Modern acceptance, or lack there of, in electronic music hardly comes as a surprise. Just look back through the history of music and how the 17th century technology spread. Musicians no longer had to master a particular bow technique on the violin or cello in order to play the perfect note – They just had to press a key. Can you imagine the horror of the purists at the time? They probably all thought that the piano was destroying the soul of the music. What it did though was simplify things. It reduced what was really essential and human.
People have this deep feeling that music should be authentic. The reason why it’s so important for music to be authentic is because it’s so powerful emotionally. The more basic the emotions involved, the less listeners want to feel like that someone is simply pushing a button.
They want to believe the music they love is an authentic human expression. The piano obviously didn’t destroy music in 17th century, what it did in fact was create a branch. Composers took advantage of its technical capabilities, and they created an amazing repertoire that really blossomed in the 19th century.
Music and technology are fundamentally something that have gone together since the earliest forms of music, so we should not be surprised by where electronic music, and producers and performers like G.H. Hat have taken us today.
So don’t be afraid that electronic assisted music will destroy the soul of our music, because primarily it is not the electronics in itself that is the danger, but the hand that guides it. And it is no different to a violin, a guitar, or a piano in the hands of a novice. They too can destroy the soul of the music, without the help of electronics!
However when an electronic producer like G.H. Hat comes along and releases solo piano pieces like “Piano Jam ( An Ode To Kygo)”, and now “Piano Jam 2 (Ode To Kygo)”, he puts all the skeptics at ease.
He bridges the cultural gap between electronic and classical, lending credibility to both. Classical fans will be able to appreciate his clean and meticulous technique, while electro boffins cam claim that electronic producers do not just bush buttons, but actually play notes, scales and chords.
If possible “Piano Jam 2 (Ode To Kygo)”, is an even richer sounding piano jam than its predecessor, as it moves through varied dynamic piano tones – from acoustic to electric. The musical articulation used by G.H. Hat here is staccato, as opposed to the legato playing on the first jam.
Hence the sound is more crisp, defined and rhythmic. For the uninitiated, on the piano, staccato is when the finger leaves the key without sustaining any sound. Depending on how you play the key, it can be depressed all the way down before release, or halfway down. The faster you can get your finger off the key, the more time your brain has to look to the next key, eliminating errors and adding a smoothness to the performance.
So as an electronic producer, G.H. Hat shows us once again on “Piano Jam 2 (Ode To Kygo)” that he fully understands the roots and techniques of the sound that he is taking into the 21st century with his continuing electronic releases.