Tag Archives: piano pedals

Can You Use the Soft Pedal Without the Sustain Pedal?

This is a really interesting question and it brings to mind a video I made years ago demonstrating how the pedals interact with tone and techniques that add sustain to the tone of the piano by utilizing the pedals. If you push down the sustain pedal after you’ve played a note, you can enhance the tone after the initial attack. You can also depress the una corda pedal (soft pedal) which shifts the action so only two of the three strings are struck directly by the hammer for each note which makes the attack softer and creates a more sustained tone. By using these two techniques in conjunction with one another, you can achieve a very sustained tone. But what about just using the soft pedal alone? Is that ever done?

Here’s an interesting fact for you. Way back when the first piano was developed by Bartolomeo Cristofori around 1600, he had sort of a una corda pedal. It wasn’t like a modern type, but indeed he had a mechanism on his early pianos that could provide a softer tone. However, that piano didn’t have a sustain pedal! Later on in Mozart’s era, the early pianos had a lever that could be operated with the knee that did the same thing as the sustain pedal on modern pianos. You could combine changes of registration achieved by engaging felt on the strings, along with the sustain lever, thereby softening and sustaining the tone. This is like on a modern piano combining the sustain pedal along with the soft pedal. For example, in the second movement of the Mozart sonata K330 in C major; I always love to take the una corda pedal in the minor section. I use the sustain pedal along with the una corda pedal to achieve a soft, singing sound.

If you’re playing Baroque music which predated the invention of the piano, composers wrote for various keyboard instruments including the harpsichord, clavichord, virginal as well as others. These instruments had no sustain pedal. Yet there were changes of sound with registrations which engaged different sets of strings. This is why many people believe that you should not use the sustain pedal in Baroque music for the reason that it wasn’t on any of the keyboard instruments of the time that composers like Bach and Scarlatti were writing music for. So this is one instance where there is a good case for using the una corda pedal without using the sustain pedal. You can hear the change of color on the accompanying video which demonstrates engaging the una corda for a change of tone. Indeed it is possible to use just the una corda pedal without necessarily combining it with the sustain pedal as is usually the case.

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A Piano With Four Pedals!

You probably know that pianos generally have 3 pedals. You may have seen pianos with only 2 pedals (mostly older European and Asian pianos). But have you seen any pianos with 4 pedals? Believe it or not, there are pianos with 4 pedals and it’s very interesting how this works.

One example is the piano company Stuart & Sons from Australia which builds pianos with 4 pedals. Before we get into what the fourth pedal does, let’s do a quick review of the functions of the standard 3 pedals.

The right pedal (the sustain or damper pedal) enables all the notes to carry their sound even after you lift your hands off the keys. Virtually all modern pianos (even digital pianos) have this pedal and your piano almost certainly has one.

The left pedal (the soft pedal or una corda pedal) shifts the action to the side slightly – which you can actually see on grand pianos when you depress the pedal. The hammers strike only two of the three strings directly producing a more mellow tone.

The middle pedal is a selective hold (sostenuto) pedal in that it only holds the dampers up for the keys you press and hold down just before pressing down the middle pedal. Yet, any additional notes you play after, will not sustain without holding the keys down. If this sounds confusing you can watch my video on What Does the Middle Pedal on a Piano Do?

The above descriptions of all these pedals pertain to the actions on grand pianos. Upright pianos have pedals that typically don’t have the same functions as pedals on grand pianos with the exception of the damper or sustain pedal on the right.

On upright pianos, the right (damper) pedal still functions the same as they do on grand pianos in that it holds up the dampers on all notes allowing all notes to sustain without holding down the keys. The middle pedal on a upright pianos is typically a practice pedal which places felt over the strings for quiet playing. Some middle pedals on upright pianos sustain only low notes which mimics the use of sostenuto pedals (middle pedals) on grand pianos. The left pedal though is where things get really interesting.

The left pedal on upright pianos sets the hammers closer to the strings instead of shifting the action to only strike two of the three strings as in grand pianos. This doesn’t change tone, but it does change the touch of the piano making it harder to play loud because it lessens the momentum of the strike of the hammers. This is what the fourth pedal does on Stuart & Sons pianos.

This may be useful because you still have the availability of the una corda pedal for tonal change, but you also can change the response of the action making it easier to play softly with the fourth pedal. While not a requirement for your music, but it’s a nice option to have.

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What do the Pedals on Upright Pianos Do?

You might wonder if there is a difference between the pedals on upright and grand pianos. Not only is there a difference, but there are actually no upright pianos with pedals that function the same as pedals on fine grand pianos!

Let’s discuss each of the three pedals and see how they differ from one-another:

 

The Sustain Pedal or the Damper Pedal (The Right Pedal)

This is the most commonly used piano pedal and it is the one pedal that functions the same on uprights and grand pianos.

The Right Pedal releases all the dampers so that the tone lives on after you release the keys.

 

 

The Sostenuto Pedal (The Middle Pedal)

On a grand piano, the middle pedal functions as a selective hold pedal. It will release the dampers only on the notes that you depress and hold before pressing the pedal. To put it simply: You play some note – while holding them down, press the middle pedal and hold it down to keep the dampers of the held notes from going back down again after releasing the keys. Only those notes continue holding, but new notes played will not hold after you release the keys.

On upright pianos there are a couple different functions for the middle pedal but they rarely perform the function of a sostenuto pedal that a grand piano offers.

Older Upright Pianos

Some older upright pianos have a bass sustain for the middle pedal function. This will only release the dampers on the bass section of the piano and leave the other notes in the middle and the treble alone.

