![]() Some performances kept the whole passage very hushed, though it’s difficult to get that kind of life out of samples while using the subtlest shadings of dynamics. In the score of course that moment coincides with the entrance of most of the woodwinds, so it is somewhat masked. I went back and forth about using portamento on the grace note. Maybe a third of the performances had portamento there and none had as much as I applied to that moment. ![]() I only used it in one place, and rather prominently. Portamento was used a lot in some performances, not at all in others. I knew my tempo was slower than Andante, but my tempo was by no means that slow comparatively, with quite a few slower still. I checked recordings just before posting-I was actually looking to see how the violins played the leap up and down of the sixth-but I was struck by the variability of the performances. ![]() So I can say already that I like the library, it plays well under the hand, and takes at least reasonably well to programming, I can’t yet say how it will be to work with long term, or indeed whether it might turn out to be rather too fussy compared to other libraries. And it turned out that I haven’t had much time to just play around with the library, so learning is slow, and I’ve really only explored the main performance legato and the lyrical legato at any length. Then too there are lots of legato choices and you can exercise a fair amount of control over them both with the performance versions but also by keyswitching. I haven’t used the library enough yet to have a good feel for these things except to be fairly sure I’ll be able to improve aspects of my rendering as I understand the library better. The library is complicated: it presents lots of choices and with things like the various note fronts can be hard to get your head around how they work in practice, the difference say between velocity 22 and 24 or 112 and 114. This has led to the nickname Variquoise to describe this poor attempt at pulling the eyes over jewellery makers and crafters alike.Click to expand.Yes, I put mine together without consulting recordings and going on my sense of the music and memories of course of performances I’d heard. Some unscrupulous sellers try to pass off turquoise dyed Variscite as real Turquoise, in a similar fashion to dyed Howlite and Magnesite. However just to be clear, none of it is actually a Jasper, it is one hundred percent the mineral Variscite! We quite like that name because it is a good description of what you are looking at. To confuse matters more, undyed Variscite, which is actually a beautiful pale blue/green colour with a sandy-coloured web matrix, is usually sold under the trade name of ‘ Aqua Terra Jasper’. Confused? It really is a minefield out there and it’s a shame that we cannot just call it Variscite and have done with it! Imperial Jasper is actually a different type of Jasper altogether that has nothing to do with Impression Jasper, so that term should not be used to label this gemstone. It’s referred to as ‘Sea Sediment Jasper’, ‘Imperial Jasper’, or even ‘Emperor Jasper’ by some suppliers. Even though it is dyed Variscite, you will struggle to find a supplier that sells it under its correct name. The first thing to say about Impression Jasper is that it is a very confusing stone.
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