Hi. I’m really wondering about something.I can’t find an answer anywhere.No video covers it,no manual.
I’m making orchestral music with samples and midi.
When I quantize and make everything tidy in the pianoroll matrix. How can I make that mechanical unhuman and organized values “untidy”,human and play rubato?
The way I do it is I press record and play it by ear (which is what I wan’t) But then it’s very messy and unorganized. Now I have 1 track of a ‘live performance’ (playing rubato) but every other track needs to match the performance…so I can’t quantize those…They will sound too mechanical and unhuman compared to the track played by ear…I “have” to play them by ear aswell. So everything becomes very messy but it plays excactly as I wan’t it. So there are tracks which is very human and emotional BUT extremely untidy and unorganized.
Is there a way to quantize,tidy things up and organize everything…but at the same time make the midi play rubato? On my song right now, the tempo changes slightly in waves like a rollercoaster (tempo rubato) But I don’t know how I make a human live performance out of “mechanical” quantized notes.
1.Record,play and enjoy my own performances played by my ears as I want it.But work in a messy enviroment.
2.Record,play and quantize but not enjoy what I’m hearing but work in a organized enviroment.
I can’t pick one,I want both! Is it possible?
I’ve tried tempo dips (tempo track/map) but they’re too square and not smooth enough.
Tempo Rubato (Italian for: stolen time) is a musical term referring to expressive and rhythmic freedom by a slight speeding up and then slowing down of the tempo of a piece at the discretion of the soloist or the conductor. Rubato is an expressive shaping of music that is a part of phrasing.
This loose term “rubato.” It describes the practice of playing with expressive and rhythmic freedom. Specifically “tempo rubato”.Some time is “robbed” from one passage or group of notes and given to another.
One can distinguish two types of rubato: in one the tempo of the melody is flexible, while the accompaniment was kept in typical regular pulse (yet not rigidly in mechanical fashion; but adjusting to the melody as necessary—see below). Another type affects melody and accompaniment. While it is often associated with music of the Romantic Period, classical performers frequently use rubato for emotional expressiveness in all kinds of works.
Rubato, even when not notated, is often used liberally by musicians; e.g. singers frequently use it intuitively to let the tempo of the melody expressively shift slightly and freely above that of the accompaniment. This intuitive shifting leads to rubato’s main effect: to make music sound expressive and natural. Frédéric Chopin is often mentioned in context with rubato.
While rubato is often loosely taken to mean playing with expressive and rhythmic freedom; it was traditionally used specifically in the context of expression by speeding up and then slowing down. In the past expressive and free playing (beyond only rubato) was often associated with the terms “ad libitum”:
Tempo rubato means literally in robbed time, i.e., duration taken from one measure or beat and given to another, but in modern practice the term is quite generally applied to any irregularity of rhythm or tempo not definitely indicated in the score.
A tempo rubato. Lit. “in robbed time”, i. e. time in which, while every bar is of its proper time value, one portion of it may be played faster or slower at the expense of the remaining portion, so that, if the first half be somewhat slackened, the second half is somewhat quickened, and vice versa. With indifferent performers, this indication is too often confounded with some expression signifying ad libitum