[CAUT] excessive pedaling?

[Fred Sturm]

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On 3/17/05 8:56 AM, "Wimblees@aol.com" <Wimblees@aol.com> wrote:
> =20
> My question is, has he gotten in a bad habit or is this "standard procedu=
re"?
> I realize there is not much I can do about it, other than work like a dev=
il to
> get it right. But for my own curiosity, is he asking for the moon on this=
?
> =20
I agree with those who have said he is reasonable in his expectation, thoug=
h
I would argue that this does not mean voicing every hair of every hammer.
There are some fairly efficient procedures to get a good range of color.
1) First, as Mark Cramer mentioned, do sand that left edge. A quick
rotational pass with a paddle will do it, but leaving a sharp edge is big,
big trouble. When that edge hits a string, it shouts very loud and clear.
Don=B9t miss one. (Ask me how I know).
2) I=B9ll assume level strings, hammers square to strings (fitted). Space
hammers meticulously  to strings. The real goal in spacing is to have just
enough felt to the left of the left string at rest so that, when the pedal
is half depressed, there is felt to hit the left string, and when fully
depressed, the left string will clear and the other strings will still be i=
n
=B3un-grooved=B2 felt (ie, they will be hit by hammer felt just to the right of
the felt that hits the strings in rest position). So if there aren=B9t groove=
s
produced by  playing, mark the hammer with carbon paper (carbon paper
between hammers and strings) to be certain you can tell exactly how to spac=
e
the hammers.=20
3) Before proceeding, make doubly sure you have spaced the hammers (and
adjusted the una corda stop screw) as near perfectly as possible, by playin=
g
each note in turn with pedal fully depressed, muting the right two strings
with a rubber mute. Can you hear the left string? If so, space that hammer =
a
wee bit again. (It=B9s okay to have a very slight ghosting sound from the lef=
t
string =AD in fact, I like to adjust the stop to get just a ghosting sound fo=
r
precision spacing, then turn the screw an eight to quarter turn to get
positive clearance for final position). Also take care to observe what part
of the hammer is hitting the left two strings when the pedal is fully
depressed =AD definitely make sure you have adjusted the stop so that the
grooves or carbon paper lines aren=B9t hitting the left two strings. This is
fussy work, but needn=B9t take all that long, using a flange spacer. (Well, a=
s
long as there is adequate space between the flanges. Speaking of which, whe=
n
installing new shanks, take care to leave equal space before tightening
screws. It=B9ll save a lot of time later).
4) Now it=B9s a fairly simple procedure. Two needling sites: one just to the
right of the two left strings, the other just to the left of all three
strings. The first gets a deeper treatment than the second. Exactly what
treatment will vary depending on taste and hammer variety, but a tool like
Steinway folks use with 4 =AD 5 shallow needles close together is a good
possibility. Another is a single needle, operated with finesse.
    When needling to the right of the string grooves (which is where the
hammer hits when the pedal is fully depressed), angle to the right, away
from the grooves. When needling to the left of the string grooves (at half
pedal position), angle a wee bit to the left, and don=B9t go as deep. Be
meticulous, and do exactly the same thing to each hammer (with some
adjustment in depth from bass to treble). And, of course, do a few samples
to decide what that exact same thing will be.
5) Now play each note, while moving the pedal up and down gradually. Mostly
you are listening for any =B3hot spots=B2 you might have missed. But typically =
I
find that, if I have done the necessary prep work (leveling, mating,
spacing), and have been attentive enough while doing the una corda needling=
,
there sill be very little additional touch up do be done. BTW, the Steinway
folks (Eric at any rate) don=B9t teach needling the half pedal position, at
least in their more basic classes. But I think it is utterly essential. Not
as deep as full pedal position, but it has to be done or there will be
obvious unevenness when partial pedal is used.  I have certainly had
complaints which have led me to my current standard procedure.
    As for 4 or 11 different sounds, well, whatever they want to teach and
believe is just fine. A two position una corda voicing will create a very
nice gradation of tone, which will please the vast majority in my
experience.
Regards,
Fred Sturm
University of New Mexico






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