2006-11-10 08:07:56 +00:00
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<!--Converted with LaTeX2HTML 2002-2-1 (1.71)
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original version by: Nikos Drakos, CBLU, University of Leeds
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* revised and updated by: Marcus Hennecke, Ross Moore, Herb Swan
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* with significant contributions from:
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Jens Lippmann, Marek Rouchal, Martin Wilck and others -->
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<HTML>
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<HEAD>
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<TITLE>Tracks and Channels</TITLE>
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<!--Navigation Panel-->
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<A NAME="tex2html349"
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HREF="node4.html">
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<IMG WIDTH="37" HEIGHT="24" ALIGN="BOTTOM" BORDER="0" ALT="next" SRC="next.png"></A>
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HREF="mma.html">
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<IMG WIDTH="26" HEIGHT="24" ALIGN="BOTTOM" BORDER="0" ALT="up" SRC="up.png"></A>
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HREF="node2.html">
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<IMG WIDTH="63" HEIGHT="24" ALIGN="BOTTOM" BORDER="0" ALT="previous" SRC="prev.png"></A>
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<BR>
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<B> Next:</B> <A NAME="tex2html350"
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HREF="node4.html">Patterns</A>
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<B> Up:</B> <A NAME="tex2html348"
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HREF="mma.html">Reference Manual</A>
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<B> Previous:</B> <A NAME="tex2html342"
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HREF="node2.html">Running</A>
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<BR>
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<BR>
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<!--End of Navigation Panel-->
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<!--Table of Child-Links-->
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<A NAME="CHILD_LINKS"><STRONG>Subsections</STRONG></A>
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<UL>
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<LI><A NAME="tex2html351"
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HREF="node3.html#SECTION00310000000000000000">
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> Tracks</A>
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<LI><A NAME="tex2html352"
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HREF="node3.html#SECTION00320000000000000000">Track Channels</A>
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<LI><A NAME="tex2html353"
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HREF="node3.html#SECTION00330000000000000000">Track Descriptions</A>
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<UL>
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<LI><A NAME="tex2html354"
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HREF="node3.html#SECTION00331000000000000000">Drum</A>
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<LI><A NAME="tex2html355"
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HREF="node3.html#SECTION00332000000000000000">Chord</A>
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<LI><A NAME="tex2html356"
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HREF="node3.html#SECTION00333000000000000000">Arpeggio</A>
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<LI><A NAME="tex2html357"
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HREF="node3.html#SECTION00334000000000000000">Scale</A>
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<LI><A NAME="tex2html358"
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HREF="node3.html#SECTION00335000000000000000">Bass</A>
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<LI><A NAME="tex2html359"
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HREF="node3.html#SECTION00336000000000000000">Walk</A>
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<LI><A NAME="tex2html360"
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HREF="node3.html#SECTION00337000000000000000">Solo and Melody</A>
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<LI><A NAME="tex2html361"
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HREF="node3.html#SECTION00338000000000000000">Automatic Melodies</A>
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</UL>
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<BR>
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<LI><A NAME="tex2html362"
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HREF="node3.html#SECTION00340000000000000000">Silencing a Track</A>
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</UL>
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<!--End of Table of Child-Links-->
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<HR>
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<H1><A NAME="SECTION00300000000000000000"></A>
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<A NAME="sec-tracks"></A>
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<BR>
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Tracks and Channels
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</H1>
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<P>
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This chapter discusses
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> tracks and MIDI channels. If you are
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reading this manual for the first time you might find some parts
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confusing. If you do just skip ahead--you can run
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> without
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knowing many of these details.
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<P>
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<H1><A NAME="SECTION00310000000000000000">
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> Tracks</A>
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</H1>
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<P>
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To create your accompaniment tracks,
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> divides output into several
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internal tracks. There are a total of 8 different types of tracks, and
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an unlimited number of sub-tracks.
