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ON PEDALING: ALTERNATIVES TO ESTABLISHED PRACTICE

by

HYE-SOOK JUNG

A DOCUMENT

Submitted in partial fulfillment of the requirementsfor the degree of Doctor o f Musical Arts

in the School of Musicin the Graduate School ofThe University o f Alabama

TUSCALOOSA, ALABAMA

2007

odu ced with permission of the copyright owner. Further reproduction prohibited without permission.


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Copyright Hye-Sook Jung 2007

ALL RIGHTS RESERVED



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Submitted by Hye-Sook Jung in partial fulfillment of the requirements for the

degree of Doctor o f Musical Arts specializing in Piano Performance.

Accepted on behalf of the Faculty o f the Graduate School by the dissertation

committee:

Date / v / z s / o ?

Date

Cinda Page Cummins, Ph.D.

Susan Curtis Fleming, D.M.A.

William B. FTenderson, M.M.

u / . h a {,W. Marvin Johnson, Ph.D.

— — "■£c

r

C a J

"Cp ^ Duk-WbrfPark, Ph.O'

Amanda W. Penick, M.M.Chairperson

Charles G. Snead, 1VFM.Department Chairperson

G , ,

David A. Francko, Ph.D.Dean of the Graduate School

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ACKNOWLEDGEMENTS

I am pleased to take this opportunity to thank several people who made the

completion of my study possible. First of all, I would especially like to express

appreciation to my professor, Mrs. Penick, who led me with tireless encouragement to

finish my doctoral degree. During my studies at the University of Alabama, she was not

only an excellent piano professor but also a generous mentor to me. I truly appreciate all

that she has done for me. I would also like to thank Dr. Cummins for all the time and

expertise. She always made this document better with various suggestions. I also owe

much to my committee members, Dr. Fleming, Mr. Flenderson, Dr. Johnson, and Dr.

Park, especially for their time. I wish to thank Mrs. Gloria Moody for the financial

support during the last 4 years. I would not have been able to complete my studies

without Gloria Narramore Moody Fellowship. Special thanks are extended to Dover

Publications, Taerim Edition, and Se-Kwang Publications for granting reproduction

permission. Above all, to my husband and daughter, Jinchul Kim and Heaun Kim, I want

to express my most endearing love and gratitude. They can never know how much I

appreciate their support, sacrifice and patience.

iii

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CONTENTS

ACKNOWLEDGEMENTS .................................................................................................. iii

LIST OF FIGURES ................................................................................................................ vi

ABSTRACT ........................................................................................................................... viii

1. INTRODUCTION .......................................................................................................... 1

a. The Historical Development of Piano Ped al s ................................................................. 3

2. PEDALING IN MUSIC OF THE BA RO QU E ............................................................. 6

a. Introduction to Pedaling in the Baroque Period on the Modem P ia no ......................... 6

b. Pedaling Comparison of Different Editions of Baroque W ork s ................................... 7

c. Conclusion ..................................................................................................................... 11

3. PEDALING IN MUSIC OF THE CLASSICAL PE RIO D ......................................... 12

a. Introduction to Pedaling in the Classical Period on the Modem Pia no .................... 12

b. Pedaling Comparison o f Different Editions o f Mozart’s Fantasy

in C Minor, K.457 ........................................................................................................... 15

c. Conclusion ....................................................................................................................... 21

4. PEDALING IN BEE THOV EN ..................................................................................... 22

a. Introduction to Pedaling in Beethoven Piano Works on the Modem P ia n o .............. 22

b. Creative Usages of the Pedal for Beethoven’s W ork s ................................................. 24

c. Pedaling Comparison of Different Edition of Beethoven’s Piano Sonata

in D Minor, op.31, no 2 ................................................................................................... 26

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d. Conclusion ....................................................................................................................... 29

5. PEDALING IN CH O PIN ............................................................................................... 30

a. Introduction to pedaling in Chopin Piano Works on the Modem Pia n o ..................... 30

b. Una Corda and Asterisk s ............................................................................................... 36

c. Pedaling Comparison of Different Editions of Chopin’s Ballade

in G Minor, op.23 ............................................................................................................. 36

d. Conclusion ....................................................................................................................... 41

6. PEDALING IN DE BU SSY ........................................................................................... 42

a. Introduction to pedaling in Debussy Piano Works on the Modem P ia no .................. 42

b. Pedaling Comparison o f Different Editions of Debussy’s

“La soiree dans Grenade” from Esta m pes .................................................................... 48

c. Conclusion ....................................................................................................................... 52

7. CONCLUSION ................................................................................................................ 53

BIBLIOGRAPHY .................................................................................................................. 54

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LIST OF FIGURES

2.1. Bach: Prelude in B-flat Major from Well Tempered Clavier Book I, mm. 10-13 ...... 8

2.2. Scarlatti: Sonata in B-flat Major, K.551, mm.27-30, J.Fischer & Bro ....................... 9

2.3. Scarlatti: Sonata in B-flat Major, K.551, mm.26-29, D over ..................................... 10

2.4. Scarlatti: Sonata in B-flat Major, K.551, mm.26-29 ................................................. 10

2.5. Bach: Fugue A Minor from Well Tempered Clavier Book I, mm 82-87 ................ 11

3.1. Mozart: Fantasy in C Minor, K.457, mm 1 -8 ............................................................ 19

3.2. Mozart: Fantasy in C Minor, K.457, mm 9 -1 4 ......................................................... 20

4.1. Beethoven: Piano Sonata in B-flat Major, op. 106, 3rd movement, mm. 8 1-8 8 ....... 26

4.2. Beethoven: Piano Sonata in D Minor, op.31, no.2, mm. 1 -6 ..................................... 29

• • th

5.1. Chopin: Sonata in B-flat Minor, 4 movement, op.35, mm. 1 -6 ............................. 32

5.2. Chopin: Sonata in B Minor, 3rd movement, op.58, mm 88-93 ............................... 33

5.3. Chopin: Waltz in B Minor, op.69, No. l, mm. 1 -6 ..................................................... 34

5.4. Chopin: Waltz in F-sharp Major, op.6, no.l, mm.25-30 .......................................... 34

5.5. Chopin: Noctum in C-sharp Minor, op.27, no .l, mm .1-7 ......................................... 35

5.6. Chopin; Ballade in G Minor, op.23, mm. 1 -9 ............................................................. 40

6.1. Debussy: “Pagodas” from Estampes, mm. 1 -6 ............................................................ 44

6.2. Debussy: ‘Voiles” from Preludes, mm. 1-9 ................................................................ 45

6.3. Debussy: “Doctor Gradus ad Pamassum” from Children’s Corner, mm. 1-8 ........ 46

6.4. Debussy: “La Cathedrale Englouti” from Preludes, mm. 1-3 ................................... 46

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6.5. Debussy: L’Isle joyeuse, mm.166-173 ..................................................................... 47

6.6. Debussy: “La soiree dans Grenade” from Estampes, mm. 92-102 ...................... 51

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ABSTRACT

Pianists today must perform on an instrument that would have been unfamiliar to

composers of the past. The music of Bach and Scarlatti was not even composed for an

instrument called a piano; the piano o f Mozart and Beethoven, even that o f Chopin and

Liszt was so different from the modem instrument that approaching a stylistic

interpretation requires great skill and sensitivity on the part of the performer. Articulation

and dynamics are often the subject of debate and opinions vary dramatically. Pedaling is

given far less attention, and yet the pedal has changed as significantly as any other

element o f piano construction. Editions of works, even those frequently performed in

concerts and on recordings, provide little more than basic pedal indications and are often

insensitive to stylistic issues.

This document will survey editions o f selected keyboard works from the Baroque,

Classical, and Romantic periods. Using specific excerpts from these works, it will

critique the pedal indications in these editions and will offer the author’s own solutions

for today’s piano.

As most piano music written in the 20th century was composed for a piano not

very different from today’s instrument, and as many composers have often indicated

specific pedal markings, this study will not include modem works.

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CHAPTER I

INTRODUCTION

The piano has gone through many stages of development over the last several

centuries. M odem pianos are different from those of the eighteenth century in many ways.

