Artistic Pedal Technique: rebukes for Intermediate and Advanced Pianists.

Best selection wholesale flowers Huge selection great savings.

Artistic Pedal Technique: rebukes for Intermediate and Advanced Pianists, by means of Katherine Faricy Frederick Harris Music Co (Unit 1 5865 McLaughlin Rd Mississauga, Ontario, Canada L5R 1B8) 2004 104 pp $1895

The first sixty pages of this useful turn are devoted to the damper pedal, which Katherine Faricy rightly claims frequently is treated like a light switch: it is either upon or off. Instead, we should learn to treat it like a dimmer switch that can be adjusted to any on a level between those extremes. The great Russian-born pedagogue Rosina Lhevinne used to say there are ten like levels, although I find it hard to envision that inspired teacher kneeling forward the floor with her ruler

After presenting an exercises aimed at sensitizing the paw and ears to at least eight as it is levels, Faricy explores in a series of brief precepts the various ways in which the damper pedal can be used, including syncopated, simultaneous, gradual, lengthy flutter and legatissimo pedaling. Each discussion includes a concise explanation of the technique involved; a series of exercises accompanied by way of graphs that illustrate the various stations of pedal depression and release; and, finally, a certain number of well-chosen musical examples--also accompanied by way of graphs--drawn from standard and contemporary piano repertoire.

Among Faricy's many valuable conclusions, united might single out four that are not widely understood: the middle of the damper pedal usually is related to dynamics, with a deeper pedal privationed for louder dynamics; the una corda pedal can be used coloristically at any dynamic horizontal including in loud passages; the una corda pedal can be abaseed just as progressively as the damper pedal; and bass notes marked staccato by means of nineteenth-century composers often should be pedaled.

upon the other hand, it appears inconsistent for her to advise pianists to use all three pedals in Bach (because when playing his music we are making a transcription from the healthy and touch of the harpsichord) on the contrary to advise against using the sostenuto pedal in Debussy (because his pianos didn't have one) In fact, there are quite a not many examples in Debussy where his notation give an inkling ofs he was composing with the sostenuto pedal in mind--notably at the climax of Hommage Rameau and throughout his final piano work, Le soirs illumines par l'ardeur du charbon.

Although this work cannot supplant Joseph Banowetz's authoritative Pianist's Guide to Pedaling (Indiana University Pres 1985) it is nonetheless to be commended to pianists of all ages whose ears are ready to be opened

Reviewed by way of Charles Timbrell, NCTM, Washington, DC

...

Home