It was very different for me at first, because when you press a key in bamboo organ, the harmony sustains for a long time, unlike with piano that you need to step on the sustaining pedal
so the sound would prolong.
For acoustic and acoustic electrics, there may be up to three pedals from left to right: The una corda, the sostenuto and the sustaining pedal
These shimmering, far-reaching resonances were to inform much of Debussy's music, not least the evocative works for piano, an instrument whose sustaining pedal
would support such timbres.
The much heavier strings and larger soundboard of a big, modern piano sustain the sound so much longer that holding down the sustaining pedal
allows one chord to smear into the next several chords, creating cacophony.
Above all, there was his "flutter pedalling, "that continuous vibrating of the sustaining pedal
, which cast a warm glow over everything that he played, yet gave it at the same time its unusual clarity.
But not so, as you hear a chord being held over by the sustaining pedal
while the hands move on to the next, or the subtle relaxation of tempo and lighter touch on the keys at the return of a theme heard earlier, you begin to appreciate the intellect behind the poetry.
Hummel proceeded to arrange for chamber forces several of Mozart's operas and orchestral works, as well as to reveal in his own pianism three Mozartean traits: a constant concern for the long, singing line (Mozart demanded that his keyboard music "flow like oil"), persistent textural clarity, and aversion to any but the most prudent use of the sustaining pedal
Despite Einaudi's decision to use amplification, combined with his often injudicious use of the sustaining pedal
, these roundelays do have appeal to a clapping penguin kind of audience in love with the idea of lyrical classical music, but who have been exposed to little of it.
At Friday afternoon's concert at the Dorothy Chandler Pavilion, he impressed with subtle dynamic shifts and uncanny use of the sustaining pedal
Only the violin and piano are actually heard at the end of the movement in a tonally ambiguous closing gesture: the violin's last four pitches are softly doubled by the piano with sustaining pedal
down, creating a tone-cluster "cadence.
me Pot Pourri calls for the sustaining pedal
to be used for the tremolandos and to cover the three-octave range of the chordal bass part; moreover, both pedals are to be used each time the opening theme recurs, enhancing the overall structure.
A similar practice of highlighting structure by textural means prevailed in rondo movements from the 1790s and early 1800s; many of these include rondo themes played with the sustaining pedal
throughout, or for a substantial part of the theme.