The SAWTEETH DUO DANCER crossing stabs

stab · hard · 124 BPM (118–132) · B minor · 4 bars · 64 steps

SAWTEETH DUO DANCER8.08Two notes that cross each other every bar, in a dance rhythm

Every patch on the Moog Subsequent 37

The technique

Two notes, struck together, six times a bar: the one, the "a" of one, the "and" of two, beat three, the "a" of three, the "and" of four. Three, three, two, twice. The name says dancer, and that is the rhythm dancers get.

The name says duo, so the figure is what the two notes do to each other. Start a sixth apart. On every stab the top note falls a step and the bottom note rises one, so they close, meet, cross, and open out the other way. By the sixth stab they have swapped.

The name says sawteeth, and each voice is one: a straight ramp across the bar, then the snap back at the bar line. The top voice ramps down and snaps up; the bottom ramps up and snaps down. Never smooth the snap. It is the tooth.

Over the i the first pair is the chord’s third on top and its fifth a sixth below, and the same over the iv and the VII; over the VI it is the chord’s sixth on top and its root below. Every stab after the first is a step on the way across, and none of them needs to be a chord tone.

Every stab is two sixteenths and stops. Strike both notes at the same instant, even at the crossing where the hands are on top of each other. Two notes a hair apart are two lines, and the dance is one pair.

The one is the loud stab, beat three the next. The other four are lighter and equal, so the three-three-two is felt and not counted.

Never raise the seventh. The leading tone pulls the dance home, and it never goes home.

The chords

4 chords over 4 bars, in B minor.

DegreeChordNotesBarsUnder the figure
iBmB · D · F#1–1●
VIGG · B · D2–2●
ivEmE · G · B3–3●
VIIAA · C# · E4–4●

The figure is played over these chords; supply them separately if your rig allows.

The rules

  • Never the raised 7th, on any chord — over i, the leading tone pulls the dance home, and it never goes home.

The notes

4 bars in B minor. Each note is in force across the steps shown.

  • steps 1–2·over i Bm·D4 F#3·degrees 3 5·MIDI 62 54
  • steps 4–5·over i Bm·C#4 G3·degrees 2 6·MIDI 61 55
  • steps 7–8·over i Bm·B3 A3·degrees 1 7·MIDI 59 57
  • steps 9–10·over i Bm·A3 B3·degrees 7 1·MIDI 57 59
  • steps 12–13·over i Bm·G3 C#4·degrees 6 2·MIDI 55 61
  • steps 15–16·over i Bm·F#3 D4·degrees 5 3·MIDI 54 62
  • steps 17–18·over VI G·E4 G3·degrees 4 6·MIDI 64 55
  • steps 20–21·over VI G·D4 A3·degrees 3 7·MIDI 62 57
  • steps 23–24·over VI G·C#4 B3·degrees 2 1·MIDI 61 59
  • steps 25–26·over VI G·B3 C#4·degrees 1 2·MIDI 59 61
  • steps 28–29·over VI G·A3 D4·degrees 7 3·MIDI 57 62
  • steps 31–32·over VI G·G3 E4·degrees 6 4·MIDI 55 64
  • steps 33–34·over iv Em·G4 B3·degrees 6 1·MIDI 67 59
  • steps 36–37·over iv Em·F#4 C#4·degrees 5 2·MIDI 66 61
  • steps 39–40·over iv Em·E4 D4·degrees 4 3·MIDI 64 62
  • steps 41–42·over iv Em·D4 E4·degrees 3 4·MIDI 62 64
  • steps 44–45·over iv Em·C#4 F#4·degrees 2 5·MIDI 61 66
  • steps 47–48·over iv Em·B3 G4·degrees 1 6·MIDI 59 67
  • steps 49–50·over VII A·C#4 E3·degrees 2 4·MIDI 61 52
  • steps 52–53·over VII A·B3 F#3·degrees 1 5·MIDI 59 54
  • steps 55–56·over VII A·A3 G3·degrees 7 6·MIDI 57 55
  • steps 57–58·over VII A·G3 A3·degrees 6 7·MIDI 55 57
  • steps 60–61·over VII A·F#3 B3·degrees 5 1·MIDI 54 59
  • steps 63–64·over VII A·E3 C#4·degrees 4 2·MIDI 52 61

The grid

Every step below strikes the note in force at that point. The grid is where the figure is played.

