List Members "And what is a piano supposed to sound like, anyway?" >> -Horace Yes, I did ask this rather esoteric question intentionally , but this response may be a little too philosophical. :-) How about if we narrow it down to what is "this piano supposed to sound like" ? That is a question I have asked myself, maybe some others too. Bill Ballard writes: << Mind if I head for the Zen? Before procedures, I must mention the two most important voicing tools: our hearing and our experience. >> Bill, I agree, to have a concept of what a particular instrument is capable of - is rudimentray to begin the process. As you said the "tone regulating stage" <<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.>> <snip> What a clever way of thinking " connecting the dots" I shall store that thought away. What I might like to add is that sometimes finding the most "ugly sounds" can also be of benefit. I seem to try and find one or two of the best tones in each section of the scale as a reference point. Try to make the most offensive notes sound better than the reference note(s). I have found this leads me to what the instrument is capable of. Like a chain, the tone is really only as good or even, as its weakest link. I like working in the alto first, it may have some of the worst or weakest tones. IMHO should be able to cut through the bass but not be pingy. I move down the scale to even the break into the tenor and then the transition to the wound strings working back up. I try to listen & voice at three levels of volume. It still amazes me that a good pianist can generate so many levels of tone with just the attack of the key. <<Can you tell? It's Saturday night and I'm writing my sermon.>>B.B. Sometimes voicing can be a religious experience, when a note blooms into something you think it should be. Barrie writes: <<I will describe the method which I was taught to needle hammers. Toning down comes in two sections cutting back and picking out. >> You have described beautifully the physical aspects of needling, and tone regulating. I also like to use triads to look for unevenness. I have a hammer iron as you describe. The iron is quite old and I use it regularly, with an alcohol burner which leaves very little residue, although I am afraid to use the burner in homes with pets or children. The beauty of this iron is it heats very quickly and and can be cooled just as easily. The simple design is quite eloquent and effective. <<When the agreed level is attained, I then re tune the piano. Then proceed to pick out. I start for my first pass at the top treble and run down chromatically and pick out any obvious bright notes. I then change to one needle and proceeded working from the middle of the piano working outwards carefully going over an octave at a time picking out any unevenness paying particular attention the the brakes. I also use a wedge to check the hammers evenness in tone by muting off left and <snip> Barrie I think the systems are similar and there is obviously no right or wrong ways to approach this subject. After attending dozens and dozens of voicing discussions the answer ends up being: do whatever it takes. As B. Ballard pointed out you may use a tool in a most unique way to achieve the desired results. The more tricks in your bag the more chances for success. Thanks for the input - and yes a few trips to the "loo" are always needed to give the ear and mind a rest. I would like to hear more on this subjective topic. Best Regards Mark Ritchie RPT
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