Situated Piano
The Situated Piano takes inspiration from Phillipe Manoury’s Pluton (1988), which combines piano and computer in a way that balances control and generative chaos. The aim is to follow this path by imposing transformative rules on the piano itself to explore novel music styles and uncover hidden tones and textures. Historically, the piano, invented by Bartolomeo Cristofori, surpassed earlier instruments like the clavichord and harpsichord by offering greater dynamic range. Initially accessible only to the European elite, it became associated with high status and cultural capital. Despite its complex history, the piano became ubiquitous partly due to its functional simplicity and the player’s perceived perfect and immediate control over time, amplitude, and frequency. This control instils a sense of predictability, and the instrument’s design has been refined for centuries, remaining functionally similar for 300 years.
The system specifically challenges two core “rules” of the piano’s canon: its established frequency and amplitude range and its predictability in time.
Firstly, to break the frequency and amplitude, the project creates the illusion of strings extending beyond the physical limits of the instrument.This is influenced by prepared pianos, a technique pioneered by John Cage where objects are placed on strings to disrupt tuning and create unstable harmonics, and artists like Volker Bertelmann (Hauschka) who use techniques like vibrators. The project combines these ideas with digital processing, feeding lower regions into a spectral resonator for sounds of long, rattly strings and upper regions into a physical resonator suggesting tiny strings. A ramped tremolo unpredictably excites the upper resonator.
Secondly, to challenge the dimension of time, the project employs a delay circuit that recalls past events. Inspired by Bugge Wesseltoft’s work with loopers that chop and layer sonic fragments, this project uses a pseudo-random injection of past sounds. A delay system freezes and opens based on a sequencer, splicing in microsound loops from several seconds ago, adding unpredictability that encourages engaging decision-making. In essence, like other artists challenging the piano canon, this project introduces unpredictability and uses external forces to expand the sonic possibilities of the instrument. It works within the established framework of the piano, recognising its perfected design while pushing its boundaries.
I made use of Ableton 12’s Racks to design a malleable and generative effect system that situates the piano within the field I established myself in. Moreover, the piano itself is provided by Moddart’s Pianoteq, an expertly designed physical modelling of the piano. I opted for this instead of a live recording as I was able to further contort the piano into something unpredictable and elusive, making using of microtuning and midi control.
The final composition is available to listen to but I have also included some of the test pieces to better get a sense of how this system can warp the sonic input.
