<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> <html> <head> <meta content="text/html;charset=ISO-8859-1" http-equiv="Content-Type"> <title></title> </head> <body bgcolor="#ffffff" text="#000000"> <br> When I was 16 years old, and playing football, my coach once<br> told me that my tackling left a lot to be desired. He instructed me<br> to hit with my body like you wanted to  drive your opponent right<br> off the field, not just to get him down. He said that if you didn't do <br> that, you  actually slowed your motiobn before you got there. Also,<br> in the martial arts, you are taught to hit right thru an object, or opponent ,<br> for the same reason.  If you slowed down, it actually hurt your hand, almost<br> as much as the recipient of your blow. Sooooooooooo, that theory of<br> followthru, in my opinion, is correct.  When you plan to go[ right thru the <br> key ,] your finger motion is more positive, producing a better  tone.<br> Same in the golf swing. If you don't try to hit thru the ball, you are actually<br> hitting at it, and the result is not as positive. There are probably many examples<br> of this theory .<br> <br> Carl / Winnipeg.<br> <br> <br> <br> <br> <br> <br> <br> <br> <br> <br> jason kanter wrote: <blockquote cite="midALEDKPDIAIDEIGKAONDOKEADCPAA.jkanter@rollingball.com" type="cite"> <meta http-equiv="Content-Type" content="text/html; "> <meta content="MSHTML 6.00.2900.2604" name="GENERATOR"> <style></style> <div><span class="937332521-02042005"><font color="#0000ff" face="Trebuchet MS" size="2">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</font></span></div> <blockquote style="margin-right: 0px;" dir="ltr"> <div class="OutlookMessageHeader" align="left" dir="ltr"><font face="Tahoma" size="2">-----Original Message-----<br> <b>From:</b> <a class="moz-txt-link-abbreviated" href="mailto:pianotech-bounces@ptg.org">pianotech-bounces@ptg.org</a> [<a class="moz-txt-link-freetext" href="mailto:pianotech-bounces@ptg.org">mailto:pianotech-bounces@ptg.org</a>]<b>On Behalf Of </b>Terry<br> <b>Sent:</b> Saturday, April 02, 2005 2:25 AM<br> <b>To:</b> Pianotech<br> <b>Subject:</b> Re: Oorebeeks Punch'ns<br> <br> </font></div> <div><font face="Arial" size="2">I sure don't know the answer, but I do have one comment that conflicts with the statement: "<font color="#0000ff" face="Trebuchet MS">all the motion that contributes to the hammer contacting the string occurs before the key bottoms out on the punching.<font color="#000000">" </font></font></font></div> <div> </div> <div><font face="Trebuchet MS" size="2">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.</font></div> <div> </div> <div><font face="Trebuchet MS" size="2">I also don't know if this analogy is applicable to a piano keystroke. But maybe!</font></div> <div> </div> <div><font face="Trebuchet MS" size="2">Terry Farrell</font></div> <blockquote style="border-left: 2px solid rgb(0, 0, 0); padding-right: 0px; padding-left: 5px; margin-left: 5px; margin-right: 0px;" dir="ltr"> <div><br> </div> <div><span class="437241004-02042005"><font color="#0000ff" face="Trebuchet MS" size="2">I'd like to hazard a guess about how these punchings are able to affect tone.</font></span></div> <div><span class="437241004-02042005"></span> </div> <div><span class="437241004-02042005"><font color="#0000ff" face="Trebuchet MS" size="2">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?</font></span></div> <div><span class="437241004-02042005"></span> </div> <div><span class="437241004-02042005"><font color="#0000ff" face="Trebuchet MS" size="2">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. </font></span></div> <div><span class="437241004-02042005"></span> </div> <div><span class="437241004-02042005"><font color="#0000ff" face="Trebuchet MS" size="2">Does this idea play? Or am I making a rationalization for magical thinking?</font></span></div> <div><span class="437241004-02042005"></span> </div> <div><span class="437241004-02042005"><font color="#0000ff" face="Trebuchet MS" size="2">jason</font></span></div> </blockquote> </blockquote> </blockquote> <br> </body> </html>