Do you need 3 pedals for piano?

For most players, having two or three pedals isn't a big factor when buying a grand piano. If you play a lot of contemporary music then it could be important for you to have three pedals on a grand piano. For the majority of pianists though, two pedals will not present much of a limitation to your playing.

livingpianos.com - Do You Need Three Pedals On Your Piano? - Living Pianos

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Three pedals on a piano is the accepted norm on most pianos. Virtually all new grand pianos sold in the United States contain three pedals. Two pedal pianos are an increasingly rare breed but they do exist and we actually have some of them here in our showroom. The real question is, do you really need three pedals?

To be clear, today we are talking about the pedals on grand pianos. The pedals on upright pianos do not perform the same functions as the ones on grand pianos (with the exception of the damper pedal, the one on the right which sustains all notes). One of our first videos we ever produced covers this topic: Upright Pianos Vs. Grand Pianos. No upright pianos actually have three functioning pedals. The middle pedal is almost always a dummy pedal that is used for other purposes than what is accomplished on grand pianos. A lot of them are used as practice pedals which place a piece of felt over the strings to dampen the sound for quiet practice. The left pedal on upright pianos also never functions as intended; they never shift the action as the una corda pedal does on grand pianos creating a quieter tone. So that being said, if you have an upright piano, having two or three pedals will not matter.

Many older Asian pianos and European pianos have only two pedals. Why is this?

The middle pedal is a relatively modern innovation in pianos that did not come into general use until nearly the 20th century. Music written before this time doesn’t require the middle pedal and doesn’t utilize it. So if you play only music from before the 20th century you will never have an opportunity to use the middle pedal! The vast majority of piano music doesn’t call for the use of the middle (sostenuto) pedal. Even music that utilizes the middle pedal doesn’t absolutely require it. You will be able to perform the music fine without the middle pedal. For most players, having two or three pedals isn’t a big factor when buying a grand piano. If you play a lot of contemporary music then it could be important for you to have three pedals on a grand piano. For the majority of pianists though, two pedals will not present much of a limitation to your playing. To find out a little bit more about how the middle pedal functions on the piano watch our past video on: The Mystery of the Middle Pedal. Thanks again for joining us here at LivingPianos.com. If you have any questions or comments please feel free to contact us directly at [email protected] (949) 244-3729

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Did Beethoven break pianos?

Yes, he was losing his hearing, but he was also writing challenging music. And he broke a lot of pianos, too, by pounding away at them. The piano in his day was called a fortepiano. It was flimsy and made of wood.

cpr.org - He Wanted Larger And Louder: The Pianos Of Beethoven's Time Weren ...

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An 1805 Fortepiano recreation. Notice no foot pedals and the key colors are reversed! The pedal on the piano evolved, too, first in England, then in Vienna. The right-most pedal, called the sustaining pedal today, allows the sound to ring — sustain — no matter what the hands are doing on the keys. Early on for Beethoven, that function was controlled by the knee. It moved to the foot later in his life, as instruments got bigger (and as they got their own legs!). Beethoven didn’t make these changes happen, but he was an encourager. He wanted a “louder” piano. Yes, he was losing his hearing, but he was also writing challenging music. And he broke a lot of pianos, too, by pounding away at them. The piano in his day was called a fortepiano. It was flimsy and made of wood. Since it didn’t have legs, it rested on a trestle so you could easily move it around. And you couldn’t get a lot of sound out of it. In 1796, when he was 26, Beethoven wrote to a piano manufacturer, complaining, “One often thinks that one is merely listening to a harp.”

Here’s how it sounded:

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