Drop

[David Andersen]

>>At 11:59 AM 11/1/2002 +0100, Isaac wrote:
>>>Just my thoughts, for sure many techs don't really understand the way
>>>pianists play, that is not helping them.
Interesting and bold statement; I agree, but in a way different than you 
meant.
I think the tendency is for us who know SO much technically about how a 
piano operates, about how to 
"bring it into line" according to the best in our business, is to subtly 
disparage the artist because they don't have a specific way of expressing 
themselves about the "spielart" of a piano: they don't, and we do, so 
somehow that makes us more qualified to dictate how a piano should sound 
and feel. I feel this is dangerous, and I truly applaud engaging artists 
in a real, non-patronizing (either way) dialogue about how they perceive 
a piano.  It's a lot by touch, by weight, by balance, which is why 
Stanwood's protocols make so much sense.
>>
>>Isaac, thank you for your post. It is good to have a fresh
>>perspective, since our ideas (on this side of the water)
>>tend to run along in much the same path year after year.
>>I had not focused on the connection between a tight drop and
>>letoff and the noisy edges of the sound. That's something
>>which I shall explore.
I agree, Susan; I'm struck by an openness about some European technicians
around tone being affected by things we don't normally acknowledge; 
this is a form of perception, of "magical realism" I admire and subscribe 
to.
>>
>>I found, as I began working more closely with better
>>pianists, that I wasn't always predicting correctly
>>what things would bother them or make them happier.
>>I think to really get on their wavelength, it is
>>necessary to at least try to play the piano WELL,
>>with full musical and tonal expression, and speed,
>>power, delicacy, and nuance of all kinds. Fancy
>>half-pedalling, etc. How can we know if the pedal is
>>doing what they need for it to, unless we are able
>>to test it for ourselves, by attempting the same
>>effects?
I don't think i could ever play the piano WELL in the same way a 
lifelong, major league pianist can.
I can, however, make a piano sound musical and beautiful at all volume 
levels, using subtle pedal techniques and combinations----"drawing tone 
out;" all good players can do this; so can I, but I don't have the 
technique or the training to play technically WELL.
>>
>>It is like tuning -- to be a good tuner, I feel I should hear the
>>pitches (musically) better than my customers.
I hear different;  I can intently listen withmore specificity and 
hyperfocus than my clients, but better?
I don't know.

> Now, I'm not
>>likely to be able to have a better or more musical piano
>>technique than my best customers, who have tremendous natural
>>gifts and have spent many years and countless hours improving
>>them --
As I said....
> but I feel that even trying to follow in their footsteps
>>a little way will do wonders for my piano technology.
>>(Besides, it's fun ...)
I agree; it's good to play the piano in a beautiful way; it can only help.
>>
>>Also, by understanding better what a good pianist is feeling and
>>trying to do, I think that I can be of more use to less advanced
>>pianists when working on their pianos.
I find when I speak to pianists in terms of weight and balance, and when 
I show  the artist by my attitude and my actions that I'm seriously 
interested in the most detailed feedback they can give me about how the 
piano sounds and feels,  it drastically improves our ability to 
communicate.

> I can see where struggling
>>with a balky piano is holding them back, and I can suggest changes
>>which may improve their playing quickly, just by removing
>>obstacles to their progress. I want for the piano to feel like a
>>really comfortable and perfectly fitting suit of clothes,
>>where nothing binds or annoys. One just feels good,
>>without having to think of why.
Great.
>>
>>I remember Del talking about how many of the early makers designed
>>their scales and plates -- copying whatever worked, with maybe a little
>>more iron added, for safety's sake. Who knew if, generations back,
>>the original had really been worked out, or if it was just an empirical
>>guess in the first place? I wonder if we sometimes fall into the
>>same trap, by talking mainly with each other, instead of going back
>>to the source -- the pianists themselves.
>>
>>Just MHO (flamesuit within reach)
>>
>>Regards,
>>
>>Susan
>
>This is a great, well-written, thought-provoking post.  I agree with most 
>of it,
>and I think we can all do a couple things to help us be the best we can:
>listen very closely to the best pianists we serve, without  ego or 
>judgement , and educate those players often and relentlessly about how a 
>piano works.
>
>David A.

My best to all.....DA
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