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Topic: The Art of Fugue

  1. #1

    The Art of Fugue

    Dedicated to Gary Garritan as a token of my appreciation for his great company.

    Yes, he already got the complete works on 2 CD's. I spent hundreds of hours to get it "well done" as in a real performance. I also had to overcome some of the limitations of the sampled instrument, but as you can read from the textbook I've found a "near by" solution.

    You will find in this BoxNet-folder all pieces as written in the score. Please read the textbook. I beg you not to abuse my work for commercial purposes, it is only meant for personal use.

    Hope you enjoy listening as Gary did (he already told me) and I still do. I am learning on a daily basis from the great music.

    The link: The Art of Fugue
    To play it, click on that blue speaker symbol.

    Edited and therefore bumped

    I've put a new rendering in this folder. Completely renewed. In other threads
    we were discussing the question of "temperament" of harpsichords in Bach's time. I followed all advices.

    1. with Sonar make all notes a separate track (CAL function);
    2. for every note (in an octave) assigned a separate KP2 player with 2 harpsichords (for those pieces with two harpsichords this was adviceable);
    3. I ended up with 24 harpsichords;
    4. set the Werckmeister III temperament with the help of the professionals and Excel-sheets;
    5. searched for and found/corrected wrong notes;
    6. added clicks, a bit pf plectrum sound;
    7. tweaked the final outcome (a bit of equalization);
    8. also lowered the amount of reverb (just a bit).

    I also listened to demo-sites of harpsichords, got some CD's to listen to, and found out that no harpsichord sounds like another. I too found out that using the 8'&4' for all pieces was a better choice. Now that I have for each note a separate track (for all E's a track, for all A's another track, etc.) the sound is just better than when you assign that instrument for all notes together. Looks strange, but maybe there is some logic in it (at the sampling base?).

    It was hard work, now that I am ready, I'll hope you agree with me, that the sound is more "harpsichordal" than before. Anyway, I welcome your comments.

    For the next couple of weeks I can't react because my Symphonic Poem needs attention, next week I have an meeting with the guy who could let it performed by our residential orchestra...... so I must work very hard to tweak the sound more and give him a better impression than before.

    By the way: the textbook is not longer there.

    Raymond - washing his hands in the brook (Bach[german]=Brook)

  2. #2

    Re: The Art of Fugue

    Hi Raymond: Exceptional body of work. If you will send me your email address, I'll send you Kontrapunctus 7 done with brasss quintet. Best wishes,

  3. #3

    Re: The Art of Fugue

    Very cooooool, Raymond!

    Always my best,

    "Music is the shorthand of emotion." Leo Tolstoy

    Listen to me, tuning my triangle http://www.box.net/shared/ae822u6r3i

  4. #4

    Re: The Art of Fugue

    What a massive undertaking. I have only listened to a few so far but will try to make it back for more as time permits.

    well done


  5. #5

    Re: The Art of Fugue

    Wow Raymond, what an undertaking!

    I have just completed listening to the entirety of your reproduction here, as a backdrop to my day's work. It was a perfect accompaniment to what I have been doing all day.

    This is extremely well done!

    I read your notes with great interest before listening and it is clear you have put a lot of thought and care into this work.

    Congratulations on completing such an epic undertaking with such quality.


  6. #6
    Senior Member Styxx's Avatar
    Join Date
    Mar 2004
    West Seneca, NY

    Re: The Art of Fugue

    Well, another I'm blocked from at school. What else is there to do during lunch but to listen to all my buddies works on this forum!
    I'll have to listen at home. Listen later ...

  7. #7

    Re: The Art of Fugue


    Monumental undertaking...........Awesome result.


    Jack Cannon--MacBook Pro (2015, 13") GPO4/5, JABB3, Auth. STEINWAY, YAMAHA CFX, Gofriller CELLO, Stradivari VIOLIN, COMB2, WORLD, HARPS, PIPE ORGANS, FINALE 25.5, DORICO 1.2.10, Mac Pro 2.66 GHz CPU, 8 GB RAM, DP 9.51, MOTU Traveler, MOTU Micro Express, MacBook Pro (2012, 13") 2.2 Ghz CPU, 8 GB RAM.

