This Is What It Actually Sounds Like When Doves Cry

This video, Thollem’s magic fingers join the Wallerian sound-modules, captures an improvisation by Thollem McDonas on “digitally prepared piano”.

McDonas is playing a MIDI-enhanced piano, using using the RAADIAL sound collection of Felipe Waller, at the Erdmann Studio.

More electroacoustic improv on the digitally prepared pianos is available at the warlip channel on YouTube.

27 thoughts on “This Is What It Actually Sounds Like When Doves Cry

  1. The delay between the keys and the sound is pretty atrocious and if you hated clacky keyboards, this thing will recalibrate your standards! A very clever idea, but it appears to be useful only for avant-experimentation. That relay noise is… unsavory.

  2. Well, you may not be listening for the right things.
    Admittedly he makes it hard due to miking (or lack of) – we get very narrow band of the sound.

    I'd be overstating wildly to try to fix the meaning of what he's doing, but here are some ideas.

    * Any preparation is more or less a one-off. You can play one piece, or a small set of pieces. (The preparation could be compared to patching up a modular)
    Although they can be fully notated, prepared pieces are often more or less improvisations.

    * In most impro, the activity is the point. The players reach out to each other and the audience, to find and push against the edges of music and communication.

    Unlike more constricted setups, this is a really risky business: You can easily fail to get in touch, or fall back into cliches, or create new ones (one of the hardest parts is knowing when to stop).
    But when the magic is there, players and audience witness and contribute to something that is hard to find in any other way.

    You may or may not appreciate these rewards, but it can work even for non-fans (like myself – I like it but don't seek it so often, since it takes a bit of time and concentration. When doing something else, any 808 noodling may be better as background noise).

    Within this context, I thought the piece was quite successful. He quickly gets on top of the prepared vs clean areas, and gets good smattering out of the percussion parts.
    There is a bit of research of various phrases and combinations in the middle section. Maybe there's a bit too narrow breathing space in between the more intensive parts.

    Anyway I'd like to hear the other frequencies too.

  3. Well, you may not be listening for the right things.
    Admittedly he makes it hard due to miking (or lack of) – we get very narrow band of the sound.

    I'd be overstating wildly to try to fix the meaning of what he's doing, but here are some ideas.

    * Any preparation is more or less a one-off. You can play one piece, or a small set of pieces. (The preparation could be compared to patching up a modular)
    Although they can be fully notated, prepared pieces are often more or less improvisations.

    * In most impro, the activity is the point. The players reach out to each other and the audience, to find and push against the edges of music and communication.

    Unlike more constricted setups, this is a really risky business: You can easily fail to get in touch, or fall back into cliches, or create new ones (one of the hardest parts is knowing when to stop).
    But when the magic is there, players and audience witness and contribute to something that is hard to find in any other way.

    You may or may not appreciate these rewards, but it can work even for non-fans (like myself – I like it but don't seek it so often, since it takes a bit of time and concentration. When doing something else, any 808 noodling may be better as background noise).

    Within this context, I thought the piece was quite successful. He quickly gets on top of the prepared vs clean areas, and gets good smattering out of the percussion parts.
    There is a bit of research of various phrases and combinations in the middle section. Maybe there's a bit too narrow breathing space in between the more intensive parts.

    Anyway I'd like to hear the other frequencies too.

  4. Well, you may not be listening for the right things.
    Admittedly he makes it hard due to miking (or lack of) – we get very narrow band of the sound.

    I'd be overstating wildly to try to fix the meaning of what he's doing, but here are some ideas.

    * Any preparation is more or less a one-off. You can play one piece, or a small set of pieces. (The preparation could be compared to patching up a modular)
    Although they can be fully notated, prepared pieces are often more or less improvisations.

    * In most impro, the activity is the point. The players reach out to each other and the audience, to find and push against the edges of music and communication.

    Unlike more constricted setups, this is a really risky business: You can easily fail to get in touch, or fall back into cliches, or create new ones (one of the hardest parts is knowing when to stop).
    But when the magic is there, players and audience witness and contribute to something that is hard to find in any other way.

    You may or may not appreciate these rewards, but it can work even for non-fans (like myself – I like it but don't seek it so often, since it takes a bit of time and concentration. When doing something else, any 808 noodling may be better as background noise).

    Within this context, I thought the piece was quite successful. He quickly gets on top of the prepared vs clean areas, and gets good smattering out of the percussion parts.
    There is a bit of research of various phrases and combinations in the middle section. Maybe there's a bit too narrow breathing space in between the more intensive parts.

    Anyway I'd like to hear the other frequencies too.

  5. Well, you may not be listening for the right things.
    Admittedly he makes it hard due to miking (or lack of) – we get very narrow band of the sound.

    I'd be overstating wildly to try to fix the meaning of what he's doing, but here are some ideas.

    * Any preparation is more or less a one-off. You can play one piece, or a small set of pieces. (The preparation could be compared to patching up a modular)
    Although they can be fully notated, prepared pieces are often more or less improvisations.

