Editing Keith Emerson (section)

==Playing style==
Emerson sometimes reached into the interior of his piano and hit, plucked, or strummed the strings with his hand. He said that as a keyboard player, he hated the idea of being "static" and that to avoid it, he "wanted to get inside the piano, brush the strings, stick Ping-Pong balls inside".<ref>{{cite book |last1=Milano |first1=Domenic |last2=Doerschuk |first2=Robert L. |editor-last=Doerschuk |editor-first=Robert L. |date=2002 |title=Playing From the Heart: Great Musicians Talk About Their Craft |chapter-url=https://books.google.com/books?id=qJF3h2Qe4sUC&pg=PA95 |chapter=Keith Emerson: Star Power |location=[[San Francisco, California]] |publisher=[[Hal Leonard Corporation|Backbeat Books]] |page=[https://archive.org/details/playingfromheart00doer/page/95 95] |isbn=978-0-87930-704-2 |url=https://archive.org/details/playingfromheart00doer/page/95 }}</ref> "Take a Pebble" included Emerson strumming the strings of his piano, a technique pioneered by [[avant-garde music|avant-garde]] composer [[Henry Cowell]], referred to as [[string piano]].<ref>Macan, ''Endless Enigma'', p. 114.</ref> In the Nice's 1968 live performance of "Hang on to a Dream" on the German television program ''[[Beat-Club]]'' (later released on DVD in 1997), Emerson can be seen and heard reaching inside his grand piano at one point and plucking its strings.<ref>{{cite AV media |people=[[The Nice]] (musical performers) |year=1997 |title=Beat-Club - The Best Of '68 |medium=Music video (playlist available via Discogs.com)|url=https://www.discogs.com/Various-Beat-Club-The-Best-Of-68/release/3956800 |access-date=13 March 2016 |format=DVD |location=Germany |publisher=Studio Hamburg }}</ref><ref>{{cite web |url=http://www.totalmusicgeek.com/2009/12/nice-hang-on-to-dream-1969.html |title=The Nice – "Hang on to a Dream" (1969) |last1=Kerr |first1=Drew |date=29 December 2009 |website=totalmusicgeek.com |publisher=Total Music Geek (Drew Kerr) |access-date=13 March 2016 |quote=Emerson was clearly in charge&nbsp;... even plucking the piano strings at one point. |url-status=dead |archive-url=https://web.archive.org/web/20110413053123/http://www.totalmusicgeek.com/2009/12/nice-hang-on-to-dream-1969.html |archive-date=13 April 2011 }}</ref>

In addition to such experimentation, Emerson also incorporated unique musical stylization into his work. Emerson is recognized for having integrated different sounds into his writing, utilizing methods of both horizontal and vertical contrast. Horizontal contrast is the use of distinct styles in a piece of music, combined by alternating between two different segments (in Emerson's case, most frequently alternating classical and non-classical); this technique can be seen in numerous works, such as "Rondo", "Tantalising Maggie", "[[The Thoughts of Emerlist Davjack]]" and others. Vertical contrast is the combination of multiple styles simultaneously; Emerson frequently played a given style with one hand and a contrasting one with the other. This structure can be seen in works such as "Intermezzo from the Karelia Suite", "Rondo", and others. Emerson's love of modern music such as Copland and Bartok was evident in his open voicings and use of fifths and fourths, "Fanfare" emulated guitar power chords. He also used dissonance, atonality, sonata and fugue forms, exposing rock and roll audiences to  myriad classical styles from Bach to Stravinsky.<ref name="style">{{cite journal
| first1= Akitsugu| last1= Kawamoto| year= 2005| title= 'Can You Still Keep Your Balance?': Keith Emerson's anxiety of influence, style change, and the road to prog superstardom| journal= Popular Music| volume= 24| issue= 2| edition= 5th| publisher= [[Cambridge University Press]]| location= London| doi=10.1017/S0261143005000425| pages= 227–230| s2cid= 145724563}}</ref>