Although throughout history the number and function of piano pedals have changed, it could be said that, currently, it has been standardized in three pedals for concert pianos and two for study pianos (although it is true that some studio upright pianos also have three pedals).
And what are they for?
To answer this question, we must start from the premise that pianos with only two pedals do not have a central pedal.
Before explaining each pedal separately, we need to understand the basic workings of the piano machinery:
The keys act as levers that actuate a hammer that strikes some strings. Specifically, in the low section, each hammer hits one or two strings, while in the middle and high sections, it hits three strings.
In turn, while the strings are struck, the dampers (felt devices that, as their name suggests, serve to turn off or silence the sound) are separated from them (only those struck). The moment the key is released, the hammer and corresponding damper snap back into place.
Well, having understood this, we are going to talk about the function of each pedal (with its possible variants), starting from the right.
The right pedal, called the sustain pedal, is used to raise absolutely all the dampers of all the keys at the same time, regardless of whether or not they are being hit by the hammers. This produces a resonance effect that enriches the sound (in some styles, such as impressionism, the use of this pedal produces a certain feeling of mist that characterizes that style).
At the other end, to the left, is the una corda pedal, so called because, on grand pianos, it moves the entire mechanism slightly to one side so that hammers hitting two or more strings only hit one. Contrary to what many people think, it is not that the sound sounds softer or piano (if we hit the key hard, the hammer will hit the string hard and it will sound loud), but what is sought is a certain coloration of the sound. It is an effect widely used in the music of the 20th and 21st centuries. It should be noted that in upright (study) pianos, what this pedal does is bring the entire mechanism closer to the strings to find an effect similar (although not exactly the same) to the one described.
Finally, the central pedal, in grand pianos (and some upright pianos), if it exists, what it does is that it raises the damper (or dampers) of the notes that are sounding at the moment of stepping on it, allowing those notes to continue sounding even if they are released to play others (not to be confused with the sustain pedal that separates all the dampers). This effect is very useful when playing fugues (especially if they are written for organ) and we come to the sections of the pedal notes (the dominant or tonic pedal) and we want those pedals to continue sounding while we occupy our hands in the other voices. There are also many works from the 20th and 21st centuries that, although not fugues, use this effect. It should be noted that some grand pianos only apply this effect to the lower half of the piano (in a bit of a fugue tradition) while other pianos allow it to be used to its full extent. It should also be noted that many upright pianos do not have this mechanism, although they do have a central pedal that is a damper (a strip of felt that is placed between the hammers and the strings to make them sound very soft). In my opinion, it is not advisable to abuse this mute: yes, it is very useful for not disturbing the neighbors, but, in general, unconsciously, it makes us play louder and the day we have to play without mutes, we do it excessively loud (in which we get used to playing with less force again).
Well, basically that would be the use of piano pedals.
And you, did you know that pianos with five pedals have been built throughout the history of the piano? Do you know what each and every one of them was used for? Tell me in the comments!
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