> This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. ---------------------- multipart/alternative attachment > 4. For those with limited experience and little opportunitity to mentor w= ith > someone, terms like "large, dark, powerful, clear, and throaty, with roar= and > snap at double or triple forte, but NEVER clangy or distorted" just leave= one > guessing as to what they mean. I assume that "dark" means power in the lo= wer > partials not overshadowed by the higher ones (?) but I'd be guessing abou= t > that "roar and snap" thing. This isn't to criticize David's description, > merely to point out the difficulties and frustrations of communicating se= nsory > perceptions through verbage. I've watch Roger Jolly and Ari Issac do some > voicing and marveled at what they can do and how well they do it. But eve= n > trying, in person, to demonstrate and teach voicing to a room full of peo= ple > seems very challenging: "See, the sound is now a broad 'Ohhhhh' instead o= f an > "Ehhhhh and it sits higher against on the shelf." (Made part of that up = .... > sorry) > =20 > I think it's like people describing wines without giving you a sip: Yes, = and > this vintage is drier than a moselle, slightly nutty, with just a hint of= the > vine not revealed in the bouqet unless consumed at midnight in a graveyar= d > while holding a dead cat. > =20 > Alan R. Barnard > Always Studyin' but Not Always Gettin' It in Salem, MO My friend---I=B9m just trying to give words to an aural phenomenon, and it=B9s tough, but that=B9s what =B3developing a tonal memory=B2 means: developing an internal sense of how a piano is =B3supposed=B2 to sound at all volume and attack levels. If you played the concert grands that Dale Erwin and I brought to the Sacramento PTG Convention, I can say that both of those pianos are in the ballpark of what most artists, technicians, and serious listeners would describe as achieving the sonority of the 40=B9s and 50=B9s pianos---powerful and clear, without distortion or a brittle quality. There I go again :--) The CDs I mentioned in an earlier post are a good indication of what I=B9m trying to put in words. If we=B9d met in Sacramento, I would have given you a CD that I had a few copies of there---an amazing young jazz player named Tamir Hendelman, playing trio versions of Christmas songs on a 1923 long A my shop rebuilt. That piano is a touch brighter, but sounds like a Bill Evans record, which nearly always had imeccably tuned and voiced pianos. It=B9s a lifetime of listening and learning. I still feel like a rank novice a lot of the time. Voicing is a noble challenge. It demands that so many things about the pian= o be right. When you become passionate about the voice of the instrument, your toleration of unregulated and unprepared pianos becomes slimmer and slimmer= , and your business changes. This coming week, 4 of the 5 days are one long day, or 2 long days, with a good grand piano. It wasn=B9t like that 6 or 7 years ago; it was much more tuning 3 or 4 pianos a day. As my ears have grown, my practice has grown and improved. ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/35/86/32/b9/attachment.htm ---------------------- multipart/alternative attachment--
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