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James Scrivener PDP Blog

Apr 08, 2018

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    Tutorials

    Had tutorials this week with John and Tom on the Reichstag composition. The score of the

    piece is still in its early stages so I inevitably had negative feedback on this but I know Ive

    hardly started on it so I have no worries! John was positive on how the piece has captured

    English and German although Tom felt the German part had an element of Russian to it due

    to the use of harmonic minor. Tom also recommended using a slight delay on this melody

    (having a quaver rest at the start of each bar). I feel this idea could work and will give it a go.

    John recommended trying to intertwine the two themes more before the ending as the piece

    can be extended to 1 minutes so I plan to extend it. He also suggested altering the texture

    more during the piece as at the moment the trio generally play together throughout.

    On other points, Ive realised that I could use this piece to tie in with my Final Project

    Budget Culture, as we are planning a trip to Berlin in January and can film this building,

    then use this composition as a soundtrack. Furthering this idea I could use the opportunities to

    compose for this trio next term to write pieces of a similar nature to other buildings/scenes

    filmed on our travels!

    30/11/10- Piano Trio continued

    Sibelius and Hand-In Week of 30 Nov

    Sibelius was completely messing up; the violin was somehow out of tune with the piano

    despite being midi. As a result I struggled to write the violin part and didnt manage to hand

    in the piece before going away to Marrakech!

    For the final version of the piece I spent an afternoon in Ellen Terry in one of the pianorooms experimenting with ideas to merge the two themes and improve the piece.

    Through fortune I came up with another phase shifting idea where the left hand descends

    from G minor F min E dim in 5/4 whilst the left hand continues playing a version of God

    Save our Gracious Queen on a G minor chord in 3/4 + 3/4. This came about from

    accidentally playing an F minor underneath instead of a G minor and thinking hang on a

    minute, that actually works! These 5 bars are played just on Piano as I tried to add more

    contrasting texture to the piece as John suggested. The piano in these bars goes from staccato

    to legato to create a build up (as more notes collide and are held on under legato) into 2 bars

    of Violin and Cello playing a rendition of the German theme in octaves to again give textural

    variation before the Piano returns on a Gmin7 chord.

    15/12/10 Piano Trio Performance workshop

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    For Berlin I had already composed the piece earlier in the year for the Piano Trio

    based on the Reichstag building. However unfortunately, because of terrorist threats we

    were unable to properly film the Reichstag, although I still feel this piece is usable due to its

    basis on the German national anthem. Therefore I decided to shorten this piece slightly,

    allowing for another composition on Berlin. During our trip to Berlin we attended the free

    lunch time concert at the Philharmonie, where a series of Piano and Trombone pieces wereplayed. The pieces ranged from Romantic to extreme 20

    thcentury experimentalism, but the

    piece which caught my ear at the time was Webers Romance for Piano and Trombone. The

    reasons why it caught my attention was because of its possible relation to the project, with its

    German composer and the sombre nature of the piece which, although written long before the

    events of the War, captured emotions related to this. I placed my recording of the piece

    behind a slideshow of my photos from the Berlin Wall Gallery and in my opinion if fitted

    perfectly; therefore I decided to arrange this piece with the intention of using it as the

    soundtrack for the footage of the Berlin Wall Gallery in the film.

    Due to its classical and romantic tradition Vienna seemed a good choice for another

    piece. I had the idea of arranging part of the opera I heard in Vienna, Richard Strauss

    Salome. However, I decided against the idea on two reasons, firstly that Strauss is not

    Austrian and secondly because I already had two arrangements for Berlin and needed some

    more original compositions! As I havent studied traditional classical or romantic piano trios

    or written a piece in this style for a long time I decided against composing a traditional piece

    of this style, instead focusing on the travel scenes of Vienna/Bratislava, leading me on to

    Norway. We have a fair amount of footage of train journeys/flights across vast snowy

    landscapes which will undoubtedly make up atleast a couple of minutes of the film, and these

    seem the perfect footage to write for as there will be no city soundscapes or city recordings to

    automatically accompany these.

