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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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2007-04-29 06:47:40 +00:00
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<TITLE>Chord Voicing</TITLE>
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2006-11-10 08:07:56 +00:00
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<A NAME="tex2html491"
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HREF="mma.html">
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HREF="node11.html">
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<BR>
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<B> Next:</B> <A NAME="tex2html492"
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HREF="node13.html">Harmony</A>
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<B> Up:</B> <A NAME="tex2html490"
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HREF="mma.html">Reference Manual</A>
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<B> Previous:</B> <A NAME="tex2html484"
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HREF="node11.html">Automatic Melodies: Aria Tracks</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="tex2html493"
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HREF="node12.html#SECTION001210000000000000000">Voicing</A>
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<UL>
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<LI><A NAME="tex2html494"
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HREF="node12.html#SECTION001211000000000000000">Voicing Mode</A>
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<LI><A NAME="tex2html495"
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HREF="node12.html#SECTION001212000000000000000">Voicing Range</A>
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<LI><A NAME="tex2html496"
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HREF="node12.html#SECTION001213000000000000000">Voicing Center</A>
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<LI><A NAME="tex2html497"
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HREF="node12.html#SECTION001214000000000000000">Voicing Move</A>
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<LI><A NAME="tex2html498"
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HREF="node12.html#SECTION001215000000000000000">Voicing Dir</A>
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<LI><A NAME="tex2html499"
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HREF="node12.html#SECTION001216000000000000000">Voicing Rmove</A>
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</UL>
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<BR>
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<LI><A NAME="tex2html500"
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HREF="node12.html#SECTION001220000000000000000">ChordAdjust</A>
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<LI><A NAME="tex2html501"
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HREF="node12.html#SECTION001230000000000000000">Compress</A>
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<LI><A NAME="tex2html502"
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HREF="node12.html#SECTION001240000000000000000">DupRoot</A>
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<LI><A NAME="tex2html503"
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HREF="node12.html#SECTION001250000000000000000">Invert</A>
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<LI><A NAME="tex2html504"
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HREF="node12.html#SECTION001260000000000000000">Limit</A>
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<LI><A NAME="tex2html505"
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HREF="node12.html#SECTION001270000000000000000">NoteSpan</A>
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<LI><A NAME="tex2html506"
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HREF="node12.html#SECTION001280000000000000000">Range</A>
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<LI><A NAME="tex2html507"
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HREF="node12.html#SECTION001290000000000000000">DefChord</A>
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<LI><A NAME="tex2html508"
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HREF="node12.html#SECTION0012100000000000000000">PrintChord</A>
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<LI><A NAME="tex2html509"
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HREF="node12.html#SECTION0012110000000000000000">Notes</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="SECTION001200000000000000000"></A>
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<A NAME="chord-voicing"></A>
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<BR>
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Chord Voicing
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</H1>
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<P>
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In music, a chord is simply defined as two more notes played
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simultaneously. Now, this doesn't mean that you can play just any two
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or three notes and get a chord which sounds nice--but whatever you do
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get will be a chord of some type. And, to further confuse the unwary,
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different arrangements of the same notes sound better (or worse) in
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different musical situations.
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<P>
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As a simple example, consider a C major chord. Built on the first,
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third and fifth notes of a C major scale it can be manipulated into a
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variety of sounds:
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<P>
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<DIV ALIGN="CENTER">
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<IMG WIDTH="80%" SRC="mupex/cmajor.png" ALT="Lost Image">
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</DIV>
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<P>
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These are all C major chords ...but they all have a different
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sound or color. The different forms a chord can take are called
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``voicings''. Again, this manual is not intended to be a primer on
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musical theory--that's a subject for which lots of lessons with your
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favorite music teacher is recommended. You'll need a bit of
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basic music theory if you want to understand how and why
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> creates its tracks.
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<P>
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The different options in this chapter effect not only the way chords
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are constructed, but also the way bass lines and other tracks are
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formed.
