Ed, At 05:24 PM 11/16/1998 -0500, you wrote: >I am assuming I am missing something here. Does the above mean that you will >vary the let-off in order to achieve consistant aftertouch? As usual, you are not missing anything. The direct answer is, "yes". The operational, and-how-do-you-really-do-it answer is that I _will_ change the letoff, but, only if I cannot get the consistency of _feel_ that I want by other means. Actually, I suppose, I would, in practice, vary the dip before varying the letoff - but only a very small amount. _But_ a very great deal would depend on the pianist. John Perry would notice the dip before noticing the letoff. Morevic would (probably) have noticed the letoff before the dip. Brendl is going to make you crazy no matter what, he feels everything. Sort of too bad, in a way. All this work, and 99.99% of all possible players look at the keys of a piano as being 88 on/off switches. Well, at least, they play as if they think that way. Philosophically, aftertouch is, I think, a misunderstood phenomenon. While it is true that with "too much" after touch you lose power, it is also true that it is precisely this range of key movement that real pianists depend so heavily upon for control. Thus, in my practice, I am much more interested in the subjective perception of the regularity of the touch than in the (strictly observed) reductive measurement of it. Better? Not? Best, in any event. Horace Horace Greeley, CNA, MCP, RPT Systems Analyst/Engineer Controller's Office Stanford University email: hgreeley@leland.stanford.edu voice mail: 650.725.9062 fax: 650.725.8014
This PTG archive page provided courtesy of Moy Piano Service, LLC