    Further to this, we also plan on cycling to Paris in Easter, which will hopefully

    provide more footage for the film. I have always enjoyed composing in the style of French

    composers Ravel and Satie and with a chance to compose a piece like this for a professional

    pianist I may aswell make the most! However our footage of France will contain plenty of

    cycling, which would fit with constant fast paced rhythms rather than Saties sparse piano.

    Therefore my aim was to try and merge these two styles, perhaps with contrasting sections.

    So, to summarise:

    My aim was for four pieces:

    - Reichstag Arrangement (simply shorten my previous arrangement) for Berlin- Arrangement of Webers Romance for Trombone and Piano for Berlin Wall Gallery- Composition portraying travelling scenes across fast moving snowy landscapes.- Composition combining early 20th century French piano features and fast past

    rhythms to portray travelling in France.

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    Arrangement of Webers Romance for Piano

    Although the piece in itself seems to work well I wanted to vary it in the arrangement

    to display compositional techniques, and make it usable for my composition portfolio. The

    fact that I couldnt find the original piano score, or a video of the pianist performing (all the

    videos focus on the trombone) arguably aided my case for this as there was no chance of

    simply copying the original, although I kept the a piano accompaniment very similar for the

    opening section, simply because I liked the sound of it so much!

    In the original the melody is inevitably low in pitch due to the trombone being the

    melodic instrument, which aids the sombre nature of the piece. Therefore for this opening of

    the arrangement I used the Cello for the melody whilst the opening melody also displays a

    great leap in pitch in its 6th

    bar, which is perfectly suited for the range of the Cello. Initially I

    repeated the opening melody twice with the Violin entering on the second repeat, but due to

    the slow tempo this already took up almost a minute so I merged the violin into the first

    repeat. The violin provides most of the original material of this section, used to provide

    melodic responses to the Cello, uses its lower register so that it is playing around a 6th

    abovethe Cello.

    Immediately after this I alter the feel of the piece to make it more of my own; the

    piano introducing tuplet like arpeggios to change the feel. I had some trouble scoring this -

    deciding whether it should be in 2/4 with triplets or in 6/8 where each dotted crotchet beat

    provides the 3 quavers of the triplet. Initially I scored the piece on a midi program in 2/4 with

    triplets, but this then became very complex when the melodies had semi-quaver triplet

    anticipations and it simply looked a mess, therefore I decided on scoring it in 6/8. This seems

    to fit logically as the tempo essentially stays the same (crotchet = 75 changes to dotted

    crotchet = 75), so hopefully wont confuse the performers!

    This following section is based on a combination of two separate melodies in Webers

    original piece. I was wary to keep this arrangement from getting too long, but I felt both

    melodies needed to be included, so combining them was the logical thing to do. The melodiesare similar both rhythmically and melodically, enabling them to fit together; the first opens

    on the dominant minor of the original key of C minor before moving to the relative major,

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    I decided on using the more sparse texture purely because I felt it would suit the film best; I

    had to suppress my personal urge for the epic, faster and more rhythmically complex finale

    because having this fast paced ending simply wouldnt suit a film focusing on artwork and

    still images.

    Travelling Composition

    An obvious influence to look at for this piece was Steve Reichs different trains.

    Although I am sometimes annoyed by the vocal repetitions of the piece the use of the strings

    perfectly suits the train movement.

    The footage of these scenes is likely to be of constant train movement rather than a

    whole journey involving slowing/speeding up (plus I dont know any exact timings for this)

    so I felt it was safer to compose a constant fast piece. The movement of a train brings up

    constant percussive movement, whilst personally scenes of snow/Norway conjure up airy and

    light sounds (ala Sigur Ros). To combine these I decided initially to use constant arpeggios

    (constant movement) in the higher registers of the piano (airy, light), with the aim of steering

    clear of typical major/minor chords to create the more percussive effect.

