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Performance cookies are used to understand and analyze the key performance indexes of the website which helps in delivering a better user experience for the visitors. What I did yesterday is kind of a hybrid thing. I usually have two or three keyboards plus my little machines and my computer. Is there an ideal place? Is there a place you feel is the ideal format to hear what you do? I think every hall is ideal as long as you try to get it all out.
I love to go back and forth. I know what I want to play but I adapt. I had some tracklist in my mind before I started playing yesterday and it was completely changed throughout the show because I was feeling it out.
Of course, it all had to lead up to the grand finale with the students. I have two questions. First of all, you were talking about the history of the piano.
Have you explored any different tuning systems at all or do you stick to the classic tone system? Before Bach there were very few distinctive tuning systems. Tuning is a profession in its own [right]. But I have worked with tuners, crazy guys who are absolutely willing to experiment with the tuning. You can get into antique tunings where the relationship of the intervals is specific to each key. Every modulation is such a big event because the relationship between the intervals is shocking.
Or you can go a completely different way, you can tune it with quarter-tones and go into more traditional Arab scales or go into completely crazy tuning systems. Thank you. So do you have any interest in doing something more complicated or different? But the cool thing about having the four equal beats is you can do so much between the beats. If you have a kickdrum accentuating every beat, what I do harmonically or on the piano is pretty much syncopated.
I can show this briefly, something like this. Do you feel the same about harmony? Interesting point. I absolutely agree with you, I think once we got machines — not just drummachines, but also synthesizers — the way organic musicians play has changed, absolutely. What I find interesting is that it becomes another language, it becomes a new kind of thing.
Detroit techno, for example, you hear a lot of pentatonic stuff. And I count myself among you guys because, like I said, I play the drums in the piano, I like to play the drums. I have a couple of questions. And second, do you ever see yourself moving away from the piano completely and diving deeper into synthesized sounds, maybe even harmonic samples? Yeah, definitely. Ultimately, all these projects to combine sound from electronic and acoustic realms eventually will bring me further from the piano.
They already bring me further from the piano because I have so many other elements to count on, more than the piano. There was a piano sounding when the Titanic went down, I think. But yeah, definitely. Not for now, but who knows, could be in the future.
Where does that come from? Interesting question. I was reading some lectures by John Cage the other day and he said the old way to compose was to discern between consonance and dissonance and the new way to compose is to discern organized sound versus noise, what he calls noise.
It could be unorganized or chaotic sounds or whatnot. So I do like to work with simple harmonies, simple chords, major trials, minor trials, sometimes a seventh. But then at some point I like to break it, I like to break it, just as when you set a marker, you have a before and an after, so once you introduce the dissonance all the consonant stuff before will be transformed for the next part.
But nowadays in we hear everything different, we hear such a large range of music and nothing is shocking anymore. It starts out pretty soft and minor-y, and then all of a sudden it goes completely out. The piece I played yesterday was years old and very dissonant at times. Academy: Madrid Burns I was stressing out last night, brushing up on all my classical music knowledge. Todd L. Burns By the way, please welcome Francesco Tristano.
Burns Who was that? Burns He was before Bach? Francesco Tristano Definitely, about a century before Bach. Francesco Tristano I love the harmonies. Burns You make quite a point about things not being written for the piano. Francesco Tristano I wanted to be a drummer, but I happened to have a piano at home, which was probably a strategic move by my mom. Burns Your mum made you put it in the basement?
Francesco Tristano Yeah. Burns The cool uncle. Francesco Tristano Yes. Burns I remember you saying when you were recording your last album in Detroit that you found a piano you liked very much and you had to wait many months for it to become available for you to record the album. Francesco Tristano A lot different, I think. Burns How was it different to other pianos that you saw in Detroit?
What was it? Francesco Tristano I can become very geeky about pianos. Francesco Tristano OK. Francesco Tristano Definitely because you have to fight against all the instruments in the studio, all the synthesizers, all the effects boxes. Burns Why were you in New York? Burns You were a good student? Francesco Tristano Everybody is a relative term. Burns When did you arrive?
Burns So right around the time that Giuliani was coming in, which was the tail end of a really powerful moment in club culture in New York.
Francesco Tristano A sad moment, I suppose, in club culture because many bars and clubs had their license revoked. Burns But there were places you could dance. Burns Danny Tenaglia around that time was probably one of your best teachers. Burns Is that some of what was immediately appealing to you?
Francesco Tristano You said rendition. Extraordinary rendition laughs. Burns Most of them were Detroit techno tracks and that one was not. Francesco Tristano But not unrelated. I chose these classics Francesco Tristano As pure provocation, perhaps.
Francesco Tristano I suppose so. Burns Did you use it as your ringtone? Francesco Tristano Maybe. Francesco Tristano It was one show in Paris, I think , a show where I played a mixed program with some very old music, some Bach. Francesco Tristano A while ago I was always trying to expand the sound of the piano with keyboards. Francesco Tristano Yes, but he was actually a classical keyboardist, then he was a bebop pianist with Cannonball Adderley and then he met Miles and then he went his way.
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FILM Combined Shape. July 20, ART The painter envisioned America as a soaring ideal eternally threatened by a nail-studded club. Taking a look at three distinct comics that are set on destroying the world, one way or another. The Fury Vs. Fill 1. All rights reserved.
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