Post on 24-Oct-2019
Serban NichiforComposer, Teacher
Roumania, Bucarest
About the artist
http://www.voxnovus.com/composer/Serban_Nichifor.htm
Born: August 25, 1954, in Bucharest, Romania
Married to Liana Alexandra, composer: http://www.free-scores.com/partitions_gratuites_lianaalexandra.htm#
Studies
National University of Music, Bucharest, Doctor in MusicologyTheology Faculty, University of BucharestInternational courses of composition at Darmstadt, Weimar, Breukelen and MunchenUSIA Stipendium (USA)
Present Position
Professor at the National University of Music, Bucharest (Chamber Music Department);Member of UCMR (Romania), SABAM (Belgium), ECPMN (Holland)Vice-president of the ROMANIA-BELGIUM AssociationCellist of the Duo INTERMEDIA and co-director of the NUOVA MUSICA CONSONANTE-LIVING MUSICFOUNDATION INC.(U.S.A) Festival, with Liana ALEXANDRA
Selected Works
OPERA, SYMPHONIC, VOCAL-SYMPHONIC AND CONCERTANTE MUSIC:
Constellations for Orchestra (1977)Symphony I Shadows (1980)Cantata Sources (1977)Cantata Gloria Heroum Holocausti (1978)Opera Miss Christina (libretto by Mircea ELIADE,1981... (more online)Qualification: PROFESSOR DOCTOR IN COMPOSITION AND MUSICOLOGYPersonal web: http://romania-on-line.net/whoswho/NichiforSerban.htmAssociate: SABAM - IPI code of the artist : I-000391194-0
About the piece
Title: INTRODUCTION TO COMPUTER MUSIC [Compendium - Second Edition]
Composer: Nichifor, SerbanLicence: Copyright (c) by Serban NichiforPublisher: Nichifor, SerbanInstrumentation: Music theoryStyle: Contemporary
Serban Nichifor on free-scores.com
http://www.free-scores.com/Download-PDF-Sheet-Music-serbannichifor.htm
■ Contact the artist■ Write feedback comments■ Share your MP3 recording■ Web page and online audio access with QR Code :
First added the : 2009-01-21 Last update : 2009-01-21 00:08:48
SERBAN NICHIFOR
LIANA ALEXANDRA
INTRODUCEREIN COMPUTER MUSIC
Compendium
Editura Stephanus2009
5
SERBAN NICHIFOR
LIANA ALEXANDRA
INTRODUCERE IN COMPUTER MUSICCompendium
INTRODUCERE
Adresat in principal studentilor Universitatii Nationale de Muzica din Bucuresti, dar si tuturorcelor interesati in investigarea complexului fenomen „COMPUTER MUSIC“, acest compendiumincearca sa surpinda, intr-o imagine eminamente sintetica, coordonatele unui nou gen muzicalaflat in plina evolutie - cu consecinte majore in prezentul, dar mai ales viitorul artei sunetelor.Nascut, ca si jazz-ul, in atat de fecundul spatiu cultural nord-american (ponderea muzicienilordin U.S.A fiind de peste 90 % !), genul „Computer Music“ reprezinta acum o dimensiune unanimrecunoscuta – dinamica dezvoltarii sale fiind impresionanta, mai ales printr-o perpetuaexpansiune in cele mai inedite domenii ale cunoasterii, determinand si elaborarea unor proiecteinter-disciplinare – in planurile creatiei, interpretarii si cercetarii - imposibil de realizat cumijloacele traditionale. De aceea, prezentul compendiu nu poate avea un caracter exhaustiv – elreflectand in mod pragmatic, din perspectiva practicii muzicale, doar trei elemente constitutive,ce sunt structurate in capitolele: (A) „Evolutia mijloacelor de prelucrare a informatiei, cu aplicatiela arta sunetelor“, (B) “Elaborarea audio-numerica“ si (C) „Muzica de camera asistata decalculator“. Avand o configuratie interactiva (determinata si de evolutia extraordinar de rapida agenului, in multiplele lui ipostaze), compendium-ul evidentiaza in acest sens si o serie de legaturi(„links“-uri) cu unele dintre cele mai documentate surse de informare accesibile prin Internet.Dedic aceasta lucrare sotiei mele, distinsei compozitoare si profesoare Liana ALEXANDRA(http://www.romania-on-line.net/whoswho/AlexandraLiana.htm ).
- Capitolul A -EVOLUTIA MIJLOACELOR DE PRELUCRARE A INFORMATIEI, CU APLICATIE IN
ARTA SUNETELOR
- I.)– a.) Mijloace manuale in sistem zecimal: 1.) Abacul (inventat in China antica si preluat decultura greco-romana); 2.) Instrumentele de navigatie;- b.) Mijloace mecanice in sistem zecimal:1.) Rigla de calcul (1620, William Oughtred, logaritmi); 2.) Masina de calcul inventata deLeonardo da Vinci (sec.XV, operationala cu numere pana la 13 cifre); 3.) “Arca Musarithmica”-sintetizorul pneumatic (cu partitura montata pe un tambur-program) imaginat in 1640 deAthanasius Kircher (teoretician al manieristilor si autor al primei enciclopedii) in “MusurgiaUniversalis”; 4.) Masina de calcul inventata de Blaise Pascal (1642 – bazata pe adunare siscadere); 5.) Aritmometrul inventat de Gottfried von Leibnitz (1671 – cu cele 4 operatiiaritmetice) si perfectionat de Xavier Thomas (1820) si Charles Babbage (1822 – “AnalyticalEngine” - masina diferentiala cu cartele perforate, operationala pana la 8 secimale si capabila sagenereze structuri muzicale, asa cum remarca in 1847 Lady Ada Lovelace) - evoluand pana ladiferitele masini de calcul mecanice si electromecanice utilizate inclusiv in a doua jumatate a sec.XX (bazate pe principiul rotilor Odhner si pe stocarea informatiei pe banda de hartie perforata);6.) “Würfelspiel” (“Joc de zaruri”) de Wolfgang Amadeus Mozart (1756-1791) – primul experimentde aleatorism controlat in muzica (Appendix 3); 7.) Sisteme mecanice cu program: a.) Razboiul detesut cu cartele perforate (1802, Joseph Jacquard); b.) Echipamentul mecanografic cu cartele
6
perforate inventat de americanul Herman Hollerith si folosit in 1890 la prelucrarea datelorreferitoare la recensamanatul populatiei din S.U.A.;- II.) Calculatoarele din generatia 0 (1931-1944), cu program si in sistem zecimal: 1.)calculatoarele electromecanice Z1 – Z3 (1931-1941, Konrad Zuse); 2.) calculatorul Colossus (cu2000 de tuburi electronice, realizat in 1943 la British Intelligence Establishement si utilizat indescifrarea codului secret german “Enigma”); 3.) calculatorul cu relee electromagnetice sicartele perforate ASCC (Automatic Sequence Controller Computer) realizat in 1937, laUniversitatea Harvard, de Howard Aitken si perfectionat cu sprijinul IBM in 1944, princalculatorul “Mark 1 Harvard” (primul calculator electromecanic complet automatizat si dirijatprin program – operational pana in 1949).- III.) Calculatoare electronice in sistem binar: - 1.) Calculatoarele electronice din generatia 1 (1946-1958), bazate pe o arhitectura sintetizatade americanul John von Neumann (in sistem binar si logica booreana): 1.) ENIAC/ElectronicNumerical Integrator and Calculator (1946, U.S.A., John V. Manchly, J. Presper Eckert, Johnvon Neumann – Universitatea Pennsylvania – operational pana in 1955); in anul 1957Departamentul Apararii din S.U.A. organizeaza initiaza proiectul ARPA, reprezentand primaretea cibernetica de comunicatii; 2.) UNIVAC-1/Universal Automatic Computer (1950, U.S.A. –primul calculator electronic comercializat); 3.) MANCHESTER MARK 1 (1948, Marea Britanie– cu program memorat): 4.) EDSAC/Electronic Digital Sequential Automatic Computer (1949,Universitatea din Cambridge – folosind efectiv primul sistem de operare); 5.) apar primelestudiouri de computer music – in 1957 la Bell Laboratories din Murray Hill (New Jersey), iar in1958 la Illinois University, unde este elaborata prima compozitie muzicala pe computer – “IlliacSuite” for string quartet (1956) de Lejaren Hiller si Leonard Isaacson; apar primele programe dinseria “MUSIC” realizate de Max Matthews la Bell Labs; 6.) in Romania – CIFA/CalculatorulInstitutului de Fizica Atomica, 1957), MECIPT (Institutul Politehnic din Timisoara) si DACICC1 (Institutul de Calcul din Cluj); - 2.) Calculatoarele electronice din generatia a II-a (1959-1963) - bazate pe tranzistori (in locultuburilor electronice) si pe limbajele de nivel inalt COBOL si FORTRAN – au fost realizate decompaniile americane Honeywell, IBM, Burroughs si Univac; in 1962, US Air Force realizeazaprima retea decentralizata (prin fragmentarea informatiilor trimise, ce sunt reasamblate, inordine, la receptor) ; in 1959 sunt infiintate “The Columbia-Princeton Electronic MusicCenter”(dotat cu un RCA Mark II Synthsizer si coordonat de Vladimir Ussachevsky, Otto Luening siMilton Babitt) si “The San FranciscoTape Music Center” (fondat de Morton Subotnick, RamonSender, Pauline Oliveros si Terry Riley – studioul fiind echipat cu sistemul electronic “100-series”proiectat de Donald Buchla); experimentele sonore realizate de Max Mathews la Bell Labs (cu RCAMark II si IBM 7090) sunt gravate pe discul “Music from Mathematics” (Decca DL 79103); aparnoi compozitii generate pe calculator - “Stochastic Quartet” de James Tenney (1963, Bell Labs) si“Computer Cantata” de Lejaren Hiller si Robert Baker (1963, Illinois University); in Romania aparcomputerele MECIPT II (Institutul Politehnic Timisoara), CET 500 5I.P.A. Bucuresti) siDACICC 200 (Institutul de Calcul din Cluj); - 3.) Calculatoarele electronice din generatia a III-a (1964-1970) – bazate pe circuite integrate,pe limbajele de nivel foarte inalt PASCAL, LISP si pe limbajele cu interfata grafica – au fostproduse in S.U.A. de firmele IBM (International Business Machines) si DEC (Digital EquipmentCorporation); la Princeton Studio apare “Quartets in Pairs” (1964) de J.K. Randall – o lucraremuzicala ce trateaza computerul ca instrument in timp real; la Bells Lab este elaborata – in bazaprogramului “MUSIC V” – lucrarea “Mutations I” (1969) de Jean-Claude Risset (relationandfrecventa si timbrul sonor), iar la”San FranciscoTape Music Center” sunt realizate 3 pieseantologice semnate de Morton Subotnick: “Silver Apples if the Moon” (1966), “The Wild Bull”(1967) si “Touch” (1968) – toate beneficiind de oportunitatile echipamentului Buchla; programul“MUSIC 360”, creat de Barry Vercoe la Princeton Studio, va determina si aparitia unor noi siimportante compozitii – “Synthesism” de Barry Vercoe (1969) si “Earth’s Magnetic Field” deCharles Dodge (1970 – lucrare bazata pe “diagrama Bartels”, ce ilustreaza schimbarile activitatiimagnetice a Pamantului); in aceasta perioada apar si sintetizatoarele analogice concepute de PaoloKetoff (“Syn-Ket” – utilizat de John Eaton) si Robert A. Moog (introdus de Walter/Wendy Carlos inmuzica populara) – sistemele acestora fiind ulterior comercializate pe scara larga de firmele ARP,Korg/Unicord, Oberheim,Roland si EML; in 1969 UCLA organizeaza reteaua ARPANET(precursoarea INTERNET-ului), la care se conecteaza principalele universitati americane; esteinfiintat – in cadrul Stanford University – renumitul Center for Computer Research in Music andAcoustics, sub coordonarea lui John Chowning (compozitor si inovator in domeniile modulatiei de
7
frecventa si spatializarii); in cadrul cercetarilor efectuate la acest prestigios centru, compozitorulProf.Emeritus Leland Smith creeaza “SCORE”, primul program de redactare a partiturilormuzicale, ce este utilizat si astazi la cele mai importante edituri din lume; in Franta se infiinteaza inanul 1970, sub coordonarea compozitorilor Françoise BARRIERE si Christian CLOZIER, celebrul“Groupe de Musique Expérimentale de Bourges” (GMEB), devenit mai tarziu “InstitutInternational de Musique Electroacoustique de Bourges” (IMEB), cu o prodigioasa activitate indifuzarea muzicii electronice (festivaluri, concursuri, concerte, cursuri de specializare, editare dediscuri, etc.); in Romania au aparut calculatoare foarte performante, precum FELIX C-256(1971, realizat, dupa licenta franceza IRIS-50, la Fabrica de Calculatoare Electronice Felix dinBucuresti), CORAL- 4011 (minicalculator dupa licenta americana DEC, realizat de F.C.E.Felix-Bucuresti) si INDEPENDENT-I-100 (minicalculator proiectat integral la Institutul de Tehnica deCalcul din Bucuresti si realizat de F.C.E. Felix-Bucuresti); in domeniul interferentelor informaticiicu arta, se remarca contributiile extrem de pretioase datorate matematicienilor romani Grigore C.Moisil si Solomon Marcus, ce au colaborat in aceasta directie si cu importanti compozitori, precumAnatol Vieru si Aurel Stroe;- 4.) Calculatoarele electronice din generatia a IV-a (1971-prezent) – bazate pe microprocesoare(procesoare integrate intr-un circuit integrat – CIP, inventat in 1971 de americanul Marcian TedHoff si realizat de firma INTEL) – se numesc microcalculatoare, utilizand memoriile cu bulemagnetice, discurile optice, programe de tip ADA si programe orientate pe obiecte; in 1971, laBell Labs se experimenteaza sinteza digitala a vocii umane – printr-o tehnica originala aplicatapentru prima data in compozitia “Speech Songs” de Charles Dodge; in 1972, compozitorul JonAPPLETON impreuna cu inginerii Sydney ALONSO si Cameron JONES construiesc primulsintetizor digital – DDS (Dartmouth Digital Synthesizer) – perfectionat in 1976 prin seria“Synclavier”, dezvoltata in paralel cu “Con Brio ADS 200”, “Fairlight Computer MusicInstrument”, “Crumar General Development System” si “Alpha Syntauri” – toate acesteinstrumente oferind importante facilitati in travaliul componistic, dar si in domeniul performantei intimp real (“live/electronic music”); la Paris este infiintat – dupa redutabilul model oferit de catreStanford-CCRMA (www-ccrma.stanford.edu/planetccrma/) – mult apreciatul IRCAM (Institut deRecherche et Coordination Acoustique/Musique – www.ircam.fr ) condus, sub patronaj american, decompozitorul francez Pierre BOULEZ; deosebit de active sunt si institutiile similare din Belgia(renumitul Instituut voor Psychoacustica en Elektronische Muziek-IPEM din Gent, precum si numai putin notoriul Institut « Musiques & Recherches” din Bruxelles - www.musiques-recherches.org), Olanda (Institute of Sonology din Utrecht), Anglia (BBC Studio), Italia (RAI Studio), Polonia(Studio of Polish Radio), Ungaria (Studio of Radio Budapest), Germania (NWDR Studio din Köln)si Japonia (NHK Studio) – ce au urmat cu consecventa modelul american, ilustrand adevarataavangarda si in acest domeniu; in perioada 1972-1979, “Working Group” din S.U.A. (coordonatde Vinton Cerf) sintetizeaza fundamentele protocoalelor TCP (Transmission Control Protocol) siIP (Internet Protocol) referitoarele la transferurile de fisiere intre grupurile de dialog(“newsgroups”) si la posta electronica; din 1983 ARPANET-ul (la care s-au conectat institutiileguvernamentale, universitatile, bibliotecile si muzeele americane) ramane o retea exclusiv civila -Pentagonul utilizand propria retea MILNET; in perioada 1987-1993, INTERNET-ul (coordonatde MICHIGAN UNIVERSITY, de IBM si de MCI) se extinde catre Europa si apoi in intreagalume – prin aparitia WORLD WIDE WEB (www), ca sistem unanim recunoscut de navigare cuajutorul unor programe speciale (MOSAIC, NETSCAPE, INTERNET EXPLORER); tot inS.U.A se dezvolta principalele sisteme de operare pentru supercalculatoare (UNIX, cu extensiileBerkeley-1986 si cu programul derivat LINUX; realizat in 1991 de studentul Linus Torvalds),pentru mainframe-uri (IMB OS/400), pentru minicalculatoare (RSX11M, cu versiunearomaneasca MIX), pentru microcalculatoare IBM-PC (MICROSOFT-DISC OPERATINGSYSTEM/MS-DOS, din care a derivat seria WINDOWS) si Apple MacIntosh (Mac OS) si pentrucalculatoarele portabile miniaturizate (WINDOWS CE); apar in U.S.A. doua lucrari teoretice dereferinta in domeniul muzicii electro- acustice: “Electronic Music. Systems, Techniques, andControls” de Allen STRANGE si “Introduction To Electro-Acoustic Music” de Barry SCHRADER;in U.S.A., disciplina “Computer Music” este inclusa in programele curente de studiu ale celor maiimportante universitati si colegii, precum:- Stanford University-CCRMA www-ccrma.stanford.edu/planetccrma/;- MIT Media Lab http://sound.media.mit.edu ;- Brooklin College Center for Computer Music www.brooklyn.cuny.edu ;- Columbia-Princeton Electronic Music Center http://www.columbia.edu ;- Cal State Univ/Northridge Music http://www.csun.edu/~dwh50750/tech_classes/MUS191/;- Northwestern University http://faculty-web.at.nwu.edu/music/webster/D34/;
8
- Rutgers University http://mmlweb.rutgers.edu/imtmw.html;- Furman University http://www.furman.edu/~dkoppelm/Tech/17/mus17.html;- Dartmouth College - Bregman Electronic Music Studio http://music.dartmouth.edu ;- University of Northern Colorado http://arts.unco.edu/musictech/mus209/index.html;- SUNY Plattsburgh http://faculty.plattsburgh.edu/richard.davies/courses/mus_305syl.htm;- Univ of Southern Cal http://www-rcf.usc.edu/~kds/courses/mued_452.pdf;- Southwest Texas State http://147.26.106.74/tech/MusTechsyllabus.html;- Lebanon Valley College http://csunix1.lvc.edu/~snyder/mme803/mtfesyl.htm;- Louisiana Tech Univ. http://performingarts.latech.edu/music/MusicTechnology/TechnologySyllabusLankford.html;- Metropolitan State College of Denver http://clem.mscd.edu/~worster/mtech1/1900syl.html;- Unversity of Washington http://depts.washington.edu/smccweb/courses/400/syl.html;- Kennesaw State University http://ksumail.kennesaw.edu/~lsherr/2100syllabus.html;- Palomar College http://www.palomar.edu/performingarts/midilab/music180.html;- University of Illinois,Champaign-Urbana http://www-camil.music.uiuc.edu/classes/210/syllabus/syllabus.html;- Brown University http://www.brown.edu/Departments/Music/Music11/syllabus.html;- University of Texas at San Antonio http://music.utsa.edu/technology/mat/;- University of South Carolina http://www.music.sc.edu/ea/mued/mued554/syllabus.html;- University of Wisconsin at Whitewater http://facstaff.uww.edu/craggsj/techsyl.html;- Northern State University (Aberdeen, SD) http://lupus.northern.edu:90/wieland/mus321.htm;- Eastern Kentucky University http://www.music.eku.edu/faculty/davis/Mus584Syllabus.html;- Cal State, Chico http://www.csuchico.edu/~seppanen/103/syllabus103.pdf;- Auburn University http://www.auburn.edu/~wallski/CTM650/CTM650syllabus.html;- Radford University http://www.runet.edu/~rscohen/Music127/syllabus.htm;- McMurray http://cs1.mcm.edu/~dshea/comped.html;- Case Western Reserve University http://www-midischool.cwru.edu/MUSC308/syllabus.html;- Dordt College (IA) http://homepages.dordt.edu/~hduitman/musicstudent/musictechnology.html;- Alma College http://www.alma.edu/academics/music/mus215/syllabus.htm;- Youngstown State University http://www.fpa.ysu.edu/music/crist/came.pdf;- Georgia State University http://www.trombonelessons.com/syllabus.html;- East Carolina State http://www.music.ecu.edu/courses/6300/6300syllabus.html;- University of North Carolina, Greensboro http://www.uncg.edu/~vltrolli/courses.html;- Elmhurst College (IL) http://www.elmhurst.edu/~markh/musicedtech/;- Central Michigan State http://blackboard.cmich.edu:80/bin/common/course.pl?course_id=_39_1&frame=;- University of Delaware http://amy.music.udel.edu/faculty/mmorgan/index.html;- Berklee School of Music http://classes.berklee.edu/mbierylo/mtec111.html;- Flordia State University http://otto.cmr.fsu.edu/%7Emus2360/Schedules/Syllabus.html;- James Madison University http://www.lib.jmu.edu/users/cockbuba/mus150/;- Peabody http://mambo.peabody.jhu.edu/%7Emdboom/itc/;- University of Montevallo http://www.cfa.montevallo.edu/mtech/Su2000/mu676/syllabus.htm;- SUNY at Stonybrook http://www.sinc.sunysb.edu/Class/lta208/syllabus.html;- University of California at Irvine http://www.arts.uci.edu/music/mzed/Music_51/M51_syllabus.html;- University of Central Florida http://pegasus.cc.ucf.edu/~jgardner/m&t.html;- University of Michigan http://www-personal.umich.edu/~msimoni/Sp98PAT201.html;- Alma College http://academics.alma.edu/music/mus214/syllabus.html;- Penn State University Music http://www.courses.psu.edu/courseweb/courses/index.cgi?course=music497d_meb26;- University of Hawaii at Manoa http://www.outreach.hawaii.edu/programs/2001/EVENT-L04269.htm;- Dakota State University http://www.homepages.dsu.edu/mortensd/MUS_600/MUS600syl.htm;- St. Cloud State http://www.stcloudstate.edu/~slmiller/101syllabus.htm;- St. Olaf College http://www.stolaf.edu/people/hamlin/elmus/em99/syllabus.htm;- Univ. of Texas San Antonio http://multimedia.utsa.edu/index-mp.html;- New York University http://www.nyu.edu/classes/gilbert/cai/ ;- University of Michigan http://www-personal.umich.edu/~msimoni/F97PAT441.html;- UC Berkeley http://media2.bmrc.berkeley.edu/classes/m198/;- Northwestern http://www.northwestern.edu/musicschool/classes/webAuthoring/;- University of Utah http://www.finearts.utah.edu/artstech/FA3000/index.html;- Loyola New Orleans http://music.loyno.edu/cd/mugnm450.pdf;- University of Houston http://www.uh.edu/~tkoozin/techseminar.html;
compozitorul Dwight WINENGER infiinteaza in U.S.A renumita “LIVING MUSICFOUNDATION” (http://www.e-universe.com/lmfhome/ ) - unul dintre cele mai importante centreinternationale de promovare a muzicii noi (inclusiv in genul “Computer Music”) , ce este coordonatactualmente de catre compozitorul si profesorul Charles Norman MASON; dintre membrii L.M.F.mentionam pe Liana ALEXANDRA, Charles ARGERSINGER, Christy BANKS, Rusty BANKS,Heskel BRISMAN, Madeline BYRNE, Barry L. COHEN, Dinos CONSTANTINIDES, GeorgeCRUMB, Greg D´ALESSIO, David DEL TREDICI, Aurelio DE LA VEGA, Carlos DELGADO,Emma Lou DIEMER, Violeta DINESCU, Donna Kelly EASTMAN, Grant FLETCHER, LukasFOSS, Orlando GARCIA, David McGUIRE, Dorothy HINDMAN, Craig HULTGREN, LadislavKUBIK, Dennis KAM, Hye Kyung LEE, David LIPTAK, Tom LOPEZ, Serban NICHIFOR, RodneyOAKES, Pauline OLIVEROS, Aaron J. RABUSHKA, Bruce REIPRICH, Wieslaw RENTOWSKI,Andrew RINDLFLEISCH, Elliott SCHWARTZ, Nicolas SLONIMSKY, Gregg SMITH, Erich H.STEM, Augusta READ THOMAS, Catherine TOWBIN, Mary Jeanne VAN APPLEDORN, David
9
VAYO, Rob VOISEY, Olly WILSON, Paul WITNEY, Scott WYATT; in anul 1984 se infiinteazanumai putin celebra SOCIETATEA DE MUZICA ELECTRO-ACUSTICA DIN STATELEUNITE/THE SOCIETY FOR ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES-SEAMUS (http://seamus.Isu.edu ), avand ca presedinte fondator pe compozitorul BarrySCHRADER, profesor la California Institute of the Arts; sunt dezoltate noi programe speciale deredactare a partiturilor (CAKEWALK, ENCORE, FINALE, NOTE WORTHY, MUSIC WRITE,MUSIC PUBLISHER si INTELLISCORE – printre altele - in S.U.A.; MOZART si SIBELIUS inAnglia; PIZZICATO in Belgia), precum si numeroase programe de editare muzicala, in bazasistemelor de operare WINDOWS (ca de pilda bogata serie a aplicatiilor elaborate de firmeleamericane SONIC FOUNDRY, REAL, DIGIDESIGN si ADOBE, precum si de firma germanaMUSICMATCH) si APPLE (in aceasta directie recentul program american “MetaSynth” ilustrandnoi modalitati de convertire a imaginii in sunet); in Noiembrie 2003 se desfasoara in Romaniaprimul festival de COMPUTER MUSIC, coordonat de compozitorii Liana ALEXANDRA si SerbanNICHIFOR in cadrul Universitatii Nationale de Muzica din Bucuresti, sub genericul “NUOVAMUSICA CONSONANTE-LIVING MUSIC FOUNDATION” – fiind prezentate lucrari apartinandunor compozitori din U.S.A. (Ben BIERMAN, George BRUNNER, Madelyne BYRNE, ChrisCHAFE, Douglas COHEN, Bob FANELLI, Matthew HAY, John J.A. JANNONE, Peter KIRN,Tom LOPEZ, Miguel MACIAS, Charles Norman MASON, David McGUIRE, Rodney OAKES,Marco OPPEDISANO, Udi PLADOTT, Mark PRIEST, Patricia REPAR, Barry SCHRADER,Martin SIMON, Dirk Johan STROMBERG, Robert VOISEY, Dwight WINENGER, AmnonWOLMAN), Belgia (Kris DE BAEDERMACKER, Joris DE LAET, Raoul DE SMET, TodorTODOROFF, Dick VEVLEMANS, Wilfried WESTERLINCK), Anglia (David WEBBER), Italia(Gianluca CANGEMI) si Romania (Liana ALEXANDRA, Octavian NEMESCU, SerbanNICHIFOR, Livia TEODORESCU, Sever TIPEI, Dan VOICULESCU); apare pe Internet primulcurs interactiv in domeniul “MUSIC AND COMPUTERS”, conceput la Darmouth College(U.S.A.)– sub coordonarea compozitorului si profesorului Jon APPLETON – de catre Phil BURK,Larry POLANSKY, Douglas REPETTO, Mary ROBERTS si Dan ROCKMORE.
(http://eamusic.dartmouth.edu/~book/MATCpages/tableofcontents.html ); Facultatea deInterpretare Muzicala din cadrul Universitatii Nationale de Muzica din Bucuresti initiaza, in anuluniversitar 2003-2004, primul curs de Computer Music din Romania;
- 5.) Calculatoarele electronice din generatia a V-a se bazeaza pe dezvoltarea -incepand din1981, in S.U.A. si in Japonia - a inteligentei artificiale dupa modelul uman (interfata vocala,sensibilitate vizuala, auditiva, tactila) - ele fiind inca in faza experimentala. O alta dimensiuneeste determinata de perspectivele fascinante ale INTERNET-ului. In prezent, redutabilulcompozitor si profesor Chris CHAFE – director al Stanford- CCRMA – a initiat impresionantulexperiment SoundWIRE, utilizand o serie de aplicatii originale ale sistemului LINUX in realizareape INTERNET a unor legaturi audio complexe (permitand, de pilda, interpretilor sa cante impreunain timp real, de la mari distante, in conditii acustice ideale – realizandu-se astfel un proces deaudio-teleportare !). In acest context, aplicandu-se standardul ping (ca metoda de testare aconectivitatii computerelor, ce consta in masurarea RTT=round trip time), s-a observat ca reteaua(respectiv, INTERNET-ul) reactioneaza la fluxul (traficul) variabil de mesaje ca o coarda muzicala(avand lungimea direct proportionala cu distanta dintre cele doua computere conectate) – aceastacoarda virtuala producand (la excitarea ei prin mijloace specifice tehnicii SoundWIRE) diferitesunete (waves) in functie de “modul de atac” prin ping-uri in real-time. Inaltimea (deci frecventa=f)acestor sunete este invers proportionala cu RTT-ul ping-ului:
f = 1/sR’ , unde s = {1 : R<5ms k : R>5ms} k = 0,025.
(cf. Chris CHAFE and Randal LEISTIKOW – Levels of Temporal Resolution in Sonification ofNetwork Performance, CCRMA,Music Department,Stanford University,Stanford, CA USA94305, cc@ccrma.stanford.edu randal@ccrma.stanford.edu )
Reteaua (INTERNET-ul) devine astfel si un autentic instrument muzical ce executa o partituraconceputa prin conectarea specifica a doua computere aflate la o distanta cat mai mare (pentru ase sintetiza o coarda virtuala cat mai ampla ca spectru armonic) – compozitia rezultata fiinddifuzata public in timp real. Totodata, tehnica SoundWIRE reprezinta si o confirmare aviabilitatii perceptiei holistice quasi-acustice a Universului – demonstrand o data in pluscaracterul cosmogonic al Vibratiei Transcendentale.
10
- Capitolul B -ELABORAREA AUDIO-NUMERICA
1.) PROLEGOMENE
- Ciclul creatiei prin analogie (in perspectiva panenteista si prin reductie fenomenologica):DUMNEZEU (« LOGOSUL CREATOR », « MARELE ARHITECT AL UNIVERSULUI ») >Continuumul realitatii informational-energetice (« Panarmonios Kosmou Sintaxis », « MusicaCaelestis » - cf. Appendix 2) > Creatia Muzicala (componistica si interpretativa) > CreatiaInstrumentala > Creatia Electro-Acustica > Computer Music.
- Definirea Informatiei : a.) ontologic (sub aspect existential) = componenta a traidei« informatie-energie-materie » ( ca principiu universal) ; b.) cibernetic (matematic, prin analogieformala) = cantitatea de noutate (dependenta si de gradul de interes al receptorului) ;epistemologic (prin cunoastere stiintifica) = componenta a dihotomiei « realitate-informatie »(realitatea manifestandu-se prin informatie in procesul delimitarii « adevar/eroare ») ; semiotic(sub aspectul logicii simbolice) = un ansamblu logic de semne (sau « semnificanti ») purtatoare desensuri (sau « semnificati »), in contextul comunicarii.
- Comunicarea Muzicala : DUMNEZEU – CREATORUL >[comunicarea unui Sens Mistic,soterilogic –exprimat prin Semn Divin]> Compozitor >[a.) decodificarea quasi-hermeneutica aSemnului Divin prin descoperirea « irationala » (pnevmatologica) a Sensului Mistic(« mysterium tremendum »); 2.) codificarea Sensului Mistic in semn grafic muzical (partitura), prin procesul de « creatie componistica »; 3.) comunicarea partiturii (in manuscris sau prinintermediul editorului)]> Interpret [a.) decodificarea partiturii (rationala la nivel formal,intuitiva/« irationala » la nivel conceptual) si decelarea Sensului Mistic-muzical; b.) codificareaSensului Mistic-muzical in semn acustic (sunet), prin procesul de « creatie interpretativa » ; c.)comunicarea interpretarii (prin concert sau inregistrare)] > Public [a.) decodificarea individuala(in functie de cultura muzicala, dar si de intuitie) a semnului acustic in Sens Mistic ; b.)asimilarea personala dar si in comuniune (« ab alio in alis ») a Sensului Mistic al muzicii inprocesul soteriologic al perfectionarii spirituale, conform Planului Divin].
- Dimensiuni sonore : 1.) fizice (obiective) : spatiul sonor [frecventa (audibilila la om : 1620000Hz) x amplitudine (perceptibila/suportabila la om : de la 10 la puterea –16 W/cm² pana la12 W/cm²) x structura spectrala (« naturala » si « artificiala » - acustica/electroacustica) xlocatie (inchisa/deschisa)] x timpul fizic-infinit (‘’, ’, h, d, m, y, etc.) ; 2.) muzicale (subiective) :spatiul muzical [inaltime (netemperata - in sistemele extraeuropene si in cele europene desorginte pitagoreica ; temperata in sistemul european occidental, incepand din sec.al XVIII-lea) xintensitate (relativa : ppppp-fffff, valorile depinzand de sursa, stil, acustica topos-ului, etc.) xtimbru (vocal, instrumental-acustic/electroacustic, mixt) x topos (amplasamentul sursei :scenic/extra-scenic, mono-/stereo-/qudrofonic/panoramic/multi-dimensional)] x timpul muzical-finit : ritm, agogica, forma [evolutiva/non-evolutiva ; repetitiva/non-repetitiva ; catenata (mono-/bi-/tri-/tripentapartite/rondo/suita/forma “mozaic”)/contrastanta (sonata) ; variationala/meta-(ana-)morfotica ; monodica/polifonica/heterofonica; omogena/mixta ; inchisa/deschisa; supra-/juxtapusa ; determinista/stochastica (aleatorie - controlata/necontrolata) ; micro-/macrostructurala (de la celula, motiv, fraza, perioada, sub-sectiune si sectiune la parte si intreg)].
- Evolutia Muzicii Electro-Acustice: 1.) Tape Music (Musique Concrète; Electronic (Acousmatic)Music (Synthesizer Music: - analog-RCA, Buchla, Moog, Korg, etc.; - digital-Synclavier,
11
Yamaha, etc.)]; 2.) Live-Electronic Music (Tape and Instruments; Electronics and Instruments);3.) Computer Music (Bell Labs, Princeton Studio, CCRMA, IRCAM, etc.)]; 4.) Cyber-Art(Digital Music; Computer Animation/Audio-Visual Effects; Interactive Art; Net Vision(SoundWIRE Project-CCRMA, etc.).- Calculul algoritmic in sinteza audio-numerica :1.) Daniel CUMMEROW: „The Sound of Mathematics“ [combinari (triunghiul lui Pascal),constante (e, pi, omega, numarul lui Ramanujan), functii (phi-Euler, mu-Möbius, functiitrigonometrice), numere (Niven, prime, tripletii primitivi ai lui Pitagora), siruri (fluturele luiLorenz, sirul lui Fibonacci, sectiunea de aur)] (www.geocities.com/Vienna/9349/ ;daniel.cummerow@stockholm.mail.telia.com);2.) Chris K. CALDWELL :"Prime Number Listening Guide"(www.utm.edu/research/primes/programs/music/listen/);3.) Ivars PETERSON: Dancing chaos (MAA Online, Jan. 11, 1999), Prime listening (MAAOnline, June 22, 1998) –The Mathematical Association of America (webmaster@maa.org ,ip@sciserv.org );4.) José Oscar MARQUES: "The Strange Beauty of Fractal Music"(www.midiworld.com/c/jmarques.htm);
- 2.) SINTEZA SUNETULUI DIGITAL
- Tipuri de sunete electro-acustice (waveforms/waveshapes): sinusoidal (sine - ~), “dinti deferastrau” (sawtooth – I\), rectangular (square – I_I) si triunghiular (triangle - /\) .- Anvelopa sunetului: Attack-Decay-Sustain-Release (ADSR).- Conversia sunetului: ADC sau A->D = “Analog to Digital Conversion” [transformarea imaginiiacustice in imagine numerica binara (0 si 1)]; DAC sau D->A = “Digital to Analog Conversion”[transformarea imaginii numerice binare (0 si 1) in imagine acustica]. Sunetul analog are uncaracter continuu, iar cel digital este gradual, format din “trepte” succesive de informatii(numite “samples”) - a caror viteza este direct proportionala cu fidelitatea (calitatea)reproducerii; astfel, “Teorema Nyquist” a stabilit ca respectiva viteza (“sampling rate” sau“sampling frequency” - masurata in Hz) trebuie sa aiba o valoare cel putin dubla in raport cucea mai inalta frecventa cuprinsa in semnalul sonor.- Sampling frequency: Unitatea de masura a informatiei in teoria statistica a comunicatiei este“BIT”-ul (ca prescurtare a “Binary digIT”). [Considerand doua evenimente cu probabilitatiegale de realizare, BIT-ul reprezinta informatia obtinuta asupra unui eveniment prin realizareasa, sau incertitudinea asupra evenimentului inlaturata prin realizarea sa.] Multiplii BIT-uluisunt: 4 bits = 1 nibble; 8 bits = 2 nibbles = 1 byte; 16 bits = 2 bytes = 1 word; 1024 bits = 1kilobyte (K) ; 1000 K = 1 megabyte (MB) ; 1000 MB = 1 gigabyte (GB) ; 1000 GB = 1 terabyte(TB) . Formula standard de reproducere sonora (utilizata si in realizarea CD-urilor audio) esteaceea a unei viteze (“sampling frequency” sau “sampling rate”) de 44100 Hz la 16 bits [conform“Teoremei Nyquist” enuntate mai sus, “sampling frequency” de 44100 Hz este raportata la pragulauditiv superior (la om), ce este situat la cca 20000 Hz]. NB - data fiind constitutia exclusivnumerica a sunetului digital, imaginea sonora este perfect conservata, eliminandu-se zgomotelecomplementare ce apar in cazul inregistrarilor analoge.- Dimensiunile audio si compresia digitala: o secunda de muzica reprodusa in formatul standard“audio-CD Stereo” este alcatuita din doua “samples” (cate unul pentru fiecare canal) de 16-bit (=2 bytes) totalizand asadar 4 bytes derulati cu viteza de 44100 Hz – consumand in consecinta unspatiu de 176.400 bytes (= 176,4 kilobytes). Un minut va consuma asadar 10. 584 kilobytes (=10,584 MB), iar o ora – 635,04 MB. In aceste conditii, necesitatile transmiterii muzicii peInternet au determinat realizarea unor noi formate audio ce sunt comprimate dupa algoritmispecifici. De pilda, aplicand principiul de codificare “mu-law” (conform caruia auzul uman estemult mai sensibil la schimbarile joase de amplitudine decat la cele inalte), formatul MP3 reducespatiul ocupat de fluxul sonor “citindu-l” printr-o grila cu numai 256 de elemente.
- 3.) TIPURI DE FISIERE DIGITALE AUDIO
ACID Project Files (acd, acd-bak), ACID Projekt With Embedded Media (acd-zip), Ad LibSample (smp), Amigo SVX (svx, iff), Audacity projects (aup), Audition Loop (cel), CAKEWALKFiles (wrk, bun), CD Audio (cda), Covox V8 (v8), Creative Labs VOC (voc), Dialogic VOXADPCM (vox), Gravis Patch (pat), ENCORE File (enc),FINALE Coda Notation File (mus),
12
FINALE ENIGMA Transportable File (etf), FINALE Coda Template File (ftm), InterVoice(ivc),IRCAM Files (snd), Main Concept MPEG 1 (mpg, mpeg, m1a), Main Concept MPEG 2(mpg, mpeg, m2a), Macintosh Audio Interchange File Format/AIFF (aif, snd), MacintoshResource (snd), Macromedia Flash (swf),MIDI SDS (sds), MIDI Files – Format 1 [all instrumentssaved to separate tracks] si Format 2 [all instruments saved into a single track] (mid, smf, rmi),MidiScan File (mnd), MOZART File (mz), MP3 Audio (mp3), Mp3PRO FhG (mp3), OggVorbis(ogg), Music Write 2000 File (mwk), NeXT/Sun (Java) File (au, snd), NoteWorthy Composer(nwc), PIZZICATO File (piz), QuickScore File (qsd), Quick Time (mov, qt, dv, gif), Raw File(raw),RealMedia (rm, ra), RealNetwork G2 (rm), RHAPSODY File (rhp), Sample Vision (smp),SmartScore File (fin), SCORE File (pge, pag, mus), SIBELIUS File (sib), SIBELIUS Scorch WebPage (htm), Sonic Foundry (sfr), Sound Designer 1 (dig, sd), Sounder/Sound Tool (snd), Videofor Windows (avi), Tune Smithy Fractal Tunes (ts),TwinVQ ver 2.0 format (vqf), WindowsMedia Audio (wma), Windows Media Format (asf), NIFF (Notation Interchange File Format -format standard pentru notatia muzicala).
- 4.) PRINCIPALELE FISIERE DIGITALE AUDIO UTILIZATE IN ACEST CURS:-
- MIDI [Musical Instrument Digital Interface] (mid) a aparut in 1983 (lansarea sa a avutloc la Los Angeles – The First North American Manufacturers Show) si cuprinde: (1)Protocolul de comunicatii (limbajul codificat in forma binara), (2) Conectorul (interfatahardware – ce este de tipul „5 pins DIN MIDI“) si (3) Formatorul de distributie „StandardMIDI Files“ ( SMF sau „mid“), ce contine „Status Byte“ (format din „Note On“, „NoteOff“, „System Exclusive“/„SysEx“ si „Path Change“) configurat in „Chains“ si „Loops“distribuite pe cele 16 canale – „MIDI Chanels 0-15“ – fie in forma mixata intr-un singurtraiect („MIDI O“), fie in cea spatializata pe 16 voci separate („MIDI 1“). Fisierul estefoarte redus, iar celelalte coordonate (dinamica, timbrul, panoramarea) sunt mobile,putand fi precizate de catre utilizator – aceste aspecte constituind principalele diferente inraport cu celelalte tipuri de fisiere audio (wav, mp3, aiff, rm, etc.), ce sunt cu mult maivoluminoase (deci mai greu de transmis prin Internet) si au toti parametrii inamovibili.Formatul MIDI are numeroase aplicatii: instrumente muzicale electronice, sintetizoaredigitale, sequencers, programe de redactare muzicala („MIDI Notation Software“ – ca depilda „MOZART“, „FINALE“, „CAKEWALK“, „SIBELIUS“, etc.), „MIDI ShowControl“ (in spectacole), „MIDI Machine Control“ (in studiourile de inregistrari) – toateputand fi interconectate prin noile protocoale „GENERAL MIDI 1“ (GM1 din 1991) si„GENERAL MIDI 2“ (GM2 din 1999) stabilite de catre „MIDI ManufacturersAssociation Incorporated“ din Los Angeles.- WAVE (wav) – formatul standard audio-digital necomprimat CD-DA [aplicat inrealizarea CD-urilor – format CD-Audio (cda)], ce a fost asimilat in sistemele de operareMICROSOFT WINDOWS. Este formatul cel mai voluminos (1 minut = 10 MB –contraindicat asadar in transmisiile prin Internet), dar si cel mai fidel sub aspect acustic– fiind singurul format utilizat in procesul de editare a CD-urilor.In sistemul Macintosh, formatul standard necompresat (deci echivalentul formatului“Wave” din Windows) este “AIFF” (Audio Interchange File Format).- MP3 [MPEG I – layer 3 Audio Codec] (mp3, mpeg, mpg) este unul dintre cele maieficiente si mai populare fisiere de compresie audio - “compresia Hoffman” utilizataimplicand analizarea muzicii prin grila pragurilor de audibilitate umana (2 Hz – 20 KHz)si eliminarea elementelor inaudibile. Marimea fisierului este determinata de numarul dekilobiti per secunda (8, 16, 18, 20, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256,320 kbps – configuratia optima - in raportul fidelitate/dimensiune - fiind cea de 128 kbps).Acest tip de fisier este format din milioane de cadre, fiecare cadru continand titlul (deidentificare a punctelor de reper), eticheta (cu informatii despre muzica respectiva) sidatele propriu-zise (compresate si inregistrate sub forma de biti). O alternativa free la MP3 este reprezentata de formatul “Ogg Vorbis”(marcat prin sufixul “ogg”).
- 5.) PROGRAME DE CONVERTIRE UTILIZATE IN ACEST CURS:
- MIDI-WAV (Midi2Wav Demo - www.midi2wav.com );
13
- WAV-MIDI (IntelliScore Poliphonic Demo – www.intelliscore.net; AmazingMIDI Demo - www.pluto.dti.ne.jp/~araki/amazingmidi/);
- WAV-MP3-WMA (Shuffler Music Convertor – www.illustrate.org ; MusicMatch JukeboxDemo - http://mmjb.musicmatch.com ; Sound Forge 4.5 Demo - www.sonicfoundry.com ;ACID Pro 4.0 Demo - http://sonicfoundry.com/acid ; Adobe Audition 1.0 Demo -www.adobe.com/audition );
- WAV-AIFF si WAV-OggVorbis-WAV (Audacity 1.2.0.-pre2 Free Digital Audio Editor –www.sourceforge.net )
1 minut de muzica stereo = 10 MB WAV = 10 MB AIF = 973 KB OGG = 950 KB WMA (128kbps) = 937 KB MP3 (128 kbps) = 253 KB AUD (Audacity Projects) = 122 KB RM (16 kbps).
1’ WAV = 1’ AIF = 10,27’ OGG = 10,53’ WMA (128 kbps) = 10,67’ MP3 (128 kbps) = 39,53’AUD = 82’ RM (16 kbps) = 1100,1’ MIDI (format 0) = 10 MB.
- 6.) PROGRAME MUZICALENB - Prezentul compendium are un caracter strict didactic. Programele de calculator analizate fac obiectul dispozitiilorlegale (interne si internationale) in materie de copyright – utilizarea lor impunand respectarea conditiilor specificate deproducatori pe site-urile indicate la fiecare software.
- a.) Programe de redactat partituri (Music Notation Programs):ABC, Braeburn Software products (Noteworthy 2, Music Publisher, Music Publisher 32),Brahms (Koobase), Cakewalk family, Capella, CodaMusic products (Finale, Finale Allegro,PrintMusic), CSound, CuBase, Graphire, Music Press , GVOX products (Encore, MusicTimeDeluxe), Igor , LilyPond , Lime , Melody Assistant , MidiScore , Mosaic , Mozart , MTX , MUP ,Muse , Musicator , MusicEase , MusicWrite , MusiXTeX , NIFF , Nightingale , NoteworthyComposer , Object Composer , Opcode products (Fermata, Studio Vision Pro 4.5.1, Vision DSP4.5.1 – pentru Macintosh -, la www.opcode.com) , OpusTeX , Personal Composer , PMX ,Rosegarden , Sibelius, Sionsoft (QuickScore Elite 9.0, Copyst 6.0).(cf. http://www.mulveyfamily.com/Katy/Music/Notation/contents.html)
Site-urile principalelor programe: Mozart (www.mozart.co.uk), Finale (www.codamusic.com),Sibelius (www.sibelius.com), Score (www.scoremus.com , http://ace.acadiau.ca/score si adresaautorului Prof. Leland SMITH lcs@ccrma.stanford.edu), Encore (www.gvox.com), Pizzicato (www.arpegemusic.com), Sion QuickScore Elite(www.sionsoft.com), Nightingale Music NotationSoftware for Macintosh Entrance (www.ngale.com), MusEdit Powerful Notation Software(www.musedit.com) , Music Publisher (www.braeburn.co.uk), NoteWorthy(www.braeburn.demon.co.uk), MusicWrite Professional (www.voyetra-turtle-beach.com),NoteWorthy Composer (www.noteworthysoftware.com) , Opcode (www.opcode.com), Sionsoft(www.sionsoft.com ), OpusTeX (ftp://ftp.tex.ac.uk/incoming/opustex/arwork), Csound, Rosegardensi SNDAN (www.csound.com), NIFF (Notation Interchange File Format) Notation File Standard(www.musitek.com/niff.html), Lime Notation Software (www.cerlsoundgroup.org )
- b.) Programe audio de fonotecare (Music Editors):AudioEdit Deluxed , Digitonix Element, DubIt, FruityLoops , Midi Quartet , Midi Works,Mobius, Music Publisher 32, QUARTET X2 Music Studio, Song Writer, TablEdit TablatureEditor, XG-Gold, Blaze Media Pro, ezMP3edit, MP3 Audio Mixer,MP3 File Editor, AdvancedMP3 Cutter, AAA Wave , Ace of WAV 2.6, Acoustic Labs Mixer 2.5 , Adobe Audition , AllEditor 2.2 , Anvil Studio 2003 , Audio Edit 3.4 , AudioEdit Deluxe , AVI Splitter , AVS AudioUtilities , Blaze Audio RipEditBurn , Blaze Media Pro , BlazeAudio Wave Creator , BPS AudioConverter Pro , Cakewalk, Claudio Complete luxury audio recorder with MP3 , Cool Edit 20001.1 , Cool Edit Pro 2.0 , DART XP, Digidesign, GoldWave, MagicScore, n-Track Studio, WaveSplitter, Midi Tracker, Sound Forge, Native Instruments, Propellerhead, Steinberg, etc.(cf. http://www.freefunfiles.com) Site-urile principalelor programe: Sound Forge (www.sonicfoundry.com), Pro Tools(www.digidesign.com), Audacity (http://audacity.sourceforge.net), MusicMatch Jukebox(http://www.musicmatch.com), Real (www.real.com), Cakewalk (www.cakewalk.com), VoyetraDigital Orchestrator Pro (www.voyetra.com),
14
Adobe Audition (www.adobe.com), Magix (www;magix.com).
Alte site-uri cu programe muzicale : www.rocketdownload.com, www.zdnet.com,www.hitsquad.com, www.sonicspot.com, www.asp-shareware.org, www.square1music.com,http://garbo.uwasa.fi, www.freefunfiles.com , www.simplythebest.net/shareware/music .
PROGRAME AUDIO IN SISTEMUL DE OPERARE LINUX(Audio software for LINUX)
Majoritatea sunt prezentate pe site-ul http://linux-sound.org/ , cele mai utilizate fiind :- Ardour (free software multi-channel – http://ardour.sourceforge.net/ ) ;- FinalScratch (generator de sunete ce ruleaza atat pe Linux cat si pe MacOS X –
www.finalscratch.com/fs4 / ) ;- MusE (sequencer MIDI/Audio pe Red Hat, ce proceseaza date MIDI controland device-urile
de sunet - realizat la Center for Computer Research in Music and Acoustics (CCRMA) -Department of Music, Stanford University (USA) -www.ccrma.stanford.edu/planetccrma/software/ ) ;
- Rosegarden 4 (editor de partituri, de tip KDE3 – bazat pe bibliotecile « kdelibs3 » - www.all-day-breakfast.com/rosegarden/ ) ;
- Sweep (editor de sunet - inclus in distributia « SuSE 8.2 » - utilizat pentru post-procesareainregistrarilor digitale prin lectorul virtual « Scrubby » -www.metadecks.org/software/sweep );
- NoteEdit (editor de partituri si sintetizor de instrumente muzicale virtuale – inclus indistributia « SuSE » - http://rnvs.informatik.tu-chemnitz.de/~jan/noteedit/noteedit.html );
- FluidSynth (sintetizor software bazat pe samples/ «wavetable synthesis » -www.fluidsynth.org ) ;
- AlsaModularSynth [sintetizorul software ALSA (« Advanced Linux Sound Architecture »)utilizeaza module pre-definite, precum MCV (« MIDI Controlled Voltage Supply » - ceconverteste timbrele MIDI in valori de tensiune), VCO (« Voltage Controlled Oscillator » -generator de sunete determinate de valorile de tensiune), PMC (« Pulse Code Modulation » -converter analog/digital si digital/analog, ca interfata pentru difuzoare) si VCA (« VoltageControlled Amplifier » - amplificator bazat pe valorile de tensiune) -http://alsamodular.sourceforge.net/
- NB – revista « LINUX MAGAZIN » (www.linux-magazin.ro ) Nr.4/Decembrie 2003 (pag.21-35) include o prezentare amanuntita a acestor noi programe audio.
PROGRAME AUDIO IN SISTEMUL DE OPERARE MACINTOSH(Apple MacIntosh – Mac OS Audio Software)
Numeroase programe specifice pot fi procurate pe Internet, ca de pilda pe site-ulwww.hitsquad.com/smm/mac , atat in categoria « Music Notation » (Cubase Score 5 ; Lime MusicNotation Software 8.08 ; NoteAbility Pro v.1.996 ; ScoreWriter 2 ; Sibelius 3.1 ; Finale 2003 ;Vivaldi Gold Mac ; Sonata 4.0, etc.), cat si in categoria « Audio Editors » [Ableton Live 3.0.2(real-time audio production) ; Amadeus II 3.6.1 (direct-to-disk sound editor and analyser withMP3 support) ; Audacity 1.1.1 for Mac (free cross-platform miti-track sound editor) ; SoundSculptor II (multi-track sound editor), Peak(http://eamusic.darmouth.edu/masters.courses/Music24/software.htmp ), etc.].
PROGRAME AUDIO IN SISTEMUL DE OPERARE WINDOWS(Windows Audio Software)
NB- Sunt prezentate doar programe disponibile in versiunile „Free“ si „Demo“
- a.) PROGRAME MIDI DE REDACTARE MUZICALA
„MOZART VIRTUOSO 6“ THE MUSIC PROCESSOR BY DAVID WEBBER© David WEBBER 1994-2004http://www.mozart.co.ukdave@mozart.co.uk484 Warrington Rd., Culcheth, Warrington, WA3 5RA, UK
15
FUNCTIILE PROGRAMULUI „MOZART 6“I.) GENERALE- File: New (+ Template: None, Alto Sax Jazz Quartet, Brass Band, Brass, Quintet, Clarinet andPiano, Clarinet Choir, Clarinet Jazz Quartet, Clarinet Quartet, Crumhorn Quartet, defaultPart., Fake Book, Flute and Piano, Flute Jazz Quartet, Guitar, Jazz Band 1, Jazz Band 2, Oboeand Piano, Orchestra [2 Fl., 2 Ob., 1 C:I:, 2 Cl., 1 Cl.B., 2 Fg., 4 Hr., 3 Trbe, 3 Trbn., Tuba,Timp., 2 Perc., Archi = 29 staves], Piano solo, Recorder Consort, Recorder Quartet, Sax Quartet,Solo bass clef, Solo treble cleff, Song Sheeet, Soprano Sax Jazz Quartet, String Quartet, TenorSax Jazz Quartet, Trombone and Piano, Trumpet and Piano, Trumpet Jazz Quartet, Viola andPiano, Violin and Piano, Voice and Piano, Wind Band, Wind Octet, Wind Quintet), Open ,Import (Open clipboard,Play in new piece, Re-import played-in piece, Import MIDI), Print Setup,Stop playing, Exit.- View: Tool bars, Keyboard shortcuts, Colour scheme, Global preferences: Metronome,Chordsymbols,Autosave,Settings,Music,Playback,MIDI echo, MIDI port. - Help: Mozart help topics, Search for help, Lesing help,Command list,Editingcommands,Getting started,Tip of day,Optaining support,About Mozart.
II.) SPECIALE- File: New, Open, Close, Save, Save as, Import (Open clipboard,Play in new piece, Re-import
played-in piece, Import MIDI)), Export (Save MIDI, Save MIDI as, Save Template),Duplicate, Print, Print preview, Print setup, Play (Play & track, Play, Play & track forword,Play forword), Send, Exit.
- Edit: Undo, Redo, Cut Copy, Paste, Copy image, Copy print image, Insert bars, Delate bars, Cutbars, Insert beat, Delate beat, Select all staves, ,Select whole piece, Go to bar.
- View: Music font, Zoom in, Zoom out, Tool bars, Keyboard shorcuts, Visible music items,Colour scheme, Global preferences, MIDI options, Swing, MIDI in connection, MIDI outconnection, Tune properties, Refresh.
- Item: Note (Enter note, Enter rest, Sharpen, Flatten, Accidental, Enharmonic, Enharmonicdefault, Dot, Double dot, Octave up, Octave down, Pitch, Convert to note, Convert to rest),Partition (Merge notes, Split note (#), Split note (‘), Split note (\), Multiplet, Triplet, Soublet,Remove multiplet), Tails (Joint, Invert, Default direction, Flip note head), Accents (Accent,Attack, Staccato, ,Tenuto, Open, Closed, Pause, Accent below, Attack below, Staccato stem,Tenuto stem, Pause below), Ornaments (Trill, Mordent, Inverted Mordent, Turn, InvertedTurn, Appoggiatura, Grace note, Reiteration-0,1 /, 2 //, 3 ///), Phrasing (Phrase mark, Phrasemark below, Tie, Tie…, Invert Tie), Bar lines (Bar line, Repeat, Final bar line, Line break,Music break, Number, Rehearsal mark, First time. Second time), Dynamics (fz, fff, ff, f, mf,mp, p pp ppp, cresc., dim., swell, fade), Symbol (Chord symbol, Chord repeat, Text, Downbow, Up bow, Pedal, Pedal off, Break, Tempo), Control (Mute, Unmute), Properties (Offset,Hide/Show, Properties), Spacing (Insert, Compress end).
- Bar: Joint Tails, Invert Tails, Default Tails direction, Accidents, Enharmonic default, Octaveup, Octave down, Compress bar, Whole bar repeat (./.), Whole bar rest, n bar rest, Pad withrests.
- Score: Transpose piece, Key, Time signature, Tempo, Stave, Clef, Instrument, Concert octave(up, down), Combine strands, Separate strands, Score layout, Lyric lines (Add lyric line, Removelyric line, Move lyric line up, Move lyric line down), Style options (Chord symbols, Clefs),Written pitch.
- Layout: Titles, Page format, Music font, Bar numbering, Print empty stave, Justify.- Window: New window, Cascade, Title, Arrange items, Close all, Next window, Previous
window, n Mozart n.- Help: Mozart help topics, Search for help, Lesing help,Command list,Editing
commands,Getting started,Tip of day,Optaining support,About Mozart.-OPERATII CURENTE1.) O noua lucrare:
File-New- precizand Template/Formatul de solist sau ansamblu pre-existent, Key/Tonalitate,Time/Masura, Tempo -OK; apoi:Layout Titles (precizand Title/Titlu, Composer/Compozitor, Reference/Denumirea si/saucaracterul Tempo-ului);
- sau:File-New- precizand Template <None>, Staves (Portative) “n” (de la 1 la 64)-OK; apoi
16
Score-Clef/Cheie,Instrument,Score layout (precizand Score si Style), eventual Lyric lines; apoi:Layout Titles (precizand Title/Titlu, Composer/Compozitor, Reference/Denumirea si/saucaracterul Tempo-ului);
2.) O lucrare pre-existenta:File-Open; sau File-Import MIDI.
3.) Redactarea textului muzical:Scrierea efectiva a notelor implica urmatoarele trei operatii: precizarea duratei (longa = 0, notaintraga = 1, doimea = 2, patrimea = 3, optimea = 4, saisprezecimea = 5, etc.), precizarea inaltimiicu butonul stang al mouse-ului (sau cu tastele de orientare sus/jos/stanga/dreapta, sau cuclaviatura virtuala ce apare in imaginea programului) si fixarea notei prin apasarea tastei despatiu a keyboard-ului. Pentru stergerea rapida a unei note se utilizeaza tastele de orientare siapoi tasta Delete, iar pentru stergerea mai multor note, acestea se selecteaza cu mouse-ul, dupacare se apasa aceeasi tasta Delete. Pentru anularea unei/unor masuri se utilizeaza comanda Edit-Delete bars, iar pentru adaugarea unei/unor masuri - comanda Edit-Insert bars.
