On Pedalling Alternatives On Established Practice PDF

ON PEDALING: ALTERNATIVES TO ESTABLISHED PRACTICE
by
HYE-SOOK JUNG
A DOCUMENT
Submitted in partial fulfillment of the requirements

for the degree of Doctor of Musical Arts
in the School of Music
in the Graduate School of
The University of Alabama
TUSCALOOSA, ALABAMA
2007
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
UMI Number: 3313723
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Copyright Hye-Sook Jung 2007

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

degree of Doctor of Musical Arts specializing in Piano Performance.
Accepted on behalf of the Faculty of the Graduate School by the dissertation
committee:
Cinda Page Cummins, Ph.D.
Susan Curtis Fleming, D.M.A.
William B. FTenderson, M.M.

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W. Marvin Johnson, Ph.D.
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Duk-WbrfPark,
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Amanda W. Penick, M.M.
Chairperson
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Date
Charles G. Snead, 1VFM.
Department Chairperson
Date
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David A. Francko, Ph.D.
Dean of the Graduate School
ii
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
CONTENTS
ACKNOWLEDGEMENTS .................................................................................................. iii
LIST OF FIG U RES................................................................................................................vi
A B STRA C T........................................................................................................................... viii
1.
INTRODUCTION.......................................................................................................... 1
a.
The Historical Development of Piano P edals................................................................. 3
2.
PEDALING IN MUSIC OF THE BAROQUE............................................................. 6
a.
Introduction to Pedaling in the Baroque Period on the Modem P ian o .........................6
b.
Pedaling Comparison of Different Editions of Baroque W orks................................... 7
c.
Conclusion..................................................................................................................... 11
3.
PEDALING IN MUSIC OF THE CLASSICAL PERIO D......................................... 12
a.
Introduction to Pedaling in the Classical Period on the Modem P ian o .................... 12
b.
Pedaling Comparison of Different Editions of Mozarts Fantasy

in C Minor, K.457 ........................................................................................................... 15
c.
Conclusion.......................................................................................................................21
4.
PEDALING IN BEETHOVEN..................................................................................... 22
a.
Introduction to Pedaling in Beethoven Piano Works on the Modem P ian o .............. 22
b.
Creative Usages of the Pedal for Beethovens W orks................................................. 24
c.
Pedaling Comparison of Different Edition of Beethovens Piano Sonata

in D Minor, op.31, no 2 ...................................................................................................26
iv
d.
Conclusion....................................................................................................................... 29
5.
PEDALING IN CH O PIN ...............................................................................................30
a.
Introduction to pedaling in Chopin Piano Works on the Modem P ian o .....................30
b.
Una Corda and A sterisks...............................................................................................36
c.
Pedaling Comparison of Different Editions of Chopins Ballade

in G Minor, o p .2 3 ............................................................................................................. 36
d.
Conclusion....................................................................................................................... 41
6.
PEDALING IN DEBUSSY........................................................................................... 42
a.
Introduction to pedaling in Debussy Piano Works on the Modem P ian o .................. 42
b.
Pedaling Comparison of Different Editions of Debussys

La soiree dans Grenade from Estam pes.................................................................... 48
c.
Conclusion....................................................................................................................... 52
7.
CONCLUSION................................................................................................................53
BIBLIOGRAPHY.................................................................................................................. 54
LIST OF FIGURES
2.1. Bach: Prelude in B-flat Major from Well Tempered Clavier BookI, 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. 81-88 .......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, N o.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, m m .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 Childrens Corner, mm. 1 -8 ........46
6.4. Debussy: La Cathedrale Englouti from Preludes, mm. 1-3 ...................................46
vi
6.5. Debussy: LIsle joyeuse, mm.166-173 ..................................................................... 47

6.6. Debussy: La soiree dans Grenade from Estampes, mm. 92-102 ...................... 51
vii
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 of 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 of 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 of 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 authors own solutions
for todays piano.
As most piano music written in the 20th century was composed for a piano not
very different from todays instrument, and as many composers have often indicated
specific pedal markings, this study will not include modem works.
vm
CHAPTER I
INTRODUCTION
The piano has gone through many stages of development over the last several
centuries. Modem 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
o f creative and carefully considered pedaling. Chopin esteemed it a life-long study,1 and
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
-2
kalsomine brush with which to paint the back fence. In truth, correct pedal usage can
help pianists improve all other aspects of piano sound, including balance, dynamics, and
tone quality.
Although pedaling is one of the most important aspects of effective piano playing,
frequently it receives less attention than it should from both teachers and students
because decisions about pedaling require a careful consideration of 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 of the damper pedal.
Some editors fail to include pedaling instmctions provided by the composer. Since
1 Frederick 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.
3 Josef Lhevinne, Basic Principles o f Pianoforte Playing (New York: Dover Publications, Inc., 1972), 47.
development of the pedal followed that of 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 o f editors, not of the
composer.
In order to achieve the best interpretation of 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 of
pedaling instmctions can be made without reference to the historical context in which the
composer lived and worked, stylistic conventions of the period, and a careful study of 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 of 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 of pedaling in the music of 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 authors alternate suggestions for a more effective
performance.
The Historical Development of Piano Pedals