  8. #8

    Re: The Art of Fugue

    Jack, Styxx, Alan, Ron, Gunther, John many thanks for your kindly spoken words. It was indeed a huge undertaking. I started this before Christmas and finished it recently. I worked on this every day (almost) for more than 8 hrs. per day, copying and amending the score and all other things I wrote in that textbook (down under the list of all pieces in BoxNet).

    During the process I encountered some strange things in Sonar in relation to the GPO harpsichord. You can hear that clearly in the second piece. Suddenly the voices change places - the left hand is first far away and then suddenly somewhere in the middle. I don't know how it happened and searched for all possible solutions, but couldn't find any. Making it mono, panning different, etc. nothing helped. This is one of many pecularities. Globally speaking it is of high quality - as you all confirmed - thanks to the great Gary & Bach.

    Yesterday I threw away all my scribbled notes I made in the score, concerning tempi, human playback (my own and Sonars), holding notes longer, phrases, etc. A pile of paper. Don't ask me to show the tempo map from Sonar - the slopes of the Rocky Mountains are just very modest in comparison.

    I think I am going to present this link to the various music schools in the USA and elsewhere. I did a search on the Internet and the performances for only harpsichord are very scarce (is that the word?) and if there are they are recorded ages ago with those massive reverbs (at least I think, I've heard myself three different recordings) - all from the late 60/70-ies. The most recent was the one with Gustav Leonhardt (1990). Piano versions are all over the place, but I didn't like neither of them. Those music schools can use this in their musical education, I am sure. I'll keep fingers crossed.

    Now it is time to give it a rest and seriously looking for that Bach wig.

    [I just found out that when you click on the first piece (Boxnet list) then it continues with all the others, easy though.]

  9. #9

    Re: The Art of Fugue

    Raymond -

    As others of pointed out. . . What an undertaking!! So far, I've listened to a few of the Fugues. They sound wonderful!!

    Thank you for sharing your hard work.

    Music and humor are healthy for the soul.

  10. #10
    Senior Member 4209fr's Avatar
    Join Date
    Apr 2006
    Houston, Texas

    Re: The Art of Fugue

    Raymond -
    When you first announced that you were going to undertake this project and asked for comments on ornamentation, I figured that we would see something a year or so later.

    I read your "textbook". I have seen where many speculate that Kunst was written for the new "rage" in the music world, the pianoforte. He had played a couple of them during his visit to CPE at Frederik II's court. Although, I am still partial to harpsichords.

    It sounds as though you are going to market this. You complain in your "textbook" of the excessive reverb in many of the recordings. The only criticism I can offer is that the reverb I heard was definitely excessive and not "natural" as you indicated that you wanted from the "textbook".

    Even though Garritan's harpsichord sounds are from a Hubbard, I don't care for them as much as some other harpsichord samples. I built a big, double manual Hubbard, visited their workshop, and heard (live) a number of harpsichords in people's homes during the Harpsichord Society's meetings that I attended for several years, as well as public concerts (in small venues) by world-renounced harpsichordists. So I feel that I have a good sense for what a harpsichord should sound like. For a recording that you intend to market to the public (and/or schools), I don't feel that the sound is what you really want. IMHO, it should be much drier. I'm not familiar with the reverb program you are using, but an ambience of some size of "chamber" would, I think, give a more intimate sound, not like listening to a performance in the back of a large, stone-walled church.

    Hmmm. I have never had the problem you describe in my use of Sonar 5PE. I don't know what to say, either. Strange!

    Tremendous accomplishment, Raymond.

    Thanx for sharing it with us.

    Frank Newman - Houston, Texas, USA, Earth, Milky Way (for our 'extended' viewership)
    Vista Ult SP2, i7 chipset, 12Gb, 500Gb (int) + 1 & 1.5Tb ext., E-MU 1820, Sonar 8.5PE, VSampler, CME UF5, AcousModules (for 3D playback), GPO/JBB/CMB

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