On Tuesday, April 29, 2003, at 01:12 PM, Delwin D. Fandrich wrote: > > > And now, allow me, if you will, to toss out a little side issue here: > depending on the level of power desired by the performer, i.e., pppp > to ffff > or whatever, there is a considerable variation in the amount of time > delay > between the moment the key is initially struck and the moment the > hammer > impacts the string. This time delay can amount to some several > milliseconds > and it is > not shared by most other orchestral instruments. Don't know this for a certainty but I tend to think nearly all woodwind and brass experience this. > Now, considering > that the human brain only has so much computing power and speed and the > pianist is generally exceeding that processing speed during fast > orchestral > passages, what is the mechanism For me its a combination of mechanisms 1.) the discipline of slow (CONSCIOUS) practice a.) slow practice acknowledges that as a performer playing 'at tempo' there isn't sufficient time to think of every aspect (posture, notes, hand position, fingering ,rhythm, dynamics, tempo, expression, voicing, etc.[for left hand and right hand] of what I'm doing and maintain physically and mentally relaxed (yet 'alert') state. When I practice slowly, and isolate difficult aspects (could be any of the aforementioned) I can be alert, conscious, and relaxed. That becomes the internal tape. Alert, conscious, and relaxed b.) I practice in manageable chunks (phrases, half phrases, 2 bars at a time if necessary - MANAGEABLE) of music. c.) Once learned or memorized, I no longer think of all aspects of playing. I have little 'stations' or 'triggers' along the way that I may be conscious of, the rest becomes 'automatic'. 2.) Over time performance, aural, and reading skills also become automatic. 3.) Over time I develop a relationship between eyes, and ears, and hands. When I play from printed music A.) I SEE IT, B.) I GET AN AURAL IMAGE (of what it's going to sound like), C.) I PLAY IT (imitate the image), D.) I HEAR IT, E.) IT DOES OR DOESN'T sound like what my 'eyes, ears, and brain map' tell me its going to sound like. Repeat (ideally)'till reflex. 4.) My 'CONSCIOUS' and 'SUBCONSCIOUS' practice experience tell me everything I need to know about how long it takes 'the string to sing' after a ffff 'blow' vs a pppp 'stroke'. This includes different pressures or velocities made necessary by register, and or 'bringing out' one or more voices by varying touch, phrasing, or volume. 5.) If I'm following tempo set by the the conductor and/or the sound of the orchestra I anticipate the pulse (as do all the musicians including the conductor - and I'll mention why this is particularly important later, the audience) and my performance experience allows me to hear and adjust 'on the fly'. 6.) If I'm 'soloing', say at the cadenza the conductor and orchestra are following me. BOTTOM LINE - it's a process. > > by which that performer compensates for this > varying and complex time lag so that the sound of the piano comes out > just right Who says it comes out just right? If much of the orchestra and piano are playing at the same time my experience/perception is that several (maybe we have to define 'several') milliseconds of overlap are present and often masked. Whether staggering is subtle or not the performers and the audience anticipate and to a large extent 'hear what they anticipate hearing". Having said that it is UNCANNY how accurate the timing is. > > with the rest of the orchestra? oh yeah, and another thing (grin). Pianists 'simultaneous' attacks are regularly staggered and even when not that subtle are widely considered 'acceptable' . and a 'nother, 'nother thing. Organists have it much worse than pianists IMHO and have my greatest sympathies and my total humble respect. Best, Rich PS. After reading several posts re. balance weight, key leads, inertia, etc It was a total JOY to sit and practice my piano and NOT ONCE consider ANY of what was going on beneath or in front of my fingers, but I sure am grateful and have tremendous respect for those who design it and have the skills to regulate it. > Del > > Delwin D Fandrich > Piano Designer & Builder > Hoquiam, Washington 98550 USA > 360.532-2563 > 360.532-6688 > pianobuilders@olynet.com > > _______________________________________________ > pianotech list info: https://www.moypiano.com/resources/#archives >
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