    Therefore my initial idea for the melodic basis of the piece was to use chords of

    fourths. However I found using D, G, C, F created too much of a jazzy feel, essentially its

    two minor 7th intervals of D,C and G,F. Instead I augmented the highest fourth to create what,in my mind, is a more airy sound of the major 7th. These notes could be easily spread between

    the string parts with them either double stopping or rotating between notes (one with D+G,

    the other on C+F#). However for the piano I wanted to create arpeggios in both hands, using

    more notes and to add to percussive effect. Therefore I continued with the major 7th

    idea by

    using a C major chord in the left hand and a B minor chord a major 7th

    above in the right. The

    chords together contain the series of fourths with an extra E and B (c, E, g, B, d, f#), so that

    these chords would work with the string parts.

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    To increase the airy feel at the opening I used high sustained notes on the strings

    (over the piano arpeggios), with the violin and cello parts overlapping so that the harmonies

    clashed. Following this the piano part descends an octave whilst the strings enter with a

    constant rhythm like in on the fourths. The cello remains on the D,G for the first 4 repeat then

    to the C and F# for the second repeat, creating a constant percussive effect of the train rather

    than melodic. Higher up the Violin keeps its lowest fourth constant to add to the percussive

    effect of the Cello (C for 4 bars, then D for 4) whilst the higher note moves to accompany the

    melodic movement of the piano (F# - A G F#).

    Start of 2

    nd

    repeat:

    These two opening sections can (possibly) be copied and pasted to create longer

    accompaniment to the film if needed, but due to my restrictions on the time of the

    composition I wanted to develop the piece to contain flowing melodies to reflect the flowing

    landscapes of the journeys.

    These melodies would rise from the lower reaches of the strings whilst I planned to

    keep the piano on constant arpeggios underneath to continue reflect the train. The chords for

    this point did become fairly standard, using a Cmaj Em D maj progression. However

    these would only be in the left hand of the piano the right hand keeping a constant C F# -

    G B in triplets over the top. This combination of the earlier fourths and B minor chord

    create a blend of augmented 4ths, 2nds, major 7ths over the left-hand chords to add tone

    colour, whilst the use of triplets over straight semi-quavers helps to cloud the backing rhythm

    and tone.

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    For the strings melody on top of this I discovered that through using a call and response

    between the two instruments I could create a melody with a constant sense of movement to

    continue to reflect the trains movement.

    During the climax the melodic parts become clearer with the piano part becoming less

    congested before the augmented 4th

    crescendo in the final bar of the section.

    I ended the piece with sparse piano chords also inspired after finishing the piece for

    travelling in France. I may not use these chords in the video the crescendo before is

    designed so that it could be the end of a scene which suddenly cuts to a new image when the

    crescendo ends. But as a piece of music, after showing it to a few people they said it felt

    unfinished with the crescendo. The first chord is a continuation of the previous sequence but

    with an A in the bass, followed by the chord of fourths, followed by a Gmaj7 with an

    augmented 4th in the melody which is used in the France piece.

    Crescendo (augmented 4th

    in Cello) and outro chords:

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    Possibly French travelling piece

    Composing the previous piece gave me plenty of inspiration for this piece, as when

    slowed down the fourths and major 7ths etc. worked perfectly for the Satie-esque piano. I

    didnt see a problem with re-using the melodic material, on the contrary it would help provide

    a link during the film.

    This piece begins with the chord of fourths, extended with a further augmented fourth

    on the top to add an extra major 7th

    of C/B D,G,C,F#,B. However through placing this

    chord below middle C the airy percussive sound is replaced by a deep resonant sound full of

    colour. Over this chord the slow moving melody falls on the 2nd beat of the third bar to

    create a freer rhythm, whilst is supposed to be enhanced through using plenty of

    characteristic rubato.

    Towards the

    end of the melody the fourths are altered with the C moving to C#, creating the augmented

    fourth in the melody on G major before the

    Out of the ending of this slow languid piano comes a driving 7/8 rhythm (hopefully to

    portray the movement of cycling), beginning legato on the piano to provide a smooth

    transition between the legato piano opening and the staccato rhythmic section which now

    follows. Inevitably I based this section on the fourths idea with the D/G + C/F#, spread

    between the strings on double stopping whilst the piano has driving right hand arpeggios.

