Feeling the Hammers when playing

[Erwinspiano@AOL.COM]

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In a message dated 6/28/2002 11:47:32 PM Pacific Standard Time, 
pcpoulso@pacbell.net writes:


> Subj:Re: Feeling the Hammers when playing 
> Date:6/28/2002 11:47:32 PM Pacific Standard Time
> From:<A HREF="mailto:pcpoulso@pacbell.net">pcpoulso@pacbell.net</A>
> Reply-to:<A HREF="mailto:pianotech@ptg.org">pianotech@ptg.org</A>
> To:<A HREF="mailto:pianotech@ptg.org">pianotech@ptg.org</A>
> Sent from the Internet 
> 
>  Hi Patrick

   This sounds like an excerpt from the Everday Voicing class that Bob Davis 
and I taught for a few years. I find this to still be a valid concept. I also 
remeber the pinky test that Bob suggests, which is that if you're unable to 
get enough tone/volumne in the melody notes with your right pinky finger it's 
a good indication the hammer and subsequent tone would benifit from being 
stiffer which effects its string contact time and therefore its voicing/tone.
>>>>>Dale>>>>

> 
> Hello All: I remember a discussion in a convention voicing class about the
> phenomenon of "psychoacoustics."  The contention of the teacher, whose name
> escapes me at the moment, is that what we hear influences what we think we
> are feeling as we play the piano.  A very bright piano will be perceived by
> many as being "easier" to play, because it seems louder and therefore
> doesn't require as much effort from the pianist.  Vice versa for a very
> mellow piano, where the pianist may have to play harder to get the piano to
> project.  In both cases the pianist is not actually feeling the hammer
> itself, but is reacting to the kind of tone the piano is producing and is
> automatically and perhaps unconsciously adjusting his or her playing to
> compensate for what the instrument is not giving.
> Patrick Poulson, RPT
> 


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