94 !!Chapter 6
within the MIDI program. Extreme velocity changes within a MIDI pro-
gram can make it difficult to hear mistakes unless the tracks are soloed.
Most sequencer programs offer numerous choices within most editing
parameters. Through the use of automation, parts can be edited through-
out a composition. This helps to accomplish the best feel for each section.
Contemporary popular music has no rules. Experimentation is essential.
Solo each section and solo various instrumental and vocal combina-
tions. If each part does not project the proper rhythmic or emotional feel-
ing as an individual component or as an element within a section, either
edit the part or compose a new part. When listening to the complete
arrangement, the parts may seem to interconnect, but with closer scrutiny,
certain elements might disrupt the overall feeling of the track. Making cer-
tain that the track ‘‘feels good’’ is rule number one.
If acoustic instruments are recorded into a digital audio program,
solo each instrument and verify that there are no mistakes.Since the
parts appear as acoustic waveforms, the waveforms can be edited. Digital
editing is advantageous not only because parts can be corrected and effects
added (noise gates, reverberation, compression, and so on) but also
because unlimited editing is available without any loss of audio quality.
As a safety precaution, solo each track before releasing the musicians from
the recording session. Even though editing waveforms can repair some
mistakes, many cannot be corrected. Solo each section and make certain
that the ‘‘feel’’ of the track fits with the other parts.
Experiment with writing notation patterns or rhythmic patterns for
each part.In popular music, individual parts that have a sequential pattern
tend to make a groove more cohesive and memorable. (This approach is
not appropriate for all styles of popular music.) For example, if a chord
pattern is C major, F major, and G major and the pattern keeps repeating,
instead of the bassist merely outlining the chords at random, each time the
pattern is repeated, he or she plays four eighth notes, a quarter note, and
rest on the fourth beat; continuously repeat the rhythm pattern by trans-
posing it so that it fits each chord (see example 6-1).
Example 6-1 Bass pattern.Even if this technique does not work with certain musical styles, creat-
ing symmetry within parts results in a more unified arrangement. It is the
same approach used by composers. Composition without form may cause
musical chaos.
Writing patterns also applies to live drumming or drum program-
ming.Drums (percussion) are the basic foundation of a rhythm section. If
the drummer does not create a solid groove, the rhythm section will not
establish a proper musical environment. This is accomplished by playing