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I'm several months late, but this piece was intended to have been an entry to the past "Emotions" contest by Gav.  It's subtitled "Exuberance" for its boundless optimism.  Hope you enjoy it as much as I enjoyed writing it!

There are probably many things that need to be improved. So comment away!

P. S., I hope Gregorio will enjoy the little secrets (or not-so-secrets) I put in here. ;-)

Edit 2017-08-03: prettied up the score a little, fixed a few voicing issues.

Edit 2017-09-06: fixed up several passages based on Gregorio's feedback -- thanks!!  Dialed back tempo a bit for clearer melody lines.  Re-rendered .mp3 with a Kawai soundfont, just to add a little character.

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And flutes.

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Of the 3 organ versions posted by Ray & Dave (thanks, btw!), I like Dave's full organ version the best, mainly because it has a stronger bass line, and also because the 16th notes seem to come through the clearest.

Unsurprisingly, though, the pianisms didn't work very well. The last beat of m.49 totally didn't come through in all 3 versions, mainly because it was written with the piano in mind. :-D  In general, the wider leaps didn't work very well due to the nature of the organ.  If I were to write this again for the organ, I'd try to minimize the leaps, rather than have the current wide-ranging leaping lines that work OK on the piano but not so well on the organ.

Generally, I didn't like the upper register that much, but that's just my personal bias on all organ music in general, not just on these particular organ renderings.  The high-register flute-y sound for whatever reason just doesn't appeal to me very much. Perhaps if the upper lines were closer together so that there are less open intervals, it might work better. I wrote a lot of open chords to maximize the sound on the piano, but that doesn't work very well with the organ timbre.

One interesting thing, though, is that some of the 16th notes passages became quite clear to me that they would work quite well on strings.  Perhaps I might try arranging it for a string orchestra or something... ;-)

Well done Dave, I didn't include a principal and only used the one set of stops throughout. I could go back in and balance the lower line better but it was just a quick job using the SampleTekk pipe organ.

Glad you like it (a bit). I think if you heard it played by an expert on a real organ, your doubts would disappear re open intervals. Any issues are probably due to imperfect midi and vst - the velocity information didn't apply, for example. Personally, I think most people posting stuff here just using piano as the general sound - instead of having written specifically for piano - would do better using organ. Piano is so bare-bones sometimes. Great music btw.

H. S. Teoh said:

Of the 3 organ versions posted by Ray & Dave (thanks, btw!), I like Dave's full organ version the best, mainly because it has a stronger bass line, and also because the 16th notes seem to come through the clearest.

Unsurprisingly, though, the pianisms didn't work very well. The last beat of m.49 totally didn't come through in all 3 versions, mainly because it was written with the piano in mind. :-D  In general, the wider leaps didn't work very well due to the nature of the organ.  If I were to write this again for the organ, I'd try to minimize the leaps, rather than have the current wide-ranging leaping lines that work OK on the piano but not so well on the organ.

Generally, I didn't like the upper register that much, but that's just my personal bias on all organ music in general, not just on these particular organ renderings.  The high-register flute-y sound for whatever reason just doesn't appeal to me very much. Perhaps if the upper lines were closer together so that there are less open intervals, it might work better. I wrote a lot of open chords to maximize the sound on the piano, but that doesn't work very well with the organ timbre.

One interesting thing, though, is that some of the 16th notes passages became quite clear to me that they would work quite well on strings.  Perhaps I might try arranging it for a string orchestra or something... ;-)

Thanks, Dave. Glad you liked the music.  I suppose I should reserve judgment until I hear it performed on a real organ. :-P  But generally, I'm not a fan of organ music. Maybe excepting Saint-Saëns' 3rd symphony.  Well, maybe Erwin would appreciate yall's organ renderings of Exuberance, since he's not a fan of piano music. :-D  Funny how music preferences go.

As far as piano is concerned, yeah it has its limitations, and actually I'm not a big fan either (though I still prefer it over organ, given the choice). But some things just work better on piano than on other instruments, unless rewritten specifically for that other instrument.  The bass line in mm. 30-36, for example, works better with the piano timbre esp. when it dips into the lower register.  And the RH 16th note figures in mm. 37-40 sound more opulent (don't know if that's the right word) on the piano, even though it does work somewhat on organ, and probably also on strings. The different timbre does give it quite a different feel than on piano, nonetheless.  The off-beat accents in mm.56-59 also seem to work better with the hammer sound of the piano than on the organ. In an orchestral setting I'd add timpani strokes to emphasize them, I think. And the cadence in m.65 simply doesn't have the same effect on organ. Here's where the hammer sound of the piano really shines.  Maybe in an orchestral setting I could have low brass hit that bass note to produce a similar effect.  Although if that low E were transposed an octave down, I suppose it could work on the organ too, though with a somewhat different effect.

Anyway, some amount of tweaking would be needed to make it work better on organ.

It's a strange old world. Even knowing it wasn't scored for organ and using the flawed midi straight out of the box the piece is just so much better performed on said instrument. I suppose it brings us around to that other question of just how much control a composer can have on the performance their work once it's out in the big bad world. I really do believe an organist worth his/her salt would love to play this.

Send the score to Dr Carol Williams

@Ray: You're right, once the score is out in the "big bad world" all bets are off. :-D  However, I actually welcome different interpretations of my music.  Even if, given the choice, I wouldn't perform it that way.

About your video:  very interesting demo of what Cubase can do. :-)  The bass line is clearer in this setup, though I still find the upper lines a blur of high frequency flute-y noise. :-P  No fault of yours, though. I'm simply not a fan of organ music, that's all there is to it.  But I'm not opposed to people performing my music on organ.

Maybe I should send the score to an organist and ask for a recording, on the off-chance that a real performance might actually change my mind about organ music. :-P

Though, come to think of it, I wonder if it would sound better if transposed an octave lower on the organ...

Today, I came across a sample of a Kawai upright piano of not-bad quality, so I decided to try it out on this piece to see what it sounds like.  The initial result wasn't very impressive, but thanks to Ray's recent mastering tips, I discovered that adding a little reverb warmed up the sound significantly. Since lately this forum seems to be filled with more invective than music, I thought I should counteract that, even if it's only by recycling an already-posted piece on a new virtual instrument. :-P

So here it is, Exuberance on a Kawai upright piano in a virtual large room.

The reverb settings were: 25% reverberance, 85% HF damping, 100% room scale (no idea what that means, that's what it's called with no further explanation -- any ideas?), 80% stereo depth, 150ms predelay, and -5 dB wet gain.  What do you audio production experts think?

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I like this piece HS, very well done regardless of production.

I'm just wondering, the subject entries are fairly easy to spot because of the ornament on the first beat of the second bar, and it seems you are using the countersubject a number of times as well. So my question is: How much of the piece relates directly to those two and how much is "free counterpoint".  For instance the phrase in the LH at measure 31 seems to be the first use of that phrase but then you repeat it several times to good effect towards the end.

You often do good analysis of pieces others have written, any chance of some discussion of this one?

Teoh,

Experiment with the pre-delay setting to place the piano further into the room and consequently further away from the listener. Use your ears and listen to the difference in the apparent proximity of the instrument as you decrease down from 150ms to zero. Pre delay is useful tool in achieving a sense of depth in orchestral mock up. You can find plenty of explanations of the physical theory behind it online.

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