The pedal and its use in particular have changed significantly through the years.

Teachers and performers of the first rank have always emphasized the importance

of creative and carefully considered pedaling. Chopin esteemed it a life-long study,1and

Anton Rubenstein regarded the damper pedal as the “soul of the piano.” Josef Lhevinne

warned against the careless latitude taken by the novice who “uses the pedal like a

-2kalsomine brush with which to paint the back fence.” In truth, correct pedal usage can

help pianists improve all other aspects o f piano sound, including balance, dynamics, and

tone quality.

Although pedaling is one of the most important aspects o f effective piano playing,

frequently it receives less attention than it should from both teachers and students

because decisions about pedaling require a careful consideration o f historical, stylistic,

and musical factors as well as the subjective evaluation of the performer. The few

scholars who wrote about pedaling tend to focus on general aspects o f the damper pedal.

Some editors fail to include pedaling instmctions provided by the composer. Since

1Frederick Niecks, Frederick Chopin as a Man and Musician (London: Novello, Ewer & Co., 1888), 337.2 Harvey Sachs, Virtuoso (New York: Thames and Hudson, 1982), 81-82.3Josef Lhevinne, Ba sic P rincip les o f Pia nofor te P lay ing (New York: Dover Publications, Inc., 1972), 47.

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development o f the pedal followed that o f the piano itself, early composers for the

instrument frequently left no pedaling instructions. As a result, pedaling instructions in

later editions must be evaluated carefully, since they are the work of editors, not o f the

composer.

In order to achieve the best interpretation o f pedaling, the pianist should first

understand how each pedal mechanism works in the modem piano and how each pedal

and its notation have developed. Furthermore, no well informed evaluation o f any set o f

pedaling instmctions can be made without reference to the historical context in which the

composer lived and worked, stylistic conventions o f the period, and a careful study o f the

score in every detail, preferably in Urtext edition. Only in this way can the contemporary

pianist evaluate editions with confidence or place themselves in a position to interpret the

music independently.

The document will begin with a general introduction and background o f pedaling

on the modem piano. It will then move chronologically through a series of chapters that

highlight music from specific composers, beginning with excerpts from Bach and

Scarlatti and continuing through Chopin and Debussy. Each chapter will include a

discussion o f pedaling in the music o f that period, one or two specific excerpts with the

pedaling indications found in several reliable editions, a description o f shortcomings this

author finds in those editions, and the author’s alternate suggestions for a more effective

performance.



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The Historical Development of Piano Pedals

In order for performers to make pedaling decisions which are consistent with the

demands o f musical style, they must first understand the historical development of the

piano and its damper mechanism.

The pianoforte was invented in 1709 by Bartolomeo Cristfori (1655-1730), the

court instrument maker o f Ferdinando de’Medici at Florence. A divided mechanism

allowed treble and bass dampers to be raised independently. As the pianoforte developed

a damper mechanism which allowed all strings to continue to sound, without a reference

to a single set of depressed keys proved crucial in its wide adoption by composers in the

Classical and Romantic periods.

The damper on the early piano was controlled by hand stops. These proved to be

severely limiting in practice because performers could only play with one hand as they

operated the stop with the other. For this reason hand controlled dampers were replaced

with those controlled by knee levers on pianos made in Germany in 1765.4 Dampers

controlled by knee levers responded instantly and stopped all resonance as soon as

pressure on the lever was relaxed.

A square piano built by Adam Beyer o f London in 1777 had four pedals. The long

one on the right was the swell pedal and the three pedals on the left operated the divided

damper. This piano is the earliest known piano provided with a foot pedal. Other

improvements o f the early foot-controlled mechanisms were subsequently developed in

1783 by John Broadwood in London and Erard in Paris. On the Broadwood piano, by

depressing the appropriate half of the cleft pedal, the pianist could lift all the bass

dampers or all the treble dampers. The pedal on the Erard could lift all the dampers or

4 Reimer Riefling, Pia no Ped alin g, trans. Kethleen Dale ( London: Oxford University Press, 1962), 2.



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4

ju st those in the treble, but not those in the bass alone. Spli t pedals were continuously

used until around 1830 when they were supplanted by the single damper pedal common

to today’s piano.5By the nineteenth century, the damper pedal emerged as the most

significant pedal device on the piano, and this remains true today.6

The una corda shifting mechanism has been a component of the piano since

Cristofori introduced it in 1726. It is common today to refer to the una corda pedal as

“the soft pedal.” This description is not entirely accurate, however, as the una corda

pedal affects tone color as well as volume.7 Joseph Banowetz states:

On the pianos o f the late eighteenth to early nineteenth centuries, the pianist couldshift from the normal three-string ( tre corde) position to one in which either twostrings ( due corde) or only one (una corda) would be struck, depending on thedepth to which the pedal was pressed. This subtle but important choice does notexist on modem pianos, but was readily available on the earlier instmments. Ontoday’s instmments, such a differentiation is possible only between due corde andtre corde, not between una corda and due corde. 8

When hammers strike only one string, the piano produces a softer and less

resonant tone.9 On Cristofori’s pianos, the entire action of the una corda pedal did in fact

shift far enough to the right so that the hammers could strike one string only. This

extended shift resulted in a greater change in tone color and volume than is available on

modem pianos, where a shift from three strings to two is the limit.

The sostenuto pedal made its first appearance in the first half of the nineteenth

century. It was introduced at the Paris Exhibition in 1844 by the Marseille firm o f

Boisselet and Sons, but it did not attract much immediate attention. Only after the

5 Banowetz, 2.6 Ibid, 4.7 Jeremy Siepmann, The Piano: The Comp lete Illustrated Guide to the W orld’s Mo st Popu lar M usical

Instrument (Winona: Hal Leonard & Carlton Boo ks, 1996), 17.8 Banowetz, 5.9 Dominic Gill, The Book o f the Piano (Ithaca: Cornell University Press, 1981), 27.



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American Steinway Company patented a sostenuto mechanism in 1874 did it become a

standard feature of the modem grand piano. By using this pedal, the pianist can sustain

selected notes, while other notes remain unaffected.



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CHAPTER 2

PEDALING IN MUSIC OF THE BAROQUE

Introduction to Pedaling in the Baroque Period on the Modern Piano

The keyboard works of the Baroque era were composed primarily for harpsichord,

clavichord or organ. Even though keyboard compositions o f the period do not have pedal

markings, performances on a modem piano o f the music o f composers such as J.S. Bach

or Dominico Scarlatti can be enhanced by a judicious use o f the pedal.

In an attempt to imitate the sound of a harpsichord, some pianists shorten

articulation, and limit use of the damper pedal and dynamic shading. While use o f the

una corda pedal can imitate a manual change on the harpsichord and the sostenuto pedal

may be helpful in performing transcriptions of organ works that contain pedal points,

pianists should guard against ovemsing the sustaining power o f the pedal so that

contrapuntal clarity is not sacrificed for the sake of sheer sonority. In the author’s view,

any pedaling decisions should allow both clarity of texture and stylistic expression. Such

decisions must be flexible, as performance conditions may vary from venue to venue.

Pedaling Comparison of Different Editions o f Baroque Works

As a general mle, pedaling o f any type in the music o f Johann Sebastian Bach

should be used only when absolutely necessary. By using finger legato, the pianist should

first attempt to make the clearest and most correct sound without any assistance from the

pedal. Then, through the technique o f hooked pedaling, the pianist can use the damper

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pedal to help connect chords and make repeated notes smoother. In hooked pedal the

depression o f the pedal is delayed so that the overtones are allowed to disappear before

one chord is ‘hooked’ to the next.

Most editions o f Bach’s keyboard works do not include pedal marking, but

Ferruccio Busoni, perhaps the best known editor of the complete Bach solo keyboard

works, adds not only pedaling but also tempo, articulation, phrasing, and metronome

markings; Schirmer publishes this edition. In the following paragraphs, the effect of

Busoni’s pedal markings for the Prelude in B-flat Major from Well Tempered Clavier

Book I, mm 10-13 are compared with the effect produce by omitting any pedal, as

indicated in the Henle Urtext edition. Following this comparison, alternatives will be

suggested.