    * In most impro, the activity is the point. The players reach out to each other and the audience, to find and push against the edges of music and communication.

    Unlike more constricted setups, this is a really risky business: You can easily fail to get in touch, or fall back into cliches, or create new ones (one of the hardest parts is knowing when to stop).
    But when the magic is there, players and audience witness and contribute to something that is hard to find in any other way.

    You may or may not appreciate these rewards, but it can work even for non-fans (like myself – I like it but don't seek it so often, since it takes a bit of time and concentration. When doing something else, any 808 noodling may be better as background noise).

    Within this context, I thought the piece was quite successful. He quickly gets on top of the prepared vs clean areas, and gets good smattering out of the percussion parts.
    There is a bit of research of various phrases and combinations in the middle section. Maybe there's a bit too narrow breathing space in between the more intensive parts.

    Anyway I'd like to hear the other frequencies too.

  6. Well, you may not be listening for the right things.
    Admittedly he makes it hard due to miking (or lack of) – we get very narrow band of the sound.

    I'd be overstating wildly to try to fix the meaning of what he's doing, but here are some ideas.

    * Any preparation is more or less a one-off. You can play one piece, or a small set of pieces. (The preparation could be compared to patching up a modular)
    Although they can be fully notated, prepared pieces are often more or less improvisations.

    * In most impro, the activity is the point. The players reach out to each other and the audience, to find and push against the edges of music and communication.

    Unlike more constricted setups, this is a really risky business: You can easily fail to get in touch, or fall back into cliches, or create new ones (one of the hardest parts is knowing when to stop).
    But when the magic is there, players and audience witness and contribute to something that is hard to find in any other way.

    You may or may not appreciate these rewards, but it can work even for non-fans (like myself – I like it but don't seek it so often, since it takes a bit of time and concentration. When doing something else, any 808 noodling may be better as background noise).

    Within this context, I thought the piece was quite successful. He quickly gets on top of the prepared vs clean areas, and gets good smattering out of the percussion parts.
    There is a bit of research of various phrases and combinations in the middle section. Maybe there's a bit too narrow breathing space in between the more intensive parts.

    Anyway I'd like to hear the other frequencies too.

  7. Well, you may not be listening for the right things.
    Admittedly he makes it hard due to miking (or lack of) – we get very narrow band of the sound.

    I'd be overstating wildly to try to fix the meaning of what he's doing, but here are some ideas.

    * Any preparation is more or less a one-off. You can play one piece, or a small set of pieces. (The preparation could be compared to patching up a modular)
    Although they can be fully notated, prepared pieces are often more or less improvisations.

    * In most impro, the activity is the point. The players reach out to each other and the audience, to find and push against the edges of music and communication.

    Unlike more constricted setups, this is a really risky business: You can easily fail to get in touch, or fall back into cliches, or create new ones (one of the hardest parts is knowing when to stop).
    But when the magic is there, players and audience witness and contribute to something that is hard to find in any other way.

    You may or may not appreciate these rewards, but it can work even for non-fans (like myself – I like it but don't seek it so often, since it takes a bit of time and concentration. When doing something else, any 808 noodling may be better as background noise).

    Within this context, I thought the piece was quite successful. He quickly gets on top of the prepared vs clean areas, and gets good smattering out of the percussion parts.
    There is a bit of research of various phrases and combinations in the middle section. Maybe there's a bit too narrow breathing space in between the more intensive parts.

    Anyway I'd like to hear the other frequencies too.

  8. Interesting thoughts –

    While it's easy to see why some might think this is wankery, there's an element of surprise and humor in seeing someone approach the piano with a different perspective.

  9. Interesting thoughts –

    While it's easy to see why some might think this is wankery, there's an element of surprise and humor in seeing someone approach the piano with a different perspective.

  10. Interesting thoughts –

    While it's easy to see why some might think this is wankery, there's an element of surprise and humor in seeing someone approach the piano with a different perspective.

  11. Interesting thoughts –

    While it's easy to see why some might think this is wankery, there's an element of surprise and humor in seeing someone approach the piano with a different perspective.

  12. Interesting thoughts –

    While it's easy to see why some might think this is wankery, there's an element of surprise and humor in seeing someone approach the piano with a different perspective.

  13. Interesting thoughts –

    While it's easy to see why some might think this is wankery, there's an element of surprise and humor in seeing someone approach the piano with a different perspective.

  14. When you have to explain a joke, you know it wasn't funny. When you have to provide "context" for a performance, you know it was unsuccessful. The point of an "impro" is not simply the activity. The idea is to create something musical and communicative, not simply to "push against the edges of music and communication".

    You cheapen music by defining every clanky wankfest as valid. There is certainly beauty to be found in prepared piano stuff, but this was just clattery nonsense. Look at the guy's hands, for God's sake. He's just slapping artlessly at the keys.

