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At the end, It didn’t look like I needed a space with ever-lasting reverberations (i.e. a Church, as previously planned) because holding the sustain pedal inside the piano was enough to produce similar results. If my continuously sustained pieces would have been recorded in such space, excessive reverberations would simply drown out all the minature details which make it.

The body of the grand piano becomes the space, and the sustained notes trick you into thinking its been played in such a magical place. As I am playing with the ideas of continuous, sustain and resonance, the difference between real life and playing recorded samples is simply staggering. In real life, things get really complicated when so many strings are still vibrating inside the body of the piano. It produces continuously unpredictable harmonies and tones that can never be matched when playing recorded samples (i.e. Sample Libraries). Even to this day, while getting ever so close to matching the real thing in tone and timbre, sampled piano libraries simply lack in their variations of sustained notes meaning each time a note is hit, It sounds the same.

Resonance is inspired by such work as Lubumyre Melnyk and historically the work of La Monte Young in ‘Well Tuned Piano’. As I don’t know how to write music, all the pieces here are entirely improvised on that day and time. I prepare myself in ways so that I can surprise myself when improvising and practice hard enough to know how I can get what I want when the time comes.

Artwork by Carsten Fock & Claudia Rafael.

released October 4, 2016