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<P>
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There are generally two ways in
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> to take care of voicings.
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<P>
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<OL>
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<LI>use
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> 's extensive V<SMALL>OICING</SMALL> options, most likely with
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the <I>''Optimal''</I> voicing algorithm,
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<P>
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</LI>
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<LI>do everything by yourself with the commands I<SMALL>NVERT</SMALL> and
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C<SMALL>OMPRESS</SMALL>.
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<P>
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</LI>
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</OL>
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<P>
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The commands L<SMALL>IMIT</SMALL> and D<SMALL>UP</SMALL>R<SMALL>OOT</SMALL> may be used independently
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for both variants.
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<P>
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<H1><A NAME="SECTION001210000000000000000">
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Voicing</A>
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</H1>
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<P>
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The V<SMALL>OICING</SMALL> command is used to set the voicing mode and several
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other options relating to the selected mode. The command needs to have
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a C<SMALL>HORD</SMALL> track specified and a series of Option=Value pairs. For
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example:
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<P>
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>Chord-Piano Voicing Mode=Optimal Rmove=10 Range=9 </B>
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</td></tr>
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</Table>
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<P>
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In the following sections all the options available will be covered.
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<P>
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<H2><A NAME="SECTION001211000000000000000">
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Voicing Mode</A>
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</H2>
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<P>
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The easiest way to deal with chord voicings is via the
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V<SMALL>OICING </SMALL>M<SMALL>ODE=</SMALL>XX option.
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<P>
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When choosing the inversion of a chord to play an accompanist will
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take into consideration the style of the piece and the chord
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sequences. In a general sense, this is referred to as ``voicing''.
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<P>
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A large number of the library files have been written to take
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advantage of the following voicing commands. However, not all styles
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of music take well to the concept. And, don't forget about the other
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commands since they are useful in manipulating bass lines, as well as
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other chord tracks (e.g., sustained strings).
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<P>
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> has a variety of sophisticated, intelligent
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algorithms<A NAME="tex2html45"
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HREF="#foot4818"><SUP>12.1</SUP></A> to deal with voicing.
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<P>
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As a general rule you should not use the I<SMALL>NVERT</SMALL> and
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C<SMALL>OMPRESS</SMALL> commands in conjunction with the V<SMALL>OICING</SMALL>
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command. If you do, you may create beautiful sounds. But, the results
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are more likely to be less-than-pleasing. Use of voicing and other
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combinations will display various warning messages.
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<P>
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The main command to enable voicings is:
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<P>
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>Chord Voicing Mode=Type </B>
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</td></tr>
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</Table>
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<P>
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As mentioned above, this command can only be applied to C<SMALL>HORD</SMALL>
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tracks. Also note that this effects all bars in the sequence ...
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you cannot have different voicings for different bars in the sequence
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(attempting to do this would make no sense).
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<P>
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The following MODE types are available:
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<P>
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<DL>
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<DT><STRONG>Optimal</STRONG></DT>
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<DD>A basic algorithm which automatically chooses the best
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sounding voicing depending on the voicing played before. Always try
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this option before anything else. It might work just fine without
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further work.
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<P>
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The idea behind this algorithm is to keep voicings in a sequence
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close together. A pianist leaves his or her fingers where they are,
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if they still fit the next chord. Then, the notes closest to the
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fingers are selected for the next chord. This way characteristic
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notes are emphasized.
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<P>
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</DD>
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<DT><STRONG>Root</STRONG></DT>
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<DD>This Option may for example be used to turn off
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V<SMALL>OICING</SMALL> within a song. V<SMALL>OICING </SMALL>M<SMALL>ODE=</SMALL>R<SMALL>OOT</SMALL> means nothing
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else than doing nothing, leaving all chords in root position.
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<P>
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</DD>
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<DT><STRONG>None</STRONG></DT>
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<DD>This is the same as the R<SMALL>OOT</SMALL> option.
