Piano Pedalling Part I: Everything you Have to Know about Two Basic Ways of the Sustaining Pedal Use
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- Опубликовано: 21 июл 2024
- This extensive piano tutorial covers two basic ways of pedalling and explains frequently asked WHYs and HOWs questions about the use of the sustaining/damper pedal.
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00:00 Introduction
00:22 Two principal functions of the sustaining pedal
05:52 Tips for the efficient pedal use
07:52 Types of the pedal notation
08:20 𝗗𝗶𝗿𝗲𝗰𝘁 𝗣𝗲𝗱𝗮𝗹 explanation
09:44 When should I change pedal?
11:35 "Bach Wars about the pedal use" sketch
13:47 𝗗𝗲𝗹𝗮𝘆𝗲𝗱 𝗣𝗲𝗱𝗮𝗹 technique
17:20 Illustration on combining these types in a piece
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#pianotutorial #sustainpedal #studypiano 
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Pretty rare to see a experienced pianist with a good sense of humour. I am a beginner and your videos help a lot!
Didn’t got skills and talent? At least be funny!
My life motto!😉
It's unfortunate that your channel isn't better known. This is some top notch knowledge and very good presentation. I'll make sure to watch all your videos and recommend them to anyone I know who is learning to play the piano!
Thanks so much for your nice feedback and support! I am posting this type of content since relatively recent, so no wonder that I don't have that many followers yet. RUclips is a funny thing in regard of a quality/views relation as well. My goal is a quality content, however it is a proven fact that for a rapid channel growth quantity is often more beneficial.
@@DenZhdanovPianist Yep, I'm not quite sure myself what would crack the RUclips algorithm, it definitely seems to be less supportive nowadays. I'm pretty impressed that you've managed to consistently cover content that I haven't found elsewhere on RUclips from the videos of Josh Wright, Graham Fitch, cedarvillemusic, etc. I have shared some of your videos on Reddit (it's how I came across your channel in the first place), and you might consider continuing to post there as well.
@@ananthd4797 I have seen that there are a lot of videos with a similar topics to mine of course, didn't have time to check them out in depth. But I believe that since approaches to music making are limitless in their variety, and experience of each musician is quite unique anyway, there is still a lot of things that one may say from the different perspective, or even maybe from an opposing one. Basically, each chapter from this or any other video about piano playing deserves a few contrasting dissertations, and there are already many of course.
hands down the best video on piano pedaling i've seen on youtube! (comic relief included.. 😅)
In all the long years I have been listening to piano teachers on RUclips, I have never found one that I find so trustworthy as Denis Zhdanov. In every one of his videos I learn something new. I could hardly expect better information than the one from a pianist who reached the 2nd stage at the XVI International Chopin Competition. Today learning about the character of Ukrainian people, I find him to be an excellent example. And here, it blows my mind all what he has to say about use of the pedal.
Thanks for this highly honorable feedback, dear Ernesto!🙏🤗
Серьёзно? Денис Жданов в 2010 году дошёл до 2-ого этапа конкурса Шопена??? А ещё он из Украины? Почему я об этом только щас узнаю?
@@RaptorT1Vbro you're everywhere over classical yt :D
Thank you very much Mr. Zhdanov. Your videos are very instructive and full of humour.
Wonderful 😊 Thanks, Denis. We all admire your beautiful, artistic, smart and kind soul
ho ly... "Delayed Pedal Techniques" is EXACTLY what i was missing for the past few weeks, im beginner-intermediate and ive never understood how people get a clear pedaled sound when mine was always really muddy and full of overtone resonances (im self taught), especially since it never sounded like the pedal stopped.
this video was absolutely eye opening and i hope you know that your teachings are a blessing.
Happy to help!
Thank you for the very detailed video. The shots of the dampers were a useful addition.
Glad it was helpful! Thank you!
Thank you so so much! Just what I needed! You are such a wonderful teacher!