In order for performers to make pedaling decisions which are consistent with the
demands of 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 of Ferdinando deMedici 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 of 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 of 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, Piano Pedaling, trans. Kethleen Dale ( London: Oxford University Press, 1962), 2.
just those in the treble, but not those in the bass alone. Split pedals were continuously
used until around 1830 when they were supplanted by the single damper pedal common
to todays piano.5 By 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 of the late eighteenth to early nineteenth centuries, the pianist could
shift from the normal three-string (tre corde) position to one in which either two
strings (due corde) or only one (una corda) would be struck, depending on the
depth to which the pedal was pressed. This subtle but important choice does not
exist on modem pianos, but was readily available on the earlier instmments. On
todays instmments, such a differentiation is possible only between due corde and
tre 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 Cristoforis 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 of
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 Complete Illustrated Guide to the Worlds M ost Popular Musical
Instrument (Winona: Hal Leonard & Carlton Books, 1996), 17.
8 Banowetz, 5.
9 Dominic Gill, The Book o f the Piano (Ithaca: Cornell University Press, 1981), 27.
American Steinway Company patented a sostenuto mechanism in 1874 did it become a

standard feature o f the modem grand piano. By using this pedal, the pianist can sustain
selected notes, while other notes remain unaffected.
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 of the period do not have pedal
markings, performances on a modem piano of the music of composers such as J.S. Bach
or Dominico Scarlatti can be enhanced by a judicious use of 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 of 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 of the pedal so that
contrapuntal clarity is not sacrificed for the sake of sheer sonority. In the authors 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 of Baroque Works

