cappio al pollo

Not that you, Bender, are any less funny than him: octave bends don't exist. You only do them if you unrealistically loosen the tension of a string—by at least three or four tones. On the piano, the semitones are not just the black keys (perhaps you meant to mention sharps and/or flats): from B to C there is a semitone interval with no black key in between. Also, on the piano, there is a resonance pedal, which, guess what?, allows you to prolong the vibration, therefore the duration, of the notes until their natural "decay." Reviewer, electric guitars weren’t invented to exploit greater power and therefore make more noise; think that solid body guitars were designed to be solid, indeed, precisely to eliminate resonances. Anyway, rock is also this. Electricity keeps your food alive in the fridge (and your drill) and likewise guarantees some sounds that are hard to reproduce through alternative methods. I challenge your "pure" piano to play the rhythm of Johnny B. Goode with the same pathos (?) as the electric guitar. The music is always the same, of course, the riff will always be in B♭, but there won't be rock 'n' roll. Or if there is, well, then the acoustic guitar would claim the evil and deleterious electric guitar. And besides—as Bender has more or less wisely tried to point out to you—pull-offs, bends, and so on only offer an infinite array of nuances that many other instruments, piano included, may not be able to reproduce (except for some keyboards, therefore electric ones, that can modulate the pitch of a note more or less like a bend or the use of a whammy bar—though on the guitar it remains "analog"). Or a violin, which, however, is not the instrument of the century (last). Perhaps of the nineteenth century, I don't know. Finally, a) go explain to him that the whammy bar was useless; b) go explain to him that they should play it with the acoustic guitar, of course without amplification:

Not that you, Bender, are any less funny than him: octave bends don't exist. You only do them if you unrealistically loosen the tension of a string—by at least three or four tones. On the piano, the semitones are not just the black keys (perhaps you meant to mention sharps and/or flats): from B to C there is a semitone interval with no black key in between. Also, on the piano, there is a resonance pedal, which, guess what?, allows you to prolong the vibration, therefore the duration, of the notes until their natural "decay." Reviewer, electric guitars weren’t invented to exploit greater power and therefore make more noise; think that solid body guitars were designed to be solid, indeed, precisely to eliminate resonances. Anyway, rock is also this. Electricity keeps your food alive in the fridge (and your drill) and likewise guarantees some sounds that are hard to reproduce through alternative methods. I challenge your "pure" piano to play the rhythm of Johnny B. Goode with the same pathos (?) as the electric guitar. The music is always the same, of course, the riff will always be in B♭, but there won't be rock 'n' roll. Or if there is, well, then the acoustic guitar would claim the evil and deleterious electric guitar. And besides—as Bender has more or less wisely tried to point out to you—pull-offs, bends, and so on only offer an infinite array of nuances that many other instruments, piano included, may not be able to reproduce (except for some keyboards, therefore electric ones, that can modulate the pitch of a note more or less like a bend or the use of a whammy bar—though on the guitar it remains "analog"). Or a violin, which, however, is not the instrument of the century (last). Perhaps of the nineteenth century, I don't know. Finally, a) go explain to him that the whammy bar was useless; b) go explain to him that they should play it with the acoustic guitar, of course without amplification: