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<A NAME="CHILD_LINKS"><STRONG>Subsections</STRONG></A>

<UL CLASS="ChildLinks">
<LI><A NAME="tex2html429"
  HREF="node3.html#SECTION00310000000000000000">
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  Tracks</A>
<LI><A NAME="tex2html430"
  HREF="node3.html#SECTION00320000000000000000">Track Channels</A>
<LI><A NAME="tex2html431"
  HREF="node3.html#SECTION00330000000000000000">Track Descriptions</A>
<UL>
<LI><A NAME="tex2html432"
  HREF="node3.html#SECTION00331000000000000000">Drum</A>
<LI><A NAME="tex2html433"
  HREF="node3.html#SECTION00332000000000000000">Chord</A>
<LI><A NAME="tex2html434"
  HREF="node3.html#SECTION00333000000000000000">Arpeggio</A>
<LI><A NAME="tex2html435"
  HREF="node3.html#SECTION00334000000000000000">Scale</A>
<LI><A NAME="tex2html436"
  HREF="node3.html#SECTION00335000000000000000">Bass</A>
<LI><A NAME="tex2html437"
  HREF="node3.html#SECTION00336000000000000000">Walk</A>
<LI><A NAME="tex2html438"
  HREF="node3.html#SECTION00337000000000000000">Plectrum</A>
<LI><A NAME="tex2html439"
  HREF="node3.html#SECTION00338000000000000000">Solo and Melody</A>
<LI><A NAME="tex2html440"
  HREF="node3.html#SECTION00339000000000000000">Automatic Melodies</A>
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<BR>
<LI><A NAME="tex2html441"
  HREF="node3.html#SECTION00340000000000000000">Silencing a Track</A>
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<H1><A NAME="SECTION00300000000000000000"></A>
<A NAME="sec-tracks"></A>
<BR>
Tracks and Channels
</H1>

<P>
This chapter discusses 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  tracks and MIDI channels. If you are
reading this manual for the first time you might find some parts
confusing. If you do just skip ahead--you can run 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  without
knowing many of these details.

<P>

<H1><A NAME="SECTION00310000000000000000">

<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  Tracks</A>
</H1>

<P>
To create your accompaniment tracks, 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  divides output into several
internal tracks. There are a total of 8 different types of tracks, and
an unlimited number of sub-tracks.

<P>
When 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  is initialized there are no tracks assigned; however, as
your library and song files are processed various tracks will be
created. Each track is created a unique name. The track types are discussed
later in this chapter, but for now they are B<SMALL>ASS</SMALL>, C<SMALL>HORD</SMALL>,
W<SMALL>ALK</SMALL>, D<SMALL>RUM</SMALL>, A<SMALL>RPEGGIO</SMALL>, S<SMALL>CALE</SMALL>, M<SMALL>ELODY</SMALL>,
S<SMALL>OLO</SMALL> and A<SMALL>RIA</SMALL>.

<P>
All tracks are named by appending a &#8220;-&#8221; and &#8220;name&#8221; to the
type-name. This makes it very easy to remember the names, without any
complicated rules. So, drum tracks can have names &#8220;Drum-1&#8221;,
&#8220;Drum-Loud&#8221; or even &#8220;Drum-a-long-name&#8221;. The other tracks follow
the same rule.

<P>
In addition to the hyphenated names described above, you can also name
a track using the type-name. So, &#8220;DRUM&#8221; is a valid drum track name.
In the supplied library files you'll see that the hyphenated form is
usually used to describe patterns.

<P>
All track names are case insensitive. This means that the names
&#8220;Chord-Sus&#8221;, &#8220;CHORD-SUS&#8221; and &#8220;CHORD-sus&#8221; all refer to the same
track.

<P>
If you want to see the names defined in a song, just run 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  on the
file with the &#8220;-c&#8221; command line option.

