Feeling the Hammers when playing

[antares]

When voicing a piano we must always feel vibrations in the key.
No vibes, tone nor strong enough. By feeling the differences between the
keys we have a second sense to aid us in voicing.




friendly greetings
from

Antares,

Amsterdam, Holland

"where music is, no harm can be"

visit my website at :  http://www.concertpianoservice.nl/


> From: "Richard Brekne" <richard.brekne@grieg.uib.no>
> Reply-To: pianotech@ptg.org
> Date: Sun, 30 Jun 2002 14:36:06 +0200
> To: "PTG" <pianotech@ptg.org>
> Subject: Re: Feeling the Hammers when playing
> 
> Hi Patrick
> 
> Say if you could remember the name of the instructor I would be very glad to
> know who it was. 
> 
> I have no doubt that what we hear affects what we feel (or think we feel) in a
> very big way... but I also wonder about whether or not we really do physically
> feel the hardness of the hammers, and if so how and how is that explained.
> Lots
> of ideas presented but mostly in the form of beponderments.
> 
> Bill Ballard said something about how difficult it would be to find out
> anything definant... perhaps this is true but on the other hand it would seem
> easy enough to ascertain whether or not pianists (or anyone else for that
> matter) can indeed sense hammer hardness at the key or not.
> 
> Would seem an interesting and kind of an important point to clear up really
> when it comes down to it.
> 
> Anyways, if you remember his name let me know
> 
> Cheers!
> 
> RicB
> 
> 
> Patrick C Poulson wrote:
> 
>> 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
> 
> 
> Richard Brekne
> RPT NPTF
> Griegakadamiet UiB
> 
>