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History of the Organ Pedal
This site introduces unknown composer Emanuel Bach (C. P. E. Bach).
This English version was translated from Japanese one by ChatGPT.
History of the Organ Pedal
Asked ChatGPT4o: “When were keyboards for playing with the feet added to the organ?”
The addition of **pedal keyboards (pedalboards played with the feet)** to the organ is believed to date back to the **late medieval to early Renaissance period (roughly late 13th to 15th centuries). However, the widespread use of more advanced pedalboards as we know them today began in northern Europe, especially Germany, during the 17th century and later.**
Historical Overview:
● Early Phase (13th–15th centuries):
- The earliest pedalboards werenʼt meant for elaborate playing but functioned more like **drone pedals**—simple foot-manipulated boards producing only a few sustained tones.
- Use of pedals in places like Italy and England was limited and developed more slowly.
● Development Phase (16th century):
- In Germany, pedalboards with wider range linked to the manuals became more developed.
- By builders such as **Arp Schnitger** in northern Germany, from the 16th to 17th centuries, longer independent pedalboards became standardized.
- These technical advances were driven in part by the demands of composers such as Bach.
● Baroque Era (17th–18th centuries):
- Works by **Johann Sebastian Bach (1685–1750)** demanded sophisticated pedal technique, making pedalboards an essential part of performance.
- In Germany, the Netherlands, and northern Europe, **independent pedals with over 30 keys** became common.
Key Takeaways:
Period — Pedalboard Characteristics — Regional Differences
13th–14th century — Few auxiliary pedal keys — Mainly Germany
15th–16th century — Semi-independent or fully independent pedals — Developed in Germany and the Netherlands
17th century onward — Fully independent pedalboards (25–30 keys) — Spread across northern Europe
If youʼre interested in the pedal usage by specific composers (before or after Bach) or regions (Italy, France, Germany, etc.), I can provide more detailed information.
Asked ChatGPT4o: “Do C. P. E. Bach’s organ concertos make use of pedal keyboards as well?”
Thank you for the question.
In short, **Carl Philipp Emanuel Bach’s organ concertos were essentially composed without needing pedalboards**.
■ Background and Reasons:
1. C. P. E. Bach’s Active Period and Location
- He worked primarily in **mid-18th century (1740–1788)** Berlin and Hamburg.
- His organ concertos (e.g., Wq 34, 35) were written for **relatively small court or church organs with manuals only or very basic pedal parts**.
2. Style and Practical Performance
- The concertos were often interchangeable with harpsichord or clavichord concertos, allowing flexibility in instrumentation, thus **pedals were not essential**.
- While organs with pedals existed in Hamburg, C. P. E. Bach’s scores **do not clearly indicate pedal usage**, making it optional.
3. Printed Scores and Contemporary Practice
- Surviving manuscripts and first editions show **no separate pedal staves or explicit pedal markings**.
- Modern performances sometimes allocate bass lines to pedals at the performer’s discretion, but this deviates from historical practice.
■ Examples:
- Organ Concerto in C major, Wq 35:
- Typically playable on harpsichord or fortepiano.
- Some modern organists like Jean Guillou use extensive pedals on large modern organs as a **romantic reinterpretation**, not as the original intent.
■ Summary:
Element — Content
Pedal use — Not originally intended
Scoring — Playable with manuals only (harpsichord/clavichord interchangeable)
Modern Performance — Some use pedals optionally
Historical Interpretation — Pedals were not part of Bach’s intent
If you’d like, I can provide Wq‑number–wise analysis, edition availability, and recordings (such as those by Martin Spanjaard and Jean Guillou).
Asked ChatGPT4o: “How widespread are pedalboards in modern churches?”
Today, **pedalboards are standard equipment on nearly all serious pipe organs worldwide**. Especially in church organs, we see these trends:
■ Pedalboard Usage in Modern Church Organs
1. Traditional Churches in Europe & North America (Catholic & Protestant)
- In **almost all church organs, pedalboards are installed** (typically around 30 keys).
- In countries like **Germany, France, Netherlands, UK, USA**, pedal‑use repertoire (e.g., Bach) necessitates **independent pedal keyboards**.
- Typical range: **C–f¹ or g¹** (30–32 notes).
2. Churches and Venues Elsewhere (incl. Japan)
- **Many organs built since the 1970s** in these regions include pedals.
- Smaller chapels or mission-style worship spaces may use **positif organs** with pedals omitted.
- However, organs built for formal liturgy or performance **almost always include pedals**.
3. Electronic or Digital Organs
- Church‑targeted electronic organs (Roland, Allen, Hammond, etc.) also **typically include pedalboards**.
- Even digitally generated, their **interface is modeled on acoustic pipe organs**.
■ Pedal Presence by Church Size
Church size — Pedals? — Notes
Cathedral — Required — To accommodate repertoire and liturgy
Medium church — Standard — Usually two manuals + pedals
Small chapel — Sometimes omitted — May use portable organ
Facilities with electronic organs — Usually included — Depending on performer needs
■ Estimated Numbers (for reference):
Precise global stats are lacking, but estimates include:
- There are **over 30,000 pipe organs worldwide**, most include pedals.
