This tune is based on a set of changes by guitarist Pat Martino written more than 40 years ago, showing just how far ahead of his time Pat was. His biography at www.patmartino.com/ describes the nearly fatal brain aneurism that totally erased his ability to play the instrument, and his personal and musical reconstruction. I cannot recall the original name of the tune, which I have entitled "Predator," nor anything more than the snippet of melody stated at the beginning of the second chorus.

The song has an interesting metric structure (2 measures of 7/4 followed by 1 measure of 2/4) for 18 measures per chorus. It also has an interesting harmonic structure (it is based on just one chord type: tonic(major triad) / bII. The form I/bII is moved among several tonics, with the 2/4 section serving as a two-beat chromatic approach from below. Because I/bII has so many interpretations (it underlies I7b9, IIIm#5/bII, bIII13b9/bII, Vm7b9, VI7#9, b7dim7/bII, etc.). For examples, D can be used as the tonic in "Predator," so I/bII becomes D/Eb, IIIm#5/bII means F#m#5/Eb, etc. In chorus 5 I play 13sus over D/Eb (C13sus = F/Bb = mIII/bV, which explains why D minor lines sound right).

Lots of space has been given to just chords so you can hear the entire progression, but the main purpose is to spotlight ReakTracks superdrummer Terry Clark (RealDrums Fusion, busy). "Predator" has a panicky, urgent motion - think of a human target pursued in the dark by some unimaginable terror. The only RealTracks artist on the track, Terry gives The Predator its relentless drive - hungry and pitiless. The reason that Terry is the only RT artist is that other RT soloists - and I've tried enough of them to know - just can't cut it on this one. Aleck Rand plays 12-string electric guitar, bass, and Rhodes piano.

Experience the hunt here: https://soundcloud.com/aleckrand/predator

PS If you're interested in how to set up 7/4 - 2/4 time in BIAB, just ask.

quote:PS If you're interested in how to set up 7/4 - 2/4 time in BIAB, just ask.

ok, i'll bite... how?

VERY interesting piece BTW... reminds me a bit of Stanley Clarke and RTF or perhaps Jon Luc Ponte... 80's progressive. Well done, thx.

Hi Aleck,

a very interesting piece and awsome playing.
The other day I wanted to produce with 9/8 measure in BiaB
but didn't succeed. How can it be done?

Guenter

Hi Don,

It's simple. One possibility is to pull down the Edit menu, select Set Time Signature, and then click in the radio button that says 7/4. But this may not produce the results that you want. That happened to me, forcing me to do it a different way:

Start with any BIAB style in 4/4 time. Right click on the first measure and select Bar Settings. A dialogue box will appear. In the extreme upper left hand corner is a box labelled "# beats this bar." The default value usually seen is 0. The maximum value you can replace the 0 with is 4, i.e., if you try 7 you'll get an error message notifying you of this fact. So, highlight the 0, type 4 and then click OK. Next, right click on the second measure, select Bar Settings, and in the same place change the value to 3. Click OK. You now have what amounts to one measure with 7 beats. For as many measures as you like in 7/4 time, highlight the two measures just created, copy, then continue to paste. All the modified information is preserved in the copy-paste process. If you want to change any of these measures to, say, 2/4, just use Bar Settings and replace the value 4 or 3 with 2, then click OK.

The advantage of this method is that you can use different A or B substyles for each measure to force the drummer to use fills before the measures you want. That's how I got Terry Clarke to produce that hyperactive drum background. I had A and B markers at virtually every measure except at the fade out ending, where you'll hear the drums settle into a steady rhythm. I know that RealDrums and midi handle these adjustments without problems. I haven't tried it with RealTracks yet, but I suspect that the same success will occur in that case too.

Why not give it a try and let me know how you made out.

With kind regards,
Aleck Rand

Hi Guenter,

Thank you for your favorable comments. My response to Don R basically explains it. Start with any style in 6/8, for example, [68_JAZZ1 6/8 Jazz Sw. meter About Time 5]. Right click on the first measure, choose Bar Settings, change "#beats this bar" to 3, click OK. Then do the same thing for the next two measures. Now you have what amounts to one measure in 9/8 time. Then, highlight the three measures, copy, and continue to paste for as many 9/8 measures as you want. As mentioned to Don R, you can introduce A - B substyle changes at each measure to produce drum fills at points within the 9 beats where you want them to occur.

With kind regards,

Aleck

Love to see your guitar fretwork via the BIAB solo window.

Between your McLaughlin Licks and keyboard back-up, I was mezmorized...

Such a multi-talented cat. I loved your Estate and what else can I say.

I would guess you could do a whole real tracks recording assemblage for BIAB.

Hey G,

Again, thanks for the encouragement man. I had originally intended to ask for a collaborator on this tune, someone to blow a ferocious solo over it on a horn (I'm thinkin' tenor sax ...). I've asked Guenter Boehm about this possibility, perhaps using his "artifical voices." Haven't heard back from him yet. Think you could blow a few notes on this one? - name your instrument.

Aleck

Hey I thought that was cool! Very snappy. Neat what you did with the drums going back & forth between A & B. Great guitar work as well.

Greg

Greg - glad you liked it.

Aleck

Good stuff Aleck!

I'm near speechless on this one. I don't know how you deal with what I consider odd time signatures like that, but you make it really fluid. Definitely has vibes of late 70s fusion a la RTF and the others. What I can say is, I like it. You have again captured the 'live studio' feel. That's a really nice fade at the end, too. The drummer rockin' on the way out is just icing on the cake. It's a testament to both you and the program that I would never have guessed that any part of this was software. Overall an amazing performance. My only question is, why are you hanging out with us? You're world class, friend.

Richard

When it first started I was reminded of Jimi Hendrix. Just for a second, though. Sounded very good, although not my cup of tea. Playing was great.

aleck - like Charlie, this is "not my cup of tea", but for some reason, I was mesmerized.. and ended up enjoying it very much. floyd

Quote:

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When it first started I was reminded of Jimi Hendrix. Just for a second, though. Sounded very good, although not my cup of tea. Playing was great.

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Hendrix played with John McLaughlin just before the end. I wonder how that would have gone had he been able to pursue it. Can you imagine, JH and JM out front with Jaco and [superdrummer of your choice]? Boggles the mind, it do.