Posted
I'm not sure how to explain this properly, but I sometimes find I'm 'working in reverse' when trying to compose melodies in Synfire.
Sometimes, I have a finished piece and then want to add a melody. I know this is only one way of working (i.e. sometimes the melody comes first) but for the sake of this issue let's assume the melody comes last.
So I have a finished progression and I want a particular melody note at a particular position. Sometimes, the only way I can get this note is to change the chord to (say) an add9. I don't want to change the chord for the progression to an add9 because that would negate the effect of the non-chord melody note.
So I find I have to create a special layer for the melody track in order to get the note I want. The melody layer contains the add9 chord, and the other tracks still the 7th (or whatever) chord.
But this seems to me to be the wrong way of working in Synfire. Layers are created from subsets or sub-triads (I'm sorry I don't know the correct terminology) of chords. For example, if you have a G7, you may get a G in your layer not a Gadd9.
Therefore I find I'm having to manually create a layer for my melody track. It would be great if there was a special 'melody layer' which gave you the option of selecting all the chords that are above the current one, i.e extensions of the current chord. Again I'm sorry I don't know the correct terminology for this and I apologise if it sounds confusing.
Perhaps I'm going about it all the wrong way and someone could enlighten me?
Di., 10.12.2013 - 00:39 Permalink
It is not necessary to define a separate chord layer to use the notes of the chord extensions in your melodies. Normally you can use any note of the currently active scale. So, if you are for instance in the key C major and your current chord of your progression is G7, that does not mean that your melody is restricted to the notes of that chord. You can use any note of the C major key.
However, it is true that Synfire sometimes refuses to play certain notes and it is not always immediately clear why. Then usually the setting in the parameter "Interpretation" is resposible for that. There you will find the setting "Scope" (under the tab "Voice Leading") where you have the options "Full Scale", "Chords with extensions" and "Chords only". Only at the setting "Chords only" your melody is restricted to the chord notes.
But also the setting "Strategy" has a big influence. This setting determines how strictly the rendered notes align to the chord changes and how strong the interactions between the notes of the various other instruments are taken into account. The setting "Weak" gives you more freedom.
Additionally you have also the option to define specific interpretation settings for individual figure segments. This is done at the parameter inspector of the parameter "Figure". There you have the option "Bypass VL". If you select a figure segment and check this checkbox then the influence of voice leading is bypassed for this segment and you have all notes of the scale available. If you want notes outside of the scale then you can select the appropriate symbol and enter a value at the input field "Chromatic". A value of -1 means one semitone lower for example.
Di., 10.12.2013 - 00:44 Permalink
You can start with a melody and harmonize this, but you can also start also with a chord progression and find a fitting melody is also possible.
Some people say that a melody is the leading principle for making of a arrangement..it is up to you what your creative workflow gonna be.
Di., 10.12.2013 - 13:54 Permalink
Hi Juergen,
Yes I know about all these settings. I normally set the melody track to 'lead and vocal' (something like that, I'm not at my Synfire computer right now). I find this gives the most flexibility.
I don't like fiddling with the Interpretation presets too much, and I never use the bypass setting (I think that defeats the whole object of Synfire). I'm talking about the occasions when Synfire refuses to play the note I want.
The manual says something like "If all else fails, you must have the wrong chord". So that is the assumption I make but I can usually get the right note by setting a layered chord on the melody track. I just wondered if there was a quicker way because first, I have to create a layer, then change it so it matches the base progression, then start experimenting.
Hi Jan,
Yes I realise this is only one way of working (as I stated in the original post). Sometimes I work this way and sometimes not. But I often create an arrangement first and then try to work in the melody. I like to try and move the melody notes around until something jumps out at me, it is these times when I can hear I want a certain note but I can't get it without changing the melody layer.