Mainstage (Using the Arpeggiator) By Aaron Vasquez

     In this article, I want to address the Arpeggiator File which can be found in the MainStage Channel Strip Library.  To explain what the Arpeggiator does, we will define what an arpeggio is.  An arpeggio is defined as the following; a musical technique where notes in a chord are played or sung in sequence, one after the other, rather than ringing out simultaneously. For more information on arpeggios, see the following article (https://en.wikipedia.org/wiki/Arpeggio).  The arpeggiator file in MainStage creates an arpeggio pattern for you, instead of you having to physically play whatever the selected pattern is.  For example, if you sustain a D major chord on your keyboard, with an arpeggiator function selected, you will hear a random pattern of these 3 notes (D, F#, A)  played individually with some sort of rhythmic pattern.  In short, they keyboard application does the work for you.  All you have to do is sustain a chord on the piano, and what sounds is a fantastic arpeggiated pattern.  To hear an example of a MainStage arpeggiator, click on the link and scroll the video to 9:36.  In addition, this video demonstrates other sounds that are possible with keyboard application, MainStage. (https://www.youtube.com/watch?v=VlVa2j_LfOs).

    To begin, here are instructions to assist with locating the Arpeggiator folder in MainStage.  First, open a channel strip and go to the Patch Library.  At the bottom of the library (3rd from the bottom), is the Arpeggiator folder.  Within this folder, there are 6 additional folders.  All of the files within these folders contain a pre-set arpeggiated pattern.  These pre-set patterns are all very unique.  

    For the rest of the article, we are going to focus on how to use these patterns in a live performance.  In order to do this, you will definitely need to be utilizing a click track.  This is the only way that the arpeggiator, and the band will be able to stay in sync.   For, the most part, these arpeggiator files will have no problem staying with a click track.  However, there is one issue you may encounter when playing chords, rather than single notes, with an Arpeggiator file selected.  The issue is staying with the click.  In our experience, it is pretty difficult to stay with a click if you are changing every single note from chord to chord.  For example, when changing from a C chord (C,E,G) to a D Minor Chord (D,F,A) you end up changing every single chord tone.  If you are not 100% in time when changing chords such as these, the arpeggiator sound and the click may begin to fall out of synch.  We advise you to do everything possible to avoid this style of chord playing when using the Arpeggiator function in MainStage.  Instead, it is very helpful to keep a note or notes sustaining on the keyboard while changing chords.  By doing this, the loop pattern will continue in time uninterrupted.  

     This is the key to keeping the arpeggiator and the click track in sync.  We at Praise and Worship Guitarist have two methods that we would encourage you to implement;  Common Tones and Pedal Tones.  Both involve sustaining a note or notes while changing chords.  Lets look at the two methods.  

    First, You will find it very helpful to apply common tones whenever possible. Chord common tones have to do with voice-leading.  This is something that we have discussed in a past guitar lesson on Praise And Worship Guitarist (http://static1.squarespace.com/static/55b12272e4b080c8f92786a3/t/56e1875a1bbee02674f037b8/1457620826521/Open+Strings+%28By+Aaron+Vasquez%29.pdf).  Common tones in chords are when two chords have 1 or 2 of the same notes to create that particular chord.  For example, a C chord (C,E,G) and a G Chord (G,D,B) both have a G note.  Therefore, they have 1 common tone.  Here is another example, a D chord (D,F#,A) and a B Minor chord (B,D,F#) have two common tones; D & F#.  This is all common tones are regarding chords.  This technique and knowledge can be very helpful when applying the Arpeggiator and playing chords.  Here is the catch, not all chords in a key signature share common tones.  However, there is a technique that can be applied to get around this problem.  This leads us to the second method. 

    Method 2 will focus on Pedal Tones.  A pedal tone is a sustaining note over changing harmonies/chords (For more information on pedal tones, visit https://en.wikipedia.org/wiki/Pedal_tone).  The two most common scale degrees used in pedal tones are scale degree 1 (Tonic) and scale degree 5 (Dominant).  Scale degree 1 is simple.  It’s the root note of whatever key the song is in.  For example, the song Let God Arise by Chris Tomlin is in the key of B Major.  Therefore, the root note is B.  The dominant would be the fifth scale degree of that key, which would be a F#.  It is definitely helpful to know your key signatures.  Here is a way to find the 5th scale degree.  Play an ascending major scale, and stop on the 5th note.  For example, B, C#, D#, E, F#.  If you find yourself struggling with this, we recommend finding a music teacher and having them teach you about key signatures and playing scales.  

    Here is the point of all of this information; scale degree 1 or 5 can sustain over in chord within the key signature, and it will sound great.  Therefore, try putting one of these notes as the highest note or the lowest note, and continue to sustain it over every chord change.  This is an easy way to make sure the loop pattern continues uninterrupted.  

    I know this is a lot of information, so please check out the video tutorial for this lesson.  You can find it at http://www.praiseandworshipguitarist.com/video-tutorials/

Thank you so much for checking out this article, and we trust that this information will be useful to your church.  Thanks again, and God Bless.  

Aaron Vasquez, MM