Busoni added the pedal markings for the first two beats in measure 10 (see Fig 2.1.

no .l). If the pianist follows Busoni’s pedaling, some o f the 32nd notes will sound

connected, but others will be disconnected. This difference obscures melodic clarity, the

sense of a single melodic line, and disturbs the rhythmic flow. On the other hand, in

measure 11, Busoni indicates pedaling only on beat 3. The result is that chords on beats

one and two are disconnected and lack resonance in comparison with the pedaled chord

on beat three.

The author proposes the following alternatives. I f the pianist chooses to use the

pedal in measure 10, light and short pedaling for each beat is suggested to catch the bass

notes. This pedaling can help to keep the beat steady, despite the fast running notes,

without interrupting the rhythmic flow. In this author’s opinion, however, the result

which best serves the music can be achieved without any use o f pedal, especially i f the



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8

performer uses non-legato touch for this passage. For measure 11, judicious use o f short

and shallow hooked pedaling immediately after the first bass note (avoiding pedal on the

eight rest) can enrich the resonance of the chords on beats two and three without

sacrificing the definition o f voices or rhythmic clarity; this avoids the contrast o f sound

created by Busoni’s pedaling(see Fig 2.1. no.2).

1. Schimer

2. Suggestion U I ____

I ___ ISchimer

2. Suggestionu -A I

Fig. 2.1. Prelude in B-flat Major from Well Tempered Clavier Book I, mm 10-13

Frequent leaps, hand-crossings and more homophonic textures in the keyboard

works of Dominico Scarlatti make it possible for the performer to use the pedal more

liberally than in the strictly imitative compositions with strongly differentiated voices

such as the canons, inventions, and fugues of J.S. Bach. Even so, only light touches and



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moderate pedaling are required to achieve a sense of line in passages which otherwise

might seem discontinuous.

Most editions of Domenico Scarlatti’s sonatas do not have pedaling. Two

editions of his Sonata in B-flat Major, K. 551-one edited by James Friskin for J. Fischer

& Bro., and another edited by Alessandro Longo for Dover Publications-indicate pedal

but show different possibili ties for the release points. For example, both editions indicate

depressing the pedal at the same place in measure 28. This simple arpeggio figuration

should be presented as clearly as possible so that the rhythm is not obscured. In the J.

Fischer & Bro. edition, the pedal is released at the end of the second beat (see Fig 2.2).

This can help to make a natural diminuendo but it might also change the textures by

preventing a smooth transition to the 16th notes on beat three. On the other hand, the

arpeggio passage of the Dover edition holds the pedal through the down beat (See Fig

2.3). This pedaling may make the crescendo easier to play but it also destroys the clarity

of the arpeggio.

27 ^ Ir •• f n r

Tf > --

. f ' _ . "r f m.

W = = f f = - ^ - ~

J .~5 — —hr r — t --------

J- . J- tf

• ~ 4 f *

Fig 2.2. Scarlatti: Sonata in B- flat Major, K. 551, mm. 27-30, J. Fischer & Bro



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Fig. 2.3. Scarlatti: Sonata in B-flat Major, K. 551, mm 26-29, Dover

This author suggests using an even shorter diminuendo pedal for this passage (see

Fig 2.4, no .l): only pedal for the first beat. Because o f overtones, the bass sound will be

sustained until the end of the measure, even if the pedal is short. In this case, the pianist

should play the bass note with slightly more pressure. If the pianist wants to make a

crescendo through this passage, this author recommends pressing the pedal for the last

beat (see Fig 2.4, no.2). It should be held through the next down beat since the down beat

C chord is the climax of this arpeggio passage. Pedaling in this manner can preserve the

clear tone, accurate rhythm, articulation and phrasing in Scarlatti’s keyboard works.

26

Fig. 2.4. Scarlatti: Sonata in B-flat Major, K. 551, m m 2 6-29

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1 1

Conclusion

Several guidelines for the pedaling in Baroque keyboard works follow: 1)

rhythmic clarity, especially in fast passages, should never be sacrificed for the sake of

gratuitous sonority; 2) the function of non-harmonic tones must not be obscured by use o f

the pedal; 3) the pedal may be used effectively, without sacrificing voice leading or

rhythmic clarity, in harmonic passages such as those which occur frequently at cadence

points; 4) in extended arpeggio passages o f a single harmony, the pedal may be used to

increase resonance; 5) the sostenuto pedal can be used to sustain pedal points and may be

especially useful in that regard in organ transcriptions (see Fig. 2.5).10

4

| Sostenuto Pedal

£

i S tY V T P I2r-rs? m ,

y * f

Fig. 2.5. Bach: Fugue in A Minor from Well Tempered Clavier Book I, mm 82-87

10 Banowetz, 150.



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CHAPTER 3

PEDALING IN MUSIC OF THE CLASSICAL PERIOD

Introduction to Pedaling in the Classical Period on the modern Piano

Use o f the damper pedal when playing the keyboard works of the Classical Period

on the modem piano is problematic, since some of the early works by Classical

composers were still intended to be played on harpsichord or clavichord. However, as the

early fortepianos rapidly gained acceptance, composers soon began to write with this

instrument in mind.11 The keyboard works o f the Classical period allow a more liberal

use o f pedal on the modem piano than those o f the Baroque. Eva and Paul Badura-Skoda

commented about Viennese instruments o f Classical period:

It should not be supposed that our piano is capable of subtler nuances; the Mozart pianos of Stein and Walter, for instance, were clear and very bright in the upperregister and this made it easier to play cantabile and with full colour. The lowernotes had a peculiar round fullness, but none o f the dull, stodgy sound of the lownotes o f a modem piano. Whereas the tone becomes steadily thinner toward thetop, the highest register sounding almost as i f pizzicato, the full sound of the bassis by far the most satisfying register of the Mozart piano. The strings are so thinthat chords in the bass can be played with perfect clarity even when they are veryclosely spaced.12

In general, it is difficult to imitate the sound of the piano o f the Classical Period

because the modem pianos are more resonant and have a slower decay than pianos of the

Classical period. Therefore, when pianists study a specific piece for the first time, they

should attempt to learn the works without pedal or with very little pedal, focusing on

11 Benow itz, 136.12Eva and Paul Badura-Skoda, Interpretin g Moza rt on the Keyb oard , trans. Leo Black (New York: St. Martin’s Press, 1962), 10.

12



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13

accurate articulation and finger legato. Later, the pedal can be added sparingly for color

or smoother legato. The pedal also can be used for two- notes phrases, wide leaps, broken

chords or legato chords.

There is no clear evidence that Haydn considered using the pedal until he wrote

the Sonata in C Major, Hob. XVI: 50. This sonata includes two pedal markings for the

“open pedal,” which are indications for the sustaining pedal and can be used to create

1T • •unusual effects. On the pianos of the Classical period, the long unbroken pedaling

would not have made voices less distinct or obscured by releasing the damper pedal

approximately 50 percent.14

There are no indications of any kinds for stops, knee levers, or pedals in M ozart’s

scores. However, a letter which he wrote to his father on 17 October 1777 from Augsburg

demonstrates his enthusiasm for the damper mechanism o f the Stein piano:

Here, and at Munich I have played all my six sonatas by heart several times (K.279-284). I played the fifth, in G, at that grand concert in the Stube. The last onein D, sounds exquisite on Stein’s pianoforte. The device too which you work withyour knee is better on his than on other instruments. I have only to touch it and itworks; and when you shift your knee the slightest bit, you do not hear the leastreverberation.15

More evidence of Mozart’s use o f pedaling can be found in a concert

announcement from 1785:

On Thursday, 10th March 1785, Herr Kapellmeister Mozart will have the honourof giving at the I.&R. National Court theatre a grand Musical Concert for his

benefit, at which not only a new, ju st finished Forte piano Concerto will be played by him, but also an especially large forte piano pedal will be used by him inimprovising. The remaining pieces will be announced by the large poster on theday itself.1

13 David Rowland, A History o f Pia nofor te Pedal ing (Cambridge: Cambridge University Press, 1993), 127.14Banowetz, 137.15Emily Anderson, ed., The Letters o f Mozart and His Family (London: Macmillan, 1985), 329 .16 O. E.Deutsch, Mozart : A Docu mentary Biog rap hy (London: Adam & Charles Blade, 1966), 239.



