performance piano - student psychopathology 101

[Otto Keyes]

Interesting as well is the effect of repetoire on the voicing (or perception
thereof).  This is a particular problem with relatively inexperienced
players who have not really learned how to control an instrument, and have
not had the privilege of playing a wide variety of pianos (wows to woofers)
and faced the challenge of having to make them all speak consistently.  I've
heard some really great performances on quite undeserving instruments.

We do have a new piano faculty member who is quite an incredible performer.
We have discussed this issue, and seem to be on the same page, so perhaps we
can make a dent in the current mentality.  You're right Ed, tone is a sticky
issue, and the view of the technician can be taken as a challenge, if not
addressed very carefully.  Therefore, any additional wisdom would be most
welcome.

I will hang onto the glover's needles, though.  I may need them to repair my
mocassins should the tide of psychological warfare turn against me.  :-)

Otto

----- Original Message -----
From: "Ed Sutton" <ed440@mindspring.com>
To: "College and University Technicians" <caut@ptg.org>
Sent: Wednesday, September 17, 2003 3:40 PM
Subject: Re: performance piano - student psychopathology 101


> Otto-
>
> That's why I suggested subtle (but perceptible) non-destructive voicing.
You can
> also try changing  the strikepoint, which will give a warmer or brighter
treble
> tone on some pianos, reversible with the turn of 2 or 3 screws.
>
> My experience has been that communication about voicing is a very
difficult area
> of the professor/technician relationship.  In the academic system, it is
not the
> perogative of the technician to be more sensitive to piano tone than the
> professor, or to teach the professor about his/her own subjectivity.  Many
piano
> majors have a similar view of technicians. That is why I suggest doing a
> reversible voicing procedure and asking the prof. to try it for a few
days.  Then
> if the mood changes, it is easy to undo the voicing in the other
direction.
>
> Incidentally, I found that a shellac solution (1 gram shellac flakes to 1
oz.
> alcohol) brought back a little life to hammers split by glovers needles as
you
> describe.
>
> Ed Sutton
>
>
> ----- Original Message -----
> From: "Otto Keyes" <okeyes@uidaho.edu>
> To: "College and University Technicians" <caut@ptg.org>
> Sent: Wednesday, September 17, 2003 5:59 PM
> Subject: Re: performance piano - student psychopathology 101
>
>
> > However, the problem is not the split hammers.  Hammers are no big deal,
> > though it may take awhile to get through all of them.  My goal is to
change
> > the prevailing culture here, not just the hammers.  In the "sensitive
> > artist", confronting psychosomatically induced piano ills calls into
> > question all sorts of things, including such inconsequencial things as
> > talent, hearing ability, artistic judgement, technique, etc., etc.  Such
> > things can get one into an adversarial situation very quickly, if not
> > approached with great tact.  Therefore, I call upon your vast,
collective
> > experience.
> >
> > Otto
>
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