Eclectic I

Friday, March 30, 2007


Special thanks to Lydia Sharrad and Martin Cheney.

We found the best sound for the Saxophone was facing the studio, at the point where the roof is lower to the ground. To close to the glass sounded to sharp, and other places in the room had too much 'space.' The area near the door where the bass trap is just muddied the sound.

We found that the AKG C-414 BUL worked best about half a meter back from the Sax, off axis and 3 quarter way down the keys. Too close to the Sax lost to much spectrum of tone, but too far away just had a flat sound. The second recording we did was on axis as a comparison at about the same distance and height. On axis picked up too much 'punch' from the bell and sounded awful in my opinion. The higher up the sax we went the higher the tone and the 'breathier' the sound. Too low faced the same problem of having too much 'punch' from the bell.

We placed an Sm57 just above the bell on axis. This was a nice addition to the overall sound although not the greatest sound. We needed to ensure it was not too close to the bell that it got blasted away though.

For the second recording we swapped the BUL and the Sm57 positions around. I think this was a failure. The 57 lost toned and the BUL sounded to airy.

We used a Km 84 facing down from above. What we found that was quite interesting was we got the best sound when we moved the mic so it was no longer over the sax but about half a meter to the left.

As a room mic we used the u87. We found the best sound was just outside the 'bass trap' near the door.

These two mics remained in the same place for both recordings

We also used a Sm58 in much the same position as the SM57. The sound was terrible so we just decided to mute it during play back of the first recording and didn't use it in the second.

Sax 1 with Sm58
Sax 1 without Sm58 2
Sax 2

The Flute recordings worked in much the same way as the Sax recording.

She sounded best in the same spot in the room as the sax did.

The BUL worked best from just below her flute hight facing towards the keys about 3 quarter way down the flute. And the Sm57 worked best angled up the keyboard a bit to the left of the BUL.

We swapped the two mics for the second recording, but I don't think it worked as well. The Sm57 picked up too much noise from the keys and the BUL didn't pick up as much of the tone.

The Km84 also sounded brilliant when it was moved so it was facing down from above just a bit to the left of where Lydia and her flute was.

As something different we used two room mics.

We used the U87 towards the back near studio 2. and another BUL closer to studio 1 to the left of where Lydia was standing. This worked brillian. The BUL had a great 'body' to the sound. Where as the U87 further back just added a little bit extra.

We swapped the mic's for the second recording, but in my opinion it was awful. The U87 was too sharp and pushed the BUL to the background.

Flute recording 1
Flute recording 2

And finally for something completely unrelated. Ben expresses his true love to ......


Thursday, March 29, 2007

Forum week 5 Collaborations 2

Daniel Murtagh

Mike Patton. The man, The legend.

Mike Patton and his numerous collaborations are awe inspiring. The man is not only a hugely gifted singer he is also a genius in musical arrangement. It wouldn’t of been an easy feat for Daniel to sift through and decide which particular collaborations to focus on. I agree with Stephen Whittington's comment that it would be nice to understand his approach to collaborations, but as with a lot of modern artists, he is quite secretive about his musical approaches. I am also curious as to how much Mike Patton takes control over each project and how happy he is to sit back and let other people take charge. Is it possible for him to work equally with other musicians? This question leads onto Darryns Forum presentation.

Darryn Slyn

Steely Dan... Collaboration?

Is collaborating really just one person taking charge of a group, using the abilities of others to realise their creative (or otherwise) end? As an example, Darryn showed a group with a free style Jazz format that still gave way to a leader giving hand signals for to guide the group. He also discussed the duo, Steely Dan. Although he said they were collaborating together musically, Darryn felt that one of the members played a more senior role in terms of composing. Yet I got the impression that this duo has more equal footing than the first example. One of them may come up with the original concept but it would appear they realise it together.

Alfred Essmyr

In Alfred's opinion, trying to make a name for your-self in the music industry involves collaborating with many different people within the music industry. An example given was of the perspective of creating a drum and bass song and then needing to put onto a Dub plate (vinyl) format. From there a collaboration between the song writer and the DJ they are trying to get to play there song.