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14

These statements by Mozart indicate that he had access to pianos with pedals and

that he had an interest in and an appreciation for their potential use. This historical

perspective then supports the use o f pedaling in Mozart’s music, so long as decisions are

based on a thoughtful consideration o f the defining features o f the composition at hand

and how those features may be served in performance.

The common types o f pedaling for the works of the classical period are rhythmic

pedaling and syncopated or legato pedaling. Rhythmic pedaling means to depress

simultaneously with a harmony, release an instant before the next change o f harmony,

17

and then again depress simultaneously with the sounding of the new harmony. In

Classical performance, rhythmic pedaling can help to improve articulation and metrical

structure. However, this pedaling is not useful for making legato. Another common type

of pedaling is termed syncopated or legato pedaling. The pedal is depressed immediately

after the attack, released as a new harmony is played, then redepressed. This pedaling

was used to improve legato playing. This use o f the pedal, which is slightly syncopated in

relation to the chord changes, makes a perfect legato but requires a responsive damper

1R mechanism and split-second damping.

For slow passages with longer notes, the damper pedal can be used to avoid

dryness and to make a more connected sound. Alberti bass or extended broken chord

figurations need some degree of finger pedal and damper pedal. This author strongly

recommends pressing half of the damper pedal in Mozart’s works to produce a less

resonant sound. More pedaling can be used for the high register o f the keyboard; less

17 Benow etz, 10.18 Sandra P. Rosenblum, Perfo rm an cedP racti ces in C las sic P iano (Bloomington: Indiana University Press, 1988), 106.



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pedaling should be used for the low register to avoid obscuring pitch and rhythm. The

indications o f slur, phrasing, and articulation should remain clear.

One o f the most important and effective pedalings for the damper pedal is the use

of a partial depression o f pedal. There are four levels o f damper release. Judicious use of

these options expands greatly the range o f expressive subtlety and refinement obtainable

through use o f the pedal. First, the full pedal means the dampers do not touch the strings

at all, or are fully raised from the strings. Second, the three-quarters pedal implies that the

dampers barely touch the strings, or almost leave the strings. This pedaling allows nearly

full reverberation without completely sacrificing the clarity o f the passage. Third, the hal f

pedal indicates that the dampers are allowed to rest lightly on the strings. This pedaling

prevents too much resonance in passages where the harmony remains unchanged for

several beats. Fourth, the quarter pedal is the pedaling in which dampers rest almost

completely on strings and foot pressure on the pedal is slight. This technique can be used

to enhance sonority in rapid passages without obscuring articulation, or it may be used to

compensate for lack o f resonances in a dry hall.19

Pedaling Comparison of Different Editions of Mozart’s Fantasy in C Minor, K. 457

Three different editions of Mozart will be compared in this chapter: the Kalmus

Urtext edition, which has no pedaling and no editorial markings; the Bosworth edition,

revised by Graham P. Moore in accordance with the oldest authentic editions and

fingerings; and though quite old and now out o f print, the B. F. Wood Music edition

revised by Hans Semper.

19Banowetz, 81.



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Despite the adagio tempo and legato octave progressions in this work—elements

that would ordinarily dictate use o f the damper pedal—the Bosworth edition indicates

pedal only in measures 11 through 15, and only on the first beat o f each these measure

(see Fig. 3.1 and 3.2, no .l) . This pedaling disrupts continuity in the right hand by

arbitrarily introducing a timbre change on the second half of beat one. In addition, with

pedaling of the B. F. Wood, the dotted quarter note o f beat one is truncated slightly as the

left hand shifts position to execute the remainder o f that measure. What is more, pedaling

should continue to support linear connections in the left hand from that point. Therefore,

whereas the C-sharp, F-sharp, and A-sharp on beats two and three may be connected by

finger pedaling, the skip from C-sharp 4 on beat four requires pedaling to continue the

linear connection clearly indicated by the phrase mark in the score, and the final A-sharp

requires pedaling to avoid a disruptive break across the bar-line. Also, this pedaling, in

failing to sustain the A-sharp on beat one beyond the second half of the beat, introduces

an abrupt timbre change; at the same time, the dotted quarter note is truncated slightly to

allow a shift of hand position for the remainder o f that measure. Furthermore, the

dynamic change from beats one to two surely is gradual, not terraced as a literal

interpretation of the forte on beat one and the piano on beat two might seem to indicate,

Such a timbre change in the midst o f this short diminuendo will disrupt continuity in the

right hand.

The B. F. Wood Music edition is rather specific about pedaling, and uses longer

and more frequent pedaling—in this author’s opinion, too much pedaling— than does the

Bosworth edition. For instance, the downbeat of measure one (see Fig.3.1, no.2) does not

need pedal as indicated here because the sound o f the three octave Cs produces enough



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sonority to last through one and one-half beats. The B. F. Wood Music edition then

leaves the remaining octaves without pedal and changes to a disconnected sound. Here,

hooked pedaling could have been used between the C and E-flat chords to connect the

octaves because o f the phrasing. This edition also pedals the Alberi figuration o f measure

6 (and other such sections), and i f employed with caution, a short shallow pedaling can

be used in this phrase and others like it which follow, to enhance the legato character o f

the melodic line indicated by the composer’s phrase marks. The B. F. Wood edition

exceeds advisable limits for the thin textures o f this Classical composition, especially to

the extent that it disturbs clarity o f the melodic lines.

Since modem pianos are larger and have thicker strings, the delicate fabric and

thinner textures o f music in the Classic period can be compromised by an unrestrained

use o f full pedal. For this reason partial pedaling can be recommended as an effective

solution for this problem in Mozart’s Fantasy in C minor.

In Fig. 3.1, this author’s pedal marking indicates that the pedal should be released

when the E-flat octaves are pressed by the fingers. The other octaves should be made

legato by the fingers, with % short pedaling for the F-sharp, A-flat and B, thereby

resonating the defining interval in the augmented sixth chord of measure one and its

resolution across the bar line to the dominant harmony o f measure 2. Pedaling with the

phrase can help to articulate two-note slurs in the second beat and third beat of measure 2.

This pedaling serves the dual functions o f accent and slur support. Here the pedal should

be depressed for the first note and released for the second, but the depth of the pressure

should be less than ha lf pedal. The Alberti bass in measure 6 should not be pedaled, so

that all voices in the texture can be brought out clearly. Finger pedaling in the left hand



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18

can connect successive elements in the figuration without obscuring any o f the voices in

the accompaniment. Finger pedaling in the right hand can connect elements in the

melodic line as indicated by the phrase mark. Reimer Riefling states:

Mozart’s arpeggios or broken chords are treated as melodic in character, notharmonic. The ordinary “Alberti basses” in the left hand, too, must always be

played without pedal, as they ought to sound as i f they were being played by aclarinet or bassoon.20

Starting at measure 10, the first notes of each measure can use a shallow pedaling

to help bring out the forte and the rich sound. Hooked pedaling can also be used for the

last note o f each measure to sustain the left hand sound while preparing the next octave

chords. Without this pedaling, each measure sounds separated and divided. Also, the left

hand must produce a legato melody line. When playing the left hand legato phrase o f

each measure, the starting point o f the phrase must be played without pedaling, while the

pianist may use shallow pedaling for the high point in the line.

