• The faster sections worked better at a slower speed.
▾ Fragment to advance on a 33% chance (5 or 6 or Die 6)
• This made fro a potentially longer songs there would be less forward movement.
• There were some cases there was arbitrary progress where the next fragment was selected, if the song seem to be getting too jammed up as some tracks started to bunch up at the front while the slowest track refused to moved on.
▾ Multiple fragments within a patten
• Within the 4 bar / 64 step patten length fragments can advance providing more forward process and mitigating the lesser probability to advance.
▾ The process of structuring the fragments could vary on a day to day basis as different approached as fragments were encounured.
• The initial plan was advanced through the fragments with ad hoc decisions rather than worked out for the entire group.
• When fragments or the next fragment did not fill out 4 bar; on somedays partial fragment where used to fill out the space, sometimes. the steps left blank.
• In the later pattens the start of fragments was moved to the start of bars
▾ The process was designed to fit into the 1 Patten / 64 step structure.
• Letting the fragments follow into the next patten was considered but it seemed to be too difficult to structure and could cause issues the the Monomachine song structure methods which is a chain of pattens. It was possible but too hard.
• The Monomachine unlike future Elektron sequences requires the same patten length for all tracks.
▾ The score was in error mainly with rhythm.
▾ The score was derived from a midi file translated into a text score. The text structure was miss read at times which is a problem since I developed the text score symbols.
• The initial structure was: <step>-<pitch>+<length>. Eg 1-B3+16 which was B3 note on step 1 for the length of 16. However for some notes the structure was written as 1-B3+15 - B3 on step 1 with 15 additional steps in length. This impacted the longer notes.
• Revised the symbols to be <step>@<pitch>-<length> : 1@B3-16. The @ symbol makes it look too crowded. Probably keep the original system and strengthen the interpretation.
▾ The final mix was/is rough.
• Not an expert and not a focus of the process.
• The final result sounds good and shows the movement through the fragments.
Projects : Fragments In C - Note Sequences
This is a work on an idea sparked from the David Bruce video which noted key and changes of "In C".
The following are note sequences of each of the fragments without lengths or pattern placements.
This provide an overview on how the piece is developed with short fragments building to longer fragments and then falling back. The longer note fragments are often very repetitive in notes played.
Different note values are played in clusters such as F# which occurs in the middle of the piece. A# occurs only towards the end while E, F and G appear through out.
The overall effect though of the piece will be magnified by these basic fragments being played asymmetrically by a variety of instruments.
This structure provides a guide to constructing new fragments and sequences.
1 c e c e c e
2 c e f e
3 e f e
4 e f g
5 e f g
6 c c
7 c c c
8 g f g
9 b g
10 b g
11 f g b g b g
12 f g b c
13 b g g f g g
14 c b g f
15 g
16 g b c b
17 b c b c
18 e f# e f# e e
19 g
20 e f# e f# g e f# e f# e f#
21 f#
22 f# f# f# f# f# f# g a b
23 e f# f# f# f# f# g a b
24 e f# g g g g g a b
25 e f# g a a a a a b
26 e f# g a b b b b b
27 e f# e f# g e g f# e f# e
28 e f# e f# g e
29 e g c
30 c
31 g f g b g b
32 f g f g b f g
33 g f
34 g f
35 f g b g b g b g b g a g b a g e g f# e f
36 f g b g b g
37 f g
38 f g b
39 b g f g b c
40 b f
41 b g
42 c b a c
43 f e f e e e e f e
44 f e f e e
45 e e c
46 g d e d g g g
47 d e e
48 g g f
49 f g a# g a# g
50 f g
51 f g a#
52 g a#
53 a# g
The original instruction for "In C" has the performers playing each of the 53 patterns sequentially with the freedom to repeatedly play the patterns or resting. The performers were to keep within 2 to 3 patterns of each other. Tempo is discretionary.
Riley envisaged a group of 35 performers and a performance time of 45 to 60 minutes.
The initial Monomachine composition was to use the six tracks, the inbuilt sequencer and the song mode. This required an compositional approach which fit into this structure and deviated from the Riley composition.
What Riley designated as patterns will be termed fragments to distinguish them from the pattern structure of the Monomachine.
A Monomachine track would be allocated a specific sound (sound). A 64 steps for each track would be dedicated to one fragment. A pattern consists of the 6 tracks each playing their own fragment.
Progression through the fragments was done randomly with a die throw. 1 - 3 the next fragment would be use d in the next patten while a 4 - 6 the fragment would be repeated.
The fragments were of different note sizes, from 2 or 63. The placement and repeats within the 64 step patten did become somewhat arbitrary.
The composition did provide an interesting blend of different instruments playing the same or different fragments and movements as the fragments were progressed through. The instruction that there should only be 2 or 3 fragment difference between the instruments could mean the piece had more coherence as the fragment within a range would be related even minimally.
The random method of progression did create situations were some tracks were more than 3 fragments away. In that case the fragment played would be the next fragment within three of the lead fragment.
