The Triangle Lead chromatic-approach line on the Moog Subsequent 37

The technique

Four strikes a bar, on the one, the "and" of two, three and the "and" of four. The first three are the chord’s own notes, all but one major seventh in bar two. The fourth is the semitone below the next bar’s first note, and the next bar’s first note is where it is going.

Bar one, the i: root, third, fifth, and the fifth again. Bar two, the VI: its root, its major seventh, its fifth, then the raised third of the key. Bar three, the iv: its root, third and fifth, then the raised fourth of the key. Bar four, the V: its root, its third, its fifth, then its third again an octave lower. Then the i again, and that last note, the raised seventh, was pointing at it.

The raised third, the raised fourth and the raised seventh at the ends of the bars are not in the key. Play them anyway, and play them short and quiet, an eighth each, leaning into the bar head they lead to. A note outside the key that lands on one inside it is an arrival.

The bar head is the loud one. The approach note before it is the quiet one, and the distance between those two weights is what makes the semitone sound like a step up onto something.

Hold each note to the next strike. The approach notes in particular run straight into the bar head; a gap there and the semitone is a wrong note, no gap and it is a lead-in.

The V is major, and its third is the raised seventh. Never play the key’s own seventh while it is sounding. The two raised sevenths in that bar are the chord’s own note and the approach to the root, and the natural seventh against either is the arrival undone.

read in

The chords

4 chords over 4 bars, in G minor.

Degree	Chord	Notes	Bars	Under the figure
i	Gm	G · Bb · D	1–1	●
VI	Eb	Eb · G · Bb	2–2	●
iv	Cm	C · Eb · G	3–3	●
V	D	D · F# · A	4–4	●

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

The rules

Over V, never the 7th — the D chord is major, and F natural against its F sharp is the arrival undone.

The notes

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

steps 1–6·over i Gm·G4·degree 1·MIDI 67
steps 7–8·over i Gm·Bb4·degree 3·MIDI 70
steps 9–14·over i Gm·D5·degree 5·MIDI 74
steps 15–16·over i Gm·D5·degree 5·MIDI 74
steps 17–22·over VI Eb·Eb5·degree 6·MIDI 75
steps 23–24·over VI Eb·D5·degree 5·MIDI 74
steps 25–30·over VI Eb·Bb4·degree 3·MIDI 70
steps 31–32·over VI Eb·B4·degree #3·MIDI 71
steps 33–38·over iv Cm·C5·degree 4·MIDI 72
steps 39–40·over iv Cm·Eb5·degree 6·MIDI 75
steps 41–46·over iv Cm·G4·degree 1·MIDI 67
steps 47–48·over iv Cm·C#5·degree #4·MIDI 73
steps 49–54·over V D·D5·degree 5·MIDI 74
steps 55–56·over V D·F#5·degree #7·MIDI 78
steps 57–62·over V D·A4·degree 2·MIDI 69
steps 63–64·over V D·F#4·degree #7·MIDI 66

The grid

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

1 x··· ··x· x··· ··x·

17 x··· ··x· x··· ··x·

33 x··· ··x· x··· ··x·

49 x··· ··x· x··· ··x·

—1, 17, 33, 49 (all vel 118)
—7, 15, 23, 31, 39, 47, 55, 63
—9, 25, 41, 57

On the Moog Subsequent 37

Subsequent 37 · Voice

Settings for this voice

Settings for a lead · clean 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 · WAVETRIANGLE
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 RESETOFF
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 15(0…10)
SUB 11(0…10)
Always a square, always an octave below OSC 1
OSC 25(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

CUTOFF2000Hz(20…20000 Hz)
Fully down closes the filter completely
RESONANCE1.5(0…10)
Above 7 the filter sings by itself
MULTIDRIVE0(0…10)
Tube-like warmth at the bottom, hard clipping at the top
SLOPE24
dB per octave: one, two, three or four poles
EG AMT2.5(-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 · ATTACK5ms(0.1…10000 ms)
FILTER EG · DECAY250ms(0.1…10000 ms)
FILTER EG · SUSTAIN4(0…10)
0 to 100%, calibrated 1 to 10
FILTER EG · RELEASE200ms(0.1…10000 ms)
FILTER EG · LOOPOFF
On, the envelope repeats for as long as a note is held — a multistage LFO
AMP EG · ATTACK5ms(0.1…10000 ms)
AMP EG · DECAY400ms(0.1…10000 ms)
AMP EG · SUSTAIN8(0…10)
0 to 100%, calibrated 1 to 10
AMP EG · RELEASE220ms(0.1…10000 ms)
AMP EG · MULTI TRIGOFF
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 RATE5.5Hz(0.1…100 Hz)
KB RESETOFF
On, the LFO restarts at zero on every note
PITCH AMT0.5(-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.