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<A NAME="CHILD_LINKS"><STRONG>Subsections</STRONG></A>
<UL>
<LI><A NAME="tex2html454"
HREF="node10.html#SECTION001010000000000000000">Note Data Format</A>
<UL>
<LI><A NAME="tex2html455"
HREF="node10.html#SECTION001011000000000000000">Long Notes</A>
<LI><A NAME="tex2html456"
HREF="node10.html#SECTION001012000000000000000">Using Defaults</A>
<LI><A NAME="tex2html457"
HREF="node10.html#SECTION001013000000000000000">Other Commands</A>
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<LI><A NAME="tex2html458"
HREF="node10.html#SECTION001020000000000000000">KeySig</A>
<LI><A NAME="tex2html459"
HREF="node10.html#SECTION001030000000000000000">AutoSoloTracks</A>
<LI><A NAME="tex2html460"
HREF="node10.html#SECTION001040000000000000000">Drum Solo Tracks</A>
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<HR>
<H1><A NAME="SECTION001000000000000000000"></A>
<A NAME="chap-solo"></A>
<BR>
Solo and Melody Tracks
</H1>
<P>
So far the creation of accompaniment tracks using drum and chord
patterns has been discussed. However, there are times when chording
(and chord variations such as arpeggios) are not sufficient.
Sometimes you might want a real melody line!
<P>
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> has two internal track types reserved for melodic lines. They
are the S<SMALL>OLO</SMALL> and M<SMALL>ELODY</SMALL> tracks. These two track types
are identical with two major exceptions:
<P>
<UL>
<LI>S<SMALL>OLO</SMALL> tracks are only initialized once, at start up.
Commands like S<SMALL>EQ</SMALL>C<SMALL>LEAR</SMALL> are ignored by S<SMALL>OLO</SMALL> tracks.
<P>
</LI>
<LI>No settings in S<SMALL>OLO</SMALL> tracks are saved or restored with
G<SMALL>ROOVE</SMALL> commands.
<P>
</LI>
</UL>
<P>
These differences mean that you can set parameters for a S<SMALL>OLO</SMALL>
track in a preamble in your music file and have those settings valid
for the entire song. For example, you may want to set an instrument at
the top of a song:
<P>
<TABLE ALIGN="CENTER" CELLSPACING=0 CELLPADDING=5 BGCOLOR="OldLace" BORDER=3>
<TR> <TD>
<BLOCKQUOTE><B>Solo Voice TenorSax </B></BLOCKQUOTE>
</TD></TR></TABLE>
<P>
On the other hand, M<SMALL>ELODY</SMALL> tracks save and restore grooves just
like all the other available tracks. If you have the following sequence
in a song file:
<P>
<TABLE ALIGN="CENTER" CELLSPACING=0 CELLPADDING=5 BGCOLOR="OldLace" BORDER=3>
<TR> <TD>
<BLOCKQUOTE><B>Melody Voice TenorSax
<BR>
Groove Blues
<BR> ... musical data </B></BLOCKQUOTE>
</TD></TR></TABLE>
<P>
no one will be surprised to find that the M<SMALL>ELODY</SMALL> track
playing with the default voice (Piano).
<P>
As a general rule, M<SMALL>ELODY</SMALL> tracks have been designed as a
``voice'' to accompany a predefined form defined in a
G<SMALL>ROOVE</SMALL>--it is a good idea to define M<SMALL>ELODY</SMALL> parameters
as part of a G<SMALL>ROOVE</SMALL>. S<SMALL>OLO</SMALL> tracks are thought to be
specific to a certain song file, with their parameters defined in the
song file.
<P>
Apart from the exceptions noted above, S<SMALL>OLO</SMALL> and M<SMALL>ELODY</SMALL>
tracks are identical.
<P>
Unlike the other available tracks, you do not define a sequence or
pattern for a S<SMALL>OLO</SMALL> or M<SMALL>ELODY</SMALL> track. Instead, you specify
a series of notes as a R<SMALL>IFF</SMALL> pattern. For example, consider the
first two bars of ``Bill Bailey'' (the details of melody notation will
be covered later in this chapter):
<P>
<TABLE ALIGN="CENTER" CELLSPACING=0 CELLPADDING=5 BGCOLOR="OldLace" BORDER=3>
<TR> <TD>
<BLOCKQUOTE><B>Solo Riff 4c;2d;4f;
<BR>
F
<BR>
Solo Riff 4.a;8g#;4a;4c+;
<BR>
F </B></BLOCKQUOTE>
</TD></TR></TABLE>
<P>
In this example the melody has been added to the song file.
