Oorebeeks Punch'ns

[gordon stelter]

These guys are doing a "one-off" motion that requires
a maximum thrust. As a  professional pianist, I
imagine that this philosohpy, if applied to the
keyboard would  A) Destroy any subtlety of dynamics.
B) Get my tendoms screaming with pain in no time.
     Sorry,
     G

 
--- Carl Teplitski <koko99@shaw.ca> wrote:

> 
> When I was 16 years old, and playing football, my
> coach once
> told me that my tackling left a lot to be desired.
> He instructed me
> to hit with my body like you wanted to  drive your
> opponent right
> off the field, not just to get him down. He said
> that if you didn't do
> that, you  actually slowed your motiobn before you
> got there. Also,
> in the martial arts, you are taught to hit right
> thru an object, or 
> opponent ,
> for the same reason.  If you slowed down, it
> actually hurt your hand, almost
> as much as the recipient of your blow. Sooooooooooo,
> that theory of
> followthru, in my opinion, is correct.  When you
> plan to go[ right thru the
> key ,] your finger motion is more positive,
> producing a better  tone.
> Same in the golf swing. If you don't try to hit thru
> the ball, you are 
> actually
> hitting at it, and the result is not as positive.
> There are probably 
> many examples
> of this theory .
> 
> Carl / Winnipeg.
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> jason kanter wrote:
> 
> > Follow through is exactly the same concept. It
> relies on the batter's 
> > or golfer's nervous system, which is able to
> deliver precisely the 
> > right impetus at impact because it "knows" the
> entire flow of 
> > movement. The ball is indifferent to what happens
> after impact, but 
> > the arms, wrists, hands, fingers are at their best
> when they are 
> > concerned with the whole fluid movement./jk
> >
> >     -----Original Message-----
> >     From: pianotech-bounces@ptg.org
> >     [mailto:pianotech-bounces@ptg.org]On Behalf Of
> Terry
> >     Sent: Saturday, April 02, 2005 2:25 AM
> >     To: Pianotech
> >     Subject: Re: Oorebeeks Punch'ns
> >
> >     I sure don't know the answer, but I do have
> one comment that
> >     conflicts with the statement: "all the motion
> that contributes to
> >     the hammer contacting the string occurs before
> the key bottoms out
> >     on the punching."
> >      
> >     That would be the baseball batting analogy and
> the concept of
> >     "follow through". When the batter hits the
> ball, theoretically,
> >     after the ball leaves contact with the bat, it
> shouldn't make any
> >     difference what happens with the batter's
> swing after that point.
> >     But it does. I don't know why, but the proper
> follow through is
> >     critical to successful batting.
> >      
> >     I also don't know if this analogy is
> applicable to a piano
> >     keystroke. But maybe!
> >      
> >     Terry Farrell
> >
> >
> >         I'd like to hazard a guess about how these
> punchings are able
> >         to affect tone.
> >          
> >         Firstly let's admit the logical problem.
> If you look at the
> >         mechanical model, all the motion that
> contributes to the
> >         hammer contacting the string occurs before
> the key bottoms out
> >         on the punching. So, theoretically, it is
> difficult to account
> >         for Andre's claims about this improved
> tone. We can admit
> >         logically that the *feel* of the action
> may be quite different
> >         because of the punching, because the
> experience of hitting
> >         bottom is such a great portion of the
> artist's experience. OK.
> >         But the *tone*? Is this magical thinking?
> Or may there be a
> >         more subtle explanation that satisfies
> logic?
> >          
> >         The truth, I suspect, is in the marvelous
> nervous structure
> >         leading to the artist's fingertips. The
> regulation of
> >         aftertouch is, let's say, 10x more precise
> with the antares
> >         punching than with a too-soft punching. I
> suspect that the
> >         fingers, finding a much more precise
> bottom, are able to
> >         deliver that much more precise a blow.
> Having played and found
> >         this certain bottom, the *fingers* are now
> much more sure of
> >         how much force to use in the attack on the
> keys. This is what
> >         affects the tone. The artist's touch is
> made more effective by
> >         the clean bottom.
> >          
> >         Does this idea play? Or am I making a
> rationalization for
> >         magical thinking?
> >          
> >         jason
> >
> 
> 



		
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