Woody mC Posted March 1, 2022 Share Posted March 1, 2022 (edited) It's been over a decade now since my first (unsuccessful) submission, so I thought it could be worth a retry with one of my more recent live improvisations, which might be a bit...uhmmm...unconventional. Meanwhile, I've dug deep into the world of pipe organs as an autodidact, with many lessons learned already and even more to still learn -- but decide for yourself as you take a listen. Hope you'll enjoy! Submission Information Name of game(s) arranged: "The Legend of Zelda: Ocarina of Time" Name of arrangement: "Temple Of Time: Chant & Carillon" Name of individual song(s) arranged: "Temple of Time" Link to OST: https://fi.zophar.net/soundfiles/nintendo-64-usf/legend-of-zelda-the-ocarina-of-time/44%20Temple%20of%20Time.mp3 Download Links Submission audio (FLAC 2.0ch 16bit 44.1kHz): http://via.woody-mc.de/to/Q90hnnkQBOVdSipq Original recording master (FLAC 7.1ch 16bit 48kHz): http://via.woody-mc.de/to/9vnNo0P0MQShcRBN VOD illustration: https://youtu.be/u4MjElSvRVI Additional Comments Following my childhood dream and fascination for pipe organs, to become a self-taught pipe organist with a focus on VGM and movie soundtracks was an unevitable destiny with regards to my hobby and passion. Thus, the live improvisation on one of TLoZ:OoT's most notable themes is somewhat a milestone for me, as I was able to put that big cathedral grandeur and acoustics into a piece that would be more than fitting as an OST for the place where the game actually placed the original. In fact, "Temple of Time: Chant & Carillon" consists of two interwoven movements, namely the chant portion in the first half (resembling an "accompaniment" to the vocals heard in the OST) and the carillon section, which refers to a "carillon piece" in the context of pipe organ music; these try to imitate the ringing of church bells through fast arpeggiated chords while the main melody is often played with the left hand on another manual or with even the feet using the pedals, featuring a different registration (= timbre). The piece itself features almost the full dynamic range of the organ with a more or less linear increase, reaching its first culmination point at a striking dissonant chord around 6:10, before it enters the finale section which eventually utilises "full organ" (= all stops activated) for the final chords cadence (hope you'll own a decent LFE to enjoy the frequencies around ~16Hz). Just like many of my other creations, this has been played live at home using a three-manual DIY organ console with Milan Digital Audio's "Hauptwerk" as the software backbone and features MDA's "1903 Notre Dame de Metz" sample set being mapped to four different speaker pairs. The "audio artifacts" you might notice, such as key attacks, blower noise and some hizz from certain pipe ranks are indeed intended to be present in the final recording and are both a sign of realism and paying attention to the details when the sample set was recorded as well as they're vital for the authenticity of the piece's final recording. It should be noted that this exact recording -- like pretty much all of my music -- is a unique on-the-fly improvisation, which means that it cannot be revised or otherwise be "polished" in any way, not even for a resubmission attempt. Be sure to watch the VOD if you'd like to see the pictures that I had in mind when I improvised this (and for some nice goosebumps during the final measures -- at least I hope so). Edited March 1, 2022 by Woody mC Prefix updated Quote Link to comment Share on other sites More sharing options...
Docjekyll Posted March 3, 2022 Share Posted March 3, 2022 This is a fun listening experience. I like the different places you took the theme here. It has a definitely sense of motion overall, but the first half does feel much slower and at times that made it hard to follow the ideas there. It is clearly structured like a classical piece with two distinct movements of different styles, but I wonder how it might have changed the experience to take some of the ideas from the first movement and use them to add a slower, quieter reflective section before the big swell at the end. This is an impressive performance! Thank you for sharing Woody mC 1 Quote Link to comment Share on other sites More sharing options...
Woody mC Posted March 4, 2022 Author Share Posted March 4, 2022 On 3/3/2022 at 7:21 AM, Docjekyll said: ...how it might have changed the experience to take some of the ideas from the first movement and use them to add a slower, quieter reflective section before the big swell at the end... Thanks a lot for your nice commendation, @Docjekyll! Your idea above definitely has something tempting. Unfortunately, this was a live recording which is no longer subject to editing, but I'll keep that idea in mind for the next performances. Regarding the slow start: This is a common issue in my live impro sessions (let's call it "the motif gathering phase") where ideas keep pouring in to my brain and fingers and need a bit of time to consolidate into some sort of "stable equilibrium". According to my observation, there's another issue on the listener's side with this kind of music; impatience is a very wide-spread character trait today, which makes it hard to "narrate a full paragraph" in a musical context. However, I'm so glad that you had the patience to follow till the very end! This is something I highly appreciate. Quote Link to comment Share on other sites More sharing options...
Woody mC Posted June 13, 2022 Author Share Posted June 13, 2022 Such an honor to see this judged and posted as OCR04349! My sincere gratitude goes to all the judges, motivating listeners and people behind the scenes for their hard work and detailed assessment. Quote Link to comment Share on other sites More sharing options...
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