SEQUENCING CLASSICAL MIDI TUTORIAL

10. FINAL DETAILS

Depending on how 'real' you wish your sequence to be there are a number of further operations that can be carried out.

(i)Emphasize Marks

You may notice that above some notes on the score you will find marks like: '>' These indicate that those notes should be slightly emphasised. If you wish to follow these signs then simply adding 10 - 20 points on the note velocities should achieve this.


(ii)Slur

Another point to bear in mind is the slur. When you slur notes remember that the last note of the slur should not itself be slurred. This note length should be set at the normal appropriate value. For example; if we have 3 quavers slurred on the score then I would set the following note lengths up:

1st Note: 192 ticks
2nd Note: 192 ticks
3rd Note: 160 ticks


(iii)Tremolo

Tremolo notes (a note that has one or more diagonal lines striking through the stem) should be sequenced correctly unless you are running a 'slow' sequencer.

 

G3: Single Note Tremolo

 as written

 as played
 

M10: Tremolo

Part 1 single note  

GM/GS modules incorporate a 'tremolo string' patch. I have found most of these to be inferior to the real thing and therefore avoid the use of them.

The tremolo effect is obtained by a quick succession of notes either of the same pitch or alternating between two notes of different pitches. The basic rule here is to try and fit in as many notes in to the given number of beats as possible without leaving the notes too short so as they don't sound at all. The score will in fact show by the number of lines crossing the stem of the tremolo note just how much to alternate the notes.

 

G4: Two Note Tremolo

 as written

 as played
 

M10: Tremolo

Part 2 two notes  


(iv) Ornaments

The acciaccatura (a miniature note with a single diagonal line striking through the stem preceding the principal note) or crushing note as it is sometimes referred to is a note that should be played as quickly as possible on the beat. The principal note which will also be shown on the beat in the score should in actual fact be slightly ahead of the beat to make way for the acciaccatura.

 

G5: Acciaccatura
   

as written



as played

M11: Acciaccatura


The appoggiature (a miniature note without a striking line through the stem preceding the principal note) is not a crushed note like that of the acciaccatura but a note that receives half the value of the principal note. When placed before a dotted note it receives two-thirds of the value of that note.

 

G6: Appoggiatura

 as written

 as played
 

M12: Appoggiatura


The trill or shake (the letters 'tr' scored above or between notes) is a rapid alternation of the written note and the note above it. However there are several ways of implementing it and only through listening to a recording of the piece can you really determine how to go about it. But generally the first type would be used in modern music, the second type up to and including that of Haydn and Mozart and the third type occurs when the trill is on a repeated note.

 

G7: Modern Trill

 as written

 as played
 

M13: Trill

Part 1 modern  

 

G8: Old Style Trill

 as written

 as played
 

M13: Trill

Part 2 old style  


The turn ( '~' ) and inverted turn (same as turn except has a diagonal line striking through it) can be played in several ways but basically it consists of 4 notes - the note above, the note itself, the note below and the note itself.

 

G9: The Turn

 

M14: The Turn


There are several other less common ornaments that could be mentioned here but it would be best for you to obtain a descent book on musical theory if you are not familiar with ornaments.

(v)Triplets

A triplet (the number '3' above three notes) is where 3 notes are to be played in the same time as one note. For example; if you had the time signature of 2 crotchets to the bar and the first beat was a crotchet and the second had 3 quavers with the number '3' above them then these three quavers would be played in the same time as a crotchet.

It is a simple task to determine where these notes will lie in your sequence by dividing the crotchet value (384) by 3 giving you 128. So your 3 quavers would have their locations as follows:

1.1.0
1.2.0
1.2.128
1.2.256
Crotchet
first Quaver of the triplet
second Quaver of the triplet
third Quaver of the triplet


This same principal works whatever the number is above the notes. You may have 5 quavers with the number '5' above them indicating that each quaver's location should progress by 76.

(vi)Track Delays

One of the common draw backs in using sequencers is that they are very often too precise especially when tightly quantised. This is not the place to get into a discussion on the rights and wrongs of computer sequencing but there is a lot we can do to make our sequences that little bit human.

Apart from not subjecting our notes to strict quantising we can call upon other methods to give us a more human feel and one of them is midi delay. Most sequencers can delay the data going to our sound modules and by subjecting certain voices to this procedure we can achieve good results. One way to do this is to set delays on each of the string instruments. Set the first violins with no delay then the second violins with a slight delay and increasing the delay to each of the other string instruments. Only a little delay is needed so achieve a good result.

You can do the same to the brass section. In fact the real instruments of the orchestra have their own built in delay. A tuba, for example, takes longer to 'blow' a note than that of a trumpet. And the Double Bass takes longer to sound than a violin. So we are not really cheating here but emulating the real instruments of the orchestra. You may possess sound modules that have their voices sampled in a way that achieves this for you without having to insert delays. As always, use your own judgment and make it how you want it to sound.

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