The Art of Pedaling: A Manual for the Use of the Piano Pedals (Dover Books On Music: Piano)

There is a Russian saying: briefness is s sister of talent. This fully relates to this little book.Concise, structured, smart, with clear explanations and good illustrations, the book is quick source of important information for musicians of all levels. What else can be said? The author Heinrich Gebhard was a student of Theodor Leschetizky, who was a student of Cherny, who was a student of Beethoven!

Small book with everything i need....Great to review and review and review and challenge me with new experiences as pianist!

Awesome book. On time delivery. Thanks

To high level for my current ability. Maybe as my skill level increases, it will make more sense.

I like the book so far, I have helped me to improve my pedaling and for this price you can not go wrong

This book sadly turned out to be a predictable approach to playing the piano which favors the 'wet' sound which has predominated for some time, regardless of knowledge of the instruments and aesthetics of the composers' time.

Not as I expected and definitely not for a beginner. A good add to your library provides insight and history.

Offers no assistance to learning a natural pedaling technique. Pedaling is like learning to drive a car with a manual transmission. It begins to come naturally. I have yet to find a book that can teach you this. Find a friend who plays well and can offer some tips. Better yet, watch some YouTube videos.

Great!

This was easy to read and really quite interesting.I havent had time to play the passages within the book yet though but the book is good just for the short passages and comments on them.

Aunque muy resumido, es una gran introducción a las posibilidades de un buen pedaleo expresivo.

It doesn't cost very much, but you're likely to be disappointed when you first receive this: it's more of a pamphlet than a "Manual", with only 50 pages and fairly large print. Half pedalling, for example, is dealt with in four sentences and a single example.Nevertheless, the examples on offer are genuinely useful, and it could be argued that there is only so much that can be said about pedalling. The author is a respected teacher of concert pianists, including Bernstein, and so his words, albeit concise, carry some weight. He is not dogmatic, and rather takes the view that pedalling needs to be contextually appropriate, and that there are no hard and fast rules. Consequently, he teaches by example and I found the examples genuinely illustrative. As you will probably want to have a go at playing through them, you should bear in mind that they are taken from the concert repertoire and some of the passages from Liszt, Rachmaninov and so on will be challenging, even played through slowly, to those below about ABRSM Grade 7. You can, of course, get the gist without playing them.