Throughout the years I have developed so called extended techniques on the acoustic grand piano, playing with the strings, the soundboard, the metal frame and the keys, using preparations and objects. The piano is transformed but can be returned to its unprepared state in an instant. The set up is adaptable to different pianos and the acoustics of different spaces, giving me the flexibility to mold and change sounds and timbres whilst I play, which is an essential and critical aspect of improvised music.
A radio program I made for ABC on the history of extended piano playing and its practice today featuring many pianists incl. John Tilbury, Cor Fuhler, Chris Burn, Andrea Neumann, Benoit Delbecq, Tisha Mukarji, Anthony Pateras, Reinhold Friedl, Frederic Blondy, Sophie Agnel is available as a podcast here:
The objects I play with become extensions of the instrument itself, changing and individualising it.rather then talking about "extended instrumental techniques" I would like to draw attention to the detailed, idiosyncratic and intimate relationships objects and the way we use them evoke and afford, the situated knowledge we develop and gain from spending time with them, which is not transferable and cannot sufficiently be explained in an instruction guide. Below is a selection of videos* to show how I engage with the piano and objects I use to create sound with.Doubleclick the video too enlarge it.
For more details about sound objects and their funtionality within my performance, their relationship and meaning to me, see Transmitting a listening, published in Diálogos com o Som, a collection of essays around Music and Transversality, edited by the University of the State of Minas Gerais (UEMG), Brazil.
*Video and postproduction by Tony Buck