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<DIV><SPAN class=260313917-17032005>Wim,</SPAN></DIV>
<DIV><SPAN class=260313917-17032005></SPAN> </DIV>
<DIV><SPAN class=260313917-17032005>I think the situation you describe =
is
realistic, and no doubt you've seen pianos were the hammers are =
more
"sheered" than "grooved." (left foot in continuous =
motion) </SPAN></DIV>
<DIV><SPAN class=260313917-17032005></SPAN> </DIV>
<DIV><SPAN class=260313917-17032005>BTW, it's surprising how few =
1/2-pedalling
advocates actually understand the mechanics of what's going on, nor even =
whether
a specific instrument has even been properly =
prepared!? </SPAN></DIV>
<DIV><SPAN class=260313917-17032005></SPAN> </DIV>
<DIV><SPAN class=260313917-17032005>In any case, here's my simplistic =
take on
the subject, it starts back in regulation:</SPAN></DIV>
<DIV><SPAN class=260313917-17032005></SPAN> </DIV>
<DIV><SPAN class=260313917-17032005>I try to space =
(tri-chord) hammers
for a uniform 1.5mm of felt between the left edge of the hammer and =
the
center of the left string.</SPAN></DIV>
<DIV><SPAN class=260313917-17032005></SPAN> </DIV>
<DIV><SPAN class=260313917-17032005>All hammers will clear the 1st =
string at the
same time, and most shift mechanisms have sufficient travel for =
complete
clearance. </SPAN></DIV>
<DIV><SPAN class=260313917-17032005></SPAN> </DIV>
<DIV><SPAN class=260313917-17032005>Without any special prepartion or =
needling
techniques, this automatically gives the pianist "three" distinct
shadings:</SPAN></DIV>
<DIV><SPAN class=260313917-17032005></SPAN> </DIV>
<DIV><SPAN class=260313917-17032005>1.) In the grooves (compacted
felt)</SPAN></DIV>
<DIV><SPAN class=260313917-17032005></SPAN> </DIV>
<DIV><SPAN class=260313917-17032005>2.) Between the grooves (less =
compact
felt)</SPAN></DIV>
<DIV><SPAN class=260313917-17032005></SPAN> </DIV>
<DIV><SPAN class=260313917-17032005>3.) Full shift (one string =
open / two
between the grooves) what we call Una-corda, though more accurately =
Duo-corda(?) ;>) </SPAN></DIV>
<DIV><SPAN class=260313917-17032005></SPAN> </DIV>
<DIV><SPAN class=260313917-17032005>This is "sustainable" una corda =
voicing,
just maintain the condition of the hammers (smooth/rounded/sugar-coated) =
and three distinct voices are available</SPAN><SPAN
class=260313917-17032005>, and this is likely the "very least =
facility" the left
pedal should offer on any grand piano. </SPAN></DIV>
<DIV><SPAN class=260313917-17032005></SPAN> </DIV>
<DIV><SPAN class=260313917-17032005>In most cases, assuming good =
regulation,
string-leveling, tuning, etc., this may be "all" that's required. =
Just be
sure to run a slow chromatic scale and listen to every note in all three =
pedal
positions.</SPAN></DIV>
<DIV><SPAN class=260313917-17032005></SPAN> </DIV>
<DIV><SPAN class=260313917-17032005>Take it up a notch?</SPAN></DIV>
<DIV><SPAN class=260313917-17032005></SPAN> </DIV>
<DIV><SPAN class=260313917-17032005>Witht a good foundation, the "next =
level" is
likely voicing the "edge" of the hammer: </SPAN></DIV>
<DIV><SPAN class=260313917-17032005></SPAN> </DIV>
<DIV><SPAN class=260313917-17032005>D</SPAN><SPAN =
class=260313917-17032005>ue to
tension from slicing or whatever, the edge is usually a little harder or =
"pingy," and it doesn't "fit" well tone-wise between the shades of =
"3
strings between the grooves" and "una corda." </SPAN></DIV>
<DIV><SPAN class=260313917-17032005></SPAN> </DIV>
<DIV><SPAN class=260313917-17032005><SPAN =
class=260313917-17032005>Gently
"break" the left edge of the hammer-felt with fine sandpaper. Take =
very
little, and be uniform about it.</SPAN></SPAN></DIV>
<DIV><SPAN class=260313917-17032005><SPAN
class=260313917-17032005></SPAN></SPAN> </DIV>
<DIV><SPAN class=260313917-17032005>4.) Anyhow, now you have "four" =
distinct
pedal positions and tonal colors for your pianist, without any real =
difficulty
or magic.</SPAN></DIV>
<DIV><SPAN class=260313917-17032005></SPAN> </DIV>
<DIV><SPAN class=260313917-17032005>Now listening note-by-note in
each pedal positions (HINT: you can wedge the keyboard rather =
than
using the pedal), we can</SPAN><SPAN class=260313917-17032005> go
"string-by-string" to find the hard spots, and use a single needle
"through-the-strings."</SPAN></DIV>
<DIV><SPAN class=260313917-17032005></SPAN> </DIV>
<DIV><SPAN class=260313917-17032005>Always do "less" than you think it =
will need
on the first attempt. </SPAN></DIV>
<DIV><SPAN class=260313917-17032005></SPAN> </DIV>
<DIV><SPAN class=260313917-17032005>In any case, this likely boils =
down to
two points:</SPAN></DIV>
<DIV><SPAN class=260313917-17032005></SPAN> </DIV>
<DIV><SPAN class=260313917-17032005>1.) Like aftertouch, "most" =
of good
una-corda voicing is just the result (or consequence) of =
