a striking example[222] see the long series of descending non-