Have you ever wished there was a systematic way to introduce your students to the damper pedal? Are you looking for repertoire that will help to build your students' pedal technique at every level of their development?
Then today's article is for you! Read on as I discuss how (and when) to introduce the damper, sostenuto, and una corda pedals and which pedal techniques your students need to know at each level of their development!
I will also be sharing specific pieces from my own catalog that will help pianists at each level practice these pedal techniques and be on their way to becoming pedaling pros.
Read on for more...
Then today's article is for you! Read on as I discuss how (and when) to introduce the damper, sostenuto, and una corda pedals and which pedal techniques your students need to know at each level of their development!
I will also be sharing specific pieces from my own catalog that will help pianists at each level practice these pedal techniques and be on their way to becoming pedaling pros.
Read on for more...
Elementary Level: Continuous pedaling
At the elementary level, students are first introduced to the damper pedal using pieces with “continuous pedaling.” In this technique, the damper pedal is pressed before the first note is played and holds for an entire section, or even an entire piece, before being lifted.
This is the perfect time to introduce students to the foundations of proper pedal technique:
I love to first introduce students to the power of the damper pedal by having them improvise on the black keys! This gives students the opportunity to practice proper technique and to explore the variety of dynamics and colors that can be created by using the pedal without worrying about reading notes or counting rhythms at the same time.
Once students are ready to try playing repertoire using the damper pedal, here are 3 colorful pieces that beginners of all ages will enjoy. Click on the images below to see and hear the music:
At the elementary level, students are first introduced to the damper pedal using pieces with “continuous pedaling.” In this technique, the damper pedal is pressed before the first note is played and holds for an entire section, or even an entire piece, before being lifted.
This is the perfect time to introduce students to the foundations of proper pedal technique:
- Sitting at the correct height and distance from the piano so that students can reach the damper pedal comfortably. (Pedal extenders are a great option for students who are not yet tall enough to reach the damper pedal.)
- Keeping the heel touching the floor when pressing or lifting the pedal.
- Lifting the pedal cleanly, without “bumping” the strings.
I love to first introduce students to the power of the damper pedal by having them improvise on the black keys! This gives students the opportunity to practice proper technique and to explore the variety of dynamics and colors that can be created by using the pedal without worrying about reading notes or counting rhythms at the same time.
Once students are ready to try playing repertoire using the damper pedal, here are 3 colorful pieces that beginners of all ages will enjoy. Click on the images below to see and hear the music:
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Late Elementary Level: Overlapping (or legato) pedaling
At the late elementary level, students are introduced to pieces requiring the use of overlapping pedaling. This technique requires a quick “up-down” of the damper pedal that helps to connect the notes without blurring the sound.
Overlapping pedaling can be tricky at first for many students because it requires the damper pedal to lift up at the same time that the fingers are pressing down on the keys. I like to have students practice this technique using the exercise below.
It can be helpful to first have students “play” this exercise on the closed piano lid while saying the words and pressing and lifting the damper pedal to get comfortable with the movements involved. Then, have students play the exercise on the piano, listening carefully that there are no gaps between the notes and that the chords do not blur together.
At the late elementary level, students are introduced to pieces requiring the use of overlapping pedaling. This technique requires a quick “up-down” of the damper pedal that helps to connect the notes without blurring the sound.
Overlapping pedaling can be tricky at first for many students because it requires the damper pedal to lift up at the same time that the fingers are pressing down on the keys. I like to have students practice this technique using the exercise below.
It can be helpful to first have students “play” this exercise on the closed piano lid while saying the words and pressing and lifting the damper pedal to get comfortable with the movements involved. Then, have students play the exercise on the piano, listening carefully that there are no gaps between the notes and that the chords do not blur together.
At the late elementary level, pieces usually include specific pedal markings. These markings may vary depending on the publisher, so it can be helpful to show students a few examples of different ways to notate pedaling so that they are familiar with each.
In the three examples below, the damper pedal markings are notated differently, but they would be played in the same way.
In the three examples below, the damper pedal markings are notated differently, but they would be played in the same way.
Here are 3 pieces in a variety of styles that use overlapping pedal and will give late elementary to early intermediate students practice with following pedal markings and pedaling with proper technique. Click on the images below to see and hear the music:
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Early Intermediate Level: Pedaling by ear
At the early intermediate level, students will begin to encounter pieces with no pedal markings and the indication “with pedal” or “pedal ad. lib.” At this stage, it is important for students to learn to use the damper pedal “by ear.”
