Improvisation on Pianoteq’s beautiful Grotrian Intimate preset (mics moved to audience position). This improv is exploring feelings of melancholy arise from living in this slightly troubling world of ours but it also tunes into the light of hope that is clearly there for us…
‘Prelude in C minor’, an improvisation with a reflective, melancholy mood on Pianoteq’s Bluethner.
My ‘Untouchable Beauty’ piano improvisation on Pianoteq’s Steingraeber Intimate. Nature is bigger than human beings. We arrogantly try to capture and control everything. Like trying to catch a butterfly, our exploits can easily cause harm or destruction. Some things are better left alone, in their natural state, untouchably beautiful!
Musical tonality has a beautiful symmetry to its structure, especially when we see it within the piano keyboard. The shimmering patterns that this creates are like some of the most spectacular patterns in nature, such as we see when watching a butterfly slowly opening and closing its magnificent wings.
I’ve been thinking about using different Pianoteq presets in my current ‘Butterflies’ project and the K2 Warm preset has some really beautiful qualities.
I perform a dark piece of improvisation on a piano that is perfect for the mood, the Pianoteq Steingraeber Dreamy…
This is my performance of Rachmaninov’s Prelude op. 23 no. 4 in D on the New York Steinway Model D new to version 7 of Pianoteq.
In this video I play with futuristic transformations to the Pianoteq’s new J. Salodiensis Virginal 1600 after performing a short piece by Frescobaldi using the instrument in its original faithfully reproduced form.
What makes a good piano sound?
A good piano sound comes from a combination of factors. We must have a decent instrument with a good range of volume and timbre. It must have a reliable action with a wide range of velocity available so that you can control the sound. Acoustic pianos must be new or well maintained, whilst all the major makes of digital pianos, Yamaha, Kawai, Roland and Casio make pianos with excellent actions.
I prefer the sounds generated either by good acoustic pianos or by physical modelling technology not sampling. This is because physical modelling can offer the same kind of detailed expressive control that you get from acoustic pianos. I use Pianoteq for my piano sounds and it is amazingly expressive and responsive and sounds great. It’s so important to remember that expressive control plays a much bigger part in generating a great piano sound than you might think… So, for a great sound to come out of any piano, you need great technical control and musical imagination to make it really speak or sing.
Expressive control plays a much bigger part in generating a great piano sound than you might think. For a great sound to come out of any #piano, you need great technical control and musical imagination to make it really speak or sing. Click To Tweet
So let’s think about how we control piano sound in more detail.
Velocity controls volume and timbre and different velocities combine to shape melody and balance harmonies. In this way we can create many different colours
Playing notes legato, or staccato, and everything in between in various combinations creates different qualities of sound.
Precise timing of musical events occur within the rhythmic groove really affects how we hear the sound. Listen to these expressive delays and how they make the sound feel thicker and warmer.
So as the music unfolds rhythmically we vary the sound dynamically in these ways. As a general rule, we make a stronger sound by playing LOUDER, LONGER or LATER and we make a weaker sound by playing SOFTER, SHORTER or SOONER. But this simple rule belies the ambiguity, subtlety and seemingly infinite complexity that arise when we play.
You’ll notice, I’m also using the sustain pedal. Because it releases all the dampers, it doesn’t just sustain notes but also adds layers of resonance to the sound as all the strings vibrate sympathetically. Half-pedalling in particular creates many different subtleties of colour.
Reverb and FX
Room acoustics affect the way a piano sounds profoundly. Where a piano is placed within a room with ambient reflections is a very important consideration and will affect the way we play. When recording, using effects like compression and chorus can also affect the sound.
A pianist must combine all these controlling factors intentionally as the music unfolds. It’s a complex process: we must do it naturally and intuitively. So the most important controller is YOU.
We must use the muscles in our hands and arms to coordinate all the movements in an economic and relaxed way. The hand works like a claw, and the fingers must feel like they are walking rhythmically on the keys. The weight of your arms must be supported by the trapezius – never twist your hands to sit on the keys with your elbows dropped or tucked in. This arm position means we can make use of gravity and never push or force, even for the loudest sounds. We must only play the keys from a touching position – touch the key surface before dropping down to the key bed. Never slap down through the keys from above as this is uncontrolled and can cause injury. The finger drops down to the key bed hitting it at the precise moment we intend rhythmically and makes a soft landing with the characteristic upward feeling at the moment of impact that we all feel in our legs when we walk, run or jump.
A good technique feels natural but precise as it must respond perfectly to our musical intention. Stick to these basic principles of technique. Don’t over-analyse or practise technique outside of playing music expressively. Obsessively developing strength or independence of the fingers is usually counterproductive and can be really damaging. Just let your fingers walk over the keys rhythmically and then they can play with natural and effortless expression.
Your creative musical mind
Your moment-by-moment expressive choices or intentions to tell your musical story meaningfully and authentically determine what dynamics, articulation, timing and pedalling you will use to make a truly great sound. These choices are all governed by our musicianship, specifically our ability to understand how rhythmic and tonal patterns make sense. This is an intuitive skill, but we can develop conscious fluency just as we all have using language. To do this, we need to develop a clear grasp rhythmic and tonal vocabulary and structure. Theoretical elements like notes, chords, intervals, keys and note values don’t generate fluency as they require too much cognitive decoding to grasp quickly enough to be fluent. My PlayPianoFluently course teaches the real vocabulary of music that we can effortlessly hear and understand naturally in real time as the music unfolds.
