[silence] prepared piano samples

[Valério Fiel da Costa]

Dear folks

I don't want to be boring, but to imagine that you can
achieve a prepared piano by programing samples on a
keyboard is similar to imagine that we can achieve a
real piano by doing it on a synthesiser. There are two
worlds absolutely differents here: the "keyboard
world" (abstract) and the "real-instrument world"
(concret), that, in my opinion is where Cage has
operate.

Is impossible to reproduce, with a sample, the sound
richness (and uniqueness) of a preparation, that,
between other caracteristics, can be manipulated 'in
loco' for "tunning" the sound object for a especific
musical reason.

The close contact with the real instrument behind the
keyboard (the strings, the hammers and the soundboard)
is essencial to operate a proper preparation and "to
compose" the sound objects (that are uniques). 

But everyone knows this: the synthesiser is a
instrument radicaly different of a real piano: that is
only a collection of "on-off" keys. Depending of its
utilisation, there's no problem, but it will never to
substitute the proper prepared piano. It is clear to
me.

I just don't understand the necessity of 'close
imitation' of Cage original preparations when one
prepares a piano (the same objects, the same
dimentions, the same sources), even when the piece is
cage's. With a few hours of experience on preparing a
piano, is easy to understand how it soundly works and
one can prepare it obtaining very good results. We
don't need to be slaves of a single archive of ideal
sound objects. This is so un-cagean...

Valério Fiel da Costa



--- Glenn Freeman <glennf@christinafong.com> escreveu:

> I agree. However, many of the interactions you refer
> to (interference  
> beating, and a plethora of complex sounds and
> noises) also occur when  
> combining sounds in the digital realm (albeit with
> different  
> results). Thus, such chance color aspects of a
> composition (non- 
> controllable; different in each performance) occur
> equally in both  
> realms (digital and live).
> 
> There are no old ways, only different ways.
> 
> Daniel Wolf wrote:
> 
> > While such a sample set might be useful for some
> practicing, it  
> > strikes
> > me that samples of single tones will necessarily
> miss much of the
> > interactive quality of tones, which when played
> both simultaneously  
> > and
> > overlapping can create sympathetic resonances,
> interference  
> > beating, and
> > a plethora of complex sounds and noises that would
> require a very  
> > large
> > and unwhieldy sample set to recreate. Sometimes
> doing it the old way
> > can be more efficient.



		
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