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<P>
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When
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> is initialized there are no tracks assigned; however, as
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your library and song files are processed various tracks will be
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created. Each track is created a unique name. The track types are discussed
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later in this chapter, but for now they are B<SMALL>ASS</SMALL>, C<SMALL>HORD</SMALL>,
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W<SMALL>ALK</SMALL>, D<SMALL>RUM</SMALL>, A<SMALL>RPEGGIO</SMALL>, S<SMALL>CALE</SMALL>, M<SMALL>ELODY</SMALL>,
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S<SMALL>OLO</SMALL> and A<SMALL>RIA</SMALL>.
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<P>
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All tracks are named by appending a ``-'' and ``name'' to the
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type-name. This makes it very easy to remember the names, without any
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complicated rules. So, drum tracks can have names ``Drum-1'',
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``Drum-Loud'' or even ``Drum-a-long-name''. The other tracks follow
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the same rule.
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<P>
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In addition to the hyphenated names described above, you can also name
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a track using the type-name. So, ``DRUM'' is a valid drum track name.
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In the supplied library files you'll see that the hyphenated form is
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usually used to describe patterns.
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<P>
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All track names are case insensitive. This means that the names
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``Chord-Sus'', ``CHORD-SUS'' and ``CHORD-sus'' all refer to the same
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track.
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<P>
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If you want to see the names defined in a song, just run
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> on the
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file with the ``-c'' command line option.
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<P>
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<H1><A NAME="SECTION00320000000000000000">
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Track Channels</A>
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</H1>
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<P>
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MIDI defines 16 distinct channels numbered 1 to 16.<A NAME="tex2html15"
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HREF="#foot960"><SUP>3.1</SUP></A> There is nothing which says that ``chording''
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should be sent to a specific channel, but the drum channel should
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always be channel 10.<A NAME="tex2html16"
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HREF="#foot961"><SUP>3.2</SUP></A>
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<P>
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For
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> to produce any output, a MIDI channel must be assigned to a
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track. During initialization all of the DRUM tracks are assigned to
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special MIDI channel 10. As musical data is created other MIDI
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channels are assigned to various tracks as needed.
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<P>
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Channels are assigned from 16 down to 1. This means that the lower
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numbered channels will most likely not be used, and will be available
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for other programs or as a ``keyboard track'' on your synth.
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<P>
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In most cases this will work out just fine. However, there are a
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number of methods you can use to set the channels ``manually.'' You
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might want to read the sections on C<SMALL>HANNEL</SMALL>
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(<A HREF="node19.html#set-channel">here</A>), C<SMALL>H</SMALL>S<SMALL>HARE</SMALL>
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(<A HREF="node19.html#set-chshare">here</A>), O<SMALL>N</SMALL>
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(<A HREF="node21.html#set-on">here</A>), and O<SMALL>FF</SMALL>
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(<A HREF="node21.html#set-off">here</A>).
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<P>
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Why bother with all these channels? It would be much easier to put all
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the information onto one channel, but this would not permit you to set
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special effects (like MIDIG<SMALL>LIS</SMALL> or MIDIP<SMALL>AN</SMALL>) for a specific
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track. It would also mean that all your tracks would need to use the
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same instrumentation.
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<P>
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<H1><A NAME="SECTION00330000000000000000">
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Track Descriptions</A>
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</H1>
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<P>
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You might want to come back to this section after reading more of the
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manual. But, somewhere, the different track types,
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and why they exist needs to be detailed.
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<P>
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Musical accompaniment comes in a combination of the following:
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<P>
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<UL>
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<LI>Chords played in a rhythmic or sustained manner,
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<P>
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</LI>
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<LI>Single notes from chords played in a sustained manner,
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<P>
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</LI>
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<LI>Bass notes. Usually played one at a time in a rhythmic manner,
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<P>
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</LI>
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<LI>Scales, or parts of scales. Usually as an embellishment,
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<P>
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</LI>
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<LI>Single notes from chords played one at time: arpeggios.
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<P>
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</LI>
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<LI>Drums and other percussive instruments played rhythmically.