20 Riefling, 38.



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19

14? pp

1. Bosworth

2. The B.F.Wood | _______ | | ______ |

3. Sugge stion Ui) U J U J Uil Uil [j ^— ------ ' [_̂ | [ 14 J

Bosworth

2. The B.F.Wood

3. Sugg esti on [%| |_%|

m i

'** fcL=̂1. Bosworth

2. The B.F.Wood

3. Suggestion

J L

Us-"-"'

Fig. 3.1. Mozart: Fantasy in C Minor, K. 475, mm 1-8



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20

1. Bosworth

2. The B.F.Wood |_

3. Suggestion u

1. Bosworth

2. The B.F.Wood

3. Suggestion

J I IU L J 1%.. U

iW1. Bosworth

2. The B.F.Wood

3. Suggestion \ 3A ^

J L J L

U U U

Fig. 3.2. Mozart: Fantasy in C Minor, K. 475, mm 9-14



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21

Conclusion

Following the previous discussion, there are some important points about

pedaling in keyboard works o f Classic period: 1) the music should first be learned

without pedal, and phasing and articulation should be made initially with the fingers; 2)

use o f the pedal should never obstruct the rhythmic flow, the clarity of texture, the

articulation, or the voice leading; 3) both finger pedaling and damper pedaling, i f

jud icious used, of Alberti bass and arpeggio figuration can support the rhythmic flow and

the voice leading. However, finger pedaling should be used as the primary pedaling;

damper pedaling should be used as a supplement only; 4) rhythmic pedaling (depressing

simultaneously with a harmony) is best used to improve articulation, while syncopated

pedaling (depressing the pedal after the note sounds) is very useful for legato voicing.



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CHAPTER 4

PEDALING IN BEETHOVEN

Introduction to Pedaling in Beethoven Piano Works on the Modern Piano

Ludwig van Beethoven was not only a pioneer who continued to exploit the

mechanism of the piano, but also a composer who raised the importance of using the

pedal for various expressions in the piano, opening the age o f rich expression through

pedaling.

In the course o f a broader study of performance practice for piano pedaling in

Beethoven’s piano music, there remains some question as to what pianos Beethoven

actually used, when he used them, which ones he preferred, and what his ideal of piano

action and sound really was.21According to many reports, when Beethoven composed his

32 piano sonatas, he used at least five different pianos from different countries.

Beethoven’s early pianos paralleled those used by Mozart about a decade earlier. In 1787

Beethoven received a Stein piano from Count von Waldstein which interested him as

much as it had interested Mozart. The Streicher piano, another Viennese piano, was

Beethoven’s favorite piano. He wrote Streicher a very complimentary letter. This letter

shows that Beethoven was concerned with attaining a more sonorous sound from his

pianos:

.. .There is no doubt that so far as the manner of playing is concerned, the pianoforte is still the least studied and developed o f all instruments; often, one

21 William Newman, “Beethoven’s Pianos versus His Piano Ideals,” Journal o f the Ame rica n Musico log ica l Socie ty 23, no.3 (1970): 484.

22

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24

that was richer and more powerful.”24 Beethoven was satisfied with the Graf piano’s

power and brilliance, its lightness and brightness of tone-color, and perhaps most

importantly, with its distinctly louder sound.

Beethoven was the first composer to call for the use o f the pedals to any

appreciable extent.25 According to William Newman, Beethoven only used the damper

pedal for special effects. Newman organizes Beethoven’s use o f the damper pedal into

seven different effects: sustaining the bass, improving legato, creating a combined sound,

helping dynamic contrasts, connecting sections, resonating harmonic dissonances, and

• • • O/C

aiding thematic structure. He also states that Beethoven was using the pedal to create a

fuller, stronger sound.27

Creative Usages of the Pedal for Beethoven Works

Beethoven indicated more than 800 pedal markings for his music, and pianists

should respect his indications.28 However, if we follow his pedaling indication literally in

every instance, the clarity o f voice leading may be obscured by the resonance of modem

pianos and the effectiveness of their damper mechanism. For these reasons, many editors

have interpreted Beethoven’s pedaling in their own contradictory ways. It is the decision

of the pianist whether or not to follow Beethoven’s original markings or the editor’s

indications. However, the pianist should consider what Beethoven most wanted the

24 David Crombie, Piano: A Ph otogra phic Histo ry o f the World’s M ost Ce lebrat ed Instrument (San Francisco: Miller Freeman Books, 1995), 36.25Banowets, 142.26 William S. Newman, Bee thoven on Beethoven: Pl ay ing His Music His Way (New York: Norton, 1988), 234-6.27Newman, 240.28 Banowets, 143.



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pedals to do for his music. The pianist should find ways to enhance his or her playing

through creative techniques o f the pedal beyond the up and down notations in the score.

Beethoven originated the use o f long sustained pedals and retained by his loss of

hearing or that he sought to engage this mechanical device in an obvious response to

emerging “Romanticism” must be supported by more objective observations about

specific conditions in specific compositions.

Let us begin these observations by recalling Beethoven’s use o f the variable

action-shift pedal in several his works, a pedal which shifts the action sideways so that

the hammers do not strike every string. This pedal is called the soft pedal on the modem

grand piano. Beethoven’s use of this pedal for the third movement of the sonata, Op. 106,

shows what kinds of special effects he wanted to produce in his music (see Fig 4.1). He

utilized specific distinctions in his notation such as una corda, due corda, and tre corda.

He used the una corda pedal to accomplish not only an echo sound but also a contrast of

tone color. He indicated una corda- one string-at measure 84, followed by indications

to use gradually two strings and then three strings as popo a poco due e alora tre corda

in measure 87 through 88.

29 Banowetz, 164.

oduc ed with permission of the copyright owner. Furthe r reproduction prohibited without permission.


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Fig. 4.1. Beethoven: Piano Sonata in B-flat Major op. 106, 3rd movement, mm. 81-88

Pedaling Comparison of Different Editions of Beethoven Piano Sonata in D Minor, op. 31, no. 2

The pedal markings of the opening of op. 31, no. 2, show various interpretations

of pedaling by different editors. Each subsequent edition is different from its

predecessors, and some o f them are part icularly problematic for the modem piano.

Five representative versions of the pedaling will be compared in this chapter.

TOUnfortunately there is no autograph for this sonata, but Alan Tyson has said that the

T1Simrock edition follows the first edition very closely. Therefore the Simrock edition as

well as the Gesamtausgabe will be examined, since this is the first complete edition of

Beethoven’s collection. The third choice is the Schnabel edition because as a pianist

Schnabel edited many pedalings and fingerings. The fourth selection, the Schirmer

30 Brain Jeffery, Notes to Bee thoven: The 32 Piano Sonatas (London: Tecla Editions, 1989).31 Jeffery, Notes.

produced with permission of the copyright owner. Further reproduction prohibited witho ut permission.


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27

edition, has many detailed pedal markings and even introduces una corda. Finally, the

Henle edition will be examined, since this edition does not include many pedalings or

fingerings and claims to be Urtext.

The Simrock and Henle editions show the same pedalings for the opening of op.

31, no. 2, although they used different symbols for depressing and releasing the pedal

(see Fig 4.2, no. 1 and 2). Even though there is no pedal indication for measure 6 in either

of these two editions, a judicious use of pedal at this point helps achieve the affect of a

fading diminuendo.

The Schnabel edition recommends the use o f pedal on beat two of measure 6 (see

Fig 4.2, no.3). Because of its rhythmic location it is difficult to avoid sustaining the

previous B in measure 6.

In the Schirmer and the Gesamtausgabe editions, the position o f the release

marking is atypical. Unlike the other editions, the pedaling of measure 2 releases with the

ferm ata instead of just before the Allegro (see Fig 4.2, no.4 and 5). If the pedal is

released at this point, continuity between the opening arpeggio o f the dominant sixth

chord and its resolution across the bar to measure three is compromised.

As one can see from the previous examples, none of these editors indicated the

level of pedal. According to Czerny, the sound of pianofortes of Beethoven’s day was

weaker than modem instruments (1846). He advised pianists to alter the way they pedal

because o f this difference and suggested using Vi pedal instead o f full pedal.32

Czerny’s suggestions for pedaling are especially appropriate here and Vi pedal or

% pedal assures that individual voices are not obscured, especially as we engage the pedal

32 Sandra P. Rosenblum, Perform ance P ract ice in C lassic Piano Music (Bloomington and Indianapolis: Indiana University Press, 1988), 125.

eproduced with permission of the copyright owner. Further reproduction prohibited without permission.


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28

in measure 6, beyond indications left by the composer, to enhance our ability to effect a

diminuendo(see Fig. 4.2, no.6). Depressing the pedal before the beginning chord allows

all notes of that chord to sound clearly and it makes it is easier to produces even sounds.

