In this feature we bring together some examples of the use
to which members put their Hybrid Music System.
Jim Brook
The principal use that I make of the Music 5000 is one that
I have not heard mentioned elsewhere, yet it is one to which the system is
uniquely suited - learning vocal music.
I love singing all kinds of music and am currently a member
of two choirs (one of which concentrates on Bach, the other covering a much
wider range), an operatic society and a small group that performs at all sorts of
small functions as well as taking part in Old Time Music Hall shows at local
theatres.
As a result, I am constantly trying to learn new music in as
short a time as possible. If I were a good sight reader and had perfect pitch,
I dare say it would be easy. It would certainly help if I (a) had a piano and
(b) could play it. However, I'm not, haven't and can't, so I have problems.
Or did have, before the Music 5000/4000 hove in sight. Now,
even the most difficult passages can be learnt quickly, without driving my long-suffering
wife up the wall, thanks to the ability to enter a line or phrase in step-time,
play it over slowly then gradually increase the speed to the 'correct' tempo.
If it is not a solo line, and has to be sung and sustained against other vocal parts,
it is an easy matter to enter these parts also, then practise singing one's own
line while the Music 5000 'sings' one or more of the other vocal lines.
Anyone who knows Bach's Mass in B minor, will know that
there is a 12-bar section for bass voices in Et Resurrexit (usually referred to
as the 'judicare') that the newcomer to it usually finds daunting, to say the very
least. I was able to master this in half an hour, on my own with the Music 5000
- and if you knew what a rotten sight reader I am, you would know what an
achievement that was for me!
Currently, I'm finding the Music 5000 a tremendous help in
learning Bernstein's 'Chichester Psalms', which those who know it will agree is
not the easiest piece of music to sing!
It is the ability to play parts individually or together in
any combination, at whatever speed you like, and the ability to instantly repeat
them, that makes the Music 5000 so useful when learning vocal music. Of course,
the music then has to be properly 'interpreted' - but that is far more easily
done when you are not struggling to pitch the right note or make it the right
length.
Nowadays I quite often find myself doing taped copies of
bits of difficult music for friends who are having problems with a piece - so
if our general proficiency as music makers is improving, the Music 5000 should
take some of the credit!
Peter Hodson
As a long-standing and keen amateur film maker, I greeted
the arrival of the Hybrid Music System (HMS) with considerable interest. In
film making, I subscribe to the view that the sound track is dominant,
particularly at the editing stage. One can cut pictures to sound, but the other
way round can be very difficult. Music should, as far as possible, be
continuous and only cut between phrases to allow, for example, for changes in
mood. The HMS can help here, and mismatches between the timings of music
phrases and picture scenes can be eliminated by controlling tempo.
Another area where the HMS can help is with sound effects;
not only with specific effects but with general background ambience noise
supplied for relatively long periods.
So much for theory, you may well say, but have you used the
HMS in film making? Well, I have just completed a 3.5 minute uncut film
entitled 'Computer Music' for a Movie Club competition which requires one to
edit in camera (as opposed to the usual post-production process). The visuals are
taken both from the computer screen (yes, with the strobing effect!) and from
my system layout with close-ups of the keyboard being played and with notes
simultaneously appearing on the Staff editor. Animated graphics are mixed with
music titles to give visual movement.
The sound track was shot live to maintain synchronism
between picture and sound and there is a microphone commentary mixed in with
the music.
Incidentally, when I can afford to change over from film to
video I shall be looking for a 16- or 32-bit computer suitable for animated graphics,
titling, Genlock and of course HMS, in place of my BBC. So how about it you
manufacturers?
Carl Robinson
My youngest son has taken up the clarinet. As an aid to his
learning and to his timing I programmed the 'Play in a Day' tunes into AMPLE. AMPLE
plays the 'teacher' and other 'pupil' parts. A gentle percussion track helps
keep time and enables a count-in. He actually looks forward to practice time. I
also find well-known pieces of music that are within his capability, cover the
title and ask him to play it. He then has to name the tune. This usually means explaining
time signatures and counting methods but, again, he enjoys it.
David Hall
On the 4th and 5th of April this year, my school produced
the choral musical 'Yanomamo'. This musical was commissioned by The World Wide
Fund for Nature and has been performed on Channel 4 twice during the past year.
When I first saw it last May/June, I decided that it would provide me with ideal
opportunity to learn how to use our newly-acquired Music 5000 synthesiser and
Music 4000 keyboard which had been bought by the children.
I do not read music but have played guitar and sung in Folk
groups for over 30 years. I was amazed at my own progress and during the course
of the summer holidays in 1989 I finished programming 16 of the songs. These were
entered one note or chord at a time, and with the aid of the audio tape
released by the WWFFN, I was able to get a pretty good likeness.
To many members my efforts may appear crude and laboured,
but it was a labour of love and the fruits were harvested at the concerts (we
raised £170). We have been asked to do repeat performances at another school
and as part of the patronal festival at the village church.
Published in AMPLINEX 018, July 1990
