This post expands on many of the points covered in my video, "An Introduction to Double Pedaling."
Over the past two months, I have been developing “double
pedaling,” a pedaling technique that allows the damper and sostenuto pedals to
be used together in new ways. The sostenuto pedal, patented by Albert Steinway
in 1874, remains little more than a curiosity among today’s pianists—even many
experienced pianists have only a hazy idea of the potential applications of
this pedal. Double pedaling greatly increases the possibilities of the
sostenuto pedal, giving pianists unprecedented control over the resonance of
their instrument. The pedal mechanism on the modern piano has a crucial flaw
that prevents or complicates double pedaling in all but the most trivial
instances. Fortunately, this flaw is easily fixed with a slight modification.
The Sostenuto
Mechanism
The sostenuto pedal is like a selective damper pedal. The
actual damper pedal (the right pedal) lifts all
the dampers, the sostenuto pedal only holds
up the dampers of the notes that are being played when it’s pressed.
The picture above shows the damper lift rods of a grand
piano. The sostenuto mechanism consists of two elements: the sostenuto rod (a metal bar that runs
lengthwise next to the damper mechanism), and sostenuto tabs (covered in red felt in the above picture, each
damper lift rod has a tab attached). When a damper is lifted, the corresponding
sostenuto tab goes up with the rest of the mechanism. When the sostenuto pedal
is depressed, the sostenuto rod moves into the path of the tabs, preventing the
raised tabs from going back down and holding the raised dampers up.
The picture above was taken with the sostenuto pedal
depressed. The sostenuto rod has moved into position and has caught two
sostenuto tabs, preventing the corresponding dampers from descending.
The dampers that are down when the sostenuto pedal is
engaged won’t be held up, because their sostenuto tabs are under the sostenuto rod. Those dampers will still go up when the
corresponding keys are pressed, but their sostenuto tabs will remain underneath
the sostenuto rod. To facilitate the normal action of these dampers, the
sostenuto tabs are attached to the damper mechanism with a hinge so that they
can bend downwards, as in the picture below.
The Problem with the
Sostenuto Pedal
This brief discussion of the sostenuto mechanism
demonstrates why the sostenuto pedal does what it does: it holds up any
dampers that are raised when it is depressed. It’s worth taking a step back,
though, and asking the question, what should
the sostenuto pedal do? My answer: the sostenuto pedal should hold up only
the dampers that correspond to piano keys that are being played.
There is a small but crucial difference between what a
sostenuto pedal does and what it should do. As long as the damper pedal doesn’t
enter the picture, the sostenuto pedal works correctly—dampers are only raised
when the corresponding keys are being played. However, the damper pedal lifts all the dampers, rendering the sostenuto
pedal useless! If the sostenuto pedal is pressed while the damper pedal is
down, all the dampers will be caught
in the raised position, regardless of which keys are being played at the time.
While this seems like a small issue, it completely undermines the usefulness of
the sostenuto pedal. Classical pianists today use the damper pedal almost all
the time in music from Beethoven to the present. As a result, the sostenuto
pedal can only be used in unusual situations, and it requires special care so
that the damper pedal doesn’t screw it up.
In order to reap the full benefits of double pedaling, it’s
necessary to modify the mechanism so that the damper pedal doesn’t interfere
with the sostenuto mechanism—in other words, the sostenuto pedal will function
as it should, even when the damper
pedal is depressed. We can then catch notes or chords on the sostenuto pedal
while the damper pedal is down.
The Solution
The problem boils down to the fact that playing notes on the
keyboard and pressing the damper pedal are equivalent as far as the damper
action is concerned. In both cases, the dampers are raised in the same way, to
the same height. The key to solving our double pedaling problem is to restrict
the damper pedal so that it raises the dampers to a slightly lower level.
Experienced pianists know that pedaling is not really a
binary thing. There’s the “black and white” of pedal up and pedal down, but
there’s also an infinity of grays in between. This “half-pedal” zone can be
tested by depressing the pedal very slowly and continuously testing the piano’s
resonance. Half-pedal is a deceptive term, as it’s actually much closer to the
“up” pedal position. At the position we call “half-pedal” (or quarter-pedal, or
three quarters-pedal) the pedal is barely depressed, and the dampers are barely
raised off the strings, muting them to some degree. Once the pedal has been
depressed further, to about half or three quarters of the way down, the dampers
are already fully off the strings and the piano sounds exactly like it does at
full pedal. A fully-depressed pedal lifts the dampers an extra few millimeters,
but doesn’t actually change the sound of the instrument. However, these
millimeters are crucial, because the damper needs to be lifted all the way in
order to be caught be the sostenuto pedal.
