performer compensation for time differential

[Classic Touch Ent]

On Tuesday, April 29, 2003, at 01:12 PM, Delwin D. Fandrich wrote:

>
>
> And now, allow me, if you will, to toss out a little side issue here:
> depending on the level of power desired by the performer, i.e., pppp 
> to ffff
> or whatever, there is a considerable variation in the amount of time 
> delay
> between the moment the key is initially struck and the moment the 
> hammer
> impacts the string. This time delay can amount to some several 
> milliseconds
> and it is

> not shared by most other orchestral instruments.
      Don't know this for a certainty but I tend to think nearly all 
woodwind and brass experience this.

> Now, considering
> that the human brain only has so much computing power and speed and the
> pianist is generally exceeding that processing speed during fast 
> orchestral
> passages, what is the mechanism
For me its a combination of mechanisms

1.) the discipline of slow (CONSCIOUS) practice
    a.) slow practice acknowledges that as a performer playing 'at 
tempo' there isn't sufficient time to think of every aspect (posture, 
notes,
        hand position, fingering ,rhythm, dynamics, tempo, expression, 
voicing, etc.[for left hand and right hand] of what I'm doing and 
maintain
        physically and mentally relaxed (yet 'alert') state. When I 
practice slowly, and isolate difficult aspects (could be any of the
        aforementioned) I can be alert, conscious, and relaxed. That 
becomes the internal tape. Alert, conscious, and relaxed
     b.) I practice in manageable chunks (phrases, half phrases, 2 bars 
at a time if necessary - MANAGEABLE) of music.
     c.) Once learned or memorized, I no longer think of all aspects of 
playing. I have little 'stations' or 'triggers'  along the way that I 
may be
         conscious of, the rest becomes 'automatic'.
2.) Over time performance, aural, and reading skills also become 
automatic.
3.) Over time I develop a relationship between eyes, and ears, and 
hands. When I play from printed music A.) I SEE IT, B.) I GET AN AURAL
       IMAGE (of what it's going to sound like), C.) I PLAY IT (imitate 
the image), D.) I HEAR IT, E.) IT DOES OR DOESN'T sound like what my 
'eyes, ears, and brain map' tell me its going to sound like. Repeat 
(ideally)'till reflex.
4.) My 'CONSCIOUS' and 'SUBCONSCIOUS' practice experience tell me 
everything I need to know about how long it takes 'the string to sing'
     after a ffff 'blow' vs a pppp 'stroke'. This includes different 
pressures or velocities made necessary by register, and or 'bringing 
out' one or
     more voices by varying touch, phrasing, or volume.
5.) If I'm following tempo set by the the conductor and/or the sound of 
the orchestra I anticipate the pulse (as do all the musicians including
       the conductor -  and I'll mention why this is particularly 
important later,  the audience) and my performance experience allows me 
to hear
       and adjust 'on the fly'.
6.) If I'm 'soloing', say at the cadenza the conductor and orchestra 
are following me.

BOTTOM LINE - it's a process.
>

> by which that performer compensates for this
> varying and complex time lag so that the sound of the piano comes out 
> just  right
     Who says it comes out just right? If much of the orchestra and 
piano are playing at the same time my experience/perception is that 
several
(maybe we have to define 'several') milliseconds of overlap are present 
and often masked. Whether staggering is subtle or not the performers 
and the audience anticipate and to a large extent 'hear what they 
anticipate hearing". Having said that it is UNCANNY how accurate the 
timing is.
>

> with the rest of the orchestra?
oh yeah, and  another thing (grin). Pianists 'simultaneous' attacks are 
regularly staggered and even when not that subtle are widely considered 
'acceptable' .
and a 'nother, 'nother thing. Organists have it much worse than 
pianists IMHO and have my greatest sympathies and my total humble 
respect.

Best, Rich

PS. After reading several posts re. balance weight, key leads, inertia, 
etc It was a total JOY to sit and practice my piano and NOT ONCE
consider ANY of what was going on beneath or in front of my fingers, 
but I sure am grateful and have tremendous respect for those who design 
it and have the skills to regulate it.

> Del
>
> Delwin D Fandrich
> Piano Designer & Builder
> Hoquiam, Washington 98550 USA
> 360.532-2563
> 360.532-6688
> pianobuilders@olynet.com
>
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