A pedalboard (also called pedal keyboard, clavier pedal , or, with electronic instruments, pedalboard bass ) is a keyboard played with legs normally used to produce a low-tone bass line from a piece of music. The pedalboard has long and narrow lever buttons arranged in the same semitone scalar pattern with a manual keyboard, with longer buttons for C, D, E, F, G, A and B, and shorter, higher buttons for C < span>? , D ? , F ? , G ? and A ? . The pedal technique training is part of the standard organ pedagogy in church music and art music.
The pedalboard is found in the console base of most pipe organs, theater organs, and electronic organs. Pedal standalone pedals such as the 1970s Bass Moog Taurus pedals are sometimes used in rock music and progressive fusion. In the 21st century, MIDI pedalboard controllers were used with synthesizers, Hammond electronic-style organs, and with digital pipe organs. Pedalboard is also used with piano pedals and with some harpsichords, clavichords, and carillons (church bells).
Video Pedal keyboard
History
the 13th to the 16th century
The first use of pedals in pipe organ grew out of the need to hold bass drone notes, to support the polyphonic style of music that dominates the Renaissance. Indeed, the term pedal point, which refers to a prolonged bass tone under the upper harmonic change, stems from the use of the organ pedalboard to withstand a continuous bass tone. This earliest pedal is a wooden stump dubbed mushroom , which is placed at the height of the foot. This pedal, which uses a simple pull directly connected to a manual key, is found in organs dating from the 13th century. The pedals on French organs consist of short pieces of wood protruding from the floor, mounted on a pedalboard that can be flat or slanted. Organists can not play anything but simple bass lines or slow-moving plainsongs on these short stubs. Organizer E. Power Biggs, in liner notes for his album Organs of Spain notes that "Someone can learn to play it, but a smooth pedal job is impossible".
There are two approaches used for accident records (colloquially referred to as "black" notes). The first approach can be seen in the organ of Halberstadt 1361, which uses a short black key placed over a white button. Another organ positioned the black key at the same level and depth as the white key. The first pedal keyboard has only three or four notes. Finally, the organ designer adds this range using eight notes, an approach now called the "short octave" keyboard, since it does not include accidental notes like C ? , D ? , F ? , G ? and A ? . The 17th century northern German organ builder, Arp Schnitger, uses F ? and G ? in manual low octave and keyboard pedal, but not C ? and D ? . From 16th to 18th centuries, short octave keyboard is also used in the lowest octave of the top manual keyboard.
In the 14th century, organ designers were building separate windchests for pedal divisions, to supply pipes with a large amount of wind that should be noted by bass notes. These windchests are often built into a tall structure called "organ towers". Until the 15th century, most keyboard pedals only triggered the Hauptwerk pipeline that has been used by the top manual keyboard. Beginning in the 15th century, some organ designers started giving their own pedal keyboard sets and stops. In the 15th and 16th centuries, the pedal divisions usually consisted of some 8? ranking and 16 sole? rank. At the beginning of the 17th century, the pedal division became more complex, with a variety of richer pipes and tones. However, pedal divisions are usually inconsistent from one country to another.
the 17th century to the 18th century
At the beginning of the seventeenth century, organ designers began to provide pedals on large organs in a larger range, covering twenty-eight to thirty records. In addition, German organ designers began to use again, narrower pedals, with wider space between the pedals. At this point, most pedals are given a smoother-action lever by entering the pivot behind each pedal. This design change allows players to play a more complex and fast-moving pedal line. This brings out the dramatic pedal solos found in the work of German organs from composers from the Lutheran Organ School, such as J.S. Bach. In musical organs Bach melodic firmus cantus, which is usually a hymn song, is often performed on the pedal, using a reed stop to make it stand out.
Some sources, including the encyclopedia of the organs, claim that the 17th century pedalboard design improvements allow the organs to move the pedals either with the toes or with the heels. However, organist Ton Koopman argues that "complete oeuvre Bach [can be played] with pedal technique in time, in other words without using heels." Koopman claims that in "foot and heel days pedaling Bach is not known, as seen from his organs, where all parts of the pedal can be played with toes." Interestingly, what evolved as a "German" pedal technique in the late 18th and early nineteenth centuries encouraged the heels and feet while the "French" style was based on the "foot only" pedal technique.
