[Footnote 213: The few exceptions being the Polish Songs, the Trio for Violin, 'Cello and Pianoforte and the orchestral accompaniment to the two Concertos.]
[Footnote 214: There will occur to every one numerous passages in which the pianoforte is expected to be a kettle-drum, or where 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 designations hint at the way in which they are often abused. The pedal employed by the _right_ foot, properly called the "damper pedal," is so named because, by its action, _all_ the dampers of the key-board may be raised simultaneously. This allows the strings to vibrate together and to send forth great waves of colored sound like those produced by an Aeolian harp; an effect similar to that heard when a sea-shell is held to the ear. The pianoforte, 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 appropriate 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 mixture 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 too _little_, rather than too _much_, 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 on the pianoforte being a great blemish as it is so unnecessary. The following passage illustrates the above points.