    I don't want to be combative—I just think it does a disservice to improvisational musicians when stuff like this is held up alongside other experimental work undertaken with a musical objective in mind.

  15. When you have to explain a joke, you know it wasn't funny. When you have to provide "context" for a performance, you know it was unsuccessful. The point of an "impro" is not simply the activity. The idea is to create something musical and communicative, not simply to "push against the edges of music and communication".

    You cheapen music by defining every clanky wankfest as valid. There is certainly beauty to be found in prepared piano stuff, but this was just clattery nonsense. Look at the guy's hands, for God's sake. He's just slapping artlessly at the keys.

    I don't want to be combative—I just think it does a disservice to improvisational musicians when stuff like this is held up alongside other experimental work undertaken with a musical objective in mind.

  16. When you have to explain a joke, you know it wasn't funny. When you have to provide "context" for a performance, you know it was unsuccessful. The point of an "impro" is not simply the activity. The idea is to create something musical and communicative, not simply to "push against the edges of music and communication".

    You cheapen music by defining every clanky wankfest as valid. There is certainly beauty to be found in prepared piano stuff, but this was just clattery nonsense. Look at the guy's hands, for God's sake. He's just slapping artlessly at the keys.

    I don't want to be combative—I just think it does a disservice to improvisational musicians when stuff like this is held up alongside other experimental work undertaken with a musical objective in mind.

  17. When you have to explain a joke, you know it wasn't funny. When you have to provide "context" for a performance, you know it was unsuccessful. The point of an "impro" is not simply the activity. The idea is to create something musical and communicative, not simply to "push against the edges of music and communication".

    You cheapen music by defining every clanky wankfest as valid. There is certainly beauty to be found in prepared piano stuff, but this was just clattery nonsense. Look at the guy's hands, for God's sake. He's just slapping artlessly at the keys.

    I don't want to be combative—I just think it does a disservice to improvisational musicians when stuff like this is held up alongside other experimental work undertaken with a musical objective in mind.

  18. When you have to explain a joke, you know it wasn't funny. When you have to provide "context" for a performance, you know it was unsuccessful. The point of an "impro" is not simply the activity. The idea is to create something musical and communicative, not simply to "push against the edges of music and communication".

    You cheapen music by defining every clanky wankfest as valid. There is certainly beauty to be found in prepared piano stuff, but this was just clattery nonsense. Look at the guy's hands, for God's sake. He's just slapping artlessly at the keys.

    I don't want to be combative—I just think it does a disservice to improvisational musicians when stuff like this is held up alongside other experimental work undertaken with a musical objective in mind.

  19. When you have to explain a joke, you know it wasn't funny. When you have to provide "context" for a performance, you know it was unsuccessful. The point of an "impro" is not simply the activity. The idea is to create something musical and communicative, not simply to "push against the edges of music and communication".

    You cheapen music by defining every clanky wankfest as valid. There is certainly beauty to be found in prepared piano stuff, but this was just clattery nonsense. Look at the guy's hands, for God's sake. He's just slapping artlessly at the keys.

    I don't want to be combative—I just think it does a disservice to improvisational musicians when stuff like this is held up alongside other experimental work undertaken with a musical objective in mind.

  20. I must be as drunk as the composer… because I love it! This is far into the real of surrealism, which very few acknowledge as even existing. If it is so uninspiring then why are so many anonymous coward posting responses? The rhythm reminds me of Dune when the Fremen must walk without rhythm. The art in this is truly making others conclude that it isn't.

  21. I must be as drunk as the composer… because I love it! This is far into the real of surrealism, which very few acknowledge as even existing. If it is so uninspiring then why are so many anonymous coward posting responses? The rhythm reminds me of Dune when the Fremen must walk without rhythm. The art in this is truly making others conclude that it isn't.

  22. I must be as drunk as the composer… because I love it! This is far into the real of surrealism, which very few acknowledge as even existing. If it is so uninspiring then why are so many anonymous coward posting responses? The rhythm reminds me of Dune when the Fremen must walk without rhythm. The art in this is truly making others conclude that it isn't.

  23. I must be as drunk as the composer… because I love it! This is far into the real of surrealism, which very few acknowledge as even existing. If it is so uninspiring then why are so many anonymous coward posting responses? The rhythm reminds me of Dune when the Fremen must walk without rhythm. The art in this is truly making others conclude that it isn't.

  24. I must be as drunk as the composer… because I love it! This is far into the real of surrealism, which very few acknowledge as even existing. If it is so uninspiring then why are so many anonymous coward posting responses? The rhythm reminds me of Dune when the Fremen must walk without rhythm. The art in this is truly making others conclude that it isn't.

  25. I must be as drunk as the composer… because I love it! This is far into the real of surrealism, which very few acknowledge as even existing. If it is so uninspiring then why are so many anonymous coward posting responses? The rhythm reminds me of Dune when the Fremen must walk without rhythm. The art in this is truly making others conclude that it isn't.

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