damper pedal


Also found in: Acronyms.

damper pedal

[′dam·pər ‚ped·əl]
(engineering)
A pedal that controls the damping of piano strings.
References in periodicals archive ?
Since Bach's fugues require textural clarity, it is important to play legato with fingers instead of using the damper pedal. The damper pedal can be used judiciously for occasional color contrast or to articulate a cadence point.
Of the three pedals found on most pianos, the damper pedal on the correct lifts all the felt dampers over the strings, enabling them all to vibrate uninhibitedly; the left pedal moves the console and activity sideways to empower the mallet to strike just a single of the a few harmony strings of every tenor and treble key (the bass notes are just single-hung); and the center pedal (by and large accessible on excellent pianos yet in addition found on some upright pianos) typically holds up the dampers just of those keys discouraged when the pedal is discouraged.
We pianists tend to "park" on the damper pedal when we are nervous, underprepared, or both; a reminder about clarity here is very helpful.
(A young adult could use it to self-teach.) Some of the concepts taught include posture, hand position, counting quarter, half, whole, eighth notes and rests, note reading with pre-staff notation and note reading on the grand staff, dynamics and expression marks, legato, staccato, and slur phrasing, and use of the damper pedal. Song choices are popular, classical, recognizable, and varied, including: "We Will Rock You," "Beethoven's Symphony # 6," "The Siamese Cat Song," "Au Clair de Lune," and more.
The fortepiano is distinguished from its modern descendant in a number of ways, including hammer construction, action and the lack of a metal frame, adding up to a sound that is lighter and less legato (Levin's instrument did not appear to have a damper pedal) than one hears on modern pianos.
The Debussy selections are expressive and appropriately atmospheric, aided by a subtle and effective use of the damper pedal. In all of the works on this album, Michelangeli's digital dexterity is phenomenal, yet his playing is more than merely brilliant--it is honest and satisfying.
He enlarged the range and dynamic possibilities of the instrument and added a damper pedal for the strings.
T: Sometime try sitting at a piano, and hold down the damper pedal (the one on the right that makes it hold notes).
True, Czerny admired Beethoven's ability to 'connect full chords to each other without the use of the pedal' and reproved those who couldn't even connect four simple parts with their fingers because they had depended on the damper pedal so much that 'a pure and classical performance with the fingers only [had] been almost totally neglected'; but these views reflect Czerny's own Viennese ideals of 'neatness, clarity, and refinement'.
The high school or middle school pianist of intermediate ability who tackles these pieces will have to work with improvisation (in carefully controlled contexts), unmetered notation, enlarged accidentals that apply to an entire staff, unstemmed notes, and special effects (in this instance, allowing the piano lid to fall, while the damper pedal is down, causing the strings to resonate).
Grieg suggested the use of the damper pedal to contrast with the pureness of the trills.