MIDI File Examples

                        All works copyright 1995 by
                            Robert Greenhouse

Included as examples of elaborated MIDI files are three compositions which
were created from the output of WTF 3.0.

HOP01.MID is a catchy rhythmic piece which alternates among 6/8 - 10/8 -
7/8 rhythms throughout the piece. It was created from the fractal pictured
in HOP01.GIF which was captured by CAMERA.EXE, a TSR screen capture program
by Electronic Arts, as the event file HOP01.TXT was being written. The
event file was converted to a standard MIDI type 1 file using Piet van
Oostrum's utility T2MF.EXE (available by ftp from ftp.cs.ruu.nl).

The first step in the compositional process was to load the MIDI file into
sequencing software to listen to the raw data. In this case, I used
Cakewalk v5.0 for DOS. After choosing an appropriate voice I listened to
the melody over and over again and noticed an intriguing rhythmic pattern
which I could not readily tap out with my foot, but which sounded almost
dance-like. The piece was then examined by converting the MIDI file into
score notation using QuickScore by Dr.T's Software.

Next the default 4/4 time signature was removed along with the bar lines.
By carefully analyzing how the bassline repeated regularly both the key and
the rhythmic structure were readily apparent. The key was obviously A minor
and the rhythm could be grouped in repeating sequences of 6 - 10 - 6 - 10 -
6 - 7 beats. The MIDI file was then loaded back into the sequencer and the
changes in meter were included. The bass line was defined by cloning the
track and cutting out all notes above an arbitrary cut-off point. The bass
line was then assigned to a bass instrument voice and the notes were
lengthened a bit. Again the melody track was cloned and the repeating low A
was extracted, lengthened and assigned to a string ensemble so as to
reinforce the tonal center. Other notes were extracted out of the upper
melodic line lengthened and assigned to two different synthesizer voices
which answer each other in stereo. Finally a simple percussion part was
composed to accentuate and bring out the natural rhythmic patterns which
were found.

The result is a catchy dance-like piece which sounds like the dancer has an
unusual number of feet involved in the dance. One can use this piece as a
background for improvisation in the key of A minor, or it can stand on its
own.

The second example came from an Ivanov fractal (IVAN1B.MID) and was
constructed by arranging the raw output in the form of a three part
cannon-like structure with each part displaced from the previous so as to
create harmony. A bass part was added, a percussion part composed and some
of the notes were extracted and assigned to a steel drum voice. The volume
was adjusted so that they sneak in over the first 40 measures or so.
Halfway through the piece, dissonant strings enter which periodically
resolve themselves. Throughout the piece the tonality constantly modulates
back and forth between Cm and Gm and remains ambiguous. The piece is long
(12:12 minutes) but is somewhat hypnotic and enjoyable enough if you are in
a mood to relax and let your mind wander in and out the slowly but ever
changing harmonies.

The final example, KAMTOR1.MID was created by cloning the melody five times
and displacing each entry by a different amount, each part sneaking in
almost unnoticed. The rythmic interplay of the voices bouncing back and
forth in stereo gets more and more complex as all the voices enter over a
steady bass part. A spooky whistle hovers above the echoing lower bell-like
voices and produces a bit of dissonance now and then.

-RG 5/30/95