Here's another cliche! A fast, continuous quaver pattern playing notes based around the chord sequence - and pretty effective it is, too. The pattern includes some notes that are not actually within the current chord, and a few notes that are not even in the current key! However, the composer gets away with this because the pattern is played very fast.
Many pop songs would use a truly synthesized sound, but in this case we liked the sound of the harpsichord. Towards the end of the song, just when the listener is getting fed up with the harpsichord sound, you can cross-fade from harpsichord into a square wave sound (although we don't tackle that in this section)
As before you have to decide which track to use. This time we recommend track 6 for the harpsichord, whilst mentally reserving track 7 for the square wave.
Just as you did for the other sounds, you have to set up the track to play the Harpsichord sound (program number 7).
Follow these steps. Put a tick next to each one as you finish it:
Here is the harpsichord part for the verse:
Using all the skills you have gained so far, record the harpsichord sequence for the verse in whatever way you consider appropriate. There is no right or wrong way, just the way that works for you.
When you've recorded the notes, quantize them, set them all to the same length, and set the velocity to somewhere around 85.
Here is the harpsichord sequence for the chorus:
Note that there are some F# notes in it, even though these are not within the key of C!
You know what to do, so do it.
As with the verse, quantize and set the length of the notes, and then set the velocities to around 85.
When you've completed both the verse and the chorus for the harpsichord, listen to the result. If necessary, change the velocity levels of any of the tracks, and perhaps try experimenting with different program numbers for each track.
You're ready to proceed to the next section.