<html> <body> Barb, Dale, Actually, it's nice for the subject to come up...again...some of us simply throw up our hands in frustration. People forget (or, perhaps, never learn to begin with) that voicing is an art.  The reason that some art is memorable and some is not goes in part to the technique, or lack of it, of the artist.  It's the same old story - if you cannot play the scale evenly at a slow tempo, you certainly cannot play it evenly at a fast one - and - you do not get there over night.  What did Richard Davenport use to call his voicing class?...."Blood on the Hammers", I think. Since it is also relevant to another recent question, it is also important to note that "voicing" is much more than the normally conceived manipulation of the hammer.  At the absolute minimum, it refers to tuning, regulation and hammer manipulation.  These three are too interdependent to be completely decoupled.  Yes, they need to be studied, discerned and carried out in somewhat disparate steps, as it were.  However, carrying this approach too far leads to a fragmented understanding and results in diminished quality in the "final" product...a result which can be heard on the vast majority of concert stages...thin, diminished tone, actions clearly uneven, truncated/reduced dynamic range...as one very well known artist put it some time ago:  "88 different notes - 88 different sounds"....pretty well describes a great many instruments. Hmmmm....it's too early for this much philosophizing...time for more caffeine... Best. Horace At 08:21 AM 3/4/2005, you wrote: <blockquote type=cite class=cite cite="">In a message dated 3/4/2005 8:18:30 A.M. Pacific Standard Time, piano57@flash.net writes:    Barb   Oh yeah,  big time. I thought I was the only one hearing this stuff or being accused of being too picky. No More.   Dale <dl> <dd>My encouraging you??!!!!   Well, it *is* nice to find partners in crime........  ;-) <dd>  <dd>Barbara </dl></blockquote></body> </html>