[edit-snip snip] Anyway to make a long story short I started doing a bit of C sharp recently:
Take a close look at that key signature. Go ahead, count them. That's right. Seven motherfucking sharps. "But wait" I hear you say. "There's only five accidentals in an octave!". Yeah, very observant of you. But you will find that occasionally it is helpful to learn and try a technique before judging it.
Arguments to authority are not arguments, but sometimes the force of authority is enough to encourage us to take a closer look. Nothing wrong with that. In this case, the closer look is warranted. The shit works. Sure it could be D flat major, but it would look different. The order that the things come, such as the first double sharps, the lack of any flats.. it works. So lets go through it a bit.
First, seven sharps - that's one for every note. C sharp, D sharp, E sharp (yes that's F), F sharp, G sharp, A sharp, B sharp (mm hmm). And back to C sharp. Pretty fucking sharp wouldn't you say?
It starts out with a lovely little exploration of 10ths. 6ths. Shifted 3rds. Whatever you call them. Those most poignant of intervals, complete with rhythmic backbone. Then shifting up a fifth to see how it sounds when starting in an offset. Not exactly the same of course, because it can't be. And then again, and then again. Which one do you like best? But then.. who ordered that? Double sharps start to come, and modulation comes ahead of where you expect. The noob is left saying "wait how do I install this library?!" as the transposing shifts seem to come more quickly and blur into one another. But it turns out that these turns do in fact make sense. Bach is the master of the turn, arriving anywhere he needs in register space with minimal work. He brings us quickly through some difficult to chart (for this dwarf) terrain, and then back into the explorations of the 3rds. But this time somehow we have emerged below our original figure. So we naturally flow into and repeat the original figure.
Well I don't want to spoil it for you. It's a nice piece. You are left thinking about how three diminished scales fill all even-tempered space, two whole note scales do the same. As usual things just fit.
One judge of code is how arbitrary things seem. Could it be any other way? If the answer is "no", then the code is good. It's never perfect, but in the case of this programmer it is tough to find refactorings you could push through consensus, lets put it that way. Do you think your C# code will be run in the same way a couple hundred years from now? How many pull requests have been accepted on this project btw? How many updates were needed? Do you think we need a Bach foundation to pay developers to fix up some of the problems in this piece? Get rid of some notes and refactor it in D flat major perhaps? No way dude. Fork Bach if you want but everyone wants the real thing.
Anyway the next prelude is in C# minor (only four sharps), and looks to be much harder. At the same time I'm working on doing the 1st prelude in C#. Why not? Cya on the down stroke.
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