Of Sound, Of Pedals

I just had a two day seminar on 4th and 5th of May, covering topics on piano teaching by Emeritus Professor Edward Ho. It was a insightful seminar for me and he thought us a lot about Piano Pedagogy. What a pity that I did not manage to attend the group session on the 3rd day of the. For the past two days, he covered a lot on what to introduce to a new student, components in piano teaching, good materials to introduce, aural, pedalling, sight reading as well as a whole lot of humour and stories from his experience.

What I learn and appreciate most from this seminar is the importance of sound. It is not that I am not aware but I have grew to appreciate even more. To be able to produce good sound, it all balls down to techniques of the arm and the touch. Full stop. That was it for me previously, though I know the pedal plays a major role too but I neglect it mostly. Today, I have learn to appreciate it and truely understand the usage of pedals. The sostenuto pedal was impressive for me, because it could sustain the bass note longer as u control the right pedal along at the same time. Great for pieces that required a strong bass accompaniment. There are also the rhythmic pedalling, half pedalling, fluttering pedalling and legato pedalling.

Besides that, he also explains the different contrasting sound and chracteristics of each period from Baroque to 20th Century, though not in details but enough to differenciate each.


















I love the Impressionism era where Debussy is my favourite composer from it. His songs are like magic to me but mostly explained as colourful by others. It is like a reflection in the water, flowing brooks, drifting leaves, dewdrops in the morning and light and fluttery, yet luminous. Some are humourous and scherzando. He incorporates pentatonic My personal favourite is Pagodas from Estampes besides Claire De Lune, the third movement from Debussy's Suite Bergamasque. A beautiful song which means moonlight and the sound and sonority of the tune resembles the soft pale moonlight under the black starry night. Along with gentle breeze that teases gently. It was written in 1888 when Debussy is 26 with Paul Verlaine's poem 'Claire De Lune' in mind. Here I would like to share the poem by Paul Verlaine's poem Claire De Lune.

Your soul is as a moonlit landscape fair,
Peopled with maskers delicate and dim,
That play on lutes and dance and have an air
Of being sad in their fantastic trim.

The while they celebrate in minor strain
Triumphant love, effective enterprise,
They have an air of knowing all is vain,—
And through the quiet moonlight their songs rise,

The melancholy moonlight, sweet and lone,
That makes to dream the birds upon the tree,
And in their polished basins of white stone
The fountains tall to sob with ecstasy.

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Votre âme est un paysage choisi
Que vont charmant masques et bergamasques
Jouant du luth et dansant et quasi
Tristes sous leurs déguisements fantasques.

Tout en chantant sur le mode mineur
L'amour vainqueur et la vie opportune
Ils n'ont pas l'air de croire à leur bonheur
Et leur chanson se mêle au clair de lune,

Au calme clair de lune triste et beau,
Qui fait rêver les oiseaux dans les arbres
Et sangloter d'extase les jets d'eau,
Les grands jets d'eau sveltes parmi les marbres.

While browsing for this song on youtube, I found another young prodigy by the name of Tiffany Poon, aged 10 when she first played this song. A lovely presentation by her, love the rubato in this piece Claire De Lune.