[CAUT] Gradually improving voicing

[David Ilvedson]

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Ahem....Dale, I think I know why the sound was lacking in=
 acoustic enhancement...;-]

"he wasn't getting enough sound at the keyboard in  the MJC    =
 rectal      that was somewhat lacking in acoustic enhancement"



( But I am talking D & not M as was in your case & I think that=
 would give many -concert players a dis- advantaged feel if they=
 were indeed used to a bigger sound for the music they prepped=
 for). I think some halls can suck the sound away from the piano=
 as did this one. Partly because of that and the placement of the=
 piano too far back from the front of the stage.
  .  Any way  am very familiar with the D I refer to.  (mine). 
  Many had played it prior to this occasion & In fact the sound=
 the audiuence was experiencing was GIGANTIC . It was enormously=
 satisfying to hear that much of the piano & I like big noisy=
 pieces.The concert artist was playing a huge all Russian music=
 program. He played with SO much force his nails completely=
 destroyed the finish on the front of the fall board. He did=
 everything he told his Master class that day not to do. ie keep=
 ones bottom on the bench,don't pound,dont' stomp foot etc.  I=
 refinished the fall board later $300.00
 At intermission he opted to finish his program on a newish B=
 that had the sound of shattering glass. Very typical linear=
 Steinway sound with hammers that had too much lacquer.
      The rest of his Performance was glassy & empty sounding=
 compared to the D he started out on & this is the opinion of=
 many others including music teachers. 
  The applause at intermission was spontaneous & warm. At the end=
 it was obligitaory for Vladamir had shot himself in the foot=
 with the my home town crowd by switching horses mid stream
  So here is another "depends on" to add to the mix
  And that's the rest of the story
   Dale
    
On Monday, January 10, 2005, at 04:15 PM, Erwinspiano@aol.com=
 wrote:

>  HI Jason

Jeff?

>   SO,what you're saying is if the piano has no power at the=
 keyboard  
> it can still fill a large hall?

Just to clarify, no, that's not what I meant.  I was addressing=
 your 
statement:

> the thing I learned first was that in order for a D to project=
 ,& have 
> color & susutain it must be voiced so that sitting at the piano=
 
> it will  literally Roar at you.

I only meant that just because the artist can't hear the piano,=
 doesn't 
mean it isn't projecting well into the hall.  You have no=
 argument from 
me that if the artist perceives the instrument as weak that that=
 is 
when you get the complaints.  But I think it is often the=
 deceptiveness 
of the hall, or the placement of the piano in relation to=
 acoustic 
projection installations which brings on complaints, rather than=
 the 
instrument itself.

I tuned for a performance at a local church Friday.  The piano=
 was a 
1966 Steinway M that I'd never seen before, and if you asked me=
 it had 
been tuned all its life and that's about it.  The pianist felt=
 she had 
to really work to make the piano project because she couldn't=
 hear from 
the keyboard what was being projected up out and away from her. =
 The 
regulation was terribly uneven and the voicing was worse.  I=
 would have 
needed about 3 days with that piano to make her comfortable.  Out=
 in 
the room, however, which was pretty large for an M, but had=
 excellent 
acoustics, the piano was booming and had a lovely tone quality=
 from pp 
to ffff.  Sounded more like a B or a D -- plenty of piano for=
 that very 
large room.  The piano sounded much better when she backed off=
 and 
didn't work so hard.  Thankfully, her husband (also a pianist)=
 was also 
there to console her and coach her towards that direction.

I think this isn't such an uncommon scenario.

Jeff
 


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