[LAU] [Music] Synthetic Air on a B-Thing
chris at chrisarndt.de
Tue Oct 11 01:50:30 CEST 2022
Am 11.10.22 um 01:12 schrieb David Kastrup:
> First, thanks for _not_ using the "Air on a G string" compaction
I think magic of the piece is its fugue-ness, so it was a deliberate choice.
The title comes from the (probably silly) desire to include some kind of
pun on the Behringer name :)
For the rest you're hitting exactly on the points I'm also not 100%
> For me, that distracts from the measured solemnity of the piece and
> makes it swim about the bass part.
The (maybe) over-use of portamento on most patches for the upper three
voices is due to the monophonic nature of the synth. It allows to play
it with a sort of legato feel, while still having a re-triggering
envelope, which is needed to give each note some shape and not have the
third, forth, etc. note in a legato line degrade into basically a
sine-wave, due to the filter being too closed. If the portamento time is
too short, the retriggering of the envelopes will be too obvious and it
will not sound like a string or woodwind instrument anymore, but like
some kind of keys instrument.
> For this particular recording, I find that you have much too much of a
> pause between first and second halve
Yes, I'm conscious that this a rather long pause and I thought about
halving it, but then decided to leave it like that, because I like the
second half of the composition a lot better and wanted to have it "stand
on its own".
> Then there is some rather large slowdown [...] that does not seem to
> serve any purpose.
That is the point were the build up to the crescendo begins, and to me
marks a definite division in the second part. Maybe it was done a bit
clumsily, I agree.
> Apropos: what happened to the second repetition of the second part?
I felt that the piece was already long enough and extending it to >5
minutes would wear out most casual listeners. If I had chosen a faster
tempo, I would have probably kept it. Also, it meant that I had to track
12 bars times 15 voices less and I was already late in finishing the
> Of course it is easy for me to complain
And I'm aware that with these re-interpretations of famous pieces you
are always faced with one of the following:
- If you stick close to the original, as a I did, you will be measured
against beloved performances from the past and the perception that
people have how this piece "should" sound.
- If you radically change aspects of the piece (instrumentation, rhythm,
style etc.), you probably loose half of the audience from the start.
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