As a general mle, pedaling of any type in the music of 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 of hooked pedaling, the pianist can use the damper
pedal to help connect chords and make repeated notes smoother. In hooked pedal the
depression of the pedal is delayed so that the overtones are allowed to disappear before
one chord is hooked to the next.
Most editions of Bachs 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
Busonis 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 Busonis pedaling, some of the 32nd notes will sound
connected, but others will be disconnected. This difference obscures melodic clarity, the
sense o f 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. If 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 authors opinion, however, the result
which best serves the music can be achieved without any use of pedal, especially if the
performer uses non-legato touch for this passage. For measure 11, judicious use of 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 of voices or rhythmic clarity; this avoids the contrast of sound
created by Busonis pedaling(see Fig 2.1. no.2).
1.
Schimer
2.
Suggestion
Schimer
2.
Suggestion
U I____
I___I
-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
moderate pedaling are required to achieve a sense of line in passages which otherwise
might seem discontinuous.
Most editions of Domenico Scarlattis 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 possibilities 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
o f the arpeggio.
27
ITf >
r f n r
.f
W = = ff= -^ -~
J.
~5
-. "r
' _
hr r t -------~4
J-
m.
f
.
J-
tf
Fig 2.2. Scarlatti: Sonata in B- flat Major, K. 551, mm. 27-30, J. Fischer & Bro
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 of 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 Scarlattis keyboard works.
26
Fig. 2.4. Scarlatti: Sonata in B-flat Major, K. 551, m m 26-29
11
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 of
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 of 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
| Sostenuto Pedal
S tY
TP
2r-rs? m
,
y* f
Fig. 2.5. Bach: Fugue in A Minor from Well Tempered Clavier Book I, mm 82-87
10 Banowetz, 150.
CHAPTER 3
PEDALING IN MUSIC OF THE CLASSICAL PERIOD
Introduction to Pedaling in the Classical Period on the modern Piano
Use of 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 of the Classical period allow a more liberal
use of pedal on the modem piano than those of the Baroque. Eva and Paul Badura-Skoda
commented about Viennese instruments of 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 upper
register and this made it easier to play cantabile and with full colour. The lower
notes had a peculiar round fullness, but none of the dull, stodgy sound of the low
notes o f a modem piano. Whereas the tone becomes steadily thinner toward the
top, the highest register sounding almost as if pizzicato, the full sound of the bass
is by far the most satisfying register of the Mozart piano. The strings are so thin
that chords in the bass can be played with perfect clarity even when they are very
closely spaced.12
In general, it is difficult to imitate the sound of the piano of 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 Benowitz, 136.
12 Eva and Paul Badura-Skoda, Interpreting Mozart on the Keyboard, trans. Leo Black (New York: St.
Martins Press, 1962), 10.
12
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
unusual effects.
1T
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 Mozarts
scores. However, a letter which he wrote to his father on 17 October 1777 from Augsburg
demonstrates his enthusiasm for the damper mechanism of 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 one
in D, sounds exquisite on Steins pianoforte. The device too which you work with
your knee is better on his than on other instruments. I have only to touch it and it
works; and when you shift your knee the slightest bit, you do not hear the least
reverberation.15
More evidence of Mozarts use of pedaling can be found in a concert
announcement from 1785:
On Thursday, 10th March 1785, Herr Kapellmeister Mozart will have the honour
o f giving at the I.&R. National Court theatre a grand Musical Concert for his
benefit, at which not only a new, just finished Forte piano Concerto will be played
by him, but also an especially large forte piano pedal will be used by him in
improvising. The remaining pieces will be announced by the large poster on the
day itself.1
13 David Rowland, A History o f Pianoforte Pedaling (Cambridge: Cambridge University Press, 1993), 127.
14 Banowetz, 137.
15 Emily Anderson, ed., The Letters o f Mozart and His Family (London: Macmillan, 1985), 329.
16 O. E.Deutsch, Mozart: A Documentary Biography (London: Adam & Charles Blade, 1966), 239.
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 of pedaling in Mozarts music, so long as decisions are
based on a thoughtful consideration of the defining features of the composition at hand
and how those features may be served in performance.
The common types of 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 of harmony,
and then again depress simultaneously with the sounding of the new harmony.
17
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
o f 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 of the pedal, which is slightly syncopated in
relation to the chord changes, makes a perfect legato but requires a responsive damper
mechanism and split-second damping.
1R
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 Mozarts works to produce a less
resonant sound. More pedaling can be used for the high register of the keyboard; less
17 Benowetz, 10.
18 Sandra P. Rosenblum, PerformancedPractices in Classic Piano (Bloomington: Indiana University Press,
1988), 106.
pedaling should be used for the low register to avoid obscuring pitch and rhythm. The
indications of 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 of pedal. There are four levels of damper release. Judicious use of
these options expands greatly the range of 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 of the passage. Third, the half
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 Mozarts 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 of print, the B. F. Wood Music edition
revised by Hans Semper.
19 Banowetz, 81.
Despite the adagio tempo and legato octave progressions in this workelements
that would ordinarily dictate use of the damper pedalthe 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 o f the B. F. Wood, the dotted quarter note of beat one is truncated slightly as the
left hand shifts position to execute the remainder of 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 of 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 of 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 pedalingin this authors 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 of the three octave Cs produces enough
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 of the phrasing. This edition also pedals the Alberi figuration of measure
6 (and other such sections), and if employed with caution, a short shallow pedaling can
be used in this phrase and others like it which follow, to enhance the legato character of
the melodic line indicated by the composers phrase marks. The B. F. Wood edition
exceeds advisable limits for the thin textures of this Classical composition, especially to
the extent that it disturbs clarity of the melodic lines.
Since modem pianos are larger and have thicker strings, the delicate fabric and
thinner textures of music in the Classic period can be compromised by an unrestrained
use of full pedal. For this reason partial pedaling can be recommended as an effective
solution for this problem in Mozarts Fantasy in C minor.
In Fig. 3.1, this authors 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 of 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 of 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 half 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
18
can connect successive elements in the figuration without obscuring any of 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:
Mozarts arpeggios or broken chords are treated as melodic in character, not
harmonic. The ordinary Alberti basses in the left hand, too, must always be
played without pedal, as they ought to sound as if they were being played by a
clarinet 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 of 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 of
each measure, the starting point of the phrase must be played without pedaling, while the
pianist may use shallow pedaling for the high point in the line.
20 Riefling, 38.
19
14?
1.
pp
Bosworth
2.
The B.F.Wood
3.
Suggestion
|_______ |
|______ |
Ui)
UJ
UJ
Uil
Uil
[ j^ ------'
[_^|
[14 J
Bosworth
2.
The B.F.Wood
3.
Suggestion
[%|
|_%|
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
20
1.
Bosworth
2.
The B.F.Wood
3.
Suggestion
1.
Bosworth
2.
The B.F.Wood
3.
Suggestion
|_
J I
LJ 1%..
iW
1.
Bosworth
2.
The B.F.Wood
3.
Suggestion
J L
\ 3A ^
Fig. 3.2. Mozart: Fantasy in C Minor, K. 475, mm 9-14
21
Conclusion
Following the previous discussion, there are some important points about
pedaling in keyboard works of Classic period: 1) the music should first be learned
without pedal, and phasing and articulation should be made initially with the fingers; 2)
use of 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, if
judicious 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.
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 of rich expression through
pedaling.
In the course of a broader study of performance practice for piano pedaling in
Beethovens 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.
Beethovens 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
Beethovens 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 of all instruments; often, one
21 William Newman, Beethovens Pianos versus His Piano Ideals, Journal o f the American
Musicological Society 23, no.3 (1970): 484.
22
23
thinks that one is merely listening to a harp. And I am delighted, my dear fellow,
that you are one of the few who realize and perceive that, provided one can feel
music, one can also make the pianoforte sing. I hope the time will come when
harp and the pianoforte will be treated as two entirely different instruments... 22
Beethoven also used one more Viennese piano, the Walter piano which was built
by Anton Walter in 1785. These three Viennese pianos-the Stein, the Streicher, and the
Walter-were characterized by a light and speedy keyboard action that allowed playing
rapid passages with clear and sharp tones. All of these pianos had knee levers and fiveoctave ranges.23
In 1803 Beethoven received a French Erard Piano which he used for the next 15
years. The range of this piano extended up another fifth and had hammers covered with
layers of leather. The Erard Piano was the first piano to have 4 foot pedals instead of knee
levers. Beethoven began to indicate pedaling by writing ped in his works for the first
time while using this piano.
In 1817, a Broadwood Piano, made by the London firm of John Broadwood &
Sons, was sent to Beethoven as a gift. This instrument had two pedals; una corda and a
split damper pedal and a six-octave range. Beethoven was pleased with its full sound and
broad tone, as he had already lost much of his hearing when the Broadwood was made
available to him.
The Viennese Graf Piano was built to Beethovens own specifications in 1825.
This piano had as many as six pedals and its range was extended to six octaves and a
fourth with quadruple stringing instead of triple to accommodate Beethovens deafness.
According to David Crombie, by adding an extra string, Graf attempted to obtain a tone
22 Denis Arnold and Nigel Fortune, eds., The Beethoven Reader (New York: W.W. Norton and Company.
Inc., 1971), 43.
23 Robert Palmieri, ed., Encyclopedia o f the Piano (New York: Garland Publishing, Inc., 1996), 373.
24
that was richer and more powerful.24 Beethoven was satisfied with the Graf pianos
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 of the pedals to any
appreciable extent.25 According to William Newman, Beethoven only used the damper
pedal for special effects. Newman organizes Beethovens use of 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
aiding thematic structure.
O/C
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 of 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 Beethovens pedaling in their own contradictory ways. It is the decision
of the pianist whether or not to follow Beethovens original markings or the editors
indications. However, the pianist should consider what Beethoven most wanted the
24 David Crombie, Piano: A Photographic History o f the Worlds Most Celebrated Instrument (San
Francisco: Miller Freeman Books, 1995), 36.
25Banowets, 142.
26 William S. Newman, Beethoven on Beethoven: Playing His Music His Way (New York: Norton, 1988),
234-6.
27Newman, 240.
28 Banowets, 143.
25
pedals to do for his music. The pianist should find ways to enhance his or her playing
through creative techniques of the pedal beyond the up and down notations in the score.
Beethoven originated the use of 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 Beethovens use of 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. Beethovens use of this pedal for the third movement of the sonata, Op. 106,
shows what kinds o f 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.
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
o f pedaling by different editors. Each subsequent edition is different from its
predecessors, and some o f them are particularly problematic for the modem piano.
Five representative versions of the pedaling will be compared in this chapter.
TO
Unfortunately there is no autograph for this sonata, but Alan Tyson has said that the
Simrock edition follows the first edition very closely.
T1
Therefore the Simrock edition as
well as the Gesamtausgabe will be exam ined, since this is the first com plete edition of
Beethovens 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 Beethoven: The 32 Piano Sonatas (London: Tecla Editions, 1989).
31 Jeffery, Notes.
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 of pedal on beat two of measure 6 (see
Fig 4.2, no.3). Because o f its rhythmic location it is difficult to avoid sustaining the
previous B in measure 6.
In the Schirmer and the Gesamtausgabe editions, the position of the release
marking is atypical. Unlike the other editions, the pedaling of measure 2 releases with the
fermata 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 of 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 Beethovens 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 of full pedal.32
Czernys 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, Performance Practice in Classic Piano Music (Bloomington and Indianapolis:
Indiana University Press, 1988), 125.
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 of 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.
29
Largo
Adagio
A llegro
3 __
^/T\
3 ___ g
-0 -0-
17.
pp
1.
Ped.
Simrock
2.
Henle
3.
Schnabel
4.
Schirmer
5.
Gesamtaugabe
cresc.
Suggestion
L % _________
CD |:V4
A 1/4 I
A 1/4 I
(2)
[3/4
| . V 4 ^ - 1
1/4
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 Beethovens markings. Many publishers
and editors edit and revise Beethovens piano works using their own pedaling ideas, but
the best edition includes the composers 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 legato
efficiency, pedaling could support it. Third, pedaling can help to implement contrasting
dynamics. Fourth, pedaling can be used to express intentional overlapping harmonies.
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 of pedaling, approached the use of 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 of pedaling remains a study for life.33 Chopins study o f piano sonority and
his eager awareness of the effects of the pedal are evidenced by his careful annotations
and the number of alternative pedalings he noted in the score when working with a
pupil.34
Chopins music requires a piano capable of producing refined sounds and
responding to subtle changes at the hands of a sensitive and informed pianist. His
33 Jean-Jacues Eigeldinger, Chopin vu p a r ses eleves. Neuchatel: a la baconniere, 1979. Translated as
Chopin, Pianist and 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
31
preferred piano was a Pleyel, made by the company of 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 AntoineFrangois Marmontel commented on the pedals of Pleyels 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 of Chopins may have been composed on the Pleyel piano.
Due to the thinner felt of leather covering on the hammers, the touch of the Pleyel
was far lighter than that of 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:
Chopins pedal markings make perfect sense when performed on a Pleyel grand
similar to the ones he used. Even the absence of pedal for many bars seems
correct. When the pianist remains faithful to Chopins avoidance of pedal, its
usewhen indicatedis like a breath of fresh air. Slight blurring also sounds
correct at specific places.39
Chopin also owned an Erard, which he found easier to play when he wasnt
feeling in full command of his musical abilities. Chopin told Liszt:
When I am indisposed, I play on one of Erards pianos and there I easily find a
ready-made tone. But when I feel in the right mood and strong enough to find my
own tone for myself, I must have one of Pleyels pianos.40
35 David Rowland, A History o f Pianoforte Pedaling (Cambridge: Cambridge University Press, 1993), 127.
36 A. Mamontel, Histoire du piano et de ses origines (Paris: A.Chaix et cie., 1885), 256-7
37 Palmieri, 75.
38 Banowetz, 180.
39 Ibid. 180.
40 Derek Melville, Chopin (London: Clive Bingley, 1977), 28.
32
The pianos of Chopins time had far less sustaining power than those of 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 of 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 of the dampers
prevents too great an accumulation of 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 of Chopins Sonata, op. 35,
(see Fig.5.1).
Finale.
P r e sto .
sotto
voce
legato
Fig 5.1. Chopin: Sonata in B-flat Minor, 4th movement, op. 35. mm. 1-6
41 Antoine Francois Mamontel, Les Pianists celebres (Paris: A.Chaix et cie.,1888), 67.
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 of the main uses of 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
Chopins 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
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).
M o derato ( 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 Chopins Mazurka, op. 6, no.l (see Fig. 5.4).
'em po
2 43
3 5
>
m
*
9.
legato
Fig. 5.4. Chopin: Waltz in F-sharp Major, op. 6, no. 1, mm. 25-30
35
The use o f 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.
Chopins Nocturne in C-sharp Minor, op. 27, no. 1, is an excellent example of an
appropriate place for the use of long pedaling. Chopin took full advantage of 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).
-No.l.
2------------...-------s-j.
^3 ------ 2-----
Up.
L a r g h e t to . 15
-------T------------- - . r
--
Z____
J
r,
i J- i..I..-H
?5""3-
<>
liyuf.o
,3V
j i"^: j ..I t i1J i ! ; . i
It
3
f.
St
Fig. 5.5. Chopin: Nocturne in C-sharp Minor, op. 27, no.l, mm. 1 - 7
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 performers discretion; a
repetition of the previous pedal indication; or an abrupt or a gradual silence 43
Pedaling Comparison of Different Editions of Chopins Ballade in G Minor, op. 23

