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Share Your Music Share your .not or .mid files of your arrangements or compositions.

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  #61  
Old 10-25-2005, 03:17 PM
Sherry Crann (sherry)
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Default Howdy guys, This has been a

Howdy guys,

This has been a really fun thread to follow! I've been listening in, learning some, and just being amazed at your connections (and the fact that you let me hang out with you - thanks ).

Larry, my ears perked up when you said "midi guitar". I'm curious what you use. Is it a dedicated MIDI guitar, or is it one of the pickup arrangements mounted on an acoustic/electric guitar? Would you mind sharing a bit about your equipment?

ttfn,
Sherry
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  #62  
Old 10-25-2005, 04:06 PM
Lawrence Pregler (larry)
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Default Hi Sherry: I have an old Rola

Hi Sherry:
I have an old Roland GK1 with a GK2 pickup mounted on an old Squier electric guitar. Roland had newer since I got my rig but I was happy with mine (and I didn't have the money to upgrade).
The sensitivity and innability to filter out 'artifacts' (when I pressed a string at the fret it might trigger a midi event even without plucking - but it's called a phantom note because it is only a few ticks long and easy to delete from the file using a sequencer.
I can set it up to record the individual strings on a seperate track (midi channel) so the tracks from one to six carries the nots respectively from each string.
Pitch bend (PB) is read by string as well. Any track with unesential pitch bends are seperated in the sequencer and the PB's are deleted from those tracks leaving only the essential string PB's. If you record all on one track, then do a PB on one string ALL strings will act on the PB - yuck.
I have done live performances with it with these results:
1- The phantom notes sound making me sound like Les Paul
2 Sometimes the phantom note is not the correct sound because it may pickup my finger touching at a fret other than the target - owww
3- I have assigned the two lowest strings E and A to a bass in the sequencer and then my thumb picking had better be right on. The different instrument sound stands out.
4- I'm a picker by habit and my old fingers don't always finger AT the fret anymore so I may get additional artifacts or phantoms.
With practice, the thing does a good job.
There are some dedicated guitars out there, notably the Godin and they make recording to midi pretty easy.
Keyboards are generally note-on, note off instruments with wheel (pitch bend)capabilities. A midi guitar is constantly in pitchbend (unless shut off in the converter module, which is a whole 'nother issue for sound reproduction) and needs to do a lot of work. It is like working with a fretless bass. The better you manage the fretboard the cleaner intonation and correctness of pitch you get. The midi guitar is sometimes like fretless because often the strings are pushed slightly across the fretboard even with near precise fingering. Not noticable in performance without a midi rig, but the pickup slightly exagerates them.
Hope this brief overview helps.
Larry

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  #63  
Old 10-25-2005, 04:17 PM
Lawrence Pregler (larry)
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Default Hi again Sherry: I see no iss

Hi again Sherry:
I see no issue with hanging out with anyone in this forum. It is why I posted on a 'public' forum. Glad your here as well as the others. I just hope the lurkers join in and either give yea and nay to us, or contribute in suggesting ways. Either way I'm glad to have had some responce, and willing to give others the same.
A great day at you... Larry

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  #64  
Old 10-25-2005, 04:44 PM
Sherry Crann (sherry)
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Default Howdy Larry, Thanks for det

Howdy Larry,

Thanks for detailing your setup! I've seen the Roland, as well as Godin and a couple other "MIDI specific" guitars. I was just curious what you used, and what your experience has been. The only other person I know of who uses a MIDI guitar setup extensively is Phil Keaggy, and he is absolutely amazing!

Your reference to it being similar to fretless was one point I was curious about, as it seemed to me that getting articulations out of a guitar would be much easier for me, as that is the instrument I'm most familiar with. I also play electric bass (I'd love to get a "big fiddle") and have converted my old viola electric to fretless, which is a whole different ballgame than playing with frets So I'm learning even more fret/fingerboard skills, which I actually use in real life, and would love to be able to use those with Composer.