Riley wanted the composition to end on a crescendo with all players on the same fragment 53 repeatedly. In the Monomachine composition the opposite occurs though my misunderstanding. The fragments slowly fade out though they do play fragment 53 together once.
Different random percentages would produce different compositions of differing lengths. A 1/3 chance to progress with a 2/3 chance to repeat would be a long and more repetitive song. Sequencing the patterns manually is a future possibility.
This initial arrangement of "In C" has provided an interesting song and many creative ideas for the future.
This projects is to create compositions based on "In C" by Terry Riley using a multitrack synthesiser which include as sequencer.
The initial instrument will be an Elektron Monomachine because of the sound and comprehensive sequencer. The use of the Monomachine sequence does require modification to the Riley arrangement so it can work with the sequencer's structure.
One problems is that each human played instrument can work independently while with the Monomachine; a patten will include all 6 sequences of the machines (instruments) so that moving from one patten to another includes all 6 machines.
A further development of the project will be to abstract "In C" in stages. This can include generating different note fragments, different sequencers and different rules for the arrangements. The end result will be a generalised composition method which can generate a variety of compositions.
Format : Bar N Step-Note+step length(*)
* after note length indicate the step is shorter than step length.
C major scale is default.
This is just a starter and variation can be developed
10 sequencer scores for breakbeats with percentage chances.
Original source is the Breakbeat Bible by Mike Adamo.
The text sequences where developed for the Elektron sequencers Conditional steps changed to percentages for a broader range of sequencers.
Adamo has examples over 8 bars which have been compressed into one bar with percentage chances of hits.
The initial idea was for use with the Elektron Rytm and then the Polyend Play to explore their chance based features.
These two sequences have features for conditional steps which have been changes to percentage values for more generalised sequencers.
These scores will sound different to the initial score because of the randomisation and due to different drum kits being used
while providing an overall feel for the patten.
One aim of the system is not to duplicate the beat but to provide a basis for variations depending on the needs of the producer and the features of the drum machine.
Studying the breakbeats can be helpful in creating your own.
Breakbeats are used because there is more variety than the standard 4x4 of EDM but if the Kick a shifted a bit and percentages changed these patten can be used.
Having an initial patten and then using the features of your drum machine is also a useful way to learn the features and gain mastery.
C = closed hihat , O = open hihat, S = snare, K = kick, Cy = cymbals, R - rimshot
1. Runnin - The Pharcyde - J Dilla
94bpm
C,3,5,7,9,11,13,15 @ 100%
S 5,13 @ 100
K 1@87, 2@12, 3@38, 6@25 8@50 9@37 10@75 12@87, 16@37
A straight forward percentage patten. With an all percentage track there is the slight chance that there can be no hits or all hits.
Note: Percentage as calculated which may need to be rounded if the drum machine has fixed values.
2. Funky Drummer - James Brown - Clyde Stubblefield
101bpm
C 1,2,3,4, 5 @100, 6@50, 8@75, 9,10,11,12,13@100,14@12,15,16@100
O 8@25, 14@88
S 5@100, 8@100,
K 1@100, 3@30, 6@12, 9@33 11@100, 14@100, 16@1
This is a very simplified version of the patten as there is a lot more hat work in the original.
3. Amen Brother - The Winstons - Gregory C. Coleman
129bpm
C 1.3.5.7.9, 11 @75, 13@75, 15@100
O 11@25
Cy 13@25
S 2@25, 5,8,10@100, 13@50, 15@50,16@50
K 1@75, 3@100, 4@25, 11@100, 12@50
4. Apache - Michael Viner’s Incredible Bongo Band - Jim Gordon
bpm116
C 1,3,5,7,9,11,13,15 @ 100
S 5,10,13,16 @ 100
K 3@75, 111@100
A repetitive four bar patten with scope for added probabilities.
The Volca Modular was the inspiration for the text based sequencing. I played around getting out various sounds but drew a mental blank on what music to actually make. The Volca Modular has a sequencer but no MIDI in so notes had to be addd manually.
A text based system was devised as it was easiest the create and could be applied to other synth sequencers in my collection.
The Polyend Play provide many ways to create variations from an initial sequence. It is worthwhile to start with a known sequence as it is easier to hear the difference.
Samples : the samples used may vary considerably from the the original riff. Samples which are of different lengths will be used ful;l to cover the longer notes. The factory samples are one step hits in the main.
Scale : Set a specific scale through the general menu;
- Big knob click -> scale -> set set filter on and set the scale and root knot. This will effect the existing notes and future inputs.
Chance : Pick one to apply to a track or selection of notes.
Randomize : mainly the affecting sound . Multiple Randomize values cam be applied if 'Save' is done after each randomization.
Play Mode : This is the most fun. Select the track and try out different play modes. With a known sequence the differences are more apparent.
All the other effect can be used as required.
Fill : Try out the riffs with different fills to hear what works best. Having the Hats and the main riff with the same play mode work well together.