  • —1 (vel 118), 4 (vel 96), 7 (vel 96), 9 (vel 108), 12 (vel 96), 15 (vel 96), 17 (vel 118), 20 (vel 96), 23 (vel 96), 25 (vel 108), 28 (vel 96), 31 (vel 96), 33 (vel 118), 36 (vel 96), 39 (vel 96), 41 (vel 108), 44 (vel 96), 47 (vel 96), 49 (vel 118), 52 (vel 96), 55 (vel 96), 57 (vel 108), 60 (vel 96), 63 (vel 96)

On the Moog Subsequent 37

Subsequent 37 · Voice

Settings for this voice

Settings for a stab · hard voice on this box, written here. They are not the preset’s own values: load the preset to hear it as it ships.

Settings

  • SWING50%(0…100 %)

    50 is straight; it swings the onboard arpeggiator and sequencer, nothing played from elsewhere

    PRESET EDIT, ARPEGGIATOR, SWING

GLIDE

  • ONOFF

    Must be lit for any glide at all

OSCILLATORS

  • OSC 1 · OCTAVE8'
  • OSC 1 · WAVESAWTOOTH

    The knob is continuous; these are its four named points

  • OSC 2 · OCTAVE8'
  • OSC 2 · WAVESAWTOOTH

    The knob is continuous; these are its four named points

  • OSC · HARD SYNCOFF

    Keep OSC 2 at or above OSC 1 or it barely sounds

  • OSC · KB RESETON

    A defined leading edge, at the cost of a click on hard attacks

  • OSC · DUO MODEON

    On: the two oscillators take independent pitches, so this patch plays two notes

  • OSC · KB CTRLHI

    HI puts OSC 2 on the top note and OSC 1 on the bottom; LO swaps them

  • OSC 2 · FREQUENCY0st(-7…7 st)

    Leave near centre: this is a detune on top of a note OSC 2 is already playing

  • OSC 2 · BEAT FREQ0.5Hz(-3.5…3.5 Hz)

MIXER

  • OSC 17(0…10)
  • SUB 12(0…10)

    Always a square, always an octave below OSC 1

  • OSC 27(0…10)
  • NOISE0(0…10)

    Pink, not white

  • FDBK / EXT IN0(0…10)

    With nothing in EXT IN this feeds the mixer output back into itself

FILTER

  • CUTOFF1400Hz(20…20000 Hz)

    Fully down closes the filter completely

  • RESONANCE4.5(0…10)

    Above 7 the filter sings by itself

  • MULTIDRIVE3.5(0…10)

    Tube-like warmth at the bottom, hard clipping at the top

  • SLOPE24

    dB per octave: one, two, three or four poles

  • EG AMT4(-5…5)

    Bipolar: below centre the envelope pulls the cutoff down

  • KB TRACK1(0…2)

    1.0 is 1:1 tracking centred on C3; 2.0 is 2:1

ENVELOPE GENERATORS

  • ENV · KNOB SHIFTOFF

    Unlit, or the eight knobs below are DELAY, HOLD, VEL AMT and KB TRACK instead

  • FILTER EG · ATTACK2ms(0.1…10000 ms)
  • FILTER EG · DECAY150ms(0.1…10000 ms)
  • FILTER EG · SUSTAIN1(0…10)

    0 to 100%, calibrated 1 to 10

  • FILTER EG · RELEASE110ms(0.1…10000 ms)
  • FILTER EG · LOOPOFF

    On, the envelope repeats for as long as a note is held — a multistage LFO

  • AMP EG · ATTACK2ms(0.1…10000 ms)
  • AMP EG · DECAY300ms(0.1…10000 ms)
  • AMP EG · SUSTAIN4(0…10)

    0 to 100%, calibrated 1 to 10

  • AMP EG · RELEASE120ms(0.1…10000 ms)
  • AMP EG · MULTI TRIGON

    On, every note re-attacks even when you play legato

  • AMP EG · LOOPOFF

    Off on everything but a bed: looping the amplitude re-articulates a held note

MOD 1

  • SOURCETriangle
  • HI RANGEOFF

    On, the LFO runs ten times faster

  • SYNCOFF

    Off, so RATE is in hertz rather than clock divisions

  • LFO RATE5Hz(0.1…100 Hz)
  • KB RESETOFF

    On, the LFO restarts at zero on every note

  • PITCH AMT0(-5…5)
  • OSCBOTH

    Which oscillator PITCH AMT reaches

  • FILTER AMT0(-5…5)
  • DESTVCA LEVEL
  • MOD AMT0(-5…5)

This block draws on the Subsequent 37 User's Manual, pp.21-61; its values are starting points.