I’ve illustrated this in the diagram above. The “sweet spot”
refers to the point in the damper’s upward trajectory where the dampers are
fully off the string, but are not yet high enough to be caught by the sostenuto
pedal. Restricting the damper pedal’s range so that it can’t go past the sweet
spot will prevent the damper pedal from interfering with the sostenuto pedal.
Pressing a key on the keyboard will still lift the damper all the way.
On most pianos, restricting the damper pedal is a simple
operation that only takes a few minutes. There is usually a screw that is
attached to the bottom of the body of the piano, above the damper pedal rod.
Adjusting the screw is one solution (see the picture below).
For a quick fix, or for pianos without an adjustable screw,
there are various points in the pedal action where a barrier can be added to
restrict the pedal motion. In the picture below, I added a folded piece of
paper at the top of the pedal lyre.
Troubleshooting a
restricted pedal
Restricting the damper pedal should allow double pedaling on
any well-regulated instrument. Unfortunately, many instruments, even carefully
maintained concert instruments, have issues with the sostenuto mechanism that
are ignored because the sostenuto pedal is so rarely used. The adjustments
suggested below can be attempted if restricting the damper pedal doesn’t
produce the desired results, and should only be carried out by a trained piano
technician.
The most common problem is that the sostenuto rod is not in
the correct position and catches dampers that are barely raised. The diagram
below shows how a faulty sostenuto mechanism can cause instruments to have no
sweet spot at all.
This can be solved by adjusting the sostenuto rod so that it
catches the tabs in a higher position.
Sometimes the sostenuto pedal is not consistent, catching
some notes but not others. This happens when the dampers are lifted unevenly.
Regulating the dampers is a major operation that can take several hours.
Depending on how severity of the problem, adjusting the sostenuto rod instead
may be a more cost-effective solution. For the purposes of double pedaling,
it’s advantageous to have the dampers lift further off the string, which
increases the size of the sweet spot. However, too much lift can affect their
ability to dampen the strings promptly on release of a key, since only the
force of gravity returns the dampers to the rest position!
Another common problem occurs when notes are caught on the
sostenuto pedal after the pedal is
depressed. Sometimes the hinge on the sostenuto tab does not work correctly, so
that the tab “jumps” over the engaged sostenuto bar instead of flexing down.
This may require adjusting or replacing the faulty tabs.
Double Pedaling
Techniques
Once you’ve “liberated” the sostenuto pedal from the damper
pedal, you’re ready to explore all the possibilities of double pedaling. I’ve
found four basic double pedaling techniques:
1. Joint Pedaling
In joint pedaling, the sostenuto pedal catches part of a
larger sonority (usually including a bass note). The damper pedal is then used
normally, but with the advantage that the pedal can be changed without losing
the sonority. Most double pedaling applications in the standard repertoire fall
under this category.
In the above passage from “Ondine” from Gaspard de la nuit by Ravel, it’s impossible to achieve a legato
bass line as marked without double pedaling. Holding the C sharp with the
damper pedal blurs the change of harmony on the second beat. By catching the C
sharp with the sostenuto pedal, the damper pedal can be changed on the second
beat without losing the bass.
This would normally require the pianist to keep the damper
pedal raised while the sostenuto pedal is depressed, creating a gap in the
sonority that undermines the sensual sweep of the right hand arpeggio.
Restricting the damper pedal solves this problem!
2. “Only Hands Small”
Technique
Do you have small hands but big ideas? Pianists with smaller
hands often have to break chords or release notes early, and are left with the
dilemma of either losing the full sonority or muddying the pedal. By catching
some notes with the sostenuto pedal immediately before a damper pedal change,
it’s possible to overcome this disadvantage. Here’s an illustrative passage
from the Piano Concerto No. 2, Op. 44 by Tchaikovsky:
My left hand isn’t big enough to hold the bass D in the
final rolled chord. That means that I need to change my pedal early in the roll
(before the F sharp) to catch the bass D.
This solution is not ideal, since it makes it impossible to
preserve a legato connection between the melody D in the right hand and the
preceding E. A better solution is to catch the bass D with the sostenuto pedal,
allowing me to change the damper pedal at the melody note without losing the
bass.
