@JBacal said:
Revisting the solo for the orchestrated version, I realized that once again William and Beat were right about too many slides on one bow. Real violinists were indeed sliding where I had used slides but in many cases they were sliding AND changing bow direction at the same time. There are 4 patches currently that offer slides of one sort or another (sul, porta, zigane and glissando). They are all VERY useful but they are all with one bow direction. I would love to have one more...a slide with a bow change-- a combination performance detache-zigane. Maybe Herb will put that on his ever growing list of samples to be recorded. [:)]
Bottom line, in the new version I removed some of the slides. Still a compromise, but perhaps a bit more tasteful.
Best,
Jay
Jay, Violin portamento is a very complicated subject, and while you are correct that slides are sometimes performed with a change of bow, there are two added complications:
1) More often than not, the slide doesn't actually connect the two notes, it often just slides from the start note up (or down) a little, or from a little under the top note (known as the French overslide or the Russian underslide).
2) This brings me to the second point. In the case of the French overslide, the position change is done at the end of the preceding note, thereby being included in the same bow. The Russian underslide is done at the start of the succeeding note, thereby being included in the next bow (and played slightly early so that the top note arrives on the beat).
Therefore with the current samples you have to know three things in order to do portamento with a change of bow:
1) French or Russian
2) What interval the actual slide is
3) What strings the two notes are to be played on.
Each of these points has a direct bearing on the other ones. All of this is possible to fake, but even with VI I still think that it will probably need 2 tracks to do successfully.
DG