4.) Alte operatii frecvente:
ItemPartitionMultiplet (pentru formule ritmice exceptionale), ItemTails (pentru orientarea“cozilor”), ItemAccents (pentru accente), Item Ornaments (pentru ornamente), ItemPhrasing(pentru indicarea legaturilor de frazare), ItemBarline (pentru barele de masura, de repetitie,precum si pentru bara finala), ItemDynamics (pentru nuante), ItemSymbolText (pentru texteleintegrate in partitura, ca de pilda indicatiile de expresie), ScoreTranspose (pentru transpunerealucrarii). Schimbarile de tonalitate, masura, tempo si chei se realizeaza cu comenzile din Score:Key, Time signature, Tempo si, respectiv, Clef.Transpunerile la octava superioara sau la ceainferioara - prin comenzile din Bar: Octave up si Octave down, numerotarea masurilor - princomanda Layout - Bar numbering, repetarea masurilor ("lenesii") - prin Bar-Whole bar repeat,extragerea stimelor - prin File-Duplicate, iar tiparirea – prin File-Print.Explicatii suplimentarese pot obtine prin activarea functiei Help, sau prin accesarea site-ului www.mozart.co.uk
Functiile programuluiFINALE 2003
The Art of Music Notation© 2002 by MakeMusic! IncCoda Music Technologies
www.codamusic.com
“Keyboard Shortcuts and Special Mouse Clicks”(material extras din “Finale User Manual”)
- File Menu:New (Ctrl-N),Open (Ctrl-O),Close (Ctrl-W),Save (Ctrl-S),Import (Ctrl-I),PrintScore (Ctrl-P),Quit (Alt-F4); - Edit Menu:Undo )Ctrl–Z),Redo (Ctrl–Y),Undo List (Ctrl-shift–Z),Cut (Ctrl–X),Cut-createClip file (Press ctrl when choosing Cut),Cut-display Items to Clip dialog box (Press shift whenchoosing Cut),Cut-create Clip file and specify items (Press ctrl-shift when choosing Cut),Copy(Ctrl–C),Copy-create Clip file (Press ctrl when choosing Copy),Copy-display Items to Clip dialogbox (Press shift when choosing Copy),Copy-create Clip file and specifyitems (Press ctrl-shiftwhen choosing Copy),Insert-insert from a Clip file (Press ctrl when choosing Insert),ReplaceEntries Ctrl-V),Replace Entries-paste from a Clip file (Press ctrl when choosing Replace EntriesSelect All Ctrl-A),Update Layout (Ctrl–U),Update Layout and remove measure groupings (Pressshift when choosing Update Layout); - View Menu:Page View (Ctrl-E),Scroll View (Ctrl-E),Home Position (Home key),End Position(End key),Redraw Screen (Ctrl–D),View at 400% (Ctrl–4),View At 200% (Ctrl–2),View At 100%(Ctrl–1),View At 75% (Ctrl–7),View At 50% (Ctrl–5),View At X % (Ctrl–0),View At Last Size(Double-right-click on the score),Define a Staff Set (Press Ctrl when choosing Staff Set-in ScrollView only),Change layers (Alt-Shift-layer number 1-4);
17
- General Keyboard Shortcuts: OK all open dialog boxes (Ctrl-click the OK button),Cancel allopen dialog boxes (Ctrl-click the Cancel button), Redraw Interrupt (Esc),Apply a Metatool (Pressa number or letter and click the score),Program a Metatool (Press shift-number or shift-letter),Program a keyboard equivalent for a tool (Press shift-Function key F2-F12),Switch to atool you’ve programmed (Press Function key F2-F12),Select Yes or No in dialog boxes (Type Nfor “no” and Y for “Yes”),Move to top of page/score (Page Up),Move to bottom of page/score(Page Down),Next or Previous Page (Ctl-PageUp or Ctl-PageDown),Change layers (Alt-Shift-layer number);
- Articulation Tool:Display the Articulation Selection dialog box (Click on, above, or below anote or rest that doesn’t have an articulation attached, or click on a note whose articulationhandles are visible,OR drag-enclose a group of notes),Display articulation handle (Click a note towhich an articulation has been attached),Select an ( Click, or shift-click the handle),Move anarticulation (Drag the handle -ctrl-drag the handle to move without using dynamicdrawing),Delete an articulation (Select the handle and press delete, or right-click the handle andselect Delete from the contextual menu. Drag-enclose a group of notes while holding delete todelete articulations on all the notes),Display the Articulation Designer dialog box (Double-clickan articulation handle, or right-click the handle and select Edit Articulation Definition from thecontextual menu); - Chord Tool:Display positioning arrows (Click the staff - but not on a note or rest),Display theChord Definition dialog box (Click a note with no chord symbol attached - with Manual Inputselected in the Chord Menu -, or double-click a chord symbol handle,or right-click the handleand select Edit Chord Definition from the contextual menu),Display a handle on chord symbols(Click a note with a chord symbol attached or select Show All Chord Handles from the ChordMenu -when Manual Input is selected in the Chord Menu), Delete a chord symbol (Select thehandle and press delete, or right-click the handle and select Delete from the contextualmenu),Move a chord symbol (With Manual Input selected in the Chord Menu, drag thesymbol handle or ctrl-drag the handle to move without using dynamic drawing),Input chordsymbols using MIDI keyboard (With MIDI Input selected click a note and play chord on theMIDI keyboard),Analyze chord in one or two staves (With One- or Two-Staff Analysis selected inthe Chord Menu, click on a note in the chord); - Clef Tool:Display the Change Clef dialog box (Click a measure without a mid-measure clef),Display handles in mid-measure clefs (Click a measure with a mid-measure clef),Adjust the mid-measure clef position (Drag the handle of the mid-measure clef),Delete a mid-measure clef (Selectthe handle and press delete, or right-click the handle and select Delete from the contextualmenu),Change a mid-measure clef to another clef (Double-click the mid-measure clef’s handleand drag left or right, or right-click the handle and select Edit Clef Definition),To insert anothermid-measure clef (Double-click in the measure),Display the mid-measure clef dialog box (Ctrl-click a mid-measure clef’s handle, or right-click the handle and select Edit Clef Definition fromthe contextual menu); - Expression Tool:Display the Expression Selection dialog box (Double-click on, above, orbelow a measure or note that doesn’t have an expression attached),Display an expression handles(Click on a measure or note with an xpression attached - when show all handles is notselected);Select an expression handle (Click, or shift-click to select multiple handles or press ctrl-A to select all available handles),Move selected expressions (Drag the selected handles),Moveselected expressions without using dynamic drawing (Ctrl-drag the selected handles),Deleteselected expressions (Press delete, or right-click the handle and select Delete from the contextualmenu),Resize a shape expression (Double-click an expression handle, or right-click the handleand select Edit Score Shape Expression Graphically from the contextual menu),Display the TextExpression Designer dialog box (Double-click an expression handle - text expression -, or right-click the handle and select Edit Text Expression Definition from the contextual menu),Displaythe Shape Expression Designer dialog box (Ctrl-double-click an expression handle - shapeexpression -, or rightclick the handle and select Edit Shape Expression Definition from thecontextual menu),Display the Measure or Note Expression Assignment dialog box (Shift-double-click an expression handle, or right-click the handle and select Edit Expression Assignment fromthe contextual menu); - Graphics Tool:Align Left (Ctrl-Shift- [ -left square bracket),Center Horizontally (Ctrl-Shift-' -apostrophe), Align Right Ctrl-Shift- ] -right square bracket),Align Top (Ctrl- - -minus),Center Vertically (Ctrl-Shift- = -equals),Align Bottom Ctrl-Shift- - -minus),Place agraphic in the Shape Designer (Click in the Shape Designer display area, the Place Graphics
18
dialog box appears),Select a graphic or graphics (Click a graphic or drag-enclose graphics, shift-click a graphic),Display the Graphic Attributes dialog box (Ctrl-Shift- T or double-click agraphic),Place a graphic in the score (Double-click in the score, the Place Graphics dialog boxappears),Select a region containing the musical example to Export (Double-click and drag toenclose a region in Page View),Delete the selected graphics (Press delete for one or more selectedgraphics),Adjust the graphic’s position in the score (Drag a selected graphic),Resize the graphichorizontally or vertically (Drag a graphic’s bounding handle); - Hand Grabber Tool:Temporarily switch to Hand Grabber Tool (Press the right-button); - HyperScribe Tool:Indicate where to begin transcription (Click a measure), End HyperScribe in themiddle of measure (Ctrl-click anywhere on the score); - Transription Tool:Display the Transcription window (Click a measure or ctrl-click a measure if youhad Transcribe in Measures selected while transcribing),Transcribe a measure at a time (Click a measurewith Transcribe in Measures selected); - Lyrics Tool:Click Assign lyrics one syllable at a time (Click within the staff lines at theposition of the note),Click Assign lyrics all at once (Ctrl-click within the staff lines at the positionof the first note),Display a Word Extension handle(Click within the staff lines at the position ofthe sustained syllable With), Edit Word Extension selected from the Lyric Menu),Move SyllablesClick within the staff lines at the position of the syllable with Adjust Syllables selected from theLyric Menu),Move to the previous or next verse, chorus or section(“up arrow” or “downarrow” using Type into Score),Left Justify syllable (Ctrl- [ -left square bracket),Right Justifysyllable (Ctrl- ] -right square bracket), Center Justify syllable (Ctrl- ' -apostrophe),Align syllableblock to the Left (Ctrl-Shift- [ -left square bracket),Center syllable block Horizontally (Ctrl-Shift- ' -apostrophe),Align syllable block to the Right Ctrl-Shift- ] -right square bracket); - Mass Edit Tool:Display the Fit Measures dialog (Ctrl- M -with measures selected in PageView),Lock currently selected systems (L),Unlock currently selected systems (U),Select a measureor measures (If “Select Partial Measures” is selected in the Edit Menu, doubleclick a measure; If“Select Partial Measures” is off, a single click selects a measure; drag-enclose a region),Extend aselection of measures vertically (Double-click a selected measure to include the entire verticalmeasure “stack” -that measure in all staves; If “Select Partial Measures”is turned on, the firstdouble-click selects a single full measure, and the second double-click selects the measure stack;Shift-click a measure or a beat within a measure),Extend a selection of measure horizontally toend or beginning(While holding down Shift, press”right arrow” or “left arrow”. If “SelectPartial Measures”is turned on, Shift-“right arrow” or Shift-“left arrow” selects the end orbeginning of the measure, then to the end or beginning of the score),Select a staff or staves Clickto the left of a staff; Shift-click to the left of a staff to extend the selection),Move or Copy aselected section of music (Drag the region so it is superimposed on the beginning of an unselectedregion, which elements and whether you are moving or copying are selected in the Mass EditMenu before you drag; Ctrl-shiftclick the place where the selected elements should be copied ormoved to),Display the Items to Clip dialog box (Press ctrl or shift while choosing Cut or Copyfrom the Edit Menu),Display the Paste dialog box (Press ctrl while choosing Insert or ReplaceEntries in the Edit Menu),Delete selected music (Press delete),Move selected measures to theprevious or next staff system(“up arrow” or “down arrow”),Erase selected music (Pressbackspace),Cancel a Mass Edit operation (Press esc), Implode Music -displays the Implode Musicdialog box(Select the measures you want to affect, then press 1 on your computerkeyboard),Drag-Implode Music for multiple staves -displays the Implode Music dialog box(PressI while dragging selected measures to their destination),Drag-Explode Music for multiple staves -displays the Explode Music dialog box (Select the measures you want to affect, then press 2 onyour computer keyboard),Explode Music -displays the Explode Music dialog box(Press E whiledragging selected measures to their destination),Respace notes, lyrics, and accidentals -ApplyBeat Spacing command - using the settings in Document Options-Music Spacing (Select themeasures you want to affect, then press 3 on your computer keyboard),Respace notes, lyrics, andaccidentals - Apply Note Spacing command - using the settings in Document Options-MusicSpacing (Select the measures you want to affect, then press 4 on your computer keyboard),Showelapsed time based on current tempo –displays the Elapsed Time dialog box(Select the measuresyou want to affect, then press 5 on your computer keyboard),Transpose –programmable(Selectthe measures you want to affect, then press any number between 6 and 9 on your computerkeyboard),Select or deselect the SmartFind Source Region (Control-F),Display the ApplySmartFind and Paint dialog box (Control-Shift-F);
19
- Measure Tool:Display the Add Measures dialog box (Ctrl-click the Measure Tool, or right-click the Measure Tool and select Add Measures from the context menu), Add single blankmeasure to the score (Double-click the Measure Tool, or right-click the Measure Tool and selectAdd One Measure from the context menu),Display the Measure Attributes dialog box (Double-click the top barline handle or measure, or right-click the handle -or upper handle- and selectEdit Measure Attributes from the contextual menu),Make the Measure wider or narrower (Dragthe top barline handle right or left),Display a beat chart Click the second barline -or middle ifthere are three- handle, or rightclick the handle and select Edit Beat Chart from the contextualmenu),Display a split-point bar (Click the third –bottom- barline handle, or right-click thehandle and select Edit Split Points from the contextual menu),Move a beat horizontally in allstaves (Drag one of the lower handles in the beat chart), Move a beat and all subsequent beatshorizontally in all staves(Shift-drag one of the lower handles in the beat chart),Add another pairof beat positioning handles (Double-click between two upper handles of a beat chart),Display theBeat Chart Element dialog box (Double-click an upper handle in the beat chart),Delete a beatchart pair from the beat chart (Click on an upper handle to select it and press delete),Change abarline (Right-click the handle and select the desired barline type -Normal, Double, Final, Solid,Dashed, Invisible, Tick- from the contextual menu),Display a handle on every measure number(Click the Measure Tool),Reset measure number positioning (Press backspace, or right-click thehandle and select Restore Default Position from the contextual menu),Delete a measure number(Press delete, or right-click the handle and select Delete from the contextual menu),Move ameasure number Drag the measure number’s handle Display the Enclosure Designer dialog box(Double-click a measure number’s handle, or right-click the handle and select Edit Enclosurefrom the contextual menu),Force a measure number to appear (Ctrl-click a measure without ameasure number),Force measure numbers on a measure in all staves of a staff system(Ctrl-shift-click on a measure • Break a multimeasure rest (Right-click the handle and select Break amultimeasure rest from the contextual menu); - Mirror Tool:Display Mirror and Placeholder icons (Click the Mirror Tool),Display thePlaceholder dialog box (Click a measure with notes or with a Placeholder icon),Display theTilting Mirror dialog box (Click an empty measure or a measure with a Mirror icon),Display theMirror Attributes dialog box (Shift-click a measure with a Mirror icon); - Note Mover Tool:Display a handle on every notehead in the measure (Click a measure);Select a handle or handles (Click, shift-click, drag-enclose or shift-drag-enclose thehandles),Delete selected notes -still in their original measure (Press delete, or right-click thehandle and select Delete from the contextual Menu),Move or Copy notes to another measure(Drag a note or a group of notes to the end of the measure and the selected action in the NoteMover Menu will take place),Copy notes to the beginning of a measure (Drag a note or a group ofnotes to the beginning of the measure –if the measure isn’t rhythmically full); - Ossia Tool:Display handles on every ossia measure (Click the Ossia Tool in PageView),Display a handle on a measure-assigned ossia measure (Click the Ossia Tool in Scroll Viewand click the measure to which the Ossia measure is attached),Display the Ossia MeasureDesigner dialog box (In Page View, double-click anywhere on the document; In Scroll View clicka measure with no ossia measure attached, or double-click a measure with an ossia measureattached; Double-click a floating measure’s handle, or right-click the handle and select EditOssia Definition from the contextual menu),Select an ossia measure (Click the ossia measure’shandle); Move a selected ossia measure (Drag the handle),Delete a selected ossia measure (Pressdelete, or right-click the handle and select Delete from the contextual menu),Display the PageAssignment for Ossia Measure dialog box (Shift-double-click a page-assigned floating measure’shandle, or right-click the handle and select Edit Ossia Assignment from the contextual menu -inPage View),Display the Measure Assignment for Ossia Measure dialog box (Shift-double-click ameasure-assigned floating measure’s handle, or right-click the handle and select Edit OssiaAssignment from the contextual menu); - Page Layout Tool:Display Page and System margins (Click the Page Layout Tool), Resizepage, margins or system (Drag a handle in Page View), Move a system (Drag the system in PageView), Move a system without moving other systems( Hold down Ctrl and drag the center of astaff system), Select handles (Drag-enclose to select handles),Select all handles (Ctrl-A); - Repeat Tool:Display the Repeat Selection dialog box (Click a measure without a repeat ordouble-click a measure with a repeat), Display handles on a repeat (Click a measure with arepeat), Delete a text repeat, repeat barline (Click on the handle and press delete, or right-clickthe handle and select Delete from the contextual menu), Move a text repeat (Select the handle
20
and drag), Change the size of a repeat barline’s bracket (Drag the repeat bracket handle up ordown, left or right), Display the Repeat Designer dialog box (Double-click a text repeat handle, orright-click the handle and select Edit Repeat Definition from the contextual menu), Display theBackward Repeat Bar Assignment dialog Box (Double-click a repeat barline handle, or right-click the handle and select Edit Repeat Assignment from the contextual menu), Display theEnding Repeat Bar Assignment dialog box (Double-click a repeat ending number handle, orright-click the handle and select Edit Repeat Assignment from the contextual menu), Display theRepeat Assignment dialog box (Shift-double-click a text repeat handle, or right-click the handleand select Edit Repeat Assignment from the contextual menu); - Resize Tool:Reduce or enlarge a notehead (Click on the notehead or right-click and selectResize Notehead from the contextual menu),Reduce or enlarge an entire note or beam group(Click on the note stem or right-click and select Resize Note or Rest from the contextual menu),Reduce or enlarge a staff (In Page View, click to the left of the staff or right-click and selectResize Staff from the contextual menu), Reduce or enlarge a system (In Page View, click betweenany two staves in the system or rightclick and select Resize System from the contextual menu),Reduce or enlarge a page, or a range of pages (In Page View, click the upper-left corner of thepage or right-click and select Resize Page from the contextual menu); - Selection Tool:Switch to Selection Tool (Ctrl-Shift-A),Select an item (Click on the item),Select the appropriate tool to edit item With item selected, double-click or press enter), Selectbetween overlapping items (Click on the item then press plus or minus to cycle throughoverlapping items); - Simple Entry Tool:128th Note through Double Whole ( 0-8 )• 128th Rest through DoubleWhole Rest(Shift and a number key (0–7) or Enter-0 through Enter-8 on the Number Keypad) •Switch Tools and clear other selections (Double-click tool or quickly repeat tool selectionkeyboard shortcut) • Erase selected Note or Rest or select the Eraser Tool to delete accidentals,ties, dots or tuplets (Delete) • Make a selected note sharp or select the Sharp Tool (S or + plus) •Make a selected note flat or select the Flat Tool (F or - minus) • Make a selected note natural orselect the Natural Tool (Shift-8 or N or * asterisk) • Add double-flat to selected note(V) • Adddouble-sharp to selected note (X) • Lower selected note by half step or select the Half Step DownTool (Shift-F or Enter- -minus With selection,”down arrow”• Raise selected note by half step orselect the Half Step Up Tool (Shift-S or Enter-+ plus With selection,”up arrow”• Change selectednote to a rest or toggle between Note and Rest Tools ® • Add an augmentation dot to the selectednote or select the Dot Tool (. period) • Tie selected note to the next note or select the Tie Tool (Tor = equals or Enter-/ )• Tie selected note to the previous note or select the Tie Tool (Shift-T) •Toggle grace note state of selected note or select the Grace Note Tool (G or / backslash) • Toggletuplet state (create new one or erase existing tuplet) of selected note or select the Tuplet Tool (9) •Access Simple Entry Tuplet Definition dialog box for duplet, septuplets or other tuplets (With theTuplet Tool, shift-click the staff )• Show/Hide a courtesy accidental on selected note (A) •Break/Join Beam on selected note (B) • Restore default beaming (Shift-B) • Show/Hide selectednote or rest (H) • Flip stem on selected note (L) • Restore stem direction to “floating” status onselected note (Shift-L) • Flatten beams for selected note (M) • Add or remove parentheses aroundaccidentals for selected note (P) • Select a note or rest (Control-click the note or rest) • Select anote or rest within a chord without clearing previous selection (Control-shift-click the note orrest)• Move selection one note/rest to the left If no selection, select the last edited note/rest (“leftarrow”) • Move selection one note/rest to the right(“right arrow”) • Move selection one note up, ifchord selected Control -”up arrow”)• Move selection one note down, if chord selected Control-“down arrow”) • Select all notes in selected chord (Ctrl-A-click the chord) • Clear selection(Escape or Backspace); - Smart Shape Tool:Flip a selected Slur (Ctrl- F), Change a selected Slur back to Automatic(Ctrl-Shift- F), Display handles on all smart shapes (Click the Smart Shape Tool, Edit or Delete aSmart Shape Click the handle of the Smart Shape) • Control-A (Select all Smart Shapes on thepage) • Drag or nudge an endpoint handle Change the slur’s ending or starting note • Drag ornudge a center curve handle Change the slur’s arc height • Shift-drag a center curve handleChange the slur’s arc height and angle • Drag or nudge an inner curve handle (Change the slur’sarc and inset asymmetrically) • Control-drag an inner curve handle (Change the slur’s arc andinset symmetrically) • Control-double-click and drag (Create an inverted bracket with the hookpointing away from the staff instead of toward the staff. It will also change the text for an 8va or15ma below the staff or 8vb or 15mb above the staff), Display the Smart Line Style Selectiondialog box (Ctrl-click the Custom Line Tool), Add a slur (S) • Add a dashed slur (V), Add a
21
crescendo (<),Add a decrescendo (>) • Add a trill (T) • Add a trill extension (E) • Add an 8va or8vb marking (8) • Add a 15ma or 15mb marking (1) • Add a double-ended bracket (O) • Add adashed double-ended bracket (H) • Add a bracket (K) • Add a dashed bracket ® • Add a line (L)• Add a dashed line (D) • Add a glissando (G) • Add a bend (N) • Add a tab slide (A) • Add acustom line (C); - Speedy Entry Tool:Display the Edit Frame dialog box (Ctrl-click any measure that containsmusic), Remove note, rest or chord (delete),Hide/show note or rest (letter O or H), Add orremove accidental parentheses (P), Jump to previous measure ([ -left square bracket- or shift“left arrow”), Jump to next measure (] -right square bracket- or shift “right arrow”), Flip stemin opposite direction (L),Restore stem direction to “floating” status (Ctrl-L) • Change to/from agrace note (; -semicolon- or G) • Change to/from a slashed flagged grace note (` -accent- or ; -semicolon- or G), Voice 1/2 (' -apostrophe) Switch to next layer (shift–' -apostrophe) Moveediting frame down a staff (shift “down arrow”), Move editing frame up a staff (shift “uparrow”), Add or change note 64th–double whole note (1–8), Add or change 128th note (ctrl-0 -zero) Insert 64th note–whole note (shift-1 through shift-7 -on keyboard only-with MIDI, whileplaying note) Insert 128th note -without MIDI (ctrl-0 –zero-in insert mode only),Add 64th rest–whole rest -with MIDI (shift-1 through shift-7 without pressing note). Add rest -with or withoutMIDI (ctrl-shift-1-7 on keyboard only) Add 128th rest with MIDI (ctrl-0 -zero) Add a rest withHands-Free MIDI(play any three note cluster), Toggle Insert mode (insert or shift-0 -zero)Constrain dragging a note horizontal/vertical(shift-drag),Begin a tuplet -duplet–octuplet(ctrl-2through ctrl-8), Define a tuplet (ctrl-1) • Raise by a half step (+ plus or shift-S)• Lower by a halfstep (– minus or shift-F), Raise by a half step for entire measure(ctrl- + plus) Lower by a halfstep for entire measure(ctrl- – minus) • Flat note (F) • Sharp note (S) • Natural note (N )• Double-sharp (X) • Double-flat (V),Previous note(“left arrow),Next note(“right arrow”),Move to firstnote or rest in measure (ctrl-“left arrow”), Move just beyond last note or rest in measure (ctrl-“right arrow”), Down a step(“down arrow”),Up a step(“up arrow”),Remove note from chord(backspace) • Change single note to rest (backspace or R) • Tie/untie to next note (= equals or T) •Tie/untie to previous note (ctrl = equals or shift-T), Flip a tie (ctrl-F),Restore tie direction toautomatic (ctrl-shift-F) • Break/join beam from previous note (/ -backslash or B) • Restoredefault beaming (Shift-B) • Flatten a beam (\ -forward slash or M), Show/hide any accidental (*asterisk) • Show/hide a courtesy accidental (A), Restore courtesy accidental to optional status(ctrl-* asterisk) Return a rest to its default position (* asterisk), Exit measure and redraw/re-enter measure (0 zero) Flip a note to its enharmonic equivalent (9), Flip enharmonic throughoutmeasure (ctrl-9 - cursor on first note in measure), Add a dot (. period) Add a note to a chord(enter), Change a rest to a note (enter) • Specify a pitch, high C–B without MIDI (Q-W-E-R-T-Y-U - with Caps Lock) • Specify a pitch, middle C–B without MIDI (A-S-D-F-G-H-J - with CapsLock) • Specify a pitch, low C–B without MIDI (Z-X-C-V-B-N-M - with Caps Lock) • Raise allpitch keys an octave (, comma with Caps Lock) • Lower all pitch keys an octave(I -letter I withCaps Lock) • Restore all pitch keys to normal register(K with Caps Lock); - Special Tools Tool:Display handles in the measure (Click the Special Tool you want to useand click on the measure), Select a handle or handles (Click, shift-click or drag-enclose, or ctrl-A), Reset the note to its original state (Press delete or backspace), Move selected items veryslightly (Use the arrow keys), Flip a selected tie (Ctrl-F), Restore tie direction to automatic (Ctrl-shift-F); - Staff Tool: Display the Staff Menu and handles (Click the Staff Tool), Select a staff orstaves(Click a staff or a staff handle, or drag-enclose staff handles), Add the staff to the selection.If a staff is already selected, remove the staff from the selection (Shift-click a staff or a staffhandle), Display the Staff Attributes dialog box(Double-click a staff or a staff handle, or double-click a full or abbreviated staff name handle, or right-click the handle and select Edit StaffAttributes from the contextual menu), Add a staff without repositioning the lower staves to makeroom for the new staff. (Double-click in the score in Scroll View), Insert a staff between staves,repositioning the lower staves to make room for the new staff(Shift-double-click below a staff inthe score in Scroll View), Display the Group Attributes dialog box(Double-click a group handle,or double-click a bracket handle, or right-click the group or bracket handle and select EditGroup Attributes from the contextual menu. right-click the staff handle and select Add Groupand Bracket from the contextual menu),Delete the selected staves without repositioning theremaining staves(Press delete for selected staves, or right-click the handle and select DeleteStaves from the contextual menu),Delete the selected staves and reposition the remainingstaves(Press shift-delete for selected staves, or right-click the handle and select Delete Staves and
22
Reposition from the contextual menu).Adjust the staff’s position in Scroll View only. Theplacement of staves remains unchanged in Page View. When you choose Special Part Extractionfrom the Edit Menu, Finale removes the checkmark by the command, and displays the full scoreusing the new positioning in Scroll View.(Drag a staff or a staff handle in Scroll View -whenSpecial Part Extraction is selected in the Edit Menu), Adjust the staff’s position in every staffsystem in Page View and the position of the staff in Scroll View. When the top staff is adjusted,Finale adjusts the distance between staves, as well as staff systems(Drag a staff or a staff handlein Page View -when Special Part Extraction is not selected in the Edit Menu. Note: If two handlesappear on a staff, drag the top handle),Adjust the staff’s position in every staff system in PageView; leave the position of the staff unchanged in Scroll View. Finale adjusts the distancebetween staves, as well as staff systems(Drag a staff or a staff handle in Page View -when SpecialPart Extraction is selected in the Edit Menu. Note: If two handles appear on a staff, drag the tophandle), Adjust the staff’s position only in the current staff system -drag the top handle to adjustthe position of the staff in all staff systems in Page View(Drag the staff’s lower handle in PageView. Note: If a staff system has been optimized using the Page Layout Tool, two handles willappear on each staff in the optimized staff system), Select a group or groups(Click a grouphandle, or drag-enclose group handles),Add the group to the selection. If a group is alreadyselected, remove the group from the selection(Shift-click a group handle), Edit a full orabbreviated group name using the Edit Text window.(Ctrl-click a group handle, or right-clickthe handle and select Edit Full Group Name or Edit Abbreviated Group Name from thecontextual menu.), Position a group name using the Position Full Group Name or PositionAbbreviated Group Name dialog box. (Ctrl-shift-click a group handle, or right-click the handleand select Position Full Group Name or Position Abbreviated Group Name from the contextualmenu.), Revert the position of the group names to their default position.(Press backspace forselected groups), Remove the selected group definitions.(Press delete for selected groups, orright-click the handle and select Delete Group from the contextual menu.), Adjust the position ofa group name. (Drag a group handle), Select a staff name or names. (Click a staff name handle,or drag-enclose staff name handles), Add the staff name to the selection. If a staff name is alreadyselected, remove the staff name from the selection. (Shift-click a full or abbreviated staff namehandle), Edit a full or abbreviated staff name using the Edit Text window. (Ctrl-click a full orabbreviated staff name handle, or right-click the handle and select Edit Full Staff Name or EditAbbreviated Staff Name from the contextual menu), Position the selected staff name using thePosition Full Staff Name or Position Abbreviated Staff Name dialog box. (Ctrl-shift-click a full orabbreviated staff name handle, or right-click the handle and select Position Full Staff Name orPosition Abbreviated Staff Name from the contextual menu.), Revert the position of the full orabbreviated staff name to its default position.(Press backspace for a selected staff name handle),Adjust the position of the selected staff name. (Drag a full or abbreviated staff name handle),Select a bracket or brackets (Click a bracket handle, or drag-enclose several bracket handles),Add the bracket to the selection. If a bracket is already selected, remove the bracket from theselection.(Shift-click a bracket handle), Remove the selected brackets. (Press delete for selectedbrackets, or right-click the handle and select Delete from the contextual menu.), Revert theselected brackets to their default length. (Press backspace for selected brackets), Make a brackettaller or shorter. (Drag a bracket handle vertically), Move a bracket closer to or away frombracketed staves.(Drag a bracket handle horizontally) Select a clef for the staff. (Right-click thestaff handle and select Select Clef from the contextual menu.), Remove Staff Styles from selectedregion. (Backspace); - Text Tool: Left Justify text in a text block (Ctrl- [ left square bracket), Right Justify text in atext block (Ctrl- ] right square bracket), Center Justify text in a text block (Ctrl- ' apostrophe),Full Justify text in a text block (Ctrl- ; semicolon), Forced Full Justify text in a text block (Ctrl-Shift- ; semicolon), Bold (Ctrl-Shift- B), Italic (Ctrl-Shift- I), Underline (Ctrl-Shift- U), IncreasePoint Size by one (Ctrl-Shift- . period), Decrease Point Size by one (Ctrl-Shift- , comma), PageNumber Text Insert (Ctrl-Shift- P), Sharp sign Text Insert (Ctrl-Shift- S), Flat sign Text Insert(Ctrl-Shift- F), Natural sign Text Insert (Ctrl-Shift- N), Display Character Settings dialog box(Ctrl-T Display), Line Spacing dialog box (Ctrl-Shift-L), Align Text block to the Left (Ctrl-Shift-[ left square bracket), Center Text block Horizontally (Ctrl-Shift- ' apostrophe), Align Text blockto the Right (Ctrl-Shift- ] right square bracket), Align Text block to the Top Ctrl- - minus),Center Text block Vertically (Ctrl-Shift- = equals), Align Text block to the Bottom (Ctrl-Shift -minus), Display the Standard Frame dialog box (Ctrl- M), Display the Custom Frame dialog box(Ctrl-Shift- M), Display the Frame Attributes dialog box (Ctrl-Shift- T or shift-double-click a
23
text block handle, or right-click the handle and select Edit Frame Attributes from the contextualmenu.), Display the Text Menu (Click the Text Tool), Display handles on text blocks (/Click theText Tool), Select a text block or text blocks (Click a text block handle or drag-enclose text blockhandles, shiftclick a text block handle), Create an unbounded frame that expands as you entertext (Double-click in the score),Create a bounded, fixed-size frame for text (Double-click anddrag in the score), Edit the text block (Double-click a text block handle, or right-click the handleand select Edit Text from the contextual menu.), Delete the selected text blocks (Press delete forone or more selected text blocks, or right-click the handle and select Delete from the contextualmenu.),Adjust the text block’s position in the score (Drag a selected text block handle); - Tuplet Tool:Display positioning handles (Click the first note of a tuplet), Position tuplet(Drag a positioning handle),Position tuplet without dynamic drawing (Ctrl-drag a positioninghandle), Delete tuplet (Press delete for selected tuplet, or right-click the handle and select Deletefrom the contextual menu.), Display the Tuplet Definition dialog box (Double-click a positioninghandle or the first note in a group that you want to define as tuplets, or right-click the handle andselect Edit Tuplet Definition from the contextual menu.), Display the Default Tuplet VisualDefinition dialog box(Ctrl-click the Tuplet Tool, or right-click the Tuplet Tool and select EditDefault Tuplet Visual Definition from the drop-down list); -Zoom Tool:Zoom in - enlarge 2x, if tool is selected(Click the score), Zoom out -reduce by 1/2,if tool is selected (Ctrl-click the score), Temporary switch to Zoom Tool: enlarge (Shift-click theright-button), Temporary switch to Zoom Tool: reduce (Ctrl-Shift-click the right-button), Fill thescreen with the selected area (Drag-enclose an area); - Playback:Begin/Pause playing -Playback Controls open(Alt-D-P or Alt-D-O), Begin playingfrom the measure clicked (Spacebar–click in staff), Begin playing from the clicked measure in theclicked staff only (Shift-spacebar–click in staff), Begin playing from the clicked measure in allstaves (Spacebar–click in between staves), Begin playing from measure one in all staves(Spacebar–click to the left of a staff system), Begin playing from measure 1 for the clicked staff(Spacebar-shift-click to the left of staff), “Scrub” onscreen music - all staves (Ctrl-spacebar -anddrag across music), “Scrub” onscreen music - clicked staff only (Ctrl-Shift-spacebar -and dragacross music).
Functiile programuluiSIBELIUS
Versiunea 2© 1987-2001 by Sibelius Software Limited
www.sibelius.com
- File: New (Type of manuscript paper, Instruments, Play using the device), Open [AllMusic Files (sib, mid, opt, mus, etf, tmp, pag, pge, s7), Sibelius (sib), MIDI (mid), PhotoScore (opt), Finale/Allegro/PrintMusic (mus), Finale ENIGMA (etf), SCORE File(tmp)/Page (mus, pag, pge), Sibelius 6/7 (s7)], Append Score (sib), Close, Close All, Save,Save As [Sibelius (sib), Scorch Web Page (htm), MIDI (mid)], Save As Graphics (EPS,BMP, EMF), Save As Manuscript Paper, Save All [Sibelius (sib), Scorch Web Page (htm),MIDI (mid)], Print, Extract Parts, Publish on SibeliusMusic.com, Score Info, Plug-ins[Batch Processing (Apply House Style to Folder of Files, Convert: Folder of Acorn SibeliusFiles/Folder of Files to Graphics/Folder of Finale Files/Folder of MIDI Files; Print Folderof Scores), Composing Tools (Double Notes Values, Finf Motif, Find Range, Halve NotesValues, Invert, Pitch Mapping, Retrograde), Notation (Add: Brass Fingering/CautionaryAccidrentals,/Chord Symbols/Ficta Above Note/Note Names/String Fingering/Tonic Sol-Fa; Make Layout Uniform/Pitches Constant, Number Beats, Remove Dangling Ties/Rests,Respell Flats as Sharps/Sharps as Flats, Split Dotted Quarter Rests), Playback (CopyDinamics, Cresc./Dim. Playback, Quarter-tone Playback), Proof-reading (Check: Clefs/forParallel 5ths-8ves/Harp Pedaling/Pizzicatos/Repeat Barlines; Proof-read), Edit Plug-ins,Show Plug-in Trace Window], Preferences (General, Keyboard Shorcuts, Word Menus),Register/Transfer (Register Sibelius, Transfer SavingOut/In), Exit.
24
- Edit: Undo, Redo, Undo/Redo History, Cut, Copy, Paste, Repeat, Delete, Flip, Voice (1-4; All;Swap 1-2/1-3/1-4/2-3/2-4/3-4), Hide or Show (Hide, Show, Show in Score/in Parts), Select(All/More/System Passage/None), Filter [Advanced Filter, Chord Symbols, Dynamics,Expression Tool, Guitar Frames, Hairpins, Lyrics, Notes and Chords, Slurs, Tuplets,Voice 1-4, Voice 1-4 Only, Top/2nd/3rd/Bottom Note, Top Note/2-nd Note/3rd Note/bottomNote or Single Notes, Player 1-2 (for Delation)], Find, Find Next, Go to Bar/Page;
- View: Attachment, Breacks and Locks, Hidden Objects, Highlights, Note Colors (Note out ofRange, Pitch Spectrum, Voice Colors, None), Page Margins, Textures,Selection/Object/Staff Rulers, Full Screen, Scroll Bars, Toolbar, Zoom (Zoom, ZoomIn/Out);
- Create: Bar, Barline, Clef, Graphic, Guitar Frame, Highlight, Instruments, Key Signature,Line, Rehearsal Mark, Symbol, Text [Expression, Technique, Lyrics, Lyrics verse 3-5,Chord symbol, Other Staff Text (Plain text, Lyrics verse 3-5, Figured bass, Fingering,Boxer text, Small text, Lyrics above staff, Nashville chord numbers, Footnote, Technique2, Note flags 2, Small Text 2), Title, Subtitle, Composer, Lyricist, Dedication, Tempo,Metronome mark, Other System Text (Copyright, Header, Header – after first page,Footer – outside edge/inside edge, Rit./accel., Title 2, Header 2, Footer 3, Footer, Footer 2),Special Text (Bar numbers, Guitar frame fret, Instrument name at top left, Instrumentnames, Multirests, Page numbers, Rehearsal marks, Time signatures-huge/large,Tablature letters/numbers, Tuplets)], Bar Numbers Change, Bracket or Brace (Bracket,Sub-bracket, Brace), Extra Slur Arc, Extra Staff (Above, Below, Ossia Above/Below), StaffType Change [Pitched (1-5 lines, No lines, etc.), Tab (Standard guitar, Bass guitar, etc.),Percussion (1-5 lines)], Transposition Change;
- Play: Play or Pause, Stop, All Notes Off, Mixer, Performance, Dictiuonary, Devices,Substitute Devices, Playback Options;
- Notes: Flexi time, Flexi-time Options, Arrange, Edit Arrange Styles, Transpose, TransposingScore, Add Interval (2-9 Above/Below, Unison), Add Interval (A-B-C-D-E-F-G + Shift),Cross-Staff Notes (Move Up/Down a Staff), Respell Accidental, Reset Beam Groups/Stemsand Beam Angles;
- Layout: Document Setup, Break (System/Page Break, Split System/Multirest), Format(Make Into System/Page, Lock/Unlock Format), Align: in a Row/in a Column/Staves;Hide/Show Empty Staves; Reset: Portion/Design/Note Spacing/Space Above Staff/SpaceBelow Staff;
- House Style: Engraving Rules, Note Spacing Rule, System Object Positions, DefaultPositions, Timecode, Edit: Lines/Noteheads/Staff Types/Symbols/Text Styles; Use:Multirests/“Show in Part“; Import/Export House Style;
- Window: New Window, Title Horizontaly/Verticaly, Cascade, Mixer, Navigator, Properties,Keypade (separate);
- Help: Sibelius Help, Tip of the Day, Help Center, Sibelius.com, Sibelius.com Education Area,SibeliusMusic.com Internet Publishing, Sibelius Magazine, PhotoScore Professional, SibeliusTeaching Tools, About Sibelius.
- Comenzile operative (ce apar suprapuse partiturii in lucru): General, Text, Lines, Bars,Staves, Notes, Keypad;
- Comenzi rapide uzuale: A/B/C/D/E/F/G (LA/SI/DO/RE/MI/FA/SOL), 1-6 pe keypad(TREZECIDOIME-NOTA INTREAGA), 7-9 pe keypad (BECAR,DIEZ,BEMOL), Ctrl +3 (TRIOLET), Ctrl + 2-9 (ALTE DIVIZIUNI EXCEPTIONALE), P (PLAY), Esc (STOP),Ctrl + F/M/P (f/m/p – ca expresie), Ctrl + Shift + C/D (CRESC./DIM.).
25
Functiile programuluiNoteWorthy Composer v. 1.75
© 2002 NoteWorty Software. Incwww.notewortysoftware.com
- File: New, Open (NWC Files, MIDI Files, Song Files) Save, Save As (Standard NWC File,Type 1 Midi File, Type 0 Midi Files, Uncompressed NWC File), Revert, Close, Info [Title,Author, Copyright Notice 2 (All Rights Reserved), Comments], Page Setup, Printer Setup,Print Preview, Print, History, Exit;
- Edit: Undo Page Setup, Redo, Cut, Copy, Copy Special, Paste, Clear, Select All, RemoveChord Note, Beam, Triplet, Find, Find Next, Go to, Lyrics, Properties;
- View: Zoom In/Out, Zoom, Refresh Score, Status Bar, Toolbars;- Staff: New Staff, Import Recording, Delete Staff, Move Staff, Move Staff Up/Down, Mute
Staff, Staff Properties;- Insert: Note, Rest, Chord Member, Bar Line, Bar Line (Decorated), Clef, Dynamic,
Dynamic Variance, Flow Direction, Key Signature, Performance Style, Special Ending,Sustain Pedal, Tempo, Tempo Variance, Text, Time Signature, Instrument Patch, Multi-point Controller;
- Notes: Whole, Half, Quarter, Eight, Sixteenth, Thirty-second, Sixty-fourth; Natural, Flat,Sharp, Double Sharp, Double Flat; Accent, Dotted, Double-Dotted, Grace, Slur, Staccato,Tenuto, Tied, Stem Up/Down;
- Tools: Record, Staff Play, Play, Stop; Score Review, Mute List, MIDI Input Active,Persistent Note Tools; Automatic Beam, Transpose Staff, Force Accidentals; Audit BarLines/Accidents/Enharmonic Spelling/Note Stems; Options;
- Window: Cascade, Title, Arrange Icons, Close All;- Help: Contents, Search for Help on, Did you know, Getting Started, Command Reference,
Keyboard Reference, Benefits of Registering, How to Order, Support, Go to NoteWorthySoftware.com, Check for Web Updates, About.
Functiile programuluiLIME 8.00
© January 2003 by Lippold HAKEN and Dorothea BLOSTEINwww.cerlsoundgroup.org
lime, 1906 Augusta, Champaign, IL-61821, USA
- File: New, Open, Import NIFF, Import MIDI, Close, Save, Save As (Lime Fle – lim),Export NIFF, Export MIDI, Revert, Layout, Print Setup, Print, Print Multiple, AboutLime, Exit;
- Edit: Undo, Redo, Cut, Copy, Copy Music, Paste, Clear (Note, Text, Annotation, At EachSystem, On Each Page, In Every Context, Staff/Chord/Accident Drag, Invisible Notes),Copy Measures, Align Annotations, Duplicate, Extend Line to Here, Allow Any Alt-click,Enable Duration Edits, Shortcut Keys, Options:
- Context: Previous Notation Context, Next Notation Context, Part Extraction, Score;- Page: Previous/Next Page, Go to Page/Bar, Split Page/System, Add to Next Page/System,
Systems, Insert/Delete Measures, Correct Measure;- Voice: Previous/Next Part or Voice, Record, Note Entry, Parts and Voices, Voice to Staff
Above/Bellow, Staff Drag, Hightlight Voice, Voice on Channel;- Note: Previous/Next Note, Show Accidental, Default/Special Accidentals, Transpose,
Notehead Color, Tablature String/Thumb, Hide Tuplet/Rest, Don’ t Combine Rest, ChordDrag, Internal Fields;
- Stem: Stem Up/Down, No Stem, Slashed Stem, Stem Between Staves, Continue/End Beam,Continue/End Subbeam, Default Beaming, Beaming Rule, Tremolo Beam, Swing EightBeam, Modify Slur/Tie;
- Hear: Hear, Tuning, Dynamic Levels, Default Playback, Modify Playback (Softer, Louder,Level, Lower, Higher, Pitch, Shorter, Longer, Earlier, Later), Recompute Playback, Play
26
Octave Higher/Lower, Keyboard Shift (3-1 Octaves Up, Normal, 1-3 Octaves Down), MIDIInput/Output;
- Symbol: Clef, Key/Time Signature, Bar Line, Align Bars, System Bracket, Parameters,Hidden Test;
- Annotation: Preview/Next Annotation, Text Category, Font, Size, Style, Text Assistant,Line, Curve, Line and Curve Style, Horizontal/Vertical Lock, All Notation Context, OnlyIn Score, Not In Score, This Notation Context Only;
- Window: Previous/Next Window, Arrange Icons, Close All.
Functiile programuluiENCORE - The Musician’s Choice for Composing & Publishing
Version 4.5.5© 1993-2003 Interactive Music, Passport Designs, Inc.
www.gvox.comPO Box 2755, NJ 07091, USA
- File: New (Page Layout: Staves per system, Systems per page, Measures per system, StaffFormat), Open [Scores (enc, mus, mto, rhp), MIDI (mid, miff), MT Pro (mts)], Close, Save,Save As [Encore Files (enc), MIDI Files (mid), MT Pro Files (mts)], Revert to Saved,Extract Part, Score Settings/Page Setup (Score Window Title; Enlarge or Reduce Score;Margin Setting), Print, Export to ESP, Exit;
- Edit: Undo Guess Durations, Cut, Copy, Paste, Clear, Select All, NudgeLeft/Right/Up/Down;
- Notes: Attributes (Notes, Beams, Rests), Voice (Set to Voice 1-8), Accidents to(Enharmonics, Sharps, Flats), Stems (Up, Down, Normalize), Marks (Add, Remove), TieNotes, Slur Notes, Beam Notes (Beam Group, Beam on Beat, Sub Group, Flatten Beams),Change – Pitch, Duration, Velocity; Make-Chord, Tab, Grace/Cue; Revert to Raw, GuessDurations;
- Measures: Add/Delete Measure, Tempo, Time/Key Signature, Barline Types, Endings,Coda Phrases, Measure Numbers, Compressed Rests, Align/Swing Playback, AlignSpacing;
- Score: Text Elements, Add/Delete Page, Add/Delete Staff, Split this Staff, Tablature Staff,Percussion Staff, Conect/Center Staves, Center Systems, Measure per System, Systems perPage;
- View: Show/Hide Score Colors, Guitar Frets, Show/Hide Staves, Refresh Score, LinearView, Hide Floating Windows;
- Windows: Palette (Notes, Clefs, Graphics, Tools, Dynamics, Marks 1, Marls 2, Symbols,Guitar, Expressions, Color), Keyboard, Tempo, Toolbar, Staff Sheet, Tile, Cascade,Arrange Icons, Close All;
- Setup: MIDI Setup, Record Setup, Transcription Setup, Spacing Defaults, Click Setup,Toolbar Setup, Click On, Follow Playback, Auto Guess/Beam, Auto Space, SavePreferences;
- Help: Topics, Current Topic, Help on Help, Link to Web Site, About Encore.
Prezentarea generala a programuluiSCORE
Computer Music Typography SystemWritten by Leland SMITH
Programers: Leland SMITH, Perry DEVINE© 1977-1992 by Leland SMITH
© 1986-1992 by Passport Designs, Inc.© 1995-2004 by San Antonio Press, PO Boc 60247, Palo Alto, CA-94306, USA
www.scoremus.comhttp://ace.acadiau.ca/scorelcs@ccrma.stanford.edu
27
- Complex de programe [SCORE Version 4.01, Midiscor (SCORE to MIDI),MIDISCORWRITE (MIDI to SCORE), FINALSCORE (Finale to SCORE)] realizate la Centerfor Computer Research in Music and Acoustics (CCRMA) - Department of Music, StanfordUniversity (USA) de Prof. Leland SMITH – toate operand pe MS-DOS (drive: floppy -cf.”Appendix 1”) si avand urmatoarele coordonate: 1100 items, 11000 parameters, 29000 graphicvectors.
- b.) PROGRAME WAV DE EDITARE MUZICALA
Functiile programuluiSOUND FORGE 4.5
http://www.sonicfoundry.com
GENERALE- File: New, Open (All Types), Work space (open), Exit;- Edit: Paste to New;- View: Full Screen, Toolbars, Clipboard (Contents, Play), Region List, Playlist/Cutlist,
Keyboard, Mixer, Time Display, Video Preview, Play Meters, Undo/Redo History;- Special: Record;- Tools: Batch Convertor, Preset Manager;- Options: MIDI Input Sync/Trigger, MIDI Output Sync, MIDI Triggers, Preferences;- Window: New Window;- Help: Contents, Search for Help, Keyboard Shortcuts, Troubleshooting, Tip of Day, Sonic
Foundry on Web (Product News, Frequently Asked Questions, Online Support, Sound ForgeHome Page, Send Feedback, Sonic Foundry Home Page), About Sound Forge.
SPECIALE- File: New, Open (All Tzpes), Close, Workspace, Save, Save As (asf, smp, svx, iff, v8, voc, vox,
pat, ivc, aif, snd, sds, au, snd, rm, ra, smp, sfr, dig, sd, snd, avi, wav, wma), Save All,Properties, Send, Exit;
- Edit: Can`t Undo, Can`t Redo, Can`t Reper, Cut, Copy, Copy Object Link, Paste, PasteSpecial (Crossfade, Mix, Overwrite, Replicate, Paste to New), Trim/Crop, Delete (Clear),Select All, Preview Cut/Cursor, Pre-roll Cursor, Tool (Edit, Magnify, Pencil), Go To,Selection (Snap to Time, Snap Edge to Time, Snap to Yero, Snap Edge to Yero, Set), UndoAll, Disable Undo/Redo;
- View: Maximize Width, Full Screen, Clipboard (Contents, Play), Zoom Level (Out Full,Window, Selection), Zoom Time (In Full, Normal, Out Full, Selection), Focus to DataWindow, Region List, Playlist/Cutlist, Keyboard, Mixer, Time Display, Video Preview, PlayMeters, Undo/Redo History, Loop Tuner;
- Special: Transport (Record, Play All, Play, Pause, Stop, Go to Start, Rewind, Forward, Go toEnd, Play Normal Mode, Play Looped Mode, Play as Sample/Cutlist Mode), Region list(Add, Delete, Edit, Replicate, Split, Update, Clear, Markers to Regions, Open, Save As, Copyonto Clipboard), Playlist/Cutlist (Add, Delete, Edit, Replicate, Clear, Stop Point, Pre-rollPlayback, Open, Save As, Copy onto Clipboard, Convert to New, Treat as Cutlist, Delete CutRegions), ASF Markers/Commands (Save As, Import, Add Command), ACID Looping Tools(Halve Selection, Double Selection, Shift Selection Left, Shift Selection Right, Rotate Audio),Edit ACID Properties, Edit Sample, Edit Frame Rate, Edit Tempo, Center Cursor, DropMarker, Create Region, Create Sample Loop, Mark In, Mark Out, Toggle Selection,Undo/Redo History (Clear, Clear All), Rebuild Peak Data;
- Process: Audio Trim/Crop, Channel Concertor, Convert to 8-Bit, DC Offset, EQ (Graphic,Paragraphic, Parametric), Fade (Graphic, In, Out), Insert Silence, Invert/Flip, Mute,Normalize, Pan/Expand, Resample, Reverse, Smooth/Enhance, Time Compress/Expand,Volume;
- Effects: Amplitude Modulation, Chorus, Delay/Echo (Multi-Tap, Simple), Distorsion,Dynamics (Graphic, Multi-Band), Envelope, Flage/Wah-Wah, Gapper/Snipper, Noise Gate,Pitch (Bend, Shift), Reverb, Vibrato;
28
- Tools: Auto Region, Batch Converter, Crossfade Loop, Extract Regions, Find, PresetManager, Run Batch Script, Sampler, Spectrum Analysis, Statistics, Synthesis (DTMF/MFTones, FM, Simple);
- DirectX : Audio Plug-In Chainer, CW, SF, etc.;- Options: Status Format (Samples, Time, Seconds, Time& Frames, Absolute Frames,
Measures & Beats, SMPTE - Non-Drop, Drop, EBU, Film Sync), Annotations (Marker -Names, Lines; Region - Names, Lines; Loop – Region, Lines), Play Meters (Reset Clip, etc.),Time Display (Position, Sync/Trigger Status, Playlist Position, Passive Update), Video(Passive Update, etc.), Scroll Playback, Scroll Smoothy, Drag and Drop Snapping, LockLoop/Region Length, Past Events, Selection Grid Lines, Auto Snap - to Time, to Yero, MIDI– Input Sync/Trigger, Output Sync, Pre-Queue for SMPTE/MTE, MIDI Triggers,Preferences;
- Window: New Window, Cascade, Title – Horizontally, Vertically, Arrange Icons, MinimizeAll, Restore All, Close All:
- Help: Contents, Search for Help, Keyboard Shortcuts, Troubleshooting, Tip of Day, SonicFoundry on Web (Product News, Frequently Asked Questions, Online Support, Sound ForgeHome Page, Send Feedback, Sonic Foundry Home Page), About Sound Forge.
Functiile programuluiAudacity 1.2.0-pre2
http://audacity.sourceforge.net
- File : New , Open (Audacity Projects-aup, WAV-wav, AIFF-aif, AU-au, MP-mp3, OggVorbis-ogg, List of Files-lof), Close, Save Project (aup), Save Project As (aup) Export AsWAV, Export Selection As WAV, Export As MP3, Export Selection As MP3 (NB-functia mp3 esteviabila doar prin adaugarea « lame_enc.dll », ce poate fi obtinut la mitiok.free.fr sau lawww.jthz.com/~lame/ ), Export As OggVorbis, Export Selection As OggVorbis, Export Labels,Preferences, Exit ;- Edit : Undo, Redo, Cut, Copy, Paste, Trim, Delete, Silence, Split, Duplicate, Select (All, Start, toCursor, Cursor to End) , Find O Crossing, Selection Save, Move Cursor (to Track Start, to TrackEnd, to Selection Start, to Selection End), Snap-To (On, Off) ;- View : Zoom In, Zoom Normal, Zoom Out, Fit in Window, Fit Vertically, Zoom to Selection, SetSelection Format (min :sec, sec, ho :min :sec, film , PAL, NTSC, cdda, samples, etc.), History, PlotSpectrum, Float Control Toolbar, Float Edit Toolbar, Float Mixer Toolbar ;- Project : Import Audio, Import Labels, Import MIDI (NB-doar vizualizat), Import Raw Data, EditID3 Tags, Quick Mix, New Audio Track, New Stereo Track, New Label Track, New Time Track,Remove Tracks, Align Tracks (with Zero, with Cursor, with Selection, Together), Align and movecursor (with Zero, with Cursor, with Selection), Add Label Art Selection ;- Generate : Silence, Tone, White Noise ;- Effect : Amplify, BassBoost, Change Pitch, Change Speed, Change Tempo, Compress, Echo,Equalization, Fade In, Fade Out, FFT Filter, Invert, Noise Removal, Normalize, Nyquest Prompt,Phaser, Repeat, Reverse, Wahwah ;- Analyse ;- Help : About Audacity, Online Help.
NB – Acest performant program este utilizat si in experimentele efectuate la CCRMA – StanfordUniversity.
Functiile programuluiPRO TOOLS Freeversion 5.0.1.471
© 1991-2000 digidesign – A divios of Avidhttp://www.digidesign.com
- File: New Session, Open Session, Close Session, Save Session, Save Session As, SaveSession Copy In, Revert to Saved, Bounce to Disk, New Track, Rename Selected Tracks,
29
Group Selected Tracks, Delete Selected Tracks, Import Audio/Track, Import MIDI/Track,Import MIDI, Get Info, Exit;
- Edit: Can´t Undo, Cut, Copy, Paste, Merge Paste, Clear, Duplicate, Repeat, Shift, SelectAll, Trim, Capture Region, Separate Region, Heal Separation, Quantize Regions,Mute/Unmute Region, Lock/Unlock Region, Consolidate Selection, Identify Sync Point,Identify Beat, Identify Silence, Strip Silence, Insert Silence, Fades (Create/Delete Fades,Fade To Start/End), Thin Automation;
- AudioSuite: DeEsser, Compressor, Limiter, Expander-Gate, Gate, 1-Band EQ II, 4-BandEQ II, Invert, Duplicate, short delay, slap delay, medium delay, long delay, Normalize,Gain, Reverse, DC Offset Removal, Time Compression Expansion, Pitch Shift;
- MIDI: Change Tempo, Change Meter, Quantize, Change Velocity, Change Duration,Transpose, Select Notes, Split Notes, Input Quantize, Click, Click Options, MIDI BeatClock, Input Filter, MIDI Thru, All Notes Off;
- Operations: Destructive Record, Loop Record, QuickPunch, Auto Input Monitor, InputOnly Monitor, Online, Pre/Post-Roll Playback, Loop Playback, Scroll Options,(No Auto-Scrolling, Scroll After Playback, Page Scroll During Playback), Link Edit and TimelineSelection, Play Edit Selection, Active In Background, Pre-Fader Metering;
- Display: Show Edit Window, Narrow Mix Window, Mix Window Shows (Comment View,1/0 View, Insert View, Sends View, All, None), Edit Window Shows (Comment View, 1/0View, Insert View, Sends View, All, None), Transport Window Shows (Counters, MIDIControls, Expanded), Sends View Shows (Bars:Beats, Minutes:Seconds, Samples,Markers, Tempo, Meter, All, None), DSP Usage Window Shows, Disk Space WindowShows, Display Time In Regions (None, Current Time, Original Time Stamp, User TimeStamp), Display Name In Regions, Display Auto-Created Regions, Bars:Beats,Minutes:Seconds, Samples;
- Windows: Show/Hide Mix; Show Edit, MIDI Operations, Tempo/Meter; 1-9 on numerickeypad only – show: Transport, Session Setup, Big Counter, Automation Enable, MemoryLocations, Disk Space;
- Help: Pro Tools Reference Guide, DigiRack Plug-Ins Guide, MIDI Controllers Guide,Keyboard Shortcuts, About Pro Tools.
- c.) CONVERTERE
- WAV-MP3-WMA -
Functiile programuluiMusicMatch Jukebox 6.00http://www.musicmatch.com
- File : Open [All Song Files (cda, epcx, mp2, mp3, saf, wav, wma)], Convert [din wav in wma(5, 6, 8, 10, 12, 16, 20, 22, 32, 36, 40, 44, 48, 64, 80, 96, 128, 160 kbps), sau in mp3CBR (8, 16,18, 20, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256, 320 kbps), sau in mp3VBR(1-100%) ; din mp3 in wav, sau in wma (5-160 kbps), sau in mp3CBR (8-320 kbps), sau inmp3VBR (1-100%) ; din wma doar in wma (5-160 kbps)], Add New Track(s) to MusicLibrary, Open Music Library, Print, Export Play List Tracks, Create CD from Playlist, Exit ;
- Edit : Playlist Track Tag(s), Select All in Playlist, Clear Playlist, Copy Art to Clipboard,Paste/Tag Art from Clipboard ;
- View : Small Player View, Full Player View, My Library, MusicMatch Radio, Music Guide,NowPlaying, Recorder, Media Window, Buy CD Site, Visualizations (Select, Start, Configure),Sound Enhancement (Select, Enable, Show UI), Auto Arrange Components, Always on Top ;
- Options : Player [Play Control (Previous, Record, Play, Pause, Stop, Next, Seekbackward/forward, Skip back songs/forward songs, Increase Volum, Decrease Volum,Mute), Play Cycle (Once, Repeat), Play Reording (Reorder by Album/Track, Shuffle),Equalizer, Settings], Playlist [Open Music, Auto DJ, Save Playlist, Clear Playlist], MusicLibrary [New/Open/Save/Clear/Export/Import/Add New Track(s) to Music Library,Delete/Edit/Find Track(s), Search and Add Track(s) from All Drives, Music LibrarySettings], Recorder [Control (Start, Stop, Cancel, CDDB Refresh, Select All/None), Source
30
(E:/CD, Line In, Mic In, System Mixer), Quality (MP3-160, 128, 96, 64 kbps ; WMA-128, 96,64 kbps ; WAV ; Custom VBR-6% ; Custom CBR-48 kbps ; Custom WMA-5 kbps), SendAlbum Info to CDDB, Settings – NB-pentru auto-configurare :Settings/Recorder/Advanced/Autoconfig/medium], Add New Features, Get MiusicRecommendations, Update Software, Change Skin, Download Skins, Change Text Size,Settings ;
- Help : MusicMatch Jukebox Help, Getting Started, Tip of Day, Additional Help Online,Purchase UpdateRegistration, Request Technical Support, Online Satisfaction Survey, AboutMusicMatcj Jukebox.
Functiile programuluiShuffler Music Converter 4 r2
http://www.ilustrate.org
- Convert (From): Mp3 File(s), Wave File(s), WMA File (s);- Next – Convert to Audio Format: Wave (Quality 44.100 Hy, 16 Bit, Stereo), MP3 (Quality 56,
64, 96, 128, 160, 192, 256, 320 Kbps, Stereo/Mono), WMA (Quality 32.000 Khz – 36, 48, 64,Kbps Stereo; 44.100 Khz – 48, 64, 96, 128, 160 Kbps Stereo); Save Converted File(s): SameFolder as Original/This Folder-Browse;
- Back/Convert;- Exit;- Help;- About.
- WAV in MIDI -
Functiile programuluiAmazingMIDI v1.70
Copyright © 1998-2003 arakisoftwarehttp://www.pluto.dti.ne.jp/~araki/amazingmidi/
- File : Specify Tone File (piano0, piano1, pulse, sample, sine), Specify Input File (wav),Specify Output File (mid), Exit ;
- Play : Play Tone File, Play Input File, Play Output File ;- Transcribe : Transcribe ;- View : Zoom In Horizontally, Zoom Out Horizontally, Zoom In Vertically, Zoom Out
Vertically ;- Help: Contents, About AmazingMIDI.-
- MIDI in WAV (sau MP3) –-
ACID Pro 4.0http://sonicfoundry.com/acid
– Prin activarea functiilor File/Open/MIDI Files si apoi File/ Render As/Save as type WAV (sauMP3) [NB - toate functiile acestui complex program de editare sunt prezentate mai jos].
-IMAGINEA PARTITURII IN SUNET -
Functiile programuluiSharpEye Music Reader
version 1.15 (Mar 18 2000)© 1999-2000 Graham Jones
www.visiv.co.uk
31
- Image: Display Image, Open (TIFF, BMP), Zoom (25%, 50%, 100%), Edit (RotateLeft/Right/By 180, Invert), Delete Zone, Read, Batch process, Exit ;
- Music: Save, Save As, Open ;- MIDI: Save, Save As ;- NIFF: Save, Save As ;- Options: MIDI Options, Save window positions ;- Help: Content, About SharpEye.
NB – Acest interesant program transforma imaginile partiturilor editate (dar nu si manuscrisele)- scanate in prealabil (in formatele BMP si TIFF) - in fisiere audio (MIDI si NIFF/NotationInterchange File Format).
- TEXT SCRIS, IN SUNET (VOCE) -
Functiile programuluiRiver Past TalkativeVersion 1.5.1.31216
© 2003 River Past Corporationwww.riverpast.com
- File: New, Open [Text File (txt), Rich Text Format (rtf)], Save As [Text File (txt), RichText Format (rtf)], Open Settings [River Past Talkative Settings 8sts)], Save Settings[River Past Talkative Settings 8sts)], Exit;
- Edit: Undo, Redo, Cut, Copy, Paste, Clear, Select All;- Speech: Start, Pause, Stop, Record (WAV, PM3, WMA, AVI; Stereo/Mono; Resolution
8/16 bits, Sample Rates 8-48 khy, Bitrqte 352, 8 kb/sec.);- Download: Latest DirectX, Windows Media Format runtime, Text-to-Speech Engine
(SAPI 5.1);- Try: Audio: Capture/CD Ripper/Converter; Screen Recorder, Video Cleqner, Video
Perspective, Web Slides;- Help: Contents, Buy Now, Register, Go to River Post Website, About River Past Talkative.
NB – Acest converter necesita si instalarea unor programe complementare (DirectX, SAPI 5.1Text-to-Speech Engine, etc.), ce sunt descarcate automat de pe Internet prin activarea functiei“Download”.
- IMAGINEA FOTOGRAFICA, IN SUNET -(pixels in MIDI)
Functiile programuluiMIDImage – The Loxound Musical Pixelator
Version 2.4.4.1(conceput cu “Borland Delphi v.5”)© 2003 Brute Force Programming,
© by Daniel J. Wojcik, Landstuhlerstr.2,Ramstein-Miesenbacg 66877 Germanylmp@genjerdan.comwww.genjerdan.com
- File: New Project [Project Files (Iprj), MIDI Files (mid), Configuration Files (Impc),WAVE Files (wav)], Open Project [Project Files (Iprj), Images (bmp, jpg, gif), MIDI Files(mid), Configuration Files (Impc), Patches (bank)], Save Project, Add Image to Project(jpg, jpeg, bmp, gif), Create Web Page, Save Settings As (mid, Iprj, Impc, wav), LoadMIDI, Print Composition Settings, Exit;
- Configure: Pathes & Note Ranges, Select MIDI Device, Configure Scales, Bank Settings,Load Additional Patches (Banks);
- Options: Track 10 is Percussion, Boost Dynamics, Show Flyover Hints, Overwrite Imageon Save, Strict Bank Control;
- Tools: Create Bank Patch List, Autoload SoundFonts, Go to Position, Track Editor;- Help: Help, Program Info, Registration, Credits, MIDImage Homepage.
32
- d.) PROGRAME (WAV, MP3, MIDI) DE EDITARE MULTI-TRACKS
Functiile programuluiACID Pro 4.0
http://sonicfoundry.com/acid
- File: New, Open [All Project and Media Files – incl. ACID Project Files (acd, acd-bak), MIDIFiles (mid, smf, rmi), CD Audio, MP3 Audio (cda), Audio Interchange File Format (aif),OggVorbis (ogg), Quick Time (mov, qt, dv, gif), Sonic Foundry Audio (sfa), Sonic FoundryPerfect Clarity Audio (pca), Sonic Foundry Wave64 (w64), Wave Microsoft (wav), WindowsMedia Audio V8 (wma), Windows Media Video V8 (wmv)], Save, Save As [ACID ProjectFile (acd), ACID Project File With Embedded Media (acd-zip], Export Loops [AIFF (aif),MP3 Audio (mp3), OggVorbis (ogg), Sonic Foundry Perfect Clarity Audio (pca), WaveMicrosoft (wav)], Render As [AIFF (aif) Main Concept MPEG1 (mpg), Main ConceptMPEG2 (mpg), MP3 Audio (mp3), OggVorbis (ogg), Quick Time (mov), Real Media (rm),Sonic Foundry Perfect Clarity Audio (pca), Sonic Foundry Wave64 (w64), Video forWindows (avi), Wave Microsoft (wav), Windows Media Audio V8 (wma), Windows MediaVideo V8 (wmv)], Extract Audio from CD, Get Media from Web, Publish Setup, Publish,Properties (Summary (Title, Artist, Engineer, Copyright, Comments), Audio (Master busmode Stereo/5.a Round, Number of additional stereo busses, Sample rate-Hz., Bit depth-8/16/24)], Exit;
- Edit: Undo Draw Event, Redo, Cut, Copy, Paste, Delete, Select All, Paste Repeat, Paste Insert,Trim, Split, Join, Fit to Time, Editing Tool (Draw, Selection, Paint, Erase, Envelope, TimeSelection, Next Tool, Previous Tool), Undo All, Clear Undo History;
- View: Toolbar, Status Bar, Focus to Track View, Explorer, Chooper (vizualizeaza in detaliufisierul deschis), Mixer, Video, Audio Plug-In (introduce EQ), Track Properties (descriefisierul deschis), Surround Panner, Soft Synth Properties, Show Video Track, Show Bus Track,Zoom (Normal, Edit, Overview), Time Rules [Show Time Ruler, Samples, Seconds, Time &Frames, Absolute Frames, Feet and Frames 16 mm (40 fpf) si 35 mm (16 fpf), SMPTE FilmSync (24 fps), SMPTE EBU (25 fps, Video), SMPTE Non-Drop (29.97 fps, Video), SMPTEDrop (29.97 fps, Video), SMPTE 30 (30 fps, Audio), Set Time at Cursor], Show Envelopes(Volume, Pan), Minimize All Tracks;
- Insert: Marker, Region, Time Marker, Tempo/Key/Time Signature Cnage, Command MIDITrack, Assignable FX, Bus, Soft Synth (DLS Soft Synth, Sonic Foundry Inc.), Time, Envelopes(Volume, Pan);
- Tools: Render to New Track, Burn Track-at-Once Audio CD, Start AC-3DVD Burner, Reset AllMIDI Ports, Edit in Sound Forge;
- Options: Snapping (Enable, Grid Only), Grid Spacing (Ruler Marks, Measures, Half Notes,Quarter Notes, Quarter Notes Triplets, 8th Notes, 8th Notes Triplets, 16th Notes, 16th NotesTriplets, , 32th Notes, 32th Notes Triplets, 64th Notes, 64th Notes Triplets), Ripple Edits, LockEnvelopes to Events, Loop Playback, Enables Real-Time MIDI, Timecode (Generate MIDITimecode, Generate MIDI Clock, Trigger from MIDI Timecode), Customize Toolbar,Preferences;
- Help: Contents and Index, What`s This ?, Keyboard Shorcuts, ACIDplanet.com, Sonic Foundryon the Web, About ACID Pro.
Comenzi Mouse-dreapta: Select in Chopper, Select All on Track, Select Events to End, Cut, Copy,Paste, Delete, Split at Cursor, Join, Pitch Shift (Up Semitone, Down Semitone, Reset),Insert/Remove Envelope (Volum, Pan, Bus A,B,C, FX Automation), FX Automation Envelopes(FX Automation), Quick Fade Edges, Properties, Zoom to Loop Region;Add Point: Cut, Copy, Paste, Delete, Linear Fade, Fast Fade, Slow Fade, Smooth Fade, Sharp Fade,Hold, Select All, Reset All;
33
Comenzi incluse in Track (de la stanga la dreapta): Minimize/Restore, Nume Track, MicrosoftSound Mapper, Track FX, Mute, Solo.OPERATII CURENTE CU „SAMPLES“ SI „LOOPS“ Acest program bazat pe tehnica buclelor sonore („loops based music creation“) implicacombinarea mai multor scurte fragmente muzicale pre-inregistrate („samples“), ce sunt ordonateintr-un folder special, reprezentand o banca de esantioane sonore (de obicei in formatele wav, mp3sau midi). Prin comanda „File/Open“ acestea pot fi inserate in track-uri (linii temporale), printrasarea lor cu „creionul“ digital activat prin comanda „Draw Tool button“. Esantioanele mailungi de 30“ se pot sincroniza prin „Beatmapper Wizard“, ce determina precizarea unui tempocomun tuturor track-urilor (in BPM = bits per minute, primul timp din prima masura fiindconsiderat „Downbeat“). Tempourile si inaltimile acestor esantioane sonore („samples“) pot fiulterior reformulate la diferite scari („rates“) de durate si frecvente, prin operatia „resample“. Deasemenea, in cadrul track-urilor se pot efectua operatiile curente, (cut, copy, paste, delete, split,etc.), precum si cele referitoare la configurarea dinamicii si a micro- structurii sonore („envelope“).Compozitia rezultata prin suprapunerea mai multor track-uri poate fi salvata (“Save“, „Save As“) informatele specifice programului (acd, acd-zip), precum si in celelalte formate uzuale – ca buclasonora („File/Export loops“ – aif, mp3, ogg, pca, wav) sau ca lucrare definitivata („File/Render As“– aif, mp3, ogg, mov, rm, pca, wwav, wma, etc.). Acest program bazat pe bucle sonore („loops“)reprezinta o cale foarte eficienta de sinteza a structurilor muzicale de factura repetitiva.
- e.) PROGRAME COMPLEMENTARE
Functiile programuluiKB PIANO Version 1.1
© 2003 Gabriel Fernandezhttp://www.qfsoftwqre.com
- File: New, Open (KBPiano Files – kbp), Save, Save As (kbp), Export to MIDI File (mid),Properties (Title, Author, Comment), Exit;
- Channel: Delete Events, Remove Vol Messages, Remote Pan Messages, Clear channel;- Options: Tuning, Show notes, Mem used, Midi devices, Restart Device;- Metronome: Set up (Milliseconds, Sound number, Volume), Enabled;- Help: Contents, KB Shortcuts, Quick Help, Support the author, About;- Alte comenzi: Patch, QChord, Play, Rec (Rec Over, Solo), Stop, Undo, Pan, Octave (1-6),
Channel [1-12, + (13-15), Name], Channel Volume, Master Volume.
- NB – Prin comanda “Rec”, programul transforma tastatura (keyboard-ul) computerului intr-oclaviatura muzicala: prima linie de taste alfabetice in sistemul anglo-american(QWERTYUIOP[]) devine o claviatura cu un ambitus diatonic de o duodecima (C2-G3),cromatizabil prin adaugarea accidentilor (linia de taste numerice “2356790=” de deasupra) siextensibil la 6 octave (C2-G8), prin comanda “Octave 1-6” (sau F1 – F6); de asemenea, prinactivarea liniei IV de taste alfabetice (ZXCVBNM) se pot obtine trisonuri diatonice pe ambitusulC2-G3, extensibil la 6 octave prin tastele F7 – F12 (configuratia acordurilor putand fi setataprin comanda QChord). Liniile de taste alfabetice monodice (tastele diatonice“QWERTYUIOP[]” – la care se adauga tastele cromatice “2356790=”) si acordice(ZXCVBNM) se pot utiliza simultan; astfel, programul permite inregistrarea unor liniimonodice (“Rec/Solo”), cat si omofonice, polifonice sau eterofonice (prin suprapunericonsecutive - “Rec/Rec Over”) pe toate cele 15 canale disponibile – canalul 9 fiind rezervatpercutiei. Compozitia rezultata poate fi salvata (prin “Save” sau “Save As”) in formatul specific“KBPiano File” (kbp – ce nu este insa recunoscut de alte programe) sau in formatul MIDI(prin “Export to MIDI File”) – format universal ce poate fi ulterior convertit intr-o partituramuzicala (de pilda, prin programul “MOZART 6” - comanda “File/Import MIDI”), sauintegrat ca mostra (“sample”) sau bucla (“loop”) in programul “ACID Pro 4.0”.
34
Functiile programuluiPRAAT doing phonetics by computer
Version 4.1.12© 1992-2003 by Paul Boersma and David Weenink
© 1992-1998 Summer Institute of Linguistics
- 1.) PRAAT objects- Control: Statistics, New Praat script, Open Praat script, Goodies (Calculator, Stop playing
sound, Report floating point properties), Preferences (Buttons, Sound input prefs, Soundoutput prefs), Quit;
- New: Record mono sound, Record stereo sound, Sound (Create sound, Create sound from:tone complex, gamma tone, Shepard tone), Matrix (Create Matrix, Create simple Matrix),Tables [Create Table, Create TableOfReal, Create formant table (Pools & Van Nierop1973), Create formant table (Peterson & Barney, 1952), Create TableOfReal (Pols 1973)],Tiers (Create: empty PointProcess, Poisson process, PitchTier, FormantTier, IntensityTier,DurationTier,AmplitudeTier), Create TextGrid, Create Strings as file list, Optimaly Theory(OT learning tutorial, Create: NoCoda grammar, place assimilation grammar, placeassimilation distribution, tongue-root grammar, metrics grammar), Articulatory synthesis(AS tutorial, Create: Articulation, Speaker, Artword, Vocal Track from phone), Polynomial(Create: Polynomial, LegendreSeries, ChebyshevSeries, MSpline, Ispline), Multidimensionalscaling (MDS tutorial, Create: letter R example, INDSCAL Carrol Wish example,Configuration; Draw splines and MDS class relations), Neural nets (FFNet tutorial, Create:Freedforward Net, Pattern with zeroes, empty Categories, iris example);
- Read: Read from file, Open long sound file, Read two Sounds from stereo file, Read fromspecial sound file (raw Alaw file, 16-bit Little Endian file, 16-bit Big Endian file), ReadMattrix from raw text file, Read Strings from raw text file, Read TableOfReal from headerlessspreadsheet file, Read Table from table file, Read from special tier file (Text Tier from Xwaves,Interval Tier from Xwaves);
- Write;- Help: Object window, Intro, FAQ, What’s new, Types of objects, Editors, Acknowledgments,
Formulas tutorial, Scripting tutorial, Programming, Go to manual page, Search Praat manual,About Praat.
- 2.) PRAAT picture
- File: Read from praat picture file, Write to praat picture file, Write to Windows metafile, Copyto clipboard, PostScript setting, Write to EPS file, Write to fontless EPS file, Print;
- Edit: Undo, Erase all;- Margins: Draw inner box; Text-left, right, top, bottom; Marks-left every, right every, bottom
every, top every; One mark-left, right, bottom, top; Marks (left, right, bottom, top); Logarithmicmarks (left, right, bottom, top), One logarithmic mark (left, right, bottom, top); Axes;
- World: Text; Text special; Draw-line, arrow, two-way arrow; Draw/Paint rectangle; Draw:Paintsounded rectangle; Draw arc; Draw/Paint ellipse; Draw/Paint circle; Draw/Paint circle (mm);Axes; Measure [Horizontal-mm to wc, wc to mm; Vertical-mm to wc, wc to mm; Text width(wc, mm), PostScript text width (wc, mm)];
- Select: Plain/Dotted/Dashed line; Line width,Black/White/Red/Green/Blue/Yellow/Cyan/Magenta/Maroon/Lime/Navy/Teal/Purple/Olive/Silver/Grey;
- Font: 10/12/14/18/24; Font size; Times/Helvetica/New Century Schoolbook/Palatino/Courier;- Help: Picture window help, About special symbols, About text styles, Phonetic symbol chart,
Search manual.
NB – Acest foarte specializat program este dedicat analizei, sintezei si prelucrarii sunetelor(cuvintelor), precum si generarii unor imagini grafice complexe ale fenomenului sonor. ProgramulPRAAT este utilizat si in experimentele efectuate la CCRMA – Stanford University.
35
Principalele functii ale programuluiFractal Tune Smithy v.2.21
© Robert Walker 2000www.tunesmithy.co.uk
support@tunesmithy.co.uk
- NB – Programul genereaza melodii fractale in baza unor moduri prefigurate, darsintetizeaza si noi moduri, precum si noi configuratii ale desenelor melodice fractaleimaginate de utilizator. Structurile melodice rezultate pot fi salvate in mai multe formateaudio - inclusiv in formatul MIDI, ce poate fi convertit ulterior in partituri, inclusiv prinprogramele de redactat mentionate mai sus: “Mozart” (functia “Import MIDI”), “Finale”,“Sibelius”, “NoteWorthy Composer”, “Lime”, “Encore”,etc.
- Functiile de baza : Chose a View (la lansarea programului – cu optiunile: Tune Smithying,Play Fractal Tunes, Scales Work, etc.), File (New, Open, Save, Save As, etc.), Out (Mididefault, Play Control, etc.), In (Options, etc.), Voices (configurarea timbrelor MIDI), Parts,Pitch, Bs. (Play, Stop, Pause/Continue, Record, Arpeggio & Scale Playback, etc.), View (TuneSmithying, Play Fractal Tunes, Scales Work, etc.), Help (Help, About, etc.).
- Cele mai importante arhetipuri modale incluse in program:
1 n(1/7) ! 7 tone modes:1 1 2 1 2 Thai mode 1;+1 2 1 2 1 Thai mode 2;2 1 1 2 1 Thai mode 6.Modes_for_default_scales.lmd Alternate notes: 1 122 cents 271 cents 571 cents 677 cents 785 cents 947 cents ! Typical 7
note Pelog scale;[2] 1 1 2 3 Slendro Alit;+[1] 1 2 2 2 Jegog;1 3 1 1 1 Dangsoe;1 1 1 3 1 Manyura;1 1 2 1 2 PatetLima, Patet Nem, Jawar, Selisir;[1] 1 2 1 1 2 Patet Barang;1 2 1 1 2 Patet Lima, Nem with Pelog;[1] 1 1 2 1 2 PatetBarang with Pelog, Manangis, Slendro Gede, Pergenter 2;[2] 1 1 2 1 2 Liwung, Pergenter 1, Pengenter Alit;[3] 1 1 2 12 Tembung;[4] 1 1 2 1 2 Nyorog, Sunaren;[5] 1 1 2 1 2 Nyorog handap, Baro;2 1 1 2 1 Pelog;1 2 1 2 1 Bem,Pengenter;2 1 2 1 1 Miring, Slendro 2;[4] 2 1 2 1 1 Slendro 1;[1] 2 1 2 1 1 Slendro 3;[3] 2 1 2 1 1 Slendro 4;1 1 1 1 11 1 Lebeng.
Modes_for_default_scales.lmd Alternate notes:1 n(1/12) ! 12 tone modes;10 2 Warao ditonic: South America;+5 7Honchoshi: Japan;7 5 Niagari: Japan;6 1 5 Raga Ongkari;3 7 2 Ute tritonic;5 2 5 Raga Sarvasri, Warao tritonic:South America;5 5 2 Sansagari: Japan;3 4 5 Peruvian tritonic 2;4 3 5 Raga Malasri, Peruvian tritonic 1;1 5 1 5Messiaen truncated mode 5;5 1 5 1 Messiaen truncated mode 5 inverse;2 1 7 2 Warao tetratonic: South America;2 45 1 Raga Sumukam;1 4 3 4 Raga Lavangi;2 2 3 5 Eskimo tetratonic (Alaska: Bethel);2 3 2 5 Genus primum;5 2 3 2Genus primum inverse;2 4 2 4 Messiaen truncated mode 6;4 2 4 2 Messiaen truncated mode 6 inverse;2 3 4 3 RagaBhavani;4 3 3 2 Raga Mahathi;3 4 3 2 Bi Yu: China;1 6 1 3 1 Raga Deshgaur;1 3 1 6 1 Raga Megharanji;1 1 4 1 5Raga Nabhomani;1 5 1 1 4 Raga Saugandhini, Yashranjani;5 2 1 3 1 Raga Devaranjani (Devaranji);2 1 4 1 4 Hira-joshi, Kata-kumoi: Japan:=1 4 2 1 4 Hon-kumoi-joshi, Sakura, Akebono II: Japan, Olympos Enharmonic, RagaSalanganata, Saveri, Gunakri (Gunakali), Latantapriya;1 4 1 4 2 Iwato: Japan:4 2 1 4 1 Raga Amritavarshini,Malashri, Shilangi;4 1 4 2 1 Raga Bhinna Shadja, Kaushikdhvani, Hindolita;1 2 4 1 4 Balinese Pelog, RagaBhupalam, Bhupala Todi, Bibhas;4 1 2 4 1 Raga Gambhiranata, Ryukyu: Japan;1 4 2 4 1 Raga Gauri;4 1 4 1 2Raga Khamaji Durga;2 4 1 4 1 Raga Vaijayanti, Hamsanada;4 1 2 1 4 Raga Zilaf;4 1 3 3 1 Bacovia: Romania, RagaGirija;1 4 3 3 1 Raga Kshanika;1 3 1 3 4 Raga Megharanjani, Syrian pentatonic;3 3 1 4 1 Raga Multani;1 3 3 1 4Raga Reva, Revagupti, Ramkali, Vibhas (bhairava);2 2 2 5 1 Raga Kumurdaki (Kumudki);5 2 2 1 2 RagaKuntvarali;2 5 2 1 2 Raga Matha Kokila (Matkokil);2 2 5 2 1 Raga Neroshta;2 1 2 2 5 Raga Purnalalita, ChadGadyo: Jewish, Ghana Pentatonic 1;5 2 2 2 1 Raga Puruhutika, Purvaholika;2 3 2 1 4 Han-kumoi: Japan, RagaShobhavari;1 4 2 3 2 Kokin-joshi, Miyakobushi, Han-Iwato: Japan, Raga Vibhavari (Revati), Bairagi, Lasaki
1 4 2 2 3 Altered Pentatonic, Raga Manaranjani II: 2 1 2 4 3 Raga Abhogi;2 1 2 3 4 Raga Audav Tukhari;2 2 3 1 4 RagaBhupeshwari, Janasammodini;3 2 4 2 1 Raga Chandrakauns (modern), Marga Hindola, Rajeshwari;3 2 4 1 2 RagaChandrakauns (kafi), Surya, Varamu;1 2 3 2 4 Raga Chhaya Todi;2 3 2 4 1 Raga Desh;4 2 1 2 3 RagaDhavalashri;2 2 3 4 1 Raga Hamsadhvani (Hansadhvani);3 2 1 4 2 Raga Jayakauns;3 2 2 1 4 Raga KokilPancham;4 3 2 2 1 Raga Mamata;4 1 2 2 3 Raga Nagasvaravali, Raga Mand;3 2 2 4 1 Raga Nata,Udayaravicandrika, Madhuranjani;4 2 3 2 1 Raga Hindol (Sunada Vinodini), Sanjh ka Hindol;2 3 4 2 1 RagaRasranjani;2 1 4 2 3 Raga Sivaranjini (Shivranjani), Akebono I: Japan, Dorian Pentatonic;3 4 1 2 2 Raga Shailaja;24 1 2 3 Raga Shri Kalyan;4 3 2 1 2 Raga Valaji;4 1 2 3 2 Mixolydian Pentatonic, Raga Savethri;3 2 3 3 1 RagaChandrakauns (kiravani);1 3 3 3 2 Raga Manaranjani I;3 1 3 2 3 Raga Mohanangi;2 3 3 3 1 Raga Priyadharshini;13 3 2 3 Raga Rasika Ranjani, Vibhas (marva), Scriabin;3 3 1 3 2 Raga Samudhra Priya, Madhukauns (pentatonic);23 2 2 3 Ritusen, Ritsu (Gagaku): Japan, Zhi, Zheng: China, Raga Devakriya, Durga, Suddha Saveri, Arabhi, ScottishPentatonic, Ujo: Korea, Major complement;2 2 3 2 3 Major Pentatonic, Ryosen: Japan, Man Jue, Gong: China,Raga Bhopali (Bhup), Mohanam, Deskar, Bilahari, Kokila, Jait Kalyan, Peruvian Pentatonic 1, Ghana pent.2;2 3 2 32 Yo: Japan, Suspended Pentatonic, Raga Madhyamavati, Madhmat Sarang;gyptian;Rui Bin, Jin Yu, Qing Yu:China;2 3 3 2 2 Chaio: China;2 2 2 3 3 Kung: China;3 2 2 3 2 Minor Pentatonic, Raga Dhani (Suddha Dhanyasi),Abheri, Udhayaravi Chandrika, Qing Shang, Gu Xian, Jia Zhong, Yu: China, P’yongjo-kyemyonjo: Korea, Minyo:Japan, Peruvian Pentatonic 2, Blues Pentatonic;3 3 2 2 2 Raga Harikauns, Chin: China;3 2 3 2 2 Raga Malkauns(Malakosh), Raga Hindola, Man Gong, Quan Ming, Yi Ze, Jiao: China;2 2 3 3 2 Dominant Pentatonic, Shang:China;3 2 2 2 3 Minor added sixth Pentatonic, Kyemyonjo: Korea;1 1 4 1 4 1 Raga Vijayasri;1 1 4 1 1 4 Messiaenmode 5;4 1 1 4 1 1 Messiaen mode 5 inverse;2 2 1 1 1 5 Raga Dipak;2 1 3 1 4 1 Raga Amarasenapriya;1 1 4 1 2 3Raga Chandrajyoti;1 3 2 1 1 4 Raga Dhavalangam;1 3 1 2 4 1 Raga Gaula;1 4 2 1 1 3 Raga Kalakanthi;2 4 1 3 1 1Raga Malarani (Hamsanada);1 3 2 1 4 1 Raga Mandari, Gamakakriya, Hamsanarayani;1 4 2 1 3 1 Raga Padi;4 1 2
36
1 3 1 Raga Paraju, Ramamanohari, Simhavahini, Sindhu Ramakriya, Kamalamanohari;1 3 1 2 1 4 Raga PurnaPancama, Malahari, Geyahejjajji, Kannadabangala;3 1 2 1 4 1 Raga Rasamanjari;1 3 1 4 1 2 Raga RudraPancama;4 1 2 1 1 3 Raga Saravati (Sharavati);2 1 3 1 1 4 Raga Syamalam;4 1 2 3 1 1 Raga Tilang, Savitri,Brindabani Tilang;1 3 1 4 2 1 Raga Vasanta, Chayavati;4 2 1 3 1 1 Raga Vijayavasanta;1 3 3 1 3 1 Raga Bauli;3 3 13 1 1 Raga Jivantini, Gaurikriya;1 3 3 1 1 3 Raga Kalagada;1 3 1 3 3 1 Raga Lalita, Sohini, Hamsanandi, LalitBhairav;1 1 3 3 1 3 Raga Suddha Mukhari;1 3 1 3 1 3 Messiaen truncated mode 3, Prometheus (Liszt);3 1 3 1 3 1Messiaen truncated mode 3 inverse, Major Augmented, Genus tertium.
2 1 4 2 2 1 Hawaiian:2 1 2 4 1 2 Raga Bagesri, Sriranjani, Kapijingla;2 2 2 1 4 1 Raga Caturangini;2 2 1 4 2 1 RagaHamsa Vinodini;4 1 2 2 2 1 Raga Hari Nata, Genus secundum;2 4 1 1 2 2 Raga Jaganmohanam;1 4 2 2 2 1 RagaJivantika;4 2 1 1 2 2 Raga Jyoti;4 1 2 1 2 2 Raga Kamalamanohari;4 1 2 2 1 2 Raga Khamas, Baduhari;2 1 4 2 1 2Raga Manavi;2 2 1 2 4 1 Raga Nalinakanti, Kedaram;1 4 2 1 2 2 Raga Phenadyuti, Insen, Honchoshi, Niagari:Japan;1 2 2 1 4 2 Honchoshi plagal form: Japan;2 2 1 4 1 2 Raga Rageshri (Rageshwari), Nattaikurinji;1 4 2 2 1 2Raga Rasavali;1 2 4 2 1 2 Raga Salagavarali;2 4 1 2 1 2 Raga Sarasvati;2 1 2 2 4 1 Raga Sindhura Kafi;1 2 2 2 1 4Raga Suddha Simantini;2 1 4 1 2 2 Raga Trimurti;4 2 1 2 1 2 Raga Vutari;1 3 2 3 1 2 Prometheus Neapolitan;3 2 1 13 2 Blues scale I;2 1 2 1 3 3 Pyramid Hexatonic;1 2 2 1 3 3 Double-Phrygian Hexatonic;3 1 1 2 3 2 RagaBhanumanjari, Jog;2 3 2 1 3 1 Raga Bhinna Pancama;2 1 2 3 3 1 Raga Ghantana, Kaushiranjani (Kaishikiranjani).
1 2 3 2 3 1 Raga Gurjari Todi:1 3 2 3 2 1 Raga Hamsanandi, Marva, Pancama, Puriya;1 3 2 2 1 3 Raga Hejjajji;1 3 1 2 23 Raga Kalavati, Ragamalini;2 2 3 1 3 1 Raga Latika;3 3 1 2 1 2 Raga Madhukauns (hexatonic);1 3 3 2 1 2 RagaMalayamarutam;2 1 3 3 2 1 Raga Ranjani, Rangini;2 3 2 3 1 1 Raga Brindabani Sarang, Megh (Megh Malhar);2 2 13 3 1 Raga Sarasanana;2 1 3 1 3 2 Raga Simharava (Sinharavam);3 2 2 1 3 1 Raga Takka;1 3 1 3 2 2 RagaVasantabhairavi;2 1 3 1 2 3 Raga Vijayanagari;1 2 2 3 3 1 Raga Viyogavarali;1 2 3 1 2 3 Messiaen truncated mode2;1 3 2 1 3 2 Messiaen truncated mode 2;2 3 2 2 1 2 P’yongjo: Korea, Yosen: Japan, Raga Darbar, Narayani,Suposhini, Andolika, Gorakh Kalyan, Mixolydian Hexatonic;2 2 2 3 1 2 Prometheus, Raga Barbara;1 2 2 3 2 2Ritsu: Japan, Raga Suddha Todi;2 2 1 2 2 3 Arezzo Major Diatonic Hexachord, Raga Kambhoji, Devarangini,Scottish Hexatonic;2 1 2 2 3 2 Minor Hexatonic, Raga Palasi, Manirangu, Nayaki, Yo: Japan, Eskimo Hexatonic 1(Alaska: King Island);2 2 2 2 3 1 Eskimo Hexatonic 2 (Alaska: Point Hope);1 2 3 2 2 2 Raga Bhavani;1 2 2 2 3 2Raga Gandharavam;3 2 2 1 2 2 Raga Gopikavasantam, Desya Todi, Phrygian Hexatonic;2 2 3 2 2 1 Raga Kumud,Sankara (Shankara), Lydian Hexatonic;3 2 2 2 1 2 Raga Manohari;2 2 2 3 2 1 Raga Mruganandana;2 3 2 2 2 1Raga Nagagandhari;2 3 2 1 2 2 Raga Navamanohari;2 2 1 2 3 2 Raga Siva Kambhoji, Vivardhini;2 1 2 2 2 3 RagaSuddha Bangala, Gauri Velavali;2 2 2 1 2 3 Raga Yamuna Kalyani, Kalyani Keseri, Ancient Chinese;2 2 2 2 2 2Whole-tone, Messiaen mode 1, Raga Gopriya, Anhemitonic Hexatonic.
1 1 4 1 1 1 3 Mela Salaga:1 1 4 1 1 3 1 Mela Jhalavarali, Raga Varali, Jinavali;1 1 4 1 3 1 1 Mela Raghupriya, RagaRavikriya, Ghandarva;1 1 4 1 1 2 2 Mela Jalarnava;1 1 4 1 2 1 2 Mela Navanitam, Raga Nabhomani;1 1 4 1 2 2 1Mela Pavani, Raga Kumbhini;2 2 1 4 1 1 1 Raga Ragesri;4 1 2 2 1 1 1 Raga Madhuri;1 1 3 1 1 3 2 ChromaticMixolydian;1 3 1 1 3 2 1 Chromatic Lydian, Raga Lalit, Bhankar;3 1 1 3 2 1 1 Chromatic Phrygian;1 1 3 2 1 1 3Chromatic Dorian, Mela Kanakangi, Raga Kanakambari;1 3 2 1 1 3 1 Chromatic Hypolydian, Purvi That, MelaKamavardhani, Raga Shri, Pantuvarali, Basant, Kasiramakriya, Suddharamakriya, Puriya Dhanashri, Dhipaka;3 21 1 3 1 1 Chromatic Hypophrygian, Blues scale III;2 1 1 3 1 1 3 Chromatic Hypodorian, Raga Dvigandharabushini;23 1 1 3 1 1 Chromatic Mixolydian inverse;1 1 2 3 1 1 3 Chromatic Phrygian inverse;1 1 3 1 1 2 3 ChromaticHypophrygian inverse;3 1 1 3 1 1 2 Chromatic Hypodorian inverse;1 1 3 2 1 3 1 Mela Ganamurti, RagaGanasamavarali;1 1 3 2 3 1 1 Mela Tanarupi, Raga Tanukirti;1 3 1 1 2 3 1 Raga Lalita, Chromatic Hypolydianinverse, Raga Suddha Pancama;1 3 1 2 1 1 3 Mela Gayakapriya, Raga Kalakanti, Gipsy Hexatonic;1 3 1 2 1 3 1Major Gipsy, Persian, Double Harmonic Major, Bhairav That, Mela Mayamalavagaula, Raga Paraj, Kalingada,Second Byzantine mode, Hitzaskiar: Greece, Maqam Zengule, Hijaz Kar, Suzidil;1 3 1 2 3 1 1 Mela Hatakambari,Raga Jeyasuddhamalavi;3 1 1 2 1 1 3 Mela Yagapriya, Raga Kalahamsa;3 1 1 2 1 3 1 Mela Gangeyabhusani, RagaGangatarangini, Sengah: Greece;3 1 1 2 3 1 1 Mela Calanata, Raga None, Chromatic Dorian inverse;1 2 3 1 1 1 3Mela Gavambodhi, Raga Girvani;1 2 3 1 1 3 1 Todi That, Mela Shubhapantuvarali, Raga Multani,Gamakasamantam, Chromatic Lydian inverse.
1 2 3 1 3 1 1 Mela Divyamani:1 3 2 1 1 1 3 Mela Dhavalambari, Foulds’ Mantra of Will scale;1 3 2 1 3 1 1 MelaVisvambhari, Raga Vamsavathi;1 3 1 3 2 1 1 Verdi’s Enigmatic descending;2 1 3 1 1 1 3 Mela Syamalangi, RagaShyamalam;2 1 3 1 1 3 1 Minor Gipsy, Mela ;imhendramadhyama, Raga Madhava Manohari, Maqam Nawa Athar,Hisar, Double Harmonic Minor, Hungarian Minor, Niavent: Greece;2 1 3 1 3 1 1 Mela Nitimati, Raga Nisada,Kaikavasi;3 1 2 1 1 1 3 Mela Sucaritra, Raga Santanamanjari;3 1 2 1 1 3 1 Mela Dhatuvardhani, Raga DhautaPancama, Devarashtra;3 1 2 1 3 1 1 Mela Rasikapriya, Raga Rasamanjari, Hamsagiri;1 3 1 1 3 1 2 Oriental, RagaAhira-Lalita, Minor Gipsy inverse;2 1 2 2 1 3 1 Harmonic Minor, Spanish gipsy, Mischung 4, Pilu That, MelaKiravani, Raga Kiranavali, Kirvani, Kalyana Vasantha, Deshi(3), Maqam Bayat-e-Esfahan, Zhalibny Minor;1 3 1 2 21 2 Harmonic Minor inverse, Mela Cakravaka, Raga Ahir Bhairav, Bindumalini, Vegavahini, Makam Hicaz,Zanjaran;2 2 1 2 1 3 1 Harmonic Major, Mela Sarasangi, Raga Haripriya, Mischung 2, Ethiopian;1 2 1 3 1 2 2Makam Huzzam, Phrygian flat 4;2 2 1 3 1 2 1 Ionian sharp 5;1 2 2 1 3 1 2 Locrian natural 6, Maqam Tarznauyn;2 12 1 2 3 1 Locrian no.2;1 2 1 2 2 1 3 Ultra Locrian, Mixolydian sharp 1;1 2 2 1 2 1 3 Locrian double-flat 7;2 3 1 2 1 21 Nohkan Flute scale: Japan;2 1 1 3 1 2 2 Sambah (Sabach): Greece;2 1 2 1 3 1 2 Makam Karcigar, Dorian flat 5,Kiourdi ascending: Greece;2 1 2 1 3 2 1 Jeths’ mode;1 1 3 2 1 2 2 Mela Ratnangi, Raga Phenadyuti;1 1 3 2 2 1 2Mela Vanaspati, Raga Bhanumati;1 1 3 2 2 2 1 Mela Manavati, Raga Manoranjani;1 2 2 2 1 1 3 Mela Senavati, RagaSenagrani, Malini;1 2 2 2 1 3 1 Neapolitan Minor, Mela Dhenuka, Raga Dhunibinnashadjam, Maqam ShahnazKurdi.
1 2 2 2 3 1 1 Mela Rupavati:1 3 1 2 1 2 2 Mela Vakulabharanam, Alhijaz: Arabic, Raga Jogiya, Vativasantabhairavi,Ahava Rabba: Jewish, Maqam Humayun, Hitzaz: Greece, Dorico Flamenco: Spain, Harmonic Major inverse, PhrygianDominant;1 3 1 2 2 2 1 Mela Suryakanta, Bhairubahar That, Raga Supradhipam, Sowrashtram.2 1 2 1 1 3 2 Modified Blues:2 1 2 2 1 1 3 Mela Jhankaradhvani, Raga Jhankara Bhramavi;2 1 2 2 3 1 1 Mela
Varunapriya, Viravasantham;2 2 1 2 1 1 3 Mela Mararanjani, Raga Keseri;2 2 1 2 3 1 1 Mela Naganandini, RagaNagabharanam, Samanta;3 1 1 2 1 2 2 Mela Ragavardhani, Raga Cudamani;3 1 1 2 2 1 2 Mela Vagadhisvari, RagaBhogachayanata, Nandkauns, Ganavaridhi, Bluesy R&R;3 1 1 2 2 2 1 Mela Sulini, Raga Sailadesakshi, RagaTrishuli, Houzam: Greece;1 2 3 1 1 2 2 Mela Bhavapriya, Raga Bhavani, Kalamurti;1 2 3 1 2 1 2 MelaSadvidhamargini, Raga Sthavarajam, Tivravahini;1 2 3 1 2 2 1 Mela Suvarnangi, Raga Sauviram;1 3 2 1 1 2 2 Mela
37
Namanarayani, Raga Narmada, Pratapa;1 3 2 1 2 1 2 Mela Ramapriya, Raga Ramamanohari, Romanian Major,Petrushka chord;1 3 2 1 2 2 1 Marva That, Mela Gamanasrama, Raga Partiravam, Puriya, Puriya Kalyan, Sohani,Peiraiotikos: Greece.
1 3 2 2 2 1 1 Verdi’s Enigmatic ascending:;2 1 3 1 1 2 2 Mela Sanmukhapriya, Raga Camara, Chinthamani;2 1 3 1 2 1 2Mela Hemavati, Raga Desisimharavam, Maqam Nakriz, Tunisian, Hedjaz, Misheberekh: Jewish, Souzinak (PeiraiotikoMinore): Greece, Dorian sharp 4, Kaffa;2 1 3 1 2 2 1 Lydian Diminished, Mela Dharmavati, Raga Arunajualita,Dumyaraga, Madhuvanti, Ambika.2 2 2 1 1 1 3 Mela Kantamani, Raga Kuntala, Srutiranjani:2 2 2 1 1 3 1 Mela Latangi, Raga Gitapriya, Hamsalata;2 2 2
1 3 1 1 Mela Citrambari, Raga Chaturangini;2 3 2 2 1 1 1 Raga Sorati, Sur Malhar;3 1 2 1 1 2 2 MelaJyotisvarupini, Raga Jotismatti;3 1 2 1 2 1 2 Hungarian Major, Mela Nasikabhusani, Raga Nasamani;3 1 2 1 2 2 1Mela Kosalam, Raga Kusumakaram, Lydian sharp 2;;3 1 2 2 1 2 1 Aeolian flat 1;1 2 2 1 2 2 2 Gr.Mixolydian,Gr.Hyperdorian, Med.Hypophrygian, Med.Locrian, Pien chih: China, Makam Lami, Yishtabach: Jewish;2 2 1 2 2 21 Gr.Lydian, Med.Ionian, Med.Hypolydian, Major, Bilaval That, Mela Shankarabharanam, Ghana Heptatonic,Peruvian major, 4th plagal Byzantine, Ararai: Ethiopian, Makam Cargah, Ajam Ashiran, Dastgah Mahur, DastgahRast Panjgah;2 1 2 2 2 1 2 Gr.Phrygian, Med.Dorian, Med.Hypomixolydian, Kafi That, Mela; araharapriya, RagaBageshri, Sriraga, Bhimpalasi, Mischung 5, Gregorian nr.8, Eskimo Heptatonic, Yu: China, Hyojo, Oshikicho,Banshikicho: Japan;1 2 2 2 1 2 2 Gr.Dorian, Med.Phrygian, Gr.Med.Hypoaeolian, Bhairavi That, Mela Hanumatodi,Raga Asavari (Asaveri), Raga Bilashkhani Todi, In: Japan, Makam Kurd, Gregorian nr.3, Ousak: Greece, Majorinverse;2 2 2 1 2 2 1 Gr.Hypolydian, Med.Lydian, Kalyan That (Yaman), Mela Mecakalyani, Raga Shuddh Kalyan,Ping, Kung: China;2 2 1 2 2 1 2 Gr.Hypophrygian, Gr.Ionian (Iastian), Med.Mixolydian, Gr.Med.Hypoionian,Khamaj That, Mela Harikambhoji, Raga Harini, Janjhuti, Surati, Mischung 3, Ching, Shang: China, Gregoriannr.7;2 1 2 2 1 2 2 Gr.Med.Hypodorian, Gr.Med.Aeolian, Gr.Hyperphrygian, Natural Minor, Asavari That, MelaNatabhairavi, Raga Jaunpuri, Raga Adana, Se, Chiao: China, Gregorian nr.2, Makam Buselik, Nahawand, Peruvianminor, Geez, Ezel: Ethiopian, Kiourdi descending: Greece;2 1 2 2 2 2 1 Melodic Minor ascending, Jazz Minor,Minor-Major, Mela Gaurimanohari, Raga Patdip, Velavali, Deshi(2), Mischung 1, Hawaiian.
2 2 2 2 1 2 1 Lydian Augmented, Lydian sharp 5:2 2 1 1 2 2 2 Major Locrian;2 1 2 1 2 2 2 Minor Locrian, HalfDiminished, Locrian sharp 2, Minor flat 5;1 2 1 2 2 2 2 Super Locrian, Altered, Diminished Whole-tone, Locrian flat4, Pomeroy, Ravel;1 2 2 2 2 2 1 Neapolitan Major, Phrygian Major, Mela Kokilapriya, Raga Kokilaravam;1 2 2 2 2 12 Mela Natakapriya, Jazz Minor inverse, Phrygian-Mixolydian, Raga Natabharanam, Ahiri Todi;2 2 1 2 1 2 2Mischung 6, Mixolydian flat 6, Major-Minor, Mela Carukesi, Raga Charukeshi, Tarangini
2 2 2 1 1 2 2 Lydian Minor, Mela Risabhapriya, Raga Ratipriya;2 2 2 1 2 1 2 Lydian Dominant, Mela Vacaspati, RagaBhusavati, Overtone, Lydian-Mixolydian, Bartok;2 2 2 2 2 1 1 Leading Whole-tone;1 3 1 1 1 1 3 1 Raga Ramkali(Ramakri)1 1 1 3 1 1 1 3 Messiaen mode 4:3 1 1 1 3 1 1 1 Messiaen mode 4 inverse;1 3 1 1 1 2 2 1 Raga Bhatiyar;2 1 3 1 1 1 1 2
Raga Cintamani;1 3 1 2 1 1 2 1 Raga Saurashtra;1 2 2 1 1 1 3 1 Half-diminished Bebop;1 3 1 1 2 2 1 1 Verdi’s Scalaenigmatica;1 1 1 2 2 1 3 1 Harmonic and Neapolitan Minor mixed;1 3 1 2 1 2 1 1 Maqam Hijaz;1 2 1 1 1 3 1 2Maqam Shadd’araban;2 1 2 2 2 1 1 1 Raga Mian Ki Malhar, Bahar, Sindhura;2 1 2 2 1 1 1 2 Raga Mukhari,Anandabhairavi, Deshi, Gregorian nr.1, Dorian/Aeolian mixed;2 1 1 1 2 2 1 2 Minor Bebop, Raga Zilla,Mixolydian/Dorian mixed;2 2 1 2 2 1 1 1 Genus diatonicum, Dominant Bebop, Raga Khamaj, Desh Malhar, AlhaiyaBilaval, Maqam Shawq Awir, Gregorian nr.6, Major/Mixolydian mixed, Chinese Eight-Tone, Rast: Greece
2 2 1 2 1 1 2 1 Major Bebop, Altered Mixolydian:2 1 2 1 1 2 1 2 Blues scale II;1 2 1 1 2 1 2 2 Spanish Phrygian;1 2 1 1 1 22 2 Espla’s scale, Eight-tone Spanish;2 1 2 1 2 1 2 1 Diminished, Modus conjunctus, Messiaen mode 2 inverse,Whole-Half step scale;2 2 1 1 1 2 2 1 Ishikotsucho: Japan, Raga Yaman Kalyan, Chayanat, Bihag, Hamir Kalyani,Kedar, Gaud Sarang, Genus diatonicum veterum correctum, Gregorian nr.5, Kubilai’s Mongol scale, Major/Lydianmixed;2 1 2 2 1 1 2 1 Zirafkend: Arabic;1 1 1 2 2 2 1 2 Adonai Malakh: Jewish;1 2 1 2 2 1 2 1 Magen Abot: Jewish;21 2 2 1 2 1 1 Maqam Nahawand, Raga Suha (Suha Kanada), Gregorian nr.4, Utility Minor;1 2 1 2 1 2 1 2 Octatonic,Messiaen mode 2, Dominant Diminished, Diminished Blues, Half-Whole step scale
1 1 2 2 1 1 2 2 Messiaen mode 6:2 2 1 1 2 2 1 1 Messiaen mode 6 inverse;1 2 2 1 1 2 2 1 Van der Horst Octatonic;1 1 2 1 12 1 1 2 Messiaen mode 3, Tsjerepnin;2 1 1 2 1 1 2 1 1 Messiaen mode 3 inverse;2 1 2 2 1 1 1 1 1 Raga Pilu, FullMinor;2 1 1 1 2 2 1 1 1 Raga Malgunji, Ramdasi Malhar;2 2 1 2 1 1 1 1 1 Raga Pahadi;2 1 1 1 1 1 2 1 2 BluesEnneatonic;;2 1 2 1 1 1 1 1 2 Kiourdi: Greece;2 2 1 1 1 2 1 1 1 Taishikicho: Japan, Ryo: Japan, Raga Chayanat;1 2 11 2 1 1 2 1 Genus chromaticum;1 2 1 1 2 1 2 1 1 Moorish Phrygian;1 1 2 1 1 1 2 1 2 Youlan scale: China;1 1 1 2 2 1 11 2 Chromatic and Diatonic Dorian mixed;1 1 2 1 2 1 1 2 1 Chromatic and Permuted Diatonic Dorian mixed;2 1 1 12 1 1 1 2 Modes of Major Pentatonic mixed;1 1 1 1 2 1 1 1 1 2 Messiaen mode 7;2 1 1 1 1 2 1 1 1 1 Messiaen mode 7inverse;2 1 1 1 2 1 1 1 1 1 Major/Minor mixed;2 1 1 1 1 1 2 1 1 1 Minor Pentatonic with leading tones;1 1 1 1 1 2 1 2 11 Raga Sindhi-Bhairavi;1 1 2 1 1 1 1 2 1 1 Symmetrical Decatonic;1 1 1 1 1 1 1 1 1 1 1 1 Twelve-tone Chromatic
Modes_for_default_scales.lmd Alternate notes-1 3^(1/13) ! Bohlen-Pierce scale:+3 1 2 1 3 2 1 Prooijen Major;2 1 3 1 2 3 1Prooijen Minor;2 1 2 1 1 2 1 2 1 Delta, Moll I;1 2 1 2 1 1 2 1 2 Dur I, Delta inverse;1 2 1 2 1 1 2 2 1 Gamma;1 2 2 1 12 1 2 1 Gamma inverse;2 1 1 2 1 2 1 1 2 Dur II;2 1 1 2 1 2 1 2 1 Lambda;=1 2 1 2 1 2 1 1 2 Harmonic, Lambdainverse;1 2 1 2 1 2 1 2 1 Pierce, Moll II;1 1 2 1 2 1 2 1 2 Walker A;1 2 1 1 2 1 2 1 2 Walker B;2 1 2 1 2 1 2 1 1 WalkerI;2 1 2 1 2 1 1 2 1 Walker II.
1 n(1/15) ! 15 tone equal modes:4 1 4 1 4 1 Blackwood Hexatonic;+3 1 2 3 1 4 1 Fifteen-tone Harmonic Minorl3 2 1 3 1 41 Fifteen-tone Harmonic Majorl3 2 1 3 2 3 1 Fifteen-tone “Major”l3 1 2 3 1 3 2 Fifteen-tone “Minor”, NaturalMinorl3 1 2 3 2 3 1 Fifteen-tone Melodic Minorl2 2 2 3 2 2 2 Fifteen-tone Miller’s Porcupine-7l2 3 2 2 2 2 2 Fifteen-tone Miller’s Porcupine-7 Majorl=3 1 1 1 3 1 1 2 1 1 Fifteen-tone Major/Minor mixedl1 2 1 2 1 2 1 2 1 2 BlackwoodDecatonicl1 2 1 1 1 2 1 1 1 1 2 1 Twelve-tone ChromaticlModes_for_default_scales.lmd Alternate notesl.
1 n(1/17) ! 17 tone equal modes:3 3 4 3 4 Seventeen-tone Major Pentatonic;+4 3 3 4 3 Seventeen-tone MinorPentatonic;;=3 4 3 4 3 Seventeen-tone Suspended Pentatonic;3 1 3 3 1 5 1 Seventeen-tone Harmonic Minor;3 3 1 3 15 1 Seventeen-tone Harmonic Major;3 3 1 3 3 3 1 Seventeen-tone Major;3 1 3 3 1 3 3 Seventeen-tone NaturalMinor;3 1 3 3 3 3 1 Seventeen-tone Melodic Minor;2 1 1 2 1 2 1 2 1 1 2 1 Twelve-tone Chromatic (2/11-commapositive).
Modes_for_default_scales.lmd Alternate notes-Arabic 17-tone pythagorean ! Arabic 17-tone Pythagorean (Arp.):3 3 1 3 31 3 Safi al-Din’s maqam ‘Ussaq;+3 1 3 3 1 3 3 Safi al-Din’s maqam Nawa;1 3 3 1 3 3 3 Safi al-Din’s maqam AbuSalik;3 2 2 3 2 2 3 Safi al-Din’s maqam Rast;3 2 2 2 3 2 3 Safi al-Din’s maqam Zangulah;2 3 2 2 2 3 3 Safi al-Din’s
38
maqam Rahawi;2 2 3 2 2 3 3 Safi al-Din’s maqam Husaini;2 2 3 2 3 2 3 Safi al-Din’s maqam Higazi;2 3 2 2 3 2 2 1Safi al-Din’s maqam ‘Iraq;3 2 2 3 2 2 2 1 Safi al-Din’s maqam Isfahan;2 2 3 2 2 1 3 2 Safi al-Din’s maqamZirafkand;2 3 2 2 1 3 2 2 Safi al-Din’s maqam Buzurk;1 2 1 2 1 1 2 1 2 1 3 Ishaq al-Mausili’s mode;1 2 1 1 1 1 1 2 1 11 1 1 2 al-Kindi’s mode.
Modes_for_default_scales.lmd Alternate notes-1 n(1/19) ! 19 tone modes:5 4 5 5 Four out of 19;+3 3 5 3 5 Nineteen-toneMajor Pentatonicl5 3 3 5 3 Nineteen-tone Minor Pentatonic;3 5 3 5 3 Nineteen-tone Suspended Pentatonic;4 4 4 4 3Five out of 19;4 4 3 4 4 Quasi-equal Pentatonic;3 3 3 3 3 4 Yasser’s Hexad;5 1 5 1 1 5 1 Oljare Augmented;=4 1 4 1 41 4 Oljare Diminished;1 2 5 1 2 5 3 Ratio 1:2 Chromatic Mixolydian;2 5 1 2 5 3 1 Ratio 1:2 Chromatic Lydian;5 1 25 3 1 2 Ratio 1:2 Chromatic Phrygian;1 2 5 3 1 2 5 Ratio 1:2 Chromatic Dorian;2 5 3 1 2 5 1 Ratio 1:2 ChromaticHypolydian;5 3 1 2 5 1 2 Ratio 1:2 Chromatic Hypophrygian;3 1 2 5 1 2 5 Ratio 1:2 Chromatic Hypodorian;3 2 3 3 24 2 Nineteen-tone Harmonic Minor;3 3 2 3 2 4 2 Nineteen-tone Harmonic Major;3 3 2 3 3 3 2 Nineteen-toneMajor;3 2 3 3 2 3 3 Nineteen-tone Natural Minor;3 2 3 3 3 3 2 Nineteen-tone Melodic Minor;2 2 3 2 2 3 2 3 OljareOctatonic;1 3 1 3 3 1 3 1 3 Oljare Pentaenharmonic;2 2 2 2 2 2 2 2 2 1 Negri’s Ten Plus Nine;3 1 1 3 1 3 1 1 3 1 1Keenan eleven out of 19;3 1 1 3 1 1 1 1 3 1 3 McLaren eleven out of 19;2 2 2 2 2 1 2 1 2 2 1 Krantz eleven out of 19;12 2 1 2 1 2 1 2 2 1 2 Meantone Chromatic (1/3-comma);2 1 2 1 2 1 2 2 1 2 1 2 Genus diatonico-chromaticum;2 1 2 1 22 1 2 1 2 1 2 Yasser’s Supradiatonic.
Modes_for_default_scales.lmd Alternate notes-1 n(1/22) ! 22 tone equal modes (Paul Erlich): +5 ; 4 5 4 Septimal Minor Pentatonic;6 3 1 3 6 3 Blues;4 3 3 4 4 4 Harmonic Whole-Tone;4 3 4 4 3 4 “9-limit”
Consonant Whole-Tone;4 4 1 4 4 4 1 Twenty-two tone Major;4 1 4 4 1 4 4 Twenty-two tone Minor;4 2 3 4 2 5 2Twenty-two tone Harmonic Minor;4 3 2 4 2 5 2 Twenty-two tone Harmonic Major;4 3 2 4 3 4 2 Twenty-two tone“Just” Major;4 2 3 4 2 4 3 Twenty-two tone Natural Minor;4 2 3 4 3 4 2 Twenty-two tone Melodic Minor;4 3 3 3 3 33 Major quasi-equal Heptatonic;3 3 3 4 3 3 3 Minor quasi-equal Heptatonic;2 3 2 3 2 3 2 3 2 Rezsutek’s Percussionscale;2 2 3 2 2 2 3 2 2 2 Standard Pentachordal Major;2 2 3 2 2 2 2 3 2 2 Static Symmetrical Major;2 3 2 2 2 2 2 3 2 2Alternate Pentachordal Major;2 3 2 2 2 2 3 2 2 2 Dynamic Symmetrical Major;2 2 2 3 2 2 2 2 2 3 StandardPentachordal Minor;2 2 2 3 2 2 2 2 3 2 Static Symmetrical Minor;2 2 2 2 3 2 2 2 3 2 Alternate Pentachordal Minor;22 2 2 3 2 2 2 2 3 Dynamic Symmetrical Minor;3 1 1 3 1 3 1 3 1 1 3 1 Twelve-tone Chromatic (1/3-comma positive).
1/1 256/243 16/15 10/9 9/8 32/27 6/5 5/4 81/64 4/3 27/20 45/32 729/512 3/2 128/81 8/5 5/3 27/16 16/9 9/5 15/8 243/128 2 !Indian shruti 22 tone scale:
2 7 4 1 8 Raga Saveri;+1 6 6 3 6 Raga Vibhas (marva);4 3 6 7 2 Raga Hamsadhvani;3 4 6 3 6 Raga Deskar;6 3 6 3 4Raga Malkauns;3 6 4 3 6 Raga Suddha Malhar;4 3 6 4 5 Raga Bhupali;4 5 4 4 5 Raga Durga;1 4 6 3 7 1 RagaGurjari Todi;7 2 4 5 2 2 Raga Tilang;2 5 6 2 5 2 Raga Bauli;6 3 4 2 5 2 Raga Takka;4 3 2 4 3 6 Raga Kambhoji;1 47 1 1 7 1 Todi That;1 6 2 4 1 7 1 Bhairav That;2 4 6 1 1 7 1 Raga Multani;1 4 7 1 1 6 2 Raga Varali;1 4 4 4 1 7 1Raga Rampurmat Pilu;1 6 2 2 3 7 1 Raga Lalita;1 4 4 4 1 5 3 Raga Asavari;1 4 4 4 1 4 4 Raga Bilashkhani Todi;4 14 4 1 4 4 Raga Jaunpuri;4 4 4 1 4 4 1 Raga Yaman;2 5 5 1 2 5 2 Purvi That, Raga Shri;2 5 5 1 3 4 2 Raga PuriyaKalyan;4 3 2 4 4 1 4 Khamaj That;2 5 4 2 4 3 2 Raga Marva;4 3 2 4 4 3 2 Shadja Grama, MurchhanaUttaramandra, Shuddha Swara Saptaka;[20] 2 4 3 2 4 4 3 Murchhana Rajani;[17] 3 2 4 3 2 4 4 MurchhanaUttarayata;4 3 2 4 3 2 4 Murchhana Suddhasadja, Raga Harikambhoji, Palaiyazh;4 4 3 2 4 3 2 MurchhanaAsvakranta;3 2 4 4 3 2 4 Murchhana Abhirudgata, Kafi That, Raga Bageshri;4 3 2 4 3 4 2 Madhyama Grama,Bilaval That, Murchhana Suddhamadhya;[20] 2 4 3 2 4 3 4 Murchhana Margavi;3 4 2 4 3 2 4 MurchhanaHrishyaka;4 3 4 2 4 3 2 Murchhana Sauviri, Kalyan That;2 4 3 4 2 4 3 Murchhana Harinasva, Bhairavi That;[4] 3 24 3 4 2 4 Murchhana Kalopanata;3 2 4 3 2 4 4 Gandhaara Grama (Sarngadeva der. ma-grama);4 2 4 3 2 4 3Gandhaara Grama (Narada der. ma-grama), Murchhana Pauravi;4 2 3 4 2 4 3 Gandhaara Grama (Damodara),Raga Darbari, Darbari Kanada;2 4 4 3 2 4 3 Gandhaara Grama (Popley), Murchhana Matsarikrita;4 2 3 4 2 3 4Asavari That;3 4 2 4 3 4 2 Raga Jogiya;2 3 4 4 2 3 4 Raga Kanakangi;4 2 3 4 4 2 3 Raga Kharaharapriya,Bhimpalasi;3 2 4 3 3 3 4 Gandhaara Grama (Sarngadeva der. sa-grama);4 2 4 3 3 3 3 Gandhaara Grama (Naradader. sa-grama);2 4 3 3 3 4 3 Gandhaara Grama (Somanatha);1 6 2 1 3 1 6 2 Raga Ramkali;1 6 2 4 1 2 4 2 RagaSaurashtra;4 3 2 3 1 3 5 1 Raga Yaman Kalyan;4 3 2 3 1 4 4 1 Raga Bihag;2 5 2 3 1 3 4 2 Raga Bhatiyar;4 2 3 4 4 2 21 Raga Mian Ki Malhar;3 2 4 4 2 1 2 4 Raga Mukhari;4 3 2 3 1 4 3 2 Raga Gaud Sarang;4 3 2 4 3 2 3 1 RagaKhamaj;4 2 3 4 2 2 2 3 Raga Anandabhairavi;4 3 2 2 2 3 4 2 Raga Suddha Kalyan;4 2 2 1 4 4 2 2 1 Raga RamdasiMalhar;4 3 2 3 1 3 2 3 1 Raga Chayanat;3 2 1 1 2 3 1 3 2 1 1 2 Old Indian gamut;2 2 2 1 2 2 2 2 2 2 1 2 ModernIndian gamut.
Modes_for_default_scales.lmd Alternate notes - 1 n(1/27) ! 27 tone equal modes: +1 1 2 1 1 1 1 2 1 1 1 1 2 1 1 15-Tone MOS;1 n(1/31) ! 31 tone equal modes:10 10 10 1 Genus quartum;+5 8 5 13
Genus primum;13 6 6 6 Genus decimum;6 6 7 6 6 Quasi-equal Pentatonic;5 7 6 7 5 1 Genus quintum;6 6 6 1 6 6Genus octavum;8 2 8 3 7 3 Genus tertium;4 6 9 6 4 2 Genus nonum;10 3 5 5 5 3 Genus secundum;4 6 5 6 4 6 Genusseptimum;1 2 10 1 2 10 5 Enharmonic Mixolydian;2 10 1 2 10 5 1 Enharmonic Lydian;10 1 2 10 5 1 2 EnharmonicPhrygian;1 2 10 5 1 2 10 Enharmonic Dorian;2 10 5 1 2 10 1 Enharmonic Hypolydian;10 5 1 2 10 1 2 EnharmonicHypophrygian;5 1 2 10 1 2 10 Enharmonic Hypodorian;5 2 2 9 2 2 2 Hemiolic Chromatic Hypodorian;2 2 9 2 2 9 5Hemiolic Chromatic Mixolydian;2 9 2 2 9 5 2 Hemiolic Chromatic Lydian;9 2 2 9 5 2 2 Hemiolic ChromaticPhrygian;2 2 9 5 2 2 9 Hemiolic Chromatic Dorian;2 9 5 2 2 9 2 Hemiolic Chromatic Hypolydian;9 5 2 2 9 2 2Hemiolic Chromatic Hypophrygian;2 3 8 2 3 8 5 Ratio 2:3 Chromatic Mixolydian;3 8 2 3 8 5 2 Ratio 2:3 ChromaticLydian;8 2 3 8 5 2 3 Ratio 2:3 Chromatic Phrygian;2 3 8 5 2 3 8 Ratio 2:3 Chromatic Dorian;3 8 5 2 3 8 2 Ratio 2:3Chromatic Hypolydian;8 5 2 3 8 2 3 Ratio 2:3 Chromatic Hypophrygian;5 2 3 8 2 3 8 Ratio 2:3 ChromaticHypodorian;2 5 6 2 5 6 5 Soft Diatonic Mixolydian;5 6 2 5 6 5 2 Soft Diatonic Lydian;6 2 5 6 5 2 5 Soft DiatonicPhrygian;2 5 6 5 2 5 6 Soft Diatonic Dorian;5 6 5 2 5 6 2 Soft Diatonic Hypolydian;6 5 2 5 6 2 5 Soft DiatonicHypophrygian;5 2 5 6 2 5 6 Soft Diatonic Hypodorian;5 3 5 5 3 7 3 Thirty-one tone Harmonic Minor;5 5 3 5 3 7 3Thirty-one tone Harmonic Major;5 5 3 5 5 5 3 Thirty-one tone Major, Intense Diatonic Lydian, M.Ionian;5 3 5 5 3 55 Thirty-one tone Natural Minor, Intense Diatonic Hypodorian, Aeolian;5 3 5 5 5 5 3 Thirty-one tone MelodicMinor;5 5 3 5 3 5 5 Thirty-one tone Major-Minor;3 5 5 3 5 5 5 Intense Diatonic Mixolydian, M.Locrian;5 3 5 5 5 3 5Intense Diatonic Phrygian, M.Dorian;3 5 5 5 3 5 5 Intense Diatonic Dorian, M.Phrygian;5 5 5 3 5 5 3 IntenseDiatonic Hypolydian, M.Lydian;5 5 3 5 5 3 5 Intense Diatonic Hypophrygian, M.Mixolydian;4 4 5 4 4 5 5 NeutralDiatonic Mixolydian;4 5 4 4 5 5 4 Neutral Diatonic Lydian;5 4 4 5 5 4 4 Neutral Diatonic Phrygian;4 4 5 5 4 4 5Neutral Diatonic Dorian;4 5 5 4 4 5 4 Neutral Diatonic Hypolydian;5 5 4 4 5 4 4 Neutral Diatonic ;Hypophrygian;5 44 5 4 4 5 Neutral Diatonic Hypodorian;4 5 4 4 5 4 5 Neutral Mixolydian;5 4 4 5 4 5 4 Neutral Lydian;4 4 5 4 5 4 5
39
Neutral Phrygian;4 5 4 5 4 5 4 Neutral Dorian;5 4 5 4 5 4 4 Neutral Hypolydian;4 5 4 5 4 4 5 NeutralHypophrygian;5 4 5 4 4 5 4 Neutral Hypodorian;4 6 2 6 4 3 3 3 Genus sextum;5 5 3 5 5 3 2 3 Genus diatonicum;5 3 53 5 2 5 3 Modus conjunctus;3 5 2 5 3 5 3 5 Octatonic;5 2 6 5 2 5 6 “ Natural Minor;3 5 2 3 5 3 2 5 3 Genuschromaticum;5 3 3 3 3 5 3 3 3 Rothenberg Generalized Diatonic;3 3 4 3 5 3 4 3 3 Hahn symmetric pentachordal;3 4 33 5 3 4 3 3 Hahn pentachordal;4 3 4 3 4 3 4 3 3 Thirty-one tone Orwell;4 1 4 4 4 1 4 4 1 4 Breed 10-tone;4 2 4 2 4 2 43 3 3 Lumma Decatonic;5 1 5 1 5 1 5 1 5 1 1 de Vries 11-tone;5 2 1 2 5 3 2 1 4 1 2 3 Genus bichromaticum;3 4 3 3 2 14 1 4 1 2 3 Genus enharmonicum vocale;2 2 4 2 2 3 3 3 1 3 3 3 Genus enharmonicum instrumentale;2 3 3 2 3 2 3 2 3 32 3 Meantone Chromatic (53/220-comma);3 2 3 2 3 2 3 3 2 3 2 3 Genus diatonico-chromaticum;3 2 2 3 3 2 3 3 2 2 3 3Fokker 12-tone.
Modes_for_default_scales.lmd Alternate notes-1 100 cents !Equal Temperament (M)-12 Default 12 tone list...:+10 2 Warao ditonic: South America;5 7 Honchoshi: Japan;7 5 Niagari: Japan;6 1 5 Raga Ongkari;3 7 2 Ute tritonic;5
2 5 Raga Sarvasri, Warao tritonic: South America;5 5 2 Sansagari: Japan;3 4 5 Peruvian tritonic 2;4 3 5 RagaMalasri, Peruvian tritonic 1;1 5 1 5 Messiaen truncated mode 5;5 1 5 1 Messiaen truncated mode 5 inverse;2 1 7 2Warao tetratonic: South America;2 4 5 1 Raga Sumukam;1 4 3 4 Raga Lavangi;2 2 3 5 Eskimo tetratonic (Alaska:Bethel);2 3 2 5 Genus primum;5 2 3 2 Genus primum inverse;2 4 2 4 Messiaen truncated mode 6;4 2 4 2 Messiaentruncated mode 6 inverse;2 3 4 3 Raga Bhavani;4 3 3 2 Raga Mahathi;3 4 3 2 Bi Yu: China;1 6 1 3 1 RagaDeshgaur;1 3 1 6 1 Raga Megharanji;1 1 4 1 5 Raga Nabhomani;1 5 1 1 4 Raga Saugandhini, Yashranjani;5 2 1 3 1Raga Devaranjani (Devaranji);2 1 4 1 4 Hira-joshi, Kata-kumoi: Japan=1 4 2 1 4 Hon-kumoi-joshi, Sakura,Akebono II: Japan, Olympos Enharmonic, Raga Salanganata, Saveri, Gunakri (Gunakali), Latantapriya.
1 4 1 4 2 Iwato: Japan:4 2 1 4 1 Raga Amritavarshini, Malashri, Shilangi;4 1 4 2 1 Raga Bhinna Shadja,Kaushikdhvani, Hindolita;1 2 4 1 4 Balinese Pelog, Raga Bhupalam, Bhupala Todi, Bibhas;4 1 2 4 1 RagaGambhiranata, Ryukyu: Japan;1 4 2 4 1 Raga Gauri;4 1 4 1 2 Raga Khamaji Durga;2 4 1 4 1 Raga Vaijayanti,Hamsanada;4 1 2 1 4 Raga Zilaf;4 1 3 3 1 Bacovia: Romania, Raga Girija;1 4 3 3 1 Raga Kshanika;1 3 1 3 4 RagaMegharanjani, Syrian pentatonic;3 3 1 4 1 Raga Multani;1 3 3 1 4 Raga Reva, Revagupti, Ramkali, Vibhas(bhairava);2 2 2 5 1 Raga Kumurdaki (Kumudki);5 2 2 1 2 Raga Kuntvarali;2 5 2 1 2 Raga Matha Kokila(Matkokil);2 2 5 2 1 Raga Neroshta;2 1 2 2 5 Raga Purnalalita, Chad Gadyo: Jewish, Ghana Pentatonic 1;5 2 2 2 1Raga Puruhutika, Purvaholika;2 3 2 1 4 Han-kumoi: Japan, Raga Shobhavari;1 4 2 3 2 Kokin-joshi, Miyakobushi,Han-Iwato: Japan, Raga Vibhavari (Revati), Bairagi, Lasaki.
- Capitolul C -MUZICA DE CAMERA ASISTATA DE CALCULATOR
1.) Aspecte intonationale
- Acordajul, precum si intonatia – individuala si de ansamblu -, pot fi verificate si corectateprin programul « In-Tune Multi-Instrument Tuner ».
Functiile programuluiIn-Tune Multi-Instrument Tuner v. 1.8© 2001-2002 Joseph Heimiller by Aspire Softwarewww.MusicMasterWorks.com
- Options : Auto-String Select, Tuning Options ;- Source : Default Windows Input, Wave Out Mix, Yamaha Audio Microphone/CD
Audio/Line in ;- Help ; Unlock ;- Configurari : Instrument Type, View (Graph ; Gauge), Pitch Range, Strings, Pitch Indicator,
Pitch Graph, Frequency, Average Frequency, Target Frequency, View Microphone Input(Yellow=too low, Green=good, Red=too high) .
2.) Interpretarea comparata
- Se utilizeaza programul Acid Pro 4 , inserandu-se pe track-uri separate versiunileinterpretative analizate, prin comenzile: File-Open-anularea functiei sincronizatoareBeatmapper Wizart (cu „No“ si „Finish“)-trasarea desenului sonor (Mouse-Stanga tinut apasat).Programul vizualizeaza toate configuratiile spatio-temporale specifice, iar versiunile inserate potfi audiate separat prin comanda Solo (X). Prin aceasta metoda pot fi analizati toti parametriisonori, iar imaginea grafica a operatiei (ce este edificatoare – inclusiv in realizarea unor studii
40
teoretice) poate fi conservata prin comenzile: Save As-ACID Project File (acd)/sau ACID ProjectFile With Embedded Media (acd-zip).
3.) Politempia structurala
- Elaborata de dirijorul, compozitorul si matematicianul roman Mihai BREDICEANU, teoriatimpului polimodular (apud Mihai BREDICEANU, Timpul polimodular si artele vizuale,Bucuresti, Ed.Stiintifica si Enciclopedica, 1982, si Music and Polymodular Time/StructuralPolytempi Music. Lecture given at New York University, January 5, 1985 – curs universitar)analizeaza fenomenul politempiei (reliefat de pilda in lucrarile lui Mahler si Ives) si descrieevolutia unui numar finit de evenimente sonore desfasurate simultan in “ceasuri” (masuri detimp) diferite – sau, cu alte cuvinte, proiectarea simultana a mai multor SISTEME DEPULSATII REALE (SPR) reductibile fenomenologic la un SISTEM REFERENTIAL DETIMP (SRT). Fiecare SPR are proprii MODULI TEMPORALI (M) ce se reflecta la nivelulSPR in tempouri specifice, induse interpretilor sau grupurilor de interpreti prin semnalevizuale sau sonore (“beeps”) – ultimele fiind receptionate prin casti. In acest sens, autorul ainventat un aparat special denumit “Polytimer” si brevetat inca din 1970 in Romania, USAsi Franta.
- Computerul permite amplificarea acestor interesante experimente sonore, ce au reprezentatin primul rand o aplicare a teoriei einsteiniene a relativitatii (miscarea relativa a obiectelorsi observatorului), dar si o confirmare a teoriei bergsoniene referitoare la perceptiasubiectiva a timpului (in functie de varsta si stare emotionala) - asa cum remarca sieminentul muzicolog roman Prof.univ.Dr.Victor GIULEANU (Tratat de Teoria Muzicii,Bucuresti, Editura Muzicala, 1986, pag.745-752).
- Astfel modulii temporali pot fi realizati si multiplicati cu programul “MOZART” – ulteriorei fiind difuzati prin “computere paralele” corespunzatoare “muzicilor paralele” ce sesuprapun. In prealabil se analizeaza evolutia temporala a fiecarei muzici si se elaboreazacate o partitura a “beeps”-urilor (cu variatiile de tempouri specifice fiecarei muzici). Acestepartituri de “beeps”-uri (configurate exclusiv pe timbre percutante – de pilda 2 Wood-Block-uri: cel grav pentru timpii principali iar cel acut pentru timpii secundari) sunt difuzate princasti interpretilor, ce isi adapteaza executia tempourilor respective. “Computerele paralele”sunt eventual subordonate unui server avand functia de a controla (la nivelul“hiperpulsatiei”- ca factor comun al politempiei) evolutia intregului proces, ce poate fiamplificat si prin utilizarea Internetului - de pilda in sensul experimentelor efectuate prinproiectul “SoundWIRE” mentionat mai sus.
4.) Efectul de intarziere in practica ansamblurilor – cu aplicatie la proiectul “Sound WIRE”
O analiza pertinenta a acestui aspect a fost realizata in studiul-pilot “The Effects of Latency onEnsemble Performance” elaborat in Mai 2002 de Nathan SCHIETT, sub coordonarea lui ChrisCHAFE, directorul CCRMA din cadrul Universitatii Stanford (USA). Aceasta ampla cercetaresponsorizata de prestigioasa National Science Foundation a implicat efectuarea unor experimentebazate pe scenarii muzicale inedite desfasurate in real-time, ca de pilda cantatul in ansambluprin transmisii pe Internet la distante continentale. Sub aspect teoretic, s-au luat in considerareurmatoarele elemente: intarzierea de < 7 msec nu este perceptibila; intarzierile tolerabile inconvorbirile telefonice sunt de 100-300 msec; intarzierile tolerabile in concerte publice sunt decca 40 msec pentru ansamblurile simfonice (situate pe scene ce depasesc 40 ft – distanta parcursain aer de unda sonora in 40 msec) si de cca 5 msec pentru formatiile camerale (motiv pentru caredistanta maxima intre muzicieni este de 2 m ! – cf.http://ww2.mcgill.ca/icc/canarie/learnWare/milestone1/App1.htm )Prin masurarea diferitelor nivele ale coordonatei EPT (Ensemble Performance Thereshold) s-austabilit limitele (in msec) ale LDS (Latency Design Spec), sintetizandu-se totodata o serie deconcluzii referitoare la: (1) relatia dintre intarziere (delay, latency) si tempo (daca intarziereaeste mai mare de 30 msec, tempoul are tendinta sa scada; EPT-ul muzicii ritmice este de cca 20-
41
30 msec); (2) aplicarea strategiei de tip “leader-subordonat” pentru mentinerea unui tempouniform chiar si in conditiile unei intarzieri mari (de 50-70 msec) a determinat aparitia unorsevere desincronizari; EPT-ul variaza in functie de specificul muzicii (viteza, stil, timpul de atactal instrumentelor, etc.); (3) nivelul optim al intarzierii este de 10-20 msec (si nu de 0 msec); (6)EPT-ul determinat prin intarziere electronica este cu mult mai scazut decat in cazul EPT-uluideterminat in mediul acustic natural, ce include fenomene complementare de reverberatie sivariatie de amplitudine.- Acest important studiu poate fi obtinut pe site-ul www-ccrma.stanford.edu , sau la adresa
cc@ccrma.stanford.edu
5.) Configurarea Toposului Acustic(de la spatiul arhitectonic la spatiul virtual)
Precizare terminologica : notiunea de « TOPOS » ( >gr. τοπος = loc) desemneaza in domeniul acusticii muzicale spatiulfizic in care evolueaza sursa sonora (sala de concert). Toposul Acustic impreuna cu Inaltime(Frecventa),Volumul(Amplitudinea) si Timbrul(Structura Spectrala) reprezinta parametrii Spatiului Sonor – proiectiile acestuia inTimp definind Sunetul [ce se clasifica in Sunet muzical (cu Frecventa regulata) si Zgomot (cu Frecventa neregulata)].Asadar,
Sunetul = Spatiu Sonor x Timpin care :Spatiul Sonor = Frecventa x Amplitudine x Structura Spectrala x Topos Acustic.
Edificatoare in aceast sens sunt cercetarile complexe efectuate la celebrul EXPERIMENTALMUSIC STUDIOS al Universitatii din Illinois-U.S.A. (http://ems.music.uiuc.edu/ems/index.html )de catre Scott WYATT - in domeniul difuzarii/proiectiei sonore (« Investigative Studies on SoundDiffusion/Projection at the University of Illinois : a report on an explorative collaboration ») -,precum si cele initiate de Sever TIPEI (compozitor american de origine romana), impreuna cumatematicianul Hans G. KAPER - in directia proiectarii, intr-un mediu imersiv al realitatiivirtuale, a compozitiilor multiple, a vizualizarii muzicii si a sonificarii stiintifice (« ManifoldCompositions, Music Visualization, and Scientific Sonification in an Immersive Virtual-RealityEnvironment »). Astfel, in introducerea pertinentului sau studiu compozitorul Scott WYATTafirma ca primele investigatii in planul spatializarii sonore s-au concretizat, intre altele, prinmuzica concreta elaborata de Pierre SCHAEFFER, prin creatiile lui Edgard VARESE (”PoèmeElectronique”), John CAGE (ciclul “Imaginary Landscape”), Earle BROWN (“Octet”), JojiYUASA (“Icon”), Morton SUBOTNICK (“Touch”), John CHOWNING (“Turenas”), SalvatoreMARTIRANO (“Sal-Mar Construction”), Ben JOHNSTON si Herbert BRUN (ultimii treicreatori activand in cadrul “University of Illinois Experimental Music Studios”), precum si prinexperimentele facute la G.M.E.B. (Bourges) cu “Gmebaphone”-ul si cu “Acousmonium”-ulutilizat de François BAYLE. In prezent, echipa de acusticieni a IRCAM-Paris (www.ircam.fr )coordonata de Olivier WARUSFEL are ca domeniu de cercetare controlul propagarii sunetuluiin spatiu – considerat in dimensiunea sa arhitectonica, sau mediatizat prin mijloace electro-acustice. Aceste investigatii – ce au ca finalitate sintetizarea unor modele de integrare aspatializarii sonore ca parametru constitutiv al unor noi creatii componistice – sunt ordonate (indimensiunile fundamentale, de natura obiectiva si perceptiva) prin urmatoarele proiecte:caracterizarea obiectiva a fenomenelor acustice ; modelarea fizica (« physivcal modeling ») siperceptiva a acestora ; simularea lor pe computer prin crearea unor interfete de comanda aaplicatiilor acustice virtuale cu ajutorul Spatializatorului digital, ce opereaza - in sistem« MacIntosh » - cu un ansamble de algoritmi bazati pe modele geometrice, oferind diferiteipoteze de propagare si reflexie sonora: difractia, absorbtia in incidenta razanta, reflexiaspeculara sau ideal difuza. Aceste experimente au dus si la elaborarea unei noi metode dedeterminare exacta a dimensiunii reverberatiei in salile de concert. Spatializatorul este compusdin module logice de prelucrare a semnalului si de comanda in timp real – generand sintezalocatiei surselor si cea a efectului de sala (reverberatia artificiala). Modulul de prelucrare poate ficonfigurat pentru sisteme individuale de reproducere tridimensionala (la casca sau prin doitransductori), precum si pentru sisteme «multi-tracks » (cu reproduceri « stereo » si « stereo-3/2 »). In coordonata « scenei sonore virtuale », modulul de comanda permite controlulprelucrarii audio-numerice a semnalelor intr-o maniera accesibila, adaptata – prin functii« simbolice » - procesului de elaborare muzicala. In paralel, prin proiectul « Design Sonore », s-aexperimentat si fenomenul legat de perceptia si controlul iradiatiei surselor sonore instrumentale
42
– in scopul realizarii unor surse sonore artificiale capabile sa reproduca caracteristicile celornaturale si totodata sa induca directivitatea sunetului, printr-un sistem de transductori(difuzoare) ce compun « imaginea de directivitate » a semnalelor prelucrate « prin sintezaaditiva » (in modul si in faza-filtrat), urmarindu-se efectele fizice si psiho-fizice ale fenomenului.S-au sintetizat astfel, cu putine surse sonore, « imagini de directivitate » fascinante prin noutateasi complexitatea lor. Asa cum subliniaza si cercetatorii de la IRCAM, aplicatiile studiului suntnumeroase : « dincolo de simularea caracteristicilor spatiale ale instrumentelor pentru sunete pre-inregistrate sau pentru sunetelor de sinteza, acest procedeu de reproducere permite optimizareadirectivitatii ansamblurilor de difuzoare, corectia ecoului in sistemele de teleconferinta, controlul intimp real a orientarii directiei in fluxurile sonore, precum si multe alte efecte ». Un alt programdeosebit de important in domeniul interactiunii timp-real/spatializare este « Max/MSP - version4.3.1» (aplicabil atat pe « Mac » cat si pe « Windows XP » si disponibil la adresahttp://www.cycling74.com/products/download.html ), utilizat de asemena la IRCAM in combinatiecu programele « AudioSculpt », « Modalys » si « Diphone », ce sunt axate pe analiza/sintezasonora.
6.) Configurarea Acusticii Instrumentale
Tot la IRCAM-Paris (www.ircam.fr – proiect coordonat de Rene CAUSSE) – dar si la alteimportante centre de cercetare acustica din U.S.A. , precum Bregman Electronic MusicStudio/Dartmouth College (http://eamusic.darmouth.edu – proiect coordonat de CharlieSULLIVAN) - s-au efectuat si o serie de experimente dedicate studierii functionalitatiiinstrumentelor traditionale (in scopul perfectionarii lor prin « grefe acustice »), precum sirealizarii unor noi instrumente reale sau virtuale. Caracterul eterogen al domeniului organologica impus initierea unor cercetari fundamentale multidisciplinare (acustica, botanica, mecanicavibratiilor, mecanica fluidelor), in colaborare cu institutii de specialitate. Un proiect important serefera la modelare fizica (« physical modeling ») a instrumentelor si a vocii – in aceasta directiecontinuandu-se experimentele ce au condus, inca de acum doua decenii, la stabilirea« algoritmului Karplus-Strong » (K.KARPLUS and A.STRONG - Digital Synthesis of Plucked-String and Drum Timbres, Computer Music Journal, 7(2), 1983. [bibtex-entry]http://www.cmi.univ-mrs.fr/HASSIP/hassipbib/Author/KARPLUS-K.html )pentru unele instrumente cu corzi ciupite (chitara, banjo, koto) si de percutie, prin analizareaelementelor constitutive (sunet, vibratie, aer, coarda, etc.) si prin reconstituirea timbrelororiginale cu ajutorul unor sisteme speciale (« building blocks »), bazate pe « delays », filtre,« feedbacks loops » si mai ales pe « buffers » (unitati de memorie cu acces aleatoriu – tip RAM,ce acumuleaza si totodata elibereaza permanent informatii, intr-un proces repetitiv generand –prin periodicitate - frecvente sonore). S-au elaborat astfel, prin multiple analize si simulari, sialte esantioane (« semnaturi acustice ») caracteristice instrumentelor cu ancie simpla (clarinet,saxofon), cu ancie dubla (oboi, fagot), cu jet de aer (Blockflöte, flaut transversal, tub de orga) sicu ancii libere (acordeon – in acest caz evidentiindu-se faptul ca o miscare sinusoidala a ancieipoate genera un timbru foarte bogat, compus din peste 30 de armonice) ; in prezent la IRCAMsunt analizate sunetele pianului (studiindu-se diferentele observate in dubla-diminuare, intrediferitele partiale), precum si cele ale instrumentelor de coarde (in special in zona zgomotelorcomplementare produse prin contactul arcusului cu coarda). Rezultatele acestor atat depertinente cercetari sunt ulterior implementate in programele originale (ruland pe sistemul deoperare « MacIntosh ») « Resonans » si « Modalys-ER » (ex « Mosaïc ») – ultimul oferind odescriere uniforma a modelelor. Aplicatiile sunt multiple : de la cele mai traditionale (ca de pildanotarea calitatii trompetelor), pana la determinari ale raportului psiho-fizic in utilizarea unorinstrumente traditionale modificate partial sau total, ca de pilda flautul cu sfert de ton si sistememicro-intervalice, arcusul de vioara construit din materiale sintetice, Mundstück-ul cu volumvariabil pentru clarinet (permitand schimbarea frecventei in timp real), noul dispozitivelectronic de acordaj al timpanului sau surdina wawa pentru corn. In acest context trebuiesubliniata si contributia esentiala adusa de compozitorul american Rodney OAKES (profesoremerit la Los Angeles Harbor College si fondator al « Journal SEAMUS ») in impunerea midi-trombonului ca instrument de importanta majora pentru creatia muzicala live-electronica.In paralel, la Institutul International de Muzica Electroacustica de la Bourges – IMEB(www.imeb.asso.fr ) coordonat de Françoise BARRIERE si de Christian CLOZIER se utilizeazain mod curent doua instrumente digitale originale (atat in coordonata « hard », cat si in cea« soft »), deosebit de utile in plan pedagogic (« Cybersongosse 7 ») si interpretativ
43
(« Cybernéphone 7 »). Referitor la sinteza vocala, mentionam cercetarile efectuate la PrincetonUniversity din U.S.A. de Perry R. COOK, ce s-au finalizat si prin programul de modelare fizica« SPASM singing voice software » (http://www.cs.princeton.edu/~prc/NewWork.html ) , precumsi inovatiile in domeniul emisiei vocale prelucrate audio-numeric reliefate in creatiile realizate laprestigiosul « Brooklyn College Center for Computer Music » de compozitorul Robert VOISEY,director al societatii « Vox Novus » din New York
7.) Alte domenii abordate la IRCAM(apud www.ircam.fr )
- Cercetarea psihoacustica (Asociatia PECA, Coordonator Stephen McADAMS) –proiectele „Perceptia si memorizarea timbrului muzical“ (analiza parametrilor acustico-auditivi; perceptia proprietatilor fizice ale obiectelor sonore; caracterizarea verbala atimbrului muzical si a relatiilor dintre timbre); „Procesul organizarii auditive“ (organizareasimultana si cea secventiala); „Perceptia structurilor muzicale contemporane“ (perceptiainarmonicitatii in agregatele de inaltimi si a progresiei in secvente de agregate – cu TristanMURAIL; evolutia atentiei in structuri cu straturi multiple - cu Antoine BONNET; relatiaperceptiva intre micro- si macro-structuri in sunetele si secventele sintetizate – cu MarcoSTROPPA); programe originale: „PsiExp“ si „FTS“;- Compozitia asistata de ordinator – CAO (Echipa „Representations Musicales“,Coordonator Gerard ASSAYAG) – activitate curenta: aplicatii ale programelor originale“PatchWork”, “Sympatos” si “OpenMusic” in cadrul „Forumului utilizatorilor“, implicandcolaborari sistematice cu compozitori si muzicologi interesati in elaborarea unor proiecteavansate de informatica muzicala;- Analiza/sinteza sonora (Echipa coordonata de Xavier RODET) – proiecte: „Sintezaaditiva“ (aplicarea algoritmului de sinteza „FFT-1“ in studiul anvelopei spectrale); „Sintezasursa-filtru“ (producerea unor variate sunete instrumentale si detectarea inaltimii si analizeizgomotului complementar); „Sinteza SINOLA“ (bazata pe suprapuberea si juxtapunereaformelor elementare de unda, determinand modificarea inaltimii si a duratei sunetelor emisevocal – vorbit sau cantat); „Sinteza modelelor fizice“ (analizarea in timp real a modelelormatematice si informatice ale instrumentelor acustice din clasele clarinet, trompeta si voce;studiul oscilatiilor periodice si haotice); „Caracterizarea semnalelor sonore - diferite decuvinte“ (extragerea parametrilor constitutivi, separarea de surse, segmentare, identificare sirecunoastere, reprezentarile unor scene reale si ale sintezei intr-un limbaj hieratic legat incontinut, prelucrari si transformari ale obiectelor sonore, codificarea selectiva a continutului);„Farinelli“ (fuziunea timbrelor – cu aplicatie la reconstituirea vocii celebrului cantaret castrat,pentru filmul realizat de Gerard CORBIAU); programe originale: „Super VP“,„AudioSculpt“, „Diphone Studio“, „Chant“ (sinteza granulara), „Xspect“.
8.) Procedee de sinteza si transformare digitala a sunetuluiutilizate si in aplicatii camerale live-electronice
NB – Se disting 2 categorii de muzici live-electronice : cea pentru interpreti in timp real si bandaelectronica preinregistrata – numita si «tape and instruments music», precum si cea in carebanda este inlocuita cu sunete electronice produse ad-hoc sau cu sunetele interpretilor prelucratechiar in momentul producerii lor (asadar in timp real) - aceasta a doua categorie formand genul« electronics and instruments music ». In muzica electro-acustica analoga se utilizau sistemecomplexe de prelucrare (incluzand mai multe magnetofoane, mixere, filtre, ring-modulatoare,amplificatoare, difuzoare – procedeele fiind exemplar analizate de Allen STRANGE in tratatulElectronic Music. Systems, Techniques, and Controls. WM.C.Brown Company Publishers , 1972,ISBN 0-697-03612-X, p.126-137). Tehnica digitala a inlocuit insa – cu rezultate acustice netsuperioare - aceste sisteme analoge prin programe si module specializate in sinteza siprelucrarea numerica a sunetului . Dat fiind faptul ca noile aplicatii sunt in plina evolutie,prezentarea de mai jos nu este (si nici nu ar putea fi !) exhaustiva, ea limitandu-se doar la uneledintre cele mai importante aspecte relevate pana la data elaborarii acestei lucrari – ce sunt expuseconcentrat, dar cu trmiteri directe la principalele surse de informatie ce pot oferi celor interesatidetalii suplimentare.
44
- a.) « Phase Shifting » - procesul sonor de tip « phasor » este dedus din « Teorema luiFourier » (toate functiile periodice pot fi exprimate prin suma – pana la Infinit – a sinusoidelorcomponente) si se bazeaza pe baleierea (« sweep ») uniforma si continua (intr-un « perpetuummobile » ascendent-descendent) a partialelor (armonicelor) unui sunet, implicand trecereasemnalului initial printr-o serie de filtre speciale (generand un « phase-lag » asemanator unui« time delay ») si suprapunerea semnalului astfel prelucrat cu semnalul originar ; vor rezulta oserie de intersectii (« notches ») in spectrul tonal, determinate de filtrarile combinate (« combfilter response »). Functiile principale de control in modulul « MXR Phase 100 » sunt : (1) Speed(referitoare la viteza ratei « sweep » intre limitele 0.1 – 10 Hz) si (2) Intensity (actionand - inpatru pozitii caracteristice - asupra celor doua coordonate fundamentale ale procesului « phaseshifting » - amplitudinea dimensiunii « sweep » si profunzimea dimensiunii « notch »).
- b.) “The Phase Vocoder” – prin analizarea/resintetizarea sunetelui [conform “reprezentarilorFourier” - DFT (“Discrete Fourier Transform”), FFT (“Fast Fourier Transform” –reprezentarea cea mai frecvent utilizata) si IFFT (“Inverse Fast Fourier Transform”)] se poateschimba atat inaltimea unui sunet fara a-i modifica lungimea (“pitch shifting”), cat si lungimeaunui sunet fara a-i altera inaltimea (“time stretching”). Ambele tipuri de transformari pot fioperate cu ajutorul programului “Audacity 1.2.0-pre2”: “pitch shifting” prin comenzile “Edit-Select-All“ + „Effect-Change Pitch without Changing Tempo“, iar „time stretching“ princomenzile “Edit-Select-All“ + „Effect-Change Tempo without Changing Pitch“.
- c.) „Convolution“ – convolutia reprezinta un caz particular de utilizare a „phase vocoder“prin realizarea unei „sinteze incrucisate“ („cross-synthesis“) implicand impunerea uneicoordonate a unui sunet (numit „impulse response“) altui sunet. Reverberatia digitala ofera unexemplu concludent de convolutie: rezonanta caracteristica a unei sali este inregistrata (formandun „impulse response“) si impusa unui alt sunet. Programul „Sound Forge“ ofera posibilitateaunui astfel de proces prin comanda „Effects-Reverb“ – specificandu-se tipul de „impulse record“prin „Reverberation mode“: Rich hall, Wide open hall, Concert hall, Deep hall, Long hall, Warmambience, Metal tank, etc. Prin convolutie pot fi insa generate si noi sunete, ca de pilda sintezadintre zgomot si respiratie – realizata cu programul „Soundhack“ creat de Tom ERBE (apudBURK, Phil. POLANSKY, Larry. REPETTO, Douglas. ROBERTS, Mary. ROCKMORE, Dan.Music and Computers – an interactive web-text.(http://eamusic.dartmouth.edu/~book/MATCpages/tableofcontents.html ). Aceeasi autori semnaleaza un aspectdeosebit de interesant: reverberatia simpla poate fi simulata si prin convolutia “zgomotului alb”(“whitenoise”) cu orice alt sunet.
- d.) „Sampling“ – acest foarte popular procedeu (in special in genurile„rap“, „dance“ si„beat“ ) consta in selectarea unor mici esantioane sonore din muzici pre-existente, sau in creareaunor esantioane originale si in recontextualizarea lor prin mijloace digitale – cu eventualemodificari ale frecventelor si ale duratelor initiale. In acest sens au fost realizate - ca „hardware“- instrumente digitale specifice („Samplers“ si „Drum Machines“) , iar in domeniul „software“au aparut, in principalele sisteme de operare (Windows, Mac si Linux) noi programe de tip„Digital Audio Workstations“ -DAW (incluzand functiile: analog/digital-input/output, soundrecording/editing/playback/multi-track mixer/amplifier, etc.) - ca de pilda „Pro Tools“, „Acid“,„Cakewalk“, „The Matk of the Unicorn-MOTU“ (cu „FireWire interface“), etc.
- e.) „Localizare/Spatializare“ – Localizarea sursei sonore prin auzul „cyclaural“ estedeterminata de mai multi factori: intensitatea sunetului (ce este mai puternica la urechea maiapropiata de sursa), diferentele de perceptie („Interaural Time Delay“-ITD – aspect determinatde distantele inegale dintre sursa si fiecare dintre urechi, marcate printr-o mica intarziere aperceptiei la urechea mai indepartata) si cele de frecventa (asa-numitele „Head RealatedTransfer Functions“-HRTF - generate de obstacolele fonice plasate pe traseul sonor, ce producun efect de „low-pass filter“ specific fiecarei urechi). In consecinta, spatializarea sonora poate fisimulata - in doua dimensiuni - prin diferentierile de intensitate, ecou si filtraj dintre cele douacanale audio (de pilda, localizarea sursei in partea stanga impune cresterea intensitatii pe canalul„Left“ si totodata adaugarea unui mic ecou si filtrarea frecventelor inalte pe canalul „Right“). Inacest sens s-au efectuat experimente relevante cu „Binaural Dummy Head Recording“ – oinstalatie de inregistrare ce reconstituie cutia craniana, avand amplasate microfoanele in
45
orificiiile auditive. Solutiile descrise mai sus se pot aplica si intr-o proiectie audio „3-D“ (ce ia inconsiderare si coordonata verticala a perceptiei auditive). Multe dintre procedeele aplicate aufost utilizate si in „epoca analoga“, fiind pertinent descrise de Allan STRANGE in tratatulElectronic Music. Systems, Techniques, and Controls. WM.C.Brown Company Publishers , 1972,ISBN 0-697-03612-X, Cap. 9 “Location Modulation”, p.75-85).
- f.) „Prelucrari grafice“ – operatii ce determina convertirea imaginilor vizuale in imagini sonore,cu ajutorul unor instrumente si, respectiv, programe speciale: de la aparatul „Spectrogram“(creat de High LeCaine in 1950) si de la „UPIC“ (sistem inventat de Iannis XENAKIS si utilizatla CEMAMu-Paris), pana la aplicatiile software „MetaSynth“ , „Hyperupic“,„SoundHack/QT-coder“, „AudioSculpt“ , „Squiggy“ (in „Mac“) si „MIDImage“ (in„Windows“). Dintre toate acestea, „Squiggy“ (creat Douglas REPETTO la renumitul „DarmouthCollege“ din S.U.A.) este cel mai performant program „graphics-to-sound“ avand ca finalitateinterpretarile live-electronice.
- g.) „Sinteza aditiva“ - conform „Teoremei lui Fourier“ (“toate functiile periodice pot fiexprimate prin suma – pana la Infinit – a sinusoidelor componente”), un sunet complex poate ficreat prin insumarea unor sunete simple – ca de pilda prin aditia de armonice, prin reconstruireaanvelopei ADSR (Attack-Decay-Sustain-Release), prin asa-numitul “Shepard Tone Effect” (bazatpe perceptia “chroma” referitoare la circularitatea frecventelor distantate la o octava – adicainmultite cu 2), sau prin sinteza formantilor (adica a acelor frecvente fixe, ireversibile ce definescun anumit timbru vocal sau instrumental).
- h.) „Filtrari“ - tratarea sunetelor cu filtre fixe (formand „filter bank“) si variabile –aceasta ultima categorie incluzand filtrele: „High-pass“ (ce elimina frecventele joase), „Low-pass“(ce elimina frecventele inalte), „Band-pass“ [ce selecteaza doar o anumita banda de frecvente,definita prin „bandwidth“ – adica prin diferenta dintre „cutoff frequencies“ (cea mai inalta si ceamai joasa frecventa la amplitudine maxima) – si prin „center frequency“ (frecventa medie)] si„Band-reject“ (ce elimina o anumita banda de frecvente). Prin „EQ.Graphic Equalizers“ (variindde obicei intre – 10 si + 12 dB) se pot realiza amplificari si/sau atenuari ale mai multor benzi defrecventa. De asemenea, anumite situatii sonore impun utilizarea filtrelor „Finite ImpulseResponse“-FIR (incluzand „delays“ ale unor fragmente sonore anterioare) si „Infinite ImpulseResponse“ –IIR (incluzand efectul „feedback“).
- j.) “Waveshaping” - operatie constand in transformarea sunetelor simple in sunetecomplexe printr-o “functie de transfer” [y = f(x)] – ca de pilda in cazul transformarii formeisinusoidale a unui sunet intr-una triunghiulara. Functia de transfer poate avea si configuratiaunui “Polynomial Chebyshev” – asa cum demonstreaza si autorii admirabilului tratat “Musicand Computers – an interactive web-text”(http://eamusic.dartmouth.edu/~book/MATCpages/tableofcontents.html ).
- j.) “Modulatia de Amplitudine” – “Amplitude Modulation” (AM) este un proces de prelucraretimbrala (analog unui efect de tremolo, implicand varieri periodice ale volumului sonor), ceconsta in modificarea amplitudinii semnalului sonor initial (numit “carrier signal”) printr-unsemnal de modulatie (numit “modulating signal”) inducand - prin coordonatele sale deamplitudine, frecventa si forma (“waveshape”) – nivelul, viteza si, respectiv, configuratia(“pattern”) modulatiei de amplitudine; amplitudinea sunetului initial va deveni amplitudineamedie a sunetului modulat. De pilda, dintr-un sunet initial (“carrier signal” – pe care il numim“x”) de 700 Hz sinus modulat in amplitudine cu un sunet (“modulating signal” – pe care ilnumim “y”) de 5 Hz sinus va rezulta un sunet sinus cu amplitudinea medie de 700 Hz si cuvariatii de amplitudine intre 705 Hz (x + y) si 695 Hz (x – y), la o viteza de 5 cicluri/secunda. Dacasunetul de modulatie este de peste 20 Hz, viteza schimarilor va fi imperceptibila in planulamplitudinii (volumului) – in aceasta situatie ea percepandu-se ca doua noi frecvente (numite“sidebands”) reprezentand suma (x + y) si diferenta(x – y) dintre sunetul original si cel de modulatie, ce se suprapun peste sunetul original.Astfel, daca x = 700 Hz sinus si y = 20 Hz sinus, vor rezulta 3 sunete cu frecventele de 700 Hysinus (x), 720 Hz sinus (x + y) si 680 Hz sinus (x – y). In programul “Sound Forge” AM serealizeaza prin functia “Effects-Amplitude Modulation”. [apud SCHRADER, Barry. IntroductionTo Electro-Acoustic Music. Published by Pretince-Hall, Inc., Englewood Cliffs, N.J. – p. 88-90;
46
STRANGE, Allen. Electronic Music. Systems, Techniques, and Controls. WM.C.Brown CompanyPublishers , 1972, ISBN 0-697-03612-X, p.9-11].
- k.) “Modulatia de Frecventa” - “Frequncy Modulation” (FM) este de asemenea un proces deprelucrare timbrala (dar analog unui efect de vibrato, implicand varieri periodice ale inaltimiisonore), ce consta in modificarea frecventei semnalului sonor initial (numit “carrier signal”)printr-un semnal de modulatie (numit “modulating signal”) inducand - prin coordonatele sale deamplitudine, frecventa si forma (“waveshape”) – nivelul, viteza si, respectiv, configuratia(“pattern”) modulatiei de frecventa; frecventa sunetului initial va deveni frecventa medie asunetului modulat. Procesul FM este asemanator cu procesul AM – primul actionand insa inplanul frecventei sonore (adica al inaltimii), iar cel de al doilea in planul amplitudinii sonore(adica al volumului). Ca si in AM, o modulatie de frecventa cu un sunet de modulatie de peste 20Hz va produce doua noi frecvente (“sidebands”) reprezentand suma (x + y) si diferenta (x – y)dintre sunetul original si cel de modulatie, ce se suprapun peste sunetul original. In plus, in FM,“peak frequncy deviation” ilustreaza o functie a amplitudinii semnalului modulat in frecventa siindica diferenta dintre maxima/minima sunetului modulat si sunetul initial (de pilda, avand un“carrier signal” de 700 Hz, ce este modulat in sus la 900 Hz si in jos la 500 Hz, valoarea “peakfrequncy deviation” va fi de 200 Hz). In programul “Sound Forge” FM se realizeaza prin functia“Tools-Synthesis-FM”. Tot in acest domeniu, se remarca si faptul ca frecventele emise subpragul auditiv uman inferior (de 20 Hz) sunt percepute ca durate – acest fenomen deschizandperspectivele unor interesante transformari ale coordonatelor “spatiu sonor” si “timp muzical”,cu aplicatii directe in practica componistica - asa cum am demonstrat in studiul meu “Mistica luiDebussy si revelatia universului supratonal” [ Revista "Muzica" Nr.3/1999, Bucuresti (pag.61-72)]. In sfarsit, “Ring Modulation” reprezinta un caz particular de FM si consta in realizareasumei si a diferentei dintre doua frecvente cu ajutorul unui aparat (initial analog) numit “RingModulator”; acest efect a fost insa transpus si in mediul digital (de pilda in programul “Csound”dezvoltat de Barry VERCOE la MIT). [apud SCHRADER, Barry. Introduction To Electro-Acoustic Music. Published by Pretince-Hall, Inc., Englewood Cliffs, N.J. – p.50-51 si 90-92;CHOWNING, John M. The Synthesis of the Complex Audio Spectra by Means of FrequencyModulation. in Journal of the Audio Engineering Society, vol.21,no.7 (1973); STRANGE, Allen.Electronic Music. Systems, Techniques, and Controls. WM.C.Brown Company Publishers , 1972, ISBN 0-697-03612-X, p.12-20; BURK, Phil. POLANSKY, Larry. REPETTO, Douglas. ROBERTS, Mary.ROCKMORE, Dan. Music and Computers – an interactive web-text.(http://eamusic.dartmouth.edu/~book/MATCpages/tableofcontents.html )].
- l.) “Morphing” – preluat din artele vizuale (domeniu in care “anamorfoza” reprezinta otehnica descoperita inca din antichitate), acest procedeu de transformare a unei imagini in alta -aparent total diferita de prima - a fost aplicat pentru prima data in arta sunetelor in 1976, inCvartetul meu de Coarde “Anamorphose” [© 1977 by Edition Modern München – Germany], cea fost distins cu Premiul I la Concursul International de Compozitie “GAUDEAMUS” dinOlanda (1977). Ulterior, in studiul “Anamorfoza Sonora” (publicat in revista “Muzica”-Bucuresti, Nr.6/Iunie 1985, p.18-21) - pe care l-am prezentat de asemenea in conferintelesustinute la “Cursurile Internationale de Muzica Noua” de la Darmstadt-Germania (1980),precum si la Michigan University-USA (1982) – am aratat ca “doua (sau mai multe) structurimuzicale aparent disjuncte pot coexista functional, fara a constitui un colaj, daca raspund conditieide a avea cel putin un element constitutiv comun. Astfel, intre multimile sonore A, A’ si B, avandproprietatile: A intersectat cu B = 0, si A intersectat cu A’ = diferit de 0, se poate exprima relatia decolaj prin A><A’ si cea de anamorfoza prinA<>B.” Ulterior, in studiul “Anamorfozele TimpuluiMuzical” (publicat in revista “Muzica”-Bucuresti, Nr.3/1991, p.100-107), precum si in tratatul“MUSICA CAELESTIS – Anamorfozele Sacrului in Arta Sunetelor”(Editura UNMB,2000, ISBN973-0-02102-3), am dezvoltat cercetarea muzicologica in acest domeniu aplicat, de altfel, inmajoritatea creatiilor mele componistice (de pilda, in opera “Domnisoara Christina” (1981),conceputa dupa un libret de Mircea ELIADE, in care am extins utilizarea tehnicii anamorfoticedin domeniul sonor in cel multi-media. In prezent, posibilitatile practic nelimitate ale sistemelordigitale au determinat aparitia unor programe specializate in anamorfoza muzicala /“musicmorphing”, precum “Diphone” (promovat la IRCAM-Paris, www.ircam.fr ), “Cendroid” (creat,in baza programului “SoundHack”, de compozitorii Douglas I. REPETTO si LarryPOLANSKY de la Dartmouth College - Bregman Electronic Music Studiohttp://music.dartmouth.edu/~douglas/cendroid.sit.hqx ) si de “PROSONIQ morph VST PC – Realtime
47
Audio Morphing Plugin” (http://products.soniq.com ), “Voicechanger Software”(www.voicechanger.biz ) si deja mentionatul “crusherX” (www.crusher-x.de – ce poate fi descarcatla adresa : www.stelkens.de/bs/download ). Practic, exista doua modalitati de realizare a efectului“morphing” in arta sunetelor: prin substitutie (sau “replacement morph”, adica prin inlocuireatreptata a fiecarui sunet din prima imagine cu un sunet din imaginea a doua) si prin interpolare(sau “interpolation morph”, adica prin compararea/definirea valorilor specifice celor douaimagini si prin intercalarea unei imagini intermediare, ce este bazata pe elementele comune aleimaginilor principale). Toate aceste aspecte expuse in Capitolul 5_6 “Morphing” din recentultratat Music and Computers – an interactive web-text (2003 – http://eamusic.darmouth.edu/~book/ )reprezinta de fapt o confirmare – formulata in baza cercetarilor efectuate cu mijloace tehnice deultima ora - a teoriei anamorfozei sonore, definite si aplicate intuitiv de mine incepand din anul1976.
- m.) “Sinteza granulara” – “Granular Synthesis” se refera la procedee specifice de generare a“norilor de sunete” (“sound clouds”), ca elemente de natura stochastica introduse in limbajulmuzical contemporan inca din 1971 de catre marele compozitor grec Iannis XENAKIS (nascut inRomania si stabilit in Franta). Aceste complexe imagini sonore globale sunt alcatuite din multimi– sau “regiuni schimbatoare de energie sonora” (“shifting regions of sound energy”) - cuprinzandmii de sunete (de obicei sinusoidale, ce pot fi insa si “sampled sounds”) extrem de scurte (cudurate mai mici de 100 de milisecunde), ce isi metamorfozeaza permanent configuratiile defrecventa si amplitudine – comportandu-se (conform principiilor probabilistice) ca niste picaturide ploaie, transformabile (in anumite conditii meteorologice) in fulgi de zapada… La randul lor,“norii de sunete” (proveniti, de pilda, atat de la un ansamblu cameral, cat si de la un computer)se pot intersecta, generand noi fenomene sonore absolut inedite! Cercetarile lui IannisXENAKIS au fost dezvoltate si de compozitorul canadian Barry TRUAX, ce a elaborat, in1986, un sistem in real-time (PODX, realizat la Simon Fraser University). Actualmente suntaplicate o serie de programe speciale, precum “Chant” (utilizat, in sistem “Mac”, la IRCAM-Paris, www.ircam.fr ), “KTGranulator” (www.smartelectronix.com/~koen ) si “crusherX”(www.crusher-x.de ) – ultimul avand, pe langa functia de “vapor synthesis”, si pe aceea de“morphing system”.
BIBLIOGRAFIE GENERALA SELECTIVA
- ALEXANDRA, Liana. Componistica Muzicala - un inefabil demers intre fantezie si rigoare. Editura UniversitatiiNationale de Muzica din Bucuresti, 1999.- ALEXANDRA, Liana. Tehnici de Orchestratie. Editura Universitatii Nationale de Muzica din Bucuresti, 2000. ISBN973-0-02115-5.- ARNELL, Billy. McScope: System. Music, Computers, and Software, April 1988: 58-60.- BERENDT, Joachim. The Jazz Book. 1953, 1959, 1968, 1973 Fischer Taschenbuch Verlag, Frankfurt am Main.Lawrence Hill & Company, New York, Westport. Independent Publishers Group, N.Y.,N.Y.10022.- BERGER, Wilhelm Georg. Muzica Simfonica moderna-contemporana 1930-1950. Vol.IV. Editura Muzicala, Bucuresti,1976.- BOWELS, Edmund A. Musicke’s Handmaiden: Or Technology in the Service of the Arts. in The Computer and Music.ed.Harry B. Lincoln, Ithaca: Cornell University Press, 1970.- BREDICEANU, Mihai Timpul polimodular si artele vizuale, Bucuresti, Ed.Stiintifica si Enciclopedica, 1982, si Musicand Polymodular Time/Structural Polytempi Music. Lecture given at New York University, January 5, 1985 – cursuniversitar.- BURK, Phil. POLANSKY, Larry. REPETTO, Douglas. ROBERTS, Mary. ROCKMORE, Dan. Music and Computers –an interactive web-text. (http://eamusic.dartmouth.edu/~book/MATCpages/tableofcontents.html )- CHAFE Chris and LEISTIKOW, Randal. Levels Of Temporary Resolution In Sonification Of Network Performance.Center for Computer Research in Music and Acoustics (CCRMA) Department of Music, Stanford University , Stanford,California 94305. (cc@ccrma.stanford.edu) (randal@ccrma.stanford.edu)- CHAFE, Chris ; WILSON, Scott ; WALLING, Daniel. Physical Model Synthesis With Application To Internet Acoustics.Center for Computer Research in Music and Acoustics (CCRMA) Department of Music, Stanford University , Stanford,California 94305. (cc, rswilson, dwalling@ccrma.stanford.edu)- CHAFE, Chris. A Short History of Digital Sound Synthesis by Composers in the U.S.A. Center for Computer Research inMusic and Acoustics (CCRMA) Department of Music, Stanford University , Stanford, California 94305.(cc@ccrma.stanford.edu)- CHOWNING, John M. The Simulation of Moving Sound Sources. in Journal of the Audio Engineering Society,vol.20,no.6 (1971).- CHOWNING, John M. The Synthesis of the Complex Audio Spectra by Means of Frequency Modulation. in Journal of theAudio Engineering Society, vol.21,no.7 (1973).- CHOWNING, John M, GREY John M., MOORER, James A., RUSH, Loren. Computer Simulation of Music InstrumentTones in Reverberant Spaces. Department of Music, Stanford University, Technical Report STAN-M-1, 1975.- CONGER, Jim. C Programming for MIDI. Redwood City: M & T Books, 1988.
48
_ COOPER, Jim. Mind Over MIDI: Information Sources and System-exclusive Data Formats. Keyboard October, 1986:110-111.- DODGE, Charles and THOMAS A. Jerse. Computer Music : Synthesis, Compositions and Performance. Second Edition.New York : Macmillan Library, 1997.- EDSTROM, Brent. Making Music With Your Computer, Second Edition. EM Books, 2001, (www.astropro.com) LLC.ISBN 0-87288-744-8.- ENDERS, Bernd and KLEMME, Wolfgang. MIDI and Sound Book for the Atari ST. Redwood City: M & T Books, 1989.- GARDNER, John K., HARVEY, Brian, LAWSON, James R., RISSET, Jean-Claude. Computer Facilities for Music atIRCAM, as of October 1977. Rapports IRCAM, 3/78.- GIBSON, Bill. Audio Pro Home Recording Course, Volume I and II. Hal Leonard Corporation.- GIULEANU, Victor. Tratat de Teoria Muzicii, Bucuresti, Editura Muzicala, 1986.-HAMM, Charles. Music In The New World. W. W. Norton and Company, 1983. ISBN 0-393-95193-6.- HILLER, Lejare. Music Composed with Computers. in The Computer and Music.ed. Harry B. Lincoln, Ithaca: CornellUniversity Press, 1970.- HITCHCOCK , H. Wiley. Music In The United States : A Historical Introduction, Second Edition. 1974, 1969 Publishedby Pretince-Hall, Inc., Englewood Cliffs, N.J. 07632.-JOHNSON, ROGER. SCORES: An Anthology of New Music. Schirmer Books, A Division of Macmillan Publishing Co.,Inc., New York, 1981, ISBN 0-02-871190-4.-LEOPOLDSEDER, Hannes and SCHÖPF, Christine. “PRIXARS ELECTRONICA 2003 CyberArts”, Katje Cantz Verlag,Ostfildern-Ruit – D.A.P., Distributed Art Publishers, Inc., New York, 2003.-LIPSCOMB, Eric. HOW MUCH FOR JUST THE MIDI? BITNET: LIPS@UNTVAX, October 1989, North TexasComputing Center Newsletter, "Benchmarks".- MALM, P.William. Music Cultures On The Pacific, The Near East, And Asia, Second Edition. 1977, 1967. Published byPretince-Hall, Inc., Englewood Cliffs, N.J. 07632.- MANCINI, Henry. A Practical Guide To Professional Orchestration. 1973, Northridge Music Inc., Cherry Lane MusicCo., Inc. ISBN 0-89524-060-2.- MARCUS, Solomon. Semne despre semne. Editura Stiintifica si Enciclopedica, Bucuresti, 1979.- MATZKIN, Jonathan. A MIDI Musical Offering. PC Magazine 29 Nov. 1988: 229+; MIDI Manufacturers AssociationIncorporated - 1995-2003, Los Angeles, California.- MOLES, Abraham. Art et Ordinateur. Casterman, 1971 – Ed. Meridiane, Bucuresti, 1974;- MOORER, James A. Signal Processing Aspects of Computer Music – A Survey. in Computer Music Journal, vol. 1, no 1,February 1977.- NICHIFOR, Serban. Anamorfoza Sonora. Revista "Muzica" Nr.6/Iunie 1985, Bucuresti (pag.18-21).- NICHIFOR, Serban. Anamorfozele Timpului Muzical. De la ritmurile poetice la structuri heterometrice. Revista "Muzica"Nr.3/1991, Bucuresti (pag.100-107).- NICHIFOR, Serban. Mistica lui Debussy si revelatia universului supratonal. Revista "Muzica" Nr.3/1999, Bucuresti(pag.61-72).- NICHIFOR, Serban. Musica Caelestis. Anamorfotica Sacrului in arta sunetelor. Editura Universitatii Nationale deMuzica din Bucuresti, 2000. ISBN 973-0-02102-3.- NICHOLS, C. David. Musical Ecounters. ). Published by Pretince-Hall, Inc., Englewood Cliffs, N.J. 07632.- OTTMAN, W. Robert and MQINOUS, D. Frank. Rudiments of Music (Fourth Edition). . Published by Pretince-Hall,Inc., Englewood Cliffs, N.J. 07632.- PASCU-RADULESCU, Dorel. Esenta fenomenului sonor muzical. Bucuresti, Editura AGIR, 2000.- PERRY, Rosalie Sandra. Charles Ives And The American Mind. The Kent State University Press, 1974,- PERSICHETTI, Vincent. Twentieth Century Harmony. W.W.Norton and Company.- PETERS, Constantin. Reading up on MIDI for the Novice and the Pro. PC Magazine 29 Nov. 1988: 258;- POPESCU, Dumitru Gh. Teologie si Cultura. Bucuresti. Editura I.B.M.B.O.R., 1993.- RISSET, Jean-Claude. Synthesis of Sounds by Computer and Problems Concerning Timbre. in Music and Technology,Paris, La Revue Musicale, 1971, p.123.- SCHAFFER, Boguslaw. Introduction to Composition. PWP Edition, Varsovia, 1976.- SCHRADER, Barry. Introduction To Electro-Acoustic Music. Published by Pretince-Hall, Inc., Englewood Cliffs, N.J.07632.- SCHUETT, Nathan and CHAFE, Chris – Advisor. The Effects of Latency on Ensemble Performance. Researchsponsored by National Science Foundation. Center for Computer Research in Music and Acoustics (CCRMA)Department of Music, Stanford University , Stanford, California 94305. (cc@ccrma.stanford.edu)- STANCIU, Victoria, PANA, Adrian, BRAN, Florin si ERHAN, Florin. Bazele utilizarii calculatoarelorpersonale.Editura Economica, Bucuresti, 1999;- STRANGE, Allen. Electronic Music. Systems, Techniques, and Controls. WM.C.Brown Company Publishers , 1972,ISBN 0-697-03612-X.- WEBBER, David. "Mozart Virtuoso 6" The Music Processor - Tutorial Manual. (c) 1994-2001 by David Webber, 484Warrington Rd. Culcheth, Warrington, WA3 5RA, UK. The Thompson Partnership, Lion Buildings, Market Place,Uttoxeter, Staffs, ST14 8HZ, UK.(www.mozart.co.uk) (dave@musical.demon.co.uk) (dave@mozart.co.uk) (support@ttp.co.uk)- WHITE, Ron and WHITE, Michael. MP 3 Underground. Edit. BIC ALL, Bucuresti, 2002)- *** . Estetica, Informatie, Programare. Editura Stiintifica, Bucuresti,1972.- *** . Revista “LINUX MAGAZIN” Nr.4/Decembrie 2003, pag.21-35 (www.linux-magazin.ro ).- www.fractalmusiclab.com/default.asp - “Quasi Fractal Composer” by Paul WHALLEY; “Music In The
Numbers” by Lars KINDERMANN.- *** . Dictionar de Informatica. Editura Stiintifica si Enciclopedica, Bucuresti, 1981.
AP
PE
ND
IX
®�
®�
Ver
sion 2
004 f
or
Win
dow
s®
Co
py
rig
ht
PG
Mu
sic
Inc.
19
89
-200
4. A
ll r
igh
ts r
eser
ved
.
Chap
ter
14:
Ref
eren
ce
193
Ch
ap
ter 1
4:
Refe
ren
ce
Ba
nd
-in
-a-B
ox
Men
u D
escrip
tio
ns
Th
is c
hap
ter
giv
es l
ine-
by-l
ine
des
crip
tion
s fo
r al
l B
and-i
n-a
-Box
men
us.
Fil
e M
en
u
New
is
use
d t
o b
lank
th
e ch
ord
shee
t an
d s
tart
a n
ew s
on
g.
