---------------------- multipart/alternative attachment On 26-aug-04, at 21:29, Ryan Sowers wrote: > I don't buy it Richard, because as a player I don't have time once I=20= > begin playing a note to think about sensitivity. What produces a=20 > certain velocity in my fingers is the mental intension I have the=20 > microsecond <G> before I play the note. > =A0 > The biggest factor to me in dynamics is a nice "accelleration curve"=20= > from somewhat mellow and ppp to nasty and fff! If the voicing and=20 > regulation give a nice mp when I playing with moderate force, a=20 > soothing pp when I let up a bit, and a powerful forte when I lean into=20= > it a bit I have a wonderful time playing. > =A0 > To me extra friction just makes me work harder. Its a distraction. Well then here is another story about friction (in case anybody out=20 there is interested) : Once upon a time, I had to prepare two Yamaha C7's because a customer=20 wanted to choose between them. One was very beautiful and the dealer wanted to keep it as a rental. The other C7 was sososo and was definitely the lesser one. So the dealer asked me whether it was possible to concentrate on the=20 lesser C7 and do nothing to the better C7. I had about 1,5 hour. So first I tuned it, then I gave it a huge anti-friction treatment (I=20 was quite green still about anti-friction, thinking that the easier the=20= instrument would play, the faster the pianist would buy it), and I did=20= a very speedy regulation just on the tender spots so to speak. There=20 was no time to voice it. Then the customer came in, right on time. He first started playing the beautiful C7 to which nothing had been=20 done, and he found that it sounded nice for sure, but that it was a bit=20= heavy, which is typical for brand new instruments. Then he tried the 'prepared' C7 and he simply could not believe the=20 difference! He also could not believe that he could play anything he=20 wanted on it including pieces he could not play that easy anymore, so=20 he said. He had a lot of fun and was very excited, and I already felt very sure=20= about the outcome and I leaned back in a very relaxed manner. However, he was/is a very good pianist, so he decided to give the other=20= C7 another try. Again he said that the instrument was too heavy, but this time he kept=20= playing it and after maybe 5 minutes he again switched to the 'racy'=20 one. It was then that he said "wow! I can play anything on this one, but it=20= is a dangerous instrument because it is too fast, and it also is too=20 brilliant! So he bought the beautiful instrument with a lot of friction, and not=20 the 'easy' and brilliant one which had almost no friction left at all. The lesson for me was : 1. The cheater will be cheated 2. An instrument with hardly any friction at all is perceived as=20 "slippery, untrustworthy, dangerous, and uncontrollable. Who knows, maybe this story helps one to understand a little better=20 about normal friction versus hardly any friction? Andr=E9 Oorebeek ---------------------- multipart/alternative attachment A non-text attachment was scrubbed... Name: not available Type: text/enriched Size: 2925 bytes Desc: not available Url : https://www.moypiano.com/ptg/pianotech.php/attachments/88/56/0b/97/attachment.bin ---------------------- multipart/alternative attachment--
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