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<P>
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</DD>
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<DT><STRONG>Invert</STRONG></DT>
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<DD>Rather than basing the inversion selection on an
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analysis of past chords, this method quite stupidly tries to keep
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chords around the base point of ``C'' by inverting ``G'' and ``A''
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chords upward and ``D'', ``E'' and ``F'' downward. The chords are
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also compressed. Certainly not an ideal algorithm, but it can be
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used to add variety in a piece.
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<P>
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</DD>
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2007-04-29 06:47:40 +00:00
|
|
|
<DT><STRONG>Compressed</STRONG></DT>
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|
<DD>Does the same as the stand-alone C<SMALL>OMPRESS</SMALL>
|
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|
|
|
command. Like R<SMALL>OOT</SMALL>, it is only added to be used in some parts
|
|
|
|
|
of a song where V<SMALL>OICING </SMALL>M<SMALL>ODE=</SMALL>O<SMALL>PTIMAL</SMALL> is used.
|
2006-11-10 08:07:56 +00:00
|
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|
<P>
|
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|
|
</DD>
|
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|
</DL>
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|
<P>
|
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|
2007-04-29 06:47:40 +00:00
|
|
|
<H2><A NAME="SECTION001212000000000000000">
|
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|
|
Voicing Range</A>
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|
</H2>
|
2006-11-10 08:07:56 +00:00
|
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|
|
<P>
|
2007-04-29 06:47:40 +00:00
|
|
|
To get wider or closer voicings, you may define a range for the
|
|
|
|
|
voicings. This can be adjusted with the R<SMALL>ANGE</SMALL> option:
|
2006-11-10 08:07:56 +00:00
|
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|
|
<P>
|
2007-04-29 06:47:40 +00:00
|
|
|
|
|
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|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
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|
|
<tr><td>
|
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|
|
<B>Chord-Guitar Voicing Mode=Optimal Range=12 </B>
|
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|
</td></tr>
|
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|
</Table>
|
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|
|
<P>
|
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|
|
|
In most cases the default value of 12 should work just fine. But, you
|
|
|
|
|
may want to fine tune ...it's all up to you. This command only
|
|
|
|
|
effects chords created with M<SMALL>ODE=</SMALL>O<SMALL>PTIMAL</SMALL>.
|
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|
<P>
|
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|
<H2><A NAME="SECTION001213000000000000000">
|
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|
|
Voicing Center</A>
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|
</H2>
|
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|
<P>
|
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|
|
Just minimizing the Euclidean distance between chords doesn't do the
|
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|
|
|
trick as there could be runaway progressions that let the voicings
|
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|
|
|
drift up or down infinitely.
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|
|
<P>
|
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|
|
When a chord is ``voiced'' or moved to a new position, a ``center
|
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|
|
|
point'' must be used as a base. By default, the fourth degree of the
|
|
|
|
|
scale corresponding to the chord is a reasonable choice. However, you
|
|
|
|
|
can change this with:
|
|
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|
|
|
|
|
|
|
<P>
|
|
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|
|
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|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Chord-1 Voicing Center=<value> </B>
|
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|
|
</td></tr>
|
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|
|
|
</Table>
|
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|
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|
|
<P>
|
|
|
|
|
The <I>value</I> in this command can be any number in the range 0 to
|
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|
|
|
12. Try different values. The color of your whole song might change.
|
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|
|
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|
|
<P>
|
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|
|
|
Note that the value is the note in the scale, not a chord-note position.
|
|
|
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|
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|
|
<P>
|
|
|
|
|
This command only effects chords created with M<SMALL>ODE=</SMALL>O<SMALL>PTIMAL</SMALL>.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H2><A NAME="SECTION001214000000000000000">
|
|
|
|
|
Voicing Move</A>
|
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|
|
</H2>
|
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|
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|
|
|
|
|
<P>
|
|
|
|
|
To intensify a chord progression you may want to have ascending or
|
|
|
|
|
descending movement of voicings. This option, in conjunction with the
|
|
|
|
|
D<SMALL>IR</SMALL> optional (see below) sets the number of bars over which a
|
|
|
|
|
movement is done.