The opening of Chopins Ballade in G Minor requires a pedal technique that will
allow for appropriate resonance without sacrificing clarity of voice leading, rhythm, or
harmonic flow. Many editors have tried to abide by Chopins 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 of Poland, which
has been edited by IJ. Paderewski, L. Bronarski and J. Turczynski. This version has been
based primarily on Chopins 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 Notational Symbols ( Milwaukee: Hal Leonard, 2005), 9-11
37
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 editors 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 of the most commonly used edition by modem
pianists.The last choice is the edition of Novello & Company of 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 of 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.
38
impossible with the pedal.45 While this statement might seem applicable to the
introduction to Chopins 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 of the pedal in measure 8 is not appropriate because of the tied
dotted half note will be held to the 4th beat of measure 8, and the left hand needs the
dotted half rest before pressing the bass note D.
This authors 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
of 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.
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 of 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 of 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 of the pedal. The pianist should use separate pedaling for the chords of measures
6 and 7. Depress the pedal before the chord in measure 6. The pedal of measure 7 should
be released slowly by the down beat of measure 8. Then only the B-flat should sound,
without any assistance from the pedal, for the first three beats of measure 8.
1.
Polish
3.
Schimer
4.
Novello
5.
Suggestion
M oderato
fr
1.
Polish
2.
Henle
3.
Schimer
4.
Novello
5.
Suggestion
II
I I___ I
J L
U
J L
Fig. 5.6. Chopin: Ballade in G Minor, op. 23, mm. 1-9
41
Conclusion
Chopins 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 Chopins 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 of 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 of the environment.
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 corda. Erard and Pleyel were Debussys preferred
French makers. Jane Bathori reveals that Dubussy actually preferred the tone and timbre
o f 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
Debussys 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 of a hall, the
condition of the piano, or today, the presence of a microphone.48
As Debussys 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, Debussy, translated by Felix Aprahamian, Recorded
Sound, Spring, 1962.
47George Copeland, Debussy, the man I knew, Atlantic Monthly, January, 1955, 34-38.
48 R. Gerig, Famous Pianists and Their Techniques (Bloomington: Indiana University Press, 2007), 124.
42
43
described as atmospheric. misty, impressionistic, among other adjectives, and their

