improvisation, lifting the dampers of the low C octave, below the range of the Steinway. This musical endeavour was not repeated on the Steinway, so a direct comparison was not made of this particular sound.
The key of the piece was F, and the lifted dampers of the low Cs and Fs, opened up a myriad of harmonic spectra and sympathetic vibrations throughout the whole range of the strings and soundboard, as each of the chords relating to the key of F were struck. Even though the recording quality is not of a high standard, the chordal qualities of the Stuart are clearly audible.
| On A Clear Day – improvised introduction Stuart Piano prt.1 Stuart On A Clear Day prt 1.wav |
| Sound table 5.21 |
Playing in this manner, engaged the pianist to listen closely to the resonances of each chord and how the new chordal resonance can sound over the previous chordal resonance, without closing off the dampers, keeping the whole piano resonance open. 356
In prt 2, the high registers are resonated before the dampers are closed, followed by a chordal melodic passage, and finally florid arpeggios.
| On A Clear Day – improvised introduction Stuart Piano prt.2 Stuart On A Clear Day prt 2.wav |
| Sound table 5.22 |
The melody of On A Clear Day is played in a florid rubato style displaying the wide spectra of colourful tonal qualities of the Stuart piano, across its expanded frequency compass.
| On A Clear Day – improvised introduction Stuart Piano prt.3 Stuart On A Clear Day prt 3.wav |
| Sound table 5.23 |
356 Sydney pianist Bill Risby pioneered the sostenuto pedal explorations of the Stuart piano tonal spectrum in recording sessions at the Stuart& Sons ‘White Room’ studio, in Newcastle in 2011.