This type of pedal has been called pre-pedaling.

There are three alternative ideas for measure 6. My preference is to use 3/4 pedal

to make a more dramatic sforzando, and then to change the pedal for the next A major

chord with 1/4 pedal. When pianists use this pedaling, they should relax their arms and

make an effective diminuendo with their fingers. Another option is to change pedal for

the 16th-note A, and then to hold the pedal through the next chord. This pedaling allows

for a clear articulation of the goal harmony o f this passage, a dominant function A- major

chord, and helps to create a richer and more sustained sound. As a final suggestion, after

using 3/4 pedal for the first chord, the pianist could release the pedal slowly, playing the

turn and the two 16th-notes without pedal. This type of pedal has been called a

diminuendo pedal. This approach helps effect a natural and smooth diminuendo without

requiring any pedal change.

produce d with permission of the copyright owner. Furthe r reproduction prohibited without permission.


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Adagio^/T\Allegro

3 __ 3 ___ gLargo

-0 -0 -

17. pp cresc.

o1. Simrock Ped.

2. Henle [

3. Schnabel [

4. Schirmer [

5. Gesamtaugabe [

6 . Suggestion

L % _________

Fig. 4.2. Beethoven: Piano Sonata in D Minor op.31, no.2, mm. 1-6

Conclusion

Evidence from several sources suggests that Beethoven insisted on using pedaling

for his piano works. Very detailed pedaling indications appear throughout almost all of

his works and the pianist should pay attention to Beethoven’s markings. Many publishers

and editors edit and revise Beethoven’s piano works using their own pedaling ideas, but

the best edition includes the composer’s original intentions without any corrections.

Pedaling in Beethoven piano works should he used for these effects. First, pedaling can

be applied to sustain bass notes. Second, when the pianist wants to improve legatoefficiency, pedaling could support it. Third, pedaling can help to implement contrasting

dynamics. Fourth, pedaling can be used to express intentional overlapping harmonies.

U

CD |:V4 A 1/4 I(2) [3/4 A 1/4 I© | . V 4 ^ - —1 1 /4 |

produce d with permission of the copyright owner. Further reproduction prohibited without permission.


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CHAPTER 5

PEDALING IN CHOPIN

Introduction to Pedaling in Chopin Piano Works on the Modren Piano

Romantic composers approached composing for the piano with goals that were

very different from composers of the Classical period, especially in terms of the

accompaniment. They often increased the range of accompaniment figuration to almost

three octaves; therefore, the pedal is required to hold the fundamental bass, while the

inner parts reactivate its overtones. Deeper pedaling is used for longer periods of time to

support the large blocks of sound that provide full, deep and rich sonority.

Chopin, a constant explorer of the uses o f pedaling, approached the use o f the

sustaining pedal with great care. Pedal indications in his scores demonstrate how to

achieve the new territory of sounds made possible by the pedal on the piano of his time.

He demanded sensitive use of the pedal and said repeatedly to his students: “The correct

employment o f pedaling remains a study for life.”33 Chopin’s study of piano sonority and

his eager awareness o f the effects of the pedal are evidenced by his careful annotations

and the number o f alternative pedalings he noted in the score when working with a

pupil.34

Chopin’s music requires a piano capable o f producing refined sounds and

responding to subtle changes at the hands of a sensitive and informed pianist. His

33 Jean-Jacues Eigeldinger, Chopin vu par ses eleves. Neuchatel: a la baconniere , 1979. Translated as Chopin, P ianist an d Teacher, as Seen by His Pupils, trans. Naomi Shohet with Krysia Osostowica and Roy Howat (Cambridge; Cambridge University Press, 1986), 57.34 Rowland, 130.

30

eproduced with permission of the copyright owner. Further reproduction prohibited withou t permission.


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31

preferred piano was a Pleyel, made by the company o f his friend Camille Pleyel. This

piano was very sensitive and had a bright sound; composed to it, the modem piano has a

dark and heavy sound. Liszt described “these Pleyel pianos which Chopin particularly

cherished for their silvery and slightly veiled sonority and its lightness of touch, in

contrast to the heavier Erards.”35 The pianist, teacher, and writer on music Antoine-

Frangois Marmontel commented on the pedals of Pleyel’s piano, “The timbre produced

by pedals on Pleyel pianos has a perfect sonority, and the dampers work with a precision

very useful for chromatic and modulating passages.”36 This statement indicates that fast

and chromatic passages o f Chopin’s may have been composed on the Pleyel piano.

Due to the thinner felt o f leather covering on the hammers, the touch o f the Pleyel

was far lighter than that o f contemporary pianos.37 According to Joseph Banowetz “this

piano produced all the tone color Chopin needed, without sounding harsh or ugly in loud

passages.”38 He also stated:

Chopin’s pedal markings make perfect sense when performed on a Pleyel grandsimilar to the ones he used. Even the absence of pedal for many bars seemscorrect. When the pianist remains faithful to Chopin’s avoidance of pedal, itsuse—when indicated—is like a breath of fresh air. Slight blurring also soundscorrect at specific places.39

Chopin also owned an Erard, which he found easier to play when he wasn’t

feeling in full command of his musical abilities. Chopin told Liszt:

When I am indisposed, I play on one of Erard’s pianos and there I easily find aready-made tone. But when I feel in the right mood and strong enough to find myown tone for myself, I must have one of Pleyel’s pianos.40

35 David Rowland, A Histo ry o f Piano for te Pe da lin g (Cambridge: Cambridge University Press, 1993), 127.36 A. Mamontel, Histo ire du pia no et de ses origines (Paris: A.Chaix et cie., 1885), 256-737 Palmieri, 75.38 Banowetz, 180.39 Ibid. 180.40 Derek M elvi lle, Chopin (London: Clive Bingley, 1977), 28.



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The pianos of Chopin’s time had far less sustaining power than those o f today.

The unique thinner tone and shorter decay of sound allowed him to use longer and deeper

pedaling. As a result, when pianists follow his indications literally on the modem pianos,

clarity of voice leading and rhythmic flow may suffer.

Three kinds of special pedaling can be used for performing the music o f Chopin

and Romantic composers on modem pianos: flutter pedaling, diminuendo pedaling, and

long pedaling. Flutter pedaling is an effective pedal technique which combines very rapid

partial changes with a shallow depth of pedal. The fluttering motion o f the dampers

prevents too great an accumulation o f sound, without the audible vertical slices created

by full pedal changes. Chopin did not indicate this pedaling, but according to Antoine

Francois Marmontel, “sometimes when Chopin performed, his foot seemed to vibrate as

he rapidly pedaled certain passages.”41 This account seems to support the use of flutter

pedaling in passages such as those found in the last movement o f Chopin’s Sonata, op. 35,

(see Fig.5.1).

Finale .Pres to .

so t to voce e leg a to

Fig 5.1. Chopin: Sonata in B-flat Minor, 4th movement, op. 35. mm. 1-6

41 Antoine Francois Mamontel, Les P ian ists celebr es (Paris: A.Chaix et cie.,1888 ), 67.



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33

Many of the acoustical effects produced by flutter pedaling can also be achieved

by using diminuendo pedaling. This gradual release avoids the shock of full pedal versus

no pedal and facilitates the effective performance of many passages in the Romantic

piano literature. One o f the main uses o f this technique is to shape and define phrases. A

gradual lifting of the pedal closes the gap between slurs without eliminating breathing.

The diminuendo pedal can be used to bridge the gap between dry and pedaled sounds

during a rest, as demonstrated in the following excerpt from the third movement of

Chopin’s Sonata, op.58. The fingers should release the keys before the pedal is lifted (See

Fig 5.2).

Fig.5.2. Chopin: Sonata in B Minor, 3rd movement, op. 58, mm. 88-93

roduc ed with permission of the copyright owner. Furthe r reproduction prohibited without permission.


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34

The use of diminuendo pedal can help articulate slurs and shape melodic phrases.

A waltz rhythm, for example, can be more effectively pedaled by gradually releasing on

the third beat than by pedaling with a perceptible full change of pedal on each downbeat

(see Fig 5.3).