DJ Shadow got remixed.. was that a collaboration?


Murtagh, Daniel. "Mike Patton" Week 5 talk Collaborations. Lecture presented at University Adelaide. 29 March 2007.

Slyn, Darryn. "Collaborations or dictatorship" week 5 talk Collaborations. Lecture presented at University Adelaide. 29 March 2007.

Essmyr,Alfred. "Collaborating with the industry" week 5 talk Collaborations. Lecture presented at University Adelaide. 29 March 2007.

Pic References

Amrit. 25 May 2006. "Peeping Tom is Mike Patton" (29 March 2007).

Unknown. 2004. "Steely Dan" (29 March 2007).

Spence, D. 18 September 2006. "DJ Shadow get Hyphy" (29 March 2007).

Sunday, March 25, 2007


The weeks are progressively becoming more challenging yet I feel as though I am getting somewhere so that is a good sign. It's getting difficult to manage all of the cables and I think that some of the functions I need to learn to do in just one object box rather than using several, and that I should also start using encapsulation to neaten it all up.

Never the less here is my latest update to the Keyboard Max Patch.

Psychedelic Keyboard

Saturday, March 24, 2007

AA2 wk 4

From walking around with the floor tom and banging it we discovered that right in front of the glass looking into studio 1 had a brilliant bass trap. We decided that this ‘boomier’ sound was much better than the higher treble sound more prevalent in the rest of the room.

We also decided on "enclosing" the kit in a circle of baffles to deaden the sound and take out the ‘live’ feel of the room. (We don't seem to like the live sound of the room at all)

Mic’ing the bass drum proved to be the most challenging aspect. I think I used the analogy of "trying to find the best ‘turd’ of the bunch" The sound was just flat and lifeless. The absence of a hole in the kick really makes a dramatic difference. We were forced to settle with the best sound out of a bunch of average sounds. We also tried turning the beater around so it was using the click instead of the padding but this made next to no difference.

Although rattle issues were minimal, we did however encounter and ring from the snare. We altered the distance of the mic to get the crispest sound with minimal ring. The ring made it evident to me that it is certainly necessary for the kit to be in-tune. To have those tones of the drum come through out of pitch would certainly "muddy" the sound.

Another interesting point on the snare was that we failed to perceive the difference of inverting the wave form on the bottom snare mic. Although having a mic on top and bottom increased the body of the snare dramatically, we could not pick any phasing issues. We still inverted the wave form just to be sure.

I think the two finger method within this weeks reading was especially useful when mic’ing the tom's. We also found that a HP filter on the toms prevented the ring coming through their mic's.

I think the part of the recording we excelled at was the hi-hat and cymbals. Angling the mic's towards the bell of the cymbals accentuate their tone.

We placed the room mic (neuman 87) above the baffles behind the kit. It didn't have a huge effect on the sound but it added some body to it.

The first major recording we did was using a spaced pair of mic's. This is one above the ride and one above the Crash. The Second we placed them in X-Y position at the centre of the kit. I prefer the spaced pair sound personally. If we had more cymbals then the X-Y would have had a greater use.

Recorded Examples

Spaced Pair


And what did Jake think about it all? Warning recording may be used out of context

Jakes Opinion

Friday, March 23, 2007

Forum - Wk 4 Collaborations

David Dowling's S and M.

First off, Happy Birthday David. Fancy having to give a talk on your birthday.

Cool DVD cover

David chose to discuss the collaboration between Metallica and Micheal Kamen to create Symphony and Metallica. Although I knew about S&M, I had never actually heard it, so the highlight of David's talk was actually listening to what was produced. A couple students who claimed to be Metallica fans thought (in contrast to David) that the collaboration was a failure. As someone who is not a fan I tend to disagree and can appreciate David's view point. The orchestral composition based around Metallica's music stood out in its own right. In my opinion, it was genius in its use of harmony. If the orchestra had just followed the guitar riffs, it would not have done justice to the music, nor would it have been as powerful.

Micheal Kamen

Vinny Bhagat.