<P>
Specifying a R<SMALL>IFF</SMALL> for each bar of your song can get tedious, so
there is a shortcut ...any data surrounded by curly brackets ``{
}'' is interpreted as a R<SMALL>IFF</SMALL> for a S<SMALL>OLO</SMALL> or
M<SMALL>ELODY</SMALL> track. This means that the above example could be
rewritten as:
<P>
<TABLE ALIGN="CENTER" CELLSPACING=0 CELLPADDING=5 BGCOLOR="OldLace" BORDER=3>
<TR> <TD>
<BLOCKQUOTE><B>F {4c;2d;4f;}
<BR>
F {4.a;8g#;4a;4c+;} </B></BLOCKQUOTE>
</TD></TR></TABLE>
<P>
By default the note data is inserted into the S<SMALL>OLO</SMALL> track. If
more than one set of note data is present, it will be inserted into
the next track set by the A<SMALL>UTO</SMALL>S<SMALL>OLO</SMALL>T<SMALL>RACKS</SMALL> command
(<A HREF="#autosolotracks">here</A>).
<P>
<H1><A NAME="SECTION001010000000000000000">
Note Data Format</A>
</H1>
<P>
The notes in a S<SMALL>OLO</SMALL> or M<SMALL>ELODY</SMALL> track are specified as a
series of ``chords''. Each chord can be a single note, or several
notes (all with the same duration). Each chord in the bar is delimited
with a single semicolon.<A NAME="tex2html42"
HREF="#foot4276"><SUP>10.1</SUP></A>
<P>
Each chord can have several parts. All missing parts will default to
the value in the previous chord. The various parts of a chord must be
specified in the order given in the following table.
<P>
<DL>
<DT><STRONG>Duration</STRONG></DT>
<DD>The duration of the note. This is specified in the
same manner as chord patterns; see
<A HREF="node4.html#notelength">here</A> for details on how to
specify a note duration.
<P>
</DD>
<DT><STRONG>Pitch</STRONG></DT>
<DD>The note in standard musical notation. The lowercase
letters ``a'' to ``g'' are recognized as well as ``r'' to specify a
rest (please note the exception for <B>Drum Solo Tracks</B>,
<A HREF="#drumtype">here</A>).
<P>
</DD>
<DT><STRONG>Accidental</STRONG></DT>
<DD>A pitch modifier consisting of a single ``#''
(sharp), ``&amp;'' (flat) or ``n'' (natural). Please note that an
accidental will override the current K<SMALL>EYSIG</SMALL> for the current
bar (just like in real musical notation). Unlike standard musical
notation the accidental <B>will</B> apply to similarly named notes
in different octaves.
<P>
Please note that when you specify a chord in
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> you can use
either a ``b'' or a ``&amp;'' to represent a flat sign; however, when
specifying notes for a S<SMALL>OLO</SMALL> you can only use the ``&amp;''
character.
<P>
</DD>
<DT><STRONG>Octave</STRONG></DT>
<DD>Without an octave modifier, the current octave specified
by the O<SMALL>CTAVE</SMALL> directive is used for the pitch(es). Any number
of ``-'' or ``+'' signs can be appended to a note. Each ``-'' drops
the note by an octave and each ``+'' will increase it. The base
octave begins with ``c'' below the treble clef staff.
<P>
</DD>
<DT><STRONG>Volume</STRONG></DT>
<DD>A volume can be specified. The volume is a string like
``ff'' surrounded by ``<IMG
WIDTH="33" HEIGHT="33" ALIGN="MIDDLE" BORDER="0"
SRC="img2.png"
ALT="$&lt; &gt;$">'' brackets. For example, to set the
volume of a chord to ``very loud'', you could use the string
<IMG
WIDTH="19" HEIGHT="33" ALIGN="MIDDLE" BORDER="0"
SRC="img3.png"
ALT="$&lt;$">ffff<IMG
WIDTH="19" HEIGHT="33" ALIGN="MIDDLE" BORDER="0"
SRC="img4.png"
ALT="$&gt;$"> in the chord specification
(<A HREF="node15.html#sec-volume">here</A>) Of course, it is
probably easier to set accented beats with the A<SMALL>CCENT</SMALL>
directive (<A HREF="node15.html#accent">here</A>).