- In Japan, **nearly all 300+ serious organs** in churches, universities, and halls (e.g., Tokyo Arts Theatre, Muza Kawasaki) have pedalboards.
■ Summary:
Item — Content
Pedal prevalence (serious church organs) — Almost 100%
Exceptions — Portable organs, small chapels, home instruments without pedals
Pedal range — Generally C–f¹ (30 keys), may extend depending on repertoire
If needed, I can also provide a list of venues in Japan where you can experience pedal-equipped organs.
Asked ChatGPT4o: “What about Bach’s era?”
Excellent question.
In the era of **Johann Sebastian Bach (1685–1750)**, i.e. early 18th-century Germany, **pedalboards were already highly developed and firmly established as an essential element** in organ performance.
■ Pedalboards in Bach’s Time (mostly early 1700s)
1. Pedalboards were standard in Germany
- In Thuringia (Arnstadt, Weimar, Leipzig, etc.) where Bach worked, many organs had **independent pedalboards of around 30 keys**.
- These pedal keyboards connected to **16-foot and 8-foot pipes**, forming the foundation of the bass.
- In northern Germany (Hamburg, Lübeck), even larger pedal divisions existed (e.g., St. Mary’s where Buxtehude worked).
2. Importance of pedals in Bach’s works
- Most of his organ compositions (toccatas, fugues, preludes, chorale preludes) include **clearly notated independent pedal voices**.
- In works like the “Passacaglia and Fugue in C minor, BWV 582” or “Great Prelude & Fugue in G minor, BWV 542,” the pedal often carries the main theme, requiring technical skill.
- Some works include pedal solos, assuming **advanced pedal technique**.
■ Pedal Specifications in His Time:
Item — Description
Number of keys — Typically 25–30 (C–d¹ or f¹)
Key type — Flat or concave; German organs often had flat pedals
Connection — Mainly to 16′ or 8′ pipe ranks
Action — Mechanical tracker action (foot directly moves mechanism)
■ Regional Differences Compared to Other Countries
Region — Pedal usage (early 18th century)
Germany — Highly advanced (Bach, Buxtehude, etc.)
France — Some pedal-equipped organs existed, but not as widely used as in Germany
Italy — Manuals focused, pedals used minimally for drones
UK — Small organs prevalent; pedal use was limited, developed mainly after the 19th century
■ Summary: Bach and Pedalboards
Element — Content
Pedal presence — Standard in Bach’s context
Compositional practice — Independent pedal voices are essential
Technical demands — High pedal skill required
Regional innovation — Germany and the Netherlands led the development
If desired, I can provide specifics on the actual organs Bach played on (e.g., Mühlhausen, Weimar, Leipzig’s St. Thomas Church), and documents on pedal technique of that era.
Asked ChatGPT4o: “Please explain flat vs concave pedalboards.”
Yes, **organ pedalboards** primarily fall into two types:
- Flat pedalboard (flat pedals)
- Concave/radial pedalboard (curved pedals with concave shape)
Both are foot-played keyboard systems, but they differ significantly in structure and playing feel.
■ 1. Flat Pedalboard
Overview:
- All pedal keys are arranged in a **flat, straight line**.
- The keys are approximately the same height and depth.
- Common in **Baroque–early 19th-century organs**, especially in **Germany and Central Europe**.
Characteristics:
Item — Description
Layout — Flat, linear
Advantages — Suited for historical technique (e.g., Bach)
Drawbacks — Foot must move more to reach extremes; **not ideal for modern virtuosic passages**
■ 2. Concave/Radial Pedalboard
Overview:
- Common in modern organs.
- Keys are arranged in an **arc (radial) and concave** format.
- Keyboards follow the natural movement of the foot, allowing **access to wide ranges with less movement**.
Characteristics:
Item — Description
Layout — Arc and concave
Benefits — Fits natural foot motion, suitable for technical passages
Drawbacks — **Incompatible with pre-Baroque instruments; historically inaccurate**
■ Comparison Summary:
Item — Flat Pedalboard — Concave/Radial Pedalboard
Layout — Flat, straight — Arc and concave (radial)
Era — Mainly Baroque–Classical — Romantic onward to modern
Region — Germany and Central Europe — Worldwide, especially modern designs
Technique — Requires large foot movement — Easier technical access with natural motion
Historical Integrity — High for Baroque era — Lower; not suitable for historical recreation
■ Difference in Actual Playing (Examples):
-
Organists in Bach’s time ‹used flat pedalboards›, so they primarily used **toe technique**, with limited heel use.
- Modern organists tend to use **concave/radial pedals** and often employ both **heel and toe techniques**.
Reference image keywords:
- “flat pedalboard organ”
- “concave radial pedalboard”
Notes:
- Some historical replica organs vary in pedal spacing or tiering.
- Playing Bach and C. P. E. Bach on flat pedalboards with toe technique is **musically and historically appropriate**.
If desired, I can also provide **performance video examples** or introduce organ builders known for concave/radial pedals (e.g., Cavaille-Coll, Walcker).