Take 2

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Take 2

NOTE

Track 1: Nylonstr. Guitar 2

Sequence Parameters box: Qua 1/8 note

Instrument Parameter box: Cha 2, Prg 24

Transport Bar: (L) 1.1.1 (R) 5.1.1

1. Record the chord sequence in Figures P5.4 and P5.5.

   Listen to the result. If any notes sound too short, check them by viewing in the Matrix Edit window. Unlike Guitar 1, the notes need not line up end to

   Figure Figures P5.4 and P5.5. Chord sequence, Score and Matrix view

   

   
   end. If any are obviously too short, then lengthen them by grabbing the bottom right-hand corner a finger appears and dragging to the required length (Figures P5.5a and P5.5b). Alternatively, use the index finger tool from the Tool box (Figure P5.6).

   Figure Figures P5.5a and P5.5b. Lengthening a note with the Index finger tool

   

   
   

   Figure Figure P5.6. ( below)

   

   
   

2. Select both recorded sequences, and use the Repeat objects command [Functions > Repeat objects...] to replicate them. In the resulting dialog box, you will be asked:

• Number of Copies type 1 here.

• Adjustment select Auto here.

• as select Copies here.

We now have eight measures of music on Tracks 1 and 2 (Guitar 1 and 2).

1. With the Glue tool, join the two sequences on Track 1 together.

2. Repeat the procedure with the two sequences on Track 2.

3. Save Song compare with project5/5.2a.

OK so far, so good, but we can't repeat the same eight bars indefinitely without some form of variation. On the other hand, we must not overdo it. It's a predominately static scene remember. Let's try repeating the same eight bar sequence but drop the pitch a perfect fourth while doing so. That way we keep the minor chords and retain the moody atmosphere.

1. Select the sequence on Track 1 (bars 1 9) and duplicate it [Functions >

   NOTE

   How much you can lengthen notes in the Matrix Editor depends on the display resolution. Change this in the small window found on the left below the Tool box. This is linked directly to the display resolution on the Transport bar ( Figure P5.7 ). In our case a value of 16 is fine.

   Figure Figure P5.7. Changing the display resolution

   

   
   
   Objects > Repeat objects (x1)] between bars 9 and 17.

2. Select the new, copied sequence (9 17), and using the Sequence Parameters box, enter a Transpose value of 5 (Figure P5.8). There are other ways of doing this, but our chosen method is convenient for now. If we don't like the result, it's easily changed.

   Figure Figure P5.8. Transpose value Sequence Parameters box

   

   
   

3. Repeat the above procedure with the sequence on Track 2.

Set the Locators to cycle between (L) 1.1.1 (R) 17.1.1 and play the piece back a couple of times. 'Sounds good to me maestro' as a well-known session bass player was fond of saying to the musical director when he wanted to get home early without doing another take! We're happy with that (well I am anyway) so let's make a commitment! If you were to view the transposed sequences in the editors at this point, they would still show their original pitch, even though we now hear them a perfect fourth below. We'll now make these changes permanent.

1. Select the two sequences (bars 9 17) on Tracks 1 and 2.

2. Use Functions > Sequence Parameter > Normalize Sequence Parameters (Figure P5.9) to make the transposition for real. Play things back to check. A look in the editors will reveal the data changes.

   Figure Figure P5.9. Normalizing sequence parameters

   

   
   

   NOTE

   Normalizing sequence parameters is in effect saying 'make these sequence parameters permanent.'

3. Save Song compare with project5/5.2b. We now have 16 bars that can be repeated infinitely as long as we dream up interesting variations to overlay.

4. Using the Glue tool, join the two sequences together on Track 1.

5. Repeat the procedure on Track 2.

6. Copy and paste the sequences on both tracks (bars 1 17) to bar 17.

7. Save Song compare with project5/5.2c.

   We now have 32 bars of guitars. A different texture perhaps? Strings come to mind, and movement. A rhythmic figure maybe.

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