Hoo-boy, this is going to be not fun. I have this update, a five-page paper, music to write in manuscript, music to write, and laundry to do before 10:30 EST tomorrow. At least, that's when the class for the paper ends, which I can probably skip for lack of sleep or still working on said paper. Regardless, I'm planning on an all-nighter, and I have some nice things to keep me up, like caffeine and carbs. Mmm...tea and pasta... Oh, and I have exams next week. Rock out.
Things have been fairly hectic this week for me; not only have I had to worry about all mentioned above, I'm covering the harp and celeste parts in a production of Tchaikovsky's The Nutcracker. It's fun to play, and the music is generally very good. It's worth a listen.
If I had time, I would have reworked another of my older pieces for this update, but as you may have noticed, I sorta have no time. I don't even have time to respond to most of the emails I get, so please don't get offended if I don't respond right away. If I'm feeling nice (and haven't died of exhaustion), I'll have something of my own on next week.
My name is Chris Cuellar, and my song is the Decisive Battle, or the normal boss, midi for FF6. Now, I know you've got... *counts* EIGHT of them, but this is probably going to be the best and most accurate you will ever hear unless you get a soundtrack or MP3. This has been created by taking 2 midis, putting pieces together, and editing the heck out of it beyond recognition...so Enjoy!
This is an arrangement of the temple theme from the Magic of Scheherazade. It's Baroque with string orchestra, solo viola, and a spinet (not harpsichord, though it sounds similar). This is my most "classical" sounding piece so far and one of my personal bests. 85% of this song is original due to the amount of counterpoint and work that had to go into it to make it sound "authentic" (i.e. the three parts sound fluid and not jerky, not as though two composers supplied the material). The only thing untouched is the line in the violins for the first eight bars (and whenever it returns in the song). It's in standard Rondo form (for those of you theorists out there) and follows ABACABA. I didn't want a lot of reverb (and this is still too much) as it's supposed to represent a chamber feel, but since the sections of the strings I have are too large I just had to make due -- so if it's too 'dry' for your tastes you'll just have to deal with it. Yes, I know the violas are further back than everything else -- that's the way I intended it to be.