Katherine Faricy Pedaling - Colors In Sound

By Katherine Faricy
Music Composed by James P. Callahan

The Book
Lessons and Repertoire
For Elementary Piano
Students

PURPOSE:
•To learn artistic pedaling from the very beginning of piano study
•To develop careful listening and tonal imagination

FEATURES:
•Systematic approach
•Preparatory exercises for each pedal technique
•New short pieces that are fun and easy to learn
•Graphic pedal notation
•Charming illustrations
•Can be used along with any pedagogical methods and materials

The Lessons

Glossary
Explains and illustrates the terms and signs used in the pieces.

Foreword
This section provides suggestions for teaching each of the lessons.

Lesson 1
Students are always interested in how the piano works. This lesson discusses and illustrates the piano mechanism – hammers, dampers and strings. The mechanisms of the three pedals are also explained.

Lesson 2
In this lesson, the student is taught to sit properly and how the foot works with the damper pedal. An important component of this unit is discovering how the piano works like an echo chamber when the dampers are raised so one hears the sympathetic vibrations. The student is encouraged to improvise making various sounds with the pedal depressed. Various notations of pedaling are shown, including the unique graphic notation used throughout this book.

Lesson 3
This begins with three Pedal Studies, which allow the student to become comfortable with the technique of long pedals. Equally important is getting the student to learn to listen intently to the sound as it decays. The blending of sounds in this technique is an important introduction to Impressionistic sonorities. While the pieces don’t look particularly unusual on the page, with the use of long pedals they create magical sounds.

Lesson 4
This lesson introduces the Direct, or Simultaneous pedal. Next to long pedals, this is the easiest technique, because the hands and foot always work together in the same up and down directions. The Pedal Studies deal with the coordination of hands and feet away from the keyboard, which the student must master before incorporating the pedal in the pieces that follow. A couple of fun new compositional and performance techniques are included in the pieces, namely modular structure and playing with the whole forearm. Also a lovely duet allows the student to concentrate on a simple rhythmic accompaniment and pedal, while the teacher provides the melody.

Lesson 5
The syncopated pedal technique introduced in this lesson is the most complicated coordination of all, especially for beginners. Unfortunately, this is the pedaling that is often the first type introduced in teaching materials. The Pedal Studies that introduce this lesson are very important for the student to master before going on to the pieces., as rhythmic control is paramount to clean pedal changes.

Lesson 6
Many pieces in the piano repertoire have soft endings with the sound gradually dying away. This is most effectively accomplished by using a slow pedal release. This lesson will teach the students to end such pieces in a most artistic way! (As in all of the pedal techniques included in this book, students are encouraged to add pedal where appropriate in their other repertoire. It must be kept in mind that most composers do not indicate pedal, but assume it will be added. Pedalings added by an editor are only suggestions.) Included in this lesson is a piece using sympathetic vibrations – fun!

Lesson 7
This last lesson introduces the use of the soft pedal in combination with long damper pedals. The student will learn to listen carefully to the difference in sound when the soft pedal is applied, and when it is released. By this time, the student will be playing with confidence and artistry if they have mastered each of the lessons.

The Pieces

Written especially for this book to emphasize the tonal possibilities of the piano.
Pieces are short and simple to allow the student to concentrate on sound and pedal technique.
Most pieces are written in five-finger positions
Hand position charts provided for most pieces
Titles and illustrations are to help stimulate students’ imaginations which will hopefully be translated into the sound and character of each piece
Pedal is notated with unique graphs that show precisely when and how the pedal is to be depressed and released.
Notes to teachers are sometimes included at the beginning of pieces.

The Author

Katherine Faricy graduated from the Oberlin College Conservatory of Music with a bachelor’s degree in music education and received her master of fine arts degree in piano performance from the University of Minnesota She also studied privately for four years with the renowned concert pianist, Madame Lili Kraus. It was during studies with Kraus and Dr.Duncan McNab at the U of M that she became very aware of the importance of pedaling in artistic performance and how few people are taught a methodical approach to learning its technique. In 2004, her book, Artistic Pedal Technique – Lessons for Intermediate and Advanced Pianists was published by Frederick Harris Music Co., and has become an international success.

A member of the faculty at the University of St. Thomas in St. Paul, Minnesota since 1975, she has taught undergraduate piano, piano ensemble, accompanying, and music literature; as well as graduate piano and courses in performance practices, piano literature, and piano pedagogy. A frequent recitalist and soloists with orchestras, Katherine Faricy is also in frequent demand as an adjudicator and clinician, giving workshops and lecture/demonstrations to many teachers’ groups including MTNA national conventions. She and Dr. James Callahan performed as an acclaimed duo-piano team for 30 years.