performance requires subtle, controlled use of the pedal. The damper pedal can be used to
great effect, particularly if the technique known as half pedaling is used. Half pedaling
involves slight, very short, quick depressions of the pedal, so that the dampers give the
strings only a slight touch.
Walter Gieseking, who many consider the greatest interpreter o f the piano works
of Debussy, emphasized that the pedal sign in Debussy is for the bass note, and that the
pedal should be held as long as the harmonic does not change. This means of course that
the pedal may need to be held for an entire measure or longer.49
Pedal points are prominent in the music of Debussy, and may be treated in many
instances as de-facto pedal marks. His early works rarely employ pedal points but with
Pour le Piano they became one of the most significant parts of his music for that
instrument. Debussy approached the pedal-point technique not only from the aspect of
harmony, but also from that of tone-color. Schmitz states:
Pedal-points as used in Debussys works are a study in themselves; placed in the
bass, middle voices, or top voices, ranging in harmonic implications from
dominant and tonic to the distant friction of chromaticism, or of bitonality, held,
or rhythmically very active, pictorial and highly evolved, or simple, they form a
veritable lexicon of the genre. Motif and ostinatos, which form a midpoint
between pedal-points and melody, belonging at times to one and at others to the
second, have an intrinsic series of functions in Debussy compositions.50
In measures 1 through 6 of Pagodes from Estampes, the texture unfolds over a

