Using the Hybrid Music System

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.