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original version by: Nikos Drakos, CBLU, University of Leeds
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* revised and updated by: Marcus Hennecke, Ross Moore, Herb Swan
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<TITLE>Automatic Melodies: Aria Tracks</TITLE>
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<!--End of Navigation Panel-->
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<H1><A NAME="SECTION001200000000000000000"></A>
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<A NAME="chap-aria"></A>
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<BR>
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Automatic Melodies: Aria Tracks
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</H1>
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<P>
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A<SMALL>RIA</SMALL> tracks are designed to let
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> automatically generate
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something resembling melody. Honest, this will never put real
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composers on the unemployment line (well, no more than they are mostly
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there already).
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<P>
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You might want to use an A<SMALL>RIA</SMALL> to embellish a section of a song
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(like an introduction or an ending). Or you can have
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> generate a
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complete melody over the song chords.
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<P>
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In a traditional song the melody depends on two parts: patterns
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(IE. note lengths, volume, articulation) and pitch (usually determined
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by the chords in a song). If you have been using
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> at all you will
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know that that chords are the building block of what
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> does
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already. So, to generate a melody we just need some kind of
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pattern. And, since
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> already uses patterns in most things it
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does, it is a short step to use a specialized pattern to generate a
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melody.
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<P>
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It might serve to look at the sample song files enclosed in this
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package in the directory <TT><SPAN CLASS="textbf">egs/aria</SPAN></TT>. Compile and play them. Not
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too bad?
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<P>
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Just like other track, you can create as many A<SMALL>RIA</SMALL>s as you
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want. So, you can have the tracks A<SMALL>RIA-1</SMALL>, A<SMALL>RIA</SMALL>, and
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A<SMALL>RIA-SILLY</SMALL> all at the same time. And, the majority of other
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commands (like O<SMALL>CTAVE</SMALL>, A<SMALL>RTICULATE</SMALL>, H<SMALL>ARMONY</SMALL>, etc.)
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apply to A<SMALL>RIA</SMALL>s.
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<P>
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The following commands are important to note:
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<P>
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<DL>
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<DT><STRONG>Range</STRONG></DT>
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<DD>Just like scale tracks. A R<SMALL>ANGE</SMALL> of 2.5 would let
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> work on a two and one-half octave chord, etc.
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<P>
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</DD>
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<DT><STRONG>ScaleType</STRONG></DT>
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<DD>Much like a scale track. By default, the setting for
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this is CHORD. But, you can use AUTO, SCALE, CHORD or
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CHROMATIC. AUTO and SCALE are identical and force
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> to select
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notes from the scale associated with the current chord; CHROMATIC
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generates an 11 tone scale starting at the root note of the chord;
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CHORD forces the selection to the notes in the current chord.
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<P>
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</DD>
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<DT><STRONG>Direction</STRONG></DT>
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<DD>As
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> processes the song it moves a note-selection
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pointer up or down. By default D<SMALL>IRECTION</SMALL> is set to the single
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value "1" which tells
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> to add 1 after each note is
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generated. However, you can set the value to an integer -4 to 4 or
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the special value "r*". The “r” setting creates a random
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direction. You can have 1 to 4 “r”s:
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<P>
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<BLOCKQUOTE>
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<TABLE CELLPADDING=3 BORDER="1">
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<TR><TD ALIGN="LEFT"># of 'r's</TD>
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<TD ALIGN="LEFT">Direction Adjust</TD>
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</TR>
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<TR><TD ALIGN="LEFT">r</TD>
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<TD ALIGN="LEFT">-1 to 1</TD>
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</TR>
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<TR><TD ALIGN="LEFT">rr</TD>
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<TD ALIGN="LEFT">-2 to 2</TD>
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</TR>
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<TR><TD ALIGN="LEFT">rrr</TD>
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<TD ALIGN="LEFT">-3 to 3</TD>
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</TR>
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<TR><TD ALIGN="LEFT">rrrr</TD>
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<TD ALIGN="LEFT">-4 to 4</TD>
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</TR>
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</TABLE>
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</BLOCKQUOTE>
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<P>
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With "r" a random value -1, 0 or 1 will be used.
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<P>
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<SPAN CLASS="textit">Important: in an A<SMALL>RIA</SMALL> track the sequence size/point is
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ignored for D<SMALL>IRECTION</SMALL>.</SPAN>
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<P>
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</DD>
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</DL>
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<P>
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A bit more detail on defining an A<SMALL>RIA</SMALL>:
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<P>
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First, here is a simplified sample track definition:
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<P>
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>Begin Aria
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<BR>
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Voice JazzGuitar
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<BR>
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Volume f
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<BR>
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Sequence 1.5 8 90; 2 8 90; 2.5 8 90;
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<BR>
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3 8 90; 3.5 8 90; 4 8 90; 4.5 8 90
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<BR>
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ScaleType Scale Range 1
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Direction 0 0 1 2 -4 0 1 r
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<BR>
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End </B>
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</td></tr>
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</Table>
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<P>
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Next assume that we have a few bars of music with only a CMajor chord.
