On 3/5/97, RPSPIANO@aol.com rote: <<What note or section of the piano do you start voicing on? What procedure do you use to voice note to note? >> Mind if I head for the Zen? Before procedures, I must mention the two most important voicing tools: our hearing and our experience. Ludwig Tomescu of S&S C&A advised, pick out those notes which you think are already where you want the piano to be, and which can serve as guide points. (In effect, voicing is a matter of "connecting the dots" between these points.) He said (and this was the New England Regional '89) if you cant' find at least twos notes. something's wrong. (He didn't elaborate, but I'd have to assume that either you're still back in the tone-regulating stage (Wally Brooks' dinstinction), your internal model/image of piano sound is not yet well enough formed, or the piano is empty of musically redeeming qualities.) Experience. Nothing beats the memories of ugly sounds and which tool you grabbed to get rid of it, and hwo you may have had to use that tool in an unexpected and unusual way to turn that ugly sound into beauty. Can you tell? It's Saturday night and I'm writing my sermon. Bill Ballard RPT NH Chapter
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