So to get a great sound out of a piano, we must use skill and imagination to INTEND that sound expressively. Of course, people have different tastes and music comes in different styles so it’s great that we have pianos with different sounds. We can argue about the relative merits of different pianos for as long as we like. But as long as a piano is well made and working properly, we can approach playing it by considering what particular things it can do well. What kind of sounds can it make to bring the music to life? How can I use my skills to do this?
To get a great sound out of a piano, we must use skill and imagination to INTEND that sound expressively. Click To Tweet
People often think that I manage to get a good sound on my recordings because I’m clever at tweaking the parameters in Pianoteq to make my own presets. I’m not all that clever or experienced at doing this. I do have a go at it sometimes but the default presets are actually really great as long as you use your technique and imagination to get great sounds out of them.
The piano was traditionally the instrument of songwriting, always perceived as the perfect accompaniment to the voice. But in popular music today, that position belongs to the guitar. I have some theories about how and why this has happened.
By the turn of the 20th century, the piano had become a popular symbol of the middle class elite: there were a hundred different manufacturers residing in New York alone! Classical artists like Rubinstein and Horowitz had the status of film stars. As the heyday of iconic stars and showbiz glamour peaked, the slightly terrifying character of Liberace took to the world’s stage, championing the piano’s glitzy aspirational appeal in a way that would outdo even the most tasteless bling of certain 90s rappers.
Of course, the piano was seamlessly involved in the advent of soul, blues and rock and roll and there are always artists like Stevie Wonder or Elton John who make the piano a star in its own right… But the combination of elitist snobbery and rather base status-seeking materialism in the consumer age has had a negative effect on this glorious instrument’s ongoing role in music; whilst by contrast, the guitar, in both its acoustic and electric incarnations, has naturally been given full prominence. This is because the guitar is the instrument of the people: it is cheap, lightweight, sounds great and has never been the object of shameless elitism or material aspiration.
It’s not a real piano…
Electric pianos that appeared mid-century were certainly cheaper than a Steinway… But they were still quite expensive. And worse, people tended to look down on them as lacking the all-important status of the “real thing”. They were considered fake in a way that electric guitars never were. Of course, loads of amazing music has been made on these wonderful-sounding pianos – especially those manufactured by Rhodes, Wurlitzer and Hohner, but the popular music industry has never really put them front and centre as they did guitars. Keyboard synthesisers, on the other hand, have enjoyed both cult and popular status. This role of the keyboard has evolved effortlessly into the digital age and the keyboard features very prominently in produced music. But on stage, a synth – old analogue or new digital – is a very different animal: it is less alive, less natural or human and it feels much less connected expressively. Synths are also undergoing huge technological evolution: I have acquired a Roli Seaboard which feels extraordinarily organic and musically connected. But the piano remains my first love!
New piano technology
Of course, digital pianos are now very established and popular. But let’s be honest here… They are often thought of as something you buy for your children to practise their scales on! But in their stage format, they have become more and more popular, and even feature prominently, especially in jazz-influenced music! I love this resurgence. New physical modelling technology, that I use, especially the amazing software Pianoteq by Modartt means that I can combine a laptop with a lightweight portable digital piano and a sound system and I have a piano that sounds every bit as wonderful as acoustic and electric pianos. I hope manufacturers will start to develop exciting new designs for stage pianos, as looks are of course a very important part of the aesthetics of a musical instrument. Electric guitars often have beautiful and innovative designs; whereas stage pianos generally just look very techy.
Hoping for a resurgence of the piano in popular music
Obviously, the guitar is also the most user-friendly instrument for developing musical skills. The non-classical approach of learning chords and rhythm patterns fosters a high degree musical fluency in guitarists. This fluency that makes the instrument feel like a part of you, so you play it directly from the body and soul, means that the guitar is ideal both for inspired songwriting and performing. But I think the piano could regain its position as the ultimate songwriter’s instrument! The problem is that fluent skills on the piano keys are sadly rather rare and composers rely more and more on computers to do their musical thinking for them! But in the hands of a truly fluent pianist, as well as being able to generate very complete and complex musical textures, the piano is also capable of evoking an extraordinary level of musical expression and atmosphere. The autonomy and feeling of connection from the body and soul to the music that a pianist can have is every bit as strong as that of a guitarist, but on a bigger scale.
I have developed a teaching model that provides people with real fluent musicianship skills on the keys. I would love to think that when published, my course might help many students of the piano become empowered musically in a similar way that learning guitar does already. Perhaps this, combined with new portable instruments that sound acoustically rich and beautiful, means that in the future, the piano can stand alongside the guitar as the people’s instrument.
I feel it is important that people are challenged for looking down on stage pianos believing that their expensive acoustic counterparts are inherently better. As practising musicians, we know that this view does not really hold up to scrutiny. Whilst I’m not asking anyone to lose their love for acoustic pianos – they are beautiful machines – it would be great if people checked their true motives for denigrating digital or electric pianos and embraced the wonders of new technology as people had to do in the 18th century when the piano was a new invention.