Definition of Voicing

[erwinspiano@aol.com]

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=20
  Andre
  So good to hear from you. I  enjoyed the thorough post & technical descrpt=
ions.
  In Non technical terms I like
    frequency balancing to a specific intent
    Increasing the sustain
   Increasing tonal variety
  Adjusting the sizzle,clang, boom. Meaning high middle & lower partials
    Voicing is creating tonal power  * removing most of the noise is my favo=
rite
  To bring out it's own unique voice.
   Cheers
   Dale Erwin
=20
   =20



Let me put it this way (since you ask me) :
It is maybe better to simplify things in the first place, because this whole=
 thing about voicing is so abstract.
We have a piano A, consisting of a soundboard, a wooden frame, an iron frame=
, a bunch of strings, a keyboard and an action.
All this combined will give a specific kind of sound, totally different from=
 piano B. which was built in a slightly different way.
So Piano A and B have different personalities and both these different perso=
nalities may have different characters.


When we hit a string of piano A, with an unvoiced hammer, the outcome will b=
e condensed and the hardness and shrillness predictable because of the high=20=
overtones being activated by a stone hard hammer (assuming the unvoiced hamm=
er is stone hard). Nevertheless, it will already be possible to distinguish=20=
a trace of a personality, hidden and masked by the 'voice', the hammer.
The same of course for piano B.


Now what we do with voicing the hammers, is sort of playing with the possibi=
lities the personality of the piano and its hammer gives us.
Playing with the hammer is in an way limited, because we have only a number=20=
of possibilities here :
we can leave it the way it is=20
we can give it a small cushion
we can give it a big cushion
we can give it a hard crown, combined with a small cushion
we can give it a mellow crown, combined with a big cushion
we can give it a limited battery voicing, combined with the above
we can give it a huge battery voicing, combined with the above
we can give it a tulip shape, combined with the above
we can give it an egg shape, combined with the above
we can give it a diamond shape, combined with the above


There are more things we can do, but I think this is enough as an example.


Anyway, what I am trying to say, is that we will always be able to distingui=
sh the personality, but this personality can be masked with quite a number o=
f personae.


That's why I mentioned before :


To give a piano a voice is one thing,
What kind of voice is another.


EAR




friendly greetings=20
from
Andr=E9 Oorebeek


R. Vinkeleskade 1-3hg

1071 SN Amsterdam=20
The Netherlands


tel/fax : 0031-20-6237357
gsm   :  0031-645-492389


www.concertpianoservice.nl



[Image removed]=20

and the stories I hear!=20

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