You are the best! Thank you for all your lessons here on RUclips! I really love it!
Mind-blowing, I had never thought about using the resonance in that way to prolong a note while holding a silent note in the bass. A lot of the other information is also really new and useful, and I'll keep it in mind for the future!
Thanks for your feedback! Have fun!
Recently I just talked about "should we use pedals when playing Bach?" on FB...
Thank you for your explainations, you're great!
Happy to help! Thanks for being here!
Many moons ago, when I was 12 years old & preparing for a recital, my piano teacher made me practice Mozart’s Sonata in C Major without the pedal. I know I played it with the pedal for the performance, but I’m 62 now & revisiting this piece & some others to see if I can refine them further. I thank you for your pedaling suggestions.
Very instructive. You are an excellant teacher. Thank you
Great video! Very informative
Thanks a lot Stas!
Holly God! This is mindblowing to me. Thanks Denis
Interesting and very technical video, it looks like it's going to take a lot of practice to use the pedal properly.
This is amazing. Mahalo!
2:43 this meme resonated with Sir Andras Schiff;)
Interesting lesson, I particularly enjoyed the clear examples with sheet music. Showing the dampers also helped when the ear was feeling a little lazy.
Yeah I admit these videos are slightly above the average information density on RUclips, and try to make them at least less boring😅
@@DenZhdanovPianist I meant it fully as a compliment ! It can be hard for a piano student like me to get good and accurate information, so I enjoy your videos a lot. Everybody plays differently, but to have examples and clear explanations of what you're doing as a professional pianist is very valuable.
U are a super teacher 🙏🙏
Very nice lesson, thank you!
My pleasure! Thanks for a comment, much appreciated!
New subscriber here thx learning new stuff with each video
As a new student to the piano I find your videos excellent
Would appreciate any suggestions with peddling in the Chopin prelude in EMinor Op28 No4
Thankyou🙏 0:19
Is it possible to access part 2 of the pedalling technique please
ruclips.net/video/skWjv8_YnXU/видео.htmlsi=6gE22TXuWQIEU8h9
Do you need to do finger legato when the pedal is used. What is the difference when a pedal is used with and without finger legato. Does it make a difference to the sound if I lift the fingers of the key after the pedal is used.
This is a little subjective topic of course.
In my experience, sometimes the way you use finger pedal enhances your awareness of polyphony, and you’re able to provide a richer texture, a more elaborated sonority and more reasonable rubato, which is very handy in works like the first page of Chopin’s 1st ballade or the middle section of his 3rd sonata 3rd movement. For example, if you’d rely solely on pedal in such spots, you might run a little and play it in a fluent way which would sound “too easy” and kinda insignificant. By using the finger pedal you have better chances to listen better what kind of intervals are being created when you hold a few fingers simultaneously, and live through the musical tensions which appear from such combinations. I have a recent video on interpretation and tension in music, for reference of what I mean here.
But the main functional application of finger pedal is when you want to create a pedal effect in a certain layer, avoiding pedaling through in other voices.
Typical example: Chopin Fantaisie op.49 measure 160. Here I use finger pedal in the left hand, holding Bflat F Aflat Cflat physically, while releasing the pedal briefly in order to show the pause in the right hand between slurred phrases. These pauses in the melody are quite important to me, because they help me to transmit an agitated character, imitating short intermittent breathing, but if we’d do these pedal breaks without holding the left hand notes, it will sound “naked” with an unpleasant dryness in the left hand layer.
Does this answer your questions?
Я вот тоже удивлён: высококвалифицированный пианист, который участвовал в конкурсе им. Шопена в Варшаве, объясняет доступным языком очень полезные вещи для пианиста, причём абсолютно бесплатно и в хорошем качестве!
Какого ... эти видео набирают не сотни тысяч просмотров, а меньше 10 тысяч, да и на самом канале всего лишь 13 тысяч??
