Richard, As Descartes would have it, no perception, no reality. Actually, it was Pennario who first put that thought in my head. As I understand his comment, it was intended as a broadening of view of the instrument, and, thus, a philosophic (rather than an technical) verity (for him). In practice, this concept makes teaching voicing less of a smoke-filled room and gourd-rattle process in that it (seems to) help folk understand the nature of how the hammer interacts with the string. Another way to put it might be that this concept lends a musical (philosophical) depth to the description of the hammer as a variable rate coil spring. Clear as mud? Horace p.s. - I almost forgot, yes, it was Saint Saens - using a Pleyel. hg Horace Greeley hgreeley@leland.stanford.edu LiNCS voice: 415/725-4627 Stanford University fax: 415/725-9942
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