Trilok Gurtu

This topic gave Vinny an opportunity to showcase someone who is evidently a major role model in his life. This man is Trilok Gurtu, however I had never heard of him before Vinny's talk. The Trilok Gurtu songs Vinny played were quite intriguing, and I can highly appreciate his ability and what he has achieved as a musician. The use of amplified bells and shakers within water is a fantastic showcase of ingenuity as a musician. I think the point Vinny was trying to bring home was the eagerness of Gurtu to step outside his Indian culture and embrace other musics of the world, particularly that of Africa. This lead him to collect styles of different nations and amalgamating them into something new and exciting. A very positive example about what collaborating can achieve.

William Revill.

Final Fantasy XIII

Rather than focusing on collaborations within music, Will decided to discuss collaborations between musicians/composers and other art forms. His main point of focus was Game Design. Will mentioned that while all the other areas within game design can collaborate in a board room discussion style manner, for the people working on sound design and in game music an isolated environment is necessary for them to create. An area I was interested in, which I don't recall Will mentioning, was at what point in time the sound artist and composer begins to create their work. It seems as though they would have to wait until there was a visual piece of work for them to base a sonic structure on. Would there be any discussion about the mood of the music or types of voices and sounds required for scenes that were still under construction?

Khaled Sanadzadeh (Sanad)

Sanad decided to challenge the importance of cross-cultural collaborations when it would appear that it is dictated by Western commercial music. He views the term "World Music" as a misnomer of the music that is being produced. To support his claim he wrote, 'Producers of our "world music" are... big corporations.' These corporations are out to make money and do not care for creative freedom and integrity (I can support this argument as I wrote an essay on it last year). Any music created, whether collaborative and/or cross-cultural should not be dictated by corporations. It can be argued that people write music which others will enjoy and hopefully incur an income so they can follow their passions. By doing this it will obviously be commercial. I think the over-riding issue is that these corporations spend billions of dollars on marketing to influence people's decisions. They also have the power to shelve any music they don't like. How much potentially popular music is not given an opportunity to reach a market?

I think it would be brilliant for Western instruments to be used in a different culture's musical style. I also think it's brilliant that so many different cultures have actually incorporated their instruments and styles within the Western style.

At the end of the day I think that Sanad is justified in pointing out the one sided approach to music, and especially showing his disgust with the control major corporations have over music. I'm not sure why so many people took offence to this. My only criticism was that he should have articulated what he was saying in his talk as well as he did on the paper he handed out. I also liked the point raised by one of the 1st years about what comprises Aboriginal music. Does the music lose its cultural significance if they choose to adopt Western instruments, or is the culture still inherent in the way they choose to portray their music?

And thus ends Luke's weekly sermon.
Be at peace, my children.


Dowling, David. "S&M" Forum Week 4 talk Collaborations. Lecture presented at University Adelaide. 22 March 2007.

Baghat, Vinny. "Collaborations of Trilok Gurtu" Forum Week 4 talk Collaborations. Lecture presented at University Adelaide. 22 March 2007.

Revill, William. "Collaborations in Game" Forum Week 4 talk Collaborations. Lecture presented at University Adelaide. 22 March 2007.

Sanadzadeh, Khaled. "Collaborations in music" Forum Week 4 talk Collaborations. Lecture presented at University Adelaide. 22 March 2007.

Pic References

Steve. S&M Pic. 2006 (24 March 2007).

Nikitin, George. 17.08.2006 Micheal Karmen Pic. (24 March 2007).

Harari, Guido. May 2002 Trilok Gurtu Pic. (24 March 2007).

Rajiv. September 29, 2006. Final Fantasy Screen Shot. ( 224 March 2007).

Sunday, March 18, 2007


Well it's taken a lot of work and a bit of help, but I have now caught up. I have created my Max Keyboard patch. It really wasn't easy and I actually had to read a few tutorials ahead and get Tyrell to explain a couple of things to me before it all fell into place. But here it is.