<P>
</DD>
<DT><STRONG>Tilde</STRONG></DT>
<DD>The tilde character, ~, can appear as the
first or last item in a note sequence. As the last character it
signals that the final note duration extend past the end of the bar;
as the first character it signals to use the duration extending past
the end of the previous bar as an initial offset. For details, see
below.
<P>
</DD>
<DT><STRONG>Null</STRONG></DT>
<DD>You can set a ``ignore'' or ``do nothing'' chord with the
simple notation ``<IMG
WIDTH="33" HEIGHT="33" ALIGN="MIDDLE" BORDER="0"
SRC="img2.png"
ALT="$&lt; &gt;$">''. If this is the only item in the chord
then that chord will be ignored This means that no tones will be
generated, and the offset into the bar will not be changed. The use
of the notation is mainly for tilde notation with notes held over
multiple bars.
<P>
</DD>
</DL>
<P>
To make your note data more readable, you can include any number of
space and tab characters (which are ignored by
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> ).
<P>
<BR>
<TABLE CELLSPACING=0 Align="Center" CELLPADDING=10 BGCOLOR="#efefef" BORDER=3>
<TR> <TD ALIGN="CENTER" BGCOLOR="White">
<B><FONT SIZE="+2">Solo Notation</FONT></B> <A NAME="eg:solo"></A>
</TR></TD> <TR><TD Align="Center">
<IMG WIDTH="90%" SRC="mupex/soloeg.png" ALT="Lost Image">
<P>
<BR>
<BR>
<P>
<TABLE ALIGN="CENTER" CELLSPACING=0 CELLPADDING=5 BGCOLOR="OldLace" BORDER=3>
<TR> <TD>
<BLOCKQUOTE><B>KeySig 1b
<BR>
F { 4ca-; 2da-; 4fd; }
<BR>
F { 4.af; 8g#f; 4af; c+f; }
<BR>
F { 4ca-; 2da-; 4fc; }
<BR>
F { 1af; } </B></BLOCKQUOTE>
</TD></TR></TABLE>
<P>
</TD></TR></TABLE>
<P>
<P>
<A HREF="#eg:solo">This example</A> shows a few bars of
``Bill Bailey'' with the
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> equivalent.
<P>
<H2><A NAME="SECTION001011000000000000000">
Long Notes</A>
</H2>
<P>
Notes tied across bar lines can be easily handled in
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> scores.
Consider the following:
<P>
<DIV ALIGN="CENTER">
<IMG WIDTH="90%" SRC="mupex/tilde.png" ALT="Lost Image">
</DIV>
<P>
It can be handled in three different ways in your score:
<P>
<UL>
<LI>
<TABLE ALIGN="CENTER" CELLSPACING=0 CELLPADDING=5 BGCOLOR="OldLace" BORDER=3>
<TR> <TD>
<BLOCKQUOTE><B>F {4c;d;e;4+2f;}
<BR>
F {2r;2c;} </B></BLOCKQUOTE>
</TD></TR></TABLE>
<P>
In this case you
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> will generate a warning message since the
last note of the first bar ends past the end of that bar. The rest
in the second bar is used to position the half note correctly.
<P>
</LI>
<LI>
<TABLE ALIGN="CENTER" CELLSPACING=0 CELLPADDING=5 BGCOLOR="OldLace" BORDER=3>
<TR> <TD>
<BLOCKQUOTE><B>F {4c;d;e;4+2f~};
<BR>
F {2r;2c;} </B></BLOCKQUOTE>
</TD></TR></TABLE>
<P>
This time a ~ character has been added to the end of
the first line. In this case it just signals that you ``know'' that
the note is too long, so no warning is printed.
<P>
</LI>
<LI>
<TABLE ALIGN="CENTER" CELLSPACING=0 CELLPADDING=5 BGCOLOR="OldLace" BORDER=3>
<TR> <TD>
<BLOCKQUOTE><B>F {4c;d;e;4+2f~;}
<BR>
F {~2c;} </B></BLOCKQUOTE>
</TD></TR></TABLE>
<P>
The cleanest method is shown here. The ~forces the
insertion of the extra 2 beats from the previous bar into the start
of the bar.