<P>

<H1><A NAME="SECTION00320000000000000000">
Track Channels</A>
</H1>

<P>
MIDI defines 16 distinct channels numbered 1 to 16.<A NAME="tex2html16"
  HREF="#foot1076"><SUP><SPAN CLASS="arabic">3</SPAN>.<SPAN CLASS="arabic">1</SPAN></SUP></A> There is nothing which says that &#8220;chording&#8221;
should be sent to a specific channel, but the drum channel should
always be channel 10.<A NAME="tex2html17"
  HREF="#foot1077"><SUP><SPAN CLASS="arabic">3</SPAN>.<SPAN CLASS="arabic">2</SPAN></SUP></A>
<P>
For 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  to produce any output, a MIDI channel must be assigned to a
track.  During initialization all of the DRUM tracks are assigned to
special MIDI channel 10. As musical data is created other MIDI
channels are assigned to various tracks as needed.

<P>
Channels are assigned from 16 down to 1. This means that the lower
numbered channels will most likely not be used, and will be available
for other programs or as a &#8220;keyboard track&#8221; on your synth.

<P>
In most cases this will work out just fine. However, there are a
number of methods you can use to set the channels &#8220;manually&#8221;. You
might want to read the sections on C<SMALL>HANNEL</SMALL>
(<A HREF="node21.html#set-channel">here</A>), C<SMALL>H</SMALL>S<SMALL>HARE</SMALL>
(<A HREF="node21.html#set-chshare">here</A>), O<SMALL>N</SMALL>
(<A HREF="node24.html#set-on">here</A>), and O<SMALL>FF</SMALL>
(<A HREF="node24.html#set-off">here</A>).

<P>
Why bother with all these channels? It would be much easier to put all
the information onto one channel, but this would not permit you to set
special effects (like MIDIG<SMALL>LIS</SMALL> or MIDIP<SMALL>AN</SMALL>) for a specific
track. It would also mean that all your tracks would need to use the
same instrumentation.

<P>

<H1><A NAME="SECTION00330000000000000000">
Track Descriptions</A>
</H1>

<P>
You might want to come back to this section after reading more of the
manual. But, somewhere, the different track types,
and why they exist needs to be detailed.

<P>
Musical accompaniment comes in a combination of the following:

<P>

<UL>
<LI>Chords played in a rhythmic or sustained manner,

<P>
</LI>
<LI>Single notes from chords played in a sustained manner,

<P>
</LI>
<LI>Bass notes. Usually played one at a time in a rhythmic manner,

<P>
</LI>
<LI>Scales, or parts of scales. Usually as an embellishment,

<P>
</LI>
<LI>Single notes from chords played one at time: arpeggios.

<P>
</LI>
<LI>Drums and other percussive instruments played rhythmically.

<P>
</LI>
</UL>

<P>
Of course, this leaves the melody ... but that is up to you, not

<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT> ... but, if you suspect that some power is missing here, read
the brief description of S<SMALL>OLO</SMALL> and M<SMALL>ELODY</SMALL> tracks
(<A HREF="#sec-solo">here</A>) and the complete &#8220;Solo and
Melody Tracks&#8221; chapter (<A HREF="node10.html#chap-solo">here</A>).

<P>

<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  comes with several types of tracks, each designed to fill
different accompaniment roles. However, it's quite possible to use a
track for different roles than originally envisioned. For example, the
bass track can be used to generate a single, sustained treble
note--or, by enabling H<SMALL>ARMONY</SMALL>, multiple notes.

<P>
The following sections describe the tracks and give a few suggestions
on their uses.

<P>

<H2><A NAME="SECTION00331000000000000000">
Drum</A>
</H2>

<P>
Drums are the first thing one usually thinks about when we hear the word
&#8220;accompaniment&#8221;. All 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  drum tracks share MIDI channel 10, which
is a GM MIDI convention. Drum tracks play single notes determined by
the T<SMALL>ONE</SMALL> setting for a particular sequence.

