Why Organ?

Monday 1 September 2014

About those organ pieces I wrote…

One night in a pub, many years ago, someone asked me why, if I was writing music for computers to play, was so much of it written for virtual piano. I said that computerised sequencers were really useful only for precise control of rhythm and intonation, not for timbral subtlety; therefore when I wrote music for MIDI files I used the piano as a familiar acoustic model which wouldn’t distract the listener with “new” or “weird” sounds. (This was after several whiskies so I probably used slightly different wording at the time but the sentiment was the same.)

Most sampled acoustic instruments sound horribly fake. Every note has the exact same sound, with none of the natural variation you can’t help but get with instruments that are bowed or blown, for example. The sameness becomes grating. How could I easily get a wide range of tone colours which would still strike the listener as a “natural” acoustic listening experience?

The pipe organ has some striking parallels to the MIDI synthesiser. Both are dead-end technical solutions to musical problems. A wide range of stops (instrument patches) are available, but with little direct control in how these sounds may be used. You press the key, the sound starts, you release the key, the sound stops. In between pressing and releasing the key, there is no change to the sound unless it has a built-in decay which cannot be varied.

The combinations of stops used in 144 Pieces For Organ could not be played on a real organ, but the sound-world is sufficiently familiar for the listener to enjoy the mixture of harmonies and timbres without feeling a need to identify a sound source.