Op
en
(B
B s
on
g)
is u
sed t
o o
pen
an
ex
isti
ng B
and-i
n-a
-Bo
x s
on
g.
Op
en
MID
I f
ile l
oad
s a
MID
I fi
le i
nto
Ban
d-i
n-a
-Box
and
th
e M
IDI
file
wil
l p
lay w
ith
the
cho
rds
inte
llig
entl
y
inte
rpre
ted o
n-s
cree
n.
Im
po
rt
Ch
ord
s f
ro
m M
ID
I F
ile u
ses
the
MID
I F
ile
Chord
Wiz
ard t
o i
nte
rpre
t ch
ord
s fr
om
an
y m
idi
file
, an
d a
lso
read
tra
cks
to t
he
mel
od
y a
nd
so
lois
t tr
ack
s.
Op
en
Sp
ecia
l
Op
ens
a su
b-m
enu w
ith m
ore
op
tion
s fo
r op
enin
g s
on
gs.
Op
en
(U
sin
g C
usto
m D
ialo
g)
use
s th
e cu
sto
m d
ialo
g t
hat
all
ow
s lo
ng
-fil
e-n
ames
, fo
nt
sele
ctio
n,
and
ev
en
rem
emb
ers
its
sett
ing
s (u
nli
ke
the
stan
dar
d w
indo
ws
95
/98 d
ialo
gs)
.
Chap
ter
14:
Ref
eren
ce
194
Op
en
Usin
g S
tan
da
rd
Dia
log
use
s th
e st
and
ard
win
do
ws
95
/98 d
ialo
g.
Op
en
wit
h M
elo
die
s s
how
s li
st o
f on
ly s
ong f
iles
th
at h
ave
mel
od
ies
(*.m
g?)
.
Op
en
Son
g b
y T
itle
all
ow
s se
lect
ion
of
song
s b
y d
isp
layin
g t
he
full
tit
le o
f th
e so
ng (
not
8 c
har
acte
r fi
le n
ame)
. A
sear
ch f
un
ctio
n a
llo
ws
you
to s
earc
h t
he
titl
e li
st f
or
a w
ord
or
ph
rase
to q
uic
kly
fin
d a
tit
le.
For
exam
ple
, ty
pe
in
“Old
folk
s” a
nd t
he
sear
ch w
ill
find
th
e so
ng
tit
le “
Old
Folk
s at
Ho
me,
” as
wel
l as
an
y o
ther
so
ng
s w
ith “
Old
folk
s”
in t
he
titl
e.
Op
en
Favorit
e S
on
gs o
pen
s th
e dia
log t
hat
show
s th
e la
st 1
50
son
gs
pla
yed
.
Op
en
Fil
tered
by S
tyle
lo
ads
on
ly s
ong
in c
urr
ent
style
.
Op
en
Nex
t S
on
g a
nd
Op
en
Previo
us S
on
g w
ill
op
en t
he
nex
t/pre
vio
us
song
in
alp
hab
etic
al o
rder
. I
f th
e so
ng
load
ed h
as a
fil
e n
ame
of
“Pau
l,”
cho
osi
ng
load
-nex
t-fi
le w
ill
fin
d t
he
nex
t fi
le i
n a
lph
abet
ical
ord
er a
fter
Pau
l,
may
be
it w
ou
ld b
e “P
eter
.” S
hif
t+F
8 a
nd
Ctr
l+S
hif
t+F
8 a
re t
he
ho
t k
eys
for
this
.
Im
po
rt
Ch
ord
s f
ro
m P
G M
usic
MID
I f
ile w
ill
read
in
th
e ch
ord
sym
bo
ls f
rom
PG
Musi
c M
IDI
file
s m
ade
by
pro
gra
ms
lik
e B
and-i
n-a
-Bo
x o
r P
ow
erT
rack
s P
ro A
ud
io. N
ote
th
at i
t w
on’t
rea
d i
n t
he
chord
s fr
om
a M
IDI
file
th
at
do
esn
't h
ave
spec
ial
chord
sym
bo
ls t
yp
ed i
n t
o i
t, i
.e., i
t d
oes
n't
inte
rpre
t ch
ord
s.
If y
ou w
ant
to i
nte
rpre
t ch
ord
s fr
om
an
y m
idi
file
, u
se t
he
Fil
e-Im
port
Chord
s F
rom
MID
I F
ile
op
tion
inst
ead
.
Tip
: If
yo
u're
wo
rkin
g w
ith
a lo
t o
f B
an
d-in
-a-B
ox s
on
gs d
oin
g e
ditin
g e
tc.,
re
me
mb
er
the
“O
pe
n N
ext
So
ng
” co
mm
an
ds –
th
ey w
ill s
ave
yo
u a
lo
t o
f tim
e!
Sa
ve s
on
g s
aves
curr
ent
song u
nd
er o
rig
inal
tit
le.
Sav
e s
on
g A
s...
is t
o s
ave
song
s (*
.?G
?).
Sav
e S
on
g w
ith
Pa
tch
es &
Ha
rm
on
y. I
f yo
u w
ou
ld l
ike
to s
ave
cert
ain p
atch
es w
ith
a s
on
g,
then
type
in t
he
nu
mb
er o
f th
e p
atch
(in
stru
men
t) t
hat
you
wo
uld
lik
e.
Lea
ve
the
oth
er i
nst
rum
ents
at
zero
(0)
for
No P
atch
ch
ang
e.
Rem
emb
er t
hat
- a
s w
ith a
ll o
ther
Ban
d-i
n-a
-Bo
x f
un
ctio
ns
- you
use
th
e G
ener
al M
IDI
nu
mb
er f
or
the
inst
rum
ent,
reg
ard
less
of
the
syn
th y
ou a
re u
sin
g.
Fil
eu
tili
ties…
op
ens
a su
b-d
irec
tory
of
file
uti
liti
es.
Ch
an
ge D
irecto
ry
(P
ath
) open
s th
e B
row
se F
old
er w
indow
wher
e a
new
dir
ecto
ry c
an b
e se
lect
ed.
Ru
n E
xp
lorer i
n C
urren
t D
irecto
ry l
aun
ches
Exp
lore
r. P
ress
ing
Ctr
l+S
hif
t+F
3 i
s th
e u
sual
way
to
get
to
th
is
item
, an
d w
ill
qu
ick
ly o
pen
Ex
plo
rer.
O
nce
Exp
lore
r is
op
en, yo
u c
ou
ld d
oub
le c
lick
on
a s
ong
or
style
to
lo
ad i
t in
.
(Ass
um
ing
th
at t
her
e is
a f
ile
asso
ciat
ion f
or
Ban
d-i
n-a
-Bo
x s
on
gs
and s
tyle
s m
ade
in E
xplo
rer.
)
Au
to-r
en
am
e s
on
g f
iles t
o L
on
g F
ile N
am
es w
ill
ren
ame
all
song
fil
es i
n t
he
curr
ent
dir
ecto
ry t
o l
on
g f
ile
nam
es,
usi
ng
th
e so
ng
tit
le a
s th
e n
ame.
Ren
am
e A
ny
Fil
e o
n d
isk
… o
r R
en
am
e C
UR
RE
NT
son
g f
ilen
am
e a
llo
ws
you
to
ren
ame
file
s.
Dele
te F
ile f
rom
dis
k d
elet
es a
song
fil
e w
ith
ou
t ex
itin
g t
he
pro
gra
m
“N
uk
e I
t!”
(D
ele
te C
UR
RE
NT
so
ng
fil
e f
ro
m l
ist)
.. d
elet
es t
he
curr
ent
song
.
Asso
cia
te F
ile t
yp
es (
son
gs,
sty
les)
wit
h W
ind
ow
s…
/ R
em
ov
e F
ile A
sso
cia
tio
ns (
so
ng
s, sty
les)
wit
h
Win
dow
s…
wil
l as
soci
ate
(or
rem
ov
e as
soci
atio
ns
for)
th
e fi
le t
yp
es f
or
Ban
d-i
n-a
-Bo
x s
ong
s an
d s
tyle
s in
Exp
lore
r. O
nce
set
, th
is m
ean
s th
at y
ou
can
do
ub
le c
lick
on
a s
ong
or
style
in
Exp
lore
r an
d B
and
-in
-a-B
ox w
ill
op
en
up w
ith t
hat
son
g o
r st
yle
.
Mak
e S
tan
da
rd
MID
I F
ile m
akes
a s
tand
ard m
idi
file
. Y
ou c
an s
ave
in T
yp
e 1
(m
ult
i-tr
ack
s) o
r T
yp
e 0
(si
ng
le
trac
k)
file
s. K
arao
ke
MID
I fi
les
are
also
su
pport
ed.
Chap
ter
14:
Ref
eren
ce
195
To
sav
e a
MID
I fi
le a
s a
Type
0, 1, o
r K
arao
ke
file
, pre
ss t
he
MID
I fi
le b
utt
on
, an
d c
ho
ose
th
e d
esir
ed
MID
I fi
le t
yp
e.
Th
is b
utt
on
sav
es a
MID
I F
ile
to D
isk. Y
ou c
an t
hen
lo
ad t
he
MID
I F
ile
into
yo
ur
sequ
ence
r
for
furt
her
ed
itin
g.
Th
is b
utt
on
cop
ies
the
MID
I F
ile
to t
he
Win
dow
s C
lipbo
ard
. T
hen
you
can
cli
pb
oar
d-p
aste
Ban
d-i
n-a
-Bo
x M
IDI
dat
a to
Pow
erT
rack
s P
ro A
ud
io, C
akew
alk
, et
c.
Go t
o O
pt.
| P
refe
rence
s an
d p
ress
th
e [M
IDI
Fil
e] b
utt
on t
o o
pen
th
e M
ID
I f
ile o
pti
on
s d
ialo
g b
ox
to
co
ntr
ol
ho
w
the
Mel
od
y,
Solo
, an
d H
arm
on
y a
re w
ritt
en t
o a
MID
I fi
le.
Prin
t S
on
g -
Ch
ord
s/M
elo
dy o
pen
s th
e P
rint
Op
tion
s d
ialo
g.
Prin
t M
ult
iple
Son
gs…
pri
nts
all
son
gs,
or
just
sel
ecte
d s
on
gs,
in
a s
on
g d
irec
tory
.
Mak
e S
on
g T
itle
s a
llo
ws
you t
o a
ssig
n l
on
g,
full
tit
les
to s
on
g f
ilen
ames
.
Load
User S
tyle
all
ow
s yo
u t
o c
hoo
se a
use
r st
yle
. (
See
Sel
ecti
ng S
tyle
s.)
Ex
it t
o e
xit
com
ple
tely
fro
m t
he
Ban
d-i
n-a
-Bo
x p
rogra
m.
Chap
ter
14:
Ref
eren
ce
196
Ed
it M
en
u
Ed
it | U
nd
o a
nd
Ed
it | R
ed
o a
llo
w y
ou
to
un
do
or
redo
mo
st o
per
atio
ns.
Ed
it | C
ut
funct
ion
s li
ke
a d
elet
e co
mm
and
to
rem
ov
e b
ars
fro
m a
son
g.
Ed
it | C
op
y a
nd
Ed
it | P
aste
are
to c
op
y c
hord
s.
Co
pyin
g a
sec
tio
n o
f ch
ord
s ca
n b
e done
in t
he
sam
e m
ann
er a
s
cop
yin
g t
ext
in a
Win
dow
s w
ord
pro
cess
or.
Co
py
ing
Ch
ord
s t
o t
he W
ind
ow
s C
lip
bo
ard
-S
elec
t th
e re
gio
n t
o c
op
y.
-P
lace
th
e m
ou
se c
urs
or
at t
he
bar
to
beg
in t
he
sele
ctio
n. T
hen
, hold
ing d
ow
n t
he
left
mo
use
bu
tto
n, d
rag
th
e
mo
use
ov
er t
he
reg
ion
. A
s you
do t
his
yo
u w
ill
see
that
the
reg
ion
wil
l be
inv
erte
d (
i.e.
lo
ok
s d
ark).
-W
hen
yo
u h
ave
sele
cted
th
e des
ired
reg
ion
of
chord
s to
copy, re
leas
e th
e m
ou
se b
utt
on.
-C
op
y t
he
sele
cted
reg
ion
to
the
clip
bo
ard
wit
h t
he
on-s
cree
n c
op
y b
utt
on
, th
e k
eyst
rok
es C
trl+
C,
or
sele
ct t
he
Ed
it |
Cop
y m
enu
ite
m.
Pa
sti
ng
Ch
ord
s f
ro
m t
he W
ind
ow
s C
lip
boa
rd
-A
ssu
min
g y
ou h
ave
alre
ady c
op
ied
so
me
cho
rds
to t
he
clip
bo
ard
, yo
u a
re t
hen
rea
dy t
o p
aste
th
e co
pie
d c
ho
rds
into
an
oth
er p
art
of
your
chord
shee
t.
-M
ov
e th
e h
igh
lig
ht
cell
to
th
e b
ar t
o b
egin
the
pas
te o
f ch
ord
s.
-C
op
y t
he
chord
s at
th
e h
igh
lig
hte
d b
ar w
ith t
he
on-s
cree
n p
aste
, th
e k
eyst
rok
es C
trl+
V,
or
choo
se t
he
Ed
it |
Pa
ste
men
u i
tem
.
Chap
ter
14:
Ref
eren
ce
197
Tip
: T
he
co
pie
d s
ectio
n r
em
ain
s in
th
e c
lipb
oa
rd a
nd
ca
n b
e u
se
d r
ep
ea
ted
ly.
If
yo
ur
so
ng
is in
th
e f
orm
ve
rse
-ve
rse
-b
rid
ge
-ve
rse
, yo
u c
an
sim
ply
co
py t
he
fir
st
ve
rse
to
th
e c
lipb
oa
rd,
an
d t
he
n p
aste
in
th
e o
the
r ve
rse
s.
Th
e c
lipb
oa
rd
co
nte
nts
re
ma
in e
ve
n if
yo
u lo
ad
in
a n
ew
so
ng
, so
yo
u c
an
co
py a
nd
pa
ste
be
twe
en
so
ng
s.
Cop
y F
ro
m…
To
… /
Co
py
Rests
/ E
rase F
ro
m…
To…
On
e of
the
bes
t w
ays
to c
op
y c
hord
s is
th
e C
op
y F
rom
… T
o…
co
mm
and
, or
pre
ssin
g A
lt+
C, w
hic
h w
ill
lau
nch
th
e
Co
py
Ch
ord
s a
nd
/or m
elo
dy
dia
log.
Th
e C
op
y R
est
com
man
d w
ill
sim
ilar
ly b
ring
up
th
e C
op
y R
ests
dia
log
to
allo
w c
op
yin
g o
f re
sts.
T
he
Era
se F
rom
… T
o…
co
mm
and
lau
nch
es t
he
Era
se C
ho
rd
s a
nd
/or m
elo
dy
dia
log
.
Th
ese
dia
log
s al
low
yo
u t
o s
pec
ify
th
e n
um
ber
of
bar
s to
cop
y o
r er
ase,
th
e lo
cati
on t
o c
op
y t
o, an
d t
he
op
tion
to
cop
y o
r er
ase
the
Ch
ord
s, M
elo
dy, S
olo
ist,
an
d/o
r L
yri
cs.
Co
py
/Mo
ve T
ra
ck
s o
pen
s th
e T
ra
ck
-to
-Tra
ck
Co
py
/Mov
e/D
ele
te d
ialo
g, w
hic
h a
llow
s co
pyin
g f
rom
on
e tr
ack
to
ano
ther
.
Chap
ter
14:
Ref
eren
ce
198
Sou
rce
trac
k c
an b
e an
y o
f th
e B
and
-in-a
-Bo
x t
rack
s –
Bas
s, D
rum
s, P
iano
, G
uit
ar, S
trin
gs,
Mel
od
y, or
So
lois
t.
The
trac
k t
o “
Copy/M
ove
sele
cted
chan
nel
s to
->
” ca
n b
e M
elody o
r S
olo
ist
(sin
ce t
hes
e ar
e th
e only
tra
cks
that
are
edit
able
in B
and
-in
-a-B
ox
).
In
tro
Bars -
Au
to G
en
erate
(o
r R
em
ov
e)
Th
is c
om
man
d w
ill
lau
nch
the
Gen
era
te I
ntr
o d
ialo
g w
her
e you c
an s
pec
ify t
he
char
acte
rist
ics
of
the
intr
o y
ou w
ish
to g
ener
ate.
F
or
mo
re i
nfo
rmat
ion
on t
his
fea
ture
ple
ase
refe
r to
th
e A
uto
mat
ic I
ntr
o s
ecti
on
.
In
sert
Ba
r(s
) in
sert
s a
cert
ain #
of
bar
s in
to t
he
chord
shee
t.
Dele
te B
ar(s
) re
moves
a c
erta
in #
of
bar
s fr
om
the
chord
shee
t.
Rep
ea
ts/c
od
as/1
st -2
nd e
nd
ings
You
can
add
rep
eats
an
d e
nd
ing
s so
th
at t
he
Lea
d S
hee
t w
indow
wil
l d
ispla
y a
nd
pri
nt
usi
ng 1
st /
2nd
en
din
gs.
Y
ou
can
ad
d y
ou
r ow
n r
epea
ts a
nd e
nd
ing
s b
y c
ho
osi
ng
th
is m
enu c
om
man
d t
o o
pen
th
e E
dit
Rep
ea
ts a
nd
En
din
gs
dia
log.
Red
uce (
du
ra
tio
ns o
f ch
ord
s b
y 1
/2)
cuts
ch
ord
dura
tio
ns
by 5
0%
(e.
g., 4
bea
ts>
>2bea
ts;
2bea
ts>
>1bea
t).
Ex
pa
nd
(d
ura
tio
ns o
f ch
ord
s b
y 2
) do
ub
les
the
dura
tion
s o
f ch
ord
s (e
.g., 1
bea
t>>
2b
eats
; 2
bea
ts>
>4b
eats
).
Chap
ter
14:
Ref
eren
ce
199
Un
fold
(co
nv
ert
to 1
BIG
ch
oru
s)
Ch
oo
se t
his
com
man
d t
o u
nfo
ld a
mu
lti-
cho
rus
son
g i
nto
one
BIG
choru
s. W
hen
sel
ecte
d,
Ban
d-i
n-a
-Box
wil
l
dis
pla
y a
ll c
horu
ses
and v
erse
s of
a so
ng w
ith
ou
t lo
op
s o
r re
pea
ts. I
t is
use
ful,
fo
r in
stan
ce, w
hen
you
hav
e a
song
wit
h 3
ch
oru
ses
and
wan
t to
co
nv
ert
it t
o a
sin
gle
lar
ge
cho
rus,
or
to c
ust
om
ize
a so
ng
wit
h t
he
“Ed
it S
etti
ng
s fo
r
Cu
rren
t B
ar”
feat
ure
to
ch
ange
met
er,
tem
po
, p
atch
es, st
yle
s an
d/o
r h
arm
on
ies
and g
ener
ate
a M
IDI
file
fo
r ex
port
.
bec
om
es..
.
Set
Tim
e S
ign
atu
re (
ra
ng
e o
f b
ars)
You c
an a
ssig
n a
sp
ecif
ic t
ime
signat
ure
at
any b
ar a
nd a
pp
ly i
t to
a r
ang
e o
f b
ars,
as
oft
en a
s you
wan
t. F
or
exam
ple
, to
hav
e o
ne
5/4
bar
, b
ar 1
3,
sele
ct t
his
men
u i
tem
, an
d t
ogg
le t
he
5/4
bu
tton
. T
hen
, ty
pe
in t
he
bar
beg
inn
ing
(1
3)
and
nu
mb
er o
f b
ars
(1)
in t
he
spac
e p
rov
ided
.
Tra
nsp
ose
Th
is m
enu
com
man
d o
pen
s a
sub
men
u w
ith
bo
th m
anu
al a
nd
auto
mat
ed o
pti
on
s fo
r tr
ansp
osi
ng t
he
com
ple
te s
on
g o
r se
lect
ed
par
ts o
f th
e so
ng
.
Tra
nsp
ose
Fro
m .. T
o ..
lau
nch
es t
he
Tran
sp
ose d
ialo
g f
or
tran
sposi
ng
a p
arti
cula
r se
ctio
n o
f th
e so
ng.
Th
e b
ar v
alu
es
can
be
typ
ed i
n m
anu
ally
, o
r yo
u c
an t
ran
spose
a p
ort
ion o
f a
son
g b
y h
igh
lig
hti
ng
th
e re
gio
n y
ou
wis
h t
o h
ave
tran
spose
d,
sele
ctin
g t
his
men
u i
tem
an
d t
yp
ing i
n t
he
new
key
you
wis
h t
o
tran
spose
to.
Chap
ter
14:
Ref
eren
ce
200
Tra
nsp
ose
DO
WN
or
UP
1 s
emit
on
e tr
ansp
ose
s th
e en
tire
so
ng
. T
his
can
be
don
e w
hil
e th
e so
ng i
s p
layin
g. B
and-
in-a
-Box w
ill
pau
se b
rief
ly,
then
res
um
e pla
yin
g i
n t
he
new
key
at
the
sam
e pla
ce i
n t
he
song.
Tra
nsp
ose
# o
f se
mit
on
es o
pen
s a
dia
log
wher
e you
can
type
in t
he
nu
mb
er o
f se
mit
on
es t
o t
ran
spo
se t
he
song
.
So
ng
Mem
o…
A s
on
g m
emo
of
up
to
2000
ch
arac
ters
may
be
add
ed. W
hen
a s
ong h
as a
mem
o a
ssoci
ated
wit
h i
t th
e
word
Mem
o h
igh
ligh
ts i
n p
ink
.
Cli
ckin
g o
n t
he
[Mem
o]
bu
tto
n l
aun
ches
the
So
ng
Mem
o d
ialo
g, w
her
e yo
u c
an t
yp
e or
edit
a m
emo
ab
ou
t th
e so
ng
and s
elec
t an
“A
uto
-open
” opti
on t
hat
wil
l sh
ow
th
e m
emo
eac
h t
ime
the
song i
s lo
aded
.
Au
to-G
en
erate
Son
g T
itle
all
ow
s yo
u t
o g
ener
ate
a ti
tle
for
a so
ng.
Th
ere
is a
lso
a b
utt
on o
n t
he
mai
n s
cree
n f
or
this
.
‘Ja
zz U
p’
Th
e c
ho
rd
s
This
wil
l “J
azz
Up”
the
chord
s by c
han
gin
g c
hord
s li
ke
C a
nd C
maj
to 7
th a
nd 6
th c
ho
rds.
S
ong
em
bel
lish
men
t w
ill
be
turn
ed o
n f
or
the
song. S
elec
t th
e ty
pe
of
7th
s fr
om
the
list
box,
and t
hen
cli
ck o
n t
he
[OK
– J
azz
UP
] butt
on.
‘Ja
zz D
ow
n’
Th
e c
ho
rd
s
This
wil
l “J
azz
Dow
n”
the
chord
s by c
han
gin
g c
hord
s w
ith 7
ths
(e.g
. C
7)
to t
riad
s (e
.g. C
) an
d 9
ths
and
13
ths
to 7
th
chord
s. S
ong e
mbel
lish
men
t is
turn
ed o
ff.
Pre
ss [
OK
– J
azz
Dow
n]
to p
roce
ed.
Ch
ord
Sett
ing
s…
Th
is l
aun
ches
th
e C
ho
rd
Op
tio
ns d
ialo
g b
ox
, w
her
e you
can
pu
t in
res
ts a
nd p
ush
es.
You c
an l
aun
ch t
he
Pre
vie
w,
Ch
ord
Bu
ild
er, or
Chord
-Su
bst
itu
tio
n F
un
ctio
ns
fro
m t
his
win
dow
.
Th
eC
ho
rd
Op
tion
s d
ialo
g b
ox c
an a
lso b
e o
pen
ed w
ith
the
cho
rd o
pti
ons
bu
tton
, w
ith
th
e k
eyst
rok
es
Alt
+F
5 o
r w
ith a
rig
ht
mo
use
bu
tton
cli
ck o
n t
he
chord
shee
t.
Sett
ings f
or C
urren
t B
ar…
Th
is c
om
man
d o
pen
s th
e E
dit
Sett
ings f
or C
urren
t B
ar d
ialo
g w
her
e you
can
ch
ang
e m
eter
, te
mp
o, p
atch
es,
style
s, a
nd
/or
har
mo
nie
s at
th
e cu
rren
t b
ar. T
his
dia
log i
s co
ver
ed i
n d
etai
l el
sew
her
e in
this
man
ual
an
d i
n t
he
on
lin
e H
elp
.
Sett
ing
s (
for T
his
So
ng
)…
Th
eS
on
g S
ett
ing
s d
ialo
g c
an a
lso
be
acce
ssed
by
pre
ssin
g t
he
[S]
sett
ings
butt
on o
n t
he
mai
n s
cree
n u
nder
the
song
tit
le. T
hes
e se
ttin
gs
are
full
y
exp
lain
ed i
n t
he
Pow
erG
uid
e c
hap
ter.
Chap
ter
14:
Ref
eren
ce
201
Sty
les M
en
u
Sty
leM
ak
er
Th
is o
pen
s a
sub
men
u w
ith
th
ree
Sty
leM
aker
op
tion
s.
New
- M
ak
e A
New
Sty
le
Th
is f
un
ctio
n a
llo
ws
yo
u t
o b
egin
to
cre
ate
a n
ew s
tyle
, u
sing
th
e S
tyle
Mak
er f
eatu
re.
See
on
lin
e T
uto
rial
#6
:
Sty
leM
aker
- M
akin
g a
New
Sty
le.
Ed
it a
Sty
le
Th
is a
llow
s you
to e
dit
an
ex
isti
ng
sty
le (
*.S
TY
) fr
om
dis
k. T
he
resu
ltin
g s
tyle
can
th
en b
e sa
ved
wit
h t
he
sam
e
nam
e o
r a
dif
fere
nt
nam
e.
Th
is f
un
ctio
n u
ses
the
Sty
leM
aker
. S
ee o
nli
ne
Tu
tori
al #
5:
Sty
leM
aker
– E
dit
ing S
tyle
s.
Ed
it C
urren
t S
tyle
Th
is a
llow
s you
to q
uic
kly
get
in
to t
he
Sty
leM
aker
to
ed
it t
he
curr
ent
style
. T
he
curr
ent
style
is
the
style
th
at i
s
dis
pla
yed
in
the
Sty
le B
ox o
n t
he
mai
n s
cree
n.
Usu
ally
you
wo
uld
use
Ctr
l+F
9 t
o d
o t
his
qu
ick
ly. S
ee o
nli
ne
Tu
tori
al #
5:
Sty
leM
aker
– E
dit
ing S
tyle
s.
Ma
ke a
Hy
brid
Sty
le
The
“Hybri
d S
tyle
s” f
eatu
re a
llow
s yo
u t
o p
lay a
nd c
reat
e a
style
that
has
in
stru
men
ts f
rom
up
to
fiv
e d
iffe
ren
t
style
s!
You
can
, fo
r ex
amp
le,
pla
y a
son
g w
ith
a R
egg
ae b
ass,
Ro
ck d
rum
s, S
alsa
pia
no
, or
any c
om
bin
atio
n o
f u
p
to f
ive
style
s th
at y
ou
wan
t.
Sty
le W
iza
rd
(A
uto
-Create
Sty
le f
ro
m M
ID
I f
ile)
Lau
nch
es t
he
Sty
le C
rea
tion
Wiz
ard
, w
hic
h a
uto
mat
ical
ly c
onv
erts
a M
IDI
file
(.M
ID)
to a
Ban
d-i
n-a
-Box
Sty
le
(.S
TY
). S
imp
ly o
pen
a M
IDI
file
, se
lect
your
op
tion
s, a
nd
pre
ss “
Sav
e-A
s S
tyle
.”
Sty
le i
s E
na
ble
d
Th
is i
tem
wil
l E
nab
le o
r D
isab
le t
he
style
. W
hen
dis
able
d,
the
nam
e o
f th
e st
yle
wil
l h
ave
an X
at
the
beg
inn
ing,
wh
ich
ind
icat
es a
dis
able
d s
tyle
. T
he
dis
able
d s
tyle
won
't so
und
or
wri
te a
ny d
ata
to t
he
MID
I fi
le. T
he
mo
st
com
mo
n u
se f
or
dis
abli
ng a
sty
le i
s w
hen
a M
IDI
file
is
load
ed t
o t
he
Mel
ody t
rack
. T
hen
th
e st
yle
won
't so
un
d a
nd
confl
ict
wit
h t
he
full
arr
ang
emen
t on t
he
Mel
ody t
rack
.
OK
to l
oa
d s
tyle
wit
h s
on
gs
Norm
ally
th
is i
s ch
eck
ed s
o t
hat
son
gs
load
wit
h t
he
asso
ciat
ed s
tyle
. B
ut
let’
s sa
y w
e’ve
dis
cover
ed a
new
sty
le,
and w
ant
to t
ry i
t o
ut
on
man
y d
iffe
ren
t so
ngs.
In
th
at c
ase
we
wou
ld e
nsu
re t
hat
th
is i
tem
is
NO
T c
hec
ked
. T
hen
wh
en a
so
ng
is
load
ed i
t w
ill
pla
y i
n t
he
new
sty
le w
e ar
e tr
yin
g o
ut.
Op
en
a U
ser S
tyle
from
dis
k…
Sty
les
can b
e se
lect
ed a
nd l
oad
ed w
ith L
ong
Fil
e N
ame
dia
log
s.
Chap
ter
14:
Ref
eren
ce
202
Bro
wse S
tyle
s w
ith
in
fo…
Op
ens
the
Sty
leP
ick
er w
indow
wit
h c
om
ple
te s
tyle
in
form
atio
n.
Sele
ct
Fa
vorit
e S
tyle
s…
Op
ens
the
Favorit
e S
tyle
s d
ialo
g,
whic
h c
onta
ins
a li
st o
f th
e m
ost
rec
ent
15
0 s
tyle
s u
sed
. S
ince
th
ese
are
ord
ered
bas
ed u
pon
how
oft
en t
hey
are
use
d, w
e ca
ll t
his
th
e “f
avori
te s
tyle
s” l
ist.
S
ince
you c
an a
lso
sto
re u
ser-
def
inab
le
favo
rite
lis
ts, w
e al
so r
efer
to
th
em a
s S
et L
ists
.
Lo
ad
Prev
iou
s S
tyle
, L
oa
d N
ext
Sty
le.
Th
is f
un
ctio
n,
lik
e th
e L
oad
Nex
t S
ong
fu
nct
ion,
load
s in
th
e pre
vio
us
(or
nex
t) s
tyle
in a
lph
abet
ical
ord
er o
f th
e fi
le
nam
e.
Th
ese
fun
ctio
ns
are
in t
he
Sty
les
men
u,
and
acc
essi
ble
wit
h t
he
ho
t k
eys
Ctr
l+A
lt+
Sh
ift+
F8 (
or
Alt
+S
hif
t+F
8).
Sty
le A
lia
ses
You
can
cre
ate
an a
lias
so
th
at w
hen
Ban
d-i
n-a
-Box
lo
ok
s fo
r a
style
, it
wil
l lo
ad i
ts a
lias
in
stea
d,
so w
hen
you
hav
e
foun
d a
new
fav
ori
te s
tyle
just
ch
ang
e th
e al
ias
and
yo
u d
on’t
hav
e to
ch
ang
e al
l of
yo
ur
song
s.
-T
o c
reat
e a
new
ali
as,
clic
k o
n a
n e
mp
ty s
pot
in t
he
Ali
as l
ist,
or
clic
k o
n t
he
alia
s you
wis
h t
o e
dit
if
you
wis
h
to c
han
ge
an e
xis
tin
g a
lias
.
-P
ress
the
[Choose
] butt
on b
elow
the
Ori
gin
al S
tyle
box a
nd s
elec
t th
e st
yle
yo
u w
ish
to
be
rep
lace
d.
-P
ress
th
e [C
hoo
se]
bu
tton
bel
ow
th
e S
ub
stit
uti
on b
ox
an
d s
elec
t th
e re
pla
cem
ent
style
(al
ias)
.
-If
yo
u w
ant
to t
yp
e in
a s
tyle
nam
e u
se t
he
[Cu
sto
m]
bu
tton
.
When
yo
u h
ave
succ
essf
ull
y m
ade
an a
lias
, you w
ill
noti
ce t
hat
ther
e w
ill
be
a sm
all
arro
w i
n t
he
Sty
les
box o
n t
he
mai
n s
cree
n i
nd
icat
ing
th
at y
ou h
ave
an a
lias
lo
aded
.
Tip
: Y
ou
ca
n t
em
po
rari
ly t
ota
lly d
isa
ble
th
e A
lias fe
atu
re b
y d
isa
blin
g t
he
Allo
w A
ny S
tyle
Alia
se
s c
he
ckb
ox f
ou
nd
in
th
e
dia
log
. Y
ou
ca
n a
lso
ha
ve
co
nfirm
atio
n o
f a
lias s
ub
stitu
tio
ns b
y e
na
blin
g t
he
Co
nfirm
Su
bstitu
tio
n c
he
ckb
ox.
Ch
oo
se f
ro
m 2
4 “
Bu
ilt-
in”
Sty
les
Use
th
is l
ist
as a
con
ven
ien
t w
ay t
o m
ake
a qu
ick
pic
k f
rom
th
e li
st o
f 24
ori
gin
al B
and-i
n-a
-Box
sty
les.
O
nce
you
load
a s
tyle
, th
e so
ng
wil
l b
e p
layed
bac
k u
sin
g y
our
cho
sen
sty
le, an
d y
ou
can
ch
ang
e th
e st
yle
an
y t
ime.
Chap
ter
14:
Ref
eren
ce
203
Op
t. M
en
u
MID
I D
riv
er s
etu
p…
Sel
ect
MID
I In
pu
t an
d M
IDI
Ou
tpu
t dri
ver
s an
d c
hoo
se a
Syn
thes
izer
/ S
ou
nd
Car
d p
atch
map
. S
elec
t th
e [R
un
Dri
ver
Wiz
ard
] bu
tto
n f
or
hel
p w
ith
your
sele
ctio
n. T
his
top
ic i
s d
iscu
ssed
in d
etai
l in
the
setu
p i
nst
ruct
ion
s.
Use/S
et
AL
TE
RN
AT
E M
ID
I o
utp
ut
driv
er f
or s
essio
n
Use
/Set
Alt
ernat
e M
IDI
Dri
ver
for
sess
ion, al
low
s yo
u t
o s
et a
tem
po
rary
MID
I D
riv
er f
or
a se
ssio
n, u
sefu
l w
hen
yo
ur
mai
n M
IDI
Dri
ver
is
“in
-use
” b
y a
no
ther
app
lica
tio
n.
Retu
rn
to F
acto
ry
Sett
ing
s
Ch
oo
sing
th
is c
om
man
d w
ill
rese
t al
l se
ttin
gs
to t
he
def
ault
at
the
tim
e o
f sh
ipp
ing
.
Wh
at
ad
d-o
ns d
o I
hav
e?…
An i
nte
llig
ent
dia
log,
also
acc
essi
ble
fro
m t
he
Hel
p m
enu
that
wil
l se
arch
yo
ur
dir
ecto
ry t
o t
ell
yo
u w
hic
h a
dd-o
ns
yo
u h
ave
and w
hic
h y
ou
do
n’t
.
Uti
liti
es
Ed
it C
ho
rd
Sh
ortc
uts
fil
e (
sh
ortc
ut.
txt)
… /
Refr
esh
Ch
ord
Sh
ortc
uts
…
If y
ou h
ave
foun
d a
ch
ord
th
at B
and
-in-a
-Box
do
esn
't re
cogn
ize,
you
can
ad
d y
ou
r ow
n s
hort
cuts
in
a t
ext
file
th
at
yo
u m
ake
you
rsel
f ca
lled
c:\
bb
\sho
rtcu
t.tx
t an
d B
and
-in
-a-B
ox w
ill
allo
w y
ou t
o t
yp
e in
th
at c
ho
rd i
n t
he
futu
re.
Cli
ck o
n t
his
men
u c
om
man
d t
o o
pen
or
crea
te y
our
ow
n c
ho
rd s
ho
rtcu
ts f
ile.
M
ake
sure
to
sav
e th
e fi
le a
fter
edit
ing
. C
han
ges
won
’t t
ake
effe
ct u
nti
l you
ch
oo
se E
dit
| R
efre
sh C
ho
rd S
hort
cuts
…
Th
e te
xt
file
\bb
\sho
rtcu
t.tx
t al
low
s yo
u t
o a
dd
new
chord
sho
rtcu
ts.
If
you
fin
d a
cho
rd t
hat
Ban
d-i
n-a
-Bo
x w
on
't
acce
pt,
lik
e C
sus2
wh
en i
t ex
pec
ts C
2 i
nst
ead,
yo
u c
an e
nte
r th
is o
n a
sin
gle
lin
e (w
ithout
the
quote
s) “
Csu
s2@
C2
.”
Th
en B
and-i
n-a
-Box
wil
l en
ter
the
cho
rd C
2 w
hen
ever
you
typ
e in
Csu
s 2
. Y
ou
can
als
o u
se i
t fo
r sh
ort
cuts
. F
or
exam
ple
, if
you
en
tere
d j
@m
aj7 B
and
-in
-a-B
ox w
ou
ld l
et y
ou
typ
e C
j fo
r C
Maj
7.
See
th
e fi
le c
:\b
b\p
gsh
ort
c.tx
t fo
r
exam
ple
s o
f sh
ort
cuts
.
No
te:
Th
e s
ho
rtcu
t.tx
t file
do
esn
't s
hip
with
Ba
nd
-in
-a-B
ox o
r it w
ou
ld o
ve
rwrite
yo
ur
file
! T
he
file
c:\
bb
\pg
sh
ort
c.t
xt
sh
ou
ld
be
use
d o
nly
by P
G M
usic
In
c.
for
sh
ort
cu
ts s
up
plie
d w
ith
Ba
nd
-in
-a-B
ox.
Save D
efa
ult
Con
figu
rati
on
(M
ysetu
p.D
K f
ile)
Th
is w
ill
rew
rite
th
e B
and
-in
-a-B
ox
co
nfi
gu
rati
on
fil
e m
yse
tup
.dk
wit
h y
ou
r cu
rren
t se
ttin
gs.
T
his
fil
e co
nta
ins:
-M
IDI
Chan
nel
s/P
atch
es/V
olu
mes
/Rev
erb/C
horu
s/B
ank
Chap
ter
14:
Ref
eren
ce
204
-P
atch
Map
-F
avo
rite
Pat
ches
, F
avo
rite
Com
bo
s se
ttin
gs
-D
rum
Kit
Sav
e /
Lo
ad
alt
ern
ate
Dru
m/P
atc
h F
ile .D
K
All
ow
s you
to
sav
e d
iffe
ren
t cu
sto
m d
rum
kit
s o
r lo
ad p
rese
t o
r cu
sto
m k
its.
Dis
pla
y G
en
era
l M
ID
I P
atc
h N
um
bers
Th
is o
pen
s th
e G
ener
al M
IDI
Pat
ch L
ist
for
refe
ren
ce.
Sen
d a
Sy
sE
x f
ile (
*.S
YX
) is
a c
om
man
d t
hat
sen
ds
SysE
x i
nfo
rmat
ion
to y
our
MID
I d
evic
e.
Ch
oose P
atc
h f
ro
m G
en
era
l M
ID
I P
atc
hes..
. al
low
s you t
o s
elec
t a
pat
ch f
or
the
curr
entl
y s
elec
ted i
nst
rum
ent
fro
m a
n o
rgan
ized
lis
t of
GM
pat
ches
.
Ch
oo
se P
atc
h f
ro
m H
igh
er B
an
k..
. al
low
s yo
u t
o s
elec
t a
pat
ch u
sin
g t
he
adv
ance
d s
earc
h a
nd h
igh
er b
ank
/pat
ch
sup
po
rt c
apab
ilit
ies.
Mak
e a
n A
dvan
ced
Pa
tch
map
Pat
ch m
aps
con
tain
info
rmat
ion f
or
map
pin
g t
he
pat
ches
an
d d
rum
no
tes
to y
ou
r sy
nth
esiz
er a
s w
ell
as V
elo
city
off
set,
Oct
ave
off
set,
ban
k C
on
tro
ller
0 s
etti
ng
, b
ank C
on
troll
er 3
2 s
etti
ng
, et
c.
Th
ere
are
also
ad
van
ced
op
tion
s li
ke
send
ing
a S
ysE
x f
ile
by l
oad
ing
th
e .D
K f
ile.
Th
ese
op
tio
ns
are
use
ful
eith
er i
f yo
u h
ave
a n
ewer
syn
thes
izer
th
at s
up
port
s b
ank c
han
ges
and
has
nic
e p
atch
es i
n
hig
her
ban
ks
or
if y
ou
hav
e an
old
er s
yn
th t
hat
req
uir
es c
ust
om
map
pin
g o
f so
un
ds.
T
o a
cces
s th
ese
feat
ure
s ti
ck t
he
En
able
Adv
ance
d S
etti
ng
s ch
eck
box
. T
hen
, ty
pe
in t
he
val
ues
you
wou
ld l
ike
to c
han
ge.
S
ay, fo
r ex
amp
le, yo
u
hav
e so
me
gre
at s
trin
g s
ounds
on
your
syn
th o
n B
ank 4
, C
on
tro
ller
32
. W
ith
th
is f
eatu
re y
ou
can
sav
e th
em a
s p
art
of
you
r B
and
-in
-a-B
ox
set
up b
y c
lick
ing
th
e [S
ave]
bu
tton
. T
his
wil
l ap
pen
d y
ou
r M
YS
ET
UP
.DK
fil
e to
in
clud
e al
l
of
the
pat
ches
yo
u l
ike
to u
se, re
gar
dle
ss o
f w
her
e th
ey a
re o
n y
ou
r sy
nth
.
La
ng
ua
ge S
ele
cti
on
Th
is a
llow
s you
to c
han
ge
lang
uag
e fr
om
Eng
lish
to
an
oth
er l
angu
age
for
dis
pla
y. I
f th
ere
are
oth
er l
ang
uag
es
sup
po
rted
by y
our
ver
sion
of
Ban
d-i
n-a
-Bo
x, th
en t
hey
wil
l b
e d
isp
layed
in
th
is d
ialo
g b
ox. I
nte
rnat
ional
lan
gu
age
sup
po
rt f
iles
are
av
aila
ble
for
dow
nlo
ad f
rom
ww
w.p
gm
usi
c.co
m.
Prefe
ren
ces…
Th
is d
ialo
g b
ox
all
ow
s yo
u t
o s
et v
ario
us
sett
ing
s th
at a
re s
aved
in
th
e B
and-i
n-a
-Bo
x f
or
Win
dow
s co
nfi
gu
rati
on
file
cal
led
IN
TR
FA
CE
.BB
W.
En
vir
on
men
t O
pti
on
s
OK
to S
av
e/L
oad
Rev
erb
, V
ol
etc
. w
/Son
gs
Chap
ter
14:
Ref
eren
ce
205
Sel
ect
this
ch
eck
box
if
you
wis
h t
o e
mb
ed R
ever
b, V
olu
me,
Pan
, C
ho
rus,
an
d B
ank
in
form
atio
n w
ith s
on
gs
for
late
r
reca
ll, or
if y
ou
wis
h t
o e
nab
le a
ny s
uch
em
bed
ded
info
rmat
ion
wit
h s
on
gs
that
are
lo
aded
. T
he
last
set
tin
gs
that
are
in e
ffec
t on
th
e m
ain
scr
een
inst
rum
ent
pan
el w
hen
you
sav
e th
e so
ng w
ill
be
reco
rded
. I
nd
ivid
ual
set
tin
gs
can
be
enab
led
/dis
able
d i
n t
he
Fil
e |
Sa
ve S
on
g w
/Pa
tch
es a
nd
Harm
on
y m
enu i
tem
.
OK
to P
rom
pt
to R
ed
uce/E
xp
an
d S
on
g
If a
sty
le i
s ch
ang
ed w
ith
a d
iffe
ren
t fe
el (
16
th n
ote
s in
stea
d o
f 8
th n
ote
s), B
and-i
n-a
-Bo
x w
ill
auto
mat
ical
ly o
ffer
to
exp
and
or
red
uce
th
e d
ura
tion o
f th
e ch
ord
s, a
nd c
han
ge
the
tem
po
to a
ccom
mo
dat
e th
e new
sty
le.
Sty
leP
ick
er d
efa
ult
s t
o c
urren
t sty
le
Sin
ce t
he
Sty
leP
ick
er c
an n
ow
def
ault
to
the
curr
ent
style
, th
is o
pti
on
is
avai
lab
le. I
f you
wan
t th
e S
tyle
Pic
ker
to
stay
at
the
style
that
you l
eft
it,
de-
sele
ct t
his
ite
m
Use c
usto
m f
ilen
am
e d
ialo
g
Wh
en s
elec
ted
, th
e [O
pen
] bu
tto
n, or
the
men
u c
om
man
d F
ile
| O
pen
, or
the
F3 k
ey w
ill
lau
nch
th
e cu
sto
m O
pen
Fil
e d
ialo
g.
Th
e cu
sto
m O
pen
Fil
e d
ialo
g h
as s
ever
al a
dv
anta
ges
ov
er t
he
trad
itio
nal
Win
dow
s d
ialo
gs:
-T
he
win
do
w i
s m
uch
big
ger
th
an t
he
trad
itio
nal
on
e, a
llow
ing m
ore
ro
om
.
-T
her
e is
a s
elec
tab
le f
on
t si
ze a
nd
ty
pef
ace.
-Y
ou
can
adju
st t
he
wid
ths
of
the
var
iou
s co
lum
ns.
-T
he
Win
do
w r
emem
ber
s yo
ur
sett
ings.
-T
her
e ar
e ta
bs
at t
he
top t
hat
all
ow
so
rtin
g b
y n
ame,
dat
e et
c.
OK
to
“b
eep
” w
ith
messa
ges
Now
th
at p
eople
hav
e th
eir
sou
nd
car
ds
hooked
up t
o b
ig s
pea
ker
syst
ems,
a s
imp
le “
bee
p”
issu
ed b
y W
indow
s
wh
en a
n i
nco
rrec
t k
ey i
s p
ress
ed c
an s
eem
lo
ud e
nou
gh
to
“w
ake
you
r n
eig
hbo
rs.”
S
etti
ng t
he
“sil
ent
bee
p”
op
tion
allo
ws
Ban
d-i
n-a
-Bo
x t
o v
isual
ly f
lash
th
e w
indo
w t
itle
bar
to
get
yo
ur
atte
nti
on, in
stea
d o
f g
ener
atin
g a
n a
ud
ible
“bee
p.”
Alw
ay
s s
av
e s
on
gs w
ith
“U
” e
xte
nsio
n
At
prog
ra
m b
ootu
p…
On s
essi
on s
tart
, you c
an e
lect
to h
ave
the
last
son
g o
r st
yle
th
at w
as u
sed
lo
aded
in
au
tom
atic
ally
. O
r n
ot.
Bo
otu
p i
n d
irecto
ry
of
the l
ast
sessio
n
On p
rogra
m b
oo
t up
, th
e cu
rren
t d
irec
tory
wil
l g
et s
et t
o t
he
last
dir
ecto
ry u
sed
in
th
e pre
vio
us
sess
ion.
Key
str
ok
e O
pti
on
s
En
ter K
ey
Ad
van
ces H
igh
lig
ht
Ba
r
Th
eE
nte
r k
ey a
dv
ance
s th
e hig
hli
gh
t b
ar o
n t
he
chord
sh
eet.
T
his
sp
eed
s u
p t
he
entr
y o
f so
ng
s fo
r p
eople
who
pre
fer
to u
se t
he
En
ter
key
. W
hen
yo
u e
nte
r a
cho
rd o
n t
he
cho
rd w
ork
shee
t, p
ress
th
e E
nte
r k
ey t
o p
lace
your
chord
in t
he
hig
hli
gh
ted c
ell.
T
he
hig
hli
gh
ted
reg
ion w
ill
then
mo
ve
auto
mat
ical
ly t
o t
he
nex
t ce
ll. T
he
righ
t ar
row
key
can
als
o b
e u
sed
to
mo
ve
the
hig
hli
gh
t ce
ll.
SP
AC
EB
AR
Key
Ther
e ar
e th
ree
opti
ons
for
spac
ebar
oper
atio
n.
-E
nte
rs n
o c
hord
(del
etes
cu
rren
t ch
ord
)
-P
lays
from
curr
ent
posi
tion (C
trl
– S
pac
e fr
om
sta
rt)
-P
lays
from
sta
rt (
Ctr
l – S
pac
e fr
om
cu
rren
t p
os.
)
Sim
ula
te N
UM
PA
D k
ey
s (
for n
ote
bo
ok
users)
No
teb
ook
use
rs o
ften
do
n't
hav
e a
nu
mb
er p
ad s
o t
hey
can
't u
se t
he
Ban
d-i
n-a
-Box
lo
op
ing
fea
ture
s
(Ctr
l+N
UM
PA
D 1
-6 k
eys)
. W
ith
th
is o
pti
on
th
e re
gu
lar
nu
mb
ers
can b
e u
sed
to t
rigg
er t
he
loo
pin
g f
eatu
re. F
or
exam
ple
, p
ress
ing
Ctr
l+2
wil
l st
art
pla
yb
ack o
f lo
op
ed c
ho
ruse
s.
Pau
se P
lay u
nti
l M
ID
I o
r K
ey r
eceiv
ed
This
all
ow
s pla
ybac
k t
o b
e st
arte
d b
y a
MID
I note
rec
eived
at
the
MID
I In
port
, or
by p
ress
ing a
key
on t
he
com
pu
ter
key
bo
ard
. B
and-i
n-a
-Box
gen
erat
es i
ts a
rran
gem
ent,
an
d t
hen
“st
ands
by”
for
yo
ur
star
t co
mm
and.
Tex
t H
ints
Ch
oo
se t
o e
nab
le o
r d
isab
le t
he
fly-b
y t
ext
hin
ts,
the
com
pre
hen
siv
e p
rog
ram
hin
ts,
and
/or
the
dia
log
box
hin
ts. S
et
the
tim
e d
elay
in
ms
bef
ore
the
hin
t po
ps
up, an
d t
he
len
gth
of
tim
e it
wil
l d
isp
lay.
Prefe
ren
ces B
utt
on
s
Mo
st p
rogra
m s
etti
ng
s an
d o
pti
on
s ca
n b
e ac
cess
ed f
rom
th
e ro
ws
of
bu
tton
s at
th
e to
p o
f th
e P
refe
ren
ces
dia
log
.
Dis
pla
y O
pti
on
s
T
he
[Dis
pla
y]
bu
tto
n o
pen
s th
e D
isp
lay
Op
tio
ns d
ialo
g.
Chap
ter
14:
Ref
eren
ce
206
To
olb
ars
To
olb
ar m
od
e s
etti
ng
s ar
e fo
r th
e m
ain
to
olb
ar. T
he
No
rmal
mo
de
show
s to
olb
ar i
con
s w
ith
tex
t la
bel
s. O
pti
on
s
are
Tex
t on
ly, Ic
on
s on
ly, or
No t
oo
lbar
.
Sh
ow
on
-screen
pia
no s
how
s or
hid
es t
he
on
-scr
een
pia
no
.
Flo
ati
ng T
oo
lba
rs A
lway
s S
ho
w T
ext
toggle
s fl
oat
ing
to
olb
ar t
ext
off
or
on.
So
ng
Tit
le a
rea
fo
nt
allo
ws
the
sele
ctio
n o
f an
y i
nst
alle
d f
on
t th
e so
ng t
itle
.
Ch
ord
sh
eet
En
ab
le d
isp
lay
of
Rep
ea
ts/E
nd
ing
s a
llow
s re
pea
ts s
igns
and 1
st/2
nd e
nd
ing m
ark
ers
to b
e sh
ow
n o
n t
he
cho
rdsh
eet.
Dis
pla
y b
ars h
igh
er t
ha
n e
nd
of
son
g i
n g
ray
wil
l “g
ray o
ut”
th
e b
ars
on t
he
cho
rdsh
eet
afte
r th
e en
d o
f th
e so
ng.
Sh
ow
ch
ord
s w
ith
pu
sh
/rest
ch
ara
cte
rs
Th
e p
ush
ch
arac
ter
is t
he
care
t sy
mb
ol
(^).
S
o a
C c
ho
rd w
ith
a p
ush
is
dis
pla
yed
as
^C
. T
he
rest
ch
arac
ter
is a
per
iod (
.) s
o a
C c
ho
rd w
ith
a r
est
is d
isp
layed
as
C. (C
per
iod).
If
you
pre
fer
to n
ot
see
thes
e ch
arac
ters
dis
pla
yed
,
then
set
th
is t
o f
alse
. T
hes
e ch
arac
ters
won’t
show
up o
n t
he
pri
nto
ut
regar
dle
ss o
f th
is s
etti
ng
.
Sh
ow
ch
ord
s w
ith
pu
sh
es/r
ests
in
co
lor
If s
et t
o Y
ES
, p
ush
es a
re d
ispla
yed
in
GR
EE
N a
nd r
ests
are
dis
pla
yed
in R
ED
. T
his
on
ly a
pp
lies
to
th
e C
hord
shee
t,
no
t th
e n
ota
tion
.
Ch
ord
dis
pla
y
Use
th
is s
etti
ng
to c
han
ge
the
cho
rd d
isp
lay f
rom
no
rmal
to
Ro
man
Nu
mer
al, N
ashv
ille
, o
r S
olf
egg
io.
For R
om
an
Nu
merals
of
Ch
ord
s i
n m
inor k
eys,
use r
ela
tive m
ajo
r
Fo
r m
ino
r k
eys,
bas
e ro
man
nu
mer
als
on
th
e re
lati
ve
maj
or.
F
or
exam
ple
in
key
of
Am
, A
m i
s ei
ther
the
Im c
ho
rd
or
the
VIm
ch
ord
.
Ch
ord
sh
eet
Fo
nt/
Nu
mb
er o
f row
s
You
can
cho
ose
th
e F
on
t to
use
, an
d t
he
# o
f ro
ws
per
scr
een
. I
f you
cho
ose
a C
ust
om
fon
t, y
ou
can
choo
se t
he
size
as w
ell.
If
you c
ho
ose
on
e of
the
pre
set
fon
ts, th
e si
ze i
s se
t au
tom
atic
ally
to
fit
in
to t
he
hei
gh
t o
f th
e ch
ord
shee
t
row
.
If y
ou w
ant
to r
ever
t to
th
e cl
assi
c st
yle
that
use
d a
sm
all
Syst
em f
on
t an
d l
ots
of
row
s, y
ou c
an c
hoose
that
as
the
typ
e of
fon
t “S
mal
l fo
nt
(syst
em).
”
Chap
ter
14:
Ref
eren
ce
207
Arra
ng
em
en
t O
pti
on
s
T
he
[Arr
ang
e] b
utt
on
op
ens
the
Arr
ang
emen
t O
pti
on
s d
ialo
g.
Boost
Velo
cit
y o
f p
ush
es b
y
Th
e pu
shes
in B
and-i
n-a
-Bo
x a
re t
he
chord
s th
at g
et p
layed
bef
ore
th
e b
eat.
T
yp
ical
ly p
ush
es a
re p
layed
a l
ittl
e
loud
er t
han
oth
er p
atte
rns.
Y
ou c
an l
eav
e th
is s
etti
ng
at
0, o
r se
t it
to
bet
wee
n 0
and
10
.
Bo
ost
sh
ots
by
Sh
ots
can
be
acce
nte
d w
ith
th
is s
etti
ng
.
Bo
ost
‘Ho
lds’
by
Use
th
is s
etti
ng
to b
oo
st t
he
vel
oci
ty o
f h
eld
ch
ord
s.
All
ow
An
y R
ests
You
can
dis
able
th
e re
sts
feat
ure
. Y
ou m
igh
t w
ant
to d
o t
his
if
you’v
e go
t a
song
wit
h a
lo
t of
rest
s in
it,
and
are
then
hav
ing
dif
ficu
lty r
eco
rdin
g a
mel
od
y b
ecau
se y
ou d
on
’t h
ear
the
dru
ms
pro
vid
ing t
he
bea
t (d
ue
to t
he
dru
ms
rest
ing).
If
so
, yo
u c
an t
emp
ora
rily
dis
able
th
e re
sts
so t
hat
yo
u c
an r
eco
rd a
nd l
iste
n t
o t
he
dru
ms.
All
ow
An
y P
ush
es
If f
or
som
e re
aso
n y
ou
do
n't
wan
t a
style
or
a so
ng
to h
ave
pu
shes
, you
can
set
th
is t
o n
o.
All
ow
Sty
le P
ush
es
If f
or
som
e re
aso
n y
ou
do
n't
wan
t a
style
to
hav
e pu
shes
, yo
u c
an s
et t
his
to
no
.
OK
To
Loa
d S
tyle
Wit
h S
on
gs
Th
is l
oad
s th
e st
yle
th
at i
s sa
ved
wit
h t
he
Ban
d-i
n-a
-Bo
x s
on
g. S
et i
t to
NO
if
you
don
’t w
ant
the
sav
ed s
tyle
s to
load
, p
erh
aps
to a
ud
itio
n a
new
sty
le w
ith s
ever
al d
iffe
ren
t so
ng
s.
Con
cert
Pit
ch
Ad
just
Th
is i
s u
sefu
l fo
r non
-co
nce
rt i
nst
rum
ents
such
as
Sax
oph
on
e o
r T
rum
pet
. T
he
ou
tpu
t is
tra
nsp
ose
d s
o t
hat
you
see
the
mu
sic
in o
ne
key
, an
d i
t p
lays
in a
no
ther
.
Tru
mp
et p
layer
s an
d o
ther
Bb i
nst
rum
ents
sho
uld
set
Co
nce
rt P
itch
Ad
just
to
–2
.
Alt
o S
ax a
nd
oth
er E
b i
nst
rum
ents
sho
uld
set
Co
nce
rt P
itch
ad
just
to
+3
.
Chap
ter
14:
Ref
eren
ce
208N
ote
: T
his
co
nce
rt p
itch
ad
just
se
ttin
g is a
n o
ld o
ne
. I
t is
pre
fera
ble
th
at
yo
u u
se
th
e N
ota
tio
n-T
ran
sp
ose
Op
tio
n in
ste
ad
.
All
ow
An
y E
nd
ing
s
You
can
dis
able
th
e en
din
gs
fro
m a
ll t
he
song
s b
y u
sing
th
is s
etti
ng
.
Lo
west
Ba
ss N
ote
Sty
les
wil
l n
orm
ally
pla
y b
ass
no
tes
(dow
n t
o t
he
low
E)
if t
he
pat
tern
won
't g
o b
elow
a l
ow
E n
ote
. T
his
hap
pen
s
wit
h a
ll s
tyle
s au
tom
atic
ally
, b
ut
ther
e is
als
o a
n o
pti
on
to
set
th
e lo
wes
t n
ote
th
at t
he
bas
s ca
n g
o r
eal
low
(so
yo
u
can g
et a
lo
w C
if
you w
ant
to!)
.
Prev
en
t “
too
lo
w”
gu
ita
r n
ote
s
All
ow
late
no
tes i
n p
att
ern
, ju
st
befo
re c
ho
rd
ch
an
ge
Sty
les
wil
l n
orm
ally
pla
y n
ote
s n
ear
the
end o
f a
pat
tern
, bef
ore
a c
ho
rd c
han
ge.
S
om
etim
es t
his
mak
es t
he
style
sound
“to
o b
usy
.”
If y
ou
set
th
is t
o,
say 7
0%
, th
en 3
0%
of
the
tim
e, t
he
note
at
the
end o
f th
e p
atte
rn w
ill
pla
y
qu
iete
r, t
yp
ical
ly a
t h
alf
the
vo
lum
e.
Dru
m B
ru
sh
es
Mo
st G
M m
odu
les
hav
e bru
shes
av
aila
ble
on
pat
ch 4
1 o
n t
he
dru
ms.
O
n s
om
e S
ound
Bla
ster
s you
nee
d t
o l
oad
a
GS
sou
nd
fo
nt
for
this
to
occ
ur,
and
you
nee
d t
o u
se t
he
Sou
nd
Bla
ster
soft
war
e to
do t
his
(A
WE
Con
tro
l P
anel
). O
n
the
Yam
aha
XG
, yo
u l
ikel
y n
eed
to s
end a
“G
S m
od
e on
” m
essa
ge
fro
m t
he
GM
men
u i
n B
and-i
n-a
-Bo
x.
Bu
t if
yo
ur
mo
du
le j
ust
do
esn
't h
ave
bru
shes
av
aila
ble
, th
en y
ou
can
set
th
is o
pti
on,
and t
he
style
wil
l re
map
the
note
s to
dif
fere
nt
dru
m i
nst
rum
ents
th
at d
on
't h
ave
bru
shes
.
