I am only discovering this forum today, and with pleasant surprise, and rather than asking a precise question, I would like to propose a topic for us to discuss: the use of the pedal. In fact, who knows if it might not be an aspect to delve into during lessons. I would like to manage to become a "master" (firm, secure, autonomous...) in the use of the pedal, especially in composers such as Mozart or Beethoven... and also when tackling contemporary authors for whom, in my opinion, one must still maintain a "classical approach": Mertens, Yruma, Sakamoto, Einaudi, Cacciapaglia, Allevi and company.... for these authors, I cannot acquire a pedaling that isn't scholastic and unfortunately heavy, and moreover, I must admit that sometimes on particular phraseology I am truly in difficulty (always regarding the choice of pedaling).
I hope this issue can find some space, thanks to everyone.
G
Gerardo
Member
Reply 2 by Gerardo
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277
From my point of view, it is relatively simple; regarding classical or pre-romantic authors, such as Beethoven, it is important to recognize the harmonic progression, which is fundamental for recognizing when it is necessary to change the pedal, while keeping in mind that harmony is not the only parameter involved.
As far as contemporary composers are concerned, it is even simpler; today there is no performance practice where if a composer wants the pedal, they indicate it... otherwise, it means the desired state is "without pedal." Then the performer, as is right, does whatever they want. Of course.
Regarding the contemporary compositions you indicate, if you are talking about a classical approach, then these are anachronistic compositions... so, which "contemporary" composers would we be talking about? Or are we talking about donkeys?
Well, the experience of the resonance pedal... is difficult to describe "in words". Let's just say that every harmonic change requires a pedal change so as not to create confusion. But it is not enough to say this. One must know that there are different ways of "changing" the pedal. On the beat, off the beat, syncopated... etc. A Master coming from classical experience can indicate how to use the different ways and when. The use of this pedal also depends on how the damper mechanism is regulated and how tuned and intonated the piano is. Even the regulation of the lever that lifts the dampers themselves affects the result. Therefore, artistic choices are superimposed with technological adjustments of the instrument, which must be well-prepared to provide the pianist with a clear and unambiguous sonic "image" of their own choices.
The use of this pedal also depends on how the damper mechanism is regulated and how well-tuned and intonated the piano is. The regulation of the lever that lifts the dampers themselves also affects the result. Therefore, artistic choices are overlaid with technological adjustments of the instrument, which must be well-prepared to provide the pianist with a clear and unambiguous sonic "image" of their own choices.
Effectively, with some PFs I need a certain "break-in period" to use the pedal well.
Even the pressure to be exerted is decisive for me: on my PF the pedal is relatively hard, enough that I can rest my foot on it.
Gerardo, what I meant to say is that certain pieces, even if contemporary, have a writing style and adopt a language and syntax (and a notation) that are easily approachable for someone with a classical background (in fact, sometimes they turn out to be very easy and on the verge of being banal... but I defend their pleasantness and, for some, even their musical value). Regarding these pieces, I say: "they are studied as classical music pieces" and I guarantee you that for most of these pieces it is madness to think of not using the pedal. Then there is a contemporary repertoire that if you don't have a few years of jazz behind you or experience with modern piano, you can forget about playing them well... and we are still within the scope of traditional piano notation...
As for me, I have started studying again for pleasure after a long time (I took the 8th-year exam a lifetime ago) and I discover that I lack the sensitivity for good pedal use.... if I ever see it again, I will strangle my teacher; in the meantime, I am more comfortable with Bach!
Thank you all, and on this occasion: can you recommend pieces to get my hands working again?
And then it is all true: the knowledge of the pf [piano], the quality of its mechanics...
I would start studying the sonatas of Domenico Cimarosa. Apparently easy, they require precise attacks, clarity in decisions and ........the right pedal, almost always on the beat. They are easy to read, but are highly appreciated in concert. They are beautiful pieces, just as much of the music of the great Neapolitan composer is beautiful and fun. Both the slow and the brilliant ones are interesting. I remember doing some work on his most funny and famous opera "la Serva Padrona" which I recommend you listen to and, if possible, watch. If you want, you can also produce a small video of your performances.
mmmh.. I'm probably wrong but isn't "La serva padrona" by Pergolesi? And it's not exactly an "opera"... I think Cimarosa's was "Il matrimonio segreto" but maybe I'm wrong... wasn't the 18th-century querelle involved with "La serva..."?....oh my god, I don't even know who I am anymore ...anyway thanks, thanks for the suggestions... maybe we can catch up later for clarifications.