Max Keyboard Patch text file

Friday, March 16, 2007

Forum week 3

And the forever prominent question within music technology was raised once more. What defines music as music? Usually we discuss the nature of music and what it comprises of, only to reach a point where people establish which side of the fence they sit on. This time David got us actively involved. We were all given our parts to perform his piece "will insert title when I remember what it was." As homage to Cage (David really likes this guy) it was a free form piece with very little structure. There were no rhythmic durations, only a series of notes, percussive hits, or readings to be done within a given time frame.

What was the result? Well first there was the nervousness of people not willing to let go and stand out amongst the group. People were waiting for someone else to begin and then all rushing in at great crescendos of sounds. Then great periods of silence where people had exhausted there input within there set time. I recall David Harris saying that his favorite parts are the silences. I have to disagree. The silences were good when used creatively, rather than a moment of waiting for the next person to make a noise. But for me the highlights were the people who took it as an opportunity to express their part to its fullest.

There were three people that stood out greatly in this area. As abstract as this piece was, they all had impeccable use of their instrument and sense of timing. A cymbal crash at the end of a crescendo of voices, various vocals which accentuated the sounds (or lack of) within each moment of the piece, or clever use of distorted guitar to create moments of an almost ‘prog rock’ feel. I haven’t actually spoken to them as to whether they personally enjoyed the piece or if they thought it was a joke, but that is irrelevant to the obvious sense (conscious or subconscious) of adding texture and variety to the sounds around them.

For me this was an exercise in interaction with the sounds in your environment. It was about texture of noise and expanding creative potential through freedom of structure. I personally have no desire to write any music like John Cage or David Harris. I want to compose with strict control over what music is made and played. But the understanding of sound through the compositions of people of Cage's ilk is a brilliant foundation to creative freedom and potential. Even if it is something I’d never go out and listen to or purchase on CD.

On a lighter note, there were some incredibly funny choices of poetry within David’s piece. Was this an intentional choice to encourage people to stay actively involved to listening to the piece, even if it was just to catch the next excerpt of a poem? After all isn’t that what Cage (and therefore David’s piece) all about? To engage the listener (whether it is the musician or audience member) in such a way that they partake in the combinations and textures of sound instead of sitting back and letting it wash over them with no effort.


Harris, David. Music Tech Forum Wk 3. "cacophony of sound" Level 5 Schultz building University of Adelaide. 15 March 2007.

Pic References

Schwartzenberg, Susan. 3 November 1995. "John Cage" Archive of silence (17 March 2007).

Thursday, March 15, 2007


This week Dave and I teamed up to create the ultimate guitar sound! Using the techniques explored within class I believe we achieved our goal.

Although we used Dave on his Ibanez 'RG 21-20' through the Laney Amp, we experimented with Jake on his Epiphone (Gibson) Les Paul. The tone of Jakes guitar and his playing style gave a much more prominent mid range Where as Dave had more a 'heavy' sound. In Daves words "It was made for METAL!" Although our final choice of mic positions worked for both sounds, I think it was more suited for Dave's playing. -which was just as well seeing as that's who we recorded.

Dave and I chose to use the Beta 52A, and the Shure Sm57 Beta to mic the Laney amp and the Neuman U87 as a room mic. We chose the 52A as with Dave's tendency toward 'heavy' riffs meant we wanted a prominent bottom end sound. The Sm57 gave a bit more depth to the overall sound and we chose the Neuman over the Road NTV as we felt that the NTV was just too sensitive and clouded the sound with room ambiance.

To achieve the best sound we placed soloed each mic and got the best sound individually first and then listened to them together to discover if they worked well. We had to do this a couple of times as the first try produced good results from the mic's by themselves but became way too muddy when combined.

The final positioning was very similar to what we had in class but overall I think we had the mic's closer to the speaker cone.

The Beta 52 was right in the Bottom Left corner touching the speaker mesh. it was so low it almost touched the ground. It was angled slightly towards center of the speaker cone, but not directly towards it.

The Sm57 was positioned slightly higher, and slightly closer to center than then Beta 52. It was angled towards the center of the speaker cone and was also touching the speaker mesh.

