There are two peaks among the pianists in the 20th century, one is Holovitz and the other is Rubinstein. They all have unusual attention and profound understanding of the pedal in piano playing.

Rubinstein famously said, "The pedal is the soul of the piano". Holovitz's only academic work in his life is about the use of flexible pedals. The master himself said: As a piano player, his achievements are not in his hands, but in his feet, which is often overlooked.

Extended data

Advanced gameplay of pedals:

1, accelerator pedal

Step on the rising pedal slowly in the middle of the boosting part, so that the pedal will continue to deepen until the upward movement is over, enter another level of strength, and start to use the full pedal, thus helping the fingers to better achieve the effect of boosting the pressure and raising the musical mood.

2. Step on the pedal slowly

Decreasing the pedal is the opposite of increasing the pedal. It is to slowly lift the pedal in the second half of the gradual weakening, so that the pedal becomes thinner and thinner, thus achieving the gradual weakening effect. These two kinds of pedals put forward higher requirements for the control ability of feet.

3, climax long pedal

Climax long pedal: In the climax of music, sometimes a pedal can be used for a long time to combine harmony, their passing sound and auxiliary sound to increase the strength of music, shape the climax of music and make music more magnificent.

For example, the climax of the last four bars of Liszt's Piano Etude No.6 in G Major, the climax at the end of Tarantella, and the cadenza of Ravel's Playing in Water can all use long pedals.

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