This is a work in progress. This week I’ve been adding more variations to the melody.
As of now, it has the following choices:
- Straight as composed
- With trills to the next note in the scale, maybe just up and down, maybe all note long, you never know.
- Slide to the next note, arriving at about the same time as the straight as composed
- Tremulo, maybe just at the start, maybe all note long
- Straight but up two notes in the scale, maybe a third, maybe a fourth. There are six note scales after all, so you never know what you’re going to get
- Straight but up two notes from the previous one
There are two melodies now, one in B- Neutral, and one in D Minor. The first has all the variations implemented, the second does not yet. It’s time consuming to make all the variations. For example, here are the variations in the second measure melody part.
.mel-36a2a d9h10e8&pre-&n6.. &pred-&n6.-&n5.. &preu-&n5.-&n1.. d3h4&preu-&n1.-&n2.. &preu-&n2.-&n3.. &preu-&n3.-&n4..
.mel-36a2b d9h16e39&pre-&n6..&tril-&n6.-&n1.. &pred-&n6.-&n5..&tril-&n5.-&n6.. &preu-&n5.-&n1..&tril-&n1.-&n2.. d3h16e37&preu-&n1.-&n2..&tril-&n2.-&n3.. &preu-&n2.-&n3..&tril-&n3.-&n4.. &preu-&n3.-&n4..&tril-&n4.-&n5..
.mel-36a2c d18h19e8&pre-&n6..&slidd-&n6.-&n5.. d9h10&preu-&n6.-&n1..&slidu-&n1.-&n2.. &preu-&n1.-&n2..&slidu-&n2.-&n4..
.mel-36a2d d9h10e8&pre-&n6..&trem-9*. &pred-&n6.-&n5..&trem-9*. &preu-&n5.-&n1..&trem-9*. d3h4&preu-&n1.-&n2..&trem-3*. &preu-&n2.-&n3..&trem-3*. &preu-&n3.-&n4..&trem-3*.
.mel-36a2e d9h10e8&pre-&n2.. &pred-&n2.-&n1.. &preu-&n1.-&n3.. d3h4&preu-&n3.-&n4.. &preu-&n4.-&n5.. &preu-&n5.-&n6..
.mel-36a2f d9h10e8&pre-&n4.. &pred-&n4.-&n3.. &preu-&n3.-&n5.. d3h4&preu-&n5.-&n6.. &preu-&n6.-&n1.. &preu-&n1.-&n2..
.mel-60a2a d9h10e8&pre-&n6.. &pred-&n6.-&n5.. &preu-&n5.-&n1..d33h27 d3h4&preu-&n1.-&n2.. &preu-&n2.-&n3.. &preu-&n3.-&n4..
mel-36a2a is the straight melody. a2b is with trills added. a2c is the slide. a2d is the tremulo. a2e is up a third/fourth. a2f is another third/fourth.
You just never know who will play what at any given time.
I am never happy with the viola or violin samples in the McGill University Master Sample set. Nor any others I’ve tried. So all four are now the cello martele set from McGill. I always come back to that one. Whoever made them was really dramatic that day. Must have had an extra few cups of coffee that cold day in Montreal. Masterful. I’ll have to boost the volume some more in that part in the next mix.
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