| The middle pedal on a piano has a mysterious set of | | | | The left pedal is used to quiet the sound. |
| functions that vary with the age, model and condition | | | | On an upright piano, this is done by moving the |
| of the piano. First, one should understand what all three | | | | hammers closer to the strings so that they strike the |
| pedals do. | | | | strings with less force, since force is partially |
| Some pianos have only two pedals. There are old | | | | dependent on the distance from the hammer to the |
| pianos with this configuration, and there are brand new | | | | string. |
| models that use only two pedals, so having two pedals | | | | On a grand piano, the left pedal makes the sound |
| is no single confirmation of the age of a piano. | | | | softer by moving all the hammers slightly to the right. |
| Regardless of how many pedals there are, the right | | | | Since each hammer strikes three strings, moving it to |
| pedal has a single function. The right pedal acts to | | | | the right will make the hammer strike only two strings, |
| sustain all of the keys of the piano. | | | | making it 2/3 as loud. |
| The middle pedal, if there is one, was originally intended | | | | I have only found a functioning middle pedal ("selective |
| to sustain (see above) only those keys which were | | | | " sustain) on a handful of fine instruments. |
| depressed while the middle pedal was down. Think of | | | | While not required to play any music correctly, the |
| it as a "selective" sustain. All the other keys that are | | | | middle pedal is called for starting with the music of |
| not included in the middle pedal continue to be damped, | | | | Debussy and Ravel at the beginning of the 1900s. You |
| that is, not sustained. | | | | will also find it in modern classical music, such as Ives |
| On many pianos, especially those in the current era, | | | | and Ruggles. |
| have a middle pedal which acts as a mute, in which a | | | | Think of the middle pedal as an idea that never came |
| piece of felt is automatically draped across the strings, | | | | to fruition, the pinkie toe of the piano, vestigial and |
| damping and quieting the sound. It is suitable only for | | | | forever mysterious to all. |
| quiet practice. | | | | |