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[video] My tests with chords and scales

Autor RobertoD


As we know, Synfire needs a chord and a vertical or horizontal scale to define a pitch. And to me this is great because you can drastically change the meaning of a figure just picking with a single mouse click a different chord and any exotic scale you wish. Sinfyre, intelligently indeed, will take care of the "dirty job" of matching my figure with the chord+scale and will connect the figures one to the other with smoothness and according to the interpretation I chose.
Saving hours
and hours
and hours
and hours
maybe days and weeks
of desperate work.
And not rarely suggesting solutions we could have found only with keeping on trying and trying again on our instrument.

I am performing many tests changing scales and chords under the same figure, and every time Synfire surprises me with solutions that, perhaps, I would not even found. In this sense the machine reveals itsels as a magnificent and highly efficient extension of our mind.
There are many smart arpeggiators out there, absolutely respectable software (e.g. Liquid Music). But they need a heavy intervention of the musician to work properly, and they still return rather limited solutions.

Here you can find a video of my tests.

Hope it helps.


So., 26.11.2017 - 20:36 Permalink

You can also show the root note for the chord what is used by Synfire in the progression : in view option ..ticking Bass
Will be not making a big difference how they sound the different inverted chords?
Still thinking how to get the best recognition for a serie of new age piano pieces i got here..but as it sounds now i am satisfied: some experimenting with the figure recognition and interpretation ?


Mo., 27.11.2017 - 00:09 Permalink

Honestly I didn't try to change the chords positions since I did not care about that in this particular kind of test. But as I put left hand chords and right hand runs on separate "tracks", each one with its own interpretation, I guess that chords inversions would have not made differences in the right hand interpretation.

If you can post a (not too long...) midifile or a score excerpt of your New Age pieces, we can try to find a suitable interpretation ;-)

Mo., 27.11.2017 - 00:08 Permalink

I just tried to rotate a Cmaj7 in 4th inversion (2-4-6) simply by pressing the numeric key "4" on my computer and deselcting the Smoothing checkbox in the Form tab.

I got this:


Mo., 27.11.2017 - 00:29 Permalink

ok, did a quick test.

I wrote a 4 bar sequence of Cmaj7/Bmaj7 (repeated) in strings + a celesta part. All the string chords were set as follows:

and set in 4th inversion pressing the 4 key on computer keyboard:

The celesta part wasn't affected and played exactly as I played it on my master keyboard:



Mo., 27.11.2017 - 10:44 Permalink

Here is a new age midi : sea voyage : in a adventurous mood, and in a modal style  (only white keys played on piano)
Lets look if the recognition can be better adjusted + interpretation to get it  as close to the original



Di., 28.11.2017 - 11:28 Permalink


The idea is to harvest a section of the piano midi and look if the interpretation for option : weak and not cooporative gives a static sound 

Di., 28.11.2017 - 11:50 Permalink

Weak and non cooperative is the preferable option when you want an almost exact copy of your midi recording or file. Then you can have fun splitting, flipping, changing chords, interpretation... ;-)

Di., 28.11.2017 - 12:22 Permalink

Thanks again for your effort to get this clear Bild entfernt. : in the past people here on the forum are saying..well the recognition gives new maybe surprizing result so it is not a big deal that you can't  get a exact copy of the midi recording.

For me i like to get as close to the original imported midi, because i like that particular midi with just those nuances in the song. 


Di., 28.11.2017 - 13:16 Permalink

Yes, any alternative Strategy will often produce surprisingly impressive modifications: sometimes better than the source material, sometimes not. Luckily, there are not too many options to choose from, and IMO it’s worth experimenting them all. In the case of your New Age work, being the melody so clean and minimalist, I would separate it from the accompaniment, assigning to the latter a different strategy too or, even better, changing chords sonewhere