<html xmlns:v="urn:schemas-microsoft-com:vml" = xmlns:o="urn:schemas-microsoft-com:office:office" = xmlns:w="urn:schemas-microsoft-com:office:word" = xmlns="http://www.w3.org/TR/REC-html40"> <head> <meta http-equiv=Content-Type content="text/html; = charset=us-ascii"> <meta name=Generator content="Microsoft Word 11 (filtered medium)">  <style>  </style>  </head> <body bgcolor=white lang=EN-US link=blue vlink=purple = id="role_body" bottomMargin=7 leftmargin=7 topmargin=7 rightMargin=7> <div class=Section1> <p class=MsoNormal><font size=3 face="Times New Roman"><span = style='font-size: 12.0pt'>Well,  I’d have to agree to disagree on this = one.  Obviously playing on a part of the hammer that has not seen the ffff = playing is going to give a different sound than what is heard playing on the string grooves.  If indeed, that softer felt between the grooves gets = harder through frequent use, it is then our job to reestablish that soft area = for the performers.  You aren’t saying that playing on a hard hammer = with less force will give you the same sound as playing with a softer hammer = (or part of the hammer) are you?  <o:p></o:p></span></font></p> <p class=MsoNormal><font size=3 face="Times New Roman"><span = style='font-size: 12.0pt'><o:p> </o:p></span></font></p> <p class=MsoNormal><font size=3 face="Times New Roman"><span = style='font-size: 12.0pt'>Earlier this year I did indeed voice the una corda section too = far on one of our concert instruments.  The next pianist who gave a = recital did seem to get too much contrast between the two shift positions.  Fortunately, the next recital I heard on that piano was played by a = pianist adept at pedaling, and he used that contrast and the many intermediate = shades available to him to great advantage.  Also, if I couldn’t = hear those differences I wouldn’t admit it.<o:p></o:p></span></font></p> <p class=MsoNormal><font size=3 face="Times New Roman"><span = style='font-size: 12.0pt'><o:p> </o:p></span></font></p> <p class=MsoNormal><font size=3 face="Times New Roman"><span = style='font-size: 12.0pt'>dave<o:p></o:p></span></font></p> <p class=MsoNormal><font size=3 face="Times New Roman"><span = style='font-size: 12.0pt'><o:p> </o:p></span></font></p> <div> <p class=MsoNormal><font size=2 face="Times New Roman"><span = style='font-size: 10.0pt'>David M. Porritt</span></font><o:p></o:p></p> <p class=MsoNormal><font size=2 face="Times New Roman"><span = style='font-size: 10.0pt'><a = href="mailto:dporritt@smu.edu">dporritt@smu.edu</a></span></font><o:p><= /o:p></p> </div> <div> <div class=MsoNormal align=center style='text-align:center'><font = size=3 face="Times New Roman"><span style='font-size:12.0pt'> <hr size=2 width="100%" align=center tabindex=-1> </span></font></div> <p class=MsoNormal><b><font size=2 face=Tahoma><span = style='font-size:10.0pt; font-family:Tahoma;font-weight:bold'>From:</span></font></b><font = size=2 face=Tahoma><span style='font-size:10.0pt;font-family:Tahoma'> caut-bounces@ptg.org [mailto:caut-bounces@ptg.org] <b><span = style='font-weight: bold'>On Behalf Of </span></b>Jeff Olson<br> <b><span style='font-weight:bold'>Sent:</span></b> Friday, March 18, = 2005 12:22 PM<br> <b><span style='font-weight:bold'>To:</span></b> College and = University Technicians<br> <b><span style='font-weight:bold'>Subject:</span></b> Re: [CAUT] = excessive pedaling?</span></font><o:p></o:p></p> </div> <p class=MsoNormal><font size=3 face="Times New Roman"><span = style='font-size: 12.0pt'><o:p> </o:p></span></font></p> <div> <p class=MsoNormal><font size=2 color=black face=Arial><span = style='font-size: 10.0pt;font-family:Arial;color:black'>Wim:<o:p></o:p></span></font></p> </div> <div> <p class=MsoNormal><font size=2 color=black face=Arial><span = style='font-size: 10.0pt;font-family:Arial;color:black'> <o:p></o:p></span></font></p>= </div> <div> <div> <p class=MsoNormal><font size=2 color=black face=Arial><span = style='font-size: 10.0pt;font-family:Arial;color:black'> <o:p></o:p></span></font></p>= </div> <div> <p class=MsoNormal><font size=2 color=black face=Arial><span = style='font-size: 10.0pt;font-family:Arial;color:black'>"I read a paper once where a pianist, who also rode the pedal a lot, was forced to play a recital = without the use of the una corda pedal. He had to adjust his playing style = completely, playing expressively. The review stated he never sounded so good. That = is why I think this professor thinks he is playing expressively, because he pumps = the pedal a lot, but I don't hear the nuances he is trying to = create."<o:p></o:p></span></font></p> </div> <div> <p class=MsoNormal><font size=2 color=black face=Arial><span = style='font-size: 10.0pt;font-family:Arial;color:black'> <o:p></o:p></span></font></p>= </div> <div> <p class=MsoNormal><font size=2 color=black face=Arial><span = style='font-size: 10.0pt;font-family:Arial;color:black'>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).<o:p></o:p></span></font></p> </div> <div> <p class=MsoNormal><font size=2 color=black face=Arial><span = style='font-size: 10.0pt;font-family:Arial;color:black'> <o:p></o:p></span></font></p>= </div> <div> <p class=MsoNormal><font size=2 color=black face=Arial><span = style='font-size: 10.0pt;font-family:Arial;color:black'>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.<o:p></o:p></span></font></p> </div> <div> <p class=MsoNormal><font size=2 color=black face=Arial><span = style='font-size: 10.0pt;font-family:Arial;color:black'> <o:p></o:p></span></font></p>= </div> <div> <p class=MsoNormal><font size=2 color=black face=Arial><span = style='font-size: 10.0pt;font-family:Arial;color:black'>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?<o:p></o:p></span></font></p> </div> <div> <p class=MsoNormal><font size=2 color=black face=Arial><span = style='font-size: 10.0pt;font-family:Arial;color:black'> <o:p></o:p></span></font></p>= </div> <div> <p class=MsoNormal><font size=2 color=black face=Arial><span = style='font-size: 10.0pt;font-family:Arial;color:black'>Best,<o:p></o:p></span></font></p> </div> <div> <p class=MsoNormal><font size=2 color=black face=Arial><span = style='font-size: 10.0pt;font-family:Arial;color:black'> <o:p></o:p></span></font></p>= </div> <div> <p class=MsoNormal><font size=2 color=black face=Arial><span = style='font-size: 10.0pt;font-family:Arial;color:black'>Jeff<o:p></o:p></span></font></p> </div> </div> </div> </body> </html>