In the 17th and 18th centuries, pedalboards were rare in England. A critic for the New York Times in 1895 argued that this could explain why the work of organs published by Handel generally sounds lighter than J.S. Bach. In the 17th and 18th centuries, the organ music pedal was rarely given its own staff. Instead, the organ part will be inserted into two staves, most of which are used for the top and bottom manual parts. When composers want the sections to be played with a pedal keyboard, they mark Pedal , Ped. , or just P . Often, the composer removes these marks, and the player must decide whether the range of all the parts or the lowest parts is appropriate for the pedal keyboard. This lack of specification corresponds to many other aspects of Baroque musical practice exercises, such as the use of improvised chords by organic players and harpsichords in the basal tradition and the use of improvised ornaments by solo and instrumentalists.
the 19th to the 20th century
In the late 1820s, the pedalboard was still quite foreign in England. In the organs at St James's Church in Bermondsey in 1829, "fingerprint [manual] was added to those who could not play with their feet." If an organ is doing a cut with the pedal, "the assistant is required to play the bottom line of the finger keyboard, offset on the bass side of the console." In 1855 in England, Henry Willis patented a concave design for the pedalboard which also emitted the end of the keyboard and used a longer key, carrying the final key closer to the player. This design became common in Britain and in the US at the end of the 19th century, and in 1903, the American Guild of Organists (AGO) adopted it as their standard.
In the 19th and early 20th centuries, the pedal division also changed. The pedal division of the Baroque era often includes a small number of high-pitched stops, allowing players to perform higher melodies on the pedalboard. In the 19th and early 20th centuries, the organizers eliminated most of these high-pitched stops, and used a pedal division dominated by 8? and 16? Stop. This design change, which coincides with music trends for music with deep and rich bass parts, means that players use the pedalboard especially for the bass parts.
In the mid-19th century, the pedal part of organ music was increasingly given its own staff, which meant that composers and transcripts began writing organ music in a three-stave system (manual top, bottom manual, and pedal keyboard). While early organ composers abandoned the way that the pedal keyboard line was played according to the players' wisdom, by the end of the 19th century, composers began to show certain foot actions.
In addition to telling the organ whether to use the left or right foot, the symbol indicates whether they should use a toe or a heel. The symbol "^" shows the toes, and "u" or "o" indicates heel. The symbol below the note indicates the left foot, and the note above shows the right foot.
Swedish organization L. Nilson published a method for pedal keyboard, an English translation entitled Technical Study System in Playing Pedals for Organ (Schirmer, 1904). Nilson complained that it was a melancholy fact that only a handful of prominent organists from the time of Bach made their business pedal-play pedal out of its primitive confusion... "(page 1 of Foreword). He argues that large organ companions like Kittel and Abbe Vogler made no attempt to improve the "... pedal playing system". Nilson makes one exception to this criticism: the organ method of J. Lemmens, whom he praises for having altered the pedals played by introducing "... the principle of healthy execution" (page 2 of the Preface). Nilson's pedal methods include scale and arpeggio studies, polyphonic studies with both legs playing in opposite movements, studies written in parallel octaves, and studies written in three-thirds.
1990s-2000s
In the 1990s, the standalone MIDI electronic control pedalboard became widely available on the market. The MIDI pedalboard does not generate any tones of its own, so they must connect to compatible MIDI electronic keyboards or MIDI sound modules and amplified speakers to produce music tones. In the 1990s and 21-centuries, some churches began using electronic pedalboards-electronic triggers for 16? and 32? Stop. MIDI information from the electronic pedalboard sensor triggers the sound of the pipe organ from the digital sound module (for example, Wicks CM-100, Ahlborn Archive Modules, or the Walker Technical voice generation), which is then amplified through a loudspeaker.
These MIDI systems can be much cheaper than metal or wood bass pipes, which are very expensive to buy and install, due to the heavy weight (up to a tonne per pipeline), large size, and the need for a large amount of wind. Another reason to use MIDI systems is that it may be easier to get focused sound with MIDI systems, since all bass tones come from a single speaker or a set of speakers. With traditional pipes, it can be difficult to provide a focused voice pedal division, because large pipes tend to be scattered throughout the organ pipe chest.
These cost-saving measures have been the subject of controversy in the organ's arena. Supporters of the MIDI pedal division argue that a good quality MIDI system produces a better tone than a cheap bass pipe set with "money-saving" shortcuts such as using stop pipe and the resulting tone to reduce the number of pipes required. However, critics dislike the use of the MIDI pedal division combines electronically amplified low sounds with wind-driven top ratings. Willi Apel and Peter Williams argue that by definition, the organ must make its sound with the air flowing through the pipe. Some critics argue that the bass tone of the MIDI pedal division, which comes from a reinforced 12-inch subwoofer, is not "natural" and "open" as the vibrations of a large 32-foot wind pipe.