<P>
</LI>
</UL>
<P>
If you have a very long note, as in this example:
<P>
<DIV ALIGN="CENTER">
<IMG WIDTH="80%" SRC="mupex/tilde2.png" ALT="Lost Image">
</DIV>
<P>
you can have both leading and ending tildes in the same chord;
however, to force
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> to ignore the chord you need to include an
empty chord marker:
<P>
<TABLE ALIGN="CENTER" CELLSPACING=0 CELLPADDING=5 BGCOLOR="OldLace" BORDER=3>
<TR> <TD>
<BLOCKQUOTE><B>C {4c;d;e;4+2f~;}
<BR>
C {~&lt;&gt;~;}
<BR>
C {~2c;} </B></BLOCKQUOTE>
</TD></TR></TABLE>
<P>
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> has some built-in error detection which will signal problems if
you use a tilde at the end of a line which doesn't have a note held
past the end of the current bar or if you use a tilde to start a bar
which doesn't have one at the end of the previous bar.
<P>
<H2><A NAME="SECTION001012000000000000000">
Using Defaults</A>
</H2>
The use of default values can be a great time-saver, and lead to
confusion! For example, the following all generate four quarter note
``f''s:
<P>
<TABLE ALIGN="CENTER" CELLSPACING=0 CELLPADDING=5 BGCOLOR="OldLace" BORDER=3>
<TR> <TD>
<BLOCKQUOTE><B>Solo Riff 4f; 4f; 4f; 4f;
<BR>
Solo Riff 4f; f; f; f;
<BR>
Solo Riff 4f; 4; 4; 4;
<BR>
Solo Riff 4f; ; ; ; </B></BLOCKQUOTE>
</TD></TR></TABLE>
<P>
<H2><A NAME="SECTION001013000000000000000">
Other Commands</A>
</H2>
<P>
Most of the timing and volume commands available in other tracks also
apply to S<SMALL>OLO</SMALL> and M<SMALL>ELODY</SMALL> tracks. Important commands to
consider include A<SMALL>RTICULATE</SMALL>, V<SMALL>OICE</SMALL> and O<SMALL>CTAVE</SMALL>.
Also note that T<SMALL>RANSPOSE</SMALL> is applied to your note data.
<P>
<H1><A NAME="SECTION001020000000000000000"></A> <A NAME="keysig"></A>
<BR>
KeySig
</H1>
<P>
If you are including S<SMALL>OLO</SMALL> or M<SMALL>ELODY</SMALL> tracks you should
set the key signature for the song:
<P>
<TABLE ALIGN="CENTER" CELLSPACING=0 CELLPADDING=5 BGCOLOR="OldLace" BORDER=3>
<TR> <TD>
<BLOCKQUOTE><B>KeySig 2b </B></BLOCKQUOTE>
</TD></TR></TABLE>
<P>
The argument consists of a single digit ``0'' to ``7'' followed by a
``b'' or ``&amp;'' for flat keys or a ``#'' for sharp keys.
<P>
As an alternate, you can use a musical name like ``F'' or ``G#''.
<P>
The optional keywords ``Major'' or ``Minor'' (these can be abreviated
to ``Maj'' or ``Min'' ... and case doesn't count) can be added to this
command. This will accomplish two things:
<P>
<OL>
<LI>The MIDI track Key Signature event will be set to reflect minor
or major.
<P>
</LI>
<LI>If you are using a musical name the proper key will be used.