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<P>
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</LI>
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</UL>
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<P>
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Of course, this leaves the melody ... but that is up to you, not
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> ...but, if you suspect that some power is missing here, read
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the brief description of S<SMALL>OLO</SMALL> and M<SMALL>ELODY</SMALL> tracks
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(<A HREF="#sec-solo">here</A>) and the complete ``Solo and
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Melody Tracks'' chapter (<A HREF="node10.html#chap-solo">here</A>).
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<P>
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> comes with several types of tracks, each designed to fill
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different accompaniment roles. However, it's quite possible to use a
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track for different roles than originally envisioned. For example, the
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bass track can be used to generate a single, sustained treble
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note--or, by enabling H<SMALL>ARMONY</SMALL>, multiple notes.
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<P>
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The following sections describe the tracks and give a few suggestions
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on their uses.
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<P>
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<H2><A NAME="SECTION00331000000000000000">
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Drum</A>
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</H2>
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<P>
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Drums are the first thing one usually thinks about when we hear the word
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``accompaniment''. All
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> drum tracks share MIDI channel 10, which
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is a GM MIDI convention. Drum tracks play single notes determined by
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the T<SMALL>ONE</SMALL> setting for a particular sequence.
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<P>
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<H2><A NAME="SECTION00332000000000000000">
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Chord</A>
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</H2>
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<P>
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If you are familiar with the sound of guitar strumming, then you're
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familiar with the sound of a chord.
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> chord tracks play a number
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of notes, all at the same time. The volume of the notes (and the
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number of notes) and the rhythm is determined by pattern definitions.
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The instrument used for the chord is determined by the V<SMALL>OICE</SMALL>
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setting for a sequence.
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<P>
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<H2><A NAME="SECTION00333000000000000000">
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Arpeggio</A>
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</H2>
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<P>
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In musical terms an <I>arpeggio</I><A NAME="tex2html17"
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HREF="#foot1004"><SUP>3.3</SUP></A> is the notes of a chord played
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2006-11-10 08:07:56 +00:00
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one at a time.
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> arpeggio tracks take the current chord and, in
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accordance to the current pattern, play single notes from the chord.
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The choice of which note to play is mostly decided by
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> . You can
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help it along with the D<SMALL>IRECTION</SMALL> modifier.
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<P>
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A<SMALL>RPEGGIO</SMALL> tracks are used quite often to highlight rhythms. Using
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the RS<SMALL>KIP</SMALL> directive produces broken arpeggios.
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<P>
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Using different note length values in patterns helps to make
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interesting accompaniments.
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<P>
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<H2><A NAME="SECTION00334000000000000000">
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Scale</A>
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</H2>
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<P>
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The playing of scales is a common musical embellishment which addes
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depth and character to a piece.
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<P>
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When
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> plays a scale, it first determines
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the current chord. There is an associated scale for each chord which
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attempts to match the flavor of that chord. The following table
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sums up the logic used to create the scales:
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<P>
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<DL>
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<DT><STRONG>Major</STRONG></DT>
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<DD>A major scale
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<P>
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</DD>
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<DT><STRONG>Minor</STRONG></DT>
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<DD>A melodic minor scale<A NAME="tex2html18"
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HREF="#foot1010"><SUP>3.4</SUP></A>
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2006-11-10 08:07:56 +00:00
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<P>
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</DD>
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<DT><STRONG>Diminished</STRONG></DT>
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<DD>A melodic minor scale with a minor fifth and minor
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dominant seventh.
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<P>
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</DD>
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</DL>
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<P>
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All scales start on the tonic of the current chord.
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<P>
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If the S<SMALL>CALE</SMALL>T<SMALL>YPE</SMALL> is set to C<SMALL>HROMATIC</SMALL>, then a chromatic
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scale is used. The default for S<SMALL>CALE</SMALL>T<SMALL>YPE</SMALL> is A<SMALL>UTO</SMALL>.
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<P>
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> plays successive notes of a scale. The timing and length of the
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notes is determined by the current pattern. Depending on the
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D<SMALL>IRECTION</SMALL> setting, the notes are played up, down or up and down
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the scale.