Cou
nt-
in a
nd
Metr
on
om
e O
pti
on
s
T
his
op
ens
the
Cou
nt-
in a
nd M
etro
no
me
Op
tio
ns
dia
log.
Chap
ter
14:
Ref
eren
ce
209
Dru
m L
ea
d-i
n o
pti
on
s
All
ow
Lead
-In
Ba
rs
Peo
ple
who
use
Ban
d-i
n-a
-Bo
x f
or
solo
ing
pra
ctic
e w
ill
lik
ely t
urn
th
e le
ad-i
n o
ff t
o a
llo
w e
nd
less
lo
op
ing
un
inte
rrup
ted b
y t
he
lead
-in
co
un
t. T
o e
lim
inat
e th
e le
ad-i
n c
oun
t, s
elec
t A
llo
w L
ead
-In B
ars
to =
NO
, th
is w
ill
star
t
the
song
fro
m b
ar 1
wit
h n
o l
ead
in.
Pla
y L
ead
-In
Even
If
In
tro P
resen
t
If a
so
ng
has
an
in
tro,
it’s
usu
ally
no
t n
eces
sary
to
pla
y t
he
2 b
ar l
ead
-in
co
un
t. T
her
e's
a n
ew o
pti
on
to
alw
ays
OM
IT t
he
lead
-in
if
an i
ntr
o i
s pre
sen
t.
Lea
d-i
n t
yp
e
Th
is c
an b
e d
rum
pat
tern
s in
stea
d o
f “1
-2-1
23
4.”
Y
ou c
an s
pec
ify t
o p
lay t
wo
bar
s o
f dru
m p
atte
rns
inst
ead
of
the
coun
t-in
. Y
ou
may
pre
fer
hea
ring
th
e dru
m b
eat
to a
sim
ple
cou
nt-
in, si
nce
it
pro
vid
es m
ore
in
form
atio
n a
bou
t th
e
up
com
ing
gro
ov
e. If
you’r
e pla
yin
g w
ith B
and-i
n-a
-Bo
x l
ive
on a
“d
ance
flo
or,
” th
is s
etti
ng
wil
l av
oid
“d
ead a
ir”
bet
wee
n s
on
gs,
and
kee
p t
he
dru
mb
eat
go
ing
. I
ncl
ud
es o
pti
on
s to
hav
e “a
” or
“b”
dru
m f
ills
or
pat
tern
s p
lay f
or
the
two
bar
s.
Au
dib
le L
ead
-In
/Volu
me
En
able
s au
dib
le c
ou
nt-
in. If
yo
u w
ou
ld l
ike
the
lead
-in b
ars
to b
e p
layed
, bu
t ju
st w
ant
the
dru
m l
ead
-in q
uie
ter
(or
sile
nt)
set
th
e D
rum
Vo
lum
e to
= 0
(fo
r si
len
t).
In
str
um
en
t/ P
att
ern
You
can
sel
ect
any d
rum
in
stru
men
t fo
r th
e co
un
t in
. Y
ou c
an c
hoo
se d
iffe
ren
t co
un
t-in
rh
yth
ms,
e.g
., t
ap o
n 2
and
4 i
nst
ead
of
1-2
-3-4
. T
her
e's
a n
ew “
smar
t le
ad-i
n”
op
tion
to
sil
ence
th
e dru
m c
oun
t-in
if
a m
elo
dy l
ead-i
n h
as
beg
un
.
Sm
art
Lea
d-i
n
A s
mar
t le
ad-i
n a
vo
ids
pla
yin
g t
he
coun
t-in
dru
m s
oun
d d
uri
ng
a M
elod
y p
icku
p.
Lea
d-i
n d
ru
m c
ou
nt
if d
ru
ms m
ute
d/d
isa
ble
d
Pre
vio
usl
y, w
hen
th
e dru
m t
rack
was
mu
ted
(o
r d
isab
led
in
a s
on
g),
th
e co
un
t-in
dru
m c
lick
wou
ldn
't p
lay. T
his
op
tion
can
pla
y t
he
dru
m c
oun
t-in
in
all
cir
cum
stan
ces.
D
rum
mer
s w
ho p
lay a
lon
g w
ith
BB
by m
uti
ng
th
e dru
m
trac
k s
ho
uld
fin
d t
his
fea
ture
use
ful.
T
o s
et t
his
op
tion
, ch
oo
se O
pt.
| P
refe
rence
s an
d s
et “
Lea
d-i
n d
rum
co
un
t if
dru
ms
mu
ted
or
dis
able
d”
to t
rue
(def
ault
is
tru
e).
Metr
on
om
e O
pti
on
s
Vis
ible
Metr
on
om
e
You
can
dis
pla
y a
vis
ible
met
rono
me
on
-scr
een
duri
ng
th
e en
tire
so
ng
(o
r ju
st t
he
lead
-in
). C
ho
ose
th
e sc
reen
po
siti
on
(to
p-r
igh
t or
cen
ter)
, an
d t
he
size
(up
to n
ear
full
scr
een s
ize)
. A
lso
cho
ose
th
e vis
ual
met
ron
om
e p
atte
rn
(123
4, 1
-3, 1--
-, o
r –2-4
). S
eein
g a
met
ron
om
e o
n-s
cree
n i
s a
gre
at w
ay f
or
a st
ud
ent
to l
earn
to
kee
p o
n t
he
bea
t,
and
wit
h a
set
tab
le s
ize,
stu
den
ts c
an v
iew
this
fro
m a
cro
ss t
he
roo
m.
Au
dib
le M
etr
on
om
e
Th
e th
ree
sett
ing
s fo
r th
e au
dib
le m
etro
no
me
are
No
ne,
Duri
ng
Rec
ord
, o
r D
uri
ng R
ecord
an
d P
lay.
Chap
ter
14:
Ref
eren
ce
210
MID
I F
ile O
pti
on
s
T
he
[MID
I F
ile]
bu
tton
op
ens
the
MID
I fi
le o
pti
ons
dia
log.
In
clu
de P
atc
h C
ha
ng
es i
n M
ID
I f
iles w
ill
incl
ud
e th
e p
atch
(in
stru
men
t) c
han
ges
.
In
clu
de 2
ba
r l
ea
d-i
n i
n M
ID
I f
ile
If y
ou d
on
't w
ant
to c
reat
e a
MID
I fi
le c
on
tain
ing t
he
firs
t 2
bar
s of
the
1—
2—
1-2
-3-4
co
un
t-in
you
can
sel
ect
this
op
tion
. I
f th
ere
is a
Mel
od
y p
icku
p,
then
the
2 b
ar l
ead-i
n w
ill
rem
ain
in
th
e fi
le.
Writ
e L
yric
s i
n G
en
era
l M
ID
I o
r P
G M
usic
form
at
Th
e G
M s
pec
ific
atio
n h
as a
gre
ed u
po
n s
pec
ific
req
uir
emen
ts f
or
wri
tin
g l
yri
cs i
n M
IDI
file
s, w
hic
h a
re n
ow
suppo
rted
, so
th
at l
yri
cs t
hat
yo
u s
ave
in B
and-i
n-a
-Bo
x s
ho
uld
sho
w u
p i
den
tica
lly i
n o
ther
MID
I p
rogra
ms.
T
o s
et
this
op
tion
, ch
oo
se e
ith
er G
ener
al M
IDI
form
at o
r P
G M
usi
c fo
rmat
. W
e re
com
men
d t
he
GM
form
at.
Writ
e S
ecti
on
Tex
t a
s T
ext
Ev
en
ts
Your
sect
ion t
ext
can b
e in
cluded
in
th
e M
IDI
file
as
tex
t ev
ents
.
In
clu
de V
olu
me/R
everb
/Ch
oru
s/P
an
nin
g
Th
is w
ill
incl
ud
e th
e vo
lum
e, r
ever
b, ch
oru
s, a
nd
pan
nin
g s
etti
ng
s th
at y
ou
hav
e m
ade
in t
he
Ban
d-i
n-a
-Bo
x s
yn
th
win
dow
in
your
MID
I fi
le.
In
clu
de F
orced
Ch
an
nel
Meta
Ev
en
t
Th
is w
ill
incl
ud
e th
e fo
rced
ch
ann
el M
ET
A e
ven
t. It
is
reco
gn
ized
by P
ow
erT
rack
s P
ro A
ud
io a
nd
oth
er P
G M
usi
c
Inc.
pro
gra
ms
on
ly.
In
clu
de G
uit
ar P
osit
ion
Con
tro
ller
Th
is w
ill
inse
rt a
con
tro
ller
84 w
hic
h P
G M
usi
c u
ses
to i
nd
icat
e th
e fr
et p
osi
tio
n. S
ince
so
me
syn
ths
also
use
th
is f
or
Po
rtam
ento
Con
tro
l, y
ou
sho
uld
use
th
is s
etti
ng w
ith c
auti
on
.
Writ
e S
olo
ist
Pa
rt
On
Ch
an
nel
5
Norm
ally
th
e pro
gra
m w
rite
s th
e S
olo
ist
par
t o
n c
han
nel
8.
Sin
ce t
hat
could
als
o m
ean t
he
left
han
d o
f a
pia
no
tra
ck
usi
ng
th
e co
nven
tio
n o
f ch
ann
el 8
/9 f
or
pia
no
, th
is o
pti
on
all
ow
s yo
u t
o w
rite
it
on c
han
nel
5 i
nst
ead
.
Writ
e H
arm
on
y T
o M
ID
I F
ile
If s
et t
o Y
ES
, th
e h
arm
on
y w
ill
be
wri
tten
to t
he
MID
I fi
le. If
no
t, j
ust
th
e m
elo
dy w
ill
be
wri
tten
to
th
e M
IDI
file
.
Chap
ter
14:
Ref
eren
ce
211
MID
I F
ile H
arm
on
y o
n s
ep
arate
tra
ck
s
If s
et t
o Y
ES
, th
e h
arm
on
y w
ill
be
wri
tten
to t
he
MID
I fi
le o
n s
epar
ate
trac
ks
for
each
vo
ice.
Y
ou
cou
ld u
se t
his
to
pri
nt
ou
t in
div
idu
al p
arts
to
yo
ur
pri
nte
r fo
r ex
amp
le.
Writ
e G
uit
ar p
art
on
6 c
han
nels
If s
et t
o Y
ES
, th
e st
yle
s th
at a
re I
nte
llig
ent
Gu
itar
Sty
les
wil
l re
sult
in a
MID
I fi
le t
hat
has
th
e G
uit
ar p
art
wri
tten
on
6 c
han
nel
s (1
1-1
6).
T
hen
, w
hen
you
rea
d i
t in
Pow
erT
rack
s, o
r an
oth
er s
equ
ence
r th
at u
ses
the
con
ven
tio
n o
f 1
1-1
6
for
gu
itar
str
ing
s, t
he
gu
itar
par
t w
ill
dis
pla
y c
orr
ectl
y.
MID
I D
riv
er S
etu
p
T
he
[MID
I D
riv
er]
bu
tto
n l
aun
ches
th
e M
IDI
Dri
ver
Set
up
.
MID
I I
np
ut
Driv
er
Sel
ect
the
Dri
ver
th
at y
ou w
ou
ld l
ike
to u
se f
or
inpu
t fr
om
a M
IDI
key
bo
ard. If
yo
u d
on
't h
ave
a M
IDI
key
bo
ard,
yo
u c
an s
elec
t <
No M
IDI/
Sou
nd
In
pu
t>.
MID
I O
utp
ut
Driv
er
Sel
ect
a D
river
For
MID
I O
utp
ut.
Th
is a
lso i
ncl
ud
es S
oun
d C
ard
ou
tpu
t (l
ike
Sou
nd
Bla
ster
).
Per
hap
s th
e ea
sies
t w
ay t
o c
onfi
gure
Ban
d-i
n-a
-Box
is
to p
ress
th
e [R
un
Dri
ver
Wiz
ard
..]
bu
tton
. T
he
MID
I O
utp
ut
Driv
er W
iza
rd
dia
log w
ill
tak
e you
ste
p-b
y-
step
thro
ug
h t
he
pro
cess
of
aud
itio
nin
g a
nd
sel
ecti
ng
an
ap
pro
pri
ate
dri
ver
. T
his
ass
um
es t
hat
the
appro
pri
ate
Win
dow
s so
und
dri
ver
s ar
e in
stal
led
and
co
rrec
tly c
onfi
gu
red
.
Syn
thesiz
er /
Sou
nd
Card
Sel
ecti
ng
th
e ty
pe
of
syn
th a
llo
ws
Ban
d-i
n-a
-Box
to a
uto
mat
ical
ly l
oad
in t
he
appro
pri
ate
Dru
m/P
atch
kit
fil
e (*
.DK
). It
is
no
t es
sen
tial
to
set
th
is -
if
yo
u d
on't
then
lea
ve
it a
s <
synth
car
d n
ot
list
ed >
.
Chap
ter
14:
Ref
eren
ce
212
Driv
er L
ate
ncy
So
ftw
are
syn
ths
(lik
e th
e R
ola
nd
VS
C)
hav
e a
spec
ific
tim
ing i
ssue
asso
ciat
ed w
ith t
hem
; “l
aten
cy.”
T
his
mea
ns
that
it
tak
es a
bo
ut
43
0m
s fr
om
th
e ti
me
Ban
d-i
n-a
-Box
sen
ds
the
MID
I in
form
atio
n t
o t
he
Vir
tual
Syn
thes
izer
to
gen
erat
e an
d h
ear
the
soun
d. T
o k
eep
ev
eryth
ing
(i.
e. t
he
no
tati
on
dis
pla
y, et
c.)
"in
syn
c,"
yo
u s
hou
ld s
et t
his
late
ncy
op
tio
n.
In
mo
st c
ases
, B
and
-in-a
-Box
wil
l p
rom
pt
yo
u t
o d
o t
his
. I
f you
are
usi
ng
a r
egu
lar
soun
d c
ard
or
MID
I m
od
ule
yo
u s
ho
uld
no
t en
cou
nte
r an
y l
aten
cy,
so y
ou s
hould
set
th
e la
tency
opti
on t
o z
ero (
0)
if i
t's
not
alre
ady s
et t
his
way
.
Use D
Xi
Syn
th
Chec
k t
he
Use
DX
i S
ynth
chec
kbox t
o e
nab
le D
Xi
pla
ybac
k.
To
use
th
is o
pti
on
, you
mu
st h
ave
a p
oly
phon
ic D
Xi
syn
thes
izer
in
stal
led
on y
ou
r co
mp
ute
r, s
uch
as
the
Ro
land
/Ed
iro
l V
SC
DX
i. It
wil
l al
so b
e m
ost
con
ven
ien
t if
you
r D
Xi
synth
esiz
er c
an u
se G
ener
al M
IDI
or
GM
2
pat
ches
.
DX
i S
yn
th S
ett
ings
To
sel
ect
the
DX
i sy
nth
esiz
er, cl
ick
th
e [D
Xi
Syn
th S
etti
ngs]
bu
tton
, w
hic
h w
ill
op
en t
he
Dir
ectX
Plu
gin
s w
indow
.
Sel
ect
yo
ur
DX
i sy
nth
an
d a
pp
ly r
eal
tim
e D
irec
tX e
ffec
ts.
See
the
tuto
rial
in C
hap
ter 3
: B
an
d-i
n-a
-Bo
x 2
00
4.
GM
2 s
up
po
rt
Th
e ty
pe
of
GM
2 s
uppo
rt i
s se
t h
ere.
T
he
cho
ices
are
:
-G
ener
al M
IDI
2 s
uppo
rt:
If
yo
u'r
e u
sing
th
e R
ola
nd
VS
C3, o
r a
new
er S
oun
d C
anv
as (
i.e.
new
er t
han
199
9, o
r
new
er t
han
th
e R
ola
nd
SC
88),
th
en c
hoo
se t
his
GM
2 s
upp
ort
.
-R
ola
nd
GS
(o
lder
Mod
ule
s):
“O
lder
” S
ou
nd C
anv
ases
(S
C5
5/S
C88
) su
ppo
rt G
S, bu
t no
t G
M2. T
he
goo
d
new
s is
th
at t
hey
hav
e th
e sa
me
pat
ches
av
aila
ble
, ju
st a
t dif
fere
nt
loca
tion
s. S
o i
f you
ch
oo
se t
his
op
tio
n,
Ban
d-i
n-a
-Bo
x w
ill
find
th
e pat
ches
at
the
“GS
” lo
cati
ons
inst
ead o
f th
e “G
M2
” lo
cati
ons.
If
yo
u h
ave
a n
ewer
GS
mo
du
le l
ike
the
SC
88
20
, it
su
ppo
rts
bo
th G
M2
and
GS
- y
ou s
hou
ld l
ikel
y c
ho
ose
GM
2.
-N
o G
M2
sup
po
rt:
Mo
st s
ound
car
ds
(Soun
d B
last
ers
etc.
) d
on
't h
ave
GM
2 s
uppo
rt y
et, so
just
supp
ort
th
e 1
28
sound
s.
Ban
d-i
n-a
-Box
wil
l use
th
e cl
ose
st i
nst
rum
ent
in t
hes
e ca
ses.
MID
I O
pti
on
s
Th
is b
utt
on
op
ens
the
MID
I O
pti
on
s d
ialo
g.
Chap
ter
14:
Ref
eren
ce
213
Sen
d G
M M
od
e O
n a
t sta
rtu
p /
Sen
d X
G M
od
e O
n a
t sta
rtu
p
Yo
u c
an e
lect
to
hav
e B
and
-in
-a-B
ox
au
tom
atic
ally
sen
d a
GM
or
XG
Mod
e O
n c
om
man
d e
ver
y t
ime
the
pro
gra
m i
s
star
ted
. T
ogg
le t
his
op
tion
ON
if
you
hav
e a
GM
or
XG
un
it t
o e
nsu
re t
hat
it
is a
lway
s se
t to
th
e ap
pro
pri
ate
mo
de.
Lo
ca
l O
N (
Ext.
Keyb
oa
rd
): If
you
are
hea
rin
g t
he
info
rmat
ion
pla
yed
on
your
key
bo
ard
pla
yed
tw
ice
(an e
cho
effe
ct)
then
set
Loca
l O
N t
o “
No.”
If
you c
an't
hea
r w
hat
you a
re p
layin
g a
t al
l, s
et L
oca
l O
N t
o “
Yes
.”
Tu
rn
Exte
rn
al
Keyb
oard
’s L
ocal
On
at
en
d o
f sessio
n
If y
ou h
ave
set
the
Key
bo
ard
Lo
cal
to O
ff (
usu
ally
to
eli
min
ate
MID
I ec
ho
) th
is s
etti
ng
tu
rns
it b
ack o
n a
t th
e en
d o
f
yo
ur
Ban
d-i
n-a
-Box
ses
sion
.
MID
I T
hru
: S
et t
o “
No
” if
yo
u d
on
't w
ant
the
info
rmat
ion
pla
yed
on
your
MID
I k
eyb
oar
d t
o b
e se
nt
thro
ugh
Ban
d-
in-a
-Box
to t
he
ou
tpu
t dri
ver
.
Co
ntr
oll
ers T
hru
: G
uit
ar s
ynth
esiz
ers
and w
ind c
ontr
oll
ers
conta
in l
arge
amounts
of
addit
ional
MID
I dat
a w
hic
h
may
no
t b
e re
qu
ired
for
Ban
d-i
n-a
-Box
and
may
on
ly s
erv
e to
hin
der
th
e sy
stem
per
form
ance
of
you
r co
mp
ute
r. T
o
pre
ven
t th
is i
nfo
rmat
ion
fro
m b
eing
sen
t T
hru
, se
t th
is o
pti
on
to “
No
.”
Use T
hru
Ch
an
nel:
B
and-i
n-a
-Bo
x u
ses
the
Thru
chan
nel
as
a par
t, j
ust
lik
e th
e B
ass/
Dru
ms/
Pia
no
, et
c.
Th
e T
hru
Ch
ann
el i
s re
-ch
ann
eled
to
th
e T
hru
ch
ann
el a
s as
sign
ed i
n t
he
MID
I se
ttin
gs
dia
log
. I
f yo
u w
ou
ld p
refe
r to
set
th
e
Th
ru c
han
nel
yo
urs
elf
fro
m y
our
MID
I co
ntr
oll
er,
set
this
to
“N
o.”
Bo
ost
TH
RU
Velo
cit
y b
y
Wh
en p
layin
g a
long
on a
key
bo
ard
to t
he
Ban
d-i
n-a
-Bo
x “
ban
d,”
if
the
soun
d o
f yo
ur
key
bo
ard
is
too
quie
t an
d
incr
easi
ng
th
e T
HR
U V
olu
me
do
esn
't h
elp
en
oug
h, u
se t
his
op
tion
to b
oost
th
e T
HR
U v
elo
city
an
d m
ake
your
TH
RU
pla
yin
g l
oud
er.
Ou
tpu
t S
yn
c/S
tart
info
: S
yn
cs B
and-i
n-a
-Bo
x w
ith a
n e
xte
rnal
seq
uen
cer.
Sen
d E
xtr
a N
ote
Off
s:
Lea
ve
this
op
tion
set
to
“N
o”
un
less
you
are
hav
ing t
roub
le w
ith “
Stu
ck N
ote
s” w
hen
you
pre
ss [
Sto
p].
If
you
set
th
is o
pti
on t
o “
Yes
” th
e pro
gra
m w
ill
sen
d a
“g
lobal
sw
eep
” o
f al
l n
ote
s off
in
ad
dit
ion
to
the
sele
cted
note
s off
th
at a
re p
layin
g w
hen
yo
u p
ress
th
e [S
top
] bu
tto
n.
All
ow
An
y P
atc
h C
ha
ng
es:
Set
to
“N
o”
to d
isab
le A
ll P
atch
ch
ang
es.
So
ng
Patc
h C
ha
ng
es:
Songs
can b
e sa
ved
wit
h p
atch
ch
ang
es.
If y
ou
wan
t to
pre
ven
t sp
ecif
ic i
nst
rum
ents
lo
adin
g
for
a g
iven
song
, se
t th
is o
pti
on
to “
No
.”
Sty
le P
atc
h C
ha
ng
es:
Sty
les
con
tain
pat
ch c
han
ge
info
rmat
ion
for
the
inst
rum
ents
th
at w
ere
use
d w
hen
th
e S
tyle
was
cre
ated
. T
o u
se y
our
ow
n i
nst
rum
ent
sele
ctio
n, no
t th
e o
rig
inal
in
stru
men
ts, ch
ang
e th
is s
etti
ng
to
“N
o.”
Dru
m P
atc
h C
ha
ng
es:
To
dis
able
pat
ch c
han
ges
in
Dru
ms,
set
to
NO
.
All
ow
Vo
lum
e C
ha
ng
es:
To
pre
ven
t an
y v
olu
me
chan
ges
set
to “
No.”
Sty
le V
olu
me C
ha
ng
es:
To
sto
p e
mb
edd
ed s
tyle
vo
lum
e ch
ang
es s
et t
o “
No.”
MID
I S
ett
ing
s
T
he
[Ch
ann
els]
bu
tton
op
ens
the
MID
I S
etti
ng
s d
ialo
g.
Chap
ter
14:
Ref
eren
ce
214
MID
I C
ha
nn
els
: R
ang
e 0 t
o 1
6.
If
set
to 0
th
e p
art
wil
l b
e O
ff/D
isab
led
, w
hic
h i
s no
t th
e sa
me
as m
ute
d.
Octa
ve:
Adju
sts
the
oct
ave
of
the
par
t.
Ran
ge
(-2
to
+2
). U
sual
ly s
et t
o 0
.(B
ass
is u
sual
ly s
et t
o -
1 f
or
mo
st
Gen
eral
MID
I (G
M)
inst
rum
ents
.)
Pa
tch
: R
ang
e 0
to
12
8. T
hes
e ar
e G
ener
al M
IDI
pat
ch n
um
ber
s.
Vo
lum
e:
Ran
ge
0 t
o 1
27
. A
ver
age
vo
lum
e se
ttin
g i
s =
90
. T
his
can
als
o b
e se
t fr
om
th
e m
ain
scr
een.
Pa
nn
ing:
Pan
nin
g r
efer
s to
the
ster
eo p
lace
men
t (i
.e. L
eft
to R
igh
t) o
f a
giv
en p
art's
so
un
d.
Th
e ra
ng
e o
f th
is
par
amet
er i
s -6
3 t
o +
63
. A
set
tin
g o
f 0
is
cen
tere
d i
n t
he
mid
dle
of
the
ster
eo f
ield
.
No
te:
On
ly G
en
era
l M
IDI,
XG
, a
nd
GS
in
str
um
en
ts r
esp
on
d t
o R
eve
rb,
Ch
oru
s,
an
d B
an
k c
ha
ng
es.
Rev
erb
: R
ange
0 t
o 1
27
. D
efau
lt s
etti
ng
= 4
0.
Ch
oru
s:
Ran
ge
of
0 t
o 1
27
. D
efau
lt s
etti
ng =
0.
Ba
nk
0 a
nd
LS
B(3
2):
Man
y G
ener
al M
IDI
inst
rum
ents
hav
e ex
tra
inst
rum
ents
av
aila
ble
on
hig
her
ban
ks.
U
sual
ly
set
to 0
. O
ther
set
tin
gs
are
mu
ltip
les
of
8 (
0,8
,16 e
tc.)
.
Th
ese
can
use
eit
her
Con
tro
ller
0 (
Ban
k 0
), w
hic
h i
s al
so k
now
as
MS
B f
or
Mo
st S
ign
ific
ant
Byte
, or
Co
ntr
oll
er 3
2,
also
cal
led
LS
B f
or
Lea
st S
ign
ific
ant
Byte
, o
r co
mb
inat
ions
of
the
two
con
tro
ller
s.
Ha
rm
on
y C
ha
nn
els
an
d S
ett
ing
s
Th
e [H
arm
on
y]
bu
tton
op
ens
the
Ha
rm
on
y C
ha
nn
els
an
d
Sett
ing
s d
ialo
g w
her
e se
ttin
gs
for
the
har
mo
nie
s ar
e m
ade.
Ha
rm
on
y S
ett
ing
s
OK
to L
oa
d H
arm
on
ies W
ith
So
ng
s
If s
et t
o Y
ES
, th
e h
arm
on
y s
etti
ng
s fo
r ea
ch s
ong
wil
l b
e lo
aded
and
sav
ed w
ith
eac
h s
on
g.
If
set
to N
O, th
e
har
mo
ny s
etti
ng
won
’t b
e sa
ved
or
lead
ed w
ith
th
e so
ng
s. If
you
are
usi
ng a
cer
tain
har
mo
ny, you
sho
uld
set
th
is
sett
ing
to N
O, o
ther
wis
e yo
u’l
l h
ave
to k
eep
re-
sele
ctin
g t
he
har
mo
ny w
hen
you
lo
ad i
n n
ew s
ong
s.
Chap
ter
14:
Ref
eren
ce
215
Ch
an
ge H
arm
on
y W
ith
New
Ch
ord
s
Ex
amp
le:
If a
har
mo
ny i
s p
layed
on
bar
1 o
n a
C c
ho
rd, an
d t
hen
th
e n
ote
is
hel
d a
s th
e ch
ord
ch
ang
es t
o a
Fm
7
chord
, (i
f th
is s
etti
ng
is
set
to Y
ES
) th
e h
arm
on
y n
ote
s w
ill
chan
ge
so t
hat
th
ey w
ill
be
stil
l b
e p
layin
g c
hord
ton
es.
If t
hey
don
’t t
he
har
mo
ny s
oun
ds
dis
son
ant.
L
eav
e th
is s
etti
ng
to
YE
S, u
nle
ss y
ou h
ave
a sp
ecif
ic r
easo
n t
o d
isab
le
it.
Th
e h
arm
on
y i
s ch
ang
ed b
y m
ov
ing t
he
vo
ices
to
th
e nea
rest
chord
ton
e.
Ov
era
ll H
arm
on
y V
olu
me A
dju
st
Set
s a
lev
el f
or
the
ov
eral
l h
arm
on
y i
n a
ran
ge
of
-12
8 t
o 1
28
, w
ith
0 l
eav
ing t
he
sett
ing
s as
pro
gra
mm
ed i
n t
he
Har
mo
ny f
ile.
Ha
rm
on
y C
han
nels
Ban
d-i
n-a
-Bo
x a
lrea
dy u
ses
7 c
han
nel
s (B
ass,
Dru
ms,
Pia
no
, G
uit
ar, S
trin
gs,
Mel
od
y a
nd
Th
ru c
han
nel
s). A
dd
ing
thes
e 4
har
mo
ny c
han
nel
s p
rod
uce
s p
ote
nti
ally
11
ch
ann
els
of
info
rmat
ion
.
More S
olo
ist
& M
ore M
elo
dis
t S
ett
ings
Th
e [S
olo
ist]
bu
tto
n l
aun
ches
th
e M
ore S
olo
ist
& M
elo
dis
t S
ett
ings d
ialo
g.
Chap
ter
14:
Ref
eren
ce
216
Set
“U
se M
ID
I V
olu
me f
or S
olo
ing W
iza
rd
” t
o t
rue
if y
ou
wan
t M
IDI
vel
oci
ty i
nfo
rmat
ion
sen
t to
th
e S
olo
ing
Wiz
ard
. I
f you h
ave
a v
elo
city
sen
siti
ve
MID
I d
evic
e at
tach
ed t
o y
our
com
pu
ter
and
you
wan
t to
co
ntr
ol
the
dyn
amic
s o
f th
e S
olo
ist,
you
sh
ou
ld e
nab
le t
his
fea
ture
.
Set
th
e “T
rig
ger P
layb
ack
Ea
rly
” t
o t
rue
to e
nab
le s
ong
pla
yb
ack
to
sta
rt b
efo
re t
he
So
lois
t h
as a
ctu
ally
com
ple
ted
co
mp
osi
ng
a s
olo
. O
ther
wis
e, B
and-i
n-a
-Bo
x w
ill
com
ple
tely
co
mp
ose
a s
olo
bef
ore
so
ng
pla
yb
ack
beg
ins.
So
lois
t –
Prefe
r L
on
g P
hrases
Set
th
is c
hec
kbo
x t
o “
Tru
e” (
enab
led
) if
you
wou
ld l
ike
the
So
lois
t to
use
th
e lo
ng
est
mu
sica
l p
hra
ses
it “
know
s.”
Th
is s
etti
ng
is
norm
ally
use
d i
n c
onju
nct
ion
wit
h t
he
Use
Lar
ge
So
lois
t fi
les
sett
ing
.
No
te:
Th
is o
ptio
n m
ay a
lso
in
cre
ase
So
lois
t cre
atio
n t
ime
s.
Dis
ab
le t
his
fe
atu
re if
yo
u a
re u
sin
g a
slo
we
r o
r lo
w-m
em
ory
e
qu
ipp
ed
co
mp
ute
r.
So
lois
t/M
elo
dy
Velo
cit
y A
dju
st
Th
is b
ox
all
ow
s you
to q
uic
kly
boo
st o
r re
duce
th
e v
olu
me
of
the
So
lois
t par
t re
lati
ve
to t
he
oth
er i
nst
rum
ent
par
ts.
For
a re
alis
tic
mix
th
e so
lois
t in
stru
men
t is
set
sli
gh
tly l
ouder
th
an t
he
oth
er i
nst
rum
ents
/par
ts i
n a
song
. T
he
def
ault
is 5
.
Co
lor S
ele
cti
on
T
he
[Co
lors
] b
utt
on
op
ens
the
Co
lor
Sel
ecti
on
dia
log.
Chap
ter
14:
Ref
eren
ce
217
You
can
cho
ose
fro
m s
ever
al c
olo
r se
ts u
sing
th
e 256
-co
lor
pal
ette
in
Win
dow
s.
Ch
oo
se f
rom
pre
-mad
e co
lor
sch
emes
or
mak
e your
ow
n. T
his
is
lik
e ch
ang
ing t
he
Win
dow
s co
lor
schem
e in
th
e co
ntr
ol
pan
el.
To
sel
ect
a pre
-mad
e co
lor
sch
eme,
pre
ss t
he
[Im
port
..]
bu
tto
n a
nd
ch
oo
se f
rom
th
e li
st o
f sc
hem
es.
Sel
ect
[OK
] to
mak
e th
e ch
ang
es p
erm
anen
t.
Use
th
e [E
xpo
rt..]
bu
tto
n t
o s
ave
and
sh
are
yo
ur
cust
om
ized
co
lor
sch
emes
.
To
mak
e you
r o
wn
co
lor
sch
eme,
cli
ck o
n t
he
nam
e o
f th
e el
emen
t yo
u w
ish
to c
han
ge
(Ch
ord
Are
a, L
ist
Box
, et
c.),
then
cli
ck o
n t
he
[Cho
ose
…]
bu
tton
to
bri
ng u
p t
he
Win
dow
s C
olo
r p
alet
te a
nd c
lick
on
th
e co
lor
you
des
ire.
O
r
yo
u c
an e
nte
r th
e ap
pro
pri
ate
Red
, G
reen
, an
d B
lue
val
ues
in
th
e box
es p
rov
ided
.
Chap
ter
14:
Ref
eren
ce
218
Gen
era
l M
ID
I P
atc
h E
dit
Th
is o
pen
s th
e G
en
era
l M
ID
I P
atc
h E
dit
dia
log
, w
her
e you
can
mak
e a
cust
om
ized
Gen
eral
MID
I p
atch
map
.
Ty
pe
in t
he
pat
ch n
um
ber
th
at y
ou
r sy
nth
use
s fo
r ea
ch i
nst
rum
ent
list
ed.
Fo
r ex
amp
le,
if y
ou
r so
un
d s
ou
rce
has
its
Aco
ust
ic P
ian
o a
t p
atch
lo
cati
on 4
1se
lect
th
e bo
x t
o t
he
left
of
Aco
ust
ic P
ian
o a
nd
typ
e 41
. D
o t
he
sam
e fo
r al
l o
f
the
inst
rum
ents
in
th
e G
ener
al M
IDI
pat
ch l
ist.
If
your
syn
th d
oes
n't
hav
e an
ex
act
mat
ch,
use
a c
lose
sou
nd
ing
pat
ch t
hat
it
does
hav
e. O
nce
yo
u h
ave
mad
e a
pat
ch m
ap i
n t
his
way
, w
hen
ever
Ban
d-i
n-a
-Box
en
coun
ters
Aco
ust
ic P
ian
o (
whic
h i
s G
ener
al M
IDI
inst
rum
ent
#1),
it
wil
l lo
ok u
p t
his
Pat
ch M
ap L
oca
tion a
nd t
hen
sen
d o
ut
Pat
ch 4
1 t
o y
ou
r sy
nth
/sou
nd m
od
ule
.
Chap
ter
14:
Ref
eren
ce
219
Dru
m K
it
If y
ou h
ave
bee
n u
nab
le t
o f
ind a
pre
set
dru
m m
ap t
hat
mat
ches
you
r sy
nth
's d
rum
no
tes,
th
en y
ou
may
nee
d t
o t
yp
e
in t
he
dru
m n
ote
s th
at y
ou
r so
und
sou
rce
use
s.
To
do
th
is, yo
u n
eed
to h
oo
k y
ou
r M
IDI
con
tro
ller
up
to
pla
y t
he
Dru
m s
oun
ds
fro
m t
he
key
boar
d.
Pla
y u
p a
nd d
ow
n t
he
key
bo
ard t
o h
ear
all
the
dru
m s
ou
nd
s.
Lo
cate
no
te 3
6 a
s a
star
tin
g p
oin
t; o
n t
he
Ban
d-i
n-a
-Bo
x o
nsc
reen
pia
no
it
is t
he
C d
irec
tly a
bo
ve
the
[Pla
y]
bu
tton
.
Typ
e th
e M
IDI
no
te n
um
ber
s fo
r th
e v
ario
us
inst
rum
ents
as
yo
u f
ind
th
em o
n y
ou
r dru
m m
ach
ine
or
key
bo
ard.
Pre
ss t
he
[Sav
e] b
utt
on
to
sav
e th
e k
it a
s M
YS
ET
UP
.DK
. I
f you
are
mak
ing
a k
it t
o s
ave
un
der
a d
iffe
ren
t n
ame
then
sav
e th
e kit
und
er O
pt.
| U
tili
ties
| S
ave
Alt
ern
ate
Pa
tch
/Dru
m K
it.
Chap
ter
14:
Ref
eren
ce
220
Fav
orit
e I
nstr
um
en
ts
Th
e [F
av.P
atch
] b
utt
on
op
ens
the
Fa
vo
rit
e I
nstr
um
en
ts
dia
log.
Fo
r ea
ch o
f th
e 8
par
ts (
Bas
s/P
ian
o/D
rum
s/G
uit
ar/S
trin
gs/
Mel
od
y/S
olo
ist/
Th
ru)
yo
u c
an a
ssig
n u
p t
o 1
0 “
favo
rite
”
inst
rum
ents
usi
ng G
ener
al M
IDI
inst
rum
ent
nu
mb
ers .
No
te:
If
yo
u u
se
a c
usto
m p
atc
h m
ap
it
will
co
nve
rt y
ou
r syn
th’s
no
n-G
M p
atc
h n
um
be
rs,
alw
ays e
nte
r G
M p
atc
h n
um
be
rs
for
the
fa
vo
rite
in
str
um
en
ts.
Chap
ter
14:
Ref
eren
ce
221
The
[Pat
ch L
ist]
butt
on d
ispla
ys
the
Gen
era
l M
ID
I P
atc
h
Lis
t of
inst
rum
ent
nam
es a
nd
pat
ch n
um
ber
s.
Th
e [C
om
bo
s] b
utt
on
op
ens
the
Fav
orit
e C
om
bo
s d
ialo
g.
Th
eF
av
orit
e C
om
bo
s d
ialo
g b
ox
all
ow
s yo
u t
o s
ave
up
to
10 o
f yo
ur
fav
ori
te i
nst
rum
ent
com
bo
s. F
or
exam
ple
,
yo
u c
ou
ld s
etu
p C
om
bo
#1
to b
e an
Aco
ust
ic J
azz
com
bo
wh
ich
wo
uld
sen
d o
ut
pat
ches
lik
e A
cou
stic
Bas
s,
Aco
ust
ic P
ian
o,
Aco
ust
ic G
uit
ar, F
lute
, et
c. A
fter
you
hav
e fi
nis
hed
typ
ing
in t
he
inst
rum
ent
pat
ch n
um
ber
s se
lect
the
[Sav
e]b
utt
on.
Chap
ter
14:
Ref
eren
ce
222
Ou
tpu
t C
ho
rd
s o
n C
ha
nn
el
Th
e [O
utp
utC
h.]
bu
tto
n o
pen
s th
e O
utp
ut
Ch
ord
s o
n C
han
nel
dia
log
.
So
me
exte
rnal
mu
sic
har
dw
are
dev
ices
req
uir
e ch
ord
s p
layed
in r
oo
t po
siti
on t
o d
riv
e th
em i
n r
eal
tim
e.
An
exam
ple
of
this
is
the
TC
-Hel
ico
n Q
uin
tet,
wh
ich
let
s you
sin
g i
nto
a m
icro
ph
on
e an
d h
arm
on
ize
yo
ur
vo
ice
acco
rdin
g t
o t
he
chord
s th
at a
re i
nput
to t
he
dev
ice.
Ban
d-i
n-a
-Bo
x h
as t
he
cap
abil
ity o
f ou
tpu
ttin
g a
sep
arat
e ch
ann
el w
ith
the
cho
rds
in r
oot
posi
tio
n t
o s
up
port
su
ch
exte
rnal
dev
ices
au
tom
atic
ally
.
Chap
ter
14:
Ref
eren
ce
223
Tra
nsp
ose T
HR
U P
art
Th
e [T
ran
spo
se]
bu
tton
op
ens
the
Tra
nsp
ose
TH
RU
Par
t (l
ive
pla
yin
g o
n M
IDI
key
bo
ard
) d
ialo
g.
Wh
en p
layin
g a
long
on y
ou
r M
IDI
key
bo
ard
, yo
u c
an s
et t
he
Th
ru t
ran
spo
se t
o t
ran
spo
se s
emit
on
es o
r o
ctav
es.
Yo
u
can
def
ine
a “f
avori
te k
ey”
and
Ban
d-i
n-a
-Bo
x w
ill
op
tion
ally
tra
nsp
ose
an
y a
nd
all
lo
aded
son
gs
to t
hat
key
. T
his
is a
gre
at f
eatu
re f
or
pra
ctic
ing i
n a
cer
tain
key
.
You
can
als
o s
et t
he
TH
RU
tra
nsp
ose
to
th
e fa
vo
rite
key
to t
ransp
ose
the
TH
RU
par
t so
that
you c
an a
lway
s pla
y
alo
ng
in y
ou
r fa
vori
te k
ey (
reg
ard
less
of
the
actu
al k
ey o
f th
e so
ng).
T
o A
ctiv
ate,
pre
ss C
trl+
Sh
ift+
K o
r se
lect
the
men
u i
tem
Op
tio
ns
| T
hru
tra
nsp
ose
set
tin
gs.
Th
is i
s u
sefu
l fo
r p
eop
le w
ho
pre
fer
to p
lay i
n o
nly
on
e k
ey,
or
for
tho
se w
ho a
re p
ract
icin
g s
pec
ific
key
s.
Reco
rd
Fil
ter T
he
[Rec
. F
ilte
r] b
utt
on o
pen
s th
e R
eco
rd F
ilte
r d
ialo
g.
Chap
ter
14:
Ref
eren
ce
224
Rec
ord
Fil
ter
suppo
rts
all
MID
I co
ntr
oll
ers
and s
ust
ain
ped
al.
Yo
u c
an r
eco
rd a
ny t
yp
e o
f M
IDI
info
rmat
ion
to
th
e
mel
od
y o
r so
lois
t tr
ack
s b
y u
sin
g t
he
Rec
ord
Fil
ter
feat
ure
to
sel
ect
wh
ich
typ
es t
o i
ncl
ude.
W
ith
th
is w
indow
you
can
ch
oo
se w
hat
typ
es o
f M
IDI
info
rmat
ion B
and
-in-a
-Box
wil
l re
cord
.
Nota
tion
Win
do
w O
pti
on
s
Th
e [N
ota
tion
] bu
tto
n o
pen
s th
e N
ota
tion
Win
do
w O
pti
on
s.
If t
he
No
tati
on
win
dow
is
no
t o
pen
the
pro
gra
m w
ill
lau
nch
it.
Chap
ter
14:
Ref
eren
ce
225
Th
ese
sett
ing
s ar
e d
escr
ibed
in
th
e N
ota
tio
n c
hap
ter
and
in t
he
on
lin
e H
elp
.
Lea
d S
heet
Op
tio
ns
Th
e [L
ead
sh
eet]
bu
tton
op
ens
the
Lea
d S
heet
Op
tio
ns d
ialo
g.
If t
he
Lea
d S
hee
t w
ind
ow
is
no
t
op
en t
he
pro
gra
m w
ill
op
en i
t.
Chap
ter
14:
Ref
eren
ce
226
Th
ese
sett
ing
s ar
e d
escr
ibed
in
th
e N
ota
tio
n c
hap
ter
and
in t
he
on
lin
e H
elp
.
Au
dio
Sett
ings
Th
e [A
ud
io]
bu
tto
n o
pen
s th
e A
ud
io S
etti
ngs
dia
log
.
Chap
ter
14:
Ref
eren
ce
227
Th
e D
MA
and
Off
set
sett
ings
are
set
auto
mat
ical
ly b
y t
he
auto
-tes
tin
g o
f th
e so
un
d c
ard
. T
his
tes
t ca
n b
e re
pea
ted
by p
ress
ing t
he
[Get
fro
m s
oun
d c
ard
…]
bu
tto
n.
Th
e d
efau
lt v
alu
e fo
r al
l of
thes
e se
ttin
gs
is 0
(ze
ro).
Y
ou c
an
ov
erri
de
thes
e se
ttin
gs
if r
equir
ed,
bu
t it
is
usu
ally
no
t n
eces
sary
.
Th
eO
ffset
in m
S i
s n
ot
a se
ttin
g t
hat
get
s se
t au
tom
atic
ally
. I
t d
efau
lts
to z
ero. T
his
all
ow
s yo
u t
o a
dju
st t
he
tim
ing
that
th
e so
und
car
d p
lays
aud
io i
n r
elat
ion
to M
IDI.
N
orm
ally
you'd
lea
ve
this
at
zero
, but
if y
ou
nee
d t
o f
ine
tun
e
the
syn
chro
niz
atio
n o
f au
dio
to
MID
I you
cou
ld t
ry c
han
gin
g t
his
set
tin
g.
Au
dio
La
ten
cy
in
mS
Dir
ectX
aud
io p
lug
-in
s an
d D
Xi
syn
thes
izer
plu
g-i
ns
can
hav
e p
layb
ack l
aten
cy (
the
del
ay b
etw
een
wh
en a
no
te i
s
pla
yed
, an
d w
hen
it
is h
eard
). A
dju
st “
Au
dio
Lat
ency
in m
S”
to f
ine-
tune
for
you
r co
mp
ute
r. If
you
hav
e a
fast
com
pu
ter
and e
xce
llen
t so
und
car
d,
the
audio
lat
ency
can
be
adju
sted
rat
her
low
. H
ow
ever
, if
yo
u h
ear
aud
io
dro
pou
ts,
yo
u c
an s
et t
he
late
ncy
as
hig
h a
s 2
000
mil
lise
con
ds.
Wh
en
op
en
ing
so
ng
s, sh
ow
messag
e i
f W
AV
fil
e n
ot
fou
nd
A B
and-i
n-a
-Bo
x s
ong
cal
led "
My S
ong
.MG
U"
wil
l h
ave
the
asso
ciat
ed w
ave
file
cal
led
"M
y S
ong
.wav
".
If B
and
-
in-a
-Box
lo
ads
this
so
ng
fil
e an
d i
t ca
n't
find
its
ass
oci
ated
fil
e, i
t w
ill
pu
t up
a m
essa
ge
to t
hat
eff
ect.
If
th
e w
arn
ing
mes
sag
e is
dis
trac
tin
g, an
d f
or
som
e re
ason
yo
u d
on
't h
ave
the
wav
e fi
les
that
wer
e re
cord
ed w
ith
th
e so
ng
s th
en y
ou
can
dis
able
th
at m
essa
ge
wit
h t
his
op
tion
box
(d
isab
le).
Use R
ealt
ime D
X A
ud
io P
lugin
s
The
advan
tag
e of
real
tim
e pro
cess
ing i
s th
at y
ou c
an s
et e
ffec
ts t
oday
, an
d i
f you d
ecid
e you d
on’t
lik
e th
e ef
fect
s
tom
orr
ow
, th
e se
ttin
gs
can b
e ea
sily
chan
ged
, si
nce
the
real
tim
e ef
fect
s d
id n
ot
per
man
entl
y a
ffec
t yo
ur
aud
io t
rack
on t
he
har
d d
isk
. C
hec
k t
his
to
en
able
rea
l ti
me
Dir
ectX
audio
plu
g-i
ns.
Chap
ter
14:
Ref
eren
ce
228
Gu
ita
r S
ett
ings T
he
[Gu
itar
] bu
tto
n o
pen
s th
e G
uit
ar S
etti
ngs
dia
log
.
Th
eG
uit
ar S
ett
ing
s d
ialo
g a
llo
ws
yo
u t
he
abil
ity t
o a
dju
st v
ario
us
par
amet
ers
on
th
e v
irtu
al g
uit
ar f
retb
oar
d s
o t
hat
mu
sic
can
be
dis
pla
yed
eff
ecti
vel
y (
and e
asil
y)
on
th
is w
indo
w,
reg
ard
less
of
the
ori
gin
al i
nst
rum
ent
inte
nd
ed f
or
the
trac
k d
ata.
It
als
o o
ffer
s th
e ab
ilit
y t
o e
nte
r no
tati
on
usi
ng t
he
vir
tual
gu
itar
an
d p
lay b
ack t
rack
dat
a in
sp
ecif
ic
fret
bo
ard p
osi
tio
ns
for
edu
cati
on
al a
nd
sig
ht-
read
ing p
urp
ose
s.
C
lick
on t
he
[Hel
p]
bu
tton
fo
r d
etai
led
on
lin
e d
escr
ipti
on
s.
Chap
ter
14:
Ref
eren
ce
229
Big
Pia
no
Sett
ing
s
T
his
bu
tton
op
ens
the
Big
Pia
no S
etti
ngs
dia
log
.
Th
is d
ialo
g a
llo
ws
you
to
set
var
iou
s op
tion
s on
th
e B
ig P
ian
o.
-Y
ou
can
set
a s
pec
ific
ran
ge
for
the
Big
Pia
no
, a
star
ting
note
an
d a
nu
mb
er o
f o
ctav
es, by o
ver
-rid
ing t
he
“au
to”
sett
ing
s.
-“S
ho
w o
ut-
of-
ran
ge
no
tes”
ensu
res
that
all
no
tes
wil
l b
e d
isp
layed
.
-If
th
e “S
end
No
tes
to N
ota
tion
Win
dow
” ch
eck
box
is
enab
led
, cl
ick
ing a
vir
tual
key
on t
he
big
pia
no
wil
l in
sert
a no
te t
o t
he
no
tati
on
tra
ck. (
No
te:
the
no
tati
on
win
do
w m
ust
be
op
ened
an
d s
et t
o e
dit
able
no
tati
on
mo
de.
)
-If
“N
ote
Gu
ides
” is
sel
ecte
d g
uid
e no
tes
wil
l b
e sh
ow
n o
n t
he
key
bo
ard. T
he
gu
ide
no
tes
can
be
scal
e to
nes
,
chord
ton
es, or
roo
ts o
nly
.
-N
ote
Nam
es a
nd N
ote
Co
lors
can
be
use
d a
s in
th
e N
ota
tion
set
ting
s.
-T
her
e is
an
op
tio
n t
o S
ho
w O
ut-
of-
Sca
le n
ote
s in
Yel
low
.
-T
he
size
of
the
pia
no
key
bo
ard
can
be
ente
red
in p
ixel
s, o
r se
t w
ith
th
e p
rese
t b
utt
on
s, o
r se
t b
y d
rag
gin
g t
he
bo
tto
m b
ord
er o
f th
e w
indo
w.
Chap
ter
14:
Ref
eren
ce
230
Lyric
Win
dow
Op
tion
s
T
he
[Big
Lyri
cs]
bu
tton
op
ens
the
Lyri
c W
indo
w O
pti
on
s.
\
Ind
ivid
ual
co
lor
elem
ents
can
be
pic
ked
, or
choo
se o
ne
of
the
pre
sets
.
Dis
pla
y C
ho
rd
Sy
mb
ols
wil
l in
terl
eav
e th
e ch
ord
sym
bo
ls w
ith
th
e ly
rics
.
Wit
h t
he
Scro
ll l
yric
s a
page a
t a t
ime o
pti
on s
elec
ted t
he
Big
Lyri
cs s
croll
a p
age
at a
tim
e. W
hen
th
e ly
ric
curs
or
reac
hes
the
nex
t-to
-las
t li
ne
of
the
lyri
cs i
t w
ill
scro
ll t
o t
he
top o
f th
e pag
e, a
llo
win
g u
nin
terr
up
ted r
ead
ing o
f ly
rics
.
Au
to-o
pen
ly
ric
s w
ind
ow
for s
on
gs w
ith
ly
ric
s a
uto
mat
ical
ly o
pen
s th
e B
ig L
yri
cs w
indow
wh
en a
so
ng
wit
h
lyri
cs i
s op
ened
in B
and
-in
-a-B
ox.
Chap
ter
14:
Ref
eren
ce
231
Prin
t O
pti
on
s T
he
[Pri
nt]
bu
tto
n o
pen
s th
e P
rin
t O
pti
on
s d
ialo
g.
T
hes
e o
pti
on
s ar
e d
escr
ibed
in
th
e N
ota
tio
n c
hap
ter
and
in t
he
on
lin
e H
elp
.
Pla
y M
en
u
Chap
ter
14:
Ref
eren
ce
232N
ote
: M
ost
co
mm
an
ds in
th
e P
lay m
en
u a
re p
erf
orm
ed
by o
nscre
en
bu
tto
ns,
or
by t
he
ke
ystr
oke
s lis
ted
to
th
e r
igh
t o
f th
e
me
nu
co
mm
an
d.
Pla
y
-G
ener
ates
a n
ew a
rran
gem
ent
and
pla
ys
the
son
g.
Sto
p P
layb
ack
-
Sto
ps
pla
ybac
k.
To
res
um
e ei
ther
use
th
e P
lay
Fro
m C
urr
ent
Po
siti
on c
om
man
d o
r th
e
[Fro
m]
bu
tto
n t
he
pla
y f
rom
th
e st
art
of
the
curr
ent
bar
, or
use
th
e [P
lay]
or
Rep
lay [
+]
bu
tton
s to
pla
y f
rom
th
e st
art
of
the
son
g.
Ho
ld (
pa
use)
-P
ause
s th
e so
ng
. R
epea
ting
th
is c
om
man
d r
esu
mes
pla
y f
rom
th
e ex
act
loca
tio
n w
her
e
the
song
was
pau
sed
.
Rep
lay
-
Pla
ys
the
curr
ent
arra
ng
emen
t fr
om
th
e st
art
wit
hou
t re
gen
erat
ing t
he
par
ts. E
dit
s to
acco
mp
anim
ent
par
ts a
re k
ept.
Pla
y F
rom
Bar…
-
Ch
oo
se a
choru
s an
d b
ar t
o p
lay f
rom
in
th
e cu
rren
t ar
rangem
ent.
P
arts
are
no
t
reg
ener
ated
. U
se t
his
co
mm
and d
uri
ng
pla
yb
ack t
o j
um
p t
o a
ny b
ar i
n t
he
song
.
Pla
y F
rom
Cu
rren
t
Po
sit
ion
-W
hen
th
e so
ng i
s st
op
ped
th
is c
om
man
d s
tart
s p
layb
ack
agai
n a
t th
e b
ar w
ith
th
e
hig
hli
gh
t ce
ll.
Go
(O
pen
an
d P
lay
) -
Lau
nch
es a
n O
pen
Fil
e d
ialo
g f
or
sele
ctio
n o
f an
y s
on
g i
n a
ny d
irec
tory
. T
he
sele
cted
son
g l
oad
s an
d p
lays
auto
mat
ical
ly i
n B
and-i
n-a
-Box
.
Ste
p A
dv
an
ce
su
bm
en
u
-W
hen
a s
ong
is
pau
sed
th
ese
com
man
ds
can
be
use
d t
o n
avig
ate
step
-by-s
tep
thro
ugh
the
curr
entl
y s
elec
ted t
rack
. F
or
exam
ple
, if
th
e cu
rren
t tr
ack
is
set
to t
he
Mel
od
y t
rack
usi
ng
th
e ro
w o
f bu
tton
s o
n t
he
No
tati
on
Win
do
w,
Lea
d S
hee
t W
indow
, o
r G
uit
ar
Win
dow
; p
ress
ing
th
e ad
van
ce b
utt
ons
wil
l d
isp
lay t
he
nex
t n
ote
or
chord
of
the
mel
od
y o
n t
he
pia
no
dis
pla
y, g
uit
ar d
isp
lay, le
ad s
hee
t an
d n
ota
tion
win
dow
. T
his
is
a
gre
at w
ay t
o s
tud
y t
he
no
tes
bei
ng
pla
yed
, an
d t
o n
avig
ate
aroun
d t
he
trac
k.
Sli
de T
ra
ck
s
-T
his
all
ow
s you
to m
ov
e an
y o
f th
e B
ass,
Dru
ms,
Pia
no, G
uit
ar, S
trin
gs
or
Mel
od
y
trac
k a
hea
d o
r b
ehin
d b
y a
cer
tain
am
ou
nt.
Y
ou
cou
ld, fo
r ex
amp
le,
slid
e th
e B
ass
trac
k s
o i
t p
lays
a li
ttle
ah
ead
of
the
rest
of
the
ban
d.
Th
is h
as t
he
effe
ct o
f m
akin
g t
he
bas
s pla
yer
“d
rive
the
ban
d,”
and i
s use
ful
in J
azz
style
s to
mak
e th
e m
usi
c so
und m
ore
exci
tin
g.
Lo
op
ing
-Y
ou
can
lo
op
an
y s
ecti
on
of
the
son
g.
Th
e pro
gra
m w
ill
then
sta
rt p
layb
ack
at
the
firs
t
loop
po
int
and
pla
y t
he
loop
ed s
ecti
on
un
til
sto
p i
s pre
ssed
or
loo
pin
g i
s tu
rned
off
.
-L
oo
pin
g o
f a
sect
ion
of
the
son
g i
s en
able
d b
y t
he
“LoopS
ec”
chec
kbox
, w
ith
th
e L
oop
sect
ion
Ena
ble
d c
om
man
d, or
wit
h t
he
key
stro
ke
NU
MP
AD
1.
-O
pen
up
th
e L
oop
Secti
on
Sett
ing
s d
ialo
g w
ith
th
e m
enu
co
mm
and
, b
y c
lick
ing
th
e
Loo
p b
utt
on
in t
he
too
lbar
, or
pre
ssin
g N
UM
PA
D 2
. T
he
Lo
op
set
tin
gs
dia
log
wil
l
then
dis
pla
y;
see
its
on
lin
e H
elp
fo
r d
etai
led i
nst
ruct
ions.
Th
e re
mai
nin
g c
om
man
ds
in t
his
su
bm
enu
are
als
o f
oun
d i
n t
he
Lo
op
Secti
on
Sett
ing
s
dia
log.
Chap
ter
14:
Ref
eren
ce
233
Tem
po
-Y
ou
can
qu
ick
ly e
nte
r a
spec
ific
tem
po
fo
r a
song
wit
h t
he
Set
Tem
po
… c
om
man
d (
ho
t
key
is
Ctr
l+A
lt+
T),
or
by c
lick
ing
on t
he
tem
po
. A
dia
log o
pen
s up w
her
e you c
an
typ
e in
a t
emp
o.
-Y
ou
can
qu
ick
ly c
han
ge
to d
iffe
ren
t sp
eed
s w
ith
th
e m
enu
co
mm
and
s o
r h
ot
key
s.
Fo
r
exam
ple
, ch
oosi
ng H
alf
Sp
eed
(or
the
ho
t k
eys
Ctr
l -)
wil
l ch
ang
e th
e p
layb
ack
sp
eed
to h
alf,
and
Norm
al
Sp
eed (
Ctr
l =
) w
ill
rev
ert
to n
orm
al s
pee
d.
Ju
ke B
ox
Pla
y
-O
pen
s th
e O
pti
on
s f
or J
uk
e B
ox d
ialo
g t
o s
elec
t an
d p
lay a
jukeb
ox l
ist.
Prev
iou
s J
uk
e B
ox
So
ng
/ N
ex
t
Ju
keB
ox
so
ng
-N
avig
ate
bac
k a
nd f
ort
h i
n a
ju
ke
box
set
lis
t.
Wiz
ard
Pla
ya
lon
g
featu
re
-T
he
Wiz
ard i
s a
pla
y a
long f
eatu
re t
hat
all
ow
s yo
u t
o u
se t
he
QW
ER
TY
Key
boar
d t
o
pla
y a
long
wit
h B
and-i
n-a
-Bo
x.
Th
e W
izar
d i
s o
nly
act
ive
du
rin
g p
lay
bac
k.
Wiz
ard
uses
“S
ma
rt”
note
s
-T
og
gle
th
is o
n s
o t
he
Wiz
ard w
ill
on
ly p
lay n
ote
s b
ased
on
th
e ch
ord
/key
of
the
son
g.
Tog
gle
“S
mar
t” n
ote
s O
FF
(un
chec
ked
) to
hav
e th
e W
izar
d p
rov
ide
you
acc
ess
to t
he
chro
mat
ic s
cale
.
Pa
nic
!-
Sel
ect
this
if
yo
ur
MID
I n
ote
s ar
e st
uck
ON
and
it’
s dri
vin
g y
ou
cra
zy!
Ly
ric
s M
en
u
En
ter L
yric
s a
t cu
rren
t b
ar
-O
pen
s th
e L
yri
c en
try b
ox a
t th
e cu
rren
t lo
cati
on
of
the
tim
elin
e or
hig
hli
gh
t ce
ll.
Big
Ly
ric
s W
ind
ow
-
Op
ens
the
Big
Lyri
cs w
indow
fo
r v
iew
ing l
yri
cs a
nd
, op
tion
ally
, ch
ord
sym
bo
ls.
Lyric
Docu
men
t W
ind
ow
-
dis
pla
ys
a fu
ll s
cree
n o
f fo
rmat
ted
lyri
cs.
Eas
ily c
op
y a
nd p
aste
lyri
cs t
o
and f
rom
yo
ur
favo
rite
word
pro
cess
or.
