Bauhaus-Universität Weimar

27 
1 he following exercLe is to be played first forte, then mezzo-forte, then piano, each chord being sustained 
for a considerable time—say while counting sixteen slow beats. Whether loud or soft, the chords must be 
sustained at uniform strength, and every effort made to avoid the slightest unsteadiness. 
I he treadles should not, except when great power is required, be depressed more than about half the 
depth of their entire fall. Even this extent of motion is unnecessary in delicate passages, and, indeed, an 
almost imperceptible alternation of the treadles will then produce the desired result more perfectly than when 
the depression is much greater. 
The pupil should practise this exercise in various ways, thus:—- 
X. As written, with the stops © © 
2. An octave lower, with the stops (jT) (T) (T) (T) 
3. An octave lower, with the stops ©@® ©@© 
4. As written, with the stops @© ®® 
Lastly, as written, with the Grand feu. 
CRESCENDO AND DIMINUENDO. 
Next comes the study of crescendo and diminuendo, which should be practised first with one note,, 
then with two notes, then with three, and so on, thus gradually increasing the difficulties. 
When the crescendo or diminuendo is of short duration, it can, of course, be made with one foot only; 
but when it extends over several bars, the alternation of the feet becomes necessary. 
In the following exercises, |__| indicates the left foot, and |-1 the right. Continuous- 
sounds are shown thus— 1 1 [ I , and broken ones thus— j__| | | . 
The exercises b and c should be varied as indicated above ; a, however, must be played as written, and 
not transposed an octave lower.
        

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