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<P>
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<H2><A NAME="SECTION00335000000000000000">
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Bass</A>
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</H2>
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<P>
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B<SMALL>ASS</SMALL> tracks are designed to play single notes for a chord for
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standard bass patterns. The note to be played, as well as its timing,
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is determined by the pattern definition. The pattern defines which
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note from the current chord to play. For example, a standard bass
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pattern might alternate the playing of the root and fifth notes of a
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scale or chord. You can also use B<SMALL>ASS</SMALL> tracks to play single,
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sustained treble notes.
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<P>
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<H2><A NAME="SECTION00336000000000000000">
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Walk</A>
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</H2>
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<P>
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The W<SMALL>ALK</SMALL> tracks are designed to imitate ``walking bass'' lines.
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Traditionally, they are played on bass instruments like the upright
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bass, bass guitar or tuba.
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<P>
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A W<SMALL>ALK</SMALL> track uses a pattern to define the note timing and
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volume. Which note is played is determined from the current chord and
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a simplistic algorithm. There is no user control over the note
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selection.
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<P>
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<H2><A NAME="SECTION00337000000000000000"></A>
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<A NAME="sec-solo"></A>
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<BR>
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Solo and Melody
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</H2>
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<P>
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S<SMALL>OLO</SMALL> and M<SMALL>ELODY</SMALL> tracks are used for arbitrary note data.
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Most likely, this is a melody or counter-melody ...but these
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tracks can also be used to create interesting endings, introductions or
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transitions.
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<P>
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|
2007-04-29 06:47:40 +00:00
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<H2><A NAME="SECTION00338000000000000000"></A>
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<A NAME="sec-aria"></A>
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<BR>
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Automatic Melodies
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</H2>
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<P>
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Real composers don't need to fear much from this feature ...but it
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can create some interesting effects. A<SMALL>RIA</SMALL> tracks use a
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predefined pattern to generate melodies over a chord progression. They
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can be used to <I>actually</I> compose a bit of music or simply to
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augment a section of an existing piece.
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<P>
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|
2006-11-10 08:07:56 +00:00
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|
<H1><A NAME="SECTION00340000000000000000">
|
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|
|
Silencing a Track</A>
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</H1>
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<P>
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There are a number of ways to silence a track:
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<P>
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<UL>
|
2007-04-29 06:47:40 +00:00
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<LI>Use the O<SMALL>FF</SMALL> (page <A HREF="node21.html#set-off"><IMG ALIGN="BOTTOM" BORDER="1" ALT="[*]" SRC="crossref.png"></A>) command to stop the
|
2006-11-10 08:07:56 +00:00
|
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|
generation of MIDI data,
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<P>
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</LI>
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|
<LI>Disable the sequence for the bar with an empty sequence (page
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|
<A HREF="node5.html#sequence-clear"><IMG ALIGN="BOTTOM" BORDER="1" ALT="[*]" SRC="crossref.png"></A>).
|
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<P>
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</LI>
|
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<LI>Delete the entire sequence with S<SMALL>EQ</SMALL>C<SMALL>LEAR</SMALL> (page
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|
<A HREF="node5.html#sec-seqclear"><IMG ALIGN="BOTTOM" BORDER="1" ALT="[*]" SRC="crossref.png"></A>).
|
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<P>
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</LI>
|
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|
<LI>Disable the MIDI channel with a ``Channel 0'' (page
|
2007-04-29 06:47:40 +00:00
|
|
|
<A HREF="node19.html#channel0"><IMG ALIGN="BOTTOM" BORDER="1" ALT="[*]" SRC="crossref.png"></A>).
|
2006-11-10 08:07:56 +00:00
|
|
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<P>
|
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|
</LI>
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|
</UL>
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<P>
|
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|
Please refer to the appropriate sections on this manual for further
|
|
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|
|
details.
