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Here I am back again with one so fresh out of the cooker I haven't even listened to it on SC myself! laugh
Spent the last two days on this short piece, hard to believe. Anyway, even if you hate jazz and love classic, I'm confident you'll like this acoustic jazzy take on Master Chopin cool

Prelude in E minor

And for the formalities, from song memo:

RealTracks in style: ~1204:Bass, Acoustic, GypsyJazzBallad Sw 110
RealTracks in song: 1207:Fiddle, Soloist GypsyJazzBallad Sw 110
RealTracks in song: ~951:Guitar, Acoustic, Rhythm CountryBoogieMuted Sw 110
RealTracks in style: ~1210:Guitar, Acoustic, Rhythm GypsyJazzBalladJohn Sw 110
RealDrums: RealDrums in Style: GypsyJazzSw: a: GypsyJazzSwb: GypsyJazzSw


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Nice arrangement and great choice of instruments. This is a fun listen.


Charlie


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It's certainly a much more upbeat version than the original! laugh

Well done!


-- David Cuny
My virtual singer development blog

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This worked out good.... I always recommend that you listen to the mix after you convert it to MP3, and again after you upload it before you post the link.

In this case nothing went wrong but.... trust me when I say it can and sometimes does. I've had conversion issues, clicks, pops, and other abnormalities appear in a mix upon the upload.

Nice work.


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Originally Posted By: Guitarhacker
This worked out good.... I always recommend that you listen to the mix after you convert it to MP3, and again after you upload it before you post the link.

A good reminder, thanks! In my eagerness to get it up & out for "ya'll", I took the short cut on this one and uploaded straight from BBox, hence not hearing the compressed m4a until after it was all over and done with.
But you are of course quite right, things can and do sometimes go wrong in the rendition, have for me as well (piano is too bright in my previous Vem Kan Segla, for instance).
I guess I just was fortunate this time - but point duly noted.


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Hi Icelander,

cool version. I like your choice of RTs and the breaks.
Enjoyable listen.

Guenter

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As I consider myself quite the entertainer at heart, I'm very much appreciating the words "fun" & "enjoy" in your feedbacks here already. Thank you kindly! smile


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Nice. I used to play with a friend who played wonderful gypsy jazz fiddle. It definitely kept me on my toes playing my acoustic bass with him. And I've always been a major fan of both Stephane Grappelli and Django Reinhardt so the groove definitely worked for me. Enjoyed it.

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Originally Posted By: dcuny
It's certainly a much more upbeat version than the original! laugh

Now, this is an interesting observation. See, while I quite agree with your statement, I can't quite put a my finger on just why this is the case.
What I mean is, in terms of definable, concrete elements of the construction, I haven't really changed all that much when compared to the original piece: The key is the same, tempo is (almost) the same, as are the bulk of the chord progressions, including positions and sliced (of which there turned out to be a lot, let me tell ya). Even the basic 'on the beat' pattern is already present in the original.
So... if we're to get a bit analytical here, just for 'fun', how do we explain this one? Where or in what does that 'upbeat' effect lie? wink


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Now that is quite a little gem! A swinging, jazzy music box with an elegant, classic melody inside. Short and sweet and... listening again. Yup, that's nice alright. And cool.

Thanks for sharing,
Bruce


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Thank you likewise for commenting smile


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Originally Posted By: Icelander
So... if we're to get a bit analytical here, just for 'fun', how do we explain this one? Where or in what does that 'upbeat' effect lie? wink

In original, the music is much more halting and tentative. Chopin has a single instrument, with an intimate feel. The music halts and falters, moving to a whisper and back, ending with a series of ponderous chords. It changes.

In your version, the intimate piano is replaced with an upbeat dance band. It is faster, and plays with a confident, steady beat - all hesitation gone. Where Chopin ritards, you proceed without hesitation. Where Chopin whispers, you keep the same volume. It feels like a ship out for a jaunty ride on the lake, happily bobbing along.

