Topic: Case vibrations, near-reflections, sympathetic resonance, and note-off
In the ongoing quest for a good close-up, player's perspective, it occurs to me to ask--are the body resonance, near-reflections, and sympathetic resonance tied to the note envelopes in a linear way, so that a note-off cuts the sound of all of these vibrations in a 1:1 fashion? That would be logical programming, but I wonder how much the connection renders the actual experience of the player. A note-off event simulates the dampers coming to rest on the strings, but would the limited body resonances and reflections and resonances continue to sound, softly, a little longer? These sounds are of course subtle, and make a relatively small contribution to the sound. But if they continue to be heard, do they stack up and thicken the sound a bit?
Here's a recording of Art Hodes on the Marian McPartland show, doing "Someone to Watch Over Me," that captures some of these resonances well on one of the Baldwin grands in the studio. Starts at about 20:08. (Be sure to click on the red Listen button in the left-hand pane, first. Otherwise, clicking Play will play whatever live show is being broadcast.) You may need to adjust your volume. Had to turn mine up a bit to hear it well:
http://www.npr.org/event/music/46087094...piano-jazz
The entire show is a good listen, for those who like jazz, but during the duets McPartland's piano sounds a bit more brittle and thin, something that she ascribes to Art Hode's technique and he ascribes to hand exercises that he briefly describes after playing this song. (The above linked performance of "Someone to Watch Over Me" is a solo.) And of course, count this post as another step in the effort to encourage modelling a midcentury Baldwin grand. Still love the presence of the midrange for music like this.