    To provide contrast for different scenery etc. this staccato (A) idea is varied in an ABAB

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    structure with a rising legato sequence on the driving 7/8 rhythm. This passage is over a root

    of Bb whilst the piano right hand rises each bar (G in the bass is added on the repeat of the

    section below). The strings provide legato melodies over the top, the violin beginning on 7ths

    or 9ths based on the Satie/Ravel influence on the piece.

    The ending is dramatic, hinting at Db minor before Db major emerges. Thi

    30/03/11 Reflections on Piano Trio Workshop

    The workshop was very successful in both improving my compositions for the portfolio and

    for recording the pieces for my final project film. The trio performed the pieces to a very high

    standard on the first time of each performance despite the odd blip in my score...After some

    discussion about elements of the notation and performance direction they performed each

    pieces again meaning I will have two recordings or each to splice together the best bits to

    make a prime recording for the video! At the moment (April 01) I have my Dictaphone

    recordings of each piece except the arrangement of the national anthems.

    Responses for all pieces

    Phrasing

    A response from the trio for all the pieces is that there are too many phrasing marks. I had a

    feeling this may have been the case but I thought Id go for too much rather than too little.

    However, this also led to confusion in areas where there are phrasing marks over

    staccato/pizzicato areas, or where the phrasing crossed pages, making a 4 bar phrase look like

    a 1 bar slur followed by a 3 bar phrase or vice versa.

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    Octave markings

    Essentially I learnt that Octave markings above and below the clef are only relevant inextreme cases. From my notation training on a trumpet I have always found anything more

    than a couple of ledger lines above and below the staves very hard to read but professional

    should be much better! Like with the phrasing marks adding too many octave changes would

    confuse the performer. For example at the start of Moss Part 1 I scored the opening piano

    section an octave above how it is played so that it sat nicely in the middle of the stave and put

    octave lines under on the notation. But according to James the right hand should either be

    changed to bass clef or dropped an octave on the score and the left hand should just be lower

    to avoid the confuse.

    This all makes good sense, so will obviously help me to make such mistakes in future and to

    improve the score for the portfolio.

    Performance Instructions

    Martele is an outdated 1950s technique! I used this as an attempt to add a slightly rough

    sound to some staccato or attempted powerful elements on the Weber Arrangement:

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    And moss part 1:

    However suggesting with force or something similar would be more effective and easier to

    understand, whilst the section in moss part 1 would be more effective if down bows were

    singled, which the performers did on the 2nd performance after discussions about this.

    Time Signatures

    We had a series of discussions on time sigs. 8/8 was definitely an incorrect time sig for Moss

    part 2. I used this time signature because to me the beat felt like counting 8 quavers rather

    than four crotchets, however 8/8 is only for when the beat is split into groups ex. 3+3+2,

    whereas if the beat is unsyncopated it should remain in 4/4.

    In Moss Part 1 the groupings of the 7/8 were discussed.

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    I grouped these as 2+2+3 to give a fast 1-2 1-2 1-2-3 feel to each bar but pianist James Weeks

    viewed it as 2+3+2 (or 1-2 1-2-3 1-2), due to where each group of 4 semi-quavers begins. He

    suggested that this helped the passage flow more as the note on the 5th

    quaver becomes more

    of an anticipation rather than a strong beat. However the string players agreed with the 3+3+2

    grouping because this meant their rhythmic part begins with a note on each beat, making it a

    logical grouping!

    I feel that the legato section of the piece is a clear example of why the piece should be

    grouped 2+2+3 because of the melodies on strings which otherwise would cross the beats (as

    they either have a dotted crotchet at the end of each bar or part of a melody beginning on this

    dotted crotchet):

    However the feedback from James was still useful as it suggested how I could potentially use

    different groupings on the instruments.

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    Individual Piece reflection on Weber Arrangement

    The time signature change to 6/8 at Bar 8 worked fine with no problems. However I feel the

    tempo for the start was too fast for the piece, leading it to be slightly too fast throughout. This

    was my fault as alongside the andante, which is on the original score I put a tempo marking

    of crotchet = 75. Although this is actually slower than the Sibelius suggestion for andante of

    80 the performance I heard of the piece in Berlin was actually played closer to 65. We slowed

    the tempo for the 2nd

    performance to 70 which I will now change in the score.