|
|
|
|
|
|
|
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|
|
<P>
|
|
|
|
|
For the M<SMALL>OVE</SMALL> option to have any effect you must also set the
|
|
|
|
|
direction to either -1 or 1. Be careful that you don't force the chord
|
|
|
|
|
too high or low on the scale. Use of this command in a R<SMALL>EPEAT</SMALL>
|
|
|
|
|
section can cause unexpected results. For this reason you should
|
|
|
|
|
include a S<SMALL>EQ</SMALL> command at the beginning of repeated sections of
|
|
|
|
|
your songs.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
In most cases the use of this command is limited to a section of a
|
|
|
|
|
song, its use is not recommended in groove files. You might want to do
|
|
|
|
|
something like this in a song:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>..select groove with voicing
|
|
|
|
|
<BR>
|
|
|
|
|
chords..
|
|
|
|
|
<BR>
|
|
|
|
|
Chord-Piano Voicing Move=5 Dir=1
|
|
|
|
|
<BR>
|
|
|
|
|
more chords..
|
|
|
|
|
<BR>
|
|
|
|
|
Chord-Piano Voicing Move=5 Dir=-1
|
|
|
|
|
<BR>
|
|
|
|
|
more chords.. </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H2><A NAME="SECTION001215000000000000000">
|
|
|
|
|
Voicing Dir</A>
|
|
|
|
|
</H2>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
This option is used in conjunction with the M<SMALL>OVE</SMALL> option to set
|
|
|
|
|
the direction (-1 or 1) of the movement.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H2><A NAME="SECTION001216000000000000000">
|
|
|
|
|
Voicing Rmove</A>
|
|
|
|
|
</H2>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
As an alternate to movement in a specified direction, random movement
|
|
|
|
|
can add some color and variety to your songs. The command option is
|
|
|
|
|
quite useful (and safe to use) in groove files. The argument for this
|
|
|
|
|
option is a percentage value specifying the frequency to apply a move
|
|
|
|
|
in a random direction.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
For example:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Chord-3 Voicing Mode=Optimal Rmove=20 </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
would cause a movement (randomly up or down) in 20% of the bars. As
|
|
|
|
|
noted earlier, using explicit movement instructions can move the chord
|
|
|
|
|
into an undesirable range or even ``off the keyboard''; however, the
|
|
|
|
|
algorithm used in RMOVE has a sanity check to ensure that the chord
|
|
|
|
|
center position remains, approximately, in a two octave range.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION001220000000000000000"></A> <A NAME="sec-chordadjust"></A>
|
|
|
|
|
<BR>
|
|
|
|
|
ChordAdjust
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The actual notes used in a chord are derived from a table which
|
|
|
|
|
contains the notes for each variation of a ``C'' chord--this data is
|
|
|
|
|
converted to the desired chord by adding or subtracting a constant
|
|
|
|
|
value according to the following table:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
<DIV ALIGN="CENTER">
|
|
|
|
|
|
|
|
|
|
<Table CellSpacing=0 Width="80%" Align="Center" CellPadding=10 BGColor="#dddddd" Border=3>
|
|
|
|
|
<tr> <td>
|
|
|
|
|
|
|
|
|
|
</DIV><TABLE WIDTH="30%">
|
|
|
|
|
<TR><TD>
|
|
|
|
|
<TABLE CELLPADDING=3>
|
|
|
|
|
<TR><TD ALIGN="LEFT">G<IMG
|
|
|
|
|