<P>
</LI>
</OL>
<P>
Setting the key signature effects the notes used in S<SMALL>OLO</SMALL> or
M<SMALL>ELODY</SMALL> tracks and sets a MIDI Key Signature event.<A NAME="tex2html44"
HREF="#foot4281"><SUP>10.2</SUP></A>
<P>
To summarize, the following are all valid K<SMALL>EY</SMALL>S<SMALL>IG</SMALL> directives:
<P>
<TABLE ALIGN="CENTER" CELLSPACING=0 CELLPADDING=5 BGCOLOR="OldLace" BORDER=3>
<TR> <TD>
<BLOCKQUOTE><B>KeySig 2# Major
<BR>
KeySig 1b
<BR>
KeySig 0b Min
<BR>
KeySig F Min
<BR>
KeySig A Major </B></BLOCKQUOTE>
</TD></TR></TABLE>
<P>
<H1><A NAME="SECTION001030000000000000000"></A> <A NAME="autosolotracks"></A>
<BR>
AutoSoloTracks
</H1>
<P>
When a ``{ }'' expression is found in a chord line, it is assumed to
be note data and is treated as a R<SMALL>IFF</SMALL>. You can have any number
of ``{ }'' expressions in a chord line. They will be assigned to the
tracks specified in the A<SMALL>UTO</SMALL>S<SMALL>OLO</SMALL>T<SMALL>RACKS</SMALL> directive.
<P>
By default, four tracks are assigned: <B>Solo</B>, <B>Solo-1</B>,
<B>Solo-2</B>, and <B>Solo-3</B>. This order can be changed:
<P>
<TABLE ALIGN="CENTER" CELLSPACING=0 CELLPADDING=5 BGCOLOR="OldLace" BORDER=3>
<TR> <TD>
<BLOCKQUOTE><B>AutoSoloTracks Melody-Oboe Melody-Trumpet Melody-Horn </B></BLOCKQUOTE>
</TD></TR></TABLE>
<P>
Any number of tracks can be specified in this command, but they must
all be S<SMALL>OLO</SMALL> or M<SMALL>ELODY</SMALL> tracks. You can reissue this
command at any time to change the assignments.
<P>
The list set in this command is also used to ``fill out'' melody lines
for tracks set as H<SMALL>ARMONY</SMALL>O<SMALL>NLY</SMALL>. Again, an example:
<P>
<TABLE ALIGN="CENTER" CELLSPACING=0 CELLPADDING=5 BGCOLOR="OldLace" BORDER=3>
<TR> <TD>
<BLOCKQUOTE><B>AutoSoloTracks Solo-1 Solo-2 Solo-3 Solo-4
<BR>
Solo-2 HarmonyOnly 3Above
<BR>
Solo-3 HarmonyOnly 8Above </B></BLOCKQUOTE>
</TD></TR></TABLE>
<P>
Of course, some voicing is also set ...and a chord line:
<P>
<TABLE ALIGN="CENTER" CELLSPACING=0 CELLPADDING=5 BGCOLOR="OldLace" BORDER=3>
<TR> <TD>
<BLOCKQUOTE><B>C {4a;b;c;d;} </B></BLOCKQUOTE>
</TD></TR></TABLE>
<P>
The note data <B>{4a;b;c;d;} </B> will be set to the <B>Solo-1</B>
track. But, if you've not set any other note data by way of
R<SMALL>IFF</SMALL> commands to <B>Solo-2</B> and <B>Solo-3</B>, the note data
will also be copied to these two tracks. Note that the track
<B>Solo-4</B> is unaffected since it is <B>not</B> a
H<SMALL>ARMONY</SMALL>O<SMALL>NLY</SMALL> track. This feature can be very useful in creating
harmony lines with the harmonies going to different instruments. The
supplied file <TT><B>egs/harmony.mma</B></TT> shows an example.
<P>
<H1><A NAME="SECTION001040000000000000000"></A> <A NAME="drumtype"></A>
<BR>
Drum Solo Tracks
</H1>
<P>
A solo or melody track can also be used to create drum solos. The
first thing to do is to set a track as a drum solo type:
<P>
<TABLE ALIGN="CENTER" CELLSPACING=0 CELLPADDING=5 BGCOLOR="OldLace" BORDER=3>
<TR> <TD>
<BLOCKQUOTE><B>Solo-MyDrums DrumType </B></BLOCKQUOTE>
</TD></TR></TABLE>
<P>
This will create a new S<SMALL>OLO</SMALL> track with the name
<B>Solo-MyDrums</B> and set its ``Drum'' flag. If the track already
exists and has data in it, the command will fail. The MIDI channel 10
is automatically assigned to all tracks created in this manner. You
cannot change a ``drum'' track back to a normal track.
<P>
These is no limit to the number of S<SMALL>OLO</SMALL> or M<SMALL>ELODY</SMALL> tracks
you can create ...and it probably makes sense to have several
different tracks if you are creating anything beyond a simple drum
pattern.
