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Dragging chords from palettes to take/figure?


Is there some way of dragging chords or chord progression from the chord palettes to a figure?


I've tried dragging a progression from a progression editor to the take slot for my target instrument, but chord inversions and chords shifted up/down with Shift+up/down arrow are ignored, completely changing the the mood in voicing I was going for so I have to start over voicing the chords.


Sometimes I'm just noodling at my music desk and have a clear idea in my head but my large 88 keys is at a stand so I only have a small 49 keys controller keysboard at my desk, and it doesn't do large open voiced chords well because it's to small.


Would be nice to just open a progression editor, do the chords and plop them right onto an instrument track.

Fri, 2013-05-17 - 19:16 Permalink

Has this something to do with the interpretation of the figure by Synfire's  musical AI ( Synfire magic =AI music )

Mon, 2013-05-20 - 21:31 Permalink

A progression is just a set of rules which different instruments would interpret differently according to their pitch ranges. Many users feel this is to much "hidden intelligence" and asked for a more static approach. It is difficult to  preserve a particular performance literally in such a dynamic environment. I'm still chewing on that.

Wed, 2013-05-22 - 21:51 Permalink

Most of the pop composers here would start with a chord progression.  Then as they go along, different instruments add notes which modify what SFP interpets as the chord progression.. One might have a guitar throwing in V7th chord on the beat 4 AND, which we would want to consider as grace notes.. We've all come accross sheet music which is 'wrong', cause the Scriber didn't take into effect all the notes.. In some cases, it's really not feasable to do it. Yes I think it would be nice for some of SFP AI to be visable, or able to be effected as the composer needs. 


Would there be a possiblity of assigning 'weights' to the different tracks, when SFP interpets the chords and relationships.. Arranger kbds, and now Cubase use a chord track (which I suspect will become a more common feature).


Not always but often I start a song in Logic. 

I always use MIDI channel 2 as my chord track. I use it to drive Tyros, and also as a reference in Logic's Scoring editor..


I have experimented importing into SFP in different ways.. Complete interpretation, results in their being a considerable difference between Logic and SFP.  A complete static interpetation, results in exactly the same sound between Logic and SFP. Sometimes I interpret only the chord track, and perhaps the bass and/or melody. This gives me a more satisfactional version for my needs.. I might then go in and interpet individual tracks as I work in SFP.  (others using different work methods, would want things to work differently).


Occassionally I create two chord tracks with some minor differences, adding 6ths, 7ths, or a chord in a relative key which gives a pleasing result.  So I might have three SFP projects of same song.. Drawing different aspects from each version and importing into Logic.. 


One of the great features of SFP is to take a song you've built up, import into SFP, and dress the chords up, giving it the effect that the composer has a much more extensive music knowledge, than he actually does..  That aspect of SFP I love, because I am learning a lot more about the relationships of individual tracks, and the overall quality of the music.. 


I can sometimes now edit directly in Logic's score editor, using knowledge gained from using SFP.. Which is great, it becomes a valuable TEACHING program..


I recently used a trial version of 'Liguid Notes'.  This lets you import a midi file and change each chord in song,  it makes calculations and adjustments to make song smooth..  SFP of course runs circles around it.. It makes it really simple to build a variation of your piece. but it's kind of "the magic is all behind the curtain, don't look behind the curtain'.. 


The added value of using SFP to actually learn more about advanced voicings, modalities, etc. make it very valuable. 


I was around when the first ARP and MOOG synthesizers came out, (worked for both).  These companies approached college musical departments and gave them a discount, much the way Apple contributed machines to certain schools, and it helped it to get a foothold into the market.. Cause students had been exposed to these machines  in class, they could also purchase for their own use outside of school. and make a living from using the hardware.. I got tons of studio work in Boston in early 70's cause there were only a handful of people with these machines.. 


 I see that as a probable path a modified version of SFE. It would be a teaching tool, and also a 'remixer' or more aptly a 're-interperter' of a piece of music to create a number of sophisticated variations on a certain theme. 

Wed, 2013-05-22 - 23:40 Permalink

MarkStyles: Would there be a possiblity of assigning 'weights' to the different tracks, when SFP interpets the chords and relationships.

It would take me all day to comment on all of Mark's good ideas ... but this one is particularly excellent! So, I must jump on this band wagon.


A parameter using 100% in each container and assigning as much or as little of that 100% to any particular voice in the container to influence the other voices would be fantastic.


I imagine going through a song that at different sections instruments take turns supporting each other.