# Your MIDI composition method



## Crimson (Jul 11, 2006)

Hello, 

I was wondering how people here create their MIDI compositions. More specifically I'm interested in the process that you go through when actually composing and then getting your virtual instruments to play your creations. I myself use the freeware Anvil Studio to write the notes and save the composition to a MIDI file. Then I import it into Cubase SX3 where I add "real" instruments to the MIDI track. I have found this method to be quite bothersome, especially for creating articulations for the used instruments. For example, when I want to make the Piccolo Flute to alter it's note from sustain to a trill, I have to cut, paste and fit the trill note to another MIDI track which is playing Piccolo trills. I wish it was simpler 

So, do you people have any tips to make this thing easier? What I'm really going to do, is get a decent notation software like Sibelius 4. Anvil Studio is good for creating solely piano or solo instrument compositions, but creating multi-instrument compositions is more difficult.

Thanks, 
Juha


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## Frederick Russ (Jul 11, 2006)

A good resource to help in this area is subscribing to Virtual Instruments Magazine. There are a lot of tips including a section called Midi Mockup Microscope although there are items of interest in midi and music processes throughout each issue. 

If you're interested in scoring, why not use the scoring editor in Cubase to input your notes? By the way, getting a dedicated scoring tool like Finale or Sibelius won't help your sequences sound more realistic - they tend to be very even in the note velocities which transfers to Cubase when importing. If you're after a more convincing midi mockup you're going to be editing note velocities all night to get a one minute piece to sound halfway like the real deal.

Have you tried playing the notes directly into your sequence? Cubase will record a lot more midi information than simply the note itself. If you're that concerned about your playing ability you could try a step record editor that records the notes one at a time at the note value you specify (quarter, half, 16th triplet, etc). The nice thing about this is that if you make a mistake you can always go into the score editor and fix it there.


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## Crimson (Jul 11, 2006)

Well, I've examined Cubase's score editor but I find it a bit difficult to use. I should probably spend some more time with the manual to make good use of it. I was considering to buy Sibelius 4 because it seems to have some really helpful features. For example, Sibelius can check to see if your composition stays in time etc. But I'll examine Sibelius a bit more before actually bying it.

The Virtual Instruments Magazine sounds good. I'll check if it's available here in Finland.

Recording my own performance would be a good option if I weren't so loysy at playing the MIDI keyboard  But I'll try the step record editor and see if it helps.

Thanks for your reply, Frederick.


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## rgames (Jul 11, 2006)

Crimson @ Tue Jul 11 said:


> For example, when I want to make the Piccolo Flute to alter it's note from sustain to a trill, I have to cut, paste and fit the trill note to another MIDI track which is playing Piccolo trills. I wish it was simpler



I created key-switched instruments in Halion to handle this problem. So everything stays on one track, you just have to add a key switch to select trill, staccato, sfz, fp, etc. It eats up a lot of RAM but is much more convenient (I run two or three PC's).

There's no right answer when it comes to workflow - some people like to start with the score editor (Finale/Sibelius) and port it into the sequencer. I tend to start with the sequencer and port it to the score editor if the piece is to be performed by a live ensemble.

The score editor in Cubase is quirky and buggy - it is mostly functional, though. I recommend you learn to use it if you're comfortable reading music. Don't expect any support from Steinberg on it, though, I'd be surprised if more than 5% of their customers actually use it. It's pretty useless for preparing printed scores and parts. I tend to play melodies in via the keyboard and input chord structure/accompaniament via the score editor.

rgames


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## rgames (Jul 11, 2006)

Crimson @ Tue Jul 11 said:


> For example, when I want to make the Piccolo Flute to alter it's note from sustain to a trill, I have to cut, paste and fit the trill note to another MIDI track which is playing Piccolo trills. I wish it was simpler



I created key-switched instruments in Halion to handle this problem. So everything stays on one track, you just have to add a key switch to select trill, staccato, sfz, fp, etc. It eats up a lot of RAM but is much more convenient (I run two or three PC's).

There's no right answer when it comes to workflow - some people like to start with the score editor (Finale/Sibelius) and port it into the sequencer. I tend to start with the sequencer and port it to the score editor if the piece is to be performed by a live ensemble.

The score editor in Cubase is quirky and buggy - it is mostly functional, though. I recommend you learn to use it if you're comfortable reading music. Don't expect any support from Steinberg on it, though, I'd be surprised if more than 5% of their customers actually use it. It's pretty useless for preparing printed scores and parts. I tend to play melodies in via the keyboard and input chord structure/accompaniament via the score editor.

rgames


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## rJames (Jul 11, 2006)

Crimson, I have a couple of thoughts for you.

One, when you play in from the keyboard, you only need to play one line at a time.

Almost anyone can do that. Play in the 1st violin with one finger (or your best method) then play in the 2nd, violas, cello etc. This may give you some added realism. Don't play in chords (because its tough for you AND it sounds like block chords)

Two, start working with the "piano roll" editor. Write your notes in there and think about how real players will differ in start times, volumes, anything associated with a players idiosynchrosies (sp?) and artistic sensibilities.

In Logic there is a "Humanizing" function that randomly offsets start and end times as well as velocity; all by a percentage.

I also heard some good advice over on NS long ago. Play your notes in ... even if they are the wrong notes. Then you can go back and drag them to the correct notes but you have some more real timing.


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## Crimson (Jul 11, 2006)

Thanks for the tips. They really sound like they're worth a try.

I think that if I'm going to try to compose by playing the keyboard, I'll first create the score, and then learn to play it. I like to have a clear idea of what the piece will be, and that is easier to achieve by writing the score in a score editor. And it helps too that the notation software plays the composition for me so that I can hear what I'm creating. The dedicated notation programs can also play some of the articulations if I understood correctly. To me it seems much easier to tweak the created coposition's performance afterwards than trying to play it yourself while composing. But I understand your point.

Juha


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## rJames (Jul 11, 2006)

Yes, no matter which way you do it...you have to know what notes you are going to play before you play them. (This is true even while writing the score)


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## Crimson (Jul 14, 2006)

Wow, I had to come and add that creating my own key-switched instruments makes life so much easier! I had a bit difficulties creating one at first, but fortunately I found KevinKauai's helpful Kontakt 2 tutorial on the subject. Thanks to Kevin for the tutorial, and to rgames for the hint on key-switches. Thanks also to everybody who replied to this thread and provided their tips 

Happy composing!
Juha


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