Happy New Year! May this year bring you peace and tranquility!
As the new year begins, I’ve been thinking about what kind of pieces I should work on for MIDI sequencing this year.
1. Piano Sonata by Beethoven
Last year I was finally able to finish number 29, which I had longed to do. With this, I have finally been able to sequence the entirety of the middle to the end of the season. So this year, I would like to review the pieces I have performed in the past, especially the latter 3 songs (No.30, No.31, and No.32), to further improve them. These three pieces were the first ones I sequenced when I first started DTM, and I thought I still needed to improve both technically and musically. My musical advisor said to me at the time, "Let's review them again sometime...".
2. Stringed Instruments
I've been playing the cello for quite a long time, but my skills have already plateaued, and at this point, I suppose it's more about preventing aging.
Since there are so many amazing cello masterpieces that I could never truly master, I decided to at least try sequencing them in a way that reflects how I would love to play them. Right now, I'm working on Schumann's Cello Concerto.
I imagine it will take quite a while to complete, but I'm enjoying the process of shaping each and every note. It's also a perfect piece for studying orchestration.
I'd love to try Brahms' Cello Sonata as well. The deep, resonant cello tones in that piece are simply magnificent.
Last year, I sequenced the first movement of Elgar's Cello Concerto, which allowed me to fully immerse myself in the perspective of a conductor.
3. Sound Libraries
By the way, sequencing string instruments is quite challenging. Unlike percussive instruments like the piano, string instruments allow the performer to freely change volume and tone color within a single note. That very characteristic is what defines string instruments.
Because of this, there is still room for improvement in string instrument sound libraries. Even as a cellist, I can see that there are general rules governing articulation and phrasing. With the incorporation of modern AI technology, I believe it would be possible to develop something truly remarkable. I hope someone out there is working on it.
Recently, a new type of physical modeling sound engine, which generates sound entirely through computer calculations rather than sampling, has been gaining strength. These systems allow for detailed adjustments, including bowing direction, attack, finger position, bow pressure, and speed.
As a result, the sound does resemble real strings, but in my experience, it still tends to come out somewhat "flat" and lifeless. Perhaps the natural, unpredictable irregularities that occur when a human plays the strings are what give the instrument its emotionally resonant tone. If that's the case, then physical modeling still has a little further to go.
Now, let's see what happens this year: ・・・・