Historical pedalling

Pedalling is not a universal effect to be applied everywhere in the same way. Instruments changed enormously between 1700 and 1900, and each style requires its own approach. Knowing the history helps you make informed choices without dogmatism.

Baroque: Bach, Scarlatti, Rameau

These composers wrote for harpsichord, clavichord or organ: no sustain pedal. Contrapuntal clarity is paramount; legato is achieved with the fingers (substitutions, finger legato). On a modern piano you may add very light touches of pedal to colour a cadence or support an arpeggio (as in the Prelude in C), but never to the point of blurring the voices.

Classical: Haydn, Mozart, early Beethoven

The Viennese fortepiano often had a knee lever that raised the dampers. Its sound, lighter and shorter than a modern piano's, died away quickly. Mozart used it, but sparingly. Today: short pedals, half pedals, many passages without pedal, and above all no "fog" over Alberti basses.

M:4/4
L:1/8
Q:1/4=100
%%staves {RH LH}
V:RH clef=treble
V:LH clef=bass
[V:RH] c2 e2 g3 f | e2 d2 c4 |]
[V:LH] C,G,E,G, C,G,E,G, | B,,G,D,G, C,G,E,G, |]

In a Classical-style passage like this, play without pedal first: the Alberti accompaniment must be clear and light. A short touch of pedal on the final chord is enough.

Beethoven, the great experimenter

Beethoven often marks the pedal himself, sometimes boldly: in the first movement of the "Moonlight" Sonata he asks for senza sordini (without dampers) throughout, and in the "Tempest" Sonata he has the pedal held through entire recitatives. On a far more resonant modern piano, we adapt with half changes to keep the intended haze without excessive blurring.

Romantics: Chopin, Schumann, Liszt

The pedal becomes essential to the sound. Chopin marked his pedalling carefully; it is often long and folds the bass into the harmonies. Use syncopated pedalling, half changes to keep the bass, and the soft pedal for colour.

Impressionists: Debussy, Ravel

Debussy wrote few pedal markings but expected a great deal: layered resonances, long-held basses, flutter pedalling. He is reported to have said one should "pedal with the ear". Long low notes (often tied "into the void") are invitations to let the sound ring.