This piece stemmed from a concept I first explored in first year, using harmonic partials and sympathetic resonance in pianos. For that piece, I struck notes to activate harmonic resonance, and then removed the attack from them in the track.
For this work, I have adapted the process for use in concert. I spent time experimenting both with single and multiple piano setups, finding ways to create and select resonance. I also experimented with various configurations for the setup, to ensure pianos would be able to trigger resonance in each other. Once I had a range of materials, I created the score by inputting the musical materials into Sibelius, then arranging them on a page in Adobe Illustrator.
The four pianos are arranged so that their lids reflect sound into each other. They are also amplified, so that the sympathetic resonance is not overpowered by the struck notes that trigger it. The materials for the piece are given on the score on the following page, and a conductor selects which players perform different parts of the score. The structure of the piece is also indeterminate, but for this performance I have chosen to use a ternary form. The beginning section will predominantly explore the natural resonance of the piano when it is left to resonate on its own. The second section will explore harmonic patterns, and allowing specific frequencies to resonate. The final section will incorporate this with more chromatic resonance and noise-based triggers. The microphones on the piano are heavily limited, so that the louder sounds are no louder than the quieter resonance.