This fast-paced in and out like mandolin like strumming of the synths is just otherworldly levels of goodness.  Gives it a nice feel of balance. Excellent how the melody proceeds into new regions.

Very pleased with the result.

--D

main website:

https://exedexes1.com/

I am not familiar with this particular piece, but you make it seem like this is how it was intended from the start! The faster part with the quick delay gives a uniquely synthesized sound and I love the momentum it gives that is reminiscent of an upbeat and fast Kirby track. My favorite moment was at 2:36 when you doubled the melody in the bassy synth with the big “wow” sound (I obviously am showing my lack of knowledge of synths), but I love the shift in character making the sound feel bigger without really shifting dynamics to reach the climax of the track. Great work and thank you for sharing!

Really interesting choice of instruments, leading melody on some organs + phaser and high dynamic arp.

Really good!! Congrats!!

Classical guitar represent!

Bravo Maestro!

I would love to hear that with kick drum in a royal electro club!

Since there wasn't field to add a description when submitting to the jam:

This is a submission for Composer Synthestration Jam #1 wherein participants are invited to produce a synth-based musical piece. Participants could either submit an original work or produce an arrangement for an existing piece with synth instruments providing the orchestration. I chose to work on the latter option, arranging "Recuerdos de la Alhambra" by 19th century Spanish guitarist, Francisco Tarrega. 

The original piece is a beautiful and haunting guitar piece challenging the player to play finger style in order to perform the tremolos prevalent throughout the piece. For this synth arrangement, I went with a much broader orchestration. I used the Arturia Pigments software synth for all voices in this piece. 

I worked off a creative commons transcript of the song found at https://cantorion.org/music/2582/Memories-of-the-Alhambra-%28Recuerdos-de-la-Alh...

I largely stuck to the composition, though I did skip the second ending at measure 37 and went straight to the coda and cut out the last three measures to instead end on a monophonic A.

The arpeggios are mostly played by a voice repeating  a rapid pattern (of the same note, though the end of the pattern drops down an octave) to mimic the tremolo. Towards the finale that instrument becomes distorted by the Rift plugin.

The tremolo  effect is also promulgated by voice with a plucky envelope playing quick triplets (a second voice with similar effect also joins in towards the climax). Since these triplets largely carry the melody, they are accompanied by various voices playing a legato version of the melody. 

The bass keeps rhythm with a dotted half note at the start of each measure (in the original score this part would be handled by the guitarist playing the low note and letting it ring).