Note that the accompaniment is repeated during the first 12 seconds. After that the low note D-2 is replaced with F-2, but the rhythmical pattern remains the same. Knowing it, you can make editing considerably easier – just make the rest of bars the same as the first one. You can copy it after deleting all notes lower than F-3 up to the 12^th second, but it is better to fix those already existing – it is a bit longer, but will keep all velocity nuances of the source piece.

Figure 17

Now you should determine the duration of this bass note. It is difficult to do it precisely because the ends of notes are less precisely determined from hearing than their onsets, but a reasonable guess will be to set the duration to 1/2, i.e. half the bar. It is quite easy to do it thanks to beat marks (dotted vertical lines). Each bar is divided into them automatically. Figure 17 shows the result - several bars with bass notes already arranged and bar lines synchronized with them.

In the same manner, it is easy to conclude that the note "Sol" of the second octave (G-2) starts where the note D-2 ends. Besides, you can hear that the passage is equally distributed on the way up, that is, its four notes G-2, A-2, D-3, F-3 are distributed equally and occupy half the bar.If you divide 2/4 by 4, you will see that the duration of each note in this passage is 1/8.

Determine the duration of half the bar in milliseconds by the note that occupies half the bar exactly. The duration turns out to be 535 ms. It means that the duration of 1/8 will be about 135 ms. Demonstration 18 shows how to set the same duration for all notes in this passage going up. After the same duration is set for all notes, they should be positioned in approximately the second half of the bar. You can see the result of these operations in the first two bars in figure 19.

So, now the accompaniment is clear during the first 12 seconds. Now you can single it out as a separate track. To do it, add a new track, select all notes that belong to it - here you can do it automatically using the Note Filter by specifying all notes belonging to F#-3 and the time period from 0 to 11.95 seconds.

Download the Note Filter settings file that singles out the accompaniment.

Open the properties of all selected notes, specify the channel and track equal to 2, and the acoustic guitar as the instrument. You can see the entire process in demonstration 21.

Now start editing the voice. You can see the very beginning in the picture where the flute comes in for the first time. After you listen to the displayed area in the Audiomode, you will easily hear which notes exactly belong to the melody. After that play notes one by one (using Ctrl+Click) to determine the corresponding MIDI notes (they are selected in figure 22).We can add another track (flute) right away and move the selected notes to it. It is similar to what we did with the guitar in the previous demo. After that you can easily delete all unnecessary notes with the Note Filter– just delete all notes that are located between seconds 3.7 and 7.1, above F#-3 and that do not belong to the third track (this criteria combination can be easily specified in the Note Filter, see figure 23 and the corresponding Note Filter settings file selecting everything except the voice in this part).

Download the Note Filter settings file selecting everything except the voice.

After you press Del, only notes that we determined as those belonging to the third track - flute, i.e. only voice, will remain in the part in question.
Delete unnecessary notes from the voice further in a similar way.

There are two difficult parts in the piece where beat replaces fingering in the accompaniment. Guitar beat is very difficult to imitate with the help of MIDI instruments that is why chords separated in time are used. One of such parts starts at the 49^th second. The first thing to do is to use the Play Tool(introduced in version 3.3 only) in order to research the sound of notes at each moment and compare it with the sound of the accompaniment in the source record using hearing. You can visually see this process in figure 24.

To achieve natural sounding, a chord of 5 notes is enough (of course, a guitar has 6 or 7 strings, but since guitar accompaniments are usually recorded just as harmonies without the number of strings specified, it is possible to simplify it like this). If you listen to the fragment in parts in the Audiomode, you can easily count the number of times the chord is played.The chord is played 5 times in the fragment shown in figure 25 – seconds from 48.8 to 50. Then one of the notes from the chord is chosen (in this case, it is D-3)and repeated 5 times in this fragment. Use the Play Selected Notes and Audio + MIDI modes to listen to this fragment and move notes so that they sound synchronously with chords in the audio record. As a result, you get approximately what you can see in figure 25.

After that you should add missing notes to these chords (or delete unnecessary ones) arranging them in time the same as those that were placed from hearing. To do it, it is convenient to use the Alignment feature (introduced in version 3.3 only) that allows you to synchronize the onsets and ends of notes in the selected group. Besides, you should keep in mind that strings are hit one after another during guitar beat so notes do not start simultaneously. Though the difference in the note onset is not large, it creates a typical sound of a guitar chord. As a rule, the hand goes down during the first move, which means that the lowest note comes first. Demonstration 26 shows how to create one chord:

All chords are created in a similar way.

Download the preliminary MIDI file.

If you listen to this MIDI file, you will hear that the voice lags behind the accompaniment in some parts and it leads to unnatural "torn" rhythm. You can easily detect all notes that should be shifted from hearing, but it is recommended to quantize notes into whole bar beats so that the final variant can be easily represented as musical notation. You can easily do it using the Quantize. feature described above. Besides, you can set the key (D minor in this case) using the MIDI File Properties dialog box.

As a final touch, you can rearrange tracks so that the first track is flute, the second one is Chilli and the last track is guitar - the way the accompaniment should be. It is easy to do it – just select the whole track and change the number of the track in the properties of the selected notes. The most important thing here is not to specify the number of an existing track because otherwise the two tracks may become mixed. Besides, you can assign different colors to tracks to make viewing them in the TrueTone editor more convenient. To do it, you should click the colored square next to each track and specify the color.

The above operations give us the following results:


Download the final MIDI file.
Download the final WNE file (opened with WIDI).

Besides, it is possible to open the final file in the note editor and make sure that the final musical notation is quite readable and can be used to play music. Here is an example of the first sheet of the final MIDI file opened in the Sibelius program: