<!doctype html public "-//W3C//DTD W3 HTML//EN"> <html><head><style type="text/css"></style><title>Re: [CAUT] Agraffes and dampers</title></head><body> <div>Thanks Dave.  As LBJ said of his political opponents, it is better to have them inside the tent, xxxing out, than outside, xxxing in...  We try to emphasize customer service at UT, and it seems to pay off.</div> <div> </div> <div>How are my friends Dale Dietiert and Hank Hammett doing at SMU?  They are both wonderful musicians.  They were working on their graduate degrees when we moved to Austin in 1980, and were very kind and welcoming.</div> <div> </div> <div>Best,</div> <div>Charles</div> <div> </div> <blockquote type="cite" cite>Extremely well put!  Thank you Charles!</blockquote> <blockquote type="cite" cite> </blockquote> <blockquote type="cite" cite>dp</blockquote> <blockquote type="cite" cite> </blockquote> <blockquote type="cite" cite>____________________</blockquote> <blockquote type="cite" cite>David M. Porritt, RPT</blockquote> <blockquote type="cite" cite><a href="mailto:dporritt@smu.edu">dporritt@smu.edu</a></blockquote> <blockquote type="cite" cite> <hr size="2"></blockquote> <blockquote type="cite" cite>From: caut-bounces@ptg.org [mailto:caut-bounces@ptg.org] On Behalf Of Charles K. Ball Sent: Tuesday, May 15, 2007 2:24 PM To: College and University Technicians Subject: Re: [CAUT] Agraffes and dampers</blockquote> <blockquote type="cite" cite> </blockquote> <blockquote type="cite" cite>Dear Colleagues,</blockquote> <blockquote type="cite" cite> </blockquote> <blockquote type="cite" cite>There is an excellent text called The Well-Prepared Piano, by Richard Bunger (The Colorado College Music Press, 1973), which offers many helpful instructions for performers.  Actually, it is the player who often needs the most "preparation".</blockquote> <blockquote type="cite" cite> </blockquote> <blockquote type="cite" cite>After a couple of generations of so-called "Extended Techniques", I have concluded that these practices are here to stay.  At one time I took a prophylactic and obstructive approach to this type of music making.  It didn't seem to help much.  I also denigrated this type of music making, which also seemed to be counter-productive.  The students and faculty simply ignored and circumvented the piano technicians.  Several years ago I decided to take a different approach, and give training and support to the students and faculty.  I have been invited to speak to our composer's forum, and have frequently worked with individual students who had to do preparation for their recitals.  I would now estimate that 80% or 90% of those who need to perform these practices come to me first for guidance, and sometimes for mutes and screws and bolts.  At UT we do not have dedicated instruments for extended techniques, and cosmetic or other damages are rare indeed.  In general, I would have to say that the University Technician will have a happier career if they love music, are dedicated to musical education, and cultivate a collaborative, rather than an adversarial, relationship with the faculty and students.</blockquote> <blockquote type="cite" cite> </blockquote> <blockquote type="cite" cite>It is not appropriate for us to officially pass judgment about the value of different kinds of music making and performance.  It is our job to support performance and instruction and to repair the damage--and to point out any unfortunate consequences, preferably in advance.  Even traditional performance practices take a toll on instruments, and it is very difficult to keep institutional instruments in pristine condition at all times.  It is frustrating when damage does occur, and I have produced more than my share of tantrums and angry memos over the past 40 years, but we do have to remind ourselves that institutional pianos are somewhat like a NY taxicab, compared to a home piano, and have a limited life span.</blockquote> <blockquote type="cite" cite> </blockquote> <blockquote type="cite" cite>Regards,</blockquote> <blockquote type="cite" cite>Charles</blockquote> <blockquote type="cite" cite>  <blockquote type="cite" cite>I'm sorry. I must disagree to some point. </blockquote> <blockquote type="cite" cite>  </blockquote> <blockquote type="cite" cite>Performers seem to be of the opinion that the composers of this music are more the authority of piano design than are manufacturers and technicians. </blockquote> <blockquote type="cite" cite>  </blockquote> <blockquote type="cite" cite>Fuddy-duddie or not, there must be some education that much of this stuff is quite damaging to the piano. Some of it doesn't even make sense - like using a wedge mute for single unisons -- even the largest ones just fall through to the soundboard. I don't care how much some of you respect some of the composers or how "cool" some of that music sounds, it is my opinion that those who compose this type of stuff are guilty of negligent vandalism, if there is such a thing. When some music departments require some form of this stuff for composition students to graduate, so that framming on a $100,000 piano with a beer can is all one can come up with to meet the requirement, there are serious problems with this form of composition.