![]() As the tone plays the highest tone slowly fades until it is completely silent, at the same time the lower tone gradually increasing in volume. In the event there are three tones there is a high, middle, and low tone. These same waves are layered on top of one another. The Shepard tone is an auditory illusion loop that is comprised of multiple sine waves that are separated by an octave. The Shepard tone is a unique phenomenon with audio that makes it sound as if the pitch is infantilely raising or lowering. This unique auditory illusion is known as the Shepard tone, and believe it or not you’ve probably heard at least one before. Take for example the belief that an audio piece is continually rising, when in fact the audio is looping. Auditory illusions are interesting in that they trick the brain into believing it is experiencing an auditory phenomenon that is not actually present. This composition is in G major.There are many audio illusions, each with different effects, that can help us explore exactly how our brains work. I turned this piece together with Gounods Ave Maria into a new composition for bass accordions, three accordions and a percussion instrument (cajon, bongos or djembe) and have a recording of that: Cello.mp3 from the Van ARTE CD by accordion quintet ARTE (in which I play the bass). 1 (first movement) which is normally in G major but that then requires going up to the note G4 whereas my bass accordion only goes up to Eb4 (the highest of any bass accordion I know) so the piece was transposed down to Eb major. It is a recording of Bachs Cello suite nr. It is played on a Pigini C39 bass accordion using just the L register. Which was recorded live during a concert. There are very few solo bass accordion performances that let you enjoy just this instrument, but I happen to have one: ![]() The term basson is often used (mostly by the Italian manufacturers) to refer to a bass accordion. On my bayan the chord of D sounds too high and that of E sounds rather low. Hiding the octave jump helps to also keep the chords playing in roughly the same range, and this is where the weak point is of playing Stradella on some convertor instruments, not really designed to have good Stradella bass. The octave jump is also very important for the chords used on Stradella, something the video ignores completely. They also often just copy a line written for Cello or Double Base or a combination of these two without taking the range and the response of the bass accordion into account. They also often forget to add octaves to the very lowest notes when needed to compensate for the slow reed response of these notes. What arrangers forget is to add octaves to hide the jump, like going A-G-F-E+E-D-C to go down with a jump around the E (meaning the following D is in the octave above that F). (And it also takes good bass accordions with good amplification, not the junk used in many orchestras, especially junk in amplification, not so much in the bass accordion itself.) Essentially it takes an experienced bass accordion player to write good arrangements for accordion orchestra. Many people who arrange music for accordion ensembles or orchestras essentially do not know the possibilities and limitations of the bass accordion and as a result a lot of the arrangements even from well-known (mostly German) arrangers have poor bass accordion parts. I do consciously take octave jumps into account when arranging music, more so for accordion orchestra than for solo accordion because the Stradella bass side does its best to hide the octave jump whereas a bass accordion (used in ensembles) does not. This 12 minute video could have been done better in under 3 minutes. Interesting but indeed very rambling instead of getting straight to the point.
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