SYMPHONY No. 1 in C Major (Opus 21) Ludwig van Beethoven (1770 - 1827) This symphony in four movements was realized on a Korg M-1, and also utilizes a Korg M1-R EX and a Korg M-3R sound module to accomodate all the instruments called for in the orchestral score as edited by Wilhelm Altmann. The four movements are: 1.) Adagio molto - Allegro con brio (SYM1-1.WRK) 2.) Andanate cantabile con moto (SYM1-2.WRK) 3.) Menuetto - Allegro molto e vivace (SYM1-3.WRK) 4.) Adagio - Allegro molto e vivace (SYM1-4.WRK) The instrument names shown on each track are the Italian names used in the score. Performance Notes: The four movements were realized with a minimum of quantization and every effort was made to avoid a "mechanical" rendition. As this is my first full length transcription, I recognize that it could be better; I promise that future offerings will be more professional. There are very little patch changes involved so that you may edit and substitute appropriate patch numbers to accomadate your system. In particular: 1.) In the first movement all patch changes are in the introduction (Adagio) and are in the string section only. The movement begins with a pizzicato in the strings and I used a string pizzicato patch provided by MANYMidi Products ( their voices are superb! ). As a substitute, I would suggest using the Acoustic Bass patch provided with the M-1 . The strings change back to bowed strings in measure 4. 2.) The Double-bass uses a patch ( also from MANYMidi ) which lowers the actual note 1 octave. Therefore the Doublebass track is a clone of the Violincello track EXCEPT when the pizzicato patch takes effect; then the notes are written an octave lower. 3.) In the second movement all the patch changes are again in the string section ( cello and bass only ) which occur at the end of the movement. Remember Note #2 above when dealing with the doublebass. 4.) In the third movement, I couldn't get Cakewalk to go fast enough in 3/4 time to suit me so I set the meter at 1/4 and used a triplet eighth to simulate a fast minuet. 5.) There are no patch changes in the third or fourth movements. 6.) In order to mix and balance the many voices employed here, I set all 3 synthesizer modules at full volume; then set each individual voice within each combination at full volume; then embedded in each track the volume setting required to blend in with the other voices using Control change #7. This works well with my setup by your patches are probably balanced differently so you will probably have to edit the control change quantity ( or block them out completely ). Listen to the piece before you make any volume changes, it may sound alright! 7.) The following is a breakdown of how I assigned voices to the three synthesizer modules: INSTRUMENT TRACK MIDI CHANNEL MODULE PATCH MFG PATCH NAME ---------- ----- ------------ ------ --------- ------------ Flute 1 2 M-1 MANYMidi (*MMP FLUTE) Oboe 2 3 M-3R MANYMidi (Ex-Oboe) " " " M-1 " " Clarinet 3 4 M-1 " (*MMP-Clar.) Bassoon 4 5 M-1 " (*MMP Bassn) Fr. Horn 5 6 M-1 Korg (French Horn)(Rom card #MPC-04) Trumpet 6 7 M-1 " (Cornet) ( " ) " " " M-3R " (Trumpet) (Stock) Tympani 7 8 M-1R EX " (Tympani) (Stock) Violin 1 8 9 " " (Strings) (Stock) Violin 2 9 10 " " " " Viola 10 11 " " " " Violincello 11 12 " " " " Doublebass 12 13 " MANYMidi (Double bass) As you can see, the trumpet and oboe were doubled on the M-3R. Due inferior quality (when compared to the M-1 & M-1 R EX ) of the M-3R, these were the only patches which sounded good when heard in union with the M-1. Finally, if you like what you've heard, please let me know; if you don't like what you've heard, let me know also, but please leave out any comments about my ancestry . Enjoy! Art Acu¤a (Compuserve 72261,3244) (GEnie AAcuna1)