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Post by schubertiad on Nov 6, 2006 15:51:26 GMT
I'm a little stumped on when to use soft pedal in chop's op.25 no.2 study. I definitely feel like it needs it in places, but once it's down, it seems too much of a sharp contrast when i take it off. But i also don't want it for the whole piece. Any solutions?
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Post by Dulciana on Nov 7, 2006 1:48:40 GMT
I can't comment on this piece, as I'm not really familiar with it, but I'll be interested to hear what's said about this; I used the soft pedal a lot in my diploma exam and was criticised for it in the report - yet they didn't appear to deduct any marks for it. They simply advised me not to be over-dependant on it. I kept it down for over half of a Czerny study, only releasing it as the climax approached. It's part of the instrument and should be used as such (IMO) but I was never aware of an unwelcome change in tone when it was released; there was a change, but it would be best described as an intensification; I was wondering if this could be dependant on the piano? Have you played this on other pianos?
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Post by possom on Nov 7, 2006 9:37:58 GMT
I have played a few of Chopins etudes (can't remember the no.s i'm daft like that), i've never used the soft pedal in any of them. My teacher would only ever let me use it if it said una corde.
When at home i'll use it all the time partly due to the neighbours and not wanting to be heard ;D
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Post by Steve Hopwood on Nov 7, 2006 11:57:29 GMT
I am with possom's old teacher here. Using 'soft pedal' in place of 'una corda' is normal but obscures the real function of the pedal. The una corda is really a 'special effects' pedal and is most commonly used in piano music by composers from Debussy onwards, to muffle the sound of a grand piano (mind you, it is also pretty good for helping avoid legal action on the part of incensed neighbours ;D). As a general rule, if the likes of Chopin (can't think of an example), Liszt, Brahms, Debussy, Rachmaninov etc indicate una corda, then I use it. If not, I do not. So I do not use it in this particular study. If you do use it, Schubertiad, then the way to overcome the dramatic increase in sound intensity is to release it as the start of a crescendo. My Yamaha grand has this fault as well and this is how I deal with the problem.
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Post by schubertiad on Nov 8, 2006 14:41:24 GMT
I think i might just have to be flexible, depending on the piano i play. For really bright pianos i'll throw it down almost for the whole piece, and for less bright ones do without entirely. If i can get some recording equipment organised, could i send you two copies (one with and one without una corda) and see what you think? Thanks Schubertiad
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Post by Steve Hopwood on Nov 8, 2006 15:01:56 GMT
I think i might just have to be flexible, depending on the piano i play. For really bright pianos i'll throw it down almost for the whole piece, and for less bright ones do without entirely. If i can get some recording equipment organised, could i send you two copies (one with and one without una corda) and see what you think? Thanks Schubertiad Of course. i will have a listen with pleasure.
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