[CAUT] excessive pedaling?

[Conrad Hoffsommer]

At 12:21 3/18/2005, you wrote:

>Does the una corda pedal change timbre in a desirable or even particularly 
>noteworthy way?  The only way I see that this pedal can substantively 
>change timbre would be through different sections of  the hammer surface 
>producing different tones.  But surely, if the pedal were employed 
>consistently throughout its full range of motion, a tonal evening out of 
>hammer surface would result (probably accelerating wear as well), tending 
>to negate that effect?  And if its rationale is tonal alteration, there 
>are any number modifications that could be made which would alter timbre 
>far more dramatically (e.g., metal tabs, electronic modification of sound 
>waves, etc.), so why aren't we advocating those?
>
>Best,
>
>Jeff



Jeff,

Try an experiment.  Have a pianist play a phrase at mezzopiano without 
using pedals at all. Then have them play it at the same volume but using a 
fully engaged (i.e. fully missing one string and getting strings back to 
grooves) una corda pedal. I feel confident that you will hear a 
difference.  Desirability and/or noteworthiness thereof are purely subjective.

Just for grins, I did a similar test with the RCT Pianalyzer. Definite 
difference.
partials: [YMMV]

Fundamental - ~ same
Octave      - ~ 20% less
12th        - ~ same
double 8va  - ~ 40% more
tierce      - ~ 40% less
quint       - ~ 40% less
7th         - ~ 60% less

Just one note... {YamC7 middle D} Imagine these differences over the scale.

a definite change of timbre available which the fingers alone cannot 
duplicate. This is a static comparison. I don't have equipment which would 
give a representation of the development of the sound envelope which, since 
the third string is driven by the two, would also show a definite difference.





Conrad Hoffsommer
Decorah, IA

My mind not only wanders, sometimes it leaves completely.
It's gone right now and didn't leave a forwarding address.