Oorebeeks Punch'ns

[Carl Teplitski]

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When I was 16 years old, and playing football, my coach once
told me that my tackling left a lot to be desired. He instructed me
to hit with my body like you wanted to  drive your opponent right
off the field, not just to get him down. He said that if you didn't do
that, you  actually slowed your motiobn before you got there. Also,
in the martial arts, you are taught to hit right thru an object, or 
opponent ,
for the same reason.  If you slowed down, it actually hurt your hand, almost
as much as the recipient of your blow. Sooooooooooo, that theory of
followthru, in my opinion, is correct.  When you plan to go[ right thru the
key ,] your finger motion is more positive, producing a better  tone.
Same in the golf swing. If you don't try to hit thru the ball, you are 
actually
hitting at it, and the result is not as positive. There are probably 
many examples
of this theory .

Carl / Winnipeg.










jason kanter wrote:

> 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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