Я просто не научился еще себя по-крупному продвигать. Можно быть хоть Энштейном, но если не знаешь как устроен рынок и люди, успеха не будет. Это основная причина почему Моцарт умер в долгах, а Шуберт жил более чем скромно. Виноваты не люди вокруг, а те, кто не умеет монетизировать свои таланты
Но я учусь😎
Direct pedalling has gaps in it right? But I could not hear any gaps in 19:47 when you used direct pedalling for c minor nocturne, so it is delayed pedal no?
Thanks for the question, a good one. Gaps are in the left hand: listen to the base line carefully. In the right hand there is a melody that should last over the pedal as indicated by the composer.
if we don't want the 3rd chord to interfere with the previous chords (specifically, Moonlight Sonata 1st Movement, measure 40, if beat 3 is not to interfere with the chord at beat 1 and 2), then we have 2 options:
1. assuming the pedal is pressed for beat 1 and 2, right before beat 3, release the pedal and when playing the first note of beat 3, press the pedal again, OR
2. same as above, but release the pedal when we play the first note of beat 3, and immediately press on the pedal again... this way, it seems it is harder to synchronize the finger with the foot
should we do (1) or (2)? It is easier to synchronize our fingers and foot with (1), but (2) gives a more "complete" chord because the chord get a full beat 2... although you can argue if it takes a little bit of time for that chord to stop, then that chord actually lasted longer than it really should
P.S. I just remember like Denis said in his video above, if we play a note, other notes may resonate too... so if we have already stepped on the pedal when we play a note, then other notes can resonate better. If we play a note and then we press the pedal, it may cause other notes not to resonate as much
That was exactly my point in the old video on the advanced pedaling tips.
2:05 cool, my digital piano does it too and on the right keys. But it's not that prominent. And my pedal is not that hard to allow me to rest my foot on it 😕
Yes digital pianos largely have their flaws, but older acoustic, especially some vertical pianos, also have light pedal action often.
Denis What could i do: When my Private piano has loud pedal and some Steinway & Sons Grand Piano almost not hear pedal( in many case) It create me so much problems to use pedal 😊😊😊
I am not sure what you mean, but maybe you could ask your technician to adjust your pedal if it makes some usual large amount of noise…
Русская пианистическая школа по праву славится своей... (эх, не придумал слова, но можно подставить любое))
И, Денис, не могли бы вы добавить русские субтитры?)
К сожалению, не хватает времени - оформление и перевод субтитров это большая дополнительная работа, которая, как и всё остальное на ютьюбе - не окупается нисколько.
На самом деле все принципы, которые я на этом канале пропагандирую - универсальны, их мы найдем и у Шопена, и у Корто, и у Аргерих, и у Гульда. Никакого отношения к какой-то национальной школе они не имеют, хотя некоторые нации имеют неизживаемую тенденцию всякие универсальные вещи присваивать😜
@@DenZhdanovPianist а откуда тогда появились фразы "русская пианистическая школа", "немецкая пианистическая школа" и т.д. ?
или это просто по географическому признаку так называют
Мы, Homo Sapiens, стремимся всё рассортировать по коробочкам и прикрепить ярлычки, потому что это дает иллюзию контроля. В реальности же всё со всем связано и перемешано. В одной и той же школе два музыканта могут быть абсолютными антиподами. Многие из принципов, которые часто позиционируются как «Русская Школа» на самом деле пошли от поляков вроде Шопена и французов вроде Дебюсси и Корто. Брамс напрямую учит нас принципам игры, которые некоторые идеологически падкие музыканты пытаются продать как уникальная особенность Русской Школы. Многое из того, что считается «Немецкой Школой» как, например, так называемый «немецкий» тип рубато, когда время берется после достижения сильной доли, а не перед ней, как в т.н. «русском» типе рубато, я научился от выходцев из Московской школы.
Короче, чем меньше мы поддаемся обобщениям и стереотипам, тем ближе мы к объективности.