Does that start to answer the question? laugh


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Vocal control, you say. Never heard of it. Is that some kind of ProTools thing?
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Hey Ice, I loved this one! very sweet arrangement. I dabbed myself in classic arrangement into jazz years ago and is fun. I might re-arrange some of them using the new rt's available now.
Take care

Mike B.


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Originally Posted By: dcuny
Originally Posted By: Icelander
So... if we're to get a bit analytical here, just for 'fun', how do we explain this one? Where or in what does that 'upbeat' effect lie? wink

In original, the music is much more halting and tentative. Chopin has a single instrument, with an intimate feel. The music halts and falters, moving to a whisper and back, ending with a series of ponderous chords. It changes.

In your version, the intimate piano is replaced with an upbeat dance band. It is faster, and plays with a confident, steady beat - all hesitation gone. Where Chopin ritards, you proceed without hesitation. Where Chopin whispers, you keep the same volume. It feels like a ship out for a jaunty ride on the lake, happily bobbing along.

Does that start to answer the question? laugh

If "start" be the key word here, then yes I'd certainly say it does, and quite nicely at that. I particularly liked your visual "bobbing ship" analogy, such a poetic touch cool
A quick one back re the 'ponderous chords' bit. I tried my best to pick them up and follow, did you feel mine were noticeable different in some big ways?


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Originally Posted By: cubanpete
Hey Ice, I loved this one! very sweet arrangement. I dabbed myself in classic arrangement into jazz years ago and is fun. I might re-arrange some of them using the new rt's available now.
Take care

Mike B.

Go for it! Oh, and then share, of course, I for one am most interested in how others do this sort of thing cool

Last edited by Icelander; 10/15/14 07:35 PM. Reason: Afterthought addendum

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Originally Posted By: Icelander
A quick one back re the 'ponderous chords' bit. I tried my best to pick them up and follow, did you feel mine were noticeable different in some big ways?

Sorry, I should have been more clear. I was referring to the chords Chopin uses in the final cadence.


-- David Cuny
My virtual singer development blog

Vocal control, you say. Never heard of it. Is that some kind of ProTools thing?
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Originally Posted By: dcuny
Sorry, I should have been more clear. I was referring to the chords Chopin uses in the final cadence.
Ah right, no problem. I likewise should have kept it less vain there, I'm sure wink
Back to being clinical then, if I can: Melody! It occurred to me that's surely a factor here, probably the biggest, even? I mean, going from the floating, somber style of the original to the laid back 'bouncy' style in my rendition has to add to that whole 'upbeat'.. or maybe I'm just stating the obvious here, what say you? smile


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Very cool rendition of this piece!! I don't know that much classical music but I recognized the melody, and it worked great in its different skin. Very cool stuff!! And, BTW, you should definitely stick around on this forum which is friendly, fun, fantastic, and fiendishly creative (and that's just the Fs). Love hearing what you're doing. Take care. Greg

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Interesting take on the classics, Eddie. Sounds good.

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Originally Posted By: Icelander
[I mean, going from the floating, somber style of the original to the laid back 'bouncy' style in my rendition has to add to that whole 'upbeat'.. or maybe I'm just stating the obvious here, what say you? smile

Not necessarily.

Many "sad" songs in minor keys are perceived as more upbeat as their tempo increases - one of the things you did.

And by making the tempo regular instead of much more rubato, you changed the interpretation of phrases as distinct "gestures", putting the focus on staying on beat and a steady tempo, instead of looking at each bit as an expressive and independent gesture.

In perceiving music, there's a tendency to map the tempo and rate to physical motion. Thus the interpretation of "halting" or "hesitating". Having a steady tempo removes that from the music.

It's a bit like auto-tuning. The notes remain the same, but amount of pitch variation within the note is altered.

Similarly, the position of the events in you song remain the same, but rate of change - which contains a lot of emotive power - is removed. You haven't quantized the placement or tempo - you've made the rate of change a constant.


-- David Cuny
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Vocal control, you say. Never heard of it. Is that some kind of ProTools thing?
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