Maps Pedal keyboard
Design
Keyboard
The pedal board range in size from 13 notes on a small spinet organ designed for home use (one octave, conventionally C 2 -C 3 ) to 32 records (two and a half octave, C 2 -G 4 ) in the church organ or concert. Modern pipe organs usually have a 30- or 32-note pedalboard, while some electronic organs and many older pipe organs have a 25-note pedalboard.
In addition to the number of pedals, the two main aspects of the pedalboard are:
- whether all pedals have the same height as the floor ("flat"), or whether the pedal in the middle is lower than the pedal on the outer edge, forming a curved shape ("concave"), and
- whether all the pedals are actually parallel to each other ("parallel"), or whether the pedals are closer to each other at the end than at the end closest to the organ console ("radiating"). Specifications vary by country, organ maker, era, and individual tastes.
The exact design specifications for the pedalboard are published in the UK by RCO, in the United States by the Attorney General's Office (which requires a design similar to the RCO), and in Germany by BDO (which allows pedal pedals 30- and 32-notes, from both hollow/and concave/parallel varieties).
Pedal Split
In an organ with more than one keyboard, the stop and rankings that stop the controls are separated into different divisions, where the pipe ranks are grouped together so they make the sound "focused" or coherent. The division pedal, which is played from the pedal keyboard, usually includes more 16 stops? tone. The sound of the pedal division is generally voiced so that the division of the pedal complements the sound of the big divisions. 16 General? stopped found in the pedal division including 16? Bourdon, 16 years old? Headmaster, and 16? Trombone. Eight foot stops including 8? Go to Diapason. The pedal division also includes a high stop register, such as 4? Choral Bass or various blends. When the pedal is done, 16? stop usually paired with 8? one to provide more definitions. For pedals that need accentuation, such as Cantus Firmus melodies in seventeenth-century organ, many organs have a sounding nose that stops in the pedal division, or 4? The principal is designated on the stop button as "Choralbass".
Some pedals have a pedal distribution system that allows the organic splitting of the pedalboard at its midpoint. With this system, an organist can play the melody with the right foot and the bass with the left. The split pedal is a coupler type. This allows the sound to be played on the pedal to be split, so the lower octave (especially the one from the left foot) plays the stop of the pedal division while the top half (played by the right foot), stops playing from one of the manual divisions. The manual choice is at the player's discretion, such as the 'split point' of the system.
This system can be found in the organ of Gloucester Cathedral, which has been added by Nicholson & amp; Co (Worcester) Ltd/David Briggs and Truro Cathedral, has been added by Mander Organs/David Briggs, as well as on the new nave console from Ripon Cathedral. Systems like those found at Truro Cathedral operate like this:
Control
In some organs, a wooden panel called "kickboard" or "kneeboard" is mounted above the pedalboard, between the lowest pedal and the manual keyboard. Express pedals, coupling controls, and snap buttons (to enable stop or stop combinations) can be placed on or arranged into the kickboard. The expression pedal is used to open and close shades or window coverings that unite specific distribution pipes. The combination pistons are used to make quick stop changes from the console on the organs by the act of stopping the electricity. Button Toe is a piston that can be operated by the foot, which changes either the stop pedal or the whole organ.
In some organs, the "pedalboard check" mechanism functions as a safety, to turn off the pedalboard lock. This mechanism prevents accidental foot contact with the pedal board from notes that are heard in parts written only for the top manual.
Repertoire
The works of Dutch, organic, and pedagogist composer Jan Pieterszoon Sweelinck (1562-1621) contain the earliest examples of independent parts for pedals, not continuous bass drones. His work straddled the end of the Renaissance and the early Baroque era, and he helped establish the tradition of Northern German organ.
Dieterich Buxtehude (1637-1707), who was the most famous composer of his time, was famous for his "... expertise and innovation on the pedals." Young Johann Sebastian Bach is influenced by Buxtehude, who uses the pedal board "as a full keyboard and devoted to great people." J.S. Bach uses a pedal to perform melodies in his works such as setting up his Christmas hymn singing, In Dulci Jubilo, in which the main theme in tenor sound is played on the pedal on higher things. Bach also wrote compositions that use pedals to display the dramatic scales of scales and workflows in preludes, toccatas, fantasias and fugues.
