This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment Well, I'd have to agree to disagree on this one. Obviously playing on a part of the hammer that has not seen the ffff playing is going to give a different sound than what is heard playing on the string grooves. If indeed, that softer felt between the grooves gets harder through frequent use, it is then our job to reestablish that soft area for the performers. You aren't saying that playing on a hard hammer with less force will give you the same sound as playing with a softer hammer (or part of the hammer) are you? =20 =20 Earlier this year I did indeed voice the una corda section too far on one of our concert instruments. The next pianist who gave a recital did seem to get too much contrast between the two shift positions. Fortunately, the next recital I heard on that piano was played by a pianist adept at pedaling, and he used that contrast and the many intermediate shades available to him to great advantage. Also, if I couldn't hear those differences I wouldn't admit it. =20 dave =20 David M. Porritt dporritt@smu.edu ________________________________ From: caut-bounces@ptg.org [mailto:caut-bounces@ptg.org] On Behalf Of Jeff Olson Sent: Friday, March 18, 2005 12:22 PM To: College and University Technicians Subject: Re: [CAUT] excessive pedaling? =20 Wim: =20 =20 "I read a paper once where a pianist, who also rode the pedal a lot, was forced to play a recital without the use of the una corda pedal. He had to adjust his playing style completely, playing expressively. The review stated he never sounded so good. That is why I think this professor thinks he is playing expressively, because he pumps the pedal a lot, but I don't hear the nuances he is trying to create." =20 Exactly. It seems that most if not all the list members seem to view heavy use of the "dua" corda pedal as a priori justified, apparently because some pianists do that (again, I haven't observed concert or highly skilled pianists doing what Wim described), or because it allegedly allows an added range of timbre (presumably one that couldn't be duplicated by mere expressive playing). =20 I'd like to propose that apparently radical notion that if this pedal disappeared tomorrow, expressiveness in piano performance would not only not decline, it would, if anything, improve. You have, basically, an infinite dynamic range from applying different degrees of force to a key alone, without what is, essentially, a special-effect pedal. Yes, some pianists may use it, but that doesn't demonstrate its utility; it may simply confirm that people will use a function that's available, especially if it can serve as a crutch. =20 Does the una corda pedal change timbre in a desirable or even particularly noteworthy way? The only way I see that this pedal can substantively change timbre would be through different sections of the hammer surface producing different tones. But surely, if the pedal were employed consistently throughout its full range of motion, a tonal evening out of hammer surface would result (probably accelerating wear as well), tending to negate that effect? And if its rationale is tonal alteration, there are any number modifications that could be made which would alter timbre far more dramatically (e.g., metal tabs, electronic modification of sound waves, etc.), so why aren't we advocating those? =20 Best, =20 Jeff ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/caut.php/attachments/3b/4a/5c/a6/attachment.htm ---------------------- multipart/alternative attachment--
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