The reason for this is that most pieces of music that utilize the middle pedal have low notes that hold while other notes are played in the upper register. So, it functions almost like a sostenuto pedal in many musical contexts.

Newer Upright Pianos

The trend in recent years has been to move away from a quasi-sostenuto (bass sustain) pedal in upright pianos and replace them with what is referred to as a “practice pedal”

The practice pedal is designed to allow someone to practice the piano while reducing the volume of the piano substantially. It accomplishes this by placing a piece of felt between the hammers and the strings. The hammers then strike the felt and the volume of the notes is greatly reduced. This pedal will “lock” into place by pushing it down and to the left and will enable you to still utilize the right and left pedals on the piano in addition to utilizing the practice function.

This is a very useful pedal for homes or apartments where the sound of the piano could be bothersome to neighbors, parents or other members of the household.

 

Una Corda or Soft Pedal (The Left Pedal)

This pedal is important because it changes the tone of the piano. On a grand piano this pedal will shift the entire action – you can actually see the keys move from left to right – and the hammers will strike the strings off center making for a softer sound.

Una corda means “one string” because originally pianos only had two strings for each note and this pedal would shift the action so the hammers hit single strings instead of both. Modern pianos have three strings for each note (through most of the piano) and shifting the hammers makes it so they don’t hit the strings squarely. Not only that, the hammers will hit the strings where they aren’t grooved which produces a warmer tone since the felt is softer than the compacted, grooved part of the hammers.

On upright pianos the left pedal does not function at all like it does on grand pianos. It does not shift the action from left to right but typically will move the action closer to the strings.

By placing the hammers closer to the strings, the left pedal will change the touch of the piano but does not change the tone. It is much more difficult to gain momentum with the hammers closer to the string making it harder to play loud, but not change the tone.

There is a little trick you can try with the left pedal on upright pianos. Because it shifts the action closer to the strings, if you hit the pedal quickly, it can make the hammers strike the strings and produce a sound. On some older pianos if you hold down the right pedal and pump the left pedal you can produce some very weird sounds! It’s certainly not meant to function this way but it’s something fun to try sometime.

I hope that this solves the mystery of the pedals on upright pianos. There is a lot of misconceptions about how these pedals function when compared to grand pianos and my hope is that this article has shed light on this subject.

I hope this is helpful and if you have any questions about this topic or any other, please email me Robert@LivingPianos.com for more information.

The Art of Pedaling on the Piano – Part 2

Welcome back to our multi part series on the art of pedaling on the piano. Last time in part one we talked about the damper pedal and clearing the pedal on the downbeat of new harmonies. This week we are going to be covering some nuances of pedaling.

For this example, I use the Beethoven Pathetique Sonata. In the example, I demonstrate playing the piece without the pedal. When it comes to performing the piece you will want to use the pedal, but you should learn all your music without the use of the pedal first so you can hear the connection of notes that good fingering provides. This helps you to understand where to apply the pedal in your music as well as avoiding the bad habit of using the pedal as a crutch to connect notes in difficult passages.

Another way to enhance your music with the pedal is like what we talked about in the first video. This is achieved by putting the pedal down as soon as the harmonies change. Sometimes you might want the clarity of the notes to shine through in certain passages,. In these instances it’s a good idea to not hold down the pedal for the entire beat like we did in the first video. Instead, we will be using touches on the melody and for the passages that you can’t connect with my fingers alone.

This might give you an idea as to why pedal markings are not written into the score most of the time. If you tried to write down everything I was doing in the example video above it would create chaos on the page! Many other factors from the acoustics of the room, to the quality of the piano, to the size of pianist’s hands all factor into when to use the pedal.

The best thing you can do is to practice without the pedal and learn your music completely that way. After you feel confident playing the piece without the pedal, slowly go through and add the pedal where you think you need it – either to connect difficult passages or to enhance the harmonies or melodies of your music.

Thanks again for joining me Robert Estrin Robert@LivingPianos.com (949) 244-3729

What Does the Middle Pedal on a Piano Do?

If you play the piano even casually, you probably know that the sustain pedal on the right makes all the notes you play hold until you release the pedal. The other 2 piano pedals are not as clear cut. In fact, only the sustain pedal operates on upright pianos. The other pedals do various things, but seldom what they are designed to do. Even some grand pianos pedals don’t operate the way they are intended.

The left pedal, sometimes referred to as the soft pedal is actually called the une corde pedal for “one string”. Indeed, early pianos had 2 strings for each note and the une corde pedal shifted the action so that the hammers only struck one string. Modern pianos have 3 strings for each note throughout most of the piano. So the une corde pedal shifts the action so that the hammers strike only 2 of the strings squarely. This is significant because it not only makes the notes quieter, but if offers a change of timbre. Upright pianos usually offer a soft pedal that changes the feel, not the sound. It does this by shifting the hammers closer to the strings making it harder to play loud.

The middle pedal is seldom used and even more seldom understood. Most pianos didn’t have functioning sostenuto pedals as they are called until the end of the 19th century. Many European piano manufacturers didn’t include middle piano pedals until well into the 20th century. Like the sustain pedal, the sostenuto pedal holds notes after you release the keys. The difference is that subsequent notes that are depressed will not hold, only the notes that were depressed when the middle pedal is engaged. This is useful in a few scores of Debussy and other 20th century composers. It’s like having a 3rd hand to hold notes in another register without blurring the harmonies with the sustain pedal. However, the sostenuto pedal is only called upon in 20th century music and very few compositions. It is by no means essential but could be important for someone specializing in 20th century piano music.