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<DIV><FONT face=Arial size=2>The trouble with being unaware is that =
one is
unaware of being unaware. Chris Solliday</FONT></DIV>
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style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
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<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>
<A title=fssturm@unm.edu href="mailto:fssturm@unm.edu">Fred =
Sturm</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A title=caut@ptg.org
href="mailto:caut@ptg.org">College and University Technicians</A> =
</DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Friday, March 18, 2005 =
7:28
PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: [CAUT] excessive
pedaling?</DIV>
<DIV><BR></DIV><FONT face=Verdana>On 3/18/05 11:21 AM, "Jeff Olson" =
<<A
href="mailto:jlolson@cal.net">jlolson@cal.net</A>> =
wrote:<BR><BR></FONT>
<BLOCKQUOTE><FONT face=Verdana>Exactly. It seems that most if =
not all
the list members seem to view heavy use of the "dua" corda pedal as =
a priori
justified, apparently because some pianists do that (again, I =
haven't
observed concert or highly skilled pianists doing what Wim =
described), or
because it allegedly allows an added range of timbre (presumably one =
that
couldn't be duplicated by mere expressive playing).<BR> <BR>I'd =
like to
propose that apparently radical notion that if this pedal =
disappeared
tomorrow, expressiveness in piano performance would not only not =
decline, it
would, if anything, improve. You have, basically, an infinite =
dynamic
range from applying different degrees of force to a key alone, =
without what
is, essentially, a special-effect pedal. Yes, some pianists =
may use
it, but that doesn't demonstrate its utility; it may simply confirm =
that
people will use a function that's available, especially if it can =
serve as a
crutch.<BR> <BR></FONT></BLOCKQUOTE><FONT face=Verdana><BR>Hi =
Jeff,<BR> I used to share that view, as an =
aspiring
pianist. And it is probably true that there are many pianists who =
“use it as a
crutch” because they haven’t developed the finger control =
necessary to produce
fine gradations of tone.<BR> But my initial =
prejudice
against use of una corda was based on my own experience, which did not =
include
playing on pianos that had been prepared to what I now consider to be =
standard
concert readiness. IOW, they weren’t una corda voiced. Most of the =
time, a
full shift would put the two strings in hammer grooves. Or on the edge =
of
hammer grooves (even worse). <BR> Artistic use =
of a
well voiced una corda can be a revelation. It is definitely a part of =
my
repertoire as a pianist today. I can play quite well without one, but =
I sure
wouldn’t do so if I had a choice.<BR>Regards,<BR>Fred =
Sturm<BR>University of
New Mexico <BR><BR></BLOCKQUOTE></FONT></BODY></HTML>