My comment about letting me hang out with you guys was more observation of what a really cool medium this forum is. I would never be able to meet musicians with the experience and knowledge that you guys have where I live. (remember - where I'm at, a "chamber concert" means the bluegrass band is _inside_ the barn rather than in the barnyard ). So the fact that I can "meet" you, and that we can interact, is just a major blessing for me, and I appreciate it immensely! We are developing a great community here, and that's a Very Good Thing

ttfn,
Sherry
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  #65  
Old 10-26-2005, 01:05 PM
David Jacklin (dj)
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Default Sherry wrote: a "chamber c

Sherry wrote: a "chamber concert" means the bluegrass band is _inside_ the barn

As the old joke goes: "I like both kinds of music -- country AND western."


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  #66  
Old 10-27-2005, 03:44 AM
Mark Walsen (markwa)
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Default Hello Larry, I listened to

Hello Larry,

I listened to #17 a few days and #19 a few minutes ago. The main change I observed-- the return to the earlier material at the end of the piece-- helps to unify it as a single composition, I think.

The modal tonality and syncopation of first section reminds me of Dello Joio's 3rd piano sonata, written, I'm not sure, in the 1950's. I don't expect anyone around here to be familiar with it, any more than anyone should expect me to know... you name it... most big band tunes from the 40's. Any way, take the Dello Joio comparison as a compliment; he's a good composer.

I find the fuge-like section engaging-- sort of three fourths Baroque and one fourth jazz. Elements of syncopation have always been important in counterpoint. You took it a little bit further by mixing in some jazz feel with the Baroque. Nice composition technique in this section, such as some convincing sequences.

I found the 12:8 meter difficult to decipher. I kept hearing 2:4 instead of 12:8, three 2:4 meters per original 12:8. So, in Composer, I just changed the 12:8 to 2:4 and then the beats made sense to me. In a later section, changing 12:8 to 2:4 also works, but the barlines then need to be shifted by an 8th beat here or there. Just my opinion or ear here about the meter.

So, how did you get these notes into Composer? With the mouse, at a MIDI keyboard, MIDI guitar, or some combination? Whatever way you did it, you did a lot of musical work.

Cheers
-- Mark


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  #67  
Old 10-28-2005, 06:54 AM
M G Jacobs (mgj32)
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Default Hi Larry, Quote: maybe you

Hi Larry,

Quote: maybe you could put up your piece and let others on the forum offer suggestions as you did for me.

This is the piece I mentioned in the earlier post--the one at a stand-still because I know nothing about and need to find out about the guitar before working more on it.

The piece is from about 1982, or thereabouts. A colleague was to be married, with the ceremony on the rim of Canyon de Chelly, which is in Navajo Country. Thus the title of the piece and the Indian Drum in the score. His brother played the cello and I played the flute. He asked if I couldn't write something especially for the wedding for those two instruments. A drummer was to provide some rhythm and on the morning of the wedding it was discovered that a friend of the bride had her guitar in the back seat. There was an extra xerox of the sheet music and she had a half hour to look at it, so she sat in an improvised.

When it came to doing the 25 year later version of the piece, I listened to all the GM guitars available and chose the one that sounded like what she had, and the nylon acoustic is, I think, an exact match. However, I don't know its range (or if maybe I would need to add a bass version), and I don't know if what I have written is playable, by one or even two guitars.

The simple thing would be to make the guitar part for harpsichord, but I want to keep it small and mobile--4 violins, a couple of cellos, in addition to the guitar or guitars and the drum. Any help would be appreciated.

all best,
mgj
<center><table border=1><tr><td>de Chelly
Canyon de Chelly (376.7 k)</td></tr></table></center>
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  #68  
Old 10-30-2005, 09:39 PM
Fred Winterling (harbor1)
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Default Hi Larry, Thought you might

Hi Larry,

Thought you might like to hear how I destroyed your wonderful piece. I had to increase the tempo, so I just pinched your toes to make your fingers faster. I had fun. It actually motivated me to start writing a jazz waltz of my own. It's not my forte, so I don't know how long it will take, but I love a challenge. BTW, you should consider changing the name of the tune. It is far from stupid. Anyway, here is the attempt.
Fred
<center><table border=1><tr><td>Stupidity with jazz waltz tempo
Stupidity_18_JazzWaltz.not (261.0 k)</td></tr></table></center>
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