Mo derat o (J .152)

10

Fig. 5.3. Chopin: Waltz in B Minor, op. 69, no. 1, mm. 1-6

The gradual release of pedal may also be used to prepare sudden shifts from forte

to piano, as in the following excerpt from Chopin’s Mazurka, op. 6, no .l (see Fig. 5.4).

' e m p o |2 4 3 J 2 3 5 >

mm

■f— 2 4 1

m p /

£ m* 9. * ®

3 5 4legato

Fig. 5.4. Chopin: Waltz in F-sharp Major, op. 6, no. 1, mm. 25-30

produced with permission of the copyright owner. Further reproduction prohibited without permission.


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35

The use of long pedaling in Romantic works can be adapted to the modem piano.

Beethoven used this pedal in his piano sonatas and it became a common pedal technique.

Chopin’s Nocturne in C-sharp Minor, op. 27, no. 1, is an excellent example o f an

appropriate place for the use of long pedaling. Chopin took full advantage o f the

overtone series in this left hand so a richer sonority could be achieved. In spite of pedal

markings indicated on this score, this author believes the fundamental C-sharp pedal

should be sustained throughout the first five and a half bars because the low C-sharps act

as an important harmonically supportive pedal point. The melody should float in a

melancholy haze without being stripped of its resonance at each pedal change (see Fig.

5.5).

i L a rg h e t t o . 15------- T--------------

Up. -No.l.2...--- ---- 3 2 ■-s.•------------- ^ ------ «----- -j

••• - . r -- —— Z ____

J r, —i J - i .. I.. -H j i"^ : j .. I t —i—1J i ■■! ;— . i —f—

? 3 ,3V5""—-— -— — 5

li’yuf.o

It

3 f . S t

A A

Fig. 5.5. Chopin: Nocturne in C-sharp Minor, op. 27, no .l, mm. 1 - 7

eproduced with permission of the copyright owner. Further reproduction prohibited withou t permission.


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36

Una Corda and Asterisks

Chopin never indicated the use of una corda because he believed the use of una

corda pedal should be determined contextually in conjunction with all the other choices

made before and during a performance, not prescribed obligatorily in the score. He also

wanted to his students to practice without pedal, and, except on vary rare occasions, to

avoid its use altogether.42

Among pianists, asterisks have always been a source of controversy. Everyone

understands an asterisk means to release the pedal; however, some asterisks are placed far

away from the next pedal marking and this creates sections that lack the resonance of

those pedaled. Seymour Bernstein claims that asterisks can actually be interpreted in

three different ways: the asterisk can indicate pedaling at the performer’s discretion; a

repetition of the previous pedal indication; or an abrupt or a gradual silence 43

Pedaling Comparison of Different Editions of Chopin’s Ballade in G Minor, op. 23

The opening of Chopin’s Ballade in G Minor requires a pedal technique that will

allow for appropriate resonance without sacrificing clarity o f voice leading, rhythm, or

harmonic flow. Many editors have tried to abide by Chopin’s intentions as closely as

possible. Four different editions are considered for pedaling in this excerpt. The first is

the edition of the Fryderyk Chopin Institute Polish Music Publications o f Poland, which

has been edited by IJ. Paderewski, L. Bronarski and J. Turczynski. This version has been

based primarily on Chopin’s autographed manuscripts, copies approved by Chopin, and

first editions. Even if a manuscript may have served as a basis for a first edition, there can

42 Rowland, 127.43 Seymour Bernstein, Chopin: Interpreting his Notation al Symbols ( Milwaukee: Hal Leonard, 2005), 9-11



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be differences between the two because Chopin frequently changed details of his works

up to the very last moment, even during final editing and after publication.44The second

choice is the Henle edition which is known as a very reliable edition that does not include

an editor’s subjective concepts; because of this, the Henle edition may be considered to

reflect what Chopin wrote. The third selection is the Schirmer edition, which is edited

and revised by Rafael Joseffy. This is one o f the most commonly used edition by modem

pianists .The last choice is the edition o f Novello & Company o f England, edited by Frank

Merrick. This edition includes the most detailed pedaling, as well as metronome and

expression markings.

The Chopin institute edition does not include any pedaling for the introduction of

this passage (see Fig. 5.6, no.l). This is not necessarily surprising since Chopin and other

great Romantic composers left many pedaling decisions to the performer. Without any

pedaling, these opening 7 measures will sound less like the arpeggio of a single sonority

and less like a single phrase than is prescribed by the score. Furthermore, the use of pedal

in the remainder o f the passage can support the phrase structure and facilitate the

connection of chord change in the left hand in measure 6 and 7.

The Henle and Schirmer editions have the same pedaling, except for the large

arpeggio chord o f measure 7 (see Fig. 5.6, no.2 and 3). These editions omit the pedal

from measure 9, whereas in the Chopin institute edition, the pedaling changes when the

right hand melodic phrases are moved. According to David Rowland, “in some

circumstances, Chopin might require the fingers alone to provide a clarity that was

44 Fryderyk Chopin, Complete Works, ed. Ignacy J. Paderewski, Ludwik Bronarski, and Josef Turczynski (Warsaw and Krakow: Polish Musical Editions 1949-61), 57.

eproduced with permission of the copyright owner. Further reproduction prohibited without permission.


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38

impossible with the pedal.”45 While this statement might seem applicable to the

introduction to Chopin’s Ballade in G minor, such a precedent would so limit pedaling

choices in the remainder of the composition that the whole piece would be forced out of

character.

The Novello & Company edition is unique among the many that have been

examined for this document (see Fig. 5.6, no.4). The pedaling of the first phrase in

measure 2 is changed on the A-flats. This pedaling interrupts the phrase (which

encompasses the first three full measures) and makes an accent where none belongs. The

position of the depressing o f the pedal in measure 8 is not appropriate because of the tied

dotted h alf note will be held to the 4th beat o f measure 8, and the left hand needs the

dotted ha lf rest before pressing the bass note D.

This author’s solutions for the introduction of Chopin Ballade are similar to those

of the Novello & Company edition (see Fig. 5.6, no.5); however, this author recommends

the use of diminuendo pedaling in the first 3 measures. Allowing the resonance to

diminish to the note C, and reinitializing the pedal after that note in measures 2 and 3,

(located as it is on beat one of measure 2, beat three of measure 2 and beat 1 of measure 3

respectively), supports each instance as a point of arrival. Furthermore, reinitializing the

pedal after the C on the downbeat of measure 3, allows us to imagine the displacement of

the Neapolitan sixth chord of measures 1 and 2 by a C minor harmony on the downbeat

o f measure 3. Since this C minor chord prepares the arrival of the dominant on beat three

in measure 3, the recommendation that the pedal be released gradually over the first three

beats supports the phrasing and the arrival if that dominant harmony as the goal of the

45 Rowland, 127.



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39

first three measures. (Note that measures 5 and 6 replicate the harmonic of measures 3.)

The pedal should be depressed before the bass note in measures 1 and 2.

When the end o f a phrase comes right before a rest or silence, such as in measures

3 or 5, the pianist should use diminuendo pedaling so that the sound can be gradually

diminished by a slow release o f the pedal. To accomplish this effect on piano, the note or

notes should be released slowly by fingers, and the fingers can be released before the

release o f the pedal. The pianist should use separate pedaling for the chords o f measures

6 and 7. Depress the pedal before the chord in measure 6. The pedal o f measure 7 should

be released slowly by the down beat o f measure 8. Then only the B-flat should sound,

without any assistance from the pedal, for the first three beats of measure 8.



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1. Polish

3. Schimer

4. Novello

5. Suggestion

1. Polish

2. Henle

3. Schimer

4. Novello

5. Suggestion

Moderato

f r

I I I I I ___ I

J LU J L

Fig. 5.6. Chopin: Ballade in G Minor, op. 23, mm. 1-9



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41

Conclusion

Chopin’s pedal makings are more precise by comparison to those of many his

contemporaries and are designed to serve the music in vary specific and subtle ways. For

that reason, the pianist should take Chopin’s pedaling indications as seriously as his other

notational signs. On the other hand, a literal realization of his precise pedaling indications,

without due consideration for the modem instrument, may suppress resonance too

severely at times, or because o f the larger soundboard and heavier and longer strings,

may cause excessive resonance at others. Of course, all performance decisions must be

tempered by an appropriate consideration for the acoustical properties o f the environment.