|
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|
<P>
|
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|
<P>
|
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|
<BR><HR><H4>Footnotes</H4>
|
|
|
|
|
<DL>
|
2007-04-29 06:47:40 +00:00
|
|
|
<DT><A NAME="foot960">... 16.</A><A
|
2006-11-10 08:07:56 +00:00
|
|
|
HREF="node3.html#tex2html15"><SUP>3.1</SUP></A></DT>
|
|
|
|
|
<DD>The
|
|
|
|
|
values 1 to 16 are used in this document. Internally they are stored
|
|
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|
|
as values 0 to 15.
|
|
|
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|
</DD>
|
2007-04-29 06:47:40 +00:00
|
|
|
<DT><A NAME="foot961">... 10.</A><A
|
2006-11-10 08:07:56 +00:00
|
|
|
HREF="node3.html#tex2html16"><SUP>3.2</SUP></A></DT>
|
|
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|
|
<DD>This is not a MIDI rule, but a
|
|
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|
|
convention established in the GM (General MIDI) standard. If you
|
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|
want to find out more about this, there are lots of books on MIDI
|
|
|
|
|
available.
|
|
|
|
|
|
|
|
|
|
</DD>
|
2007-04-29 06:47:40 +00:00
|
|
|
<DT><A NAME="foot1004">...arpeggio</A><A
|
2006-11-10 08:07:56 +00:00
|
|
|
HREF="node3.html#tex2html17"><SUP>3.3</SUP></A></DT>
|
|
|
|
|
<DD>The term is derived from
|
|
|
|
|
the Italian ``to play like a harp''.
|
|
|
|
|
|
|
|
|
|
</DD>
|
2007-04-29 06:47:40 +00:00
|
|
|
<DT><A NAME="foot1010">... scale</A><A
|
2006-11-10 08:07:56 +00:00
|
|
|
HREF="node3.html#tex2html18"><SUP>3.4</SUP></A></DT>
|
|
|
|
|
<DD>If
|
|
|
|
|
you think that support for Melodic and Harmonic minor scales is
|
|
|
|
|
important, please contact us.
|
|
|
|
|
|
|
|
|
|
</DD>
|
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|
|
</DL><HR>
|
|
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|
|
<!--Navigation Panel-->
|
2007-04-29 06:47:40 +00:00
|
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|
<A NAME="tex2html349"
|
2006-11-10 08:07:56 +00:00
|
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HREF="node4.html">
|
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|
<IMG WIDTH="37" HEIGHT="24" ALIGN="BOTTOM" BORDER="0" ALT="next" SRC="next.png"></A>
|
2007-04-29 06:47:40 +00:00
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<A NAME="tex2html347"
|
2006-11-10 08:07:56 +00:00
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HREF="mma.html">
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<IMG WIDTH="26" HEIGHT="24" ALIGN="BOTTOM" BORDER="0" ALT="up" SRC="up.png"></A>
|
2007-04-29 06:47:40 +00:00
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<A NAME="tex2html341"
|
2006-11-10 08:07:56 +00:00
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HREF="node2.html">
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<IMG WIDTH="63" HEIGHT="24" ALIGN="BOTTOM" BORDER="0" ALT="previous" SRC="prev.png"></A>
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<BR>
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2007-04-29 06:47:40 +00:00
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<B> Next:</B> <A NAME="tex2html350"
|
2006-11-10 08:07:56 +00:00
|
|
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HREF="node4.html">Patterns</A>
|
2007-04-29 06:47:40 +00:00
|
|
|
<B> Up:</B> <A NAME="tex2html348"
|
2006-11-10 08:07:56 +00:00
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HREF="mma.html">Reference Manual</A>
|
2007-04-29 06:47:40 +00:00
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<B> Previous:</B> <A NAME="tex2html342"
|
2006-11-10 08:07:56 +00:00
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HREF="node2.html">Running</A>
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<!--End of Navigation Panel-->
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<ADDRESS>
|
2007-04-29 06:47:40 +00:00
|
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bob
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2007-03-07
|
2006-11-10 08:07:56 +00:00
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</ADDRESS>
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