</blockquote> <blockquote type="cite" cite> </blockquote> <blockquote type="cite" cite>  </blockquote> <blockquote type="cite" cite>Jeff </blockquote> <blockquote type="cite" cite>  </blockquote> <blockquote type="cite" cite>  </blockquote> <blockquote type="cite" cite>On May 15, 2007, at 11:55 AM, <a href="mailto:reggaepass@aol.com">reggaepass@aol.com</a> wrote: </blockquote> <blockquote type="cite" cite> </blockquote> <blockquote type="cite" cite>Hi List, <blockquote type="cite" cite>  </blockquote> <blockquote type="cite" cite>David has made a crucial point about how we are perceived within the environment in which we work, and how that impacts how respected we are (or are not). Taking an, "Ours not to reason why; ours but to do or die" attitude (at least publicly), helps keep us from eroding our own credibility. </blockquote> <blockquote type="cite" cite>  </blockquote> <blockquote type="cite" cite>Alan Eder </blockquote> <blockquote type="cite" cite>  </blockquote> <blockquote type="cite" cite>P. S. David, thanks for the endorsement of our video. It IS in the libraries of many schools of music across the land and, apparently, has helped facilitate the dialogue that must take place between pianists and technicians about specific pieces and techniques. You check is in the mail! </blockquote> <blockquote type="cite" cite>  </blockquote> <blockquote type="cite" cite>ae </blockquote> <blockquote type="cite" cite>  </blockquote> <blockquote type="cite" cite>-----Original Message----- </blockquote> <blockquote type="cite" cite>From: <a href="mailto:dporritt@mail.smu.edu">dporritt@mail.smu.edu</a> </blockquote> <blockquote type="cite" cite>To: <a href="mailto:caut@ptg.org">caut@ptg.org</a> </blockquote> <blockquote type="cite" cite>Sent: Tue, 15 May 2007 8:36 AM </blockquote> <blockquote type="cite" cite>Subject: Re: [CAUT] Agraffes and dampers </blockquote> <blockquote type="cite" cite>  </blockquote> <blockquote type="cite" cite>Paul: </blockquote> <blockquote type="cite" cite>  </blockquote> <blockquote type="cite" cite>  </blockquote> <blockquote type="cite" cite>Get Alan Eder's video of how to prepare a piano. It's good, comprehensive and should be in every university's library. We have a resident ensemble that only does contemporary music and naturally they prepare pianos a lot. I've never had any real damage in the 21 years I've been here. This can be done carefully, without damage and expands the range of piano music. When we disparage this it makes us sound like fuddy-duddies who are out of touch with life in the 21st century. </blockquote> <blockquote type="cite" cite>  </blockquote> <blockquote type="cite" cite>  </blockquote> <blockquote type="cite" cite>dp </blockquote> <blockquote type="cite" cite>  </blockquote> <blockquote type="cite" cite>  </blockquote> <blockquote type="cite" cite>David M. Porritt </blockquote> <blockquote type="cite" cite>  </blockquote> <blockquote type="cite" cite><a href="mailto:dporritt@smu.edu">dporritt@smu.edu</a> </blockquote> <blockquote type="cite" cite>  </blockquote> <blockquote type="cite" cite>  </blockquote> <blockquote type="cite" cite>________________________________________________________________________ </blockquote> <blockquote type="cite" cite>AOL now offers free email to everyone. Find out more about what's free from AOL at AOL.com. </blockquote> <blockquote type="cite" cite>=0 </blockquote> <blockquote type="cite" cite>  </blockquote> </blockquote> <blockquote type="cite" cite>  </blockquote> <blockquote type="cite" cite>  </blockquote> <blockquote type="cite" cite>Jeff Tanner, RPT </blockquote> <blockquote type="cite" cite>Piano Technician </blockquote> <blockquote type="cite" cite>School of Music </blockquote> <blockquote type="cite" cite>University of South Carolina </blockquote> <blockquote type="cite" cite>Columbia, SC 29208 </blockquote> <blockquote type="cite" cite>(803) 777-4392 </blockquote> </blockquote> <blockquote type="cite" cite> </blockquote> <blockquote type="cite" cite> </blockquote> <blockquote type="cite" cite>--</blockquote> <blockquote type="cite" cite>Charles Ball, RPT Head Piano Technician School of Music University of Texas at Austin 512-471-0763 mailto:ckball@mail.utexas.edu</blockquote> <div> </div> <div> </div> <x-sigsep><pre>-- </pre></x-sigsep> <div>Charles K. Ball, RPT School of Music The University of Texas at Austin Austin, TX 78712 512-467-1535 mailto:ckball@mail.utexas.edu</div> </body> </html>