Chopin Etude op 25. no 7 and pedaling technique.

[itsnanoguys]

I played this and my teacher said I can't pedal it correctly, even slowed all the way down. I didn't realize that to retain clarity between both voices you have to lightly pedal in between notes. I'm not sure if I'm even wording that right, but I can't find any information about pedaling; can anyone explain the concept here? people tend to hold the pedal down for the entire measure but my teacher marked  sustain or lift the pedal in between the left hands sixteenth notes, so you are sort of continually lightly touching the pedal up and down throughout the measure. the pattern of pedaling and desired result is my biggest roadblock. 
I'd also like to ask what other pieces are there to progress pedaling technique? Are there easier songs that use similar technique so i can actually develop the listening ability?  There is really nothing about the pedaling on the internet, although I found a page that described this etude as one of the most boring ones which I find to be totally false.

[visitor]

flutter pedaling as my former professor called it (some teachers call it half pedal or pedal vibrato), but flutter is better, since you need to use your ear as a guide not a 'set pattern' and set depth of pedal, the point is to let the dampers brush just enough of the strings to clear the sound but be lifted enough to keep a smooth sustain 'unchoppy' sound. 
how high you come up depends on the instrument, hence why you need to use your ear as a guide. 
a lot of impressionist period works with not runs are good practice. My first use of it in performance was on a 21st century neoimpressionist work, there was no other way to play it properly without the technique, it's super effective.

Like fingering you need to find what works for you to get the sound you want.
good luck

[jeffkonkol]

When I learned this, I actually worked this without pedal at all first.  It forces correct fingering to keep the held voices to their proper duration, which also REALLY helps a lot with the voicing in this duet.

Yes, you have to add pedal back in, and I agree that fluttering, or half pedaling is probably the way to go.... but try working I without pedal at all, minding to keep everything held to its duration.  I did this with 10-3 as well, and it really worked to clean the voicings up.

I know that the question was about the pedal technique first, but with all things piano, the cleaner the underlying technique, the easier the additional techniques will be to apply.  How much pedal you need to sustain notes is directly related to your voicing and how well your fingering and technique is allowing you to hold the pitches WITHOUT the pedal.

Enjoy the wonderful etude.

[itsnanoguys]

When I learned this, I actually worked this without pedal at all first.  It forces correct fingering to keep the held voices to their proper duration, which also REALLY helps a lot with the voicing in this duet.

Yes, you have to add pedal back in, and I agree that fluttering, or half pedaling is probably the way to go.... but try working I without pedal at all, minding to keep everything held to its duration.  I did this with 10-3 as well, and it really worked to clean the voicings up.

I know that the question was about the pedal technique first, but with all things piano, the cleaner the underlying technique, the easier the additional techniques will be to apply.  How much pedal you need to sustain notes is directly related to your voicing and how well your fingering and technique is allowing you to hold the pitches WITHOUT the pedal.

Enjoy the wonderful etude.

as an aside I was reading about a musician doing a study or complex arrangements for chopin's etudes, and this was the only etude he left out because he thought it wasn't interesting enough.
I'll play it without pedal for a while and see how that goes, I still can't flutter pedal like I'd like to.