The Neuman took a bit more experimenting as the room had a very bright sound which contrasted to greatly with the 'heavy' sound we were trying to achieve. In the end we discovered (well it was Dave's idea but anyway...) that the far corner on the carpet next to the baffle flattened the sound significantly. Although it was not ideal as a sound by itself, when combined with the other two mic's it had a brilliant effect.

Dave Doing a Dive Bomb X 3 TO THE EXTREME!

Beta 52A Dive Bomb

Sm57 Beta Dive Bomb

Neuman U87 Dive Bomb

Dave doing Metallica's 'Master of Puppets' intro

Beta 52A Master of Puppets intro

Sm57 Beat Master of Puppets intro

Neuman Master of Puppets intro

Although I originally thought that the raw recordings were pretty good by themselves, Compression and EQ (mainly EQ) helped bring out the a bit more tone in the recordings. All the tracks together sound much fuller as well.

A Final mix down of Dave doing Dive bombs. (All 3 tracks + EQ and Compression.)



Grice, David. Wk 3 Audio Arts "Electric Strings" Level 5 Schultz building University Adelaide. 13 March 2007.


It took me a while to get it together as I was suffering from availability issues when it came to using max, but finally... Here is my max patch.

Max Patch text file -sequencing the notes of a scale


Christian Haines. “Max Quickstart.” Lecture presented in tutorial room 407, 4th Floor Schulz building, University of Adelaide. 8th March 2007.

Tuesday, March 13, 2007


For Audio arts this week I have 12 different comparisons of Vocal recordings. The first 2 are raw recordings of my friend Lisa on the Nueman U89. The first recording is her singing without any vocal expression and then the second is a comparison where she is being expressive. It was difficult to get her to do a recording without much expression as she is a singer and naturally puts it in. But in the end we got a comparison which demonstrates the vast dynamics of her vocals.

Lisa singing Flat into the Nueman

Lisa Singing with expression into the Nueman

Then I did some raw recordings of a friend Scott using the Nueman U89. Because Scott can’t sing we got him to read off a sheet of paper. Again I got him to do a flat read and an expressive read. Scott’s 'esses' were really prominent in both recordings, but particularly when he did an expressive read.

Scott doing a flat read into the Nueman

Scott doing an expressive read into the Nueman

Then I did the same using the Road NTV. Although it picked up a lot more, it really gave a lot more Clarity to Lisa's voice. For Scott however, it didn't do him any favors. It made it quite evident that the Nueman had much greater warmth in sound as it rolled of the bottom end of his voice.

Lisa singing Flat into the NTV

Lisa singing with expression into the NTV

Scott doing a flat read into the NTV

Scott doing an expressive read into the NTV

Finally I added some compression and a De-esser to the 4 expressive reads. Lisa still sounds best on the NTV. Scott on the other hand, still sounded good on the Nueman but with the NTV I was able to get a more Radio like quality to his voice. A major set back was that a lot more of the room noise came through into the mix after compression. Particularly in one point of Scotts recording on the NTV.

Lisa singing with expression into the Nueman with compression and de-esser added in post

Lisa singing with expression into the NTV with compression and de-esser added in post

Scott doing a flat read into the Nueman with compression and de-esser added in post

Scott doing a flat read into the Nueman with compression and de-esser added in post

Thursday, March 08, 2007

Forum wk2

I want to be original... Just like everybody else
as discussed by Stephen Whitington

In certain cultures musical traditions are passed on from one generation to the next. There is a key repertoire which is valued and cherished within the culture and mastery of this repertoire is of the utmost importance. Originality is something earned through this mastery and quite often even then it comes up against harsh resistance within the culture which holds fast to their traditions and opposes change.

Stephen's perspectives on music bring into question the severe extreme to which modern society is shunning anything deemed un-original. Is this really a just system? How can you truly define originality when it’s through the exposure and study (whether institutional or personal) of music/art that one obtains mastery? One student raised a very valid opinion along the lines that we create from piecing together different forms and styles to create something new from the old. In this way how is it possible to ever be entirely 'original'? If this practice were wrong Mozart would be sued for 'ripping off' Haydn.