<P>

<H2><A NAME="SECTION00332000000000000000">
Chord</A>
</H2>

<P>
If you are familiar with the sound of guitar strumming, then you're
familiar with the sound of a chord. 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  chord tracks play a number
of notes, all at the same time. The volume of the notes (and the
number of notes) and the rhythm is determined by pattern definitions.
The instrument used for the chord is determined by the V<SMALL>OICE</SMALL>
setting for a sequence.

<P>

<H2><A NAME="SECTION00333000000000000000">
Arpeggio</A>
</H2>

<P>
In musical terms an <SPAN  CLASS="textit">arpeggio</SPAN><A NAME="tex2html18"
  HREF="#foot1122"><SUP><SPAN CLASS="arabic">3</SPAN>.<SPAN CLASS="arabic">3</SPAN></SUP></A> is the notes of a chord played
one at a time. 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  arpeggio tracks take the current chord and, in
accordance to the current pattern, play single notes from the chord.
The choice of which note to play is mostly decided by 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT> . You can
help it along with the D<SMALL>IRECTION</SMALL> modifier.

<P>
A<SMALL>RPEGGIO</SMALL> tracks are used quite often to highlight rhythms. Using
the RS<SMALL>KIP</SMALL> directive produces broken arpeggios.

<P>
Using different note length values in patterns helps to make
interesting accompaniments.

<P>

<H2><A NAME="SECTION00334000000000000000">
Scale</A>
</H2>

<P>
The playing of scales is a common musical embellishment which adds
depth and character to a piece.

<P>
When 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  plays a scale, it first determines
the current chord. There is an associated scale for each chord which
attempts to match the flavor of that chord. The following table
sums up the logic used to create the scales:

<P>
<DL>
<DT><STRONG>Major</STRONG></DT>
<DD>A major scale,

<P>
</DD>
<DT><STRONG>Minor</STRONG></DT>
<DD>A melodic minor scale,<A NAME="tex2html19"
  HREF="#foot1128"><SUP><SPAN CLASS="arabic">3</SPAN>.<SPAN CLASS="arabic">4</SPAN></SUP></A>
<P>
</DD>
<DT><STRONG>Diminished</STRONG></DT>
<DD>A melodic minor scale with a minor fifth and minor
  dominant seventh.

<P>
</DD>
</DL>

<P>
All scales start on the tonic of the current chord.

<P>
If the S<SMALL>CALE</SMALL>T<SMALL>YPE</SMALL> is set to C<SMALL>HROMATIC</SMALL>, then a chromatic
scale is used. The default for S<SMALL>CALE</SMALL>T<SMALL>YPE</SMALL> is A<SMALL>UTO</SMALL>.

<P>

<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  plays successive notes of a scale. The timing and length of the
notes is determined by the current pattern. Depending on the
D<SMALL>IRECTION</SMALL> setting, the notes are played up, down or up and down
the scale.

<P>

<H2><A NAME="SECTION00335000000000000000">
Bass</A>
</H2>

<P>
B<SMALL>ASS</SMALL> tracks are designed to play single notes for a chord for
standard bass patterns. The note to be played, as well as its timing,
is determined by the pattern definition. The pattern defines which
note from the current chord to play. For example, a standard bass
pattern might alternate the playing of the root and fifth notes of a
scale or chord. You can also use B<SMALL>ASS</SMALL> tracks to play single,
sustained treble notes.

<P>

<H2><A NAME="SECTION00336000000000000000">
Walk</A>
</H2>

<P>
The W<SMALL>ALK</SMALL> tracks are designed to imitate &#8220;walking bass&#8221; lines.
Traditionally, they are played on bass instruments like the upright
bass, bass guitar or tuba.

<P>
A W<SMALL>ALK</SMALL> track uses a pattern to define the note timing and
volume. Which note is played is determined from the current chord and
a simplistic algorithm. There is no user control over the note
selection.

