It has been a while since I have taken the time to blog about my beloved instrument. Today I hope to focus on one of my issues in my piano journey, use of the pedal. Pedal markings are diagrammed in most pieces, but often I think the average student simply ignores these keys to better pedaling.
The amateur student often approaches pedaling with this thought, "I can figure it out on my own." Since I have used this approach, and not had much success, I believe that one should be prudent and frankly "trust the professionals." In creating my own pedal approach, I am basically ignoring the intent and let's just say the will of the composer. On some level, it simply seems wrong.
So in taking lessons from the incredible Dr. Suzanne Newcomb, I have learned that she is not afraid to confront a student's issues. Dr. Newcomb determined that I needed help in the pedal department, and assigned a book of music entitled Pedal Preludes by Samuel Maykapar.
Mr. Makapar was born on December 18, 1867 in Kherson, Russia. He created many books of compositions in miniature form, for the committed student, and again, the special exercises for pedaling. Maestro Makapar even wrote an autobiographical book entitled The Years of Study and of Musical Activity. I'm sure it is insightful. In fact, I wonder what it would be like if hundreds of piano students wrote the same type of autobiography. Would we change the hearts and minds of piano students for the better? I like to think we would, if we in fact took pen to paper and described our years of study.
The Pedal Preludes book gives an excellent description of the pedals of the piano and the use of the rhythmic and delayed pedal. The book also describes the left pedal that decreases sound volume and the infamous middle pedal, often found on many grand pianos. Even if you think you know the purpose of the various pedals on your piano, it never hurts to review the basics.
There are 19 pedal etudes, and interesting, number 10 is missing. Perhaps Mr. Maykapar had an aversion to the number 10. There is no explanation in the book as to why the number is 10 is not listed.
The last few pages of the book has notes on each of the various preludes, and what the composer wanted a student to accomplish while learning the piece. So if you leave a lesson and have questions about one of the preludes, a student can at least look back at the notes and review the objective that is trying to be achieved.
When I was a young piano student, I simply wanted to depress the right pedal, or the one that operates the dampers. I felt that by using the right pedal, I could simply create a larger and grander sound. In the Pedal Prelude book, the editor indicates "The right pedal influences sound in several ways:
the duration of sound after the key is released
fusion of sounds produced while the pedal is depressed
magnification of sound
enrichment of tone color."
I think what I loved starting out as a piano student was that the right pedal continued the sound of the chords and notes I loved, even after the keys were released. And I felt that by using the right pedal, I was farther along in my competency than I truly was at the time.
The left pedal decreases the volume of sound. When you grow up with two brothers, I often relied on the left pedal to quiet the sounds of tedious scales and Czerny exercises, I was trying to "get right." As I grew up, I often thought that if I lived in a small apartment in New York City, I would need to make judicious use of the left pedal. The left pedal did result in a good compromise for my brothers who weren't interested in the classical music of exercises inventions and sonatas.
In the Pedal Preludes notes, I learned that the use of the left pedal is indicated by the words Una corda which is Italian for one string. I have seen this indication often in classical music, but it is good to be reminded of what it means, and how it will enhance my playing of a beautiful piece of music.
This little book is still in print, and if you are looking for a primer on pedaling technique,Pedal Preludes might be a good place to start. Don't be intimidated by the pedaling process. Instead use this interesting little book, to take on the challenge of pedaling. You will be a better pianist from making the effort.