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CHAPTER 6

PEDALING IN DEBUSSY

Introduction to Pedaling in Debussy

The late nineteenth-century piano was similar to the modem piano but had only

two pedals, the damper and una cor da. Erard and Pleyel were Debussy’s preferred

French makers. Jane Bathori reveals that Dubussy actually preferred the tone and timbre

of an Erard piano, particularly when accompanying a vocalist or playing in a chamber

ensemble.46 George Copeland, however, reminds us that Debussy actually composed the

bulk o f his piano repertory while sitting at the Pleyel upright.47 When performing

Debussy’s music, modern pianists frequently use the sostenuto pedal, though Debussy

would not have used it or written for it because he did not have it on his piano. Though

Debussy did not systematically mark pedaling in his music, the few indications he does

give, and the lack such indications in music that clearly must be pedaled, have forced

pianists to experiment and to discover new pedaling techniques. Gerig said Debussy

believed that pianists should be flexible in their use of pedal: the application of pedaling

should be according to the performing circumstance such as the acoustics o f a hall, the

condition o f the piano, or today, the presence o f a microphone.48

As Debussy’s compositional skills matured, he learned to manipulate harmony

and counterpoint to control overlapping and extended sonorities; the effects are often

46 Jane Bathori, “Les musicians que j ’ai connus - II, Deb ussy” , translated by Felix Aprahamian, Re corded Sound, Spring, 1962.47George Copeland, “Debussy, the man I knew”, Atlan tic Monthly, January, 1955, 34-38.48 R. Gerig, Famous Pianists a nd Their Techniques (Bloomington: Indiana University Press, 2007), 124.

42



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44

this harmonic shift. While this strong alignment between harmonic rhythm and pedaling

follows the same guidelines recommended for previous style periods, the rate of

harmonic change in this music has slowed to such an extent that resonating sonorities and

shifting tone colors assume a new level of importance. This emphasis on sonority, tone

color, and texture invites a more liberal use of the pedal and an exploration of the full

range of its possibilities.

de i ica t snunt e t p resque sans nuancesMod6remen t an ime

_____________ "t-g-

XT

S '

r i t .

Fig. 6. 1. Debussy: “Pagodes” from Estampes, mm. 1-6

Extended sections based on whole tone or pentatonic harmonies can be played

without changing the pedal, as in the Prelude “Voiles” (See Fig. 6.2). The entire Prelude

can be treated as one whole tone harmony (G-sharp, F-sharp, E, D, C, B-flat). Gieseking

has suggested that the pianist should hold the pedal from beginning through measure 41

(to the pentatonic harmony) in this piece, but this might cause too much resonance unless

the pianist has Gieseking’s technical control.51

51 Banowetz, 234



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45

p i u p p tr' es d o u x

m

-Vp--

m p p e x p r e s s i jy

2 ------

4m

p p t o u j o u r s p p ■*» w

P T

Fig. 6.2. Debussy: “Voiles” from Preludes, mm. I-9

Although long pedaling is frequently used in much o f Debussy’s piano works,

little or no pedaling should be considered for very fast figurations. The excerpt “Doctor

Gradus ad Pamassum” from Children’s Corner may be begun with no pedal (see Fig.

6.3). As the dynamics and articulation change, more pedaling can be gradually added to

support the crescendo and the legato quarter notes.

Although Debussy never used any kind of una corda markings, instructions such

as the words sourd and en s ’eloignant ( meaning muted or muffled and fading away)

may be served effectively by engaging the una corda. The combined use o f the una corda

and damper pedals can be especially useful in soft and glimmering sonority. This joint

use o f the two pedals can also create pictorial effects. This joint use of pedals can

increase the timbral possibilities for such passages as the beginning of “La Cathedrale

Engloutie” from Preludes, this pedaling can help to depict the mysterious rising o f the

cathedral out o f the mist (see Fig. 6.4).



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46

i M o d e r e m e n t a n i m e

J> e g a l e t s a n s se ch er e ss e

U U U U U U U L _ A _ _ A K

\1

pp p p

A A A k A A A A

Fig. 6.3. Debussy: “Doctor Gradus ad Pamassum” from Chidren’s Corner, mm. 1-8

Profondement calme dans une brume doucement sonore®SX’ '■ M —'

„ XT- ____ _ _ £—* »—- _____________

Fig. 6. 4. Debussy: “La Cathedrale Englouti” from Preludes, mm. 1-3

oduc ed with permission of the copyright owner. Furthe r reproduction prohibited without permission.


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Invention o f the middle pedal makes it possible to sustain individual notes while

the remainder are damped. Although Debussy never used this pedal for his music (since

his piano did not have this pedal), the sostenuto pedal on the modem piano can be very

useful in the performance of his music. Some his compositions such as L ’Isle joyeuse are

impossible to play on the modem piano without using the sostenuto pedal. The performer

can hold certain notes with the fingers and then sustain them with the middle pedal.

These tones then may be incorporated with subsequent sonorities by using the damper

pedal.

If

Fig. 6. 5. L ’Islejoyeuse, mm.166-173



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48

Pedaling Comparison of Different Editions of Debussy’s “ La soiree dans Grenade” from Estampes

Most editions o f Debussy’s piano works lack both fingerings and pedal markings.

Although there are many different editions by several different publishers, most are

exactly the same as Durand, the original publisher of Debussy’s music. In fact there are

only two editions which can be compared with the Durand editions. The first is the

Taerim edition by the Japanese editior Montonari Iguchi. The second is the Alfred

edition by Maurice Hinson, a well known editor o f Debussy’s works.

Debussy indicated a few pedalings for “Pagodes,” which is the first piece of

Estampes at the Durand edition. However, he did not mark any pedaling for the second

piece, “La soiree dans Grenade” except the ending phrase. Pedaling and fingering for

this piece in the Taerim and Alfred editions are added by editors. The Taerim and Alfred

editions show different pedaling for measures 92 to 102 (see Fig. 6.6, no.l and 2). In the

Taerim edition, the pedal is used only for the first beat of measure 92 whereas the pedal is

used through measure 93 and 94 in the Alfred edition. The bass note of the first theme in

measure 92 and 93 can be sustained with the fingers by most pianists. However, the bass

note o f the repeated theme in measure 94 and 95 is impossible to play without pedaling.

There is no way that the left hand can hold the bass C-sharp. Therefore this pedaling of

the Taerim edition is the best solution for this phrase. Measures 98 through 102 are a

repetition of the habanera rhythm and the bell sound of the bass. The habanera rhythm

predominates this passage from the beginning (see measure 92 and 93) and with this

constant presence provides a reference for the reminder o f the texture throughout. When

pianists use the pedaling of the Taerim edition for this section, they can not properly

execute the phrasing of the melodic line in the middle voice. The pedal should be held



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until the end of the measure 99 as well as measure 100 instead of being released.

Otherwise, the voice line is obscured and phrasing cannot be honored since there will be

gaps between the last beats o f each measure and the next downbeat (see measure 99

through 102). The Alfred edition has continuous pedaling through this section. The

pedaling keeps changing with the habanera rhythm. If the pianist wants to catch only the

habanera rhythm, this pedaling might be the best. However, by changing the pedal in the

first beat o f each measure, it is easy to make an undesired accent, and the low note E in

measure 98 might blur with the previous chord because o f the sustained pedal. Maurice

Hinson has explained that the sign I _______ I in the Alfred edition indicated normal

depression o f the damper pedal whereas the sigh L ________ J indicates use o f half or

less than full pedal in this edit ion.52

Since the C-sharp serves as a pedal point, the damper pedal should be held for

each two measure phrase since the bass sustains the C-sharp. This author recommend the

use o f ha lf pedaling for this section since half pedaling allows part o f the notes, usuall

on pedalling alternatives on established practice.pdf

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