Hidden Truth · Personal bayan arrangement studies

Same piece.
Three ways to breathe.

Three complete, 61-measure versions from your corrected score. Compare the same passage with A, B and C. Original key, measure count and tempo changes are retained. Your source file has not been changed.

Passage Volume

Ready. Each play button restarts the selected passage for a fair comparison.

Illustrative reed-like synthesis, not a recording of your bayan. Register combinations and bass voicings are approximate. No audio or score is uploaded.

A · CLOSEST TO THE SOURCE

Faithful

Original right-hand notes and rhythms. Left-hand octave pairs become single root-button notes; the arpeggio pitch-class sequence remains.

Clean middle reed. Light left-hand registration. Best baseline for judging how much arrangement you want.

MusicXML MIDI

B · CLEAR AND LIGHT

Lean

198 simultaneous right-hand octave pairs become the upper melody note. Opening alternating octaves remain. 26 immediate bass repeats become rests.

Clean middle reed, no octave coupling. Short bass releases in m.45–52. Best for clarity and reduced weight.

MusicXML MIDI

C · OCTAVES AND CHORD COLOUR

Full

Lower written right-hand notes use middle + high registration in m.20–52. Twenty left-hand measures use selected major, minor or seventh chord buttons.

Optional detuned middle reed at m.45–52, if that combination exists. Best for a broader, more explicitly bayan-led arrangement.

MusicXML MIDI

Reading and playing the variants

M means your clean middle reed. H means the higher octave reed. Detuned middle means a small tuning offset, not a semitone.
Left-hand octave 2 is representative notation for root buttons. Your high/middle/low register determines the real sound. These scores do not require free bass.
In C, labelled stacked left-hand notes mean one preset chord button, not separate free-bass notes. The displayed and synthesized chord voicing is illustrative.
C's written right-hand notes in m.20–52 are fingering pitches for M+H registration. Ordinary MusicXML readers may play only the written note. The supplied MIDI and this player include octave coupling, plus a +10-cent illustrative reed at the climax.
A and B deliberately avoid adding guessed preset chords to the accompaniment. C is a harmonic reduction: extended colours in some G♭ passages are simplified to G♭ major. Ambiguous or suspended passages outside the listed chord substitutions retain the root-button pitch-class sequence.
All three omit the additional A in the original left-hand D–A–D sonority in m.3–4. All retain the source D-natural opening, G-natural in m.18, and E♭/F ending.
No dim7 button is used merely because it is available. Register names are suggestions; exact switches and bellows directions need a play-through on your instrument.

Suggested comparison

Start with m.21–28. Compare A's manual octaves, B's single upper melody and C's coupled-octave melody.
Try m.45–52 for bass articulation and the optional detuned colour.
Try m.33–40 to decide whether C's chord-button accompaniment is preferable to the more literal pitch sequence.

Arrangement notes · Validation receipt

References

Bayan traits · Accordion for Composers · McMahan's composer's guide

Same piece.Three ways to breathe.

Faithful

Lean

Full

Reading and playing the variants

Suggested comparison

References

Same piece.
Three ways to breathe.