The first step in this process is to make sure that students understand the harmonic structure of their pieces. Since we usually lift the damper pedal when a new chord is played, it is important that students can easily spot the chord changes in their music.
Once students are comfortable pedaling with the chord changes, they should then listen carefully and add any additional pedaling that might be necessary to keep the melody from being obscured. Students might want to pencil in pedal markings at first, until they get the hang of listening and using their ear as a guide to pedal smoothly and cleanly.
The following pieces are great practice for pedaling by ear, since they have clear harmonic changes that students should be able to spot easily. Click on the images below to see and hear the music:
At the early intermediate level, students will begin to encounter pieces with no pedal markings and the indication “with pedal” or “pedal ad. lib.” At this stage, it is important for students to learn to use the damper pedal “by ear.”
The first step in this process is to make sure that students understand the harmonic structure of their pieces. Since we usually lift the damper pedal when a new chord is played, it is important that students can easily spot the chord changes in their music.
Once students are comfortable pedaling with the chord changes, they should then listen carefully and add any additional pedaling that might be necessary to keep the melody from being obscured. Students might want to pencil in pedal markings at first, until they get the hang of listening and using their ear as a guide to pedal smoothly and cleanly.
The following pieces are great practice for pedaling by ear, since they have clear harmonic changes that students should be able to spot easily. Click on the images below to see and hear the music:
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Intermediate Level and Beyond: Pedaling interpretation and using the una corda and sostenuto pedals
As students begin to play intermediate and advanced literature, the use of the damper pedal becomes more sophisticated. Students at this stage should be aware of when it is stylistically appropriate to use more (or less) pedal and how pedal can enhance the artistic interpretation of a piece.
It is important that students know the style period in which their pieces were written and what standard practice was for using the damper period during that time. For example, pianos during the Baroque and early Classical periods did not have damper pedals, so pedal should be used very carefully in pieces from these style periods to enhance, but not "blur," the sound. By contrast, the damper pedal can usually be used much more liberally in pieces written in the Romantic or Impressionistic periods, when the damper pedal was common on most instruments and composers often used it to great effect to create a colorful sound in their pieces.
Encourage students to listen to a variety of pieces from different style periods and to make note of how the damper pedal is used in the music. Listening to several different pianists playing the same piece can also be very enlightening for students learning how to make their own interpretive decisions regarding the use of the damper pedal.
In addition, there are more sophisticated techniques that students might try at this level, including:
The pieces below give intermediate students practice with more sophisticated pedaling techniques. Click on the images below to see and hear the music:
As students begin to play intermediate and advanced literature, the use of the damper pedal becomes more sophisticated. Students at this stage should be aware of when it is stylistically appropriate to use more (or less) pedal and how pedal can enhance the artistic interpretation of a piece.
It is important that students know the style period in which their pieces were written and what standard practice was for using the damper period during that time. For example, pianos during the Baroque and early Classical periods did not have damper pedals, so pedal should be used very carefully in pieces from these style periods to enhance, but not "blur," the sound. By contrast, the damper pedal can usually be used much more liberally in pieces written in the Romantic or Impressionistic periods, when the damper pedal was common on most instruments and composers often used it to great effect to create a colorful sound in their pieces.
Encourage students to listen to a variety of pieces from different style periods and to make note of how the damper pedal is used in the music. Listening to several different pianists playing the same piece can also be very enlightening for students learning how to make their own interpretive decisions regarding the use of the damper pedal.
In addition, there are more sophisticated techniques that students might try at this level, including:
- half-pedaling or flutter pedaling the damper pedal in pieces with thick textures.
- using the una corda pedal to create a change in tone color.
- using the sostenuto pedal in passages that require some notes be sustained but not others.
The pieces below give intermediate students practice with more sophisticated pedaling techniques. Click on the images below to see and hear the music:
 Choosing where it is appropriate to use the damper pedal |  Optional half-pedal or sostenuto pedal on sustained notes |  Pedaling thicker textures; experimenting with una corda pedal |
What do you think? How do you introduce the damper, sostenuto, and una corda pedals to your students? What are your favorite pieces for practicing pedaling at each level? I would love to hear your thoughts in the comments!
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