The basic idea is to. make it easy to program in steps rather than relying on hardware input or trying to decipher traditional scores or piano roles.
Sequencer Notation is text based to make the notation independent to any hardware and software requirements
It can be can be used in any text program and easily communicated via email, twitter, forums etc.It can even be handwritten into notebooks.
The notation is general enough for step sequencers across a wide range of instruments.(Though the notation could include @ for Elektron sequencing if required:– 7-F3+1@1stSee : Conditional Breakbeats with rytm in 1 bar 1 for details )
The notation is the starting point for the sequence is is not necessarily for reproducing the riff sonically. Different sounds and effect can be used. The notes and scales can be changed. LFOs can sweep across the parameters. (Personally I am using Monomachine presets so the riffs sound very different)
Sequencer Notation can also be used to record your own riffs and bass lines outside of your DAW or sequencer and applied to other productions.
I would appreciate any feedback oh how useful this notation is and any improvements.
K : Kick
S : Snare
C : Closed Hihat
O : Open Hihat
S : Snare
R : Rim shot
<Drum> : Step@%% or Elektron conditional trig
PRE : if previous step hit
_PRE : if not previous hit
NEI : If neighbour track hit
_NEI : if neighbour track didn't hit
Tighten Up - Archie Bell and the Drells - Billy Butler
bpm133
C 1,3,5,7 @ 100, 9@75
R 8@100, 12@_NEI, 13@PRE, 16@100
O 1,5,9, 13 @ 100
S 2,5 @100, 6@75, 10@100, 13@75, 14@100
K 1,3,7 @100, 11@75, 15@_PRE
The variations are mainly due to the last bar of four.
The C,O,R can be any hat or ride sound.
Accents and other hit variations are not shown and up to the programmer.
Last Bar Ideas
Octatrack
Neighbour track with
filter settings to 0 Base 0 width for 4:4 or 8:8
General
Main track with A:B trigger with the silenced notes at 0 VOL and the Neighbour track the _NEI
- precludes randomisation
- with the Rytm if the same drum is required then the track may have to double up in machines
Express Yourself - Charles Wright and the Watts 103rd Street Rhythm Band - James Gordon
The original conditional sequence was all random percentages however this was a bit too IDM. The X:Y conditional trigs provide a foundation on which the random elements can be added.
In the audio example KD 1 is at 10O to get a definite down beat. The patten can become too random so some certainty could be added be added for the kicks and snares.
A straight forward patten take from a 4 bar score. My next step would be to randomise the snares then a couple of BD trigs. In the audio snippet I use the CP track as a bass takes the SD slot.
If just one hit appeared on a trig then that became a X:Y. I have still to worked out how to program hits which appear in every bar but the last as there is not a (not)X:Y conditional. They could be put as 87% to see what turns out but because in this patten it was on the 1 I rounded up to 100%.
Ain't It Hard - Sharon Jones and the Dap Kings - Homer Steinweiss
The hat conditionals and sounds related to the kit. The original interpretation the CY sound is a half open hat. The CP sound is supposed to be crash but the cymbal which could be use as the alternate hat and not really emphatic. Hence the CP.
The toms are your choice.
The hits for the 8:8 could be used as a fill instead.
The original score has a 7/8 and a 8/8 bar which I wrangled in to 4/4.
In a later parts of the song the CH is more random so the overall trigger probability can be less than 100%.
The BD play on bars 1,2 and 3 but not 4 so the 75% is to cover the unavailability of _X:Y.
In the song's outro there are 1/32 CH and SD trigs. To do this set the tempo to PTN (patten). In the Scale menu [Func + Page]:
Mode: ADV
Track: 32:32 with 2X (speed)
Master Len 32
So 1 bar is now 32 triggers.
This is Questlove playing to replicate the J Dilla style of drumming programmed with with an MPC. "Its the full circle" wrote Adamo. I think it is a misapplication of talent and technology.
Kit: KLAZ
You Know I'm No Good - Amy Winehouse - Homer Steinweiss
bpm: 104
OH 8,11@25
CH 1,3,5,7,9,11,13,15@100
SD 5@100, 7@75, 8@100, 10@50, 13@100, 15@2:6
BD 1@100, 7@25, 11@100, 15@100
This is the last score from the Breakbeat Transcriptions chapter in the "Breakbeat Bible" by Mike Adamo. It is a book a recommend as there a a number of techniques and shorter transcriptions through out which make a great starting point.
This did introduce me to techniques (and music) beyond the 4x4 these can be introduced especially with the snares and hats which moving the kicks to the standard 1,5,9,13.
I enjoyed doing this and I am pleased it is useful to other drummers.
Thanks for the comments and if there are any questions put these in the replies as I still follow the thread.
This is a very informative series on how to use the Polyend Play. The Play is an intuitive groove box and it is worth knowing all the features which Ron highlights.
The standout tip, which Ron demonstrates, is the ability to select multiple non contiguous selections for applying the various effects. I had though that selects had to be individual, track or contiguous based.
The down side of getting new gear is the time it takes to get good with it.
