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.

[Footnote 216: It is understood that all the comments are based on the
action of a concert-grand pianoforte, since on an upright or a
square--because of mechanical limitations of space--the effects are
quite different.]

[Footnote 217: In this connection, even at the risk of seeming to
preach, let the advice be given that _nothing_ should ever be put on
top of a grand pianoforte: neither flowers, afternoon tea-sets,
bird-cages, books, nor even an aquarium! For the lid is not merely a
cover, but an additional sounding-board, and must always be in
readiness to be so used. The pianoforte as a coloristic instrument, in
short, is completely itself _only_ when played with the lid raised.]

[Music: CHOPIN: _Barcarolle_]

There is really no such thing on the pianoforte as a "pure" single
tone. It is an acoustical law that no tone exists by itself, but
always generates a whole ser