WIDTH="12" HEIGHT="21" ALIGN="BOTTOM" BORDER="0"
|
|
|
|
|
SRC="img1.png"
|
|
|
|
|
ALT="$\flat$"></TD>
|
|
|
|
|
<TD ALIGN="RIGHT">-6</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">G</TD>
|
|
|
|
|
<TD ALIGN="RIGHT">-5</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">G<IMG
|
|
|
|
|
WIDTH="12" HEIGHT="35" ALIGN="MIDDLE" BORDER="0"
|
|
|
|
|
SRC="img5.png"
|
|
|
|
|
ALT="$\sharp$"></TD>
|
|
|
|
|
<TD ALIGN="RIGHT">-4</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">A<IMG
|
|
|
|
|
WIDTH="12" HEIGHT="21" ALIGN="BOTTOM" BORDER="0"
|
|
|
|
|
SRC="img1.png"
|
|
|
|
|
ALT="$\flat$"></TD>
|
|
|
|
|
<TD ALIGN="RIGHT">-4</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">A</TD>
|
|
|
|
|
<TD ALIGN="RIGHT">-3</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">A<IMG
|
|
|
|
|
WIDTH="12" HEIGHT="35" ALIGN="MIDDLE" BORDER="0"
|
|
|
|
|
SRC="img5.png"
|
|
|
|
|
ALT="$\sharp$"></TD>
|
|
|
|
|
<TD ALIGN="RIGHT">-2</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">B<IMG
|
|
|
|
|
WIDTH="12" HEIGHT="21" ALIGN="BOTTOM" BORDER="0"
|
|
|
|
|
SRC="img1.png"
|
|
|
|
|
ALT="$\flat$"></TD>
|
|
|
|
|
<TD ALIGN="RIGHT">-2</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
</TABLE> </TD></TR>
|
|
|
|
|
</TABLE>
|
|
|
|
|
<DIV ALIGN="CENTER"> </DIV><TABLE WIDTH="30%">
|
|
|
|
|
<TR><TD> <TABLE CELLPADDING=3>
|
|
|
|
|
<TR><TD ALIGN="LEFT">B</TD>
|
|
|
|
|
<TD ALIGN="RIGHT">-1</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">C<IMG
|
|
|
|
|
WIDTH="12" HEIGHT="21" ALIGN="BOTTOM" BORDER="0"
|
|
|
|
|
SRC="img1.png"
|
|
|
|
|
ALT="$\flat$"></TD>
|
|
|
|
|
<TD ALIGN="RIGHT">-1</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">B<IMG
|
|
|
|
|
WIDTH="12" HEIGHT="35" ALIGN="MIDDLE" BORDER="0"
|
|
|
|
|
SRC="img5.png"
|
|
|
|
|
ALT="$\sharp$"></TD>
|
|
|
|
|
<TD ALIGN="RIGHT">0</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">C</TD>
|
|
|
|
|
<TD ALIGN="RIGHT">0</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">C<IMG
|
|
|
|
|
WIDTH="12" HEIGHT="35" ALIGN="MIDDLE" BORDER="0"
|
|
|
|
|
SRC="img5.png"
|
|
|
|
|
ALT="$\sharp$"></TD>
|
|
|
|
|
<TD ALIGN="RIGHT">1</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">D<IMG
|
|
|
|
|
WIDTH="12" HEIGHT="21" ALIGN="BOTTOM" BORDER="0"
|
|
|
|
|
SRC="img1.png"
|
|
|
|
|
ALT="$\flat$"></TD>
|
|
|
|
|
<TD ALIGN="RIGHT">1</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">D</TD>
|
|
|
|
|
<TD ALIGN="RIGHT">2</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
</TABLE> </TD></TR>
|
|
|
|
|
</TABLE>
|
|
|
|
|
<DIV ALIGN="CENTER"> </DIV><TABLE WIDTH="30%">
|
|
|
|
|
<TR><TD> <TABLE CELLPADDING=3>
|
|
|
|
|
<TR><TD ALIGN="LEFT">D<IMG
|
|
|
|
|
WIDTH="12" HEIGHT="35" ALIGN="MIDDLE" BORDER="0"
|
|
|
|
|
SRC="img5.png"
|
|
|
|
|
ALT="$\sharp$"></TD>
|
|
|
|
|
<TD ALIGN="RIGHT">3</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">E<IMG
|
|
|
|
|
WIDTH="12" HEIGHT="21" ALIGN="BOTTOM" BORDER="0"
|
|
|
|
|
SRC="img1.png"
|
|
|
|
|
ALT="$\flat$"></TD>
|
|
|
|
|
<TD ALIGN="RIGHT">3</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">E</TD>
|
|
|
|
|
<TD ALIGN="RIGHT">4</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">F<IMG
|
|
|
|
|
WIDTH="12" HEIGHT="21" ALIGN="BOTTOM" BORDER="0"
|
|
|
|
|
SRC="img1.png"
|
|
|
|
|
ALT="$\flat$"></TD>
|
|
|
|
|
<TD ALIGN="RIGHT">4</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">E<IMG
|
|
|
|
|
