[CAUT] excessive pedaling?

[Mark Cramer]

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Wim,

I think the situation you describe is realistic, and no doubt you've seen
pianos were the hammers are more "sheered" than "grooved." (left foot in
continuous motion)

BTW, it's surprising how few 1/2-pedalling advocates actually understand the
mechanics of what's going on, nor even whether a specific instrument has
even been properly prepared!?

In any case, here's my simplistic take on the subject, it starts back in
regulation:

I try to space (tri-chord) hammers for a uniform 1.5mm of felt between the
left edge of the hammer and the center of the left string.

All hammers will clear the 1st string at the same time, and most shift
mechanisms have sufficient travel for complete clearance.

Without any special prepartion or needling techniques, this automatically
gives the pianist "three" distinct shadings:

1.) In the grooves (compacted felt)

2.) Between the grooves (less compact felt)

3.) Full shift (one string open / two between the grooves) what we call
Una-corda, though more accurately Duo-corda(?)  ;>)

This is "sustainable" una corda voicing, just maintain the condition of the
hammers (smooth/rounded/sugar-coated) and three distinct voices are
available, and this is likely the "very least facility" the left pedal
should offer on any grand piano.

In most cases, assuming good regulation, string-leveling, tuning, etc., this
may be "all" that's required. Just be sure to run a slow chromatic scale and
listen to every note in all three pedal positions.

Take it up a notch?

Witht a good foundation, the "next level" is likely voicing the "edge" of
the hammer:

Due to tension from slicing or whatever, the edge is usually a little harder
or "pingy," and it doesn't "fit" well tone-wise between the shades of "3
strings between the grooves" and "una corda."

Gently "break" the left edge of the hammer-felt with fine sandpaper. Take
very little, and be uniform about it.

4.) Anyhow, now you have "four" distinct pedal positions and tonal colors
for your pianist, without any real difficulty or magic.

Now listening note-by-note in each pedal positions (HINT: you can wedge the
keyboard rather than using the pedal), we can go "string-by-string" to find
the hard spots, and use a single needle "through-the-strings."

Always do "less" than you think it will need on the first attempt.

In any case, this likely boils down to two points:

1.) Like aftertouch, "most" of good una-corda voicing is just the result (or
consequence) of good, simple, basic foundational work.

2.) It's not hard to acheive or maintain enough variety for the una-corda
pedal to satisfy most musicians, providing you break the big task down into
smaller, simple tasks. (and they're nowhere near you while you work!

Beyond this, it's up to the pianist to explore (and indeed imagine) the
variety of shadings they're actually creating with their left foot.
How they develop tone, as Chris mentions, is pretty much up to them.

best regards,
Mark Cramer,
Brandon University






  -----Original Message-----
  From: caut-bounces@ptg.org [mailto:caut-bounces@ptg.org]On Behalf Of Chris
Solliday
  Sent: Thursday, March 17, 2005 10:36 AM
  To: College and University Technicians
  Subject: Re: [CAUT] excessive pedaling?


  Wim, you were apparently absent that day, The Una Corda, Shift Pedal,
Expression Pedal or whatever you want to call it, but don't call it a soft
pedal, is one of the most misunderstood devices in piano history. There is a
French School that claims 5 levels of expression and an esoteric Russian
School which claims 11!!!!!! Three would do. The pedal is used to change the
TIMBRE of the note. Soft and Loud should be a function of
finger/hand/wrist/arm/shoulder/body/hip technique. Your piano player is
quite correct, you can learn alot from him about piano playing and voicing.
In "orchestral style playing" using the imagination/technique to maintain
and control a simulation of multi instrument playing through the voices is
the apex of expression and when it is done well and you have really heard it
you will never be the same. Good luck. Chris Solliday
    ----- Original Message -----
    From: Wimblees@aol.com
    To: caut@ptg.org
    Sent: Thursday, March 17, 2005 10:56 AM
    Subject: [CAUT] excessive pedaling?


    Our piano prof uses the soft/shift pedal constantly. As he put it, "we
never use 1/2 or 1/4 or so by design - it is used to the depth at which it
is necessary in the music, and is a matter of taste and using one's ear."

    I watched him play a CPE Bach piece, and he "rode the clutch", so to
speak. I don't think played one note without some soft pedaling. I can
understand what he is saying, but I have never seen anyone use the soft
pedal like he does. To me it almost seems like he has developed a habit. I
don't hear the subtle difference he claims the soft pedaling is supposed to
create.

    As a result I need to voice every hair on the felt on every hammer to
make sure all of them sound exactly the same at the infinitesimal shift
positions.

    My question is, has he gotten in a bad habit or is this "standard
procedure"? I realize there is not much I can do about it, other than work
like a devil to get it right. But for my own curiosity, is he asking for the
moon on this?

    Wim
    Willem Blees, RPT
    Piano Tuner/Technician
    School of Music
    University of Alabama
    Tuscaloosa, AL USA

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