>>Comments like, "It is stiffer". Is all too often tone
related. >>
I agree, and I will also go out on a limb here and say that the majority
of professionals that like hard hammers do so because they have a narrow view
of tone. They don't think in terms of changing a note's spectrum by dint of
force, but, rather, how loud or soft the note is. To these same people, "Color"
is contrasting volume, not changing in the harmonic "envelope" to favor more
or less high partials in the note. It is the "Volume", not "Tone", control
that their fingers are glued to. Passages are soft or loud, and by using all
points in between they appear to be nuance-sensitive and musically complex.
At no time will the performer have to strain to get all there is in perceived
"power".
However, there is a musical dimension missing with so little change in
the actual tone between pp and FF. IMHO, what is missing are the more complex
results from hammers that offer a full palette of tone to accompany the volume.
Who cares? (that is a rhetorical question!) As the world continues moving
ever further into hard, edgy pianos, those that recognize the difference and
know why are few and far between. Many don't listen to the piano, they listen
to the artist, or the music, etc. They aren't focussed on the same thing we
are.
When the swash-buckling, hired-gun, piano-slinger shows up for the
concert, the lively, hot-rod piano is usually the one of choice because it doesn't
ask for a lot of work out of the artist, it's easy to play. That the sound is
thin out in the hall often doesn't matter to the artist, but the tuner in the
audience that knows a harsh piano when he hears one will be less impressed
than the randy dowager sitting in the front row wishing that swooning was still
in vogue so she could make her pitch.
Regards,
Ed Foote RPT
http://www.uk-piano.org/edfoote/index.html
www.uk-piano.org/edfoote/well_tempered_piano.html
<A HREF="http://artists.mp3s.com/artists/399/six_degrees_of_tonality.html">
MP3.com: Six Degrees of Tonality</A>
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