    The mid section worked well with the changing feel of legato and staccato. However the

    pizzicato on Violin was rather drowned at Bar 18 despite its marking of forte alongside mp

    and p on Cello & Piano, suggesting that for a part like this to cut through I need to also have

    Cello on pizzicato or to reduce their dynamics further. Also some of the acciaccaturas came

    out more forcefully than I had intended, although this may be because the Cellist was very

    forceful in her playing in general! This indicated that I need to give more direction on such

    parts.

    17/04/11 Wind Quintet Composition

    As a group of 3rd

    years are hiring out a wind quintet for their final project it makes sense to

    write a piece for their competition as its great having compositions performed by

    professional musicians.

    As always I tried to link this composition to other projects, so I wrote it with the intention of

    accompanying the footage of the Norwegian town from our final project. Therefore I decided

    to link the piece melodically to the travelling pieces from the Piano Trio which use

    consecutive fourths. However the piece itself needed to be more sparse and have less driving

    rhythms

    The initial melody I came up began on the augmented 4th

    of F-B (with passing note of C)

    before the F descended whilst the B ascended to create intervals of 7ths 9ths. However as I

    wanted this melody on Oboe I decide that the intervals were perhaps out of character with the

    instrument (after consulting a library orchestration book) and would be more at home on a

    clarinet, which I didnt want as the melody instrument at the start. Therefore I condensed the

    melody so that it began on the major third of F and from the B it descended in a step-wise

    jumpy fashion.

    Underneath this the 4ths enter descending from F (flute), C (Clarinet), G (Horn), D

    (Bassoon). This series is changed slightly from the Piano Trio series in that it is extended to

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    become a 5 note series, with the highest interval still providing the augmented 4th

    (D,G,C,F#

    in piano trios) (D,G,C,F,B in quintet) which adds the airy mysterious elements to what would

    otherwise sound very jazzy through the minor 7ths in each gapped interval.

    The piece steadily builds and becomes more standard diatonic with a rising progression

    leading into a short chordal section before returning to the fourths idea. On its return I tried to

    imitate a sound that would represent swans (on the film) through having a bobbing, bouncing

    theme underneath a repetitive rhythm to suggest them waddling or bobbing along. The

    accompaniment is harmonised on fourths whilst the melody is based on series rising thirds

    beginning a fourth above the previous:

    21/04/11 Vocal Piece for Vatican Footage

    Note: at times in this the male singers are referred to as bass and/or baritones. This is because

    they are not professional or in any way experienced choral singers so they dont know

    whether they really are a bass or a baritone! However, this does not mean they cannot sing!

    - This reflection is after composing the basics of the piece and recording the opening.Before composing the piece I hadnt envisaged how tough it would be, as this is a

    type of piece I have never written before. Although I have composed many vocal lines for the

    band these are always simple & repetitive melodic lines, mostly following the basic chords in

    order to provide added texture to the more complex melodic & rhythmic parts in the

    instruments. However, writing a piece purely for vocals demands that there is more variation

    whilst any rhythmic element has to be provided by voices. The voices for the piece are the

    three singers from my band the bassist and guitarist who are (roughly) baritones and the

    Soprano singer. The Soprano is classically trained, so can sight read easily but the baritones

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    arent exactly classically trained so we are having to go over each part to memorise the

    melody & lyrics. The piece is supposed to accompany the film footage of inside the Vatican

    so I wanted to create a piece based on Gregorian chants + sacred vocal pieces.

    Composing the piece

    As I am unfamiliar with composing and listening to choral music I researched

    youtube. A piece that I liked is famous 13th century Latin Catholic hymn, "Dies Irae". which

    is a long series of calls and responses between the bass and soprano. However because the

    piece is simply calls and responses there is never any harmony, although at times the piece

    feels as if its building into a harmonic section. Therefore I decided to compose my piece in a

    rough A B A form with a bass/soprano call and response opening section, leading into a

    melodic section with plenty of harmony before returning to the monophonic call & response

    type idea.