<P>
Tracks with the ``drum'' setting ignore T<SMALL>RANSPOSE</SMALL> and
H<SMALL>ARMONY</SMALL> settings.
<P>
The specification for pitches is different in these tracks. Instead of
standard notation pitches, you must specify a series of drum tone
names or MIDI values. If you want more than one tone to be sounded
simultaneously, create a list of tones separated by commas.
<P>
Some examples:
<P>
<TABLE ALIGN="CENTER" CELLSPACING=0 CELLPADDING=5 BGCOLOR="OldLace" BORDER=3>
<TR> <TD>
<BLOCKQUOTE><B>Solo-MyDrums Riff 4 SnareDrum1; ; r ; SnareDrum1; </B></BLOCKQUOTE>
</TD></TR></TABLE>
<P>
would create a snare hit on beats 1, 2 and 4 of a bar. Note how the
second hit uses the default tone set in the first beat.
<P>
<TABLE ALIGN="CENTER" CELLSPACING=0 CELLPADDING=5 BGCOLOR="OldLace" BORDER=3>
<TR> <TD>
<BLOCKQUOTE><B>Solo-MyDrums Riff 8,38;;;; </B></BLOCKQUOTE>
</TD></TR></TABLE>
<P>
creates 4 hits, starting on beat 1. Instead of ``names''
MIDI values have been used (``38'' and ``SnareDrum1'' are identical). Note
how ``,'' is used to separate the initial length from the first tone.
<P>
<TABLE ALIGN="CENTER" CELLSPACING=0 CELLPADDING=5 BGCOLOR="OldLace" BORDER=3>
<TR> <TD>
<BLOCKQUOTE><B>Solo-MyDrums Riff 4 SnareDrum1,53,81; r; 4 SideKick ; </B></BLOCKQUOTE>
</TD></TR></TABLE>
<P>
creates a ``chord'' of 3 tones on beat 1, a rest on beat 2, and a
``SideKick'' on beat 3.
<P>
Using MIDI values instead of names lets you use the full range of note
values from 0 to 127. Not all will produce valid tones on all synths.
<P>
To make the use of solo drum tracks a bit easier, you can use the the
T<SMALL>ONE</SMALL> command to set the default drum tone to use (by default
this is a SnareDrum. If you do not specify a tone to use in a solo the
default will be used.
<P>
You can access the default tone by using the special Tone ``*''. In
the following example:
<P>
<TABLE ALIGN="CENTER" CELLSPACING=0 CELLPADDING=5 BGCOLOR="OldLace" BORDER=3>
<TR> <TD>
<BLOCKQUOTE><B>Begin Solo-Block
<BR>&nbsp;&nbsp;DrumType
<BR>&nbsp;&nbsp;Tone LowWoodBlock
<BR>
End
<BR>&nbsp;&nbsp; ...
<BR>
Solo-Block Riff 4r; SnareDrum; * ; ;
<BR>&nbsp;&nbsp; ...
<BR>
Solo-Block Riff 4;;;; </B></BLOCKQUOTE>
</TD></TR></TABLE>
<P>
The first solo created will have a rest on beat 1, a SnareDrum on beat
2 and LowWoodBlock on beats 3 and 4. The second will have LowWoodBlock
on each beat.
<P>
<P>
<BR><HR><H4>Footnotes</H4>
<DL>
<DT><A NAME="foot4276">... semicolon.</A><A
HREF="node10.html#tex2html42"><SUP>10.1</SUP></A></DT>
<DD>I have borrowed heavily from the
notation program MUP for the syntax used here. For notation I highly
recommend MUP and use it for most of my notation tasks, including
the creation of the score snippets in this manual. MUP is available
from Arkkra Enterprises, <TT><A NAME="tex2html43"
HREF="http://www.Arkkra.com/">http://www.Arkkra.com/</A></TT>.
</DD>
<DT><A NAME="foot4281">... event.</A><A
HREF="node10.html#tex2html44"><SUP>10.2</SUP></A></DT>
<DD>For
the most part, MIDI Key Signature events are ignored by playback
programs. However, they <B>may</B> be used in other MIDI programs
which handle notation.
</DD>
</DL><HR>
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<ADDRESS>
Bob
2006-10-15
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