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Key to freeforms?

 
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yksi-kaksi-kolme  





Joined: 22 Jun 2008
Posts: 2803
Location: philly skramzzzz

PostPosted: Sun Apr 04, 2010 7:48 am    Post subject: Key to freeforms? Reply with quote

So I've been screwing around with Tuesday's Gone to try to reclaim my first. I found myself really sucking at first, but then I noticed something interesting... if I changed pitch faster, my score went up faster.

It's hard to explain. For the second freeform, there are 9 notes that register. So basically what I do is just sing the chromatic scale really fast, and at the end of it I still have a x1. Then I just go apeshit all over the scale until all the multipliers register; I tend to think of each multiplier as a little bar that gets filled up until it triggers. I fill it up a little with a quick run down the scale then fill the rest up with just random vocalization.

Okay, so getting the multipliers is actually the easy part. But then the challenge came from trying to get points. Staying stagnant on one note, I found, makes it go up slower than if you alternate between two notes. I just pick any two that are a half-step apart and trill them for ease. It's almost like a note has a certain scoring potential and over time that drains until a new note is sung. With my new method, I went from a 12k base to a 20k base on Tuesday's Gone's second FF.

I'm sure it's much more complex on songs like... I dunno, I Love Rock and Roll that only allow like 4 pitches, but in general, it seems that the busier you are the more points you get...

Basically, what I'm asking is for people to share experiences with freeforms and how they found the best way, cause I sure as hell can't hold a candle to some of the high scorers on certain songs. Is this method sound? Is there a better way? This is more than just a "HELP WUT PICHEZ WROK ON FREEFORMSH!!1@3" thread, cause those already exist, but more of a general technique to getting those pitches in and getting that score up.
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Wooffus  





Joined: 11 Dec 2009
Posts: 837
Location: England

PostPosted: Sun Apr 04, 2010 9:21 am    Post subject: Reply with quote

(Double post. How do I delete duplicates?)
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Last edited by Wooffus on Sun Apr 04, 2010 10:22 am; edited 1 time in total
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Wooffus  





Joined: 11 Dec 2009
Posts: 837
Location: England

PostPosted: Sun Apr 04, 2010 9:26 am    Post subject: Reply with quote

I play the guilty party on being the current global 1st.

I'm like most and found it hard to get quick points on freeforms when I first started out. In my first year or so I tried both methods of going through one note at a time and the rather odd method of going through all the others really fast (and most often to the beat of the song),

Eventually when I started watching other high scoring runs on Youtube I quickly learnt that if there's some notes that's directly next to each other, trilling back and forth amongst them would accumulate more points. This was a theory I first learnt when seeing Airshock's run on "Raining Blood", where all the notes of the keyboard are here and that by gently going across the lot would accumulate in such a high score.

For "Tuesday's Gone", the same principal kind of applies as there are two groups of four notes that are directly next to each other. So what I did for that second freeform was hit the one note left alone (B) to reach the x2 multiplier, then trilled up and down amongst the first cluster of four (C#, D, D# E) and then when the multiplier moved up to x6, I trilled up and down the second cluster of four (F#, G, G#, A) until the freeform was over. Cue in Star Power to double the score at the end and there you go - freeform #2 cracked.

If you still don't quite understand, then I'll upload that run on vid some point next week for you to show you what I mean. For now, I can link a faint idea of this kind of approach with my own run on "No Leaf Clover", where there was a cluster of 3 notes next to each other in the freeforms and shows how I manage that principle. Strangely, my strategy here isn't working for Van Halen, where the freeforms are considerably shorter and more fiddly to pull off.
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