Quickly lift the pedal up and then press it down again every time the left hand octave changes in that piece.
It's only an octave stretch, which is OK for most people - but in the photograph your hand is in a bad position with the palm very low and close to the keys, and the fingers arched upwards in an attempt to clear them. Your third (ring) finger in particular is pressing a white key in trying to reach the black. Most sources suggest the seat should be set so the elbows are a little above the key tops, so the palms are above the keys and the fingers curve down smoothly to the keys. I'd suggest searching around for the vary basics of playing position before you try to play this piece further.
I suspect your hand position is wrong (as the other answers describe) because you are trying to hold down all the notes but your hands are too small. The "4-5" fingering on the A in your score implies that the editor wants you to hold down the top notes, which is a good idea psychologically (even though it doesn't make any difference physically when the pedal is down) because it makes you focus on the melody part rather than all the notes in the triplet accompaniment.
So you press the keys and in the moment the hammer touch the strings you release the pedal and press it again as soon as possible. Now the Octave B-B 'floats' and your right hand can have its relaxed position for the triad of the accompaniment. So, to play just these 2 triplets with right hand: 1) press B - B 2) press the pedal 3) release B - B 4) C# - G#. Not the answer you're looking for?Browse other questions tagged piano technique or ask your own question.
12Trill measure 29 3rd movement moonlight sonata5strange fingering in moonlight sonata1So I want to start playing again. Everyone loves playing with the pedal because it adds a new colour and depth to their sound. Even those who are taking piano lessons for beginners can see the difference the pedal makes. That means that the piano pedal serves us as an EFFECT but it won't replace our hands and finger work. When the damper pedal is depressed a mechanism of felt dampers is raised, allowing the sound of the piano strings to be sustained.


Instead, you learn to control the amount of sustain you'd like to add to the sound and release it gently (but quickly!) when you need to, otherwise different sounds that clash with each other will blur in your ear and we wouldn't like that to happen, don't we? So, some students who don't yet control the pedal technique tend to leave the pedal roughly, making a terrible noise that disturbs the music.
So please, please, practice a quite lifting (yet brief lifting) of the piano pedal (in order to depress it again fast when needed). Before I'll give you some useful exercises that will help you to gain control at the piano pedal technique I'd like to show you the sign that shows when the damper pedal is to be used. You'll see these directives often written on a musical beat, or more commonly a fraction after the beat.
Well, that brings me to our starting point where I told you that the damper pedal provides a sustain affect. So we do most of the job with our finger and our hands and we add the piano pedal a fraction later.
After four counts press on D first, then lift your foot briefly from the pedal and lower it immediately to allow each note to echo alone.
This next exercise demands a faster replacement of the piano pedal since you have to switch the pedal after every three quarters. Press on middle C on the first count, continue counting and add the pedal a fraction after the third count. This next piano pedal exercise asks you to prform jumps between different chord inversions and use the piano pedal to create a continuity between these chords.
Last but not least, here's a piano exercise that works on playing arpeggios with both hands with the pedal.
To sum up this issue here are a few pieces that will help you to improve your pedal technique. Larger pianos have a third pedal in between the damper pedal on the right and the soft pedal on the left.
We'll end with the left pedal, called the soft pedal, muting pedal or Una corda in Italian. When we'll get a bit further in our studies we will place our feet on the right pedal and the left pedal so that we'll be able to use both of them when needed.


In other word, we'll use the soft pedal whenever a piano dynamic (and definitely if you have to play pp) sign is written . However, I would avoid this pedal at the moment and come back to it when we're a bit further with my piano technique. If you follow the complete piano course, I'll let you know when I think it's time to start using it systematically. If you want to learn more about reading piano notes you should definitely check out the Rocket Piano Ultimate Learning kit.
You're going to love the way they work systemically with the help of their useful audio and video files that are short and to the point. Sign up and we'll email you our extensive guide on all things piano, plus 10 video lessons.
Having a good quality piano action is essential if you are to develop a good piano technique. Get your free copy of our extensive guide on all things piano, plus 10 video lessons to help you get started with the basics. When I press the sustain pedal at the beginning of the tact all C#-s and G#-s get sustained and overlap.
Having the hands low and arching the fingers up as shown in the picture looks very restricting to me.
In the first edition, Beethoven's instructions at the start of the movement were "Adagio sostenuto", "Si deve suonare tutto questo pezzo delicatissimamente et senza Sordino", and "Semper pianissimo e senza Sordino" - i.e.
If your hands are too small to stretch the 7th C# to B with 2-5, play the C# with your thumb. Release it as soon as you're done, let the pedal carry it through, and relax your hand to play the other two beamed notes in that group. You don't give full gas and you don't release your leg from the gas pedal when you're driving.




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