Piano and Music Videos

The soft pedal is something that every pianist must learn to utilize effectively. While it’s commonly referred to as the “soft pedal” its actual name is the una corda pedal. Today we are going to discuss when and how to use the soft pedal effectively in your music.

Una Corda actually translates to “one string”. On older pianos, there used to be two strings for each of the notes. By pressing the una corda pedal you would move the hammers over so they would only strike one of the strings. New pianos are a bit different as they have three strings for each note for most notes of the piano. So, when you press the soft pedal it will move the hammers over and they won’t strike the strings in the middle of the hammers, so it produces a mellower tone.

True una corda or soft-pedals only exist on grand pianos. An upright – even with a third pedal on the left – does not truly simulate the effect of an una corda pedal. You can see this because when you depress a true una corda pedal, the keys of the piano will shift slightly to the right. On upright pianos, the soft pedal does different things, but typically it brings the hammers closer to the strings changing the touch, not the tone.

In the video above I demonstrate the effect of the una corda pedal by playing the Chopin movement from Schumann’s Carnival. I provide an example with and without the una corda pedal. You will notice that not only is the music softer but the tone is a different color.

When used properly, the soft pedal is an extraordinarily expressive device that can add new color and depth to your music. So when do you use it?

In the example I play from the video, the same theme is played twice in a row. When I repeat the theme and use the soft pedal it creates a new and different sound. It’s a really beautiful way to highlight certain sections of your music.

But using the soft pedal really is not that simple. While the example above is a good spot to utilize the soft pedal, its effect won’t be the same on every piano. This is because not all soft-pedals are the same. Every piano will have a different response when using the soft pedal. Some pianos might not produce much of an effect at all while others will produce a very dramatic change in tone. It’s very important to get to know the effects of your soft pedal whether you are playing your piano at home or performing on another piano. Room acoustics, audience noise, and many other factors can determine whether or not the soft pedal is appropriate. Many times I have performed on pianos that were a bit too bright and border on having a harsh tone. When faced with this problem I might use the soft pedal a great deal to sweeten the tone and produce a better sound out of the instrument. Sometimes you might encounter a piano that is too mellow and you might want to use the soft pedal very sparingly.

It’s important to remember that the soft pedal is not something you can simply write into your music and play at the same point on every piano. This pedal is something you should employ at times when a tonal change is suitable. As you grow and progress as a pianist you will find yourself using the soft pedal when it’s appropriate and being able to make these judgment calls for yourself.

You’ve probably seen this in a lot of Chopin and Liszt compositions. Instead of having measured notes, there are a ton of very tiny notes that on the surface might not make much sense at first. You’ll have ridiculous combinations like 11 notes against 6 – which simply can’t be divisible in any precise way. So how do you play these passages and what do they mean?

In the video example above I use the beginning of the B-flat minor Nocturne of Chopin. Right at the start of the piece (the second statement of the theme) has a section just like I’ve described above. There are a whole bunch of notes (11 against 6) that are not divisible. So how do you play these passages?

The best way to practice these sections is to try to find the closest measured way you can play it. The first thing you should do is divide it out as close as it mathematically can work. If you play it as measured as possible – trying to find places where you can put in the extra notes – you will start to get a better feel for the passage. You might notice that playing these passages measured will result in a passable sound but it’s not exactly accurate and it may not sound very fluid. When played correctly, these unmeasured cadenzas are almost like improvisations and that’s the feel and sound you want to achieve.

The next step after you’ve broken these passages into a measured approach is to loosen it up a bit. Get used to playing these cadenzas measured and from there you can start to break them up and make the sound a bit more fluid. The final product doesn’t have to be mathematically perfect; the goal is to create a musical feel. The left hand should maintain the pulse and the right hand should be able to play with freedom – like an improvisation. Keep working on this until you get a result that sounds natural.

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.

Welcome to an ongoing series about how to use the pedals on the piano. Today we are going to be covering the right pedal, commonly referred to as the damper or sustain pedal. This is the pedal you will be using most of the time while playing the piano and it’s a great place to start.

The question I get asked the most is when to use the pedal. While there are no absolutes, there are some general guidelines that you can follow. A basic rule that applies to nearly any type of music is that when the harmonies change, you must clear the pedal. If you don’t do this you will get clashing dissonance.

While the pedal shouldn’t be overused, it is a great way to enhance the tone of your music. We know that you should clear the pedal when there are new harmonies, but there is a wrong way and a right way to do this. When the harmonies change, you should release the pedal upwards – don’t push it down. This is very counterintuitive because you are probably used to tapping your foot and tapping down on the downbeat. The opposite is true for the damper pedal, you will want to bring your foot up and clear the pedal on the downbeats when harmonies change and put it right back down.

Another technique you should practice is to not push the pedal down before you begin. Pushing the pedal down before playing a note will result in an echoing sound. You should push the pedal down right after you play the note, but before your fingers are released. If you push the pedal down after you release your fingers it will not hold the notes.

These are the basic principles of pedaling and how you should be using the damper pedal. Practice these techniques and make sure that you are releasing the pedal on the downbeat of changing harmonies and push it down immediately after but before you release your fingers.

Singing might often be overlooked by most musicians but it’s an essential component in musical development and education. When it comes to piano, you can produce a tone without hearing it first. Singing is the absolute opposite of this – you must hear the notes first or you can’t possibly sing them.

Singing lends more to music than you might think. Like we talked about in our video this week, the breath and the cyclical nature of things weave its way into music. Understanding this relationship is extremely beneficial to a pianist and that’s why if you are a piano major at a music conservatory, you will have to either play an instrument in the orchestra or sing in the choir. Adversely, if you play an instrument or sing in the choir, you will need to learn to play the piano!

The tone the piano produces is a sharp attack, a quick decay, and a slow descending sustain. Music, on the other hand, is produced in round phrases – much like singing or breathing. That’s why it’s always a good idea to sing along with your music while you are learning it. It might sound silly but it’s an extremely helpful tool to get you to understand how the music should be played and heard.

In the video accompanying this article, I play the Chopin Prelude in E minor. I demonstrate the benefits of singing the melody while playing the chords. By singing your parts you will start to understand the structure of the music like you never have before; it’s enlightening.

I really can’t recommend this technique enough. It’s something that every pianist must do as it helps enhance your understanding of music and will greatly benefit your playing. There is no substitute for this technique so even if you cringe at the sound of your own voice you should do yourself a favor and sing along – I guarantee it will help!