The Contemporary Piano: A Performer and Composer's Guide to Techniques and Resources by Alan Shockley

Reviewed by: The Contemporary Piano: A Performer and Composer's Guide to Techniques and Resources by Alan Shockley Carol Lubkowski The Contemporary Piano: A Performer and Composer's Guide to Techniques and Resources. By Alan Shockley. Lanham, MD: Rowman & Littlefield, 2018. [xviii, 249 p. ISBN 9781442281875 (hardcover), $135; ISBN 9781442281899 (paperback), $60; ISBN 9781442281882 (e-book), $57.] Bibliography, indexes. Alan Shockley's The Contemporary Piano: A Performer and Composer's Guide to Techniques and Resources gives descriptions and instructions for the complete range of modern extended techniques for the piano. His clear, practical presentation of the material is useful for both performers and composers. To provide background and context, there are two chapters on the basics of the piano and the history of its development. Shockley then divides techniques into categories, devoting a chapter to each: using the keys and pedals, playing inside the piano, muting the strings, harmonics, percussive and noise-making techniques, bowing, and prepared piano. Each chapter contains ample black-and-white photographs and music examples to illustrate the techniques described. The book concludes with a chapter on the toy piano. There are also appendices on repertoire, materials for preparing a piano, and the interior configurations of common grand pianos. [End Page 603] Shockley's two introductory chapters briefly cover the fundamentals of the piano and its history in order to set the stage for the extended techniques discussed. The chapter on piano basics is short and aimed more at the nonpianist composer, as the instrument's range, pedals, notation, and articulation should be familiar to pianists. Shockley's discussion of the history and development of the piano's mechanism is not intended to be comprehensive but does illuminate some interesting aspects of this history. His discussions of innovations that did not catch on or later disappeared are fascinating and a good stimulus for the imaginations of composers and performers alike as they explore ways to extend the instrument. His examinations of innovations in stringing and electronic enhancements are especially interesting and useful in the context of current extended techniques and preparations. In each chapter, Shockley gives background and general information on the techniques covered then discusses the different methods and materials used and the ways the technique is deployed in the repertoire. He also gives examples of notation as needed. His instructions for execution and descriptions of the effect achieved are clear and practical and usually include photos. This approach allows performers to learn these techniques and composers to incorporate them into their works in a workable and effective manner. The chapter on preparations offers a substantial update and a few improvements to Richard Bunger's 1973 treatise The Well-Prepared Piano (Colorado Springs: Colorado College Music Press, 1973). Shockley includes a larger amount and wider range of piano preparations than Bunger, reflecting developments in contemporary music over the last forty years. He covers all of the current standard string preparations as well as a wide selection of the possible preparations to the piano keys, hammers, and pedals. Newer techniques include additional surface preparations, such as bowls, chains, and ping-pong balls; a wider range of objects for string preparation, including poster putty; preparations of the damper pedal; key preparations; and Shockley's own hammer-wrapping technique. While Bunger organizes his book primarily by preparation material, Shockley divides his chapter by type of preparation (surface, string, etc.) and then by the material used (bowls, screws, etc.). He is more explicit than Bunger about avoiding damage to the piano. Shockley does include some potentially damaging preparations, but he is always clear about the risks associated with any material or technique. He discusses the hardness and other properties of objects in relation to the string composition, indicating what types of materials are appropriate for which ranges of strings. This is especially important when using metal objects like screws and bolts. Shockley also points out the delicacy of the dampers and offers strong warnings on the dangers of hammer preparations. Bunger, on the other hand, provides only a general disclaimer that "preparing a piano, just as tuning, regulating or moving it, will not ruin the instrument when done properly" (Bunger, p. 1). Both Bunger and Shockley give clear, easy...