good,
simple, basic foundational work. </SPAN></DIV>
<DIV><SPAN class=260313917-17032005></SPAN> </DIV>
<DIV><SPAN class=260313917-17032005>2.) It's not hard to acheive =
or
maintain enough variety for the una-corda pedal to satisfy most =
musicians,
providing you break </SPAN><SPAN class=260313917-17032005>the big task =
down into
smaller, simple tasks. (and they're nowhere near you while you
work!</SPAN></DIV>
<DIV><SPAN class=260313917-17032005></SPAN> </DIV>
<DIV><SPAN class=260313917-17032005>
<DIV><SPAN class=260313917-17032005>Beyond this, it's up to the =
pianist to
explore (and indeed imagine) the variety of shadings they're =
actually
creating with their left foot. </SPAN></DIV>
<DIV><SPAN class=260313917-17032005>How they develop tone, as Chris =
mentions, is
pretty much up to them. </SPAN><SPAN =
class=260313917-17032005></SPAN><SPAN
class=260313917-17032005></SPAN><SPAN =
class=260313917-17032005></SPAN></DIV>
<DIV></SPAN><SPAN class=260313917-17032005></SPAN><SPAN
class=260313917-17032005></SPAN><SPAN =
class=260313917-17032005></SPAN><SPAN
class=260313917-17032005></SPAN> </DIV></DIV>
<DIV><SPAN class=260313917-17032005>best regards,</SPAN></DIV>
<DIV><SPAN class=260313917-17032005>Mark Cramer,</SPAN></DIV>
<DIV><SPAN class=260313917-17032005>Brandon University</SPAN></DIV>
<DIV><SPAN class=260313917-17032005> </SPAN></DIV>
<DIV><SPAN class=260313917-17032005></SPAN> </DIV>
<DIV><SPAN class=260313917-17032005></SPAN> </DIV>
<DIV><SPAN =
class=260313917-17032005> </SPAN></DIV>
<DIV><SPAN class=260313917-17032005></SPAN> </DIV>
<DIV><SPAN class=260313917-17032005> </SPAN></DIV>
<BLOCKQUOTE dir=ltr style="MARGIN-RIGHT: 0px">
<DIV class=OutlookMessageHeader dir=ltr align=left><FONT
face=Tahoma>-----Original Message-----<BR><B>From:</B> =
caut-bounces@ptg.org
[mailto:caut-bounces@ptg.org]<B>On Behalf Of </B>Chris
Solliday<BR><B>Sent:</B> Thursday, March 17, 2005 10:36 =
AM<BR><B>To:</B>
College and University Technicians<BR><B>Subject:</B> Re: [CAUT] =
excessive
pedaling?<BR><BR></FONT></DIV>
<DIV>Wim, you were apparently absent that day, The Una Corda, Shift =
Pedal,
Expression Pedal or whatever you want to call it, but don't =
call it
a soft pedal, is one of the most misunderstood devices in piano =
history. There
is a French School that claims 5 levels of expression and an esoteric =
Russian
School which claims 11!!!!!! Three would do. The pedal is used to =
change the
TIMBRE of the note. Soft and Loud should be a function of
finger/hand/wrist/arm/shoulder/body/hip technique. Your piano =
player is
quite correct, you can learn alot from him about piano playing and =
voicing. In
"orchestral style playing" using the imagination/technique to maintain =
and
control a simulation of multi instrument playing through the =
voices is
the apex of expression and when it is done well and you have really =
heard it
you will never be the same. Good luck. Chris Solliday</DIV>
<BLOCKQUOTE dir=ltr
style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>
<A title=Wimblees@aol.com
href="mailto:Wimblees@aol.com">Wimblees@aol.com</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A title=caut@ptg.org
href="mailto:caut@ptg.org">caut@ptg.org</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Thursday, March 17, =
2005 10:56
AM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> [CAUT] excessive
pedaling?</DIV>
<DIV><BR></DIV><FONT id=role_document face=Arial =
color=#000000>
<DIV>Our piano prof uses the soft/shift pedal constantly. As he =
put it,
"we never use 1/2 or 1/4 or so by design - it is used to the =
depth at
which it is necessary in the music, and is a matter of taste and =
using one's
ear." </DIV>
<DIV> </DIV>
<DIV>I watched him play a CPE Bach piece, and he "rode the clutch", =
so to
speak. I don't think played one note without some soft =
pedaling. I can
understand what he is saying, but I have never seen anyone use the =
soft
pedal like he does. To me it almost seems like he has developed a =
habit. I
don't hear the subtle difference he claims the soft pedaling is =
supposed to
create. </DIV>
<DIV> </DIV>
<DIV>As a result I need to voice every hair on the felt on every =
hammer to
make sure all of them sound exactly the same at
the infinitesimal shift positions. </DIV>
<DIV> </DIV>
<DIV>My question is, has he gotten in a bad habit or is this =
"standard
procedure"? I realize there is not much I can do about it, =
other than
work like a devil to get it right. But for my own curiosity, is =
he
asking for the moon on this?</DIV>
<DIV> </DIV>
<DIV>Wim
<DIV><FONT lang=0 face=Arial FAMILY="SANSSERIF" =
PTSIZE="10">Willem Blees,
RPT<BR>Piano Tuner/Technician<BR>School of Music<BR>University of
Alabama<BR>Tuscaloosa, AL
USA</FONT></DIV></DIV></BLOCKQUOTE></BLOCKQUOTE></FONT></BODY></HTML>