Magic (splitting hair) lines

John Delacour JD at Pianomaker.co.uk
Wed Jul 19 18:47:20 MDT 2006


At 4:41 pm -0400 19/7/06, A440A at aol.com wrote:

>        I have a different approach to the "magic line at half blow" 
>concept. I find better response on actions that see the capstan/heel 
>contact point intersects the magic line at let-off..... Friction is 
>a function of speed.  On the beginning of the stroke, where the 
>capstan speed is at its minimum, the effect of friction is 
>lessened...

This thread has also had me working out a practical experiment to 
test this question, but I am certain that my conclusions would be 
very different from yours, Ed, and that the experiment would show a 
different picture.

At the outset I would say that velocity plays but a minor role in 
friction, the two main quantities being the normal force and the 
coefficient of friction of the surfaces rubbed together.  There must 
be a thousand books sites that deal with the question but wikipedia 
seems to sum things up quite well.

<http://en.wikipedia.org/wiki/Coefficient_of_friction>

The principle of having the two arcs touch at the contact point at 
half-blow is neat and tidy and has the one advantage that it can at 
worst be only half totally misconceived.  As to its validity in 
practice in the dynamics of the system, it ignores everything except 
pure geometry.

I intend to make nothing like a decision on the matter until I've had 
time to devise and execute the experiment that will demonstrate the 
matter, but I sense that the point where the lever-centre, the 
contacting profiles (lever heel meets pilot) and the fulcrum of the 
key should lie in a straight line is, by contrast with your 
hypothesis, when the system is at rest, in other words when the key 
is fully up.  It is in this state that a) all the static friction 
needs to be overcome and b) the normal force is at its greatest. 
Once things are moving, at whatever velocity -- and even the maximum 
velocity in this case is low -- then we are dealing with kinetic 
friction.

Besides this, we are not dealing with two perfectly hard and regular 
surfaces.  When the key is struck there is compression of the cloth 
and a spreading of the load, which spreading of the load incidentally 
has no effect on the friction, and this compression is reduced as the 
blow progresses.  In practice there is not a single point but rather 
an area of contact, especially as the blow is initiated.  Which point 
in this area is to lie on the straight line and why should this part 
be preferred over another point?  I'm not answering the question but 
merely suggesting that it's a valid question.

The matter could be resolved mathematically but I suspect it would 
involve very difficult mathematics since we are dealing with a 
dynamic and not a static system, and a far more useful and convincing 
test would be a scientifically devised practical experiment, which is 
not quite as simple as it first appeared to me.  Just as the 
religious measuring of static down-weights and return weights gives 
no accurate indication of the experience the player will have of the 
piano's heaviness, so the drawing-board "magic-line", as other 
posters call it, is quite unrelated to the actual forces at play and, 
as I've said, can be said with confidence only to be less wrong than 
other arbitrary positioning might be.


JD




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