The Good kind of Heavy

[antares]

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On 5-jan-04, at 21:02, Barbara Richmond wrote:

> Hey Ric,
>
> So, would the good kind of heavy have anything to do with the magic of
> voicing?  I know you've got your numbers (75!), but I've encountered
> pianists making comments about a piano's action feeling heavy, when=20
> what
> they really wanted was the piano to be voiced brighter and more
> responsive....and the opposite, a piano feeling too light because the
> voicing was too bright.  I guess what I'm trying to say is that you=20
> can have
> perfect numbers (which you didn't before you worked on it), but the
> pianist's perception of the tone can sometimes make those numbers a=20
> moot
> point.  Just a thought.......though the *Ric Brekne sound* is probably
> remarkably consistent!  ;-)
>
>
> Barbara Richmond, RPT
> somewhere near Peoria, IL
>

Of course Barbara, what you say is correct.
A nice voicing will do wonders, no matter weight or even out of=20
tune-ness (hey, I made that up myself ! ).
I remember for instance this Steinway B in the Amsterdam Conservatory.=20=

It had received a new set of hammers and was in need of a second=20
voicing but I am so busy al the time etc etc.. you can guess the rest.
One day  I was working in another piano room, when a pianist came in=20
asking my assistance because he had dropped da pencil in da piano etc.
So I took my screw driver and went with him to his piano and got out=20
the pencil.
Just before I left I asked him about his piano and he said, "well it=20
needs a tuning, so if you have time..."
So I played a few keys and I got embarrassed because the new hammers=20
were extremely loud.
So of course I had to get back to the instrument I was working on and=20
later discovered that I had left my dear screw driver and I immediately=20=

went back to get it.
Nobody was at that time in the room where I had left my screw driver=20
and I thought : why not do a very fast voicing so that at least the=20
worst notes are better, so I quickly ran for my voicing tools and=20
started a very fast voicing.
As time went by and nobody came into the room, I slowed down a little=20
and took my work a little more serious but I knew I actually made an=20
error by not tuning the instrument before voicing. Alas, there was no=20
time and I was able to voice the hammers so that the instrument had=20
improved a lot.

One hour later, the pianist came into my room again and asked me=20
whether I had voiced his instrument and that he was so happy because it=20=

was soo much better.
Not a word about the instrument still being very much out of tune!=20
which indeed shows that a good voicing covers up for a lot of misery.

(; >))

friendly greetings
from
Andr=E9 Oorebeek


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