At 11:33 PM 4/11/97 -0700, you wrote: > >Guy, this is just getting really interesting. Could you explain publicly >what the Suzuki teacher said about tone? (No problem waiting till next week.) > >Susan Kline > Dear Susan and list, I realize that this thread ran it's course(very well), and am not trying to re-stir or waste bandwidth. I also did't want you to think that I ignored your request(above), so here goes....... If we take for granted that there's more than just physics and geometry involved, as many of the tonal/coloration posts imply, then my attempt at describing the Suzuki teachers' technique can be looked at with a somewhat open mind. Please understand that we're going to look at ONE way that a player/tech/student can TRY to create a tone. There are, of course, many many many ways to create tone. The one "quote", if you will, from the teacher is that "Every tone is a creation". The qualifier is the results. We host lots of recitals in our facility, and her students absolutely shine. Their tonal control, from age 3 or 4 on up, is unmatched by almost all of the other hundreds of students I listen to. We can't dispute the "fruit on the tree", as if dispute was the desire. I just wanna learn. Our goal with this experiment is to create different tone, with roughly the same volume level, on one note.....one piano....no technical changes. Measure how you like, we listen with our ears, they should suffice. Try this: Place your right hand on the keyboard, with all five fingers at rest on five whites, starting somewhere above....A5. Be sure of your body posture, for consistancy, and make your fore-arm level.(standard stuff) Play the note under your pinky(5) finger. like you normally would, about once every 2 seconds, until you've established a "norm" for volume. If the note is funky(voicing, on the break, weak, etc) move to a better note. Medium volume is best, but be comfortable with it. The idea is to be consistant. Without breaking cadence, attempt to concentrate on exactly where on the key your finger-tip starts(or hits) and stops. Now stop, shake out your hand, and repeat the procedure. You should achieve consistant tone within a few strikes. Now stop, shake out your hand, and place your hand back in 'ready' position, with the pinky tip near the notch. NOTE: THE ACTUAL PLACEMENT ON THE KEY IS NOT THAT CRITICAL! With the tip resting on the key, gently pull towards yourself, without depressing the key. The idea is to 'rock' onto the 'pad' of your pinky, not the tip. WITHOUT lifting you finger, PULL it towards the top of the keyslip, drawing an imaginary line through the surface of the key. It should strike with less volume than what you were achieving before. Now repeat that motion, being carefull to always start with your finger ON the key, not above, until you've reached the same volume level of your 'base line' initial strikes. The fun part comes when you try to go back and forth between the two strikes. I'm sending this response to Susan's question knowing full well that text just ain't the same as being there, and a lot of people are going to waste some of their valuable time on this and get nothing from it for their investment. It's an imperfect world. If you try this, with no results, then flame away. If you don't try it, well, big deal. There's better things to do. The teacher, by the way, did mention a book by Geiseking(no title) that she thought was very good on tone, but that Kataoka was the definitave 'cats' meow.' Tip of the iceberg, physical technique-wise, but enough to get you started, and at least make your pinky sore. BTW, has helped the arthritis a bunch. Sincerest hope that this helps at least one. Guy Nichols, RPT nicho@lascruces.com "The person with experience is never at the mercy of one with an opinion" Ron Rummel
This PTG archive page provided courtesy of Moy Piano Service, LLC