I have just discovered something that I have not understood before. But, as I was talking about it with a student, a thought occurred to me: a richer sound may be created by bringing out more of the overtone series of the pitches played. Tones, or pitches, have "overtones." When you play a note on the piano, other frequencies that are multiples of the fundamental tone being played, and above it in the frequency range, vibrate sympathetically with that note. The first is at the octave, the second sympathetic tone is a fifth above that, then two octaves, then a third, then a fifth, etc., all the way into half steps very high in the frequency range.
It is this fact that makes the difference in what kind of technique a pianist is using, I am sure! A good technique can draw out those upper sympathetic vibrations, thus creating a richer, warmer tone from the piano. My students hear it every time when they use the "right" technique (the one I teach, which not all teachers teach or agree with, or understand, perhaps).
You can discover this for yourself with a simple test: On the piano, slowly push down the A above middle C. Don't let the hammer swing to the string so that there is no sound. You are just removing the damper from the string. Then, just strike the A below middle C as an accented, marcato note (hit it hard).
You will hear the note you are holding down start to vibrate, even though you did not play it. If you do the same with the E just above treble C (one octave higher than middle C), you will hear it start to vibrate when you strike the A just below middle C.
If you hold down the G above middle C, next to the A, while you strike the A just below middle C, you will hear nothing, because it is not in the overtone series and does not vibrate sympathetically with the A.
Neat, eh?!
Mr. Slaughter
No comments:
Post a Comment