Petinaphone
This instrument is made from up-cycled industrial materials like steel and bronze, and is mounted on a plank of wood taken from an old pianola. It consists of eight hanging chimes of varying shapes and sizes. The petinaphone is played standing up, using both hard rubber and soft mallets, as well as wooden drumsticks. This instrument features in Story 1 and Story 2. Initially in story 1, the petinaphone’s soft bell-like timbres are used, though the instrument’s ability to be played quickly and loudly like an alarm is also explored, exposing the instrument’s large dynamic range. This piece displays the instrument’s ability to continuously oscillate due to the long sustain of each chime.
Piano Harp
Perhaps my chief instrument so far is the piano harp. The piano harp was built using the steel frame and strings from a derelict pianola that lived in the garage of Grandpa Peter’s house. The piano harp is played both acoustically and using electronics. Its acoustic tones reverberate vigorously, and produce a continuous hum of all sympathetic strings. The piano harp is played by finger picking, using a plectrum, using rubber mallets, a friction mallet and a Heet Sound Products Ebow (electronic bow for guitar).
The piano harp was created by disassembling an old Linconola pianola, leaving only its bare bones, the strings, steel frame and wooden sounding board. This pianola was estimated to be from the 1920’s and had sat in Grandpa Peter’s garage for at least ten years, gathering thick amounts of dust and dirt. Being a piano player, I was drawn to it, but quickly became aware of how damaged the mechanics within the machine were. It was quoted to need about $4000 worth of work to be a working pianola again. I have always loved prepared piano as well as harps – I therefore became very enthusiastic about giving this old pianola a new life as a one-of-a-kind piano harp.
Trasholaphone
This percussion instrument was created by cutting up pieces of old bronze cymbals to create a set of three trash stacks that vary in pitch. Each stack is mounted on its own wooden base, which fits on a cymbal stand. These are set up in a row – small, medium, large. Each trash stack has three layers of cut cymbals, all long and rectangular in shape, but all varying in length. The shortest stack is 17.5cm long, the middle stack is 30 cm long, and the largest stack is 43cm long. The stacks are raised up off their wooden bases and are held up by nuts and bolts that are locked onto large screws that go through holes I have drilled near each short end of each trash stack. These trash stacks can be individually dismounted, making them easy to transport and to vary the way they are mounted.
Table Percussion
This table includes both cut up metallic objects that did not make it onto the petinaphone or trasholaphone and other found and donated metal objects. These cymbals, bars, and bells sit on offcuts of rubber eggshell foam, which sit on an old vinyl top trestle table. This table it fantastic for developing sound environments as no screws or wires hold down any of the objects, allowing me to pick and choose what I play, and the order that the objects sit in from one rehearsal to the next. I arranged them from left to right: two bells, two square bronze cymbals, and three steel bars.