You probably lift the pedal fully to clear the sound when the harmony changes. Jarred Dunn shows how easing it only partway in Chopin's "Cello" Etude keeps the bass ringing underneath, so the line stays connected instead of dropping into silence.
Join Canadian pianist Jarred Dunn for a heartfelt and insightful lesson on Chopin’s “Cello” Etude in C-sharp minor, Op. 25 No. 7. With elegaic left-hand melodies throughout, the piece lives up to its title, Dunn is quick to point out that there’s more to it than meets the ear: the “cello” writing is always interacting with a beautiful treble line, as well as the ceaselessly repeating accompaniment chords sandwiched between the melodic lines. The challenge of the piece stems from balancing these three layers and bringing out the tragic, languorous character. Likewise, Dunn’s advice always balances aesthetic, stylistic, and historical commentary with practical tips for achieving the desired interpretation. He makes erudite observations about Chopin’s personality and musical interests (Bach, the cello, and even foreshadowing Debussy). Thinking of vocal style and specific instruments immediately suggest the right color for a given section, or a more beautiful phrasing. His technical advice always applies to overarching musical goals: to allow the melodic duo to soar, practice arpeggiating the accompaniment, and apply more weight and key speed in your outer fingers; to play the accompaniment more softly, gently “ride the key” in the Taubman style, not allowing it to rise entirely; divide the left-hand runs into chunks but not metronomically; partial pedal changes to keep the rich sonorities hanging in the hair. Particularly striking are Dunn’s ideas regarding the flexibility of one’s interpretation. By experimenting with different voicings, you’ll equip yourself to play several ways and react to them in the moment. In this way, you’ll prepare yourself for the variable conditions you’ll experience on stage.
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