Professional Documents
Culture Documents
PREPARED
PIANO THE NUTS & BOLTS
VIC TORIA
Copyright © 2008 Tzenka Dianova.
Dianova, Tzenka
John Cage's prepared piano: the nuts and bolts /
by Tzenka Dianova.
ISBN 978-0-9809657-0-4
xi Foreword
viii Preface
PART ONE:
Getting Prepared to Prepare a Piano
26 The objects
A practical guide to the objects used in John Cage’s
prepared piano music, including numerous illustrations
of materials and safe insertion techniques
PART TWO:
Playing the Prepared Piano
65 Preamble
A complete descriptive guide to John Cage’s solo and
chamber works featuring prepared or string piano
159 Afterword
163 Endnotes
xi
tion of the instrument with an extensible lexicon of percussive
sounds. New sounds are created by inserting various materials
such as rubber, pieces of wood, bolts and screws etc. between the
piano strings.
In Tzenka Dianova’s work it is the performer who has chosen
to extend the conventional boundaries of concert performance.
Her creative practice involves not only a mastery of contemporary
concert repertoire but also an active engagement in the process of
piano preparation.
This book addresses problems that challenge the development
of new repertoire for a traditional musical instrument, and docu-
ments the process of piano preparation. It includes a thoroughly
researched and sorely needed illustrated manual for safe piano
preparation. This can help the next generation of classically
trained pianists overcome resistance to piano preparation from
other pianists, piano technicians and concert managers, by
addressing the (understandable) concerns of maltreatment of the
instrument. Dr. Dianova’s manual also addresses for the first time
the problem of preparation materials, called for by Cage, that have
become obsolete or are simply unavailable.
Dr. Dianova shows a rare understanding of the craft of the
concert-piano technician. Her concept of the instrument builds
upon the mechanical refinements to piano design of the nine-
teenth century, to accommodate one of the most significant musi-
cal developments of the twentieth—the prepared piano.
It is not uncommon to read or hear endorsements of Cagean
aesthetics from artists working in disciplines other than music—a
point that serves to illustrate the interdisciplinary nature of Cage’s
work—but it is a much more refreshing endorsement of Cage’s
musical contribution to read a book such as this, written by a per-
former committed to the ongoing development of the piano; a per-
fomer who has actually experienced Cage’s prepared piano music.
xii
Preface
For the most part, it will be Cage’s earlier work—the prepared piano
music above all—that will appeal and continue to appeal to a
growing public.
–eric salzman: The Imaginary Landscaper
xiii
safe techniques for their placement between the strings. It dis-
cussed the prepared piano in general, not as in Cage’s music in
particular. Although certain information cannot be found in that
volume—for example a description of the plastic bridge called for
in Concerto for Prepared Piano—it nevertheless is a detailed and
comprehensive guide, richly illustrated with pictorial samples.
Unfortunately, the book does not offer information on Cage’s
works for this instrument. Moreover, it has been out of print since
its second press run in 1981.
Intensive Internet or library research might tell the interested
inquirer that there exists a dissertation-format volume, entitled
Das Präparierte Klavier Des John Cage. This dissertation was writ-
ten by German musicologist Monika Fürst-Heidtmann and pub-
lished in German, in an edition by G. Bosse. Its main subject is the
acoustic phenomena associated with the prepared piano, although
it also includes analyses of four or five out of the 38 pieces Cage
wrote for the instrument. The author mentions some interesting
facts regarding preparation materials, and offers a descriptive list
of the exact objects Maro Ajemian found best-suited for Sonatas
and Interludes.
This work has never been translated into English and is not
available for sale; the language barrier, together with its highly
academic style of writing and its unavailability, make it inaccessi-
ble to both young pianists and to the wider music audience
around the world.
Since information was not available, I had to experiment—in
the beginning with the help of a piano technician, later on my
own. Identifying and finding all materials needed for a proper
preparation took a while. Analyzing and making sense of Cage’s
pieces for the altered piano was even harder, but it proved to be a
fascinating and deeply rewarding process.
After a few years, I had gathered a substantial amount of infor-
mation. Considering the increasing interest in the subject from
both pianists and audience, I decided to put it into writing,
together with the experiences and reflections that accompanied
my work. The result is this set of interrelated chapters dealing
xiv
with the many aspects of prepared piano use, technical as well as
aesthetic. Here I have tried to answer questions that I found chal-
lenging, such as: how is Cage’s prepared piano music important for
pianists or audience, what is its significance, and why is it not per-
formed as regularly as it ought to be?