There is a small amount of organ composition written only for the pedal keyboard. British organist and composer George Thalben-Ball (1896-1987) wrote a work entitled "Variations of Themes by Paganini" for the pedal keyboard. Based on Paganini's "Caprice No. 24", virtuoso works for the solo violin, it covers the glissandi pedal, a leap from one end of the pedalboard to the other, and a four-tone chord.
Firmin Swinnen (1885-1972) was a Belgian organ that became famous in the US in the 1920s due to improvisation of its theatrical organ during silent films. Swinnen wrote cadenza pedal for Wideb's Fifth Symphony setting. Kadenza is published separately by The American Organist . The publisher promotes the cadenza as "the bravest, most musically available Cadenza Pedal available"; This praise is corroborated by the reviewers who are at the show, who comment on the complex footwork that the job requires. The symphony was done 29 times during the premiere week, to "... literally screaming spectators... who have never seen such a scene as an organist on the [lift] platform in the spotlight playing with his own feet."
Although the pedalboard is most commonly used for bass parts, composers from the 17th century to the present often use it for the higher parts as well. In a calm Le Banquet CÃ © Ã © leste Olivier Messiaen put the song, registered for 4? flute (and higher mutation ratings), on the pedal.
From the early 20th century, composers increasingly demanded advanced pedal techniques in the organs. Performers demonstrate their expertise in such works as Wilhelm Middelschulte's Perpetuum mobile, Leo Sowerby Pageant (1931), and Jeanne Demessieux Six ÃÆ' Â © tudes , Op. 5 (1944), which remembers the dramatic organ solo pedal of the Baroque era.
Use on instruments other than organs
Pedal harpsichord and clavichord
The keyboard pedal was developed for clavichords and harpsichords during the Baroque era so that the organists could practice the pedals part of their organ repertoire when they were not available to work bellows for church organs or, in winter, to avoid practicing in church organs in unheated church. Johann Sebastian Bach has a harpsichord pedal and his organs trio sonatas BWV 525-530, Passacaglia and Fugue in C minor BWV 582, Toccata and Fugue in D minor BWV 565, and other works sounds good when played on instruments.
Pedal piano
The piano pedal (or pedaler piano) is a piano type that includes a pedalboard
There are two types of piano pedals:
- The pedal board is integrated with a manual piano instrument, using the same string and mechanism as the manual keyboard
- The independent pedal plays the piano with its own mechanics and strings, placed under a regular piano
Wolfgang Amadeus Mozart has a fortepiano with independent pedals, built for him in 1785. Robert Schumann has an upright piano pedal with 29 tones. In the 21st century, piano pedal, Doppio Borgato made in Borgato's workshop in Italy. The bass pedal board has 37 tones, A0 to A3 (not the 30 or 32 standard on the organ).
Carillon
Some of the big carillon systems to play church bells include pedalboards for the lowest pitched bells. The carillon pedal button activates a pull-down coupler that looks to move manual clavier buttons and heavy clappers for the biggest bells. These keys resemble the "button buttons" of the original organ, and are played by the players' toes. Since this non-legato technique does not involve sliding, shoes with leather soles are not required.
In non-classical music
Jazz Organ
After jazz organ Jimmy Smith popularized Hammond's organs in jazz in the 1950s, many jazz pianists "... who thought that getting an organ would be an instant..." realized that Hammond "... Ã, B-3 needed not only a strong left hand, but learns coordination on the pedal to create a strong and solid "jazz bass" impression. "Barbara Dennerlein combines advanced pedalboard techniques with lively play in the manual. Newer jazz organs from the newer decades usually feature a bass line with the left hand on one of the keyboards, rather than using a pedalboard. Organists who play bass lines on lower manuals can do a short tap on the bass pedal - often on the tune button tonic and in the lowest list of pedalboard - to simulate a low, resonant sound from a raised bass string being picked.
In popular music, pedaling styles may be more varied and idiosyncratic, partly because jazz or pop organisms can learn on their own. In addition, the paddling style may be different due to the design of electromechanical organs and spinet organs, many of which have shorter pedalboard designed to play especially with the left foot, so the right foot can control the volume (swell) pedal.
