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J O H N ' S W A R P O N I E S
More Music by the Masters
Played by John Andrew Kaputa
Text also by John
This collection consists of Six-
voice Stereo SID classical music
entered between May 1999 and July 2000
using "The Enhanced Sidplayer Editor
128" by Craig Chamberlain and Compute!
Pub's; for playback using "64 Stereo
Player Version 10.3" by Mark A.
Dickenson and the no longer available
SID Symphony Stereo Cartridge. See
Note (1) below.
For instructions on how to use the
STEREO PLAYER, read "t.stereoplayer"
(on any of the above Loadstar issues).
A six-voice stereo SID cartridge or
chip is necessary for hearing all six
voices together. Single SID chip users
can hear only the "left" or the
"right" three voices (using comma or
period keys after the initial loading
of a piece). However, this is like
reading all the odd numbered pages in
a novel before starting the first even
numbered page; not very enjoyable. See
Note (2) below.
C O N T E N T S
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TWO OF JOHANN SEBASTIAN BACH'S
HARPSICHORD CONCERTI (CA 1735)
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See Notes (3) and (4) below.
Concerto in D Minor (BWV 1052)
harpsichord and strings
beginning 8:00 min
middle 4:54 min
conclusion 9:05 min
(SID entered SEP 1999)
EXCERPTS FROM THE GOLDBERG VARIATIONS
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(Clavier-Ubung Part IV)
See Note (6) below.
By Johann Sebastian Bach
(Published 1742)
Aria 2:44 min
Variation No. 1. 2:43 min
Variation No. 2. 1:52 min
Variation No. 3. 2:49 min
Variation No. 4. 1:22 min
(SID entered MAR 2000)
See Note (5) below.
NOTES
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Note (1) I request that someone come
up with a C=64 emulator for the PC
that also has the capability to
emulate the SID Symphony Stereo
Cartridge for the running of Mark
Dickenson's 64 Stereo Player Ver 10.3,
enabling more people to hear my music.
VICE 1.9 now has stereo SID. Hooray!
Of course, some may consider my music
comparable to home movies, which are
usually torturous to those forced to
endure the screenings. If you think
otherwise, contact LOADSTAR to obtain
my previously published renditions,
JOHN'S WAR HORSES and JOHN'S WAR
NAGS.
Note (2) The volume settings of the
right (.str) and the left (.mus)
channels are adjusted to balance on my
stereo system; you may need to adjust
your system's balance knob.
Note (3) Bach often transcribed his
earlier works for different groups of
instruments; therefore a few of these
harpsichord concerti have similar
melodies as some of his more famous
works: one or two of his Brandenburg
Concerti (ca 1721) and his Three
Violin Concerti (1717-23) BWV 1041 in
A Minor, BWV 1042 in E Major, and BWV
1043 in D Minor.
Note (4) After I had first finished
these seven Bach concerti, I started
working on his keyboard music (English
and French Suites, Partitas, and The
Goldberg Variations). When I was
halfway through the six Partitas I
decided my harpsichord renditions
didn't cut it for two reasons:
(4a) The first being that all notes
longer than quarter notes died out too
soon. This was corrected by increasing
judiciously their SUS and DCY values
by one or two depending on the notes
duration.
(4b) The second being the wrong
soundingness of many of my seat-of-
the-pants interpretations of the
various symbols (curlicues, squiggles,
and zigzags) that Bach used to specify
his musical ornamentation. This was
corrected after a many hours of study
in my new copy of "Harvard Dictionary
of Music, Second Edition, Revised and
Enlarged" by Willi Apel. The fact that
the meanings and names of many of
these symbols have changed over the
years, only made my task more
difficult. I hope most of them now
conform to the practices of the
baroque period (1600-1750) of musical
history. I am slowly revising my
earlier works with both sets of these
changes.
Note (5) These short Variations looked
easy on paper until I tried to figure
out the correct ornamentation. Even
then they were easy to "punch" into
the computer--I learned Fortran II in
1963. However, I'm greatly impressed
with anyone who has mastered the
technique required to play these in
real time on a actual clavichord,
harpsichord, or piano, where not only
must the mind coordinate both hands,
but that it can also apply the minute
variations in dynamics and tempo
necessary to provide the music with a
sense of soul. Computer music, at
least as performed by me, is just the
product of a glorified music box.
JOHN'S POST-MUMBLES
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I spend four to six hours a day
having fun working on my music. At
this time I am ready to start on J.S.
Bach's Goldberg Variation No. 26,
having completed the first twenty-five
out of thirty. I alternate these with
Johann Pachelbel's many Fugues on the
Magnificat for Organ or Keyboard
played by my six horn brass ensemble.
My next major task will be another
Mozart concerto. I'm still not up to
tackling Beethoven's Fourth, Sixth, or
Eighth Symphonies. His Ninth shall
ever remain unsullied by my hands.
I'm still learning and will accept
any constructive criticism; however,
since I gave up my day job in 1993,
three years prior to starting this
musical hobby, that pony won't fly!
Thanks anyway,
John, JUL 25 MM
AFTER-NOTE: As I jiggered around the
files and filled up Side 3 with as
much of John's music as possible, I
discovered that notes on some of the
compositions are not in these docs.
Oh, well.
The SID Symphony cartridge is no
longer available. Perhaps another way
to get the stereo effect is to use two
C-64's -- which more of us have than
the stereo cartridge!
DMM