which have only one. The strings are spaced too closely to permit a true ‘una corda’
effect because if shifted far enough to strike just one string on a note at a time the
hammers would hit the string of the next note.
On an upright piano the soft pedal works entirely differently. It operates a mechanism
that moves the resting position of the hammers closer to the strings. Since the hammers
have less distance to travel this reduces the speed at which they hit the strings and hence
the tone volume is somewhat reduced. This, however, does not change the tone quality in
the way that the una corda pedal does on a grand piano.
The sostenuto pedal, or middle pedal, is found on grand pianos. It keeps raised any
damper that was already raised at the moment the pedal was pressed. This makes it
possible to sustain individual note(s) while the player’s hands are free to play other notes.
This is useful for pedal points in organ transcriptions.
Some upright pianos have a celeste pedal which can be locked into place by pressing it
and pushing it to one side. This drops a strip of felt between the hammers and the strings
so that the notes are greatly muted.
So far as the weight of the modern piano is concerned, the requirements of structural
strength mean that a small upright piano can weigh up to 136 kg and a concert grand
piano can weigh up to 480 kg.
Pianos need regular tuning to keep them up to pitch and to produce a pleasing sound. By
convention they are tuned to the internationally recognized standard of A 4 [the A above
middle C] = 440Hz. Pianos also need regular care and maintenance. The hammers of
pianos are voiced to compensate for gradual hardening and other parts also need periodic
regulation. Aged and worn pianos can have parts replaced and can be rebuilt and
reconditioned. Piano removal should only be done by expert piano removalists because
specialised manpower and equipment are needed.
MODES
Modes preceded the major and minor scales of Western music. Claudio Monteverdi
(1567-1643) was composing operas at a transitional time and J.S. Bach (1685-1750) was
composing at a time when the transition had been completed.
The different modes may be achieved on the piano by playing seven consecutive white
notes starting on the following notes:
C Ionian
D Dorian
E Phrygian
F Lydian
G Mixolydian
A Aeolian