Chopin Etude Op.10 No.3

[scherzo123]

Just wondering...should you use a lot of pedal in this etude?

[ajspiano]

There is a school of thought that suggests little or no pedal.

https://pianosociety.com/cms/index.php?section=631

Thing is that you need to learn to create wonderful singing lines that are fueled by and extreme control over a physical legato technique. Having this under control impacts the sound with pedal - as in, there is a tonal difference between "physical legato + pedal" and "physical staccato + pedal" for example. Even though overall both will produce something that aurally can be defined as legato.

If in the etude the sound you desire is one where the physical element is what produces the legato then you need hold back on the pedal, and put it in as a way of enhancing the tone in various ways once the physical side is controlled. It is certainly possible to play this piece beautifully without the pedal but its is far more difficult to do it that way than with the pedal. If you want a sound that has a bit more punch (sharper attack on each tone - slightly less singing) then you may want to use the pedal earlier as it will be directly contributing to the legato sound.

And of course, you may wish to use some combination of the 2 - Remembering that this piece has multiple voices, and you may wish to produce a different tone in the middle voices to the one in the melody, which is obviously a major concern in this etude, balancing the voices not only with different volumes but also in using different tone/texture.

For some perspective on tone control, and disregarding what may or may not have been chopin's idea here. Imagine that it was being played by a string group. Suppose that the violin took the melody, it would be smooth flowing and very singing, using the bow. The middle voice which may be taken by a viola perhaps could be played pizzicato - it would still resonate and notes may connect but it would have an enormously different texture.

^Just a thought/way of explaining - I'm not experienced arranging things for strings so make no claim that that would actually sound good. I merely intend to provide some idea of how to think at the piano, what is possible when you see your instrument as a variety of textures and colours that can interact rather than just one instrument playing multiple notes.

[scherzo123]

There is a school of thought that suggests little or no pedal.

https://pianosociety.com/cms/index.php?section=631

Thing is that you need to learn to create wonderful singing lines that are fueled by and extreme control over a physical legato technique. Having this under control impacts the sound with pedal - as in, there is a tonal difference between "physical legato + pedal" and "physical staccato + pedal" for example. Even though overall both will produce something that aurally can be defined as legato.

If in the etude the sound you desire is one where the physical element is what produces the legato then you need hold back on the pedal, and put it in as a way of enhancing the tone in various ways once the physical side is controlled. It is certainly possible to play this piece beautifully without the pedal but its is far more difficult to do it that way than with the pedal. If you want a sound that has a bit more punch (sharper attack on each tone - slightly less singing) then you may want to use the pedal earlier as it will be directly contributing to the legato sound.

And of course, you may wish to use some combination of the 2 - Remembering that this piece has multiple voices, and you may wish to produce a different tone in the middle voices to the one in the melody, which is obviously a major concern in this etude, balancing the voices not only with different volumes but also in using different tone/texture.

For some perspective on tone control, and disregarding what may or may not have been chopin's idea here. Imagine that it was being played by a string group. Suppose that the violin took the melody, it would be smooth flowing and very singing, using the bow. The middle voice which may be taken by a viola perhaps could be played pizzicato - it would still resonate and notes may connect but it would have an enormously different texture.

^Just a thought/way of explaining - I'm not experienced arranging things for strings so make no claim that that would actually sound good. I merely intend to provide some idea of how to think at the piano, what is possible when you see your instrument as a variety of textures and colours that can interact rather than just one instrument playing multiple notes.

Thanks, very helpful.

[asuhayda]

I am not usually a proponent for using a lot of pedal.  However, I think that this particular Etude needs it. 

I agree with the previous poster.  You can't be lazy with your touch AND use the pedal.  It is advisable to learn the proper voicings and bring them out before you add your pedal to this piece.  Otherwise, you run the risk of it being a gigantic, muddled mess.  However, if you are able to voice everything properly (that is to say, you need to understand the melody and its supporting themes and bring it all out), then adding pedal will only enhance the sound.  If you are just playing your L+RH harmony at the same level as the melody that appears, for the most part, on the weaker fingers of your right hand (3,4,5),  then your pedal will only obscure the textures.

This is something that takes many years of practice to understand.  If you don't get it on this piece, keep practicing, it will come over time.  But, the concept is much larger and will take many years to get.  However, this etude in particular, is a great way to practice bringing out the different textures of a piece.  Good choice!