* Re: preparations

[Geoff Sykes]

Name calling is not necessary, nor appreciated, on this list in order to
make a point. And just because your taste in music is narrow minded does not
mean that the music you are unable to appreciate should not be considered
music(al). There is a lot more out there than just 12 tone western. And just
because an instrument is "designed" to function one way should not limit the
player in his/her quest to make it produce non-traditional sounds. Are you
against guitar players that also thump their guitar for percussion sounds?
Why should a piano player limit themselves to what 200 years of tradition
and culture have to offer? There is a place for John Cage whether or not you
can appreciate his music. Don't dis Stephen Scott's bowed piano compositions
just because the piano is being played non-traditionally. There is such a
large audience for microtonal music that Sauter even manufactures a 1/16
tone microtonal piano. (see link below) In other words, you get to not like
whatever you want. And you are entitled to your opinions. I would like to
suggest, however, that the pianoTech forum is not a place where you get to
throw epithets at that those of us that DO appreciate, or perform, these
alternative definitions of music.

http://www.sauter-pianos.de/english/pianos/microtone.html 


-- Geoff Sykes
-- Assoc. Los Angeles





-----Original Message-----
From: pianotech-bounces at ptg.org [mailto:pianotech-bounces at ptg.org] On Behalf
Of Stéphane Collin
Sent: Thursday, August 17, 2006 11:19 AM
To: Pianotech List
Subject: * Re: preparations


Hi Tish.

I do like (some) contemporary music.  But I must confess that I always have 
the same reaction in this kind of situation, that is, when a composer or a 
performer decides to go beyond the limits of an instrument.  Those soprano 
singers who try their guts to get above that contra ut in Mozart's "Reine de

la Nuit", those fagott players who want to reach a note a semi tone above 
the highest of Stravinsky's "Sacre du Printemps", those trumpet players who 
develop insane self contentment when they pouèèèt higher than their 
neigbourgh, those violin players who wouldn't come on a podium unless they 
have a brand new way to make a brand new sound out of their instrument 
(harmonics, flautando, armonicando, triturando, catastrophicando, etc.) and 
yes, pianists who come with prepared pianos, they all make me think the same

thing : what is the very reason for doing so ?
The only reason I see (sorry if I'm myop) is that it makes a clear 
separation between those who can do it (the true heroes), and those who 
can't (the average Joes, and yes, walk in the shadow).  Very basic and 
primitive behaviour, methink.
Yes, it is possible to get a bass note on a piano that lasts for 5 minutes, 
attaching a nylon string to the bass string, and rubbing this nylon string 
with fingers full of colophane.  You know how it sounds ? Like a cheap 
synthesizer poorly programmed.
If you want (need) other sounds, why not use the instruments dedicated to 
those ?  And if you use a piano, why not explore the best that 200 years 
tradition of technicians fully dedicated to piano culture have to offer ?
First, think of it, then, answer.

Best regards.

Stéphane Collin.




----- Original Message ----- 
From: "tish mukarji" <tishamukarji at yahoo.com>
To: <pianotech at ptg.org>
Sent: Thursday, August 17, 2006 3:42 PM
Subject: preparations


> Hello list,
>
> I'm a pianist who does mostly contemporary music, and
> I use a lot of preparations, I was wondering what your thoughts on 
> this use does to the strings. If I play a set of one hour with screws 
> lodged inbetween a few strings what type of technical effect will it 
> have. Granted that you can badly prepare a piano, but say I
> don't hit the keys with preparations to hard.
> Basically at times I get a lot of hassle from
> organisers who don't know anything. I met a very nice
> technician in Scotland who was very open. So I would
> like to know your views on the subject.
> Thanks in advance,
> T
>
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