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Topic: Well-tempered Clavier, by computer analysis  (Read 1188 times)

Offline johnlewisgrant

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Well-tempered Clavier, by computer analysis
on: February 25, 2020, 06:52:45 PM
Completed Book 1 and 2 (in truth, these can never really be "completed"), using midi as an analytical tool to knit voices together.

Yes, it's pretty much indistinguishable from a standard piano recording; but, no, a standard recording it is not:

https://soundcloud.com/johnlgrant/albums

This is a never-ending project in the sense that when I hear something I don't like, I replace the offending interpretation.  There's still much that "bugs" me, needless to say.

Offline perfect_pitch

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Re: Well-tempered Clavier, by computer analysis
Reply #1 on: February 26, 2020, 09:39:16 AM
It piqued my curiosity - any chance of getting a recording of them???

Offline johnlewisgrant

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Re: Well-tempered Clavier, by computer analysis
Reply #2 on: February 26, 2020, 12:34:39 PM
A slightly earlier account of Book 1 is up at a number of music streaming paid sites that appear to permit much higher resolution downloads than the miserable standards of SoundCloud permit.  I don't actually know the names of these distributors.  A quick check shows: Deezer and Spotify.  There are other streaming sites that seem to have put up very early versions of my stuff, which in my view aren't very good, and which I didn't authorize.

Alternatively, PM me.

The sort of neat thing about the SC versions is that I routinely upload revisions; these revisions fall into 2 categories: audio engineering and musical. For example, I'm about to upload a revised account of the C major Prelude, Book 2, because I'm unhappy with the tempo and phrasing, in places.  Also, I'm suspicious of what obviously is an attempt on my part to make the piano do what can really only be effectively achieved at the organ. Anyone who has played this prelude on a good pipe organ will understand immediately what I mean. Completely different piece. Unfortunately, the piano CAN'T reproduce the amazing harmonics that this prelude exhibits at the organ. So I'm inclined, more and more, to give up the "grand opening," as I call it, that has become ubiquitous among "Bach pianists" (Hewitt, Schiff, Barenboim, (S, not R) Richter, et. al.).  It just sounds kind of "fake" at the piano, because it clearly doesn't work.

Just one example of the sort of thing that makes me do these more or less constant revisions at SC.
 

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