5 ms·
im glad to see someone talking about dynamics rather than pitch for once. its really what breathes life into music anyway. the results are impressive. one thing
by the_cat_kittles 9y ago
im glad to see someone talking about dynamics rather than pitch for once. its really what breathes life into music anyway. the results are impressive. one thing i worry about is that midi patches are often very sloppy about subtle changes to velocity- sometimes 60-70 sound the same, and then 71 is way louder, or the tone is much different. that means that even though you have a nice, dynamic range of velocities, it can get aliased in a way that robs it of some of that. not sure what kind of midi patches you are using for the sample generation. if you use a piano simulator, or a really high quality patch library you are probably ok.
the other thing i would note is that there is not a right or wrong way of coloring a piece with dynamics. its a huge area for artistic choice. there doesn't seem to be a great nomenclature for really detailed dynamics in the western music tradition, so it hasn't been able to be recorded on written scores, but i think it can be as much (or more!) part of the composition as the pitches are. a solo snare drum piece would be a good example of this. whats cool about what you did is that it gets away from monotonous dynamics that are the default when you write stuff on a daw by hand.
my own personal approach to this problem has been to treat dynamics as compositional elements independent from pitches or rhythms, and realize this though code. its a pain in the ass to explore dynamic ideas when you have to change all the note velocities by hand, like you said, so i decouple the dynamic curves / sequences / ??? and map them on to different regions of pitches and rhythms. its nice to add a breathing quality to a line by adding some kind of cyclical dynamic, then also being able to add a crescendo on top of that, or being able to decrescendo while still maintaining some kind of pattern of accents or dynamic phrasing. and then being able to change all that quickly, instead of by hand.
- hammock 9y ago> its nice to add a breathing quality to a line by adding some kind of cyclical dynamic, then also being able to add a crescendo on top of that, or being able to decrescendo while still maintaining some kind of pattern of accents or dynamic phrasing. Love that. As a singer that's what I've trained all my life, even when it's a just a single marking on the page, you read it within the context of, is this on a phrase, what's the emphasis of the words/syllables, how does it relate to the pitch of the line (e.g. a lot of time a dim on an ascending line merely means "don't be an amateur and get louder"), what's happening with the other voices/instruments. Nuancing a crescendo from one large section to another while also giving respect to phrases within. Fun challenges.
- fiatjaf 9y ago> im glad to see someone talking about dynamics rather than pitch for once. its really what breathes life into music anyway. So half of Bach's music was dead when he wrote it?
- the_cat_kittles 9y agowhat do you think makes glenn goulds recordings so great?
- aisofteng 9y agoAs the article itself notes, performance and composition are distinct.
- deleted 9y ago[deleted]
- deleted 9y ago[deleted]