Advanced techniques for swing and polyrhytms

Published in

· 11 months ago

Note: This was originally written for pc trackers so I had to do some changes to get it all up to date with the atari trackers. As I use so many trackers and so many computers (atari/amiga/pc) I have problems keeping them all apart :-)

Introduction

While much of tracked music is 4/4 with a vengeance, there is good reason to venture beyond the perceived [time] limitations of the modern tracker and to go forth and multiply [or divide, as the case may be] with abandon.

First, let us examine the perceptual barrier known as the pattern...

The Pattern

From the early days of moddom, the pattern was 64 atomic units in length; no more, no less. Given that one wanted to write 4/4 pop music, this neatly worked out to equal four measures allowing the use of sixteenth notes. [16*4=64]

While Scream Tracker, Protracker still imposes this strict fragmentation, others like Graoumfracker, Fasttracker go beyond, allowing variable size patterns; to a point.

The point is, however, that regardless of the format's patternization, small miracles can be achieved if you just go linear, and ignore pattern boundaries. Your mind may not thank you (conventional tracking's much easier) but your listeners probably will.

We'll be working towards this, however, so let's start off by seeing what improvements can be made within the confines of the 64 note pattern and the beat itself.

The Beat

Even sticking to 4/4 time signatures, not many of us really use the beat, at least with our melodies. Trackers (the people, not the tools) who are rhythmically inclined like to alternate speed, say between 06 and 02 for shuffle feel, etc. Problem being, what if you only want one channel to shuffle? Enter our friend, note delay and his trusty companions.

The Triplet

Note delay lets us break the tracker atom to a great extent, bringing things such as triplets to life. Along with note cut, note repeat and arpeggio, we can bring some feeling to our music.

Let's start off with the triplet then.

The value we set for speed will determine the number of divisions possible. For mixing eighth note triplets with sixteenth notes, the default 06 will suffice. It's a good idea to decide before-hand on the smallest quanta of your piece.

Below, we have one beat:

              Track 1         Track 2         Track 3 

         | C-4 01 -- --- | C-4 02 -- --- | C-4 03 -- --- | 
         | --- -- -- --- | C-4 03 -- --- | C-4 03 -- ED2 | 
         | --- -- -- --- | C-4 03 -- --- | C-4 03 -- ED4 | 
         | --- -- -- --- | C-4 03 -- --- | --- -- -- --- |

Assuming these are rhythm tracks, lets let track 1 be our four-on-the-floor bass drum, track two our sixteenth open-closed hi-hat, and track 3 our triplet ride cymbal. It really doesn't matter, however.

Notice that using this technique, we only use the first three beats for our eighth note triplets. The first occurs squarely on beat one. The second is delayed 2/6th (1/3rd) of beat 2, and the third, 4/6th (2/3rd) of beat 3. If you want a run of triplets, just lay in EDx effects, copy, paste, and enter your notes over-top.

Probably the best way to start grasping what is possible would be to try entering some classical sheet music. Look for the smallest quanta needed: perhaps there is a 7:4 run in an otherwise smattering of eighths. Some university level big band jazz charts would also be a good bet in your search for rhythm.

The Swing

Note that jazz charts (expect perhaps the most elementary) will not explicitly notate swing feel; it's to be added by the performer. Basically, every odd eight note in a measure is to be played for about 2/3rds of a eight note triplet, while every even eighth is to be played for the remaining 1/3rd.

Try entering the following four bars of eigths (excerpt from Miles Davis' Serpent's Tooth) into one channel using your favourite tracker:

         Bar 1: G-4; E-4; D-4; C-4; C#4; E-4; A-4; G-4; 
             2: F-4; D-4; F-4; A-4; D#4; F#4; B-4; A-4; 
             3: G-4; E-4; G-4; C-5; G#4; C-5; F-5; E-5; 
             4: D-5; C-5; D#4; F-4; E-4; D-4.

Now go and add note delay to every second eighth-note. Initially, use a value of four, which would be technically correct given a speed of six. Swing is a feeling, however, so try adding some using other values. Smaller values will bring you closer to straight-eighths, larger will add more swing: to a point. At moderate tempos, I like delays of two.

If you want to be accurate, use a Bb-tuned instrument like a trumpet, perhaps muted.

The Pattern Break

If you want to get going on alternate time signatures early, chances are that your patterns no longer end up with 64 prime divisions. Consider using the Break Pattern [d00] effect on your last 'beat' to jump ahead to the next pattern if you come up short. Alternately, switch to a tracker that allows a definable pattern length.

Still don't get a thing?

Well audio examples (as gt2) using these techniques (shuffle, notedelay, poly) can be mailed to you for free. Just mail me with the topic "maggie27 article" and I will have it sent to you within a few days.

toodeloo@atari.org
//Anders Nilsson - Toodeloo / dhS