At 10:24 AM +0100 11/1/02, Richard Brekne wrote:
>This is a very important point Bill. Tho this distinction does not
>detract from
>the fact that how any given hammer is delivered directly affects its
>interaction
>with the string.
I'd always assumed that the only thing which the hammer brings to the
string (besides the elastic reflexes of its felt) is its momentum
(m*v), and that the string could care less how that final momentum
was developed.
>Another very important point we are leaving out in all this is the whole
>discussion about how pianists "feel" the voice of the piano. To what
>degree this
>is purely a psychological phenomena or not does not change the fact that there
>is a real and undeniable connextion here which clouds all our
>musings about how
>an action plays and feels. It seems to me an underexplored area of great
>interest and bearing to such disscussion.
Franz Mohr's "spielart". I've always pictured it as an impedance
matching between the forces in the action (friction, inertia, and
gravity) and the force which the pianist can apply. The
pianist/machine of course has a brain and a heart attached to it,
complicating the engineering study.
Bill Ballard RPT
NH Chapter, P.T.G.
"taken beyond the proper balance ('power and musical tone').
additional power comes always at the expense of tone quality, a
sacrifice no designer or piano technician should ever willingly make."
...........Del Fandrich, on priorities in the design of console
pianos in the 'Piano Technicians Journal' (4/98)
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