WIDTH="12" HEIGHT="35" ALIGN="MIDDLE" BORDER="0"
|
|
|
|
|
SRC="img5.png"
|
|
|
|
|
ALT="$\sharp$"></TD>
|
|
|
|
|
<TD ALIGN="RIGHT">5</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">F</TD>
|
|
|
|
|
<TD ALIGN="RIGHT">5</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">F<IMG
|
|
|
|
|
WIDTH="12" HEIGHT="35" ALIGN="MIDDLE" BORDER="0"
|
|
|
|
|
SRC="img5.png"
|
|
|
|
|
ALT="$\sharp$"></TD>
|
|
|
|
|
<TD ALIGN="RIGHT">6</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
</TABLE></TD></TR>
|
|
|
|
|
</TABLE>
|
|
|
|
|
<DIV ALIGN="CENTER">
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
</DIV>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
This means that when
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> encounters an ``Am'' chord it adjusts the
|
|
|
|
|
notes in the chord table down by 3 MIDI values; an ``F'' chord is
|
|
|
|
|
adjusted 5 MIDI values up. This also means that ``A'' chords will
|
|
|
|
|
sound lower than ``F'' chords.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
In most cases this works just fine; but, there are times when the
|
|
|
|
|
``F'' chord might sound better <I>lower</I> than the ``A''. You can
|
|
|
|
|
force a single chord by prefacing it with a single ``-'' or ``+''
|
|
|
|
|
<A HREF="node27.html#octaveadjust">, details here</A>. But, if the
|
|
|
|
|
entire song needs adjustment you can use C<SMALL>HORD</SMALL>A<SMALL>DJUST</SMALL>
|
|
|
|
|
command to raise or lower selected chord pitches:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
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|
<tr><td>
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<B>ChordAdjust E=-1 F=-1 Bb=1 </B>
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</td></tr>
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</Table>
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<P>
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|
Each item in the command consists of a pitch (``B<IMG
|
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|
WIDTH="12" HEIGHT="21" ALIGN="BOTTOM" BORDER="0"
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|
|
SRC="img1.png"
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|
ALT="$\flat$">'', ``C'',
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etc.) an ``='' and an octave specifier (-1, 0 or 1). The pitch values
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|
are case sensitive and must be in upper case; there must <I>not</I> be
|
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a space on either side of the ``=''.
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<P>
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|
To a large extent the need for octave adjustments depends on the chord
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|
range of a song. For example, the supplied song ``A Day In The Life Of
|
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|
A Fool'' needs all ``E'' and ``F'' chords to be adjusted down an
|
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|
octave.
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<P>
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|
The value ``0'' will reset the adjustment to the original value;
|
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|
|
setting a value a second time has no effect.
