This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment Follow through is exactly the same concept. It relies on the batter's or golfer's nervous system, which is able to deliver precisely the right impetus at impact because it "knows" the entire flow of movement. The ball is indifferent to what happens after impact, but the arms, wrists, hands, fingers are at their best when they are concerned with the whole fluid movement./jk -----Original Message----- From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org]On Behalf Of Terry Sent: Saturday, April 02, 2005 2:25 AM To: Pianotech Subject: Re: Oorebeeks Punch'ns I sure don't know the answer, but I do have one comment that conflicts with the statement: "all the motion that contributes to the hammer contacting the string occurs before the key bottoms out on the punching." That would be the baseball batting analogy and the concept of "follow through". When the batter hits the ball, theoretically, after the ball leaves contact with the bat, it shouldn't make any difference what happens with the batter's swing after that point. But it does. I don't know why, but the proper follow through is critical to successful batting. I also don't know if this analogy is applicable to a piano keystroke. But maybe! Terry Farrell I'd like to hazard a guess about how these punchings are able to affect tone. Firstly let's admit the logical problem. If you look at the mechanical model, all the motion that contributes to the hammer contacting the string occurs before the key bottoms out on the punching. So, theoretically, it is difficult to account for Andre's claims about this improved tone. We can admit logically that the *feel* of the action may be quite different because of the punching, because the experience of hitting bottom is such a great portion of the artist's experience. OK. But the *tone*? Is this magical thinking? Or may there be a more subtle explanation that satisfies logic? The truth, I suspect, is in the marvelous nervous structure leading to the artist's fingertips. The regulation of aftertouch is, let's say, 10x more precise with the antares punching than with a too-soft punching. I suspect that the fingers, finding a much more precise bottom, are able to deliver that much more precise a blow. Having played and found this certain bottom, the *fingers* are now much more sure of how much force to use in the attack on the keys. This is what affects the tone. The artist's touch is made more effective by the clean bottom. Does this idea play? Or am I making a rationalization for magical thinking? jason ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/ee/19/fd/0a/attachment.htm ---------------------- multipart/alternative attachment--
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