Pedal Shading in Chopin and Debussy

Thomas MastroianniThomas Mastroianni

Pedal Shading

The Pedal is not an “on/off” device

Pedal depth and timing influences Pedal depth and timing influences tone color and intensity tone color and intensity

The amplitude and overtones of The amplitude and overtones of string vibration is influenced by string vibration is influenced by nearness of the damper to the nearness of the damper to the string during vibration.string during vibration.

Sympathetic vibration of unstruck Sympathetic vibration of unstruck strings influences tone color.strings influences tone color.

Pedal, String and Damper

Dampers

Pedal100%

40% 15% 0

String

Dampers

Degrees of separation from Degrees of separation from stringsstrings

Partial pedal Partial pedal depressiondepression

Partial pedal Partial pedal releaserelease

Pedal Timing

LEGATO PEDALINGLEGATO PEDALING

Tap PedalingTap Pedaling

Pedal Slur

Ballade # 1 end of 1Ballade # 1 end of 1stst theme theme

“Bel Canto” Accompaniment

Ballade #1 1Ballade #1 1stst Theme L.H. Theme L.H.

Selective Pedaling Selective Pedaling (Timing)(Timing)

Pedal Melody notes for warmthPedal Melody notes for warmthAvoid pedal on Accompaniment Avoid pedal on Accompaniment notesnotes

Pedal Shading

Ballade # 1 2Ballade # 1 2ndnd Theme: Theme:

Various Degrees Of Pedal Various Degrees Of Pedal Depth Depth To Shade Line Of The MelodyTo Shade Line Of The Melody

(Greatest warmth on the Eb (Greatest warmth on the Eb harmony)harmony)

Quarter Pedal

Ballade # 1 closing theme:Ballade # 1 closing theme:

Misty, blurred effect – Misty, blurred effect – dampers touch but do not dampers touch but do not press to arrest string press to arrest string vibrationsvibrations

Progressive, Incremental Changes of Pedal Depth to Create

Distance Perspective

Opening of Ballade # 4: Opening of Ballade # 4: Introduction begins in the Introduction begins in the distance and gradually becomes distance and gradually becomes more resonant as it approaches more resonant as it approaches the entry of the 1the entry of the 1stst theme. theme.

Begin with ¼ pedal depth, Begin with ¼ pedal depth, progress to ½, ¾ and finally full progress to ½, ¾ and finally full pedal depth.pedal depth.

Progressive, Incremental Changes of Pedal Depth to Create

Distance Perspective

Ballade # 1 Opening of Introduction: Ballade # 1 Opening of Introduction: Begin with full pedal depth and Begin with full pedal depth and gradually reduce the pedal depth gradually reduce the pedal depth through the opening bars to reach through the opening bars to reach the apex of the first ascending the apex of the first ascending passage passage to create a distance perspective for to create a distance perspective for the tenderness of the arrival point.the tenderness of the arrival point.

Ballade # 4 - 1st Theme in 6/8

Greater clarity of pedal changes on Greater clarity of pedal changes on bar linesbar lines helps to delineate 6/8 helps to delineate 6/8 time and prevent the feeling of 3/8 time and prevent the feeling of 3/8 time. time.

Repetition of melodic figures Repetition of melodic figures beginning on the bar beginning on the bar are thus are thus differentiated from similar melodic differentiated from similar melodic figures off the bar.figures off the bar.

3 Variants of Theme I in Ballade # 4

Pedal Changes for Variety Pedal Changes for Variety and Clarity and Clarity in Countrapuntal Variantsin Countrapuntal Variants

Impressionistic Effects

Recapitulation of 2nd theme in Ballade Recapitulation of 2nd theme in Ballade # 4# 4

Fluctuations between 1/8 and ¼ pedal Fluctuations between 1/8 and ¼ pedal depth to clarify the thick broth of left depth to clarify the thick broth of left hand scales in the bass.hand scales in the bass.

Very shallow pedal attenuates and Very shallow pedal attenuates and strains out the dense mixture of strains out the dense mixture of overtones resulting from adjacent overtones resulting from adjacent bass notes.bass notes.

Final Variant of 1st Theme in the Recapitulation of Ballade # 4

Clear pedal changes rob the Clear pedal changes rob the fioratura of mystery. Too much fioratura of mystery. Too much pedal hinders tone quality and pedal hinders tone quality and creates density rather than creates density rather than mystery in the f minor section. mystery in the f minor section. As the fioratura recedes into As the fioratura recedes into triplets in the Ab major phrase, triplets in the Ab major phrase, more pedal and higher energy more pedal and higher energy leads to the brilliance of the 3leads to the brilliance of the 3rdrd phrase.phrase.

Short pedal length enhances clarity and rhythmic excitement

in the Coda of Ballade # 4

Extending the Length of the Damping Interval

Harp Etude (Chopin Op. 25 # Harp Etude (Chopin Op. 25 # 1)1)

Reduced Length of Pedal Depression

Pedaling The Inner Voice Rather Than The Melody

Harp Etude (Chopin Op. 25 # Harp Etude (Chopin Op. 25 # 1)1)

Claude Debussy

No Customary Pedal No Customary Pedal Indications.Indications.

Context and Notation Context and Notation Implies PedalingImplies Pedaling

Holding Sustained Bass without Sostenuto Pedal

Clair de lune - P. 2Clair de lune - P. 2

Blending Colors

Les sons et les parfumes Les sons et les parfumes tournent dans l’air du soir.tournent dans l’air du soir.

p.13 m. 1p.13 m. 1

Distant French Horn Effect - Distant French Horn Effect - bottom p. 15bottom p. 15

Bass Note Length Indicates Pedal Duration

Prelude v. 1, # 1, p.1Prelude v. 1, # 1, p.1

Whole note bass vs. two half Whole note bass vs. two half note bassesnote basses

Prelude v. 1, # 3, p.9 (Le Vent Prelude v. 1, # 3, p.9 (Le Vent dans le plaine)dans le plaine)

Slurs Across Bar Lines

Prelude v. 1, # V, p.16 Prelude v. 1, # V, p.16 (Les collines d’Anacapri)(Les collines d’Anacapri)

L’isle joyeuse - B themeL’isle joyeuse - B theme - final bars - final bars

Verbal Indications In The Score

Prelude v. 1, # 9, p. 33 (La Prelude v. 1, # 9, p. 33 (La ssérénade interrompue) érénade interrompue) (“les deux pédales)(“les deux pédales)

Sostenuto Pedal andRetaking Notes

Prelude v. 1, # VIII, p. 31 (La Prelude v. 1, # VIII, p. 31 (La fille aux cheveux de lin)fille aux cheveux de lin)

p. 32 final barsp. 32 final bars

Listening for Better Pedaling

The Pedal is a Partner for Good The Pedal is a Partner for Good Phrasing and Good TonePhrasing and Good Tone

No Pedal Technique Can Make an No Pedal Technique Can Make an Aimless Phrase Sound BeautifulAimless Phrase Sound Beautiful

The Ear Dictates Pedaling Once The Ear Dictates Pedaling Once the Music is Comprehended, Just the Music is Comprehended, Just as the Tone of Voice Carries the as the Tone of Voice Carries the Meaning of a Verbal Sentence.Meaning of a Verbal Sentence.