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<P>
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<H1><A NAME="SECTION001230000000000000000"></A> <A NAME="compress"></A>
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<BR>
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Compress
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</H1>
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<P>
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When
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|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> grabs the notes for a chord, the notes are spread out from
|
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|
|
the root position. This means that if you specify a ``C13'' you will
|
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|
have an ``A'' nearly 2 octaves above the root note as part of the
|
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|
chord. Depending on your instrumentation, pattern, and the chord
|
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|
|
structure of your piece, notes outside of the ``normal'' single octave
|
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|
|
range for a chord <I>may</I> sound strange.
|
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|
<P>
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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|
<B>Chord Compress 1 </B>
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</td></tr>
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</Table>
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<P>
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|
Forces
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|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> to put all chord notes in a single octave range.
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<P>
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|
This command is only effective in C<SMALL>HORD</SMALL> and A<SMALL>RPEGGIO</SMALL>
|
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|
tracks. A warning message is printed if it is used in other contexts.
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<P>
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|
Notes: C<SMALL>OMPRESS</SMALL> takes any value between 1 and 5 as arguments
|
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|
|
(however, some values will have no effect as detailed above). You can
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|
specify a different C<SMALL>OMPRESS</SMALL> for each bar in a sequence.
|
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|
|
Repeated values can be represented with a ``/'':
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|
<P>
|
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|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
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|
|
<tr><td>
|
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|
|
<B>Chord Compress 1 / 0 / </B>
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|
</td></tr>
|
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|
|
</Table>
|
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|
|
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|
<P>
|
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|
|
To restore to its default (off) setting, use a ``0'' as the argument.
|
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|
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|
|
<P>
|
|
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|
|
For a similar command, with different results, see the L<SMALL>IMIT</SMALL>
|
|
|
|
|
command (<A HREF="#limit">here</A>).
|
|
|
|
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|
|
|
|
<P>
|
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|
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|
|
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|
|
<H1><A NAME="SECTION001240000000000000000"></A><A NAME="duproot"></A>
|
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|
|
<BR>
|
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|
|
DupRoot
|
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|
|
</H1>
|
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|
|
<P>
|
|
|
|
|
To add a bit of fullness to chords, it is quite common of keyboard
|
|
|
|
|
players to duplicate the root tone of a chord into a lower (or higher)
|
|
|
|
|
octave. This is accomplished in
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> with the command:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
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|
|
|
<B>DupRoot -1 1 -1 1 </B>
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|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The command determines whether or not the root tone of a chord is
|
|
|
|
|
duplicated in another octave. By default notes are not added. A value
|
|
|
|
|
of -1 will add a note one octave lower than the root note, -2 will add
|
|
|
|
|
the tone 2 octaves lower, etc. Similarly, the value of 1 will add a
|
|
|
|
|
note one octave higher than the root tone, etc.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Only the values -9 to 9 are permitted.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The volume used for the generated note is an adjusted average of the
|
|
|
|
|
notes in the chord. This volume is always less than the chord
|
|
|
|
|
notes--which is probably what you want. If you want a loud bass note,
|
|
|
|
|
create a second track (probably a B<SMALL>ASS</SMALL> track) with the
|
|
|
|
|
appropriate pattern.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Different values can be used in each bar of the sequence.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The option is reset to 0 after all S<SMALL>EQUENCE</SMALL> or S<SMALL>EQ</SMALL>C<SMALL>LEAR</SMALL>
|
|
|
|
|
commands.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The D<SMALL>UP</SMALL>R<SMALL>OOT</SMALL> command is only valid in C<SMALL>HORD</SMALL> tracks.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION001250000000000000000"></A> <A NAME="chord-invert"></A>
|
|
|
|
|
<BR>
|
|
|
|
|
Invert
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
By default
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> uses chords in the root position. By example, the
|
|
|
|
|
notes of a C major chord are C, E and G. Chords can be inverted
|
|
|
|
|
(something musicians do all the time). Sticking with the C major
|
|
|
|
|
chord, the first inversion shifts the root note up an octave and the
|
|
|
|
|
chord becomes E, G and C. The second inversion is G, C and E.
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> extends the concept of inversion a bit by permitting the shift
|
|
|
|
|
to be to the left or right, and the number of shifts is not limited.
|
|
|
|
|