<P>

<H2><A NAME="SECTION00337000000000000000"></A>
<A NAME="sec-plectrum"></A>
<BR>
Plectrum
</H2>

<P>
P<SMALL>LECTRUM</SMALL> tracks emulate the sound of a plucked instrument like
a guitar or banjo. All other 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  tracks take a note length or
duration option in their sequence definitions -- P<SMALL>LECTRUM</SMALL>
tracks are different: the sounds in these tracks continue to sound
until a new chord or pattern is encountered. They can also sound
&#8220;fuller&#8221; than other tracks since more notes tend to be played.

<P>

<H2><A NAME="SECTION00338000000000000000"></A>
<A NAME="sec-solo"></A>
<BR>
Solo and Melody
</H2>

<P>
S<SMALL>OLO</SMALL> and M<SMALL>ELODY</SMALL> tracks are used for arbitrary note data.
Most likely, this is a melody or counter-melody ... but these
tracks can also be used to create interesting endings, introductions or
transitions.

<P>

<H2><A NAME="SECTION00339000000000000000"></A>
<A NAME="sec-aria"></A>
<BR>
Automatic Melodies
</H2>

<P>
Real composers don't need to fear much from this feature ... but it
can create some interesting effects. A<SMALL>RIA</SMALL> tracks use a
predefined pattern to generate melodies over a chord progression. They
can be used to <SPAN  CLASS="textit">actually</SPAN> compose a bit of music or simply to
augment a section of an existing piece.

<P>

<H1><A NAME="SECTION00340000000000000000">
Silencing a Track</A>
</H1>

<P>
There are a number of ways to silence a track:

<P>

<UL>
<LI>Use the O<SMALL>FF</SMALL> command to stop the generation of MIDI data
  <A HREF="node24.html#set-off">here</A>.

<P>
</LI>
<LI>Disable the sequence for the bar with an empty sequence
  <A HREF="node5.html#sequence-clear">here</A>.

<P>
</LI>
<LI>Delete the entire sequence with S<SMALL>EQ</SMALL>C<SMALL>LEAR</SMALL>
  <A HREF="node5.html#sec-seqclear">here</A>.

<P>
</LI>
<LI>Disable the MIDI channel with a &#8220;Channel 0&#8221;
  <A HREF="node21.html#channel0">here</A>.

<P>
</LI>
<LI>Force only the generation of specific tracks with the -T command
  line option <A HREF="node2.html#t-option">here</A>.

<P>
</LI>
</UL>

<P>
Please refer to the appropriate sections on this manual for further
details.

<P>

<P>
<BR><HR><H4>Footnotes</H4>
<DL>
<DT><A NAME="foot1076">... 16.</A><A
 HREF="node3.html#tex2html16"><SUP><SPAN CLASS="arabic">3</SPAN>.<SPAN CLASS="arabic">1</SPAN></SUP></A></DT>
<DD>The
  values 1 to 16 are used in this document. Internally they are stored
  as values 0 to 15.

</DD>
<DT><A NAME="foot1077">... 10.</A><A
 HREF="node3.html#tex2html17"><SUP><SPAN CLASS="arabic">3</SPAN>.<SPAN CLASS="arabic">2</SPAN></SUP></A></DT>
<DD>This is not a MIDI rule, but a
  convention established in the GM (General MIDI) standard. If you
  want to find out more about this, there are lots of books on MIDI
  available.

</DD>
<DT><A NAME="foot1122">...arpeggio</A><A
 HREF="node3.html#tex2html18"><SUP><SPAN CLASS="arabic">3</SPAN>.<SPAN CLASS="arabic">3</SPAN></SUP></A></DT>
<DD>The term is derived from
  the Italian &#8220;to play like a harp&#8221;.

</DD>
<DT><A NAME="foot1128">... scale,</A><A
 HREF="node3.html#tex2html19"><SUP><SPAN CLASS="arabic">3</SPAN>.<SPAN CLASS="arabic">4</SPAN></SUP></A></DT>
<DD>If
  you think that support for Melodic and Harmonic minor scales is
  important, please contact us.

</DD>
</DL>
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bob
2010-11-07
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