Granted, this wasn’t any defining work of orchestration or counterpoint in the first place (and I readily admitted just as much by writing the strings on the standard piano staff using only half notes and whole notes, for the most part). But, this remains, after four years, one of my favorite compositions, and unfortunately it’s one of those that falls by the wayside because I didn’t put in any dynamics into the original (the audio output, in any case, since the appearance and sound were not interlinked then as they are today), and because it’s hard to hear intentions through MIDI (apparently). Well, I think this is a step up from raw MIDI, and it’s not a huge file, so go ahead and have a
listen if you’d like. Link
Faster version w/ reverb
It’s for violin, but synth violin still needs a lot of work before it can be a soloist. Not that the flute is all that musical either, but hey, I have to suffer through the entire string section, so you flautists can deal with a lone flute, ne? ^^
Finale 2007 is actually really impressive. Ask me four years ago if this sound quality from rendering out the raw clunky numbers of MIDI input would be possible, and I’d say “no way!” In the tremolo section, there’s a lot of swelling that, strangely enough, I didn’t actually put there. It’s a little hokey, but I like how it’s trying to interpret my music, rightly or wrongly so.
As an added bonus, here’s Fugue #2! It’s all muddy now, just the way it should be :).
Melike says:
Those sound amazing! The fugue, especially, is very convincing. :)
August 21, 2007, 2:16 pmjhlo says:
The scary thing is, I didn’t have to do anything for the fugue (except a rit. at the end)! All phrasings and “bringing out” of lines was completely done by the computer. There aren’t really dynamics for organ (right?), so I think that may be part of what makes it easier to believe.
August 21, 2007, 3:50 pm