J.S. Bach: Der Herr denket an uns (Sinfonia, BWV 196.1)

6 parts5 pages01:534 months ago104 views
Violin(2), Viola, Cello, Other Woodwinds, Contrabass
The Sinfonia to Bach's cantata BWV 196. In MS3, Piano Roll Editor was used for some minimal phrasing and proper execution of the appoggiature. Continuo by me (pan flutes). Score (with figures) from the Bachgesellschaft Ausgabe (BGA via IMSLP).

The upper strings think it's a French Overture, but many characteristics of that genre are lacking and it's just a lot of neat dotted patterns and Italianate suspensions.

The cello being 10% pseudo-independent of the continuo is moderately unusual in the cantatas.

O Sorte Feroce #40: Trio (composition built upon machine-generated bass) (di BSG 2018)

3 parts2 pages03:164 months ago132 views
Violin, Oboe, Cello
PLEASE CLICK “Show More” below and read!

The bass of this composition is the first 40 bars of https://musescore.com/user/1831606/scores/5320392 , which were generated by a program of mine which learned from the weighted vocabulary of Bach four-eighth-note bass patterns https://musescore.com/user/1831606/scores/5308016 learned (automatically) from seven Bach movements listed there (read the explanation there). The model includes stripping all accidentals (for deep reasons). The two measures 32 and 48 are “cheats” I inserted manually, in one case to introduce a recapitulation (also added by “cheat”) and the other to ameliorate what I considered too difficult a problem (and I added one to close out the end).

The program chooses bass patterns stochastically as learned, and aligns each “next” pattern on a note also chosen stochastically. There is no measure-to-measure pattern learning, and when patterns are repeated, as in m. 34-36, it is serendipitous. I added accidentals (e.g., C#, B natural) to the bass as I saw fit (remember, the learning program deliberately strips them) to help shepherd the key structure.

I composed the violin and oboe parts upon that bass, trying to build a credible structure in spite of the fact that the bass was not constructed with one in mind! The point is to demonstrate how much power there is in this particular vocabulary of “bass riffs”, and exactly how one might utilize each of them in real composition (of course, every single one of them was excerpted from one or more real Bach compositions).

The appoggiature were customized with the MS3 Piano Roll Editor.

J.S. Bach: Erbarm’ dich mein in solcher Last (BWV 113, #2) (re-executed in MS3 with detailed phrasing)

5 parts8 pages05:354 months ago111 views
Strings, Voice, Other Woodwinds, Cello, Contrabass
Re-rendering of https://musescore.com/user/1831606/scores/1965386 with comprehensive phrasing in MS ver 3. Please visit that link for extensive information and observations about this exceptional “Chorale prelude movement” on “Herr Jesu Christ, du höchstes Gut” from Bach’s eponymous 1724 cantata BWV 113.

This rendering takes advantage of the newly usable “Piano Roll Editor”(PRE) in MS3 to effect careful control over the phrasings of all notes, particularly the string obbligato, as well as “misuse” (“gate time” redefinition) of extant articulation marks and modifying the default “gate time” of notes in that part (with rare exception) 10% longer — saving that, the string part sounds uselessly détaché everywhere. The tenuto mark is set to restore “100%” time (i.e., not 110%), and actually makes notes (usually the second notes of pairs) slightly shorter, not longer as might be expected. The portato (louré in MS3) is used as an applicator of 85% cutback (i.e., 15% removed). All these articulation marks are “invisible” and can be viewed (except the PRE-set, as it were, ones) with download and appropriate View setting. The alto cantus has its default "gate time" set to 96% (cantus firmus half notes require very fine/small cutbacks), which is as good for separating repeated notes as for all others; we can do this because of the architecture of this movement.

Cello Prelude, a minor (di BSG 2018)

1 part1 page06:515 months ago172 views
Cello
Another cheerful cello prelude.

Legato applied universally by editing instrument global articulation to 110% in the .mscx. 95% portato phrasing subsequently applied ad lib. Extensive active fermata and semifermata (hidden) throughout.

Chromatic Scales II (di BSG 2018)(re-recorded on Hauptwerk Doesburg)

1 part1 page00:575 months ago280 views
Organ
More of the same (tut/demo). Recorded via Hauptwerk on the Sonus Paradisi imaging of the Walcker organ now at the Martinikerk, Doesburg, Holland.

Registration (played on II with III coupled)
II: Cello, Prinzipal 4, Piccolo 2, III/II
III: Geigen-Prinzipal 8, Liebes-Geige 4, Tremolo

J.S. Bach: Ich bitte dich, Herr Jesu Christ (BWV 166.3) IN MUSESCORE 3 FULLY-PHRASED!

5 parts5 pages03:185 months ago136 views
Strings, Voice, Other Woodwinds, Cello, Contrabass
CLICK "Show More"! MuseScore 3 rendering of https://musescore.com/user/1831606/scores/2086006 (see comments there about the music and realization).

This score was prepared (from that previous one) in the brand-new MuseScore 3 Beta, and audible and visible to you by the amazingly fast efforts of Dmitry Popov and his staff (you don't need to have MS3 to play this).

MuseScore 3 finally fixes the Piano Roll Editor into a usable and powerful facility, with which it is easy and fun to craft and hear the phrasings (on-times, lengths/cutbacks) of individual notes). Thus, you will hear very detailed phrasings on all parts in this score, especially the strings. Instead of the "one size fits all" phrasings of my "portato abuse" technique, one can phrase different notes differently -- 80%, 85%, 90%, 96%, or 98.6% (three places of significance) cutbacks, and you will hear this even in the opening measures. The added musical value and beauty is significant.

MuseScore 3 is still "beta", has bugs, and crashes more than it ought, but not enough to shadow this amazing boon, "the greatest advance in music since Equal Temperament", I jest --- play it!

Demo of Chromatic Scales (di BSG 2018)

1 part2 pages01:175 months ago107 views
Organ
Asked-for typical harmonzation patterns of chromatic scales. See Sweelinck Chromatic Fantasy, Bach Canzona BWV 588, hundreds of works.