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Yesterday, I had a chance to practice the piano a bit, and this one seemed to be flowing from my fingers pretty well. So, I got out my little digital recorder, and played it through a few times. The best "take" had two major flaws--a LH flubadub in m.26, and then a piano bench bump in m.36. Still, I dressed it up with some reverb and ran it through an assessment of sorts. The flaws really bugged me. So, I edited them out by splicing better measures from other takes. But then, I also liked the opening section of a different take better, too, so I spliced it on, instead. One thing led to another, and I think I ended up with most of "take 2 with 3 edits" instead of most of "take 5 with 2 edits." Then, since I was in that far, I thought, "What the hey," and tried some other EQ and noise reduction treatments while I was at it, to see what I could learn. As far as the overall difference in the two versions, in my opinion, the edited version is more "restrained" in character, while the un-edited version is played with a little more passion and verve.

The piano is no longer in the best of tune. But if you are interested in listening, here it is. I do not consider this a "finished piece," so have at it, if you like.

Bach--WTC I, Prelude 24, edited version

Bach--WTC I, Prelude 24, un-edited version with flub and bump

1940 Lester spinet recorded with a Tascam DP-004 using the built-in mics. Edited in Cu-Base.

--Andy

(P.S. Overall, I like the un-edited version better )

I prefer the flub and bump version, for sure, Andy. You bring out the voices so very nicely. Your dynamic sense and sense of time is wonderful for this prelude. Very much appreciated.

Andy, it's fascinating to me that Bach's WTC can be played at different speeds and articulations and be musically satisfying on its own terms. My own approach to Prelude 24 is to emphasize the "walking bass" aspect of the piece, letting the melodic line and harmonic progressions develop "along with the ride", so to speak. I like doing it that way because it provides an amiable "earthbound" contrast to the very mystical, intense Fugue, which I play VERY slowly, and always legato. In that context, your approach to the Prelude is very different -- you emphasize the singing line, the shape, the voicing, which gives it a yearning quality that I hadn't previously "heard".
Would love to hear your "take" on that massive, strange Fugue! Thanks for sharing this!

I enjoyed your rendition of this prelude very much - especially because of the way you follow the musical lines and connect each tone into the one that follows. Have you considered using different articulations for this piece? At the moment, everything is quite legato - articulating some of the motives might add more interest.

Very lovely! Thanks for sharing.

Lovely voice leading and musical lines -- thanks so much for sharing. I also prefer the unedited version -- sometimes the editing takes out the "fire" of the music.

Tim! Thanks for listening! It took me about two years to get this prelude to this point. It will probably take me four to get anywhere with the fugue. If you want to wait that long and if PW is still here, I'll post it!

Alright, Gould, try and take every most minimal, barely perceivable imperfection out if you like :P Just...I prefer the unedited version too...um...very good job on both accounts though; I love your tone.
Xxx

Lizzy! Where on earth have you been?!? Yes, I played around with different articulations A LOT when I was working on this one. And tempos. And dynamics. What finally got me settled here was the melty dissonances in the RH voices. But, as this is Bach, and as Tim says, there are a lot of different things you can do with Bach, I'm sure my playing of this piece will change some more over time. Do you have something specific in mind that you think I should do with a certain touch here or there? Thanks for listening!

--Andy

Lady Chen! I agree that editing doesn't always get you where you want to go. I foxed myself out by using a take for the edited version that was a little more consistent tempo wise, but not nearly as interesting dynamically, or heart-felt overall. Thanks for listening!

--Andy

FSO! LOL! I know. I know. It's like eating potato chips, though. You can't eat just one. And once you do your first edit, it's hard to stop!!! Thanks for listening!

--Andy

Inlanding! Flub and bump it is, then! (Inlanding was one of my behind the scenes assessors of the un-edited version. Then, I went and did an edited version, and posted them both out here.) So, thanks for listening to this again, my friend!

--Andy

Hello Cinnamonbear,

I'm afraid I don't have anything specific in mind in regards to articulation, but you might want to ask yourself these questions if you do decide to to change your articulation choices:

1) How are the voices different from each other in terms of note values, movement (disjunct vs. conjunct), ornamentation, suspensions, etc?
2) What will be most effective at making the voices sound distinct from each other?
3) Which articulation choices make sense for a piece from the Baroque era?

Have fun!

I guess I have been away from PianoWorld for a while.... I'm a busy student.

Thank you, Lizzy! I like the idea of looking for "disjunct" and "conjunct." I understand what you mean, I get it, and I will consider it!

Glad to hear from you!

--Andy

I look forward to that time - in the meantime, I'll find solace in enjoying your prelude

I prefer the flub and bump version also. This prelude is captivating and beautifully played.

Thank you for your comments, Bobpickle and Pianogrl! Bob, I have recently been working on WTC I, Fugue 22. Hopefully, when it is ready in about a year or two, it will tide you over until Fugue 24.