So where does originality spring from?

Is it in fact experience or is it innocence? Stephen talked of how children are spontaneously creative. In their innocence they have not yet been confined by a set of structures and rules and are free to create. Many composers try and return back to that state of innocence to reach into the pool of creativity that it contains.

The story of Erik Satie epitomizes the power within 'innocent composing' but is it any more legitimate and original than studying music? I find personally that I'm learning a lot more as I study music. There is the trap of falling into following the guidelines and regurgitating. I came from having previously composing with next to no standard musical training before I came to university. I wrote from that place of innocence which Stephen referred to. I believe that it is possible to maintain that whilst understanding and applying the new knowledge I obtain. Maybe Satie's 'fall' was that he set out to write a fugue and he wasn't looking to write from innocence and experimentation but completely from mastery. A balance is necessary in my opinion.

Then we delve into the realm of technology; beginning with Walter Benjamin’s opinion about the 'Aura' of original as compared to reproductions, and moving onto Baudrillard's Simulacrum. Is the distinguishing brilliance of the original still of any importance when reproductions are so far detached that there is no longer a connection?

This of course flows naturally into the notion of putting lots of different parts of pieces together such as in the work presented by John Zorn and Christian Marklay. Although I find it disappointing that these examples where of very experimental art nature and there wasn't anything from the more commercial realm of sampling. I really enjoy the notion of plunderphonics though. It is really taking it to the next level and is a brilliant example of Simulacrum.

The final topic of the talk broke new ground for me. All my previous approaches to computer music have been from sample based musique concrete esque, or at most when I created a Virtual Synth which I then played like any normal synth. But now that we are being introduced to coding in Max this year the concept of computer generated work is quite mind boggling. David Cope's computer program opens up a whole can of worms I don't really have time to discuss.

Being that we did a whole Forum on copyright laws last year I think I can get away with not covering it. -thankfully :P There was way too much to cover this week and not enough words (or time) to cover it.


Wittington, Stephen. "Forum – ‘Originality in Music’". Lecture presented at University Adelaide. Thursday 8th March 2007.

Pic References

Unknown. ( 8 March 2007).

Hale, Jim. September 27, 2006. ( 9 March 2007).

Friday, March 02, 2007

FORUM week 1

Why.. cause I'm a tool fan and theres really nothing in this entry that requires a pic

And thus began the first Forum of the year. The first half served more as an introductory session, explaining what the forum was about and getting all the degree students to introduce themselves. I found it difficult to know what to say as I'm still figuring out what I want to do with this degree. For me it's as simple as I want to make music, I find I'm learning all the things I want to learn and that’s why I'm here.

It was funny that basically the entire first years were interested in Audio Engineering. I think as they get on in the course and get into all the other components of the course they could either go one of 2 ways. They will Decide that they were hear for audio engineering and leave cause of all the other stuff involved on top of the audio engineering, or they will realise that there’s a lot to be gained from all the programming and sound design side of things and want to branch out and at least get an understanding for these other areas.

For me this course has just opened up a whole knew world of possibilities but they have all fitted in with my desire to make music, and even if they can't serve my purpose they have still been very interesting or at least given me a different understanding of sound. However I'm not sure if that will be the same for someone exclusively interested in Audio Engineering. I know of one student who left the degree because he was only interested in Audio Engineering and the rest of it just wasn't for him.

I’m a bit nervous about having to give a talk on collaboration in week 5, but at least it will be out of the way early. I think the student discussions are a good idea and will give an opportunity for students to delve into some interesting topics.

I am curious as to (and think we will) whether we will be presenting any work in second semester. Although I felt that what I presented wasn’t as good as I would have liked it to be, I was pleased that we got the opportunity to do it last year and hope we will again this year. There were some real gems of pieces presented. Poppi’s piece still stands out in my mind as highly inspirational.

It was really weird seeing the collected certificate, diploma and degree tech students in the last half of the Forum. It is certainly the biggest it has ever been. On one hand it is good to see the course growing and expanding, (I’m sure we will give the Classical and Jazz departments a run for their money soon) but on the other I feel that it will be a real challenge having to share everything with so many more students. Their where still slight difficulties last year! I think they need to build a new studio from scratch… WHO’S WITH ME!?!?!


