tag:blogger.com,1999:blog-33937439.post5505762524351136258..comments2023-04-02T00:39:16.640-07:00Comments on Stochasticactus: wha happen?Peter Breslinhttp://www.blogger.com/profile/15466530226652452872noreply@blogger.comBlogger4125tag:blogger.com,1999:blog-33937439.post-22134686003175583752007-03-26T14:23:00.000-07:002007-03-26T14:23:00.000-07:00Hi GT- yes, I play a lot of drums too. There were ...Hi GT- yes, I play a lot of drums too. There were several years when I was practicing both instruments about 4 hours a day each. <BR/><BR/>The drumming definitely influences the piano. The piano playing influences the drumming too. Sometimes I've performed improvisations where I play both, occasionally simultaneously (using the swiveling drum stool).<BR/><BR/>There is a nice digital recording of the Duology thing. Quid pro quo?<BR/><BR/>PBPeter Breslinhttps://www.blogger.com/profile/15466530226652452872noreply@blogger.comtag:blogger.com,1999:blog-33937439.post-43104128749146163862007-03-26T14:12:00.000-07:002007-03-26T14:12:00.000-07:00So you played piano? What about the drums? Do yo...So you played piano? What about the drums? Do you still play the drums? Does drumming inform the piano-ing? Does the piano-ing inform the drumming?<BR/><BR/>Anyhow, Once upon a time at Steinway shop in Portland Oregon the salesman said it takes 11 months to make a Steinway grand piano and 11 days to make Yamaha. He said there were 5 pianos: Bluthner, Bosendorfer, Steinway, Bechstein, and Fazioli. Everything else is a PSO or "piano shaped object."<BR/><BR/>Did you make a tape? (said he who is yet to send the CD)<BR/><BR/>Kudos!Stanley Jason Zappahttps://www.blogger.com/profile/06526308723808269327noreply@blogger.comtag:blogger.com,1999:blog-33937439.post-63526119124366209442007-03-25T17:11:00.000-07:002007-03-25T17:11:00.000-07:00hey S- My piano routine used to be fairly over the...hey S- My piano routine used to be fairly over the top. 5-7 hours a day starting with the complete books 1 and 2 of a workout called The Virtuoso Pianist by Hanon, with several improvisations afterwards, then usually back to Hanon 1, 2 and most of 3. The Hanon I memorized so there was no attachment to the page. Anyway it's basically a set of finger and wrist exercises designed to make all ten fingers on both hands equally strong.<BR/><BR/>I also used to practice diatonic chords of the 7th, 9th, 11th and 13th in all of their inversions and many voicings in all "12" keys, chorded and with the chords of the 7th arpeggiated, both two-handed and with alternating hands. This is sort of a "Romantic" extension of Hanon which is mostly triads.<BR/><BR/>I did not incorporate reading into my practice except when I studied Western piano music for a year in Philadelphia, playing Clementi, Bach, Chopin, etc. <BR/><BR/>Themes developed during the improvisational part of practice would often become suite-like compositions and/or be orchestrated for ensembles, etc. <BR/><BR/>I was interested in confronting my control strategies around performance for this particular show and realized that of course technique itself is a control strategy. I was angling for maximum spontaneity and hoping I would discover something new in my relationship with the instrument. I discovered a lot but have no idea what.<BR/><BR/>PBPeter Breslinhttps://www.blogger.com/profile/15466530226652452872noreply@blogger.comtag:blogger.com,1999:blog-33937439.post-67076248512388622392007-03-25T10:45:00.000-07:002007-03-25T10:45:00.000-07:00I intentionally did not practice leading up to the...<I>I intentionally did not practice leading up to the show.</I><BR/><BR/>As someone who practices, especially prior to a performance, fanatically (perhaps to the extent of overdoing it), I’m totally intrigued by this statement.<BR/>Out of curiosity, when you do practice, <I>what</I> do you practice?<BR/><BR/>S, tigthe improvising guitaristhttps://www.blogger.com/profile/07517613086214719180noreply@blogger.com