Cop
y L
yric
s t
o C
lip
board
-
Th
is f
un
ctio
n a
llo
ws
yo
u t
o c
op
y a
son
g's
lyri
cs (
and
/or
the
chord
s) t
o t
he
Sta
nd
ard
Win
do
ws
Cli
pbo
ard. B
y p
asti
ng
th
is d
ata
into
a w
ord
pro
cess
or,
Chap
ter
14:
Ref
eren
ce
234
yo
u c
an p
rin
t ou
t th
e ly
rics
in
th
e fo
nt
of
your
cho
ice.
T
he
dia
log h
as
op
tion
s to
all
ow
co
pyin
g o
f no
te-b
ased
and
/or
lin
e-b
ased
lyri
cs.
Wit
h
eith
er o
pti
on
yo
u c
an c
hoo
se t
o i
ncl
ud
e th
e ch
ord
sym
bo
ls, h
ave
dou
ble
or
sin
gle
lin
e sp
acin
g, an
d m
ake
mar
gin
set
tin
gs.
Cop
y 1
st c
ho
ru
s L
yric
s t
o
wh
ole
son
g
-C
op
ies
the
no
te-b
ased
lyri
cs f
or
the
firs
t ch
oru
s to
th
e re
st o
f th
e so
ng.
Erase a
ll L
yric
s
-E
rase
s n
ote
-bas
ed a
nd
lin
e-b
ased
Lyri
cs.
Era
se N
ote
Lyric
s o
nly
-
Era
ses
only
the
no
te-b
ased
lyri
cs.
Kil
l L
yric
s C
ho
ru
ses
-S
elec
t to
kil
l ly
rics
in
th
e F
irst
Cho
rus,
Mid
dle
Cho
ruse
s, o
r L
ast
Cho
rus
fro
m a
lis
t b
ox.
Move L
yric
ah
ead
to t
ime l
ine
Move L
yric
back
to t
ime l
ine
-If
yo
u h
ave
a no
te-b
ased
lyri
c th
at y
ou
wan
t to
tim
e sh
ift
ahea
d o
r b
ack
,
yo
u c
an c
lick
on
th
e ti
me
lin
e at
th
e d
esti
nat
ion t
hat
you
wan
t, a
nd t
hen
choo
se t
his
ite
m.
Yo
u c
an a
lso
sh
ift
lyri
c ti
mes
usi
ng
th
e L
yri
c E
ven
t li
st.
Tim
esh
ift
Ly
ric
s (
tick
s)
In
sert
Bea
t(s)
in L
yric
s
Dele
te B
ea
t(s)
fro
m L
yric
s
-T
hes
e ar
e fu
nct
ion
s th
at a
pp
ly t
o t
he
enti
re l
yri
c tr
ack.
Th
ey a
re u
sefu
l
wh
en y
ou
're
inse
rtin
g b
ars
or
bea
ts i
nto
th
e so
ng
and
nee
d t
o m
ov
e th
e
lyri
cs a
round t
o k
eep t
hem
in s
ync.
Ed
it L
yric
s a
s E
ven
t L
ist
-O
pen
s th
e E
dit
Ly
ric
s d
ialo
g w
ith
Ed
it,
Inse
rt, A
pp
end,
and
Del
ete
fun
ctio
ns.
Lin
e-b
ased
Lyric
s o
pen
s a
sub
-men
u w
ith
ad
dit
ion
al f
eatu
res.
Cop
y L
ine L
yric
s t
o N
ote
Ly
ric
s c
onv
erts
lin
e-b
ased
lyri
cs t
o n
ote
bas
ed l
yri
cs. I
t is
im
pre
cise
, b
ecau
se t
he
lin
e-
bas
ed l
yri
cs d
on
't co
rres
pon
d t
o i
nd
ivid
ual
no
tes.
B
ut
you
can
ed
it t
he
posi
tio
ns
of
the
no
te-b
ased
lyri
cs u
sin
g t
he
even
t li
st o
r th
e M
ove
Lyri
c bac
k/a
hea
d t
o t
ime
lin
e fu
nct
ion
s d
iscu
ssed
ab
ov
e.
Mov
e L
ine l
yric
s t
o N
ote
Lyric
s w
ork
s li
ke
the
Co
py L
ine
lyri
cs t
o N
ote
Lyri
cs f
un
ctio
n,
exce
pt
it e
rase
s th
e L
ine-
bas
ed l
yri
cs.
Au
to-U
pd
ate
all
son
gs i
n f
old
er t
o N
ote
-based
Ly
ric
s w
ill
upd
ate
an e
nti
re f
old
er w
ort
h o
f so
ng
s, c
opyin
g t
he
Lin
e L
yri
cs t
o N
ote
Lyri
cs. O
nly
No
te-b
ased
Lyri
cs g
et d
isp
layed
in t
he
Big
Lyri
cs D
ialo
g, so
th
is f
eatu
re w
ill
allo
w y
ou t
o s
ee t
hes
e ly
rics
in
the
Big
Lyri
cs W
indow
.
Move L
yric
s U
p o
r d
ow
n r
ow
(s)…
mo
ves
a l
ine
of
lin
e-bas
ed l
yri
cs u
p/d
ow
n a
nu
mb
er o
f ro
ws.
Erase L
ine-b
ased
Lyric
s o
nly
era
ses
on
ly t
he
lin
e-b
ased
lyri
cs, p
rese
rvin
g t
he
no
te-b
ased
ly
rics
.
Melo
dy
Men
u
Chap
ter
14:
Ref
eren
ce
235
Tra
ck
Ty
pe
Norm
ally
yo
u'd
lea
ve
the
trac
k t
yp
e se
t to
Sin
gle
. B
ut
you
can
set
it
to:
-M
ult
i (1
6)
-Chan
nel
– A
ll c
han
nel
s g
et p
rese
rved
, an
d o
utp
utt
ed o
n t
he
chan
nel
s, t
his
wou
ld b
e u
sefu
l fo
r
imp
ort
ing
an
en
tire
MID
I fi
le, an
d p
layin
g i
t fr
om
th
e M
elod
y c
han
nel
(u
sin
g a
sil
ent
style
).
-G
uit
ar –
Ch
ann
els
11 t
o 1
6 w
ill
dis
pla
y o
n t
he
gu
itar
as
stri
ng
s 11
to
16
, T
AB
wil
l sh
ow
, th
e no
tati
on
wil
l b
e up
an o
ctav
e, a
nd t
he
MID
I fi
le w
ill
con
tain
the
chan
nel
s pre
serv
ed.
-P
ian
o –
In
th
is m
od
e, c
han
nel
s 8
and
9 a
re t
reat
ed a
s th
e le
ft a
nd r
igh
t h
and
of
a p
iano
par
t.
-S
elec
tin
g a
ny o
ne
of
Bas
s, U
ku
lele
, M
and
oli
n, B
anjo
, or
Vio
lin
wil
l d
isp
lay t
he
corr
ect
tab
latu
re i
n t
he
Nota
tion w
indow
and t
he
corr
ect
fret
bo
ard
in
th
e G
uit
ar w
indow
.
Melo
dis
t –
Gen
erate
Melo
dy
an
d C
ho
rd
s l
aun
ches
th
e M
elo
dis
t.
Melo
dy
Ma
ker m
enu
ite
ms
allo
w y
ou
to
ed
it M
elo
dis
t fi
les
usi
ng t
he
Mel
od
y M
aker
.
Em
bell
ish
Melo
dy d
urin
g p
layb
ack
lau
nch
es t
he
Em
bel
lish
er d
ialo
g. T
his
op
tio
nal
ly e
mb
elli
shes
th
e M
elo
dy
duri
ng
pla
yb
ack
.
Em
bell
ish
Melo
dy D
ialo
g a
llo
ws
you
to
cu
sto
miz
e th
e se
ttin
gs
of
the
Em
bel
lish
er,
choo
se a
n e
mb
elli
sher
typ
e fr
om
pre
sets
, an
d m
ake
a p
arti
cula
r E
mb
elli
shm
ent
per
man
ent.
Chap
ter
14:
Ref
eren
ce
236
Ed
it M
elo
dy
su
bm
en
u
Im
po
rt
Melo
dy
fro
m M
ID
I F
ile a
llo
ws
you
to i
mp
ort
MID
I d
ata
fro
m a
fil
e (*
.MID
) in
to t
he
Mel
od
y t
rack
.
Im
po
rt
Melo
dy
fro
m C
lip
boa
rd
all
ow
s you t
o i
mp
ort
MID
I d
ata
that
has
bee
n p
aste
d i
nto
th
e cl
ipbo
ard (
e.g
., f
rom
a se
quen
cer
such
as
Pow
erT
rack
s).
Record
Melo
dy
lau
nch
es t
he
Rec
ord
Mel
ody d
ialo
g t
o r
eco
rd a
MID
I m
elo
dy.
Reco
rd
melo
dy
Fro
m a
ny
ba
r s
tart
s re
cord
ing
at
the
curr
ent
loca
tion
of
the
hig
hli
gh
t ce
ll a
fter
pla
yin
g a
tw
o b
ar
lead
-in.
Ste
p E
dit
Melo
dy
all
ow
s you
to e
nte
r/ed
it a
mel
od
y i
n s
tep
tim
e fr
om
th
e N
ota
tio
n w
ind
ow
. T
his
use
s an
ev
ent
list
.
Qu
an
tize M
elo
dy
op
ens
the
Qu
an
tize M
elo
dy
Op
tio
ns d
ialo
g. T
he
Hum
an
ize
Mel
od
y… f
eatu
re i
s an
ad
van
ced
ver
sio
n o
f th
is f
un
ctio
n.
Chap
ter
14:
Ref
eren
ce
237
-R
eso
luti
on
. C
hoo
se t
he
div
isio
n y
ou w
ou
ld l
ike
the
trac
k q
uan
tize
d t
o. C
hoo
sin
g 1
6 w
ill
Quan
tize
to 1
6th
no
tes.
-S
tarti
ng
at
Bar#
an
d C
ho
ru
s #
. Q
uan
tiza
tio
n w
ill
beg
in a
t th
e pla
ce y
ou s
elec
t an
d a
ppli
ed f
or
the
nu
mb
er o
f b
ars.
-%
str
en
gth
. C
hoo
se 1
00%
if
you
wan
t th
e n
ote
s
qu
anti
zed
ex
actl
y t
o t
he
div
isio
n.
Oth
erw
ise,
th
e
no
tes
wil
l b
e m
ov
ed t
he
% t
ow
ard
th
e ta
rget
qu
anti
zati
on.
-Q
uan
tize S
tart
Tim
es. B
y d
efau
lt, th
is o
pti
on i
s se
t to
“Y
es.”
If
you
don
't w
ant
the
beg
inn
ing
s o
f th
e no
tes
quan
tize
d,
set
it t
o “
No.”
-Q
uan
tize D
ura
tio
ns. T
his
qu
anti
zes
the
EN
D o
f th
e n
ote
s.
By d
efau
lt,
this
is
set
to “
Off
.”
Hu
ma
niz
e w
ith
Str
aig
ht
Feel
/ H
um
an
ize w
ith
Sw
ing
Feel
Ban
d-i
n-a
-Bo
x u
ses
inte
llig
ent
hu
man
izat
ion r
ou
tin
es, w
hic
h c
an h
um
aniz
e a
mel
od
y f
rom
on
e fe
el t
o a
no
ther
, fr
om
on
e te
mp
o t
o a
no
ther
, an
d v
ary t
he
amo
un
t of
swin
g i
n 8
th n
ote
s (b
ut
no
t ra
ndo
mly
).
Th
e re
sult
s ar
e v
ery m
usi
cal
wit
h n
atura
l so
und
ing
MID
I m
elo
die
s.
Hu
ma
niz
e M
elo
dy
Op
ens
the
Melo
dy
: Q
ua
nti
ze t
o N
ew
Tem
po
or F
eel
dia
log
. T
he
hu
man
ize
effe
ct i
s bro
ken
dow
n i
nto
5 m
ain
cate
gori
es:
Tem
po
, L
aten
ess,
8th
No
te S
pac
ing
, L
egat
o, an
d F
eel.
Tra
nsp
ose M
elo
dy o
nly
… a
llo
ws
yo
u t
o t
ran
spo
se t
he
mel
od
y t
rack
wit
ho
ut
affe
ctin
g t
he
oth
er t
rack
s in
th
e so
ng
.
Cop
y 1
st
ch
oru
s t
o w
ho
le s
on
g s
tret
ches
the
mel
od
y t
rack
ou
t ov
er t
he
enti
re s
ong
(i.
e. f
irst
, la
st, an
d m
idd
le
choru
ses)
.
Kil
l en
tire m
elo
dy e
rase
s th
e m
elo
dy
tra
ck a
nd
an
y d
ata
that
was
con
tain
ed t
her
ein
.
Kil
l M
elo
dy
Ch
oru
ses e
lim
inat
es t
he
Mel
ody f
rom
th
e F
irst
Ch
oru
s, M
iddle
Ch
oru
ses,
or
Las
t C
ho
rus
as s
elec
ted
fro
m a
lis
t b
ox.
Ad
just
Lev
el
of
melo
dy
all
ow
s y
ou
to
in
crea
se o
r d
ecre
ase
the
vo
lum
e (v
elo
city
) o
f th
e M
elo
dy t
rack
wit
hou
t
affe
ctin
g t
he
oth
er t
rack
s.
Tim
esh
ift
Melo
dy
(ti
ck
s)
allo
ws
you
to
mo
ve
the
Mel
od
y f
orw
ard
s o
r b
ack
war
ds
in s
mal
l in
crem
ents
rel
ativ
e to
th
e
rest
of
the
song t
rack
s. (M
easu
red
in
tic
ks
or
par
ts p
er q
uar
ter,
PP
Q).
In
sert
Beat(
s)
in M
elo
dy a
llow
s you
to
in
sert
a b
lank
bea
t or
bea
ts i
nto
th
e so
ng r
elat
ive
to t
he
curr
ent
tim
e
sig
nat
ure
.
Dele
te B
ea
t(s)
fro
m M
elo
dy
all
ow
s yo
u t
o d
elet
e a
bea
t o
r b
eats
fro
m t
he
song
rel
ativ
e to
th
e cu
rren
t ti
me
sig
nat
ure
.
Cop
y t
o S
olo
ist
Tra
ck
co
pie
s th
e en
tire
co
nte
nts
of
the
Mel
od
y t
rack
to t
he
Solo
ist
Tra
ck.
Use
ful
for
a te
mpora
ry
ho
ldin
g a
rea
for
you
r M
elod
y o
r bou
nci
ng t
rack
s.
Mov
e t
o S
olo
ist
Tra
ck
cop
ies
the
enti
re c
onte
nts
of
the
Mel
od
y t
rack
and
era
ses
the
ori
gin
al d
ata
fro
m t
he
Mel
od
y
trac
k, pre
par
ing
it
for
a n
ew t
rack
or
dat
a.
Sw
ap
Melo
dy a
nd
So
lois
t T
ra
ck
per
form
s a
“do
ub
le c
op
y/m
ov
e” s
o t
hat
th
e d
ata
that
was
in
th
e M
elody t
rack
get
s
tran
sfer
red t
o t
he
So
lois
t tr
ack
an
d v
isa
ver
sa. T
his
is
also
know
n a
s tr
ack b
oun
cing
.
Map
Melo
dy
tra
ck
to
C7 c
ho
rd
is
a u
sefu
l to
ol
wh
en m
akin
g s
tyle
s.
Chap
ter
14:
Ref
eren
ce
238
Con
vert
Ha
rm
on
y t
o M
elo
dy
Tra
ck
… c
on
ver
ts a
sin
gle
lin
e M
elo
dy t
rack
to i
ncl
ud
e th
e cu
rren
t h
arm
on
y
sele
ctio
n.
Rem
ov
e H
arm
on
y (
or g
uit
ar s
olo
) fr
om
Melo
dy
Tra
ck
rem
ov
es a
har
mo
ny
fro
m a
tra
ck, p
rov
idin
g t
hat
th
e
har
mo
ny
was
pu
t th
ere
by
Ban
d-i
n-a
-Box i
n t
he
firs
t pla
ce u
sing t
he
Conve
rt H
arm
ony
to M
elody
Tra
ck c
om
man
d.
Gen
era
te G
uit
ar C
ho
rd
So
lo o
pen
s th
e G
uit
ar f
eatu
re d
ialo
g f
or
gen
erat
ing
a g
uit
ar c
hord
so
lo.
Rech
an
nel
to G
uit
ar D
isp
lay
co
nv
erts
ch
ann
els
on
a t
rack
to c
han
nel
s 11 t
o 1
6. C
han
nel
s 11
to 1
6 a
re u
sed
by
Ban
d-i
n-a
-Bo
x t
o i
nd
icat
e st
rin
gs
1 t
o 6
of
a g
uit
ar. I
t use
s th
e cu
rren
t p
osi
tio
n m
ark
er o
n t
he
gu
itar
fo
r th
is
com
man
d.
Uti
liti
es
Th
ere
is a
Uti
liti
es s
ub-m
enu
th
at h
as u
tili
ty f
un
ctio
ns
to c
onver
t th
e p
itch
ben
d r
ang
e o
f a
trac
k, in
sert
pit
ch b
end
no
te e
ven
ts,
tran
spo
se a
nd
tra
nsf
orm
mel
od
ies.
Eli
min
ate
Note
Overla
p –
Preserve D
ou
ble
Sto
ps /
Eli
min
ate
Note
Ov
erla
p –
Rem
ove D
ou
ble
Sto
ps o
pen
s a
Ch
oo
se R
an
ge d
ialo
g t
o s
elec
t th
e ra
ng
e o
f bar
s w
her
e no
te o
ver
lap w
ill
be
elim
inat
ed w
hil
e d
ou
ble
sto
ps
are
eith
er
pre
serv
ed o
r el
imin
ated
.
Ch
an
ge P
itch
Ben
d R
an
ge…
let
s you
set
th
e ra
ng
e in
sem
ito
nes
.
In
sert
Gu
itar B
en
d e
ven
ts w
hen
pit
ch
ben
d f
ou
nd
… w
ill
inse
rt c
on
tro
ller
s so
th
e g
uit
ar w
ill
dis
pla
y b
ends.
Tra
nsp
ose O
ne O
cta
ve D
OW
N /
Tra
nsp
ose O
ne O
cta
ve U
Ptr
ansp
ose
s th
e M
elod
y p
art
on
e o
ctav
e in
eit
her
dir
ecti
on
. T
his
is
oft
en u
sefu
l if
th
e M
elo
dy i
nst
rum
ent
has
bee
n c
han
ged
. T
ran
spo
sin
g c
an b
e d
on
e w
hil
e th
e so
ng
pla
ys.
Tra
nsfo
rm
Wa
ltz M
elo
dy &
So
lois
t to
4/4
If y
ou h
ave
a so
ng
wit
h a
3/4
tim
e si
gn
atu
re, yo
u c
an i
nst
antl
y h
ear
it a
s a
4/4
fee
l. S
imp
ly l
oad
th
e W
altz
son
g a
nd
then
ch
ang
e th
e st
yle
to
a 4
/4 s
tyle
. B
and-i
n-a
-Bo
x u
ses
inte
llig
ent
algo
rith
ms
to t
ran
sform
th
e m
elo
dy t
o t
he
new
tim
e si
gn
atu
re.
Tra
nsfo
rm
4/4
Melo
dy
& S
olo
ist
to W
alt
z
You
can
au
tom
atic
ally
tra
nsf
orm
an
y 4
/4 s
ong
/mel
od
y t
o a
Wal
tz 3
/4 f
eel.
S
imp
ly l
oad
in
an
y 4
/4 s
on
g a
nd c
han
ge
the
style
to
a W
altz
sty
le.
Th
e p
rog
ram
wil
l o
ffer
to
tra
nsf
orm
th
e m
elo
dy s
o t
hat
it
wo
rks
as a
Wal
tz.
It’
s fu
n a
nd
educa
tional
to
hea
r an
d p
lay f
amil
iar
songs
in a
Wal
tz f
eel.
So
lois
t M
en
u
Tra
ck
Ty
pe
Norm
ally
yo
u'd
lea
ve
the
trac
k t
yp
e se
t to
Sin
gle
. B
ut
you
can
set
it
to:
-M
ult
i (1
6)
-Chan
nel
– A
ll c
han
nel
s g
et p
rese
rved
, an
d o
utp
utt
ed o
n t
he
chan
nel
s, t
his
wou
ld b
e u
sefu
l fo
r
imp
ort
ing
an
en
tire
MID
I fi
le, an
d p
layin
g i
t fr
om
th
e M
elod
y c
han
nel
(u
sin
g a
sil
ent
style
).
-G
uit
ar –
Ch
ann
els
11 t
o 1
6 w
ill
dis
pla
y o
n t
he
gu
itar
as
stri
ng
s 11
to
16
, T
AB
wil
l sh
ow
, th
e no
tati
on
wil
l b
e up
an o
ctav
e, a
nd t
he
MID
I fi
le w
ill
con
tain
the
chan
nel
s pre
serv
ed.
Chap
ter
14:
Ref
eren
ce
239
-P
ian
o –
In
th
is m
od
e, c
han
nel
s 8
and
9 a
re t
reat
ed a
s th
e le
ft a
nd r
igh
t h
and
of
a p
iano
par
t.
-S
elec
tin
g a
ny o
ne
of
Bas
s, U
ku
lele
, M
and
oli
n, B
anjo
, or
Vio
lin
wil
l d
isp
lay t
he
corr
ect
tab
latu
re i
n t
he
Nota
tion w
indow
and t
he
corr
ect
fret
bo
ard
in
th
e G
uit
ar w
indow
.
Gen
era
te a
nd
pla
y a
So
lo...
Op
ens
the
Sele
ct
So
lois
t dia
log w
her
e a
pre
set
Solo
ist
style
can
be
sele
cted
or
your
ow
n S
olo
ist
can b
e def
ined
.
So
lois
t M
ak
er s
ub
men
u
Sta
rt
a S
olo
ists
Fil
e a
llo
ws
yo
u t
o m
ake
and e
dit
So
lois
t st
yle
s sa
ved
under
th
e fi
len
ame
of
you
r ch
oic
e.
See
So
lois
t E
dit
dia
log
fo
r ad
dit
ion
al d
etai
ls o
n i
mp
ort
ing
/expo
rtin
g/s
avin
g S
olo
ists
.
Ed
it a
So
lois
ts f
ile o
pen
s an
Op
en
Fil
e d
ialo
g w
her
e you
can
sel
ect
any S
olo
ist
file
(*.S
OL
) to
ed
it.
If
yo
u h
ave
no
t
crea
ted
an
y o
f yo
ur
ow
n S
olo
ist
file
s o
r if
you
wan
t to
ed
it t
he
on
e you
are
usi
ng
, u
se t
he
Ed
it C
urr
ent
So
lois
t F
ile
com
man
d.
If y
ou w
ant
to m
ake
yo
ur
ow
n s
olo
ists
or
mo
dif
y a
n e
xis
tin
g S
olo
ist,
use
th
e S
olo
ist
Mak
er (
edit
) m
odu
le. T
he
So
lois
t M
aker
all
ow
s yo
u t
o d
efin
e th
e p
aram
eter
s es
sen
tial
to a
so
lois
t's p
layin
g, su
ch a
s in
stru
men
t ra
ng
e (i
.e. te
no
r
saxo
pho
ne)
, ex
tra
leg
ato p
layin
g, p
layin
g m
ore
on t
op
of
the
bea
t, p
layin
g s
trai
gh
ter
8th
no
tes
than
usu
al s
win
g 8
th
note
s. In
addit
ion,
you c
an s
et p
hra
sing o
pti
ons,
su
ch a
s how
long t
he
phra
se s
hould
be,
and h
ow
mu
ch “
spac
e” t
o
leav
e bet
wee
n p
hra
ses.
Y
ou c
an a
lso
set
how
“o
uts
ide”
the
pla
yin
g s
hou
ld b
e.
Ed
it C
urren
t S
olo
ists
Fil
e o
pen
s th
e S
ele
ct
Solo
ist
dia
log
wit
h t
he
curr
entl
y i
nst
alle
d S
olo
ists
fil
e.
Refr
esh
So
lois
t al
low
s th
e S
olo
ist
full
acc
ess
to a
ll s
olo
id
eas
conta
ined
in
its
dat
abas
e. U
se t
o r
efre
sh a
fter
sev
eral
So
lois
ts h
ave
bee
n m
ade.
OK
to L
oa
d S
olo
ists
w/S
on
gs
En
able
th
is o
pti
on i
f yo
u w
ant
So
lois
ts t
o b
e au
tom
atic
ally
lo
aded
wit
h a
so
ng
th
at
was
sav
ed w
ith S
olo
ist
info
rmat
ion
.
All
ow
So
lois
t H
arm
on
y (
on
TH
RU
Ha
rm
on
y)
En
able
th
is o
pti
on
to
per
mit
th
e S
olo
ist
to u
tili
ze t
he
Har
mo
ny
feat
ure
s. T
his
wil
l al
low
th
e S
olo
ist
to m
ake
a h
arm
on
ized
so
lo w
ith
th
e h
arm
on
y o
f you
r ch
oic
e. S
ee t
he
Sel
ect
So
lois
t d
ialo
g f
or
add
itio
nal
det
ails
.
Chap
ter
14:
Ref
eren
ce
240
Ed
it S
olo
ist
Tra
ck
is
a su
b-m
enu
of
edit
ing
op
tion
s.
Im
po
rt
to S
olo
ist
Pa
rt
fro
m M
ID
I F
ile a
llo
ws
yo
u t
o i
mp
ort
MID
I d
ata
fro
m a
fil
e (*
.MID
) in
to t
he
So
lois
t tr
ack
.
Im
po
rt
to S
olo
ist
Pa
rt
fro
m C
lip
bo
ard
all
ow
s you
to
im
port
MID
I d
ata
that
has
bee
n p
aste
d i
nto
th
e cl
ipb
oar
d
(e.g
., f
rom
a s
equ
ence
r su
ch a
s P
ow
erT
rack
s).
Reco
rd
To
So
lois
tP
art
reco
rds
a M
IDI
par
t to
th
e S
olo
ist
trac
k i
nst
ead o
f re
cord
ing t
o t
he
Mel
ody t
rack
.
Reco
rd
to S
olo
ist
Pa
rt
From
… s
tart
s re
cord
ing
at
the
curr
ent
loca
tion
of
the
hig
hli
ght
cell
aft
er p
layin
g a
tw
o b
ar
lead
-in.
Ste
p E
dit
So
lois
t al
low
s you
to
en
ter/
edit
a s
olo
ist
in s
tep
tim
e fr
om
th
e N
ota
tio
n w
indow
. T
his
use
s an
ev
ent
list
.
Qu
an
tize S
olo
ist
op
ens
the
Qu
an
tize S
olo
ist
Op
tion
s d
ialo
g.
Th
e H
um
an
ize
So
lois
t P
art
… f
eatu
re i
s an
ad
van
ced
ver
sio
n o
f th
is f
un
ctio
n.
Hu
ma
niz
e S
olo
ist
Pa
rt
w/S
tra
igh
t F
eel
/ …
/Sw
ing
Feel.
B
and-i
n-a
-Bo
x u
ses
inte
llig
ent
hu
man
izat
ion r
ou
tin
es,
wh
ich
can
hu
man
ize
a S
olo
ist
fro
m o
ne
feel
to
an
oth
er,
from
on
e te
mp
o t
o a
no
ther
, an
d v
ary t
he
amo
un
t of
swin
g i
n
8th
no
tes
(bu
t n
ot
ran
do
mly
).
Th
e re
sult
s ar
e v
ery m
usi
cal,
wit
h n
atura
l so
und
ing
MID
I so
los.
Hu
ma
niz
e S
olo
ist
Pa
rt…
open
s th
e S
olo
ist:
Qu
an
tize t
o N
ew
Tem
po o
r F
eel
dia
log.
The
hum
aniz
e ef
fect
is
bro
ken
dow
n i
nto
5 m
ain
cat
egori
es:
Tem
po
, L
aten
ess,
8th
No
te S
pac
ing, L
egat
o,
and F
eel.
Tra
nsp
ose S
olo
ist
Pa
rt
allo
ws
yo
u t
o t
ransp
ose
th
e S
olo
ist
trac
k w
itho
ut
affe
ctin
g t
he
oth
er t
rack
s in
th
e so
ng.
Cop
y 1
st
ch
oru
s t
o w
ho
le s
on
g s
tret
ches
the
So
lois
t tr
ack
ou
t ov
er t
he
enti
re s
on
g (
i.e.
fir
st,
last
, an
d m
idd
le
choru
ses)
.
Kil
l en
tire S
olo
ist
Pa
rt
eras
es t
he
Solo
ist
trac
k a
nd a
ny d
ata
that
was
con
tain
ed t
her
ein.
Chap
ter
14:
Ref
eren
ce
241
Kil
l S
olo
ist
Ch
oru
ses e
lim
inat
es t
he
So
lois
t fr
om
th
e F
irst
Ch
oru
s, M
iddle
Choru
ses,
or
Las
t C
horu
s as
sel
ecte
d
fro
m a
lis
t b
ox.
Ad
just
Lev
el
of
So
lois
tP
art
allo
ws
you t
o i
ncr
ease
or
dec
reas
e th
e volu
me
(vel
oci
ty)
of
the
So
lois
t tr
ack
wit
hou
t
affe
ctin
g t
he
oth
er t
rack
s.
Tim
esh
ift
So
lois
t P
art
(tic
ks)
allo
ws
yo
u t
o m
ov
e th
e S
olo
ist
forw
ard
or
bac
kw
ard
s in
sm
all
incr
emen
ts r
elat
ive
to
the
rest
of
the
song
tra
cks.
(M
easu
red
in
tic
ks
or
par
ts p
er q
uar
ter,
PP
Q.)
In
sert
Beat(
s)
in S
olo
ist
Pa
rt
allo
ws
you
to i
nse
rt a
bla
nk b
eat
or
bea
ts i
nto
th
e so
ng
rel
ativ
e to
th
e cu
rren
t ti
me
sig
nat
ure
.
Dele
te B
ea
t(s)
fro
m S
olo
ist
Part
allo
ws
you
to d
elet
e a
bea
t o
r b
eats
fro
m t
he
song
rel
ativ
e to
the
curr
ent
tim
e
sig
nat
ure
.
Cop
y t
o M
elo
dy T
rack
cop
ies
the
enti
re c
on
ten
ts o
f th
e S
olo
ist
trac
k t
o t
he
Mel
od
y T
rack
. U
sefu
l fo
r a
tem
po
rary
ho
ldin
g a
rea
for
you
r so
lois
t or
for
boun
cing
tra
cks.
Mov
e t
o M
elo
dy
Tra
ck
cop
ies
the
enti
re c
on
ten
ts o
f th
e S
olo
ist
trac
k a
nd
era
ses
the
ori
gin
al d
ata
fro
m t
he
So
lois
t
trac
k, pre
par
ing
it
for
a n
ew t
rack
or
dat
a.
Sw
ap
Melo
dy a
nd
So
lois
t T
ra
ck
per
form
s a
“do
ub
le c
op
y/m
ov
e” s
o t
hat
th
e d
ata
that
was
in
th
e S
olo
ist
trac
k g
ets
tran
sfer
red t
o t
he
Mel
ody t
rack
an
d v
ice
ver
sa. T
his
is
also
know
n a
s tr
ack b
oun
cing
.
Con
vert
Ha
rm
on
y t
o S
olo
ist
Tra
ck
… c
on
ver
ts a
sin
gle
lin
e S
olo
ist
trac
k t
o i
ncl
ud
e th
e cu
rren
t h
arm
on
y s
elec
tio
n.
Rem
ov
e H
arm
on
y (
or g
uit
ar s
olo
) fr
om
So
lois
t T
ra
ck
rem
ov
es a
har
mo
ny f
rom
a t
rack
, pro
vid
ing t
hat
th
e
har
mo
ny
was
pu
t th
ere
by
Ban
d-i
n-a
-Box i
n t
he
firs
t pla
ce u
sing t
he
Co
nve
rt H
arm
on
y to
So
lois
t T
rack
co
mm
and
.
Gen
era
te G
uit
ar C
ho
rd
So
lo o
pen
s th
e G
uit
ar f
eatu
re d
ialo
g f
or
gen
erat
ing
a g
uit
ar c
hord
so
lo.
Rech
an
nel
to G
uit
ar D
isp
lay
co
nv
erts
ch
ann
els
on
a t
rack
to c
han
nel
s 11 t
o 1
6. C
han
nel
s 11
to 1
6 a
re u
sed
by
Ban
d-i
n-a
-Bo
x t
o i
nd
icat
e st
rin
gs
1 t
o 6
of
a g
uit
ar. I
t use
s th
e cu
rren
t p
osi
tio
n m
ark
er o
n t
he
gu
itar
fo
r th
is
com
man
d.
Uti
liti
es
Th
ere
is a
Uti
liti
es s
ub-m
enu
th
at h
as u
tili
ty f
un
ctio
ns
to c
onver
t th
e p
itch
ben
d r
ang
e o
f a
trac
k, or
to i
nse
rt p
itch
ben
d n
ote
ev
ents
.
Eli
min
ate
Note
Overla
p –
Preserve D
ou
ble
Sto
ps /
Eli
min
ate
Note
Ov
erla
p –
Rem
ove D
ou
ble
Sto
ps o
pen
s a
Ch
oo
se R
an
ge d
ialo
g t
o s
elec
t th
e ra
ng
e o
f bar
s w
her
e no
te o
ver
lap w
ill
be
elim
inat
ed w
hil
e d
ou
ble
sto
ps
are
eith
er
pre
serv
ed o
r el
imin
ated
.
Tra
nsp
ose O
ne O
cta
ve D
OW
N /
Tra
nsp
ose O
ne O
cta
ve U
Ptr
ansp
ose
s th
e S
olo
ist
par
t o
ne
oct
ave
in e
ith
er
dir
ecti
on
. T
his
is
oft
en u
sefu
l if
th
e S
olo
ist
inst
rum
ent
has
bee
n c
han
ged
. T
ran
spo
sin
g c
an b
e d
on
e w
hil
e th
e so
ng
pla
ys.
Chap
ter
14:
Ref
eren
ce
242
Au
dio
Men
u
Th
eR
eco
rd
Au
dio
fun
ctio
n i
s u
sed
to
Rec
ord
Aud
io u
sing
a m
icro
pho
ne
plu
gg
ed i
nto
yo
ur
sou
nd
car
d o
r a
gu
itar
(or
mix
er)
plu
gg
ed i
nto
th
e li
ne-
in o
n y
ou
r so
und
car
d. T
his
lau
nch
es t
he
Reco
rd
Au
dio
Dia
log
an
d t
he
Reco
rd
Au
dio
– K
eep
Ta
ke d
ialo
g.
Th
e n
ext
two
ite
ms,
Reco
rd
Au
dio
an
d M
ID
I (
Melo
dy
) an
d R
eco
rd
Au
dio
an
d M
ID
I (
So
lois
t) r
efer
to
th
e
situ
atio
n w
her
e yo
u w
ant
to s
imu
ltan
eousl
y r
ecord
an
audio
tra
ck (
voca
ls e
tc.)
as
wel
l as
a M
IDI
pia
no
par
t. Y
ou
can
rec
ord
th
e M
IDI
to t
he
Mel
od
y o
r S
olo
ist
trac
k.
Th
eP
lug
in m
enu c
om
man
d r
efer
s to
runn
ing
a p
lug-i
n a
udio
eff
ect.
T
his
ap
pli
es
an a
ud
io e
ffec
t su
ch a
s R
ever
b o
r C
ho
rus
to t
he
alre
ady r
eco
rded
au
dio
par
t.
Ban
d-
in-a
-Box
co
mes
wit
h a
lar
ge
sele
ctio
n o
f h
igh
qu
alit
y a
ud
io e
ffec
ts b
uil
t-in
.
Th
e p
lug
-in
s ar
e fu
lly d
ocu
men
ted
in
th
e o
nli
ne
Hel
p.
Chap
ter
14:
Ref
eren
ce
243
Ed
it A
ud
io s
ub
men
u
Cop
y 1
st c
ho
ru
s t
o w
ho
le s
on
g c
op
ies
the
firs
t ch
oru
s of
aud
io t
o t
he
rest
of
the
song
.
Th
eK
ill
en
tire A
ud
io m
enu
ite
m i
s u
sed
to
era
se t
he
Au
dio
Tra
ck.
Era
se A
ud
io C
ho
ru
ses w
ill
eras
e th
e F
irst
Ch
oru
s, M
idd
le C
ho
ruse
s, o
r th
e L
ast
Ch
oru
s as
ch
ose
n f
rom
a l
ist
box
.
Era
se R
eg
ion
of
Au
dio
wil
l er
ase
a sp
ecif
ied
reg
ion o
f b
ars/
bea
ts o
f au
dio
.
Ad
just
Ou
tpu
t L
ev
el
of
Au
dio
(Q
uic
k)
use
s th
e W
indo
ws
mix
er t
o a
dju
st t
he
ou
tpu
t le
vel
of
the
aud
io t
rack
. Y
ou
can a
lso
use
the
Win
dow
s m
ixer
dir
ectl
y b
y p
ress
ing
th
e yel
low
sp
eak
er i
con.
Ad
just
lev
el
of
reg
ion
of
.WA
V f
ile (
perm
an
en
t)…
ch
anges
th
e volu
me
of
the
audio
tra
ck i
tsel
f. It
use
s a
soph
isti
cate
d p
eak
-lim
itin
g a
lgori
thm
to
en
sure
th
at i
ncr
ease
s in
th
e v
olu
me
do
no
t re
sult
in
cli
pp
ing o
f th
e so
und
,
whic
h w
ould
be
hea
rd a
s a
loud d
isto
rtio
n. I
t ac
cepts
unit
s of
dec
ibel
s (d
B).
Z
ero m
ean
s n
o c
han
ge
in t
he
lev
el,
wh
erea
s +
6 w
ou
ld b
e a
dou
bli
ng o
f th
e so
und
, an
d –
6 h
alv
es t
he
sou
nd
lev
el.
Tim
esh
ift
Au
dio
(m
s)…
is
use
d t
o t
ime
shif
t th
e w
ho
le a
udio
tra
ck a
cer
tain
nu
mb
er o
f m
illi
seco
nds.
N
orm
ally
yo
u
wou
ldn
't h
ave
to t
ime
shif
t a
trac
k a
t al
l. T
her
e ar
e se
ttin
gs
in t
he
Aud
io-O
pti
ons
Dia
log (
see
bel
ow
) th
at c
an a
dju
st
for
synch
ron
izat
ion
dif
fere
nce
s b
etw
een y
ou
r so
un
d c
ard
an
d M
IDI
dev
ices
(fo
r ex
amp
le, th
e V
SC
-88
has
a 4
30
ms
late
ncy
).
Bu
t th
e ti
me
shif
t au
dio
co
mm
and c
an b
e use
ful
in s
pec
ial
case
s.
Tip
: 1
00
0m
s =
1 s
eco
nd
. P
ositiv
e v
alu
es m
ove
th
e a
ud
io t
rack a
he
ad
, n
eg
ative
va
lue
s m
ove
it
ba
ck.
In
sert
Beat(
s)
in A
ud
io a
nd
Dele
te B
ea
t(s)
fro
m A
ud
io a
re u
sed t
o i
nse
rt,
sile
nce
, o
r re
mo
ve
par
ts o
f th
e au
dio
trac
k.
You c
an s
pec
ify t
he
regio
n t
o u
se.
For
exam
ple
, if
you d
ecid
e to
add a
n e
xtr
a 2 b
ars
to t
he
intr
o i
n B
and-i
n-a
-
Box,
and y
ou'v
e al
read
y r
eco
rded
an a
udio
tra
ck, yo
u s
hou
ld i
nse
rt 2
bar
s (8
bea
ts i
n a
4/4
tim
e si
gn
atu
re)
into
th
e
aud
io t
rack
as
wel
l.
Mu
te A
ud
io i
s a
tog
gle
sw
itch
to m
ute
an
d u
nm
ute
th
e au
dio
tra
ck.
Ren
der M
ID
I t
o S
tereo
.W
AV
fil
e e
tc…
T
his
co
mm
and
lau
nch
es t
he
dia
log
th
at a
llow
s yo
u t
o R
end
er (
con
ver
t)
the
Ban
d-i
n-a
-Bo
x s
ong
(w
ith
or
wit
hou
t an
audio
tra
ck)
to a
ste
reo
.W
AV
fil
e.
Bu
rn
an
Au
dio
CD
(u
sin
g C
D-R
, C
DR
W D
riv
e)
tak
es y
ou t
o t
he
Ren
der t
o A
ud
io F
ile d
ialo
g w
her
e you c
an
lau
nch
th
e bu
ilt-
in M
iniB
urn
pro
gra
m w
ith
th
e [‘
Bu
rn’
to A
ud
io C
D]
bu
tton
.
Pla
yb
ack
Mix
er /
Pla
yb
ack
VU
Mete
r t
akes
you
dir
ectl
y t
o t
he
Win
do
ws
Pla
yb
ack
con
tro
l to
adju
st v
olu
mes
on
yo
ur
sound
car
d. N
ote
th
at n
ot
all
soun
d d
evic
es h
ave
VU
met
ers.
Reco
rd
ing
Mix
er /
Reco
rd
ing
VU
Mete
r t
akes
yo
u d
irec
tly t
o t
he
Win
dow
s R
ecord
ing
con
tro
l to
ad
just
vo
lum
es
on y
ou
r so
un
d c
ard.
No
te t
hat
no
t al
l so
und
dev
ices
hav
e V
U m
eter
s.
Ex
po
rt
Au
dio
to
Seq
uen
cer…
giv
es i
nst
ruct
ion
s on
how
eas
y i
t is
to
use
yo
ur
Ban
d-i
n-a
-Box
wav
e fi
le i
n a
ny
aud
io s
equ
ence
r, i
ncl
ud
ing
Pow
erT
rack
s P
ro A
ud
io.
Au
dio
Win
do
w l
aun
ches
th
e au
dio
ed
it w
ind
ow
wh
ere
the
wav
e fi
le c
an b
e v
iew
ed a
nd
ed
ited
.
Chap
ter
14:
Ref
eren
ce
244
Au
dio
Ha
rm
on
ies &
Pit
ch
Tra
ck
ing o
pen
s th
e G
en
erate
Au
dio
Ha
rm
on
ies d
ialo
g.
Th
ere
are
thre
e use
s of
the
Aud
io H
arm
onie
s in
Ban
d-i
n-a
-Box
, n
amel
y:
-P
itch
tra
ckin
g (
fix
ing)
of
the
mel
od
y.
-H
arm
on
izin
g y
our
vo
ice
usi
ng
Ban
d-i
n-a
-Bo
x h
arm
on
ies
(wh
en a
MID
I m
elo
dy i
s pre
sen
t)
-H
arm
on
izin
g y
our
vo
ice
to t
he
cho
rds
of
the
son
g (
wh
en n
o M
IDI
mel
od
y i
s p
rese
nt)
See
the
tuto
rial
in C
ha
pte
r 3
: B
an
d-i
n-a
-Box
2004
.
DX
i S
yn
th S
ett
ings o
pen
s th
e D
irectX
Plu
gin
s d
ialo
g t
o t
he
Sy
nth
Tra
ck
wher
e you c
an s
elec
t a
DX
i sy
nth
an
d
app
ly r
eal
tim
e ef
fect
s to
its
au
dio
ou
tpu
t.
Rea
ltim
e D
X A
ud
io S
ett
ings o
pen
s th
e D
irectX
Plu
gin
s d
ialo
g t
o t
he
Au
dio
Tra
ck
wher
e you c
an a
pply
rea
l ti
me
effe
cts
to t
he
Ban
d-i
n-a
-Bo
x a
ud
io t
rack
.
GM
Men
u
-T
he
GM
fun
ctio
ns
work
on
MID
I so
und
dev
ices
th
at s
upport
the
GM
(G
ener
al M
IDI)
sta
nd
ard
, w
hic
h i
ncl
ud
es
mo
st n
ewer
MID
I K
eybo
ards
and s
ound
car
ds.
-T
he
GS
fu
nct
ion
s w
ork
on
inst
rum
ents
th
at s
uppo
rt t
he
Rola
nd G
S s
pec
ific
atio
n.
This
incl
udes
th
e R
ola
nd
Sou
nd
Can
vas
, S
CC
1, an
d J
V-3
0.
-T
he
XG
fun
ctio
ns
work
on
inst
rum
ents
th
at s
uppo
rt t
he
Yam
aha
XG
sp
ecif
icat
ion
, fo
r ex
amp
le,
the
Yam
aha
Wav
efo
rce
DB
50X
G.
Ro
lan
d G
S s
ub
men
u
Reset
Rola
nd
GS
(Q
uic
k)
and
Reset
GS
(a
ll I
D’s
) re
set
the
module
to f
acto
ry s
etti
ngs.
Set
Rev
erb
Typ
e o
r S
et
Ch
oru
s T
yp
e(G
S M
od
ule
):
Ro
lan
d G
S i
nst
rum
ents
all
ow
dif
fere
nt
typ
e of
rev
erb a
nd
choru
s se
ttin
gs.
T
hes
e se
ttin
gs
bo
xes
all
ow
yo
u t
o s
elec
t th
em.
Chap
ter
14:
Ref
eren
ce
245
Assig
n P
art/
Ch
an
nel
etc
. fo
r G
S M
od
ule
T
he
GS
Par
t se
ttin
gs
are
for
GS
co
mp
atib
le s
yn
thes
izer
s o
nly
. T
hes
e
syn
thes
izer
s h
ave
16 p
arts
. T
he
def
ault
is
for
par
t 1
to b
e ch
ann
el 1
, p
art
2 c
han
nel
2 e
tc.,
bu
t yo
u c
an c
han
ge
a p
art
to a
no
ther
ch
ann
el. T
his
all
ow
s you
to
use
th
e sa
me
chan
nel
for
2 p
arts
, so
th
at y
ou h
ear
a la
yer
of
2 i
nst
rum
ents
pla
yin
g t
he
sam
e p
art.
Sen
d M
ID
I M
essa
ge s
ub
men
u
Sen
d G
en
era
l M
ID
I m
od
e O
N,
& B
B P
atc
hes s
end
s a
Gen
eral
MID
I m
od
e O
N m
essa
ge
to t
he
exte
rnal
MID
I
dev
ice
and
th
e se
nd
s th
e st
artu
p B
and
-in
-a-B
ox p
atch
ch
ang
es.
Sen
d G
en
era
l M
ID
I m
od
e O
N (
no p
atc
hes)
sets
th
e ex
tern
al m
odule
to
Gen
eral
MID
I m
ode.
T
his
com
man
d w
ill
ensu
re t
hat
th
e m
od
ule
is
read
y t
o a
ccep
t G
M-s
pec
ific
MID
I d
ata
such
as
Ban
k,
Co
ntr
oll
er,
and
Pat
ch i
nfo
rmat
ion
.
Sen
d G
S M
od
e O
n M
essa
ge (
Ro
lan
d)
/ S
en
d X
G M
od
e O
n M
essag
e (
Ya
ma
ha):
S
ince
th
e in
cep
tion
of
the
GM
(Gen
eral
MID
I) s
tand
ard,
ther
e h
ave
bee
n t
wo
maj
or
sub
sets
/ex
ten
sion
s of
this
sta
nd
ard
; G
S (
Ro
lan
d)
and X
G
(Yam
aha)
. T
her
efo
re,
in a
dd
itio
n t
o t
he
GM
Mo
de-
on
men
u i
tem
fea
ture
th
ere
are
add
itio
nal
co
mm
and
s to
sen
d a
GS
mo
de
ON
or
a X
G m
od
e O
N m
essa
ge
at a
ny t
ime
by a
cces
sing t
he
GM
men
u.
Au
to-S
en
d G
M M
od
e O
n a
t sta
rtu
p s
ends
a “G
ener
al M
IDI
mo
de
on
” m
essa
ge
wh
en t
he
pro
gra
m b
oo
ts u
p.
Au
to-S
en
d G
S M
od
e O
n a
t sta
rtu
p s
end
s a
Ro
land
GS
syst
em o
n m
essa
ge
wh
en t
he
Ban
d-i
n-a
-Bo
x p
rogra
m
boo
ts u
p.
Au
to-S
en
d X
G M
od
e O
n a
t sta
rtu
p s
end
s a
Yam
aha
XG
sy
stem
on
mes
sag
e w
hen
th
e B
and-i
n-a
-Bo
x p
rog
ram
boo
ts u
p.
Tu
rn
Lo
ca
l O
FF
/ O
N (
exte
rn
al
MID
I k
ey
bo
ard
)
“Lo
cal”
ref
ers
to m
usi
c p
layin
g o
n a
n e
xte
rnal
MID
I k
eybo
ard
. I
f se
t to
“O
ff,”
Ban
d-i
n-a
-Bo
x w
ill
pla
y t
he
key
bo
ard
via
th
e T
HR
U p
art.
If
set
to
“O
n,”
bo
th B
and
-in-a
-Bo
x a
nd
th
e k
eybo
ard m
igh
t b
e p
layin
g t
he
sam
e T
hru
par
t.
Wh
en
program
qu
its, tu
rn
Local
ON
au
tom
atic
ally
tu
rns
the
exte
rnal
MID
I key
boar
d b
ack o
n a
t th
e en
d o
f th
e
Ban
d-i
n-a
-Bo
x s
essi
on
.
Maste
r T
un
ing…
all
ow
s y
ou
to
mas
ter
tun
e y
ou
r so
un
d c
ard
or
sound m
odu
le.
Th
is i
s use
ful
if y
ou'r
e pla
yin
g
alo
ng
wit
h a
n i
nst
rum
ent
or
reco
rdin
g t
hat
can
't ea
sily
be
re-t
un
ed l
ike
an a
coust
ic p
iano
. A
set
ting
of
0 i
s th
e
def
ault
A =
440
.
No
te:
No
t a
ll so
un
d c
ard
s/
mo
du
les s
up
po
rt M
aste
r T
un
ing
. T
o s
ee
if
yo
ur
so
un
d c
ard
su
pp
ort
s M
aste
r T
un
ing
, p
ress t
he
[T
est.
.] b
utt
on
.
Chap
ter
14:
Ref
eren
ce
246
Maste
r (
Com
bo)
Volu
me A
dju
st
su
bm
en
u
Maste
r V
olu
me u
ses M
ID
I m
essages i
nste
ad
of
GS
/GM
Sysex s
ho
uld
be
set
by a
ll u
sers
ex
cep
t if
yo
u h
ave
a
Ro
land
GS
synth
, R
ola
nd
Soun
d C
anv
as, or
Ro
land
VS
C.
If
set,
th
e C
om
bo s
etti
ng
s w
ill
allo
w M
aste
r V
olu
me
and
oth
er M
IDI
sett
ing
s to
work
. T
his
sub
men
u a
llo
ws
yo
u t
o s
et w
het
her
to
use
Ro
lan
d -
GS
or
Gen
era
l M
ID
I f
or
Mas
ter
Volu
me
mes
sages
. U
nle
ss y
ou h
ave
a R
ola
nd
yo
u s
hou
ld s
elec
t G
ener
al M
IDI.
If y
ou w
ant
to “
turn
it
all
up
or
dow
n,”
th
is c
an b
e d
on
e qu
ick
ly w
ith
men
u c
om
man
ds
or
ho
t k
eys
to s
et t
he
Mas
ter
Volu
me.
T
her
e ar
e al
so h
ot
key
s th
at c
on
trol
the
ov
eral
l volu
me
by r
edu
cin
g (
or
incr
easi
ng)
vo
lum
es o
n a
ll p
arts
by
5 t
o s
imu
late
a M
aste
r V
olu
me
effe
ct (
esp
ecia
lly u
sefu
l fo
r so
und
car
ds
that
don
't su
ppo
rt M
aste
r V
olu
me
chan
ges
).
Th
ese
item
s al
so h
ave
ho
t k
eys
as l
iste
d o
n t
he
men
u (
Ctr
l+A
lt+
Sh
ift
Q, W
, an
d E
).
Com
man
ds
and
ho
t k
eys
are
also
pro
vid
ed t
o c
han
ge
the
vo
lum
e o
f th
e cu
rren
t p
art
on
ly.
Set
Pa
nn
ing t
o M
ON
O s
ets
the
pan
nin
g o
f yo
ur
Ban
d-i
n-a
-Box
par
ts (
Bas
s, D
rum
s, P
ian
o, et
c.)
to m
on
o.
Set
Pa
nn
ing M
od
e t
o S
tereo s
ets
the
pan
nin
g o
f you
r B
and-i
n-a
-Bo
x p
arts
(B
ass,
Dru
ms,
Pia
no,
etc.
) to
a t
ypic
al
ster
eo s
etup
, w
hic
h i
s sa
ved
wit
h t
he
pre
fere
nce
s.
Ru
n O
ther P
ro
gra
m s
ub
men
u
Sou
nd
ca
rd
Volu
me /
Pla
yb
ack
VU
Mete
r l
aun
ches
th
e W
ind
ow
s m
ixer
to a
dju
st v
olu
mes
on y
ou
r so
und
car
d
wit
h t
he
Pla
ybac
k p
anel
.
Sou
nd
ca
rd
Record
ing /
Reco
rd
ing
VU
Mete
r l
aun
ches
th
e W
ind
ow
s M
ixer
to a
dju
st v
olu
mes
on y
ou
r so
un
d c
ard
wit
h t
he
Rec
ord
ing
pan
el.
No
te:
Th
is u
se
s t
he
c:\
win
do
ws\s
nd
vo
l32
.exe
Mix
er
pro
gra
m.
Yo
u m
ay n
ee
d t
o h
ave
th
e W
ind
ow
s 9
8 v
ers
ion
of
this
p
rog
ram
fo
r th
e R
eco
rdin
g P
an
el to
op
en
pro
pe
rly.
If
yo
u d
on
't,
yo
u'd
se
e t
he
“V
olu
me
Co
ntr
ol”
pa
ne
l a
nd
will
ha
ve
to
m
an
ua
lly s
et
it t
o t
he
Re
co
rdin
g P
an
el (b
y c
ho
osin
g O
ptio
ns | P
rop
ert
ies | R
eco
rdin
g).
Sou
nd
Bla
ste
r A
WE
Con
tro
l P
an
el
app
lies
on
ly t
o u
sers
wit
h a
So
und
Bla
ster
. T
his
fu
nct
ion
lau
nch
es t
he
“AW
E
Co
ntr
ol”
ap
pli
cati
on
.
So
un
dB
laste
r M
ixer i
s al
so f
or
Soun
d B
last
er u
sers
on
ly,
and l
aun
ches
the
mix
er f
or
vo
lum
es.
Ru
n W
ind
ow
s C
on
tro
l P
an
el…
ru
ns
the
Win
do
ws
Con
trol
Pan
el, w
hic
h l
ets
yo
u e
xam
ine
MID
I an
d A
ud
io
sett
ing
s in
th
e M
ult
imed
ia, A
dd N
ew H
ardw
are,
and
Syst
em p
anel
s.
Chap
ter
14:
Ref
eren
ce
247
Ru
n O
ther A
pp
licati
on
… a
nd C
hoo
se
[Oth
er A
pp
licati
on
…]
allo
ws
you
to s
pec
ify a
nd
run
an
y o
ther
app
lica
tio
n
(mix
er a
pp
lica
tio
n,
Po
wer
Tra
cks
etc.
).
Ru
n D
LL
or &
EX
E p
lug
in…
an
d C
ho
ose D
LL
or E
XE
Plu
gIn
… a
llow
s you
to
run
a p
lug-i
n t
hat
has
bee
n m
ade
spec
ific
ally
for
a P
G M
usi
c pro
duct
.
Ha
rm
on
y M
en
u
Melo
dy H
arm
on
y (
sele
ct)
…
Th
is o
pti
on
bri
ng
s up
th
e co
mp
lete
Har
mo
ny s
tyle
s li
st,
and a
llo
ws
you
to c
hoo
se o
ne
for
the
curr
ent
Mel
od
y t
rack
.
Th
ru
Harm
on
y (
sele
ct)
…
Th
is o
pti
on
bri
ng
s up
th
e co
mp
lete
Har
mo
ny s
tyle
s li
st,
and a
llo
ws
you
to c
hoo
se o
ne
for
the
curr
ent
Thru
tra
ck.
Fav
orit
e M
elo
dy
Ha
rm
on
ies
Th
is o
pti
on
bri
ng
s up
you
r fa
vori
te 5
0 H
arm
on
y s
tyle
s (b
ased
on r
ecen
t u
sag
e) a
nd
all
ow
s yo
u t
o c
hoo
se o
ne
to u
se
on t
he
Mel
od
y t
rack
.
Fav
orit
e T
hru
Ha
rm
on
ies
Th
is o
pti
on
bri
ng
s up
you
r fa
vori
te 5
0 H
arm
on
y s
tyle
s (b
ased
on r
ecen
t u
sag
e) a
nd
all
ow
s yo
u t
o c
hoo
se o
ne
to u
se
on t
he
Thru
tra
ck.
Sta
rt
a N
ew
Ha
rm
on
ies F
ile
All
ow
s you
to
mak
e an
d e
dit
Har
mo
ny s
tyle
s sa
ved
un
der
th
e fi
len
ame
of
yo
ur
cho
ice.
Ed
it a
Ha
rm
on
ies F
ile
All
ow
s you
to
ed
it a
Har
mo
ny f
ile
that
is
in y
our
\bb
dir
ecto
ry.
Ed
it C
urren
t H
arm
on
ies F
ile
All
ow
s you
to
ed
it t
he
Har
mo
ny f
ile
that
is
curr
entl
y l
oad
ed o
n y
our
syst
em.
OK
to L
oa
d H
arm
on
ies W
ith
So
ng
s
Tog
gle
th
is o
pti
on
“O
n”
if y
ou
wan
t to
lo
ad a
ny h
arm
on
y s
etti
ng
s th
at w
ere
sav
ed/e
mb
edd
ed i
n a
giv
en s
on
g.
Sav
e H
arm
on
y w
ith
th
is s
on
g
Tog
gle
th
is o
pti
on
“O
n”
to a
llo
w B
and
-in
-a-B
ox t
o e
mb
ed t
he
har
mo
ny s
etti
ng
s fo
r th
e cu
rren
tly o
pen
son
g s
o t
hat
they
may
be
reca
lled
au
tom
atic
ally
at
a la
ter
tim
e.
Chap
ter
14:
Ref
eren
ce
248
Ch
an
ge H
arm
on
y w
ith
new
ch
ord
Tog
gle
th
is o
pti
on
“O
n”
to a
llo
w t
he
pro
gra
m t
o v
ary t
he
har
mo
ny
ch
arac
teri
stic
s (i
.e.
inv
ersi
on
s) e
ach
tim
e a
new
chord
is
enco
un
tere
d i
n t
he
son
g.
All
ow
Melo
dy H
arm
on
y
Tog
gle
th
is o
pti
on
“O
n”
to a
llo
w t
he
Mel
od
y M
IDI
chan
nel
s to
uti
lize
th
e h
arm
on
y f
eatu
res.
All
ow
Th
ru
Harm
on
y
Tog
gle
th
is o
pti
on
“O
n”
to a
llo
w t
he
Thru
MID
I ch
ann
els
to u
tili
ze t
he
har
mo
ny f
eatu
res.
All
ow
So
lois
t H
arm
on
y (
on
TH
RU
Ha
rm
on
y)
Tog
gle
th
is o
pti
on
“O
n”
to a
llo
w t
he
Thru
MID
I ch
ann
els
to u
tili
ze t
he
har
mo
ny f
eatu
res
for
the
So
lois
t tr
ack.
Con
vert
Ha
rm
on
y t
o M
elo
dy
Tra
ck
…
Th
is c
onv
erts
a s
ing
le l
ine
Mel
od
y t
rack
to
incl
ud
e th
e cu
rren
t h
arm
on
y s
elec
tio
n.
Con
vert
Ha
rm
on
y t
o S
olo
ist
Tra
ck
…
Th
is c
onv
erts
a s
ing
le l
ine
So
lois
t tr
ack t
o i
ncl
ud
e th
e cu
rren
t h
arm
on
y s
elec
tio
n (
On
th
e T
hru
har
mo
ny).
Use P
assin
g H
arm
on
ies f
or T
HR
U
Wh
en y
ou p
lay a
long
on
a M
IDI
key
bo
ard (
or
the
wiz
ard),
an
d u
se a
Thru
har
mo
ny,
yo
u c
an u
se p
assi
ng
har
mo
nie
s.
Fo
r ex
amp
le,
on
a C
7 c
ho
rd, w
ith
an
Ab n
ote
, th
e h
arm
on
y m
igh
t b
e a
B d
imin
ish
ed c
hord
, w
hic
h i
s a
pas
sin
g
har
mo
ny.