    For opening melodic line I wanted to steer clear of using harmonic/melodic minors asthe early music of the Vatican. To enhance a modal effect I also avoided using the 3rd (in C),

    whilst also giving the opening a freer rhythm by beginning on falling quavers on the 5th

    and

    ending the melody on the 2nd beat of the bar. When we came to record this opening section

    the final part of the melody was changed to include the minor third. This was because

    initially it contained leaps of fourths, which werent the easiest to pitch for my amateur

    basses, whilst the ending seemed to flow better melodically by using a small descending

    sequence instead, including the minor third:

    Initial ending:

    Updated ending:

    Also, when singing the piece we extended the final note by an extra bar (including the rest).

    This was because the singers needed to breath at this point before the melody returned,

    therefore when only 2 beats this note sounded too short as if the melody was incomplete.

    The Soprano then responds to the baritones opening before the basses enter during the

    last 2 bars of the Soprano melody introducing a homophonic harmonic section. The rhythm

    for this part is deliberately repetitive whilst there is a pedal on E for the opening four bars.

    These elements are an attempt to keep the piece linked to Gregorian styles, where a passage

    would be sung on a single note. However by adding a simple harmonic line over the top I

    hope to add a more modern choral element to it. When the Soprano enters the pedal note is

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    flipped from low to high with one soprano line remained on G for 4 bars, before the final four

    bars of this passage work as a series of chords to link into the next section.

    This next section is the attempted grand choral section, the part of the piece that uses

    raised 7ths, diminished and sus chords so is influenced by baroque choral works. The chords

    are a cycle of 5ths & 2nds, moving from Gmaj Cmin Dmaj Gmin with the sopranos

    providing a call on the major chord before the basses respond on the minor:

    Intertwined between this passage and its return is a short chant which came about after I hadput lyrics to the section above. The chants rhythm is basically constant quavers but to add a

    rhythm element certain syllables are sung very short and staccato, particularly those with a t

    sound. This is a passage that was realised after applying lyrics to the section above, as parts

    of the lyrics seemed to have a natural flow when speaking them; so this has introduced me to

    how the creation of composition can be devised through means other than simply working at

    a piano. This chant is yet to be recorded so may be extended with added dynamics (perhaps a

    consistent crescendo beginning pianissimo) to add to the sense of build up.

    Initially the piece ended by returning to this chant, however after we recorded the

    opening section I decided that it would give the piece a better all round sense of structure if it

    returns to this opening melody instead (and the melody would become more pronounced and

    memorable if it is repeated). I havent yet scored this part, but I think I will just use the initial

    melody on the baritones but on the second repeat it will be sung by the sopranos before a

    short turn or mordent to finish the piece.

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    Another note on the piece is that the tempo we actually recorded at is significantly lower

    than what I envisaged on Sibelius (recorded at 75bpm, had Sibelius at 90bpm). This is

    because the reality when we came to record the piece the melisma in the parts was too fast for

    the bassist to sing, whilst the piece also sounded less rushed and more musical at a slower

    pace.

    Influence links:

    Dies Irae http://www.youtube.com/watch?v=Dlr90NLDp-0

    A Capella Leopolis http://www.youtube.com/watch?v=z2YfJ44c0qg

    26/04/11 Reflection on finished Vocal Piece

    Today we finished recording all the parts for the piece. We multitracked the recording for a

    number of reasons:

    - The bassists arent trained to sight reading so it wouldve taken them a long, long timeto learn the whole piece.

    - Also because the bassists arent trained there are bound to be errors so multitrackingparts at a time enabled us to redo sections easily.

    - We could also overdub all the parts which was useful for two reasons, firstly that wecould mimic the sound of a much larger choir, and also because through more and

    more takes any sharpness or flatness in the bassists was (mostly) evened out.

    However the main problem with multitracking was that the recording was done to a click

    track, which obviously lessens the musicality of the recording. We tried to rectify this

    through extending some notes at the ends of phrases & used a rit at the end.

    Overall, Im very happy with the end result. After adding some suitable cathedral reverb the

    piece now has an authentic sound to it which I think suits the style very well, almost like a

    pastiche composition.