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Experimental Piano Improvisation No.3
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This is the third installment of improvisation using experimental techniques. This improvisation focuses less on the contemporary techniques and more on simple improvisation. Techniques used:
• Inserting paper between the dampers and strings
• A box of Tic-Tacs
• Plucking strings with the fingernail
• A second piano
About the paper - I lift the dampers and place the paper underneath them so that they press the paper into the strings. The type and amount of paper matters greatly and in this case I'm placing an entire score on the strings to achieve this particular sound. The felt dampers can easily be crushed or disfigured, so care must be taken to avoid damage.
About the second piano - this is not a very incredible use of the technique and I'll do more with it in future videos, but the second piano can be used essentially in three ways:
1. rapid tremolo that would be awkward on a single keyboard
2. phasing
3. different timbres in the same register (for instance, the grand piano is muted by the book, yet I can play pitches in the same register unhindered by using the upright piano. The upright piano also has an inherently different quality of sound to it naturally, a property I may explore in a later video.
• Inserting paper between the dampers and strings
• A box of Tic-Tacs
• Plucking strings with the fingernail
• A second piano
About the paper - I lift the dampers and place the paper underneath them so that they press the paper into the strings. The type and amount of paper matters greatly and in this case I'm placing an entire score on the strings to achieve this particular sound. The felt dampers can easily be crushed or disfigured, so care must be taken to avoid damage.
About the second piano - this is not a very incredible use of the technique and I'll do more with it in future videos, but the second piano can be used essentially in three ways:
1. rapid tremolo that would be awkward on a single keyboard
2. phasing
3. different timbres in the same register (for instance, the grand piano is muted by the book, yet I can play pitches in the same register unhindered by using the upright piano. The upright piano also has an inherently different quality of sound to it naturally, a property I may explore in a later video.
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