Week 1 Assignment
Welcome to the latest two-week intensive with Eloise Kim!
The damper pedal is one of the most expressive tools a pianist has鈥攂ut also one of the most misunderstood. In this two-week intensive, we鈥檒l dive deep into the art and technique of pedaling with precision. Through hands-on demonstrations, and targeted exercises, you鈥檒l learn how to avoid over-pedaling and develop a nuanced approach that enhances, rather than masks, your finger work. We鈥檒l explore how to achieve true legato through physical connection in the hands first, and only then add the pedal to create richness and resonance. Whether you鈥檙e looking to clean up your textures, refine your tonal palette, or simply gain more confidence in your pedaling decisions, this intensive will give you the tools to use the damper pedal with intention and artistry.
Assignment #1
Pick an excerpt of any piece of your choice, particularly a piece that requires a sensitive plan for the damper pedal.
Pick a phrase or opening theme of the work to practice with no pedal. Focus on the application of finger-pedal technique demonstrated in my video, and work on achieving long legato phrases with the hands and physical movement without any assistance of the damper pedal.
While you are doing this, create a mind map of where you would like to add the damper pedal for color. You are welcome (and recommended!) to write some pedal markings down in your music to help assist with Week 2's assignment.
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Hello Eloise! I am really excited to do this challenge because I am really struggling a bit with my pedaling in this Ponce Intermezzo - No. 1 - measures 16-19 where is has those left hand grace notes. I want to refresh the pedal for each measure but I also cannot reach a 10th so my struggle is to refresh without also creating an audible break in the sound like it got chopped off between the grace note and that first main left-hand note. I was trying to experiment with potentially holding down the top notes in the right hand while playing that grace note in the left to help with this, but not sure if this is a good solution either. I would really welcome any suggestions. Thanks!
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Eloise Kim this is really helpful thank you for the video tutorial
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Ellen Weaver thank you Ellen!
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Thank you for leading this TWI, Eloise Kim!
I'm working on Schubert's little minuet, D 334. Here's my best effort so far at finger pedaling the start of the trio (score for section attached). I'm thinking I want to half-pedal to take the edge off of the release of the left hand accompaniment and allow more of a brushing motion in the left hand. I'd change pedal on beats 1 and 3 generally, except for the bars where the right hand plays 8th notes only, where I'd change every beat. I'd love to hear your thoughts--thanks again!
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Marc M Lovely work, Marc! Thank you for sharing your PDF and video. Your pedal-ing plan sounds great to me too! Your touch in the LH looks terrific. It is approached with nice lightness while delivering with enough sound. The RH is applying finger-pedal technique very well, but I suggest the it can project a little bit more with a deeper touch into the keys. It might also come in helpful to feel the longer phrases, for example: in four measure phrases, with a new phrase starting after each 'rest' symbol typically. Having this in mind can help the full arm and hands to work together as one unit, and approach singing with a longer line too. Thanks so much for joining again, and happy practicing!
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Hi, a bit late but here is my finger pedalling exercise playing the first 4 measures of the Adagio from Mozart's K332. I am thinking pedal would be good in 1st measure 1st beat and the 1st and 3rd beats of the 3rd and 4th measures.
Here are the link to the video and the notes: https://youtube.com/shorts/VMH4rwV_TNQ
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Sedef CANKOCAK Hi Sedef! Great to have you here
And never too late at all to join the TWI! Thank you for sharing your video. The way you are applying finger-pedal and the tone of your sound is lovely! Your pedal plan also looks great. In this particular movement, also since this is from the somewhat earlier part of the classical era, I would suggest pedal-changing after each quarter beat and lifting the pedal when there is a 'rest' symbol (for example, end of m. 4). Although the LH harmonies do not necessarily change every single quarter beat, the RH moves along quite chromatically here, so we want all of those melodic lines to be heard with clarity while maintaining a singing and warm quality. I will be discussing about applying 'rhythm' of the pedal in my next week's video! In the meantime, I advise to continue practicing without the pedal with the RH projecting even more, and feeling the full arm and hands as one unit to relax and work together to achieve a longer line. Hope this helps, and happy practicing! 
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Hello Eloise,
Apologies for the late posting. I hope it is still alright. I've picked the opening of Beethoven's Piano Sonata No. 7, 3rd movement - Menuetto for my practice.
https://youtube.com/shorts/XNpwGhJNb3Q
I look forward to your feedback.
Thank you,
Tran
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Tran Le Thank you so much for sharing, Tran! Your playing sounds great, and I like how you are applying a relaxed arm movement with the motion of your hands. And excellent work with the finger-pedal technique too. Although this movement is marked "Allegro," I find it helpful to practice movements like this in slow-speed (especially when we do the non-pedal practice) to help magnify to our ears and exaggerate some of the phrasings: such as the marking of the slurs and articulation changes. For example, in between measures 2 and 3, I would suggest taking a slight breath to hear that marking before the D Major chord sits. The way the opening of the movement is phrased is interesting, and very effective when we follow each marking in detail. Wonderful work and sound! Happy practicing
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Eloise Kim Thank you so much for your feedback. I've uploaded a slowed down version with more attention paid to the markings. I really appreciate you taking the time to review and comment my belated posting to help me improve.
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Tran Le Thank you so much, Tran! The phrasings sound much better, and I like how you are taking it in slow practice. Happy to share advice anytime, and hope that exercise came in helpful for you
Look forward to seeing you in our Week 2 part of this intensive! :D -
Eloise Kim Yes, your instruction was absolutely helpful. It took me many tries... I'll incorporate the pedal for this week, and try to improve the evenness of the chords. Thank you!
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Greetings everyone! My apologies for the late post. I am re-working Padarewski鈥檚 Nocturne, Op 16 No 4. Playing without pedal is harder than I expected. Especially with some of the jumps involved. But, I am finding that it is making me more cognizant of how I use the pedal, and to use it intentionally. Thank you for this! The video will come for week 2.
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Jennifer Mehta and I likely will not be doing the pedal king exactly as marked, but will be changing it a bit. Marks to follow.
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Jennifer Mehta Welcome, Jennifer! Happy to have you here, and thank you for joining this intensive! I look forward to hearing your video. Great choice of repertoire! This work is indeed a challenge to practice without pedal. Regarding the jumps, I suggest to also navigate with an open hand position/relaxed arm movement to help smooth-en the transitions. Start slow, few measures at a time to experiment with this movement is my advice. I look forward to your video in the Week 2 link!
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Eloise Kim thank you so much! I was trying this tonight while practicing. It will take some repetition to feel comfortable. Thank you!!!!
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