reiterated B and F-sharp in the bass (see Fig. 6.1). This single harmony, a six-five chord
(B, D, F-sharp, G-sharp) is adjusted in measure 5 by the addition of an A natural.

Debussys pedal marks, the first in measure 1 and a second in measure 5, are aligned with
49 R. Gerig, Famous Pianists and Their Techniques (Bloomington: Indiana University Press, 2007), 272.
50 E.Robert Schmitz, The Piano Works o f Claude Debussy (New York: Dover Publication, Inc., 1950), 32.
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.
d e iic a tsn u n t e t presq u e sa n s n u a n c es
M o d 6 re m e n t a n im e
_____________ "t-g-
XT
S'
r it.
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 Giesekings technical control.51
51 Banowetz, 234
45
p iu p
p tr'es d o u x
m
-Vp-m
p p e x p r e s s i jy
2
------
4m
to u jo u r s p p
pp
* w
Fig. 6.2. Debussy: Voiles from Preludes, mm. I -9
Although long pedaling is frequently used in much of Debussys piano works,

little or no pedaling should be considered for very fast figurations. The excerpt Doctor
Gradus ad Pamassum from Childrens 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 of the una corda
and damper pedals can be especially useful in soft and glimmering sonority. This joint
use of 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 of the
cathedral out of the mist (see Fig. 6.4).
46
M o d e re m e n t a n im e
J> e g a l e t s a n s s e c h e r e s s e
L_A __A
pp
pp
Fig. 6.3. Debussy: Doctor Gradus ad Pamassum from Chidrens Corner, mm. 1-8
Profondement calme da n s une b ru m e dou cem en t son ore
SX '
M '
XT-____ __* - _____________
Fig. 6. 4. Debussy: La Cathedrale Englouti from Preludes, mm. 1-3
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
48
Pedaling Comparison of Different Editions of Debussys La soiree dans Grenade