I purposely avoided discussing facts easily available from
other sources. In the last two decades much has been written and
said about John Cage’s life, art and philosophy. The best accounts
originate from musicologists and art critics who knew him in
person, who had the privilege to converse and correspond with
him, and were present at the premiers of his music; to paraphrase
what is found in their writings would be, at best, second-hand
knowledge.
Finally, a warning note: what I present here is not intended to
be read and accepted as absolute; to claim that there is only one
definitive way of preparing a piano or performing the music com-
posed for it would be very un-Cagean indeed. Instead, the infor-
mation shared herein is meant to empower pianists with the
knowledge and confidence needed to experiment on their own
and to trust the results, whatever they may be.
xv
The prepared piano
safety manual
this book and to share my knowledge. Below is a list of facts, the
awareness of which has proved invaluable in my work on piano
preparation. The list is divided into two sections—The dangers,
dealing with practices that can be potentially harmful to the piano,
and The challenges, which will prepare pianists for some obstacles
they might have to overcome during their work on piano alteration.
The dangers
If the mind is disciplined, the heart turns quickly from fear to love.
–john cage: Silence
• For me, placing a soft cloth underneath the strings while work-
ing inside the piano has proved an absolute must; such practice
helps prevent scratches to the soundboard that might occur
as a result of bolts or screws sliding down. Scratching the
soundboard can alter the piano’s sound quality and is difficult
and costly to repair.
• The only way to avoid harming the delicate dampers corre-
sponding to most piano strings is to hold the sustain pedal
down while working on the strings. Failing to do so will cause
the strings—as they are being separated in order to insert
objects between them—to cut into the felt of the dampers and
to damage them. Damper repair is very costly, too.
• Forcing the strings apart by using too large an object will most
probably damage them, as well as their corresponding
dampers. Moreover, the sound resulting from strings prepared
in such a manner will be unsatisfactory, as the dampers will not
be able to efficiently mute them.
• If objects are too small in diameter, they will slide down between
the strings during performance and scratch the wooden part of
the soundboard. Playing strings prepared with loosely fitting
objects will produce an undesirable buzz and, if the objects slide
down, knocks. John Cage himself said that the appropriate size
of an object is that which ensures a snug fit between strings, so
that it doesn’t become dislodged during performance.
• Placing an object too close to either end of the strings can cause
damage to the strings and tuning pins, especially if the object
is large, or is horizontally inserted.
object without the help of a technician, the best thing to do is
to wait until the technician arrives.
The challenges
The conscientious objectors to modern music will, of course,
attempt everything in the way of counter-revolution.
–john cage: Silence
tion. The results might be perfectly fine or they might be dis-
astrous. One example from my practice is telling: in 1999 I
agreed to perform Sonatas and Interludes on an excellent con-
cert grand Yamaha. I prepared the piano and worked on it for
over a week, constantly moving and changing the objects in an
attempt to make the piano sound “properly.” Alas, that just
did not seem possible, and only two days before the concert I
had to give up and beg for the use of a Steinway, which had to
be specially brought in at an additional expense. From this
stressful experience I learned that due to the differences in the
instruments’ specifics, metal preparation—such as bolts and
screws—changes the different pianos’ sound in different ways,
making this particular Yamaha’s sound unsatisfactory, as it did
not offer enough reverberance and warmth of sound. To save
oneself from similar situations, one simply must try an instru-
ment before undertaking to prepare it.
fig. 1
The objects
• The screw must be large enough and so positioned on and
between the strings as to produce a resonant sound, rich in
harmonics.
tured these objects and the way they would ideally fit between
the piano strings and alter its sound.
It is good to keep in mind that certain items (such as metal
bolts and screws) will alter not only the timbre, but also the pitch
of a tone, which makes it important to know two simple laws:
It follows that using objects that are both long and wide is ineffec-
tive. Furthermore, pulling the piano strings apart or preparing
them with objects of large diameter can be detrimental to certain
parts of the instrument, and is strongly advised against. If a varia-
tion in pitch is desired, it can be achieved by other means, such as:
fig. 2
fig. 3
A Note About the Author
‘ is
beautifully written and offers Cage aficionados and
professional pianists alike a rare understanding of
the multi-faceted artistic nature of his work.’
– From the foreword by Dr. Greg Schiemer