Passacaglia (4th movement symphony #10)

[Jerry Gerber]

This piece is based on the passacaglia. Instead of being in 3/4 it is in 9/4, and instead of being in a minor key it is in the phrygian mode. It's scored for full orchestra and 4 software synths. It is 10 minutes in length and completes my 10th symphony. The entire symphony (and 4 short pieces) will be released in June on my 14th CD release. [url=http://www.jerrygerber.com/symph10mvt4.htm]Play[/url] Best, Jerry

[William]

.

[Errikos]

This movement is one of the more tasteful marriages of electronic sounds with (what could be) acoustic instruments, that I know. I also enjoyed the natural, unforced rhythmic structures of the movement. I have to say that the finale seems more appropriate for a middle movement -say a scherzo- rather than of a whole symphony to me, but overall, congratulations!

[jasensmith]

Hey Jerry, long time no hear. Busy working on that CD I guess. This sounds very nice. Very impressive recording and sound overall. Some composers shy away from synths in an orchestral setting thinking they're not appropriate and too lowbrow best left to the throbbing EDM'ers devoid of any semblance of culture. How nearsighted. When used tastefully, synths can introduce the listener to whole new and interesting dimensions within a piece and you've demonstrated that here. Incidentally, you're not the only Jerry who's used synths with an organic orchestra. Jerry Goldsmith used synths unapologetically in many of his works. I've tried mixing synths into my orchestral recipes but none of my sonic confections are as deliciously sweet as your Passacaglia. Congratulations!

[Jerry Gerber]

@jasensmith said:

Hey Jerry, long time no hear. Busy working on that CD I guess. This sounds very nice. Very impressive recording and sound overall. Some composers shy away from synths in an orchestral setting thinking they're not appropriate and too lowbrow best left to the throbbing EDM'ers devoid of any semblance of culture. How nearsighted. When used tastefully, synths can introduce the listener to whole new and interesting dimensions within a piece and you've demonstrated that here. Incidentally, you're not the only Jerry who's used synths with an organic orchestra. Jerry Goldsmith used synths unapologetically in many of his works. I've tried mixing synths into my orchestral recipes but none of my sonic confections are as deliciously sweet as your Passacaglia. Congratulations!

 

Hey Jasen,

Glad you enjoyed the piece.  One of the ways to get the synths to work more closely with orchestral samples is to listen very closely to the rhythms that are being generated by a synth's LFO, arpgeggiator, envelope, or however the synth is creating filter or amp oscillations.  That can be the hint as to how to proceed with orchestration, rhythm and harmony.   I'll listen to a synth timbre I've created myself or it might be a timbre programmed by somebody else and notate the rhythmic patterns I am hearing.  Now I have a rhythmic motive that can be applied to the virtual orchestration.   Since synth attacks can be very very sharp, sometimes you might have to move the entire synth track a few ticks late so that better sync is achieved.

Best,

Jerry

www.jerrygerber.com

[Minardi]

Hi Jerry,

Just finished listening to this piece. I had no idea what to expect. WOW!  I have to admit, I am not really a fan of elecronic synth sounds but, man, you did such a good job of integrating the synths into this piece.

Congradulations and all the best on the CD.

John Minardi

[Jerry Gerber]

@Minardi said:

Hi Jerry, Just finished listening to this piece. I had no idea what to expect. WOW! I have to admit, I am not really a fan of elecronic synth sounds but, man, you did such a good job of integrating the synths into this piece. Congradulations and all the best on the CD. John Minardi

Thanks John for the kind words, I'm glad you liked the piece. Jerry