Sound check Little prelude C Minor BWV934

[dak]

This is just a rough sketch so far but one does hear the sound quality. Recording/processing is two large diaphragm condensors for A/B stereo in a bit of distance, and small diaphragm condensors close up for detail processing. The small ones are routed through a stereo reverb and just the wet part is included in the recording, to let the A/B mics cater for the delay-based stereo effect. The results should be good for most listening devices. So far, with regard to the play quality compared to instrument/recording/processing we are talking about pearls before swine (or rather tripe before the goldsmith) but I'll be getting there eventually.

 

[dak]

Apart from the obvious, this recording tells me (in the repeat of the first section in particular) that I need to develop the skill to finger left hand notes ahead of time depending on how low they are in order not to have low notes lag behind. Not relying on the high octave as a reed starter does have consequences. There is a reason it cannot be switched off in a number of instruments, but I think the character added by the audible attack behavior is worth trying to develop the technique for it.

 

[breezybellows]

Apart from the obvious, this recording tells me (in the repeat of the first section in particular) that I need to develop the skill to finger left hand notes ahead of time depending on how low they are in order not to have low notes lag behind. Not relying on the high octave as a reed starter does have consequences. There is a reason it cannot be switched off in a number of instruments, but I think the character added by the audible attack behavior is worth trying to develop the technique for it.

I have been working on that as well. But it becomes challenging when where is a bellows change.

 

[dak]

I have been working on that as well. But it becomes challenging when where is a bellows change.

When I play single-reed low bass, I am playing in free bass mode. And then my instrument uses little enough air that I don't need to change in mid-phrase as a rule. So I can mostly ignore that complication.

 

[breezybellows]

When I play single-reed low bass, I am playing in free bass mode. And then my instrument uses little enough air that I don't need to change in mid-phrase as a rule. So I can mostly ignore that complication.

When I play the lowest octave, there is a tiny delay. What I'm observing is a little different. The red starts faster when I use two sets on the free bass compared to using only the lowest set.

 

[dak]

What I'm observing is a little different. The reed starts faster when I use two sets on the free bass compared to using only the lowest set.

Then I am awful at making my point since that is what I observe as well. It's just that the slower start for the lowest set is a price well worth paying for me since this slower start gives the tone (and particularly the attack) a more recognizable sound quality. Basically I like everything about the slower start except for the delay, and the delay is something I can counteract.

I am by now practising this beast by not focusing on my finger actions but on the sound I produce. I think that helps getting the timing of the sound right. Conjures up the latency training I had when doing ensemble rehearsals with Jamulus.

 

[breezybellows]

Then I am awful at making my point since that is what I observe as well. It's just that the slower start for the lowest set is a price well worth paying for me since this slower start gives the tone (and particularly the attack) a more recognizable sound quality. Basically I like everything about the slower start except for the delay, and the delay is something I can counteract.

I am by now practising this beast by not focusing on my finger actions but on the sound I produce. I think that helps getting the timing of the sound right. Conjures up the latency training I had when doing ensemble rehearsals with Jamulus.

I was playing my accordion when I read your comment. So I played three slow notes over and over to make some observations. What I noticed was that there was a delay the first time I play a note. When I stop and play it again, there is absolutely no delay.

It looks like the reeds need a warm up. Not sure why this is happening.

 

[dak]

I was playing my accordion when I read your comment. So I played three slow notes over and over to make some observations. What I noticed was that there was a delay the first time I play a note. When I stop and play it again, there is absolutely no delay.

It looks like the reeds need a warm up. Not sure why this is happening.

That's a different effect. There is an optimal reed gap for starting a reed but it is too small for the rest reed gap (the overall volume would be limited and the reed would be susceptible to choking). The reed doesn't stop vibrating just because you close the air supply and cut it off from contributing to the sound: it will continue vibrating for seconds even if very slightly. But that means that it continues passing the optimal starting reed gap position while it is still moving slightly.

That is assuming that the valve doesn't need a refresher on how to open at a breeze as well, for example because it got stuck to its booster (metal or plastic).

 

[Walker]

This is just a rough sketch so far but one does hear the sound quality. Recording/processing is two large diaphragm condensors for A/B stereo in a bit of distance, and small diaphragm condensors close up for detail processing. The small ones are routed through a stereo reverb and just the wet part is included in the recording, to let the A/B mics cater for the delay-based stereo effect. The results should be good for most listening devices. So far, with regard to the play quality compared to instrument/recording/processing we are talking about pearls before swine (or rather tripe before the goldsmith) but I'll be getting there eventually.

Respect to you dak for sharing your lovely 934!

Wow, it's such an interesting piece of music and there's A LOT to like about your work here! For those that don't know, it's a deceptive piece... to the uninitiated BWV934 may sound like a simple tune but the reality is that IF you want to play it well you really need a decent wedge of technique in your satchel.

I'd say dak - man you're getting real close to taking it next level. It's gonna sound even more awesome in a few weeks! For what it's worth, I'd personally keep the repeat of the first section in the octave written, rather than dropping it low. Why? It's just more shapely in that octave, but hey, your artistic ear may disagree.

Now, I've got hands on with this piece so I know it's a good challenge. However, for any musicians out there who want to find out more about 934 here's a fantastic YouTube tutorial for piano teachers.



Finally, here's one of the greatest pianists of the last century shaping and whittling BWV934. You're in good company dak...