Stephen Wittington. ‘Forum – Introduction and Overview’. Lecture presented at EMU Space, Schulz Building, 5th Floor, Adelaide University. Thursday 1st March 2007.

Pic References

Grey, Alex. 2001. "Lateralus Cover" (2 May 2007).

CC Week 1 - Programming and Pseudocoding

Pseudocode for changing all major scales played on keyboard to harmonic minor scales.

Part 1 (I have only written the first 4 notes as the rest is obvious.)

IF MIDI note = 1
THEN play note C1

IF MIDI note = 2
THEN play note Csharp1

IF MIDI note = 3
THEN play note D1

IF MIDI note = 4
THEN play note Dsharp1

Part 2. (Ive only done the first 3 of these as the rest is obvious.)

IF notes C, D, E, F, G, A, B are pressed on keyboard

IF notes Csharp, Dsharp, Esharp, Fsharp, Gsharp, Asharp are pressed on keyboard
THEN DETERMIE as key of C# major

IF notes D, E, Fsharp, G, A, B, Csharp are pressed on keyboard
THEN DETERMINE as key of D major

Part 3.

DETERMINE KEY of notes being played on the keyboard

IF Notes pressed on keyboard are in the key of C THEN
sequence 1


IF Notes pressed on keyboard are in the key of C sharp THEN
sequence 2

IF Notes pressed on keyboard are in the key of D THEN
sequence 3


IF Notes pressed on keyboard are in the key of D sharp THEN
sequence 4


IF Notes pressed on keyboard are in the key of E THEN
sequence 5


IF Notes pressed on keyboard are in the key of E sharp THEN
sequence 6


IF Notes pressed on keyboard are in the key of F THEN
sequence 7


IF Notes pressed on keyboard are in the key of F sharp THEN
sequence 8


IF Notes pressed on keyboard are in the key of G THEN
sequence 9


IF Notes pressed on keyboard are in the key of G sharp THEN
sequence 10


IF Notes pressed on keyboard are in the key of A THEN
sequence 11


IF Notes pressed on keyboard are in the key of A sharp THEN
sequence 12


IF Notes pressed on keyboard are in the key of B THEN
sequence 13


IF Notes pressed on keyboard are in the key of B sharp THEN
sequence 14


IF Notes pressed on keyboard are in the key of C flat THEN
sequence 15


IF Notes pressed on keyboard are in the key of D flat THEN
sequence 16


IF Notes pressed on keyboard are in the key of E flat THEN
sequence 17


IF Notes pressed on keyboard are in the key of F flat THEN
sequence 18


IF Notes pressed on keyboard are in the key of G flat THEN
sequence 19


IF Notes pressed on keyboard are in the key of A flat THEN
sequence 20


IF Notes pressed on keyboard are in the key of B flat THEN
sequence 21

Part 4. (I have only written the first 4 sequences as I think its self explanitory that the rest of the sequences would continue to lower the third and sixth of each scale to make it harmonic minor.)

Sequence 1

WHILE notes pressed on keyboard are in key of C
FOR every E note pressed play the note E flat
FOR every A note pressed play the note A flat
REPEAT-UNTIL notes pressed on keyboard are no longer in key of C

Sequence 2

WHILE notes pressed on keyboard are in key of C sharp
FOR every F note pressed play the note E
FOR every B flat note pressed play the note A
REPEAT-UNTIL notes pressed on keyboard are no longer in key of C sharp

Sequence 3

WHILE notes pressed on keyboard are in key of D
FOR every F sharp note pressed play the note F
FOR every B note pressed play the note B flat
REPEAT-UNTIL notes pressed on keyboard are no longer in key of C

Sequence 4

WHILE notes pressed on keyboard are in key of D sharp
FOR every G note pressed play the note G Flat
FOR every C note pressed play the note B
REPEAT-UNTIL notes pressed on keyboard are no longer in key of C sharp