On
ly T
HR
U H
arm
on
ize i
f n
ote
held
do
wn
= 3
6 (
C3
)
In p
rev
ious
ver
sio
ns,
ev
ery n
ote
th
at y
ou p
layed
on
th
e T
hru
har
mo
ny w
ou
ld g
et h
arm
oniz
ed.
By s
etti
ng
th
is n
ew
op
tion
yo
u c
an s
pec
ify t
o o
nly
har
mo
niz
e th
e no
te i
f a
cert
ain
no
te i
s h
eld d
ow
n.
(T
he
def
ault
no
te i
s a
C t
wo
oct
aves
bel
ow
mid
dle
C.)
Real
Tim
e H
arm
on
ies
Th
is f
eatu
re a
llo
ws
you
to
pla
y h
arm
on
ies
in r
eal-
tim
e.
Use
th
is w
ith
your
MID
I k
eyb
oar
d (
wh
ile
Ban
d-i
n-a
-Box
is
sto
pp
ed).
H
old
a c
ho
rd d
ow
n w
ith
th
e le
ft h
and
and
pla
y n
ote
s w
ith t
he
righ
t h
and
. T
he
no
tes
wil
l b
e h
arm
on
ized
acco
rdin
g t
o t
he
chord
th
at y
ou're
pla
yin
g i
n t
he
left
han
d.
Au
dio
Ha
rm
on
ies &
Pit
ch
Tra
ck
ing
You
can
app
ly a
har
mo
ny t
o t
he
aud
io p
art
– a
llo
win
g y
ou t
o a
uto
mat
ical
ly c
reat
e up
to
4 p
art
vo
cal
har
mo
nie
s fr
om
yo
ur
sing
ing
. B
and-i
n-a
-Bo
x g
ener
ates
th
e h
arm
on
ies
usi
ng
th
e w
orl
d-l
ead
ing
TC
-Hel
ico
n V
oca
l T
echn
olo
gie
s
eng
ine.
O
nce
yo
u h
ave
reco
rded
a v
oca
l p
art
into
Ban
d-i
n-a
-Box
, yo
u c
an u
se t
his
fea
ture
in
man
y w
ays,
in
clu
din
g:
-P
itch
tra
ckin
g (
fix
ing)
of
the
mel
od
y.
-H
arm
on
izin
g y
our
vo
ice
usi
ng
Ban
d-i
n-a
-Bo
x h
arm
on
ies
(wh
en a
MID
I m
elo
dy i
s pre
sen
t)
-H
arm
on
izin
g y
our
vo
ice
to t
he
cho
rds
of
the
son
g (
wh
en n
o M
IDI
mel
od
y i
s p
rese
nt)
See
the
tuto
rial
in C
ha
pte
r 3
: B
an
d-i
n-a
-Bo
x 2
00
4.
No
t’n
Men
u
Nota
tion
/ed
it/n
ote
ro
ll m
od
e m
ov
es t
he
nota
tio
n w
indow
th
rough
its
var
iou
s en
try m
od
es.
Prin
t...
bri
ng
s u
p t
he
pri
nt
dia
log
bo
x.
Note
In
sert
mo
de
Tog
gli
ng
th
is t
o “
On
” al
low
s yo
u t
o i
nse
rt n
ote
s g
rap
hic
ally
wit
h y
our
mo
use
or
key
bo
ard
on t
he
no
tati
on w
indow
.
Mon
o E
ntr
y M
od
e
Tog
gle
th
is “
On
” if
you
are
inse
rtin
g s
ing
le n
ote
s (n
ot
chord
s) o
n t
he
no
tati
on w
indow
.
Chap
ter
14:
Ref
eren
ce
249
Cle
an
Dis
pla
y M
od
e
Tog
gle
th
is “
On
” if
you
wan
t n
ote
s d
isp
layed
on y
ou
r no
tati
on
win
do
w i
n a
qu
anti
zed
vie
w (
do
es n
ot
affe
ct s
on
g
pla
ybac
k).
Ev
en
t L
ist
Ed
ito
r
Th
is o
pen
s th
e E
ven
t L
ist
win
dow
. Y
ou
can
ed
it e
ven
ts i
ncl
ud
ing a
ll M
IDI
even
ts a
nd l
yri
c ev
ents
usi
ng
th
e E
ven
t
Lis
t E
dit
or.
Y
ou c
an e
dit
th
e M
elo
dy, S
olo
ist,
Lyri
cs, o
r S
tyle
Mak
er p
atte
rns
usi
ng t
his
ev
ent
list
.
Th
e ev
ent
list
can
als
o b
e la
un
ched
fro
m t
he
No
tati
on
win
do
w b
y p
ress
ing t
he
even
t li
st b
utt
on (
#).
Pla
y P
revio
us S
creen
Bac
ks
the
song u
p f
ou
r b
ars.
Pla
y N
ex
t S
creen
Mo
ves
th
e so
ng
to t
he
nex
t fo
ur
bar
s.
In
str
um
en
t D
isp
layed
Sin
ce t
her
e is
no
t en
ou
gh
ro
om
on
th
e sc
reen
to d
isp
lay t
he
no
tati
on
fo
r al
l in
stru
men
ts, o
nly
on
e is
dis
pla
yed
at
a
tim
e.
You
can
ch
oo
se w
hic
h o
ne
you
wan
t to
dis
pla
y f
rom
th
is m
enu
op
tio
n o
r th
e in
stru
men
t b
utt
on
s on
th
e
no
tati
on
win
dow
.
Sw
itch
to N
ext
Track
/ S
wit
ch
to P
rev
iou
s T
rack
Sel
ect
par
ts f
rom
lef
t to
rig
ht
in t
he
Inst
rum
ent
row
bu
tton
s.
Win
do
w M
en
u
Nota
tion
(o
r c
ho
rd
s)
Win
dow
to
gg
les
bet
wee
n t
he
no
tati
on
an
d t
he
cho
rdsh
eet
vie
ws.
Mo
va
ble
No
tati
on
Win
do
w o
pen
s a
mo
vab
le a
nd r
esiz
able
no
tati
on
win
dow
.
Lead
Sh
eet
Win
dow
lau
nch
es t
he
lead
sh
eet
no
tati
on
.
Big
Ly
ric
s W
ind
ow
lau
nch
es a
win
do
w t
hat
dis
pla
ys
lyri
cs i
n a
Kar
aok
e fo
rmat
.
Lyric
Docu
men
t W
ind
ow
dis
pla
ys
a fu
ll s
cree
n o
f fo
rmat
ted
lyri
cs. E
asil
y c
op
y a
nd p
aste
lyri
cs t
o a
nd
fro
m y
ou
r
favo
rite
word
pro
cess
or.
Big
Pia
no
Win
do
w l
aun
ches
a w
indow
th
at d
isp
lays
a B
ig P
iano
.
Dru
m K
it W
ind
ow
lau
nch
es t
he
anim
ated
Dru
m K
it.
Once
lau
nch
ed, pre
ss [
Hel
p]
to g
et m
ore
info
rmat
ion
ab
ou
t
the
Dru
m K
it.
Gu
itar W
ind
ow
lau
nch
es a
n o
n-s
cree
n G
uit
ar.
Chap
ter
14:
Ref
eren
ce
250
Th
eA
ud
io E
dit
Win
do
w a
llo
ws
you
to
ed
it a
ud
io d
ata,
usi
ng c
op
y,
cut
and
pas
te. Y
ou
can
zo
om
th
e au
dio
in
to t
he
sam
ple
lev
el s
o t
hat
yo
u c
an s
ee t
he
actu
al s
ine
wav
es p
rese
nt.
Mov
ea
ble
Au
dio
Ed
it W
ind
ow
op
ens
the
reg
ula
r A
ud
io E
dit
Win
do
w b
ut
lets
yo
u r
epo
siti
on
it
on
th
e sc
reen
.
Pu
t N
ota
tio
n/C
ho
rd
s o
n T
op
mo
ves
th
e nota
tio
n w
indow
to
th
e to
p o
f th
e m
ain
scr
een
an
d m
ov
es t
he
pia
no
ro
ll a
t
the
bo
tto
m o
f th
e m
ain
scr
een.
Th
e M
ID
I M
on
ito
r,
Gu
ita
r T
un
er, an
d A
WE
Ed
ito
r i
tem
sla
un
ch t
he
sele
cted
mo
du
le.
Eac
h o
ne
has
ex
ten
siv
e
hel
p a
vai
lable
in
side
the
mo
dule
. T
her
e ar
e al
so b
utt
ons
avai
lable
for
thes
e it
ems.
Ch
ord
Su
bsti
tuti
on
Dia
log
(ch
oo
se y
ou
r o
wn
)
This
all
ow
s you t
o s
ee a
lis
t of
poss
ible
ch
ord
subst
ituti
ons
for
the
curr
ent
cho
rd p
rog
ress
ion.
You c
an a
lso a
cces
s it
fro
m a
rig
ht
mo
use
cli
ck o
n t
he
chord
shee
t, a
nd b
y p
ress
ing
th
e C
ho
rd S
ub
stit
uti
on b
utt
on
.
Au
to-G
en
erate
Ch
ord
Su
bsti
tuti
on
s…
Th
is w
ill
auto
mat
ical
ly p
ick
ch
ord
su
bst
itu
tio
ns
for
all
or
par
t o
f th
e so
ng
.
Ear T
rain
ing
Win
dow
You
can
pra
ctic
e yo
ur
ear
trai
nin
g w
ith
hel
p f
rom
Ban
d-i
n-a
-Box
. I
n a
dd
itio
n t
o t
he
com
mo
n i
nte
rval
ex
erci
ses
(per
fect
4th
, m
inor
2nd
, et
c.),
lea
rnin
g t
o p
lay-b
y-e
ar f
or
jazz
and
pop
mu
sic
is f
urt
her
en
han
ced
by e
ar t
rain
ing
exer
cise
s to
rec
ogniz
e co
mm
on c
hord
typ
es (
e.g
., M
ajo
r, M
inor,
Do
min
ant,
etc
.).
Ch
ord
Bu
ild
er s
ub
men
u
Ch
ord
Bu
ild
er…
All
ow
s you
to
bu
ild u
p c
ho
rds
usi
ng m
ou
se c
lick
s.
Pla
y C
urren
t C
hord
sh
eet
Ch
ord
This
funct
ion p
lays
the
curr
ent
chord
on t
he
chord
shee
t. It
is
mo
st c
om
mo
nly
acc
esse
d b
y p
ress
ing S
hif
t+E
nte
r o
n
the
chord
shee
t.
MID
I C
ho
rd
Dete
cti
on
You
can
en
ter
chord
s u
sing
the
MID
I k
eybo
ard. C
hoo
sin
g t
his
co
mm
and
wil
l b
rin
g u
p t
he
foll
ow
ing
su
bm
enu
.
Sel
ect
MID
I C
hord
Det
ecti
on…
and
pla
y a
ny c
hord
on y
our
MID
I k
eyb
oar
d. B
and-i
n-a
-Bo
x w
ill
then
pro
vid
e yo
u
wit
h u
p t
o 4
in
terp
reta
tio
ns
of
the
chord
you
pla
yed
, w
ith
its
bes
t su
gg
esti
on
at
the
top
and
alt
ern
ates
bel
ow
.
Ch
oo
se t
he
cho
rd y
ou w
ant
to h
ave
pas
ted
in
to y
our
son
g b
y c
lick
ing
th
e ap
pro
pri
ate
[En
ter]
bu
tton
bes
ide
the
cho
rd
nam
e.
You
can
inse
rt u
p t
o t
wo c
hord
s p
er b
ar i
n t
his
fas
hio
n, an
d m
ov
e b
ackw
ard
s an
d f
orw
ard
s in
a s
on
g w
ith t
he
[<]
[>]
bu
tton
s in
th
e to
p r
ight
sect
ion
of
the
dia
log
.
Tip
: Y
ou
ca
n a
lso
in
se
rt c
ho
rds t
his
wa
y w
ith
ou
t o
pe
nin
g u
p t
his
dia
log
. J
ust
pre
ss C
trl+
En
ter
ke
ys a
t a
ny t
ime
to
in
se
rt t
he
la
st
ch
ord
th
at
yo
u'v
e p
laye
d o
n y
ou
r M
IDI
ke
yb
oa
rd o
nto
th
e w
ork
sh
ee
t.
Chap
ter
14:
Ref
eren
ce
251
Help
Men
u
In
dex
Lis
ts a
ll o
f th
e H
elp
to
pic
s.
Typ
e in
a k
eyw
ord
und
er t
he
“In
dex
” ta
b t
o g
o t
o t
he
top
ic y
ou
wan
t.
Top
ic S
earch
O
pen
s th
e H
elp
fil
e w
her
e you
can
sea
rch
th
e T
able
of
Conte
nts
or
the
Index
, or
use
the
Sea
rch
feat
ure
to
fin
d y
our
top
ic.
Usin
g h
elp
H
as W
indo
ws
tip
s fo
r u
sin
g H
elp
fil
es.
How
to…
O
pen
s a
cate
gori
zed l
ist
of
topic
s.
It’s
a f
ast
way
to
fin
d o
ut
abo
ut
a p
arti
cula
r fe
ature
or
op
erat
ion
.
Ba
sic
s
Go
es d
irec
tly t
o t
he
“Bas
ics”
in
trodu
ctio
n t
o B
and
-in-a
-Box
.
Tu
toria
ls
Pro
vid
e d
etai
led
, st
ep-b
y-s
tep
in
stru
ctio
ns
for
Ban
d-i
n-a
-Box
.
Sh
ow
help
hin
ts
Ban
d-i
n-a
-Bo
x h
as c
om
pre
hen
siv
e fl
y-b
y h
ints
th
at a
pp
ear
wh
en y
ou m
ov
e ov
er a
n i
tem
. T
hes
e in
clud
e h
ints
fo
r th
e
dia
log b
ox
es a
nd v
ario
us
win
dow
s. Y
ou
can
set
th
e h
ints
to
dis
pla
y n
on
e, b
asic
, or
det
aile
d i
nfo
rmat
ion
. C
ust
om
ize
the
hin
t se
ttin
gs
in t
he
Prefs
2 d
ialo
g.
Up
da
te, A
dd
/On
an
d o
ther P
ro
du
ct
info
Oth
er B
and-i
n-a
-Box
ad
d-o
ns,
PG
Mu
sic
Inc.
pro
du
cts,
an
d c
on
tact
in
form
atio
n.
Read
Me (
for L
ate
st
info
not
in m
an
ua
l) d
ocu
men
ts t
he
late
st f
eatu
res,
plu
s an
arc
hiv
e of
earl
ier
updat
es.
New
est
Featu
res d
escr
ibes
th
e n
ew f
eatu
res
in t
he
curr
ent
ver
sion
.
Tip
of
the D
ay
Pow
er u
ser
tips,
th
is f
eatu
re c
an b
e se
t to
run a
uto
mat
ical
ly w
hen
Ban
d-i
n-a
-Box
op
ens.
If
you
wan
t to
ad
d y
ou
r
ow
n t
ips,
yo
u c
an e
dit
th
e B
BW
.TIP
fil
e.
Just
pu
t a
tip
on
a s
ing
le l
ine
(no c
arri
age
retu
rn t
ill
the
end
of
the
tip).
Tip
s ar
e li
mit
ed t
o 2
55
ch
arac
ters
per
tip
. B
and-i
n-a
-Bo
x a
uto
mat
ical
ly c
om
pil
es t
he
BB
W.T
IP f
ile
at s
tart
up o
f th
e
pro
gra
m t
o a
bin
ary f
ile
call
ed B
BW
.TP
B.
Wh
at
ad
d-o
ns d
o I
hav
e?…
On
e of
the
gre
ates
t st
reng
ths
of
Ban
d-i
n-a
-Bo
x i
s th
e ab
ilit
y t
o a
dd-o
n a
nd
en
han
ce t
he
pro
gra
m t
hro
ug
h a
dd-o
n
Sty
les,
So
lois
t, a
nd
Mel
od
ist
dis
ks.
T
he
“Wh
at A
dd
-on
s” f
eatu
re s
can
s you
r co
mp
ute
r's
Ban
d-i
n-a
-Bo
x d
irec
tory
Chap
ter
14:
Ref
eren
ce
252
and d
isp
lays
wh
at a
dd-o
ns
are
and
are
n't
foun
d. T
o s
ee t
he
late
st a
dd
-on
s cl
ick
on
the
[ ww
w.p
gm
usi
c.co
m/a
dd
on
s.h
tm]
bu
tto
n t
o g
o d
irec
tly t
o t
he
add
-on
s p
age
on
th
e P
G M
usi
c In
c. w
eb s
ite.
Web
ww
w.p
gm
usi
c.co
m
Lin
ks
to s
om
e im
po
rtan
t p
ages
on
th
e P
G M
usi
c In
c. w
eb s
ite.
S
elec
tin
g o
ne
of
thes
e to
pic
s w
ill
auto
mat
ical
ly
lau
nch
your
Web
Bro
wse
r, a
nd
dir
ect
you
to
th
e P
G M
usi
c w
eb s
ite.
Ab
ou
t B
an
d-i
n-a
-Box
lau
nch
es a
dia
log
wit
h k
ey i
nfo
rmat
ion
su
ch a
s th
e v
ersi
on
nu
mb
er y
ou
are
runn
ing
an
d
com
pu
ter
syst
em i
nfo
rmat
ion
.
Key
str
ok
e C
om
ma
nd
s -
Ho
t K
ey
s
It’s
oft
en f
aste
r to
use
key
stro
kes
in
stea
d o
f u
sing
th
e m
ou
se.
Fo
r ex
amp
le,
ther
e ar
e k
eyst
rok
e “h
ot
key
s” t
o m
ute
inst
rum
ents
or
to a
dju
st v
olu
me,
pan
nin
g, re
ver
b, ch
oru
s, o
r b
ank
of
inst
rum
ents
.
Mu
tin
g P
arts
Alt
+3
M
ute
s th
e B
ass
Alt
+4
M
ute
s th
e P
iano
Alt
+5
M
ute
s th
e D
rum
s
Alt
+6
M
ute
s th
e G
uit
ar
Alt
+7
M
ute
s th
e S
olo
ist
Alt
+8
M
ute
s th
e S
trin
gs
Alt
+9
M
ute
s th
e M
elo
dy
Sele
cti
ng
Pa
rts
Ctr
l+3
S
elec
ts t
he
Bas
s
Ctr
l+4
S
elec
ts t
he
Pia
no
Ctr
l+5
S
elec
ts t
he
Dru
ms
Ctr
l+6
S
elec
ts t
he
Gu
itar
Ctr
l+7
S
elec
ts t
he
So
lois
t
Ctr
l+8
S
elec
ts t
he
Str
ing
s
Ctr
l+9
S
elec
ts t
he
Mel
ody
In
str
um
en
t P
art
Sett
ing
s
Ho
ld d
ow
n C
trl+
Sh
ift
and
the
lett
er t
o c
han
ge
thes
e in
stru
men
t se
ttin
gs.
Q,W
Dec
reas
e/In
crea
se V
olu
me
E,R
Dec
reas
e/In
crea
se P
ann
ing
T,Y
Dec
reas
e/In
crea
se R
ever
b
U,I
Dec
reas
e/In
crea
se C
ho
rus
O,P
Dec
reas
e/In
crea
se B
ank
Chap
ter
14:
Ref
eren
ce
253
Use
Ctr
l+S
hif
t to
get
her
wit
h t
he
1-9
an
d 0
key
s on
th
e k
eyb
oar
d t
o s
elec
t F
avo
rite
In
stru
men
ts.
Fo
r ex
amp
le,
let’
s
chan
ge
the
Pia
no p
art
to R
hodes
Pia
no.
1.
Pre
ssC
trl+
4 t
o s
elec
t th
e P
ian
o p
art.
2.
Pre
ssC
trl+
Sh
ift+
2 t
o s
elec
t th
e F
avo
rite
#2. T
hat
is
Rhod
es P
iano
.
Use
Ctr
l+S
hif
t an
d t
he
[-]
and [
=]
key
s to
dec
reas
e/in
crea
se t
he
pat
ch b
y 1
.
Vo
lum
e S
ett
ing
s
Ctr
l+A
lt+
Sh
ift+
RS
et c
urr
ent
par
t’s
vo
lum
e.
Ctr
l+A
lt+
AD
ecre
ase
mas
ter
vo
lum
e b
y 5
.
Ctr
l+A
lt+
SIn
crea
se m
aste
r v
olu
me
by
5.
Ctr
l+A
lt+
DS
et m
aste
r v
olu
me.
Ctr
l+A
lt+
Sh
ift
Q
Red
uce
all
par
t vo
lum
es b
y 5
.
Ctr
l+A
lt+
Sh
ift
W
Incr
ease
all
par
t v
olu
mes
by 5
.
Ctr
l+A
lt+
Sh
ift
E
Set
all
par
t vo
lum
es.
Lo
op
ing
/ S
on
g N
av
iga
tio
n K
ey
str
ok
es
NU
MP
AD
1
Tog
gle
lo
op
ing o
n/o
ff.
NU
MP
AD
2
Op
en L
oop
Sec
tio
n S
etti
ng
s d
ialo
g.
Ctr
l+N
UM
PA
D 1
P
lay
wit
h l
ast
choru
s lo
op
ed.
Ctr
l+N
UM
PA
D 2
P
lay w
ith m
iddle
choru
ses
looped
.
Ctr
l+N
UM
PA
D 3
P
lay
wit
h m
iddle
an
d l
ast
choru
ses
loop
ed.
Ctr
l+N
UM
PA
D 4
Ju
mp
to
las
t ch
oru
s.
Ctr
l+N
UM
PA
D 5
Ju
mp
to
en
din
g.
Ctr
l+N
UM
PA
D 7
L
oo
p N
ota
tio
n s
cree
n.
NU
MP
AD
[D
EL
]A
dv
ance
s th
e n
ota
tion
, le
ad s
hee
t, a
nd g
uit
ar w
ind
ow
by o
ne
chord
(gro
up
of
no
tes)
.
NU
MP
AD
[IN
S]
Bac
ks
up t
he
nota
tion,
lead
shee
t, a
nd
gu
itar
win
dow
by o
ne
cho
rd.
Tra
nsp
ose S
ett
ing
s
Ctr
l+A
lt+
1
Tra
nsp
ose
Mel
od
y d
ow
n o
ne
oct
ave
Ctr
l+A
lt+
2
Tra
nsp
ose
Mel
od
y u
p o
ne
oct
ave
Ctr
l+A
lt+
3
Tra
nsp
ose
So
lois
t dow
n o
ne
oct
ave
Ctr
l+A
lt+
4
Tra
nsp
ose
Solo
ist
up o
ne
oct
ave
Ctr
l+A
lt+
5
Tra
nsp
ose
do
wn
1 s
emit
on
e.
Ctr
l+A
lt+
6
Tra
nsp
ose
up
1 s
emit
on
e.
Ctr
l+A
lt+
7T
ransp
ose
set
tin
g d
ialo
g.
Cu
sto
m F
ile O
pen
Dia
log
Ctr
l+S
hif
t+F
3L
oad
so
ng
wit
h c
ust
om
fil
e dia
log
.
Alt
+F
In c
ust
om
fil
e d
ialo
g -
Fav
ori
te F
old
ers.
Alt
+N
In
cu
sto
m f
ile
dia
log -
Fo
nt
sele
ctio
n.
Alt
+S
In c
ust
om
fil
e d
ialo
g -
Sea
rch d
ialo
g.
Win
dow
s
Ctr
l+W
Tog
gle
No
tati
on
an
d C
ho
rdsh
eet
win
dow
s.
Ctr
l+O
Mo
vab
le N
ota
tio
n w
indo
w.
Alt
+W
Lea
d S
hee
t w
ind
ow
.
Chap
ter
14:
Ref
eren
ce
254
Ctr
l+T
Pu
t N
ota
tion
/Ch
ord
s at
top
of
scre
en.
Ctr
l+S
hif
t+A
A
ud
io E
dit
win
dow
.
Ctr
l+S
hif
t+D
Dru
m K
it w
indo
w.
Ctr
l+S
hif
t+G
Gu
itar
win
dow
.
Ctr
l+S
hif
t+J
E
ar t
rain
ing
win
dow
.
Ctr
l+S
hif
t+L
B
ig L
yri
cs w
ind
ow
.
Ctr
l+S
hif
t+N
B
ig P
iano
win
dow
.
Sty
leM
ak
er H
ot
Key
s
F1,
Sh
ift+
F1, C
trl+
F1
Hel
p
F2
Sav
e st
yle
Alt
+F
2
Sav
e st
yle
as
...
Ro
r F
3
Rec
ord
pat
tern
<S
pa
ceb
ar>
or
F4
P
lay p
atte
rn
F8
Pla
y p
atte
rn o
n c
ho
rd
F1
0E
dit
pat
tern
opti
on
s
F6
or
Sh
ift+
F6
C
han
ge
inst
rum
ent
Cu
rso
r K
ey
s
Mo
ve
aro
un
d s
cree
n
Alt
+F
4
Quit
the
Sty
leM
aker
Sty
leM
ak
er D
ru
m S
creen
Ho
t K
eys
F5
Dru
m a
lter
nat
e note
s
Bo
tto
m r
ow
(Z
XC
VB
NM
,. /
) D
rum
no
te e
ntr
y
F6
Tim
e b
ase
F1
0o
r A
lt+
F4
Ex
it
Ad
dit
ion
al
Keystr
ok
es
Th
ere
are
add
itio
nal
key
stro
kes
av
aila
ble
, li
sted
on t
he
pull
dow
n m
enus
bes
ide
the
funct
ion.
Hot
key
s m
ay a
cces
s
any f
un
ctio
n o
n t
he
pu
ll-d
ow
n m
enu
by p
ress
ing t
he
Alt
key
an
d t
he
firs
t le
tter
of
the
Men
u f
oll
ow
ed b
y t
he
und
erli
ned
let
ter
of
the
com
man
d.
For
exam
ple
, A
lt+
F+
O w
ould
acc
ess
Fil
e |
Op
en.
No
te:
It
is n
ece
ssa
ry t
o t
ap
th
e s
pa
ce
ba
r tw
ice
on
th
e m
ain
scre
en
to
sta
rt p
layb
ack b
eca
use
en
teri
ng
ch
ord
s c
an
in
clu
de
a
sin
gle
sp
ace
ba
r.
In t
he
Sty
leM
ake
r, y
ou
sta
rt s
on
gs b
y h
ittin
g t
he
sp
ace
ba
r o
nce
. I
n t
he
Op
t. | P
refe
ren
ce
s m
en
us,
the
re
are
oth
er
wa
ys t
ha
t th
e S
PA
CE
BA
R c
an
be
se
t to
wo
rk.
Pla
yin
g s
on
gs.
S
pa
ceb
ar t
wic
e or
F4
Sto
pp
ing
song
s.
Sp
aceb
ar o
r E
sc
Hel
p.
F1,
Sh
ift+
F1, C
trl+
F1
Rec
ord
(m
elo
dy o
r p
atte
rn).
R
Rec
ord
fro
m a
ny b
ar.
R
Jukeb
ox
sta
rt/s
top
. F
8
Sav
e so
ng
. F
2
Sav
e so
ng
wit
h p
atch
es.
Alt
+F
2
Lo
ad s
on
g.
F3
Lo
ad s
ong
usi
ng
fav
ori
te s
on
g l
ist.
S
hif
t+F
3
Lo
ad s
ong
usi
ng
tit
les
win
dow
. C
trl+
F3
Lo
ad s
ong
s w
ith
mel
od
ies.
A
lt+
F3
Chap
ter
14:
Ref
eren
ce
255
Lo
ad s
ong
wit
h s
tan
dar
d l
ong
fil
e d
ialo
g.
Alt
+S
hif
t+F
3
Lo
ad n
ext
file
(al
ph
abet
ical
by f
ile
nam
e).
Sh
ift+
F8
Lo
ad p
rev
iou
s (a
lph
abet
ical
by f
ile
nam
e).
Ctr
l+S
hif
t+F
8
Lo
ad n
ext
style
. (
in a
lph
abet
ical
ord
er).
A
lt+
Sh
ift+
F8
Lo
ad p
rev
iou
s st
yle
. (
in a
lphab
etic
al o
rder
).
Ctr
l+A
lt+
Sh
ift+
F8
En
able
/dis
able
sty
le.
Alt
+S
th
en E
Lau
nch
MID
I F
ile
to S
tyle
Wiz
ard.
Alt
+S
th
en W
Lo
ad s
ong
s in
curr
ent
style
. F
7
Ch
oo
se a
use
r st
yle
. F
9
Op
en S
tyle
Pic
ker
. C
trl+
F9
Sel
ect
favori
te s
tyle
s.
Sh
ift+
F9
Ed
it u
ser
style
. A
lt+
F9
Edit
curr
ent
style
. C
trl+
Sh
ift+
F9
Tu
rn s
ong
Em
bel
lish
er o
n/o
ff.
Ctr
l+A
lt+
E
Imp
ort
chord
s fr
om
MID
I fi
le.
Ctr
l+A
lt+
I
Sen
d G
M m
ode
on
mes
sag
e.
Ctr
l+A
lt+
Q
Set
tem
po
. C
trl+
Alt
+T
Open
th
e P
refe
rence
s dia
log.
Ctr
l+E
Op
en t
he
Son
g S
etti
ng
s d
ialo
g.
Ctr
l+N
Lau
nch
Cho
rd B
uil
der
. C
trl+
Sh
ift+
B
Ed
it c
urr
ent
bar
op
tion
s.
F5
Sav
e M
IDI
file
. F
6
Qu
it t
he
pro
gra
m.
Alt
+F
4
Ch
ord
Lis
t
Co
mm
on
ly u
sed
ch
ord
s a
re d
isp
lay
ed
here i
n b
old
typ
e.
Th
ese
cho
rds
are
dis
pla
yed
in
a l
ist
in t
he
Cho
rd B
uil
der
Dia
log
, ac
cess
ible
fro
m t
he
Use
r M
enu o
r by r
ight
clic
kin
g
on t
he
cho
rdsh
eet.
Majo
r C
ho
rd
s
C,
Cm
aj,
C6
, C
ma
j7, C
ma
j9,
Cm
aj1
3, C
69
, C
maj
7#
5,
C5
b,
Cau
g,
C+
, C
maj
9#11
, C
maj
13#
11
Min
or C
ho
rd
s
Cm
, C
m6
, C
m7
, C
m9
, C
m1
1, C
m1
3,
Cm
aug
, C
m#
5,
Cm
Maj
7
(hal
f d
imin
ish
ed)
Cm
7b
5,
Dim
inis
hed
Cd
im
Do
min
an
t 7
th C
ho
rd
s
C7, 7
+,
C9
+, C
13
+, C
13
, C
7b
13
, C
7#1
1, C
13#1
1, C
7#11b
13
, C
9,
C9
b13
, C
9#11
, C
13
#11
, C
9#11
b13
, C
7b
9, C
13b9
, C
7b
9b13
, C
7b
9#1
1,
C1
3b9
#11
, C
7b
9#1
1b1
3, C
7#
9, C
13#9
, C
7#
9b1
3, C
9#11
, C
13
#9#
11
, C
7#
9#1
1b1
3
C7
b5
, C
13
b5
, C
7b5b
13
, C
9b5
, C
9b
5b1
3, C
7b5b
9, C
13b5b
9, C
7b5b
9b13
,
Chap
ter
14:
Ref
eren
ce
256
C7
b5#
9, C
13b5
#9
, C
7b5
#9b1
3, C
7#5
, C
13#
5, C
7#5#
11
, C
13#5
#11
, C
9#
5,
C9
#5#
11
, C
7#5
b9
, C
13#
5b9
, C
7#
5b9
#11
, C
13#5
b9#
11
, C
7#5#
9, C
13#5#
9#1
1,
C7
#5#
9#1
1, C
13#5
#9#
11
Su
sta
ined
4 C
hord
s
Csu
s,C
7su
s, C
9su
s,
C1
3su
s, C
7su
sb13
, C
7su
s#1
1,
C13
sus#
11
, C
7su
s#11
b13
, C
9su
sb13
, C
9su
s#1
1,
C13
sus#
11,
C9
sus#
11
b1
3,
C7
susb
9,
C1
3su
sb9
, C
7su
sb9b1
3, C
7su
sb9
#11
,
C1
3su
sb9
#11
, C
7su
sb9#
11b
13
, C
7su
s#9, C
13
sus#
9, C
7su
s#9b1
3, C
9su
s#1
1, C
13
sus#
9#1
1, C
7su
s#9#
11
b13
,
C7
susb
5, C
13
susb
5, C
7su
sb5b
13
, C
9su
sb5
, C
9su
sb5b
13
, C
7su
sb5b
9,
C1
3su
sb5
b9
, C
7su
sb5b
9b1
3, C
7su
sb5#
9, C
13
susb
5#
9, C
7su
sb5#9
b13
,
C7
sus#
5, C
13
sus#
5, C
7su
s#5#
11
, C
13
sus#
5#
11
, C
9su
s#5
, C
9su
s#5#
11
, C
7su
s#5b
9, C
13su
s#5b9
, C
7su
s#5
b9#
11
,
C1
3su
s#5
b9#
11
, C
7su
s#5#9
, C
13
sus#
5#9#
11
, C
7su
s#5#9
#1
1, C
13
sus#
5#9
#11
,
No
tes:
- It
is n
ot
ne
ce
ssa
ry t
o t
yp
e u
pp
er
or
low
er
ca
se
. T
he
pro
gra
m w
ill s
ort
th
is o
ut
for
yo
u.
- A
ny c
ho
rd m
ay b
e e
nte
red
with
an
alte
rna
te r
oo
t (“
Sla
sh
Ch
ord
”) e
.g.:
C7
/E
= C
7 w
ith
E b
ass.
- S
ep
ara
te c
ho
rds w
ith
co
mm
as t
o e
nte
r 2
ch
ord
s in
a 2
be
at
ce
ll, e
.g.,
Dm
,G7
Tric
ky
Ch
ord
s:
C
5b
Th
is i
s “C
fla
t 5
.” It
is
spel
led
th
is w
ay t
o a
vo
id c
onfu
sion
.
C
2,
C5
, C
4, C
69,
C7
alt,
Cm
7#
5
Y
ou
can
typ
e C
-7 f
or
Cm
7
(i.e
. use
th
e m
inu
s si
gn)
or
C7-9
for
C7
b9
.
Sh
ortc
ut
Ch
ord
s:
If y
ou e
nte
r a
lot
of
songs,
you'll
appre
ciat
e th
ese
short
cut
key
s.
J =
Maj
7
H =
m7
b5
(H s
tand
s fo
r H
alf
dim
inis
hed
)
D =
dim
S =
Su
s
Ex
amp
le:
To
typ
e C
Maj
7 ,
just
typ
e C
J (i
t w
ill
be
ente
red
as
CM
aj7
)
Ad
d y
ou
r o
wn
ch
ord
sh
ortc
uts
.
Hav
e you
found
a c
ho
rd t
hat
Ban
d-i
n-a
-Bo
x d
oes
n't
reco
gniz
e? If
so
, ad
d i
t to
yo
ur
cho
rd s
ho
rtcu
ts f
ile,
and
Ban
d-
in-a
-Box
wil
l al
low
you
to
type
in t
hat
cho
rd i
n t
he
futu
re.
Th
is a
lso
let
s yo
u d
efin
e ch
ord
“sh
ort
cuts
,” o
ne-
lett
er
abbre
via
tions
for
longer
ch
ord
nam
es (
“J”
for
“Maj
7”
etc.
). If
yo
u f
ind
a c
ho
rd t
hat
Ban
d-i
n-a
-Bo
x w
on
't ac
cep
t li
ke
Csu
s2, w
hen
it
expec
ts C
2 i
nst
ead y
ou c
an e
nte
r th
is o
n a
sin
gle
lin
e (w
itho
ut
the
quo
tes)
“C
sus2
@C
2.”
T
hen
Ban
d-i
n-a
-Bo
x w
ill
ente
r th
e ch
ord
C2 i
f you
typ
e in
Csu
s 2
.
Th
e te
xt
file
c:\
bb
\Sho
rtcu
t.tx
t al
low
s yo
u t
o a
dd n
ew c
ho
rd s
ho
rtcu
ts.
No
te t
hat
th
is f
ile
do
esn
't s
hip
wit
h B
and
-in
-
a-B
ox
(or
it w
ou
ld o
ver
wri
te y
our
file
!).
Th
e fi
le \
bb
\pg
short
c.tx
t fo
r sh
ort
cuts
su
pp
lied
by P
G M
usi
c. Y
ou c
an a
dd
yo
ur
ow
n s
ho
rtcu
ts i
n a
tex
t fi
le y
ou
mak
e you
rsel
f an
d n
ame
\bb
\sho
rtcu
t.tx
t.
Ba
nd
-in
-a-B
ox
fil
es
Essen
tia
l P
ro
gra
m F
iles
Ban
d-i
n-a
-Bo
x f
or
Win
do
ws
req
uir
es t
he
foll
ow
ing f
iles
to o
per
ate.
BB
W.E
XE
Ex
ecu
tab
le f
ile.
Chap
ter
14:
Ref
eren
ce
257
BB
WD
LL
4.D
LL
D
LL
han
dli
ng
pla
yb
ack.
CP
AL
ET
TE
.DL
L
Req
uir
ed D
LL
.
ZZ
*.S
TY
B
and-i
n-a
-Bo
x n
eed
s S
tyle
Fil
es f
or
the
bu
ilt-
in S
tyle
s.
ZZ
DE
FA
UL
T.H
AR
T
hes
e ar
e th
e d
efau
lt h
arm
on
ies.
BB
W.L
ST
Th
is i
s th
e te
xt
file
fo
r th
e S
tyle
Lis
t In
form
atio
n.
CT
L3
DV
2.D
LL
Th
is i
s th
e re
qu
ired
DL
L f
or
3D
dia
log
s an
d c
on
tro
ls.
PG
MU
S.T
TF
P
G M
usi
c n
ota
tio
n f
on
t.
PG
TE
XT
.TT
F
P
G M
usi
c te
xt
fon
t.
Tran
sfe
rrin
g F
iles A
mon
g C
om
pu
ter P
latf
orm
s (
IB
M t
o M
ac)
Man
y o
f th
e B
and-i
n-a
-Bo
x s
ong
/sty
le a
nd
pat
ch m
ap f
iles
are
dir
ectl
y c
om
pat
ible
. A
ny M
acin
tosh
fil
e
auto
mat
ical
ly g
ets
a 12
8-b
yte
hea
der
add
ed o
n t
o i
t b
y t
he
Mac
into
sh s
yst
em.
If t
ran
sfer
ring
th
e fi
les
by m
od
em,
mak
e su
re t
he
Mac
into
sh m
od
em s
oft
war
e st
rip
s off
th
e h
ead
er o
ff t
he
file
s.
Oth
er t
han
th
at,
the
file
s ar
e id
enti
cal.
No
te:
Ata
ri f
iles a
re t
he
sa
me
fo
rma
t a
s I
BM
file
s; n
o c
on
ve
rsio
n is n
ee
de
d.
PG
Mu
sic
Inc.
2
58
PG
Mu
sic
In
c.
Ba
nd
-in
-a-B
ox
®
is p
rote
cted
by c
opyri
ght
and i
s th
e p
rop
erty
of
PG
Mu
sic
Inc.
Copyri
ght
© 1
989-2
004 P
G M
usi
c In
c.
All
rig
hts
res
erv
ed.
PG
MU
SIC
IN
C.
29
Cad
illa
c A
ven
ue
Vic
tori
a, B
C V
8Z
1T
3
Can
ada
Con
tacts
:
E-m
ail
:in
fo@
pg
mu
sic.
com
Ph
on
e:
toll
fre
e in
th
e U
nit
ed S
tate
s an
d C
anad
a
1-8
00
-268-6
27
2, 1
-88
8-P
G-M
US
IC (
746
-87
42)
Or
1-2
50
-47
5-2
874
Un
iversa
l In
tern
ati
on
al
Freep
hon
e S
erv
ice:
Outs
ide
of
the
Unit
ed S
tate
s an
d C
anad
a (w
her
e av
aila
ble
).
+ 8
00-4
PG
MU
SIC
(80
0-4
746-8
74
2)
Fa
x:
toll
fre
e in
th
e U
nit
ed S
tate
s an
d C
anad
a
1-8
88-4
75
-14
44
,
or
1-2
50
-47
5-2
937
Tech
nic
al
Su
pp
ort:
Ph
on
e:
toll
fre
e in
th
e U
nit
ed S
tate
s an
d C
anad
a
1-8
66
-9T
EC
HP
G (
866
-98
3-2
474)
Or
1-2
50
-47
5-2
708
E-m
ail
:su
pp
ort
@pg
mu
sic.
com
Liv
e I
nte
rn
et
Ch
at:
ww
w.p
gm
usi
c.co
m
Be
su
re t
o v
isit t
he
FA
Q p
ag
es a
t w
ww
.pg
mu
sic
.co
m f
or
info
rma
tio
n a
bo
ut
kn
ow
n t
rou
ble
sh
oo
tin
g issu
es a
s w
ell
as t
he
la
test
tech
nic
al su
pp
ort
bu
lletin
s.
<copyright>
VARIATION 5(Computer Music) LIANA ALEXANDRAALLEGRO
&44d = 100
S
ddd-
ddd
dd ddd dd
dd dddd
v ddd dddd dd d
ddd dd
dd-
ddd
dd ddd dddd
ddddd
dddd
v ddd dddd dd d
dddd d
dddd-
ddd
dddddd ddd
dddddd
ddddddd
dddddddd
dddd ddddddddddd
dddd
ddd-dd- dd
ddd
dd ddd d
dddd
dddddd
dddd d
dddd
dddd ddddddddddd
ddd
d-d-dd-d
d d
d
dd. d
d
dd
d d
dd
d
d d
d
d
d
dd
d
ddddd
dddd-d
d
ddd
dddd- d-d
ddddd
ddddddd d
ddddd
d.dddddd-d
d-dddd d
ddddd
dddd
dd.dd ddd
dddd
dddd- dd
dd.d d-d
d
d
d dd
d
d dd
d d-dd- dd
d d. d
d
dd
dd- dd
ddd d
d
%44Sd-ddd
ddddvddd dd
u didddd dddd-ddd
ddddvdddddd
u ddddd dddd dd ddd-dd-d
dd d vdddd ddd ddddd d d d-dd-d
dddddd
ddddddddd
ddddd dd ddd-dd-d
ddddddddd
dddddddddd
ddddd ddd ddd-dd-d
dddddd
ddddddddd
ddddd dddd-dd- dd
dddddddddd
v
dd
d u dddddv
d-d. ddd dd-d
%44 u `djdjdid-d
v t v did v u `djdju ` t v d- d
ddd
vd dju ` v
did
v t u `djdju ` s u `
djdju ` s u `
djdju ` s s t v d- d
d%44 r r r r r r r
& ddddd-
ddddd
ddddddd dddd
d.ddddd-d
d-dddd
vdddddddd
dd.dd dd
dddd
dddd
dddd
d-ddd
dddd
dddddddd
d dddddd
dd
d
dddddd
d dddddddd
ddd dd
dddddd
dddddd
dddd-
dddddd dC
dd ddd
Cd.d
dd-d
d-
dvd d
d
dd.d
d-d dC d
dd
dd.dd d-d
ddd+
d
ddd
d
ddd ddd
d
ddd d-dd
dv
d.d+ d. dd+ ddd+ ddd
d d `d `d `d `C dd
ddd+ddd-
ddd+dd.dddddd
ddd+ ddddddd
ddd+dd.ddd
dddd
v dd.d ddd
d dd
d.d+ ddd+dd
dd+ dddd. dd
d-
d
d-d-d
d
d
d dd
d
d dd
d
d- dd+
d- d.d- dd.
d d. d
d
dd
d.d- dd.
ddd d
d
% ddd-dd-d
v
ddddddd
u ddddd dddd d dd- dddddddd
ddddu ddddd dddd ddd dd
v
ddv
d
ndd-d dC u ddddd d
vd d
d.d+
v d-dd- ddddddd
u di
d-
m
dd+
dd. ddd.u
ddd+
d-d
d.d+
d d
dd
v u ddddd
d-
d.ddd. d
ddd+
dd-
d-dd+
dd.ddd.
ddd
dddddv
dd.
d v
d.d+ ddd+ ddd+ ddd d-d. dd.d dd-d
% dd
vd dju ` t v d d
ddddd
vd dju ` t v d d
ddd dd v d
C
dt v
d
n
dd u
ddd+
dd-dv
d.
m
d+
v u diddddv dm v u d-dd-d
dddddd
u `
d.d+ ddd+ ddddd
d ddd.
ddd
d.d+ d. d d.dd.
v u dddddv d
ddd+
dd
% r r s t v d-m v r r r
& ddddd-
ddddd
ddddddd dddd
d.ddddd-d
d-dddd
vdddddddd
dd.dd dd
dddd
dddd
dddd d d
d- dd+
d- d.d- dd.
ddd
ddddd
ddd
ddddd
v
d.d+ d. dd+ ddd+ ddd
d ddd
d-ddd-
dddd
dddd.dd
d ddddd
ddd-d
ddddd
d d.dddd
ddd dd
ddddd
ddddd
d
ddd
ddd
d- dd+
d- d.d- dd.
ddd
ddddd
d.d d-
dv
d d
d
ddd
d.d- dd.
d dd.dd
d-d
d d dd d dd
dd-dd+ d+d- d.d- dd.
d d. d
d
d.d d-d-ddd+d.d-
dd.d. d
dd dd
d-dd+d-dd+ d+
ddd dd d- ddddddddd d. dd
ddd.d+d dd
% ddd-dd-d
v
ddd.dddd
u ddddd
d-
d.ddd.
d+
d
ddd+
dd- v d v d v d u d ddddv d dd
d-dd-ddddd
dd
u ddddd
d-
d.ddd.
d+
d
ddd+
dd- v
dd.d v
d
d
d-dd+
dd.ddd.v
d.d+ d. dd+ ddd+ ddd dd.d ddd
d+d+dd-d
d-dd+dd+ddd.ddd.
v
dd
d
d-dd+dd-dd+ddd.ddd.
v
d-d. dd.d
d- d-dd+ d+ d-dd+ d+d. d-
d.dd+ d-dd+ d+ d-dd+ d+v
d.d.v
d d-dd+d-dd+ d+
v
d.
v
d.dd+ ddd dd. d-dd+ d+ d-dd. d+%
ddd
dd
d.d+ ddd+ ddd+
d
ddd
d
d.dddd+
v u `
ddddd ddddd ddd.dd
d ddd
ddd
d.d+ d d d.dd
v u dddddv d
ddd+
dd
ddd
dd
d.d+ ddd+ ddd+
d
ddd
d
d.dddd+
v u `
ddddd ddddd ddd.dd
d ddd
ddd
d.d+ d d d.d+ d
v u dddddv d
ddd+
dd
ddd
dd
d.d+ d. dd+d- d
ddd+ddddddd
d.dd. dd+
v u `
ddddd ddddd ddddd
ddd
ddd.
ddd
d.d+ d. d d.d+ d
v v
d.
m
dd. dd+
v vd+
d.dd+
% r r r vd `-m
dn u ` s r
c-s
& d-d d dd d dd
d-dd+ d+d d d d.d d
dddd+dd. d. d d dd
d-dd+d-dd+ d+
ddd dd d- ddddddddd d. dd
ddd.d+d dd d+ddd+ d+
dddddddddddddddd dddd-ddd
dddddddd dddd- ddd. dddd-dddd- d-dddd-ddd
d.dd+ d-dd+ d+ ddd-dd+ d+ d.d. d d.d+ d
d- v d-dd+ dd-dd+ d dd. d ddd. dddd-dd. dd-dd+ dd-dd. d d+ddd+ d+
dddddddddddddddd dddd-ddd
dddddddd dddd- ddd. dddd-dddd- d-dddd-ddd
d-dd+ d+ ddd-dd+ d+ddd. dddd-dddddd. ddd dddd-ddd
dddddddd ddd ddd. dddd-dd. dd-dd+ dd-dd. d d+ddd+ d+
dddddddddddddddd dddd-ddd
dddddddd ddd ddd. dddd-dddd-dddd-ddd
%d+d+
d-dd+ dd+ dv
d.dd. dd+ dd d-dd+ dd-dd+ dv
d.dd. dd+ ddddd d-ddd.d- d-dd+ d+ d-dd+ d+
d.dd+ d-dd+ d+ d-dd+ d+v
d.d.v
d d-dd+d-dd+ d+
v
d.
v
d.dd+ ddd dd. d-dd+ d+ d-dd. d+v
d.d+ d. dd+d. d- dddd+ddddddd
d.d+ d. dd+d-v u `
d
n
dddd d
n
dddd d
m
dddd
v v
dd+
v
d-dd+ ddd. dd. dd-dddd. dd-ddd
v
d.dd. dd+ ddd+ ddddddd ddd d.d+ d. dd+
d. d- dddd+ddddddd
d.d+ d. dd+d-v u `
d
n
dddd d
n
dddd d
m
dddd
v vd `-m
dndm v t v
d+m v v
dd-d dd dnd d-m v s%
ddd d.d+ d. dd+d- d
ddd+ddd
n
dddd
u ` t v
d.
m
dd. dd+
v v
d.d+ d. d d.d+ d
v v
d.
m
dd. dd+
v vd+
d.dd+ ddd
s ` u
d-
m
dd+ ddd. d+ d. dd-dd+ d+s ` r r u
d-C ds% r
c-s r v
d `-m
dn u ` s r r r
& d-dd+ d+ ddd-dd+ d+ d.d. d+ d ddd
d- d+ dd. dd.d+ddddddddd dd. dd+ dd. dd.
ddd. dddd-dddddd-dd+ dd-dd+ d d+ ddd+ d+d. d+dd- d. d
ddd.dd+ dddd+ dd-d. d
ddd.dddd. dd
dddd-dd+ ddd. ddd-d. d
ddd+dddd+ddd. dddd.d
dddd. dd
ddd.dddd-dd+ ddd. dddd-d.
d-dd+ dd-dd+ dddd-d.
d-dd+ d+ ddd-dd+ d+ d. d+ dd-d. d
d. dd
ddd-d
d dd.d. d+d. d
d+d+ d.d+ddddd+dd d+ dd.
d-ddd- d.d
d. dd. d+ d. d.dd. d- d-d- dd.
d. dd. d+ d. d.
d. d- d. d
dd.d.dd-d- dd.
dd-dd. d- d.d
dd.d.d-d-
d. dd. dd. d.ddd- dd. d- d. d
ddd. d- d- dd- dd.
d+ dd.dd+dd- ddd- d. d
d. dd. ddd.dddd-d- dd
d. dd. ddd. d+ dd. dddd- d. dd. d-d dd
d+dd. ddd d.d.
d. dd. d+ dd.dddd- ddd- d. d d
d+dddddddd.d d+dd ddd
d- d+ dd. dd. d.d. dd-dd. d- d.d
d+ d. d.d- d-
d. dd. dd. d.ddd- dd. d- d. d
ddd. d- d- dd- dd.
% v dd+ d v
ddd. d+ d. dd. dd. dd- ddt v dm v v
dd-dd
dddddd
d-d d d v v d. i v v d v
ddd.d+d. dd+d+ d.d+ d.dd.dd-dd+ dddd.d- d. d.
ddd+dddd+dddd.d
ddd ddd.dddd-ddddd-d.
d-dd+dd-dd.dddd-d. vd.d d+d. d ddd
d-d+dd.dd. d.d. v d.d+ d. d dd. t vdd
ddddd-d
v dd-d. d. d- d.d
d+d. d.d-d- u dd.d.d- d- dd- d.
d+dd.d-ddd- d.d
d.dd. d+ d. d.dd. d- d-d- dd.
d.dd. d+ d. d.
d. d-d.d
dd.d.dd+ d-dd. v d.ddd dd. t% u
ddd. d+ d. dd-dd+ d+u ` d+d d
nd u ` t vd `-m
dn u ` s u
d
m
dd. d+ d. dd-dd+ d+ d. d+ d. d- d. d. t t u `d.nd. d+ d
d.dd+d d `- du
d+d+ d+d.d- ddddddd u dd d
nd u ` vd `- d
vd+d. dd+ d+dd+d. d- d. d. u `
d+ndd
dndd u ` v
d `- du
d+d+ d+d.d- ddddddd u dd d
nd u `% vd `-m
dn u ` s r v
d `-m
dn u ` s r r r
&dd+dd- ddd- d. d
ddddd-ddd+dd. ddddd.d
d. dd ddd+dd. ddd d.d. dddd-dddd.d d
d+d+ d+ ddddd d ddd ddd
d+dd. dd d.d. dd-ddd- d.dd-d ddd-dd. dd.d
dddd-ddd- dd.dd+dd- ddd- d. d
ddddd-ddd+dd. ddddd.dd. dd dd
d+dd. ddd d.d. dddd-dddd.d dd+d+ d+ d
dddd d ddd dddd+dd. dd d.d. dd-ddd- d.d
d-d ddd-dd. dd.ddddd-ddd- dd.
dd+dd- ddd- d. dddddd-ddd+dd. ddddd.dd. dd dd
d+dd. ddd d.d. dddd-dddd.d dd+d+ d+ d
dddd d ddd dddd+dd. dd d.d. dd-ddd- d.d
d-d ddd-dd. dd.ddddd-ddd- dd. d- dd dddd
dd
dd
udiddddd ddd
d- ddd- ddddddd
ddddd
udddddd ddd ddd
% v dddddd
v dd-d. dd- d.dd-d u dd.d. dddd- d. d-ddd- d.d
ddd-dd- dd. d.dd. ddd+d- dd v d.d+ dd dd. t v d
dddddv dd-d. dd- d.d
d-d u dd.d. dddd- d. d-ddd- d.dddd-dd- dd. d.dd. d
dd+d- dd v d.d+ dd dd. t v ddddddv dd-d. dd- d.d
d-d u dd.d. dddd- d. d-ddd- d.dddd-dd- dd. d.dd. d
dd+d- dd v d.d+ dd dd. t d-dddv d v d v d
ddjdu ` v didd v t v d v d t v d v d% v
d `- dv
d+d+ dd+d. d- d.d. u `d+nd+ d+
dndd u ` t u `
d+
nd+ d+ dd-d
dddddd u dd dnd u ` t `
d+
m
d+ dd+ dd- d. d u `d+nd+ d+
dndd u ` t u `
d+
nd+ d+ dd-d
dddddd u dd dnd u ` t `
d+
m
d+ dd+ dd- d. d u `d+nd+ d+
dndd u ` t u `
d+
nd+ d+ dd-d
dddddd u dd dnd u ` u `
djdjdid-d
v s s t v d-d
dd
% r r r r r r r r
&
d- dd dddddd
dd
udiddddd ddd
d- ddd- ddddddd
ddddd
udddddd ddd ddd d- dd dddd
dd
dd
udiddddd ddd
d- ddd- ddddddd
ddddd
udddddd ddd ddd d- dd
dd+ ddddddd
d+dd.dddddddd.d d
d.d+dddd.d-ddddd
d.d. dd- dd. ddd. d. dd+ddd
dddd d ddd ddd d dd-d- dd. d.d- ddd.d+dd. ddd.
d-dddddd. dddd. ddd. d d d-d- dd
d. ddd+ dd.dd+ dd-dddd-d
ddddddd+dd.dddddddd.d- d d.d+dddd.
dd.d.d-d- dd- dd
d. dd. dd. d.d. d. dd- dd. d-dd. d. d
d+ddd
% ddv d v d v d
ddjdu ` v d- idd v t v d v d t v d v d dd
v d v d v dddjdu ` v d- idd v t v d v d t v d v d dd+dddddd
v d v dd
d+d+ dd+ dd-d- d.ddvd+dd.ddd d.d. v did. v d ddd-d- d+ dd. ddd. dddd.
v d.d. d v d.d+ dd dd. v dd d d
d.d v d
d
d+d. d. d+ d+dd+d. d- d- d. d. dvd+dd.ddd d.d. v d- id. v% d
dvd djdidd
v s s t v d-d
dd
dd
vd djdidd
v s s t v d-d
dd
dd
vd.
d
d
d
dd d. d
ud+d+ d+
d+dd- v d.d. d. d- dd+d. d-dddd-dddv
d+d+ d.d+ dd+ddd
dddd u dd d-d v dd.d. d+ ddd.d- d
d+dddd+dddddd
vd.
d
d
d
d-dd d. d
ud+d+ d+
d+dd- v d.d. d. d- dd+d.% r r r r r r r
& ddddd. d- dd
ddd+ddddddd d
dd.d. d- ddd-d- d. d. d.d- dd.
d+d d. dd. d dd.
d. dd. d+ dd. d- dd+ d+ ddd. d. dd- d. d d d- d-d- dd
dd
d- dd+ d. dd.d+ dd. d+ d+ d. d+ dd- dd- ddd.d- d
d-dd+ dd-dd+ ddd-d. ddd
dd.d.d-d- d. d- dd.
d. dd. dd. d. d- ddd. dd- d. d. d-dd. d dd+ d+d+
d
d.d+ d. dd+d. d- dd
ddd+ddd+dd
dddddddd d
dd.d. d- ddd-d- d. d. d.d- dd.
d+d d. dd. d dd.
d-d. dd.d+ dd. d-dd+ d+ ddd.d. dd- d.d d d- d-d- dd
dd
d- dd+ d. dd.d+ dd. d+ d+ d. d+ dd- dd- ddd.d- d
d-dd+ dd-dd+ ddd-d. ddd
dd.d.d-d- d. d- dd.
d. dd. dd. d. d- ddd. dd- d. d. d-dd. d dd+
d
d.d+ ddd+d.d
ddd+
d+dd
ddd
ddd ddd.d.dd-d- dd. d.d- dd
d.d+dd. d- dd.
dd.d.d-d- dd- dd
d-d. dd.dd. d.d. dd.dd. d- d.d. d d- b-bbbbbb- b. bb
% d
d.ddd. d+ d+ d. d.d+ d+ d. d. d- d-d+d. d.
d.ddd+d. d.d-dd. d-ddd.
vd+d+ d.d. d
d-dd+d+ d-ddd-d. dd- d.d
d+d. d.d-d- d.d- dd.
v d-d d d
d.d+ d.d.
d.
dd
ddd
d-dd+d+ d. d. d-dd+d+ dd+ d. d- d-d. d. d
v
d.d+ d. dd+d. d.d+ dd d.d. v
d+d-d
d.dd+d.d+d.
ddd+dd-d
d.ddd. d+ d+ d. d.d+ d+ d. d. d- d-d+d. d.
d.ddd+d. d.d-dd. d-ddd.
vd+d+ d.d. d
d-dd+d+ d-ddd-d. dd- d.d
d+d. d.d-d- d.d- dd.
v
d.dddd+
d-d d d
d.d+ d.d.
d.
dd
ddd
d-dd+d+ d. d. d-dd+d+ dd+ d. d- d-d. d. d
v
d.d+ d. dd+d. d.d+ dd d.d. v
d+d-d
d.dd+d.d+d.
ddd+dd-d
d.ddd+d. d.d. d. d- d-d+ d. d.
d.ddd+d. d.d-dd. d-ddd.
v d.d. d v d.d+ dd dd. v
d.d+ ddd+
d-d d d
s `%d+ dd.d- dddd- ddd
vd-d+dd.dd.
d.d+d.ddd u d+d. d-d v
d-dd+d+ d-dd+d+ dd. d. d+ dd.d. d- d.
d.dd+ d-dd+d+ ddd-dd+d+ d.d+ dd.d. dd.d
d-ddd.dd.ddd. d-ddddddd- d.ddd- dv
d.d+ d.d-d.d. d. d
u
ddd+d+d+ d+
dd.d+d-dd- v
d-d. d+ d+ d-d. d. d+ d.d. d. d- dd-d.
d+ dd.d- dddd- ddd
v
d.dddd+d- d+dd.dd.
d. d+d.ddd u
d.d+ ddd+
d+ d.
ddddd
dd v
d-d-dd+d+ d-dd+d+ dd. d. d+ dd.d. d- d.
d.dd+ d-dd+d+ ddd-dd+d+ d.d+ dd.d. dd.d
d-ddd.dd.ddd. d-ddddddd- d.ddd- dv
d.d+ d.d-d.d. d. d
u
ddd+d+d+ d+
dd.d+d-dd- v
d-d. d+ d+ d-d. d. d+ d.d. d. d- dd-d.
d+ dd.d- dddd- ddd
v
d.dddd+d- d+dd.dd.
d+ddd.dddd u
d.dddd+
dd
ddddd
dd v
d-
dd. d. d- dd.d. d- d.r% r r r r r r
&bbbbbb-b- bb
b-bbbbbb- b- bb
d dd d v d d d v dd dd v dn djv
% r r s t u `Copyright (c) by LIANA ALEXANDRA (GEMA)v% r r s t u ` v% r r s t u ` v