Oorebeeks Punch'ns

[jason kanter]

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Follow through is exactly the same concept. It relies on the batter's or
golfer's nervous system, which is able to deliver precisely the right
impetus at impact because it "knows" the entire flow of movement. The ball
is indifferent to what happens after impact, but the arms, wrists, hands,
fingers are at their best when they are concerned with the whole fluid
movement./jk
  -----Original Message-----
  From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org]On
Behalf Of Terry
  Sent: Saturday, April 02, 2005 2:25 AM
  To: Pianotech
  Subject: Re: Oorebeeks Punch'ns


  I sure don't know the answer, but I do have one comment that conflicts
with the statement: "all the motion that contributes to the hammer
contacting the string occurs before the key bottoms out on the punching."

  That would be the baseball batting analogy and the concept of "follow
through". When the batter hits the ball, theoretically, after the ball
leaves contact with the bat, it shouldn't make any difference what happens
with the batter's swing after that point. But it does. I don't know why, but
the proper follow through is critical to successful batting.

  I also don't know if this analogy is applicable to a piano keystroke. But
maybe!

  Terry Farrell


    I'd like to hazard a guess about how these punchings are able to affect
tone.

    Firstly let's admit the logical problem. If you look at the mechanical
model, all the motion that contributes to the hammer contacting the string
occurs before the key bottoms out on the punching. So, theoretically, it is
difficult to account for Andre's claims about this improved tone. We can
admit logically that the *feel* of the action may be quite different because
of the punching, because the experience of hitting bottom is such a great
portion of the artist's experience. OK. But the *tone*? Is this magical
thinking? Or may there be a more subtle explanation that satisfies logic?

    The truth, I suspect, is in the marvelous nervous structure leading to
the artist's fingertips. The regulation of aftertouch is, let's say, 10x
more precise with the antares punching than with a too-soft punching. I
suspect that the fingers, finding a much more precise bottom, are able to
deliver that much more precise a blow. Having played and found this certain
bottom, the *fingers* are now much more sure of how much force to use in the
attack on the keys. This is what affects the tone. The artist's touch is
made more effective by the clean bottom.

    Does this idea play? Or am I making a rationalization for magical
thinking?

    jason

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