Expressive E Osmose: 12 Gestural Tricks with Jordan Rudess – A Deep Dive into Expressive Keyboard Architecture

Osmose: Reimagining Keyboard Expression

The video opens with Jordan Rudess introducing the Osmose as a keyboard instrument that fundamentally elevates the experience of playing keys. Expressive E’s mission to make electronic instruments more tactile and expressive is front and center, with Rudess highlighting how the Osmose brings a new dimension to keyboard performance. The emphasis is on the instrument’s ability to translate nuanced finger gestures—such as side-to-side movement, pressure, and pitch bends—directly into sound, thanks to its advanced MPE (MIDI Polyphonic Expression) architecture.

Rudess is clearly impressed by how Expressive E has managed to implement these features on a traditional black-and-white keyboard layout, something he admits he previously thought impossible. The Osmose’s design allows for a range of gestures that were previously out of reach for keyboardists, such as real-time pitch bends and crescendos on individual keys, all without needing external controllers. This sets the stage for a deep exploration of what the instrument’s architecture can offer in terms of expressive control and workflow innovation.

"They have managed to create something that really brings you to the next level of what being a keyboard player means."

© Screenshot/Quote: Expressivee (YouTube)

Twelve Gestures: The Architecture of Expression

Jordan Rudess dives into a set of 12 distinct gestures, each designed to unlock a different facet of the Osmose’s expressive potential. He begins by demonstrating how classical repertoire, like Bach’s Invention No. 4, can be transformed using press glide for legato pitch bends and subtle inflections that simply aren’t possible on conventional keyboards. The video makes it clear that these gestures aren’t just surface-level tricks—they’re deeply embedded in the instrument’s digital architecture, allowing for continuous control and organic sound shaping.

Key features like press glide, aftertouch, and side-to-side vibrato are explored in detail. Rudess explains how press glide can be set to semitone intervals for smooth bends, while vibrato is achieved by wiggling the key side to side, with the depth of the effect finely adjustable in the Osmose’s settings. He also discusses the importance of parameter tuning, such as limiting vibrato depth to a quarter semitone for subtlety in classical pieces, demonstrating how the interface supports both broad and nuanced control.

Throughout this section, the focus is on how these gestures are mapped and how they interact with the sound engine. The Osmose’s architecture allows for a seamless blend of performance gestures and sound design, making it possible to achieve expressive results without menu-diving or external controllers. The workflow is direct: gestures are translated instantly into musical outcomes, supporting both traditional and experimental playing styles.

Exercises in Independence: Developing Expressive Technique

The heart of the video is a series of exercises crafted to build finger independence and expressive control. Rudess structures these as progressive studies, each focusing on a specific technique—legato with press glide, finger-specific aftertouch, and vibrato with both hands. He emphasizes that mastering these exercises is key to unlocking the full potential of the Osmose’s MPE-driven architecture.

For example, one exercise has the player hold a chord while executing legato runs underneath, demanding both independence and precision in gesture. Others focus on alternating vibrato between hands or isolating aftertouch to individual fingers within a chord, highlighting the Osmose’s ability to track and respond to each finger separately. Rudess also points out how parameter adjustments—like disabling pitch bend during aftertouch practice—can help players focus on specific aspects of their technique.

These exercises are not just about technical prowess; they’re about internalizing the Osmose’s unique gestural vocabulary. The workflow here is iterative and exploratory, encouraging players to experiment with settings and gestures to find their own expressive voice. The video makes it clear that the Osmose is as much about developing new playing habits as it is about leveraging digital sound engines.

Beyond Genres: Osmose in the Modern Performance Landscape

The final section of the video explores how the Osmose’s expressive toolkit can be applied across genres and performance contexts. Rudess demonstrates techniques for playing complex intervals, such as thirds and sixths, with smooth press glide bends, and shows how finger pressure can be used for dynamic crescendos and decrescendos—all mapped directly to the sound engine in real time.

He highlights how these capabilities open up new possibilities for both classical and contemporary music, allowing for the creation of intricate soundscapes and highly personalized performance styles. The exercises culminate in advanced techniques like using press glide for grace notes and combining multiple gestures for layered expression, illustrating the instrument’s flexibility and depth.

From a workflow perspective, the Osmose stands out for its immediacy: expressive gestures are mapped directly to sound parameters, minimizing menu navigation and maximizing creative flow. The video suggests that whether you’re in the studio, on stage, or exploring DAWless setups, the Osmose can serve as a central expressive hub—though, as always, the real test will be how these features integrate into larger rigs and sustained live use.