Cover image for blog post about pedaling B major scale on the organ

There’s more than one way to approach playing a scale. Here, we look at the approaches of four master organists to pedaling the B-major scale.

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Marcel Dupré

organ pedaling for B major scale by Dupre

Dupré has a balance between the left and right feet. To skillfully cross feet over the shorter keys, precise technique and thoughtful positioning are essential.

Position one foot near the end of the keys and the other towards the back to avoid interference as they pass.

During an ascent, place the left toe over the right foot at the G# key. For descent, the right toe should pass under the left foot at the F# key. Ensure the right toe is placed forward on the key with a low heel, while the left toe stays back on the G# with a high heel.

Dupré employs the same foot plus heel-tow selection ascending and descending.

Clarence Eddy

organ pedaling for B major scale by Clarence Eddy

Clarence Eddy recommends a careful crossing technique on the shorter pedal keys to avoid any interference between the feet.

  • Ascending: slide the left toe over the right at G♯, keeping the heel low.
  • Descending: pass the right toe beneath the left at F♯, placing the toe at the very front of the key with the heel dropped.
  • By positioning one foot near the key’s tip and the other at its back edge, you maintain control and prevent missteps during rapid passages.

Eddy employs the same foot plus heel-toe selection ascending and descending.

Pietro A. Yon

organ pedaling for B major scale by Pietro Yon

When tackling runs of three consecutive black notes, Yon uses a sliding motion to connect them smoothly:

  • Low register (G♯–A♯): the right foot glides across the two lower black keys, up and down.
  • High register: the right foot slides on the two upper black keys in both directions.
    This sliding approach ensures an even, unbroken legato without sacrificing precision.

Virgil Fox

organ pedaling for B major scale by Virgil Fox

Fox also glides the right foot from the G# to A# while ascending. However, he transfers the gliding to the left foot on the descent from G# to F#.

Sources

  • Marcel Dupré, Méthode d’Orgue (Paris: Alphonse Leduc, 1927)
  • Clarence Eddy, Method for Pipe Organ (New York: The John Church Company, 1917)
  • Pietro A. Yon, Organ Pedal Technic (New York: J. Fischer & Bro., 1944)
  • T. Ernest Nichols, Virgil Fox: The Innermost Secrets (www.cafepress.com/virgil-foxmusic, 2005)