New Oxford Organ Method

Chapter 19
251
Left foot on the Swell pedal
So far, when operating the Swell pedal, you have only used your right foot, but at the start of Lento your right
foot is unavailable, as otherwise your feet would cross uncomfortably. Without looking down, practise moving
to and from the Swell pedal with your left foot. The next exercise begins with your right foot on the Swell
pedal, then your left foot; meanwhile the other foot plays pedal notes. The directions suggest the approximate
point at which to move your left foot to the Swell pedal. Place your hands on the key cheeks, and play:
?
Right foot on Swell pedal
Left foot on Swell pedal
m ¡ m ¡ m ¡ m ¡
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
m ¡ m ¡ m ¡ m
for online perusal only
?
Right foot on Swell pedal
œ m œ ¡ œ m œ ¡ m ¡ m
œ œ œ œ œ œ œ
m ¡ m
œ œ
¡ m
œ ˙
¡ m
¡Left
foot on Swell pedal
Structural analysis
To make wise musical decisions from the outset, always begin by exploring the musical structure of a piece.
Here the piece has a recurring bass figure, which you might not otherwise notice. The recurring bass figure
is a short plaintive melody, which is restated seven more times, and absent only at the climax. The first
statement moves from left hand to pedal:
LH
Ped.
Sw.
?# # 4
˙ œ œ œ œ œ
3
?# # 4 ∑
Sw. ¼ open
∑
w
m
∑
(bb. 1–3)
As the piece progresses, the figure undergoes three modifications: extra articulation, rhythmic change, and
transposition.
Extra articulation
In the next exercise two statements of the plaintive figure overlap, but the final note is missing from the
second statement. As you play, make the extra articulations subtle, without compromising the musical line:
LH
Sw.
?# # 4
˙ œ œ œ œ œ ˙ œ œ œ œ œ
4 5 5 3 4 4 5 5 3
Sw. closed
(bass, bb. 11–14)
continued...