from Estampes
Most editions of Debussys 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 Debussys 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 of Debussys 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 of 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
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 of 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 of 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 edition.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 half pedaling for this section since half pedaling allows part of the notes, usually
the lowest pitches, to be sustained, while others, typically the higher frequencies sustain.
The use of half pedaling is appropriate here because the bass notes, particularly the Csharp, need to sustain while the upper more active voices, which need the protection of
damping, may be articulated more distinctly.
As an alternative (see Fig. 6.6, no.3b), the damper pedal may be used for the first
beat o f each 2 measure phrase. This pedaling can help to make an effective two-note slur
in measure 92 and staccato in the right hand in measure 93 if the C-sharp can be
sustained by finger pedaling. In measure 94 however the base note C-sharp can not be
52 Claude Debussy, Estampes, ed. Maurice Hinson (Van Nuys: Alfred Publishing Co., Inc.), 6.
50
sustained by a finger pedal because the left hand is needed elsewhere. The use of
sostenuto pedal may be a best solution for this passage.
To make possible articulation of successive repetitions of the habanera rhythm in
measures 96 and 97, shallow pedaling on the down beat of each measure with a gradual
release is recommended. The next pedal change occurs on the second half of beat three in
measure 97 because a new melodic gesture begins at that point. The low Es beginning in
measure 98 should be controlled with the fingers, otherwise their resonance may obscure
the other voices. The pedal should be changed next for the second of the octave As in
measure 98. When the pedal is changed, all of the right hand chords will be sustained
even though the left hand moves to down to play bass Es. This pedaling can also help to
create the clear bell sound in the left hand.
51
T em po giusto
pp
pp
1.
Taerim
2.
Alfred
3.
Suggestion
.JL .
, I__
b.
1 Sostenuto Pedal
96
M===&=M
-&-
pp
//
i<*4
1.
Taerim
2.
Alfred
3.
Suggestion
___A_.
9P
8"I
J s;-
Y\
JL.
JL
A.
*
=**
W!* ^ *
It * #
i t
iip
1.
Taerim
2.
Alfred
3.
Suggestion
J\
A_
Fig. 6. 6. Debussy: La soiree dans Grenade from Estampes, mm. 92-102
52
Conclusion
Although Debussy generally avoided marking pedaling indications, his
requirements for the use of pedaling were made clear by his other compositional
techniques. There are many long notes which cannot be sustained by fingers,
consequently they required the use of pedal. The frequent occurrence of held and
reiterated pitches and harmonies over which other complex textures unfold requires the
use of pedal if these pedal points are to be sustained. Long pedaling to sustain whole
tone or pentatonic harmonies is also an important tool for achieving some of the
characteristic timbre affects in Debussys music. The sostenuto pedal and the una corda
pedal extend the range of such possibilities. These pedals can be used in combination
with the damper pedal.
53
CONCLUSION
The development of the pedal and the symbols used to indicate various pedalings
have developed simultaneously with the evolution of musical styles and the development
of the piano itself; composers indications for the use of pedal have varied greatly, from
style period to style period, from composer to composer, and even within the works of
individual composers. These circumstances mean that there may be serious anomalies
and inconsistencies in pedal markings, even among those in original manuscripts. For
these reasons performers must consider a range of factors which go beyond a literal
interpretation of pedal markings in any edition or even pedal markings left by the
composer in the original manuscript. The factors include: a careful study of the
individual composition and its unique place in the literature, a thorough knowledge of
stylistic background against which each composition was formed, technical capabilities
o f the performer, the instrument available for each performance, and the acoustical
environment for the recital or concert. The purpose of this document is to encourage
pianists to consider all these factors in making pedaling decisions.
54
BIBLIOGRAPHY
Arnold, Denis and Nigel Fortune, editors. The Beethoven Reader. New York: W.W.
Norton & Company, Inc., 1949.
Banowetz, Joseph. The Pianists Guide to Pedaling. Bloomington: Indiana University
Press, 1985.
Barnard, Trevor. Basic Pedaling Techniques. Clavier 37 (September 1998): 8-10.
Barth, George. Mozart Performance in the 19th Century. Early Music 19, no.4
(November 1991): 538-555.
Bastien, James W. How to Teach Piano Successfully. Park Ridge: General Words and
Music Co., 1973.
Bernstein, Seymour. Chopin: Interpreting His Notational Symbols. Milwaukee: Hal
Leonard, 2005.
Bilson, Malcolm. The Soft Pedal Revisted. Piano Quarterly 30. n. 117 (1982): 36-38.
Bodky, Erwin. The Interpretation o f Bachs Keyboard Works. Cambridge: Howard
University Press, 1960.
Bolton, Hetty. On Teaching the Piano. London: Novello and Company Limited, 1954.
Bruxner, Mervyn. Masterning the Piano. New York: St. Martins Press, 1972.
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D.M.A. diss., Louisiana State University and Agricultural & Mechanical College,
2000 .
Cooke, James Francis. Great Pianists on Piano Playing. Philadelphia: Theodore Presser,
1938.
Copland, George. Debussy, the Man I Know. Atlantic Monthly 195 (January 1955): 3438.
55
Dickens, Theodore Pierce. A Brief Overview of Keyboard Techniques as Applied to

