sustaining pedal การใช้

• The sustaining pedal, however lightly applied, further clutters things up.
• The solution, of course, is the sustaining pedal.
• Orkis will appear with a cast on his right foot and work the sustaining pedal with his left.
• Petrucciani had to be carried onto the stage, and he used a special attachment to work the sustaining pedal of the piano.
• Nowick plucks at the keys as if on the strings themselves, using the sustaining pedal to give the notes full value, freeing his hands to conjure spirits.
• "In relation to the use of your welcome tone-sustaining pedal I inclose two examples : Danse des Sylphes, by Berlioz, and No . 3 of my Consolations.
• Meanwhile, percussion instruments patter with other repeated figures and the rest of the orchestra supports held tones in an effect Feldman likened to that of a piano's sustaining pedal.
• Donald Rosenberg, writing for Gramophone Magazine, writes that " She scales her Bach to the rhythmic, structural and sonic needs of the music, without touching the sustaining pedal ."
• Modern pianos usually have three pedals, from left to right, the soft pedal ( or una corda ), the sostenuto pedal, and the sustaining pedal ( or damper pedal ).
• The sparing use of sustaining pedal gave great clarity of texture, which critics referred to as " crystal piano-playing ", an effective blending of the best of the old and new schools.
• I have today noted down only the introductory bars of both pieces, with this proviso, that, if you desire it, I shall gladly complete the whole transcription, with exact adaptation of your tone-sustaining pedal ."
• The album gained attention for Gould's unique pianistic method, which incorporated a finger technique involving great clarity of articulation ( a " detached " staccatissimo " " ), even at great speed, and little sustaining pedal.
• Schiff quite simply lives and breathes Bach, and the nimblest fingers this side of Glenn Gould's allow him to avoid the sustaining pedal, a practice that in his case paradoxically yields more variety rather than less.
• In the 1955 account, you hear all the quirks that some deemed eccentric : the detached touch, made drier by Gould's scant use of the sustaining pedal; the penchant for spiky, unexpected accents; and, most of all, the tempos, which are sometimes dizzying.
• A very high group, recalling the " star-sound " colouring of Stockhausen's " Formel ", consisting of glockenspiels, piano ( treble only, with sustaining pedal ), and celesta, plays the formula two octaves and a major seventh higher than the bass group, and begins like the middle-register group, playing fast and independent of one another.
• In Barenboim's recording of " The Well-Tempered Clavier ", he makes frequent use of the right-foot sustaining pedal, a device absent from the keyboard instruments of Bach's time ( although the harpsichord was highly resonant ), producing a sonority very different from the " dry " and often staccato sound favored by pianist Glenn Gould.
• (On two of the tracks, Lacy plays his instrument into a piano with his foot on the sustaining pedal, producing a richly baleful echo . ) And while the plaintive mood of " Sands " may carry faint echoes of the shtetl, it has far more in common with the stately red-and-white canvas on the album's cover by Mark Rothko, like Lacy a deracinated Jewish modernist.