The contemporary piano : a performer and composer's guide to techniques and resources

목차 (Table of Contents)

• CONTENTS
• List of Figures = ix
• Acknowledgments = xvii
• Introduction = 1
• 1 Basics of the Piano and Its Notation = 5
• Range = 5
• Expansions of Range = 6
• The Grand Piano's Pedals = 7
• The Upright's Pedals = 7
• Notation = 8
• Notating Pedal Indications = 10
• Ledger Lines and Octave Signs = 12
• Articulations and Slurs = 14
• 2 The History and Mechanism of the Instrument = 17
• Silbermann's Additions = 18
• The Double-Escapement Action = 18
• Agraffes = 18
• Overstringing and Expanded Range = 19
• The Cast-Iron Frame = 19
• The Sostenuto Pedal = 21
• Duplex Scaling = 21
• Aliquot Stringing = 22
• A Few (Mostly Not Adopted) Innovations to the Piano Keyboard = 23
• More Recent Innovations = 24
• Beyond The Eighty-Eight : Electronic Augmentation of the Piano = 28
• Computer-Driven Reproducing Pianos = 28
• Optical Sensor Systems = 29
• Electromagnetically Prepared Piano = 30
• Magnetic Resonator Piano = 31
• Transducer Grand Piano = 32
• 3 On the Keys and on the Pedals = 33
• Techniques on the Keys = 33
• Techniques on the Pedals = 51
• 4 Inside the Piano : Plucking, Strumming, Scraping, Rubbing = 55
• Inside the Piano = 55
• Basic Protocol for Playing Inside the Piano = 56
• The Different Geographies Inside the Piano = 58
• Distinguishing Dampers = 63
• Marking Inside the Piano = 64
• The Music Rack = 64
• Extending, Sitting, and Standing While Playing Inside the Piano = 65
• Strumming Glissando = 66
• Aeolian Harp or Autoharp Technique = 68
• Autoharp Technique with Larger Chords = 72
• Sweep Along the Length of a String = 73
• Pizzicato = 75
• Stopped Bass-String Notes = 77
• Some Other Ways to Touch and Vibrate the Strings = 78
• Vibrating the Strings with Electrical Devices = 80
• 5 Muting = 83
• Muting with Fingers and Hands = 83
• Finger Muting and Access to the Strings = 84
• Squeegee (and Other Object) Muting = 85
• Weighted Cloth-Covered Mutes = 86
• Piano Tuner's Mutes and Felt Muting = 87
• Poster Putty Muting = 88
• Key-Frame Slide Muting = 89
• Muting with Other Techniques = 90
• Full Dampening of String Sound Muting Notation = 91
• 6 Harmonics = 93
• Understanding Harmonics = 93
• Harmonics Introduce Microtones = 95
• Marking Nodes = 96
• Playing Harmonics = 98
• Other Harmonic Techniques = 98
• Notating Harmonics = 101
• Selecting Partials = 103
• Other Ways to Sound Harmonics = 105
• 7 The Piano Is a Big Box, and the Pianist Is a Noise-Making Animal = 109
• Hitting the Instrument and Various Other Percussive Sounds = 109
• Pianist as Noisemaker = 114
• 8 Bowing = 123
• Monofilament Bows = 124
• Bowed Harmonics = 126
• Popsicle-Stick Bows = 126
• Additional Bows and Bow Stands = 127
• 9 Preparations = 129
• Preparations Become Stops Become Preparations = 129
• John Cage and the Prepared Piano = 130
• Classes of Preparations = 131
• On Preparations, String Materials = 132
• Strings and Their Distribution = 133
• Surface Preparations = 134
• Active Surface Preparations = 140
• Chisel Piano, Glass Tumbler Slides, and Other Slide Techniques = 141
• Placement of Preparations = 142
• Measurements to Work on All Models of Piano = 145
• String Preparations = 146
• Directly Attached Objects = 151
• One Note, Multiple Preparations = 154
• Una Corda Preparations = 154
• Damper Preparation = 155
• Hammer Preparations = 155
• Hammer-Wrap Preparations = 157
• Hammer-Wrap Surfaces = 158
• Key Preparations = 161
• Pedal Preparations = 163
• Notation for Preparations = 165
• 10 The Toy Piano = 167
• History = 167
• Materials = 169
• Range = 169
• Dynamics and Articulations = 171
• The Action = 172
• The Physical Challenges of the Toy Piano = 174
• Repertoire for Toy Piano = 174
• Tuning = 176
• Clusters = 176
• Glissando = 178
• Underpressure = 178
• Other Techniques for the Toy Piano = 180
• Muting = 180
• Plucking and Glides on the Tone Rods = 180
• Percussion = 180
• Bowing = 181
• Full-Compass Dead-Stroke = 181
• Preparations = 182
• Appendix A : Repertoire = 183
• Appendix B : Materials for Piano Preparation = 197
• Appendix C : Grand Piano Interior Architecture and Stringing = 201
• Notes = 221
• Bibliography = 231
• Sources and Permissions = 237
• Index = 241
• About the Author = 249