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