Playing the Harpsichord, the Piano, and the Organ. D.M.A. Document, The
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(1994): 13-16.
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Hughes, Walden. The Mysterious Damper Pedal. Clavier 41 (January 2002): 6-9
Hutton, Judy. Of Relaxation, Pedaling, and Learning Legato from Bach. Clavier 35,
no.2 (1996): 10-13.
Last, Joan. The Young Pianist. London: Oxford University Press, 1972.
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Inc., 1972.
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Pedaling, Mazurka Rhythm. D.M.A. diss., Cornell University, 2001.
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1950.
Newman, William. Beethovens Piano Versus His Piano Ideals. Journal o f the
American Musicological Society 23 (1970): 484-504.
Newman, William. Beethoven on Beethoven: Playing His Piano Music His Way. New
York: W.W. Norton, 1988.
56
Orledge, Robert. Debussys Piano Music. The Musical Times 122, no. 1655 (Jan 1981):
21-27.
Parrish, Carl. Haydn and the piano. Journal o f the American Musicological Society 1,
no. 3 (Autumn, 1948): 27-34.
Potamkin, Frank. Modern Piano Pedagogy. Philadelphia: Klkan-Vogel Co., Inc., 1936.
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Riefling, Reimer. Piano Pedaling. Translated by Kethleen Dale. London: Oxford
Rosberger, Paul S. The Development of a New Keyboard. Journal o f Research in
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Rothstein, William. Heinrich Schenker as an Interpreter of Beethovens Piano Sonatas.
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57
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ON PEDALING: ALTERNATIVES TO ESTABLISHED PRACTICE

Submitted in partial fulfillment of the requirements

UMI Number: 3313723

Copyright Hye-Sook Jung 2007

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

Cinda Page Cummins, Ph.D.

Susan Curtis Fleming, D.M.A.

William B. FTenderson, M.M.

The Historical Development of Piano P edals................................................................. 3

PEDALING IN MUSIC OF THE BAROQUE............................................................. 6

Introduction to Pedaling in the Baroque Period on the Modem P ian o .........................6

Pedaling Comparison of Different Editions of Baroque W orks................................... 7

PEDALING IN MUSIC OF THE CLASSICAL PERIO D......................................... 12

Introduction to Pedaling in the Classical Period on the Modem P ian o .................... 12

Pedaling Comparison of Different Editions of Mozarts Fantasy

Introduction to Pedaling in Beethoven Piano Works on the Modem P ian o .............. 22

Creative Usages of the Pedal for Beethovens W orks................................................. 24

Pedaling Comparison of Different Edition of Beethovens Piano Sonata

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

Introduction to pedaling in Chopin Piano Works on the Modem P ian o .....................30

Una Corda and A sterisks...............................................................................................36

Pedaling Comparison of Different Editions of Chopins Ballade

Introduction to pedaling in Debussy Piano Works on the Modem P ian o .................. 42

Pedaling Comparison of Different Editions of Debussys

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

6.5. Debussy: LIsle joyeuse, mm.166-173 ..................................................................... 47

The Historical Development of Piano Pedals

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

Pedaling Comparison of Different Editions of Baroque Works

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

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

Fig. 2.4. Scarlatti: Sonata in B-flat Major, K. 551, m m 26-29

On the pianos of the Classical period, the long unbroken pedaling

Pedaling Comparison of Different Editions of Mozarts Fantasy in C Minor, K. 457

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

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

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

Pedaling Comparison of Different Editions of Beethoven Piano Sonata in D Minor,

Therefore the Simrock edition as

j i"^: j ..I t i1J i ! ; . i

Una Corda and Asterisks

Pedaling Comparison of Different Editions of Chopins Ballade in G Minor, op. 23

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

described as atmospheric. misty, impressionistic, among other adjectives, and their

In measures 1 through 6 of Pagodes from Estampes, the texture unfolds over a

(B, D, F-sharp, G-sharp) is adjusted in measure 5 by the addition of an A natural.

d e iic a tsn u n t e t presq u e sa n s n u a n c es

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

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

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

Although long pedaling is frequently used in much of Debussys piano works,

Profondement calme da n s une b ru m e dou cem en t son ore

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

Fig. 6. 5. L Islejoyeuse, mm.166-173

Pedaling Comparison of Different Editions of Debussys La soiree dans Grenade

less than full pedal in this edition.52

Fig. 6. 6. Debussy: La soiree dans Grenade from Estampes, mm. 92-102

Dickens, Theodore Pierce. A Brief Overview of Keyboard Techniques as Applied to

Whiteside, Abby. Indispensables o f Piano Playing. New York: Coleman-Ross Company,