Rock and fusion
In the 1970s, some progressive rock groups such as Yes, Pink Floyd, Genesis, Atomic Rooster, and Rush used a stand alone stand-alone Moog Taurus bass pedal synthesizer. The Taurus produces a bass tone for amplification by a bass amp. Other groups, such as Led Zeppelin and Van Der Graaf Generator, used bass pedals from the Hammond organ instead of bass guitar for some of their recordings and for live performances.
Other users include metal and hard rock bands like Yngwie Malmsteen, Styx, and Francis Buchholz from Scorpions, and Justin Harris from Menomena. The former Genesis guitarist, Steve Hackett, has waist-high, whose brother, John Hackett, plays with his hands to intro Clocks - The Angel Of Mons from the Spectral Mornings album. Adam Jones of Tool uses Moog Taurus along with Access Virus B synth to trigger immediate effect. Keyboardist for rock group Emerson, Lake & amp; Palmer took this idea to his logical conclusion by doing all the first moves, and part of the second of The Three Fates at the Royal Festival Hall in London.
In addition, some pop groups (eg, The Police, Muse, U2) and fusion groups have used bass pedalboards to produce sound in the bass range. They are most commonly used by keyboard players in addition to keyboards, but can be played together with other instruments (eg, by bass guitar or electric guitar players), or by themselves.
The standalone pedalboard usually has a 13-note range and a short pedal, which limits the type of bass line to a fairly simple section. Group bass guitarist or electric guitarist who plays pedalboard from a standing position can only use one leg at a time, which further limits what they can play. The BASYN analog bass synthesizer is a two-VCO analog synthesizer with a 13-note "board button" - with a momentary push-button button on the pedal. Another variant used in rock bands is the bass pedalboard arranged as a tabulature representation of the four strings of electric bass guitar. February 2018
MIDI_and_synthesizer_pedalboards MIDI and synthesizer
In the 1990s, the standalone MIDI electronic control pedalboard became widely available. Unlike the Moog Taurus pedalboard, the MIDI pedalboard does not produce its own tone, but it controls a compatible MIDI electronic keyboard or MIDI sequencer. In a trio of jazz organs, the keyboardist that uses this type of pedalboard usually connects it to a Hammond-compatible MIDI-style electronic organ keyboard. In modern electronic synthesizers such as Yamaha Electone, the pedals are not limited to traditional bass tones but can produce many different sounds, including high tone registers. While the MIDI pedalboard is usually used for musical sound, because they use MIDI, technically footpedals can be used to trigger lights or other electronic elements from a show.
Pedalboard MIDI offers various features. Some MIDI pedalboards contain speed-sensitive triggers, which generate MIDI speed information for music dynamics. The MIDI pedalboard such as the Roland PK-5 13-note includes a row of MIDI foot switches above the pedal keyboard, allowing players to choose preset or MIDI channels or change octaves. Large 25-note Roland pedalboards also include pedal expressions for controlling volume or other parameters. In the 2000s, keith designer Keith McMillen developed a speed-sensitive 13-note pedalboard with a USB output that can be connected to a MIDI-equipped synthesizer. McMillen's pedalboard is different from other pedalboards because it senses different types of speed and pressure, which users can program to cause different effects on the patch synthesizer. The McMillen pedalboard can be programmed so that the individual pedals trigger chords (up to five simultaneous records), which can be used by a single band to provide mentoring for live performances. Roland PK-9 and Hammond XPK-200 is a 20-note pedal board that sounds from low C to high G. PedalKeys Nord is a 27-not pedalboard, going from low C to D. high compared to 25-not pedal Board, PedalKeys adds C # high and D. high
Some MIDI pedalboards are designed to market church pipe organs, meaning that they use AGO specifications such as the 32-note range. Most MIDI pedal pipe style organs are too heavy for transport, so it is usually installed under the top manual. However, the German company made a MIDI pedal board with a hinge in the middle and wheels at the bottom for easy transport. Since the AGO-specific MIDI pedalboard is often priced between US $ 1000 and US $ 3000, some amateur home craftsman make a MIDI DIY pedalboard by installing old pedal board with MIDI. Due to the popularity of Hammond's theater and organ organ during the 1950s and 1960s, many parts of the organs were in the market - including pedalboard (often with less than 32 records, such as 20 or 25 notes) that cost under US $ 300. After pedalboard was cleared and the glass reed switch is repaired or replaced, the pedal contact is soldered into the MIDI encoder of the complete matrix circuit board, which then connects to any MIDI device to produce an organ sound or other instrument.
See also
- Shoe organ
- Pipe organ
References
Source of the article : Wikipedia
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