Ambient melody with Euclidean sequencing

Euclidean sequencing is good for melody too. Let’s create an evolving ambient pattern…

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We’re using Alkman’s excellent Euclidean Sequencer for Max For Live. We load it all up, along with Operator’s African Bars preset, which is a lovely atmospheric FM mallet sound. We’ve set the project tempo to a mellow 112bpm. 02 >

This sequencer has four tracks. It’s possible to create note sequences for each of these, but for simplicity we’re going to stick to having each track trigger a single MIDI note. We set these a D#2, F#3, A#4 and C#5 – creating a D#m7 chord, but spread out across several octaves. 03 >

To start we set our D# track to a step length of 16 with five events. This gives us a pulsing, predictable bass note that loops over two bars. Above this, we set the F# a step length of 12 with seven events. The difference in step lengths creates a cross rhythm that syncs up every six bars. 04 >

For the A# track, we set a step length of 10 and three events. We move the Rotation setting around by two, to offset the position a little. We also change this track’s direction so the pattern ‘bounces’ back and forth, for extra rhythmic unpredictability. 05 >

Next we set the C# track with a step value of 28 with seven events. We play with velocity levels on each track to emphasise the bass note more than the others. To turn our sequence into more of an ambient backdrop, we turn up Operator’s attack and decay, and add some lush reverb and modulated delay.

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Finally, to add a small element of predictability to the sequence, we use a MIDI clip to Resync the Euclidean Sequencer every 16 bars, meaning that our four patterns all simultaneously jump back to step 1.