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The following table shows the notes which would be generated for each
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event in the set S<SMALL>EQUENCE</SMALL>:
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<P>
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<BLOCKQUOTE>
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<TABLE CELLPADDING=3 BORDER="1">
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<TR><TD ALIGN="LEFT">Event</TD>
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<TD ALIGN="LEFT">Direction</TD>
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<TD ALIGN="LEFT">Offset Pointer</TD>
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<TD ALIGN="LEFT">Note</TD>
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</TR>
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<TR><TD ALIGN="LEFT">1</TD>
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<TD ALIGN="LEFT">0</TD>
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<TD ALIGN="LEFT">0</TD>
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<TD ALIGN="LEFT">c</TD>
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</TR>
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<TR><TD ALIGN="LEFT">2</TD>
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<TD ALIGN="LEFT">0</TD>
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<TD ALIGN="LEFT">0</TD>
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<TD ALIGN="LEFT">c</TD>
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</TR>
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<TR><TD ALIGN="LEFT">3</TD>
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<TD ALIGN="LEFT">1</TD>
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<TD ALIGN="LEFT">1</TD>
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<TD ALIGN="LEFT">d</TD>
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</TR>
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<TR><TD ALIGN="LEFT">4</TD>
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<TD ALIGN="LEFT">2</TD>
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<TD ALIGN="LEFT">3</TD>
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<TD ALIGN="LEFT">f</TD>
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</TR>
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<TR><TD ALIGN="LEFT">5</TD>
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<TD ALIGN="LEFT">-4</TD>
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<TD ALIGN="LEFT">6</TD>
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<TD ALIGN="LEFT">b</TD>
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</TR>
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<TR><TD ALIGN="LEFT">6</TD>
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<TD ALIGN="LEFT">0</TD>
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<TD ALIGN="LEFT">6</TD>
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<TD ALIGN="LEFT">b</TD>
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</TR>
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<TR><TD ALIGN="LEFT">7</TD>
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<TD ALIGN="LEFT">1</TD>
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<TD ALIGN="LEFT">0</TD>
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<TD ALIGN="LEFT">c</TD>
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</TR>
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<TR><TD ALIGN="LEFT">8</TD>
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<TD ALIGN="LEFT">r</TD>
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<TD ALIGN="LEFT">??</TD>
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<TD ALIGN="LEFT">??</TD>
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</TR>
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</TABLE>
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</BLOCKQUOTE>
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<P>
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If you were to change the S<SMALL>CALE</SMALL>T<SMALL>YPE</SMALL> or R<SMALL>ANGE</SMALL> you would
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get a completely different series. Really, tables like this one are
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very difficult to determine and quite useless. Just try different
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D<SMALL>IRECTION</SMALL> and R<SMALL>ANGE</SMALL> settings, S<SMALL>CALETYPE</SMALL>s,
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etc. Most combinations will sound fine, but Chromatic scales might not
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be to your liking.
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<P>
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Please note the following:
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<P>
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2011-07-26 22:49:39 +00:00
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<UL>
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<LI>A<SMALL>RIA</SMALL>s are <SPAN CLASS="textit">not</SPAN> saved or modified by G<SMALL>ROOVE</SMALL>
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commands. Well, almost ... the sequence size will be adjusted to
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match the new size from the groove. This might be unexpected:
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<P>
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<UL>
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<LI>Load a groove. Let's say it has a S<SMALL>EQSIZE</SMALL> of 4.
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</LI>
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<LI>Create an A<SMALL>RIA</SMALL>. Use 4 patterns to match the groove size
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(if you don't
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> will expand the sequence size for the
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A<SMALL>RIA</SMALL>, just like other tracks).
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</LI>
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<LI>Process a few bars of music.
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</LI>
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<LI>Load a new groove, but this time with a S<SMALL>EQSIZE</SMALL> of
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2. Now, the A<SMALL>RIA</SMALL> will be truncated. This behavior is
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duplicated in other tracks as well, but it might be unexpected
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here.
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</LI>
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</UL>
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2007-04-29 06:47:40 +00:00
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<P>
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</LI>
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2011-07-26 22:49:39 +00:00
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<LI>D<SMALL>IRECTION</SMALL> can not be changed on a bar per bar basis. It
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applies to the entire sequence. After each note in the A<SMALL>RIA</SMALL>
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is generated a pointer advances to the next direction in the list.
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2007-04-29 06:47:40 +00:00
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<P>
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</LI>
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2011-07-26 22:49:39 +00:00
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</UL>
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2007-04-29 06:47:40 +00:00
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<P>
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2011-07-26 22:49:39 +00:00
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You can make dramatic changes to your songs with a few simple
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tricks. Try modifying the D<SMALL>IRECTION</SMALL> settings just slightly; use
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several patterns and S<SMALL>EQ</SMALL>R<SMALL>ND</SMALL> to generate less predictable
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patterns; use H<SMALL>ARMONY</SMALL>O<SMALL>NLY</SMALL> with a different voice and pattern.
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2007-04-29 06:47:40 +00:00
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<P>
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2011-07-26 22:49:39 +00:00
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Oh, and have fun!
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2007-04-29 06:47:40 +00:00
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<P>
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<P>
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2009-05-17 22:34:44 +00:00
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bob
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