It is important to release the E octave in the right hand (shown in the full except above) before beginning the roll; otherwise it will be caught on the sostenuto pedal
and will blur the D major chord. The E will still be held on the damper pedal.
3. Overlapping
Technique
Overlapping the damper and sostenuto pedal can produce all kinds of highly
complex sonorities. The current piano repertoire doesn’t offer too many
opportunities for interesting overlapping effects. This is an area that I hope
will be explored soon by budding composers.
Here’s one example of overlapping technique, from the Piano
Concerto No. 3, Op. 30 by Rachmaninoff. This passage alternates between two
chordal melodies moving in different directions. While Rachmaninoff doesn’t
indicate it, you can get an interesting effect by sustaining each melody while
the other melody is active, for a true contrapuntal texture.
Here is the conventional pedaling approach:
Most recordings use this pedaling, or something similar. This
pedaling sustains both melodies equally. However, you can still hear an
eighth-note gap in one of the melodies at each pedal change (shown with big red
rests):
Theoretically, double pedaling lets you play both melodies
legato, without any gaps. On each beat of each measure, first change the damper
pedal and then change the sostenuto pedal:
It works as follows: on the first beat, the damper pedal
goes down, and then the sostenuto pedal catches the chord from the upper
melody. On the second beat, the sostenuto pedal holds the upper melody while
the damper pedal changes, and then changing the sostenuto pedal catches the lower melody. On the third beat, the
sostenuto pedal holds the lower melody while the damper pedal changes, and then
changing the sostenuto pedal catches the upper melody! And so on. This pedaling
looks intriguing on paper, but in practice I found it too cumbersome at tempo.
Still, it shows some of the vast potential of the overlapping technique.
4. The Partial
Sostenuto
Double pedaling enables catching part of a chord on the sostenuto pedal. That’s impossible with
conventional pedaling, at least without releasing the extra notes. The “partial
sostenuto” technique is useful in this passage from the Etude-tableau Op. 39,
No. 7 by Rachmaninoff:
With double pedaling, I can catch the first chord in the
left hand of this example without catching the right hand notes. First, I play
the chord and depress the damper pedal. I can then lift my right hand and the
pedal will keep the melody ringing. Since I am no longer holding down the right
hand notes, they won’t be caught when I press the sostenuto pedal to catch the
left hand chord.
Conclusion
I have only begun experimenting with double pedaling
technique over the course of the past few months, and I am already convinced that
it is a powerful tool that has wide-ranging potential to enhance the coloristic
and expressive capabilities of the modern instrument, with numerous possible
applications in the standard piano repertoire. Modifying the pedal mechanism to
allow double pedaling is a simple operation that can be achieved without any
additional piano parts—only minor adjustments are necessary.
My goals with my double pedaling project are as follows:
1) To increase awareness of the sostenuto pedal’s function
and its applications, and to develop and spread the practice of double
pedaling.
2) To make a working sostenuto pedal a standard part of
every instrument. Many entry-level grand pianos still do not have sostenuto
pedals, and it is rare to encounter an upright piano with a sostenuto pedal
(Steinway uprights, select Bösendorfers and the Yamaha YUS series are the
exceptions). Of course, having a sostenuto pedal on a piano does not mean that
it will actual work, as keeping it regulated is frequently seen as optional!
3) To encourage piano makers to modify their pedal
mechanisms in house, so that double pedaling works correctly on new pianos
without any further modifications.
I’m optimistic that I’ll see some real progress in these
areas in the near future. Unfortunately, I don’t anticipate it will be a smooth
road. The current environment in the piano world is very hostile to any
innovation in piano design. So I’m asking for your participation! I would love
to hear any feedback on double pedaling, or any new pedaling ideas that you
might have. Also, please share this article and my video on double pedaling,
which is available here:
http://youtu.be/AWEFgQyCRok
Thanks!
As a final note, there is one type of piano that
consistently has a working sostenuto pedal: electronic pianos. On most full
size modern keyboards, it’s simple and cost-effective to buy a pedal board with
a sostenuto pedal, if it’s not already included. Due to a quirk in the way that
keyboards are programmed, it is slightly easier to have a sostenuto pedal that
works independently of the damper pedal than the alternative. It’s not
surprising that keyboard manufacturers have taken the path of least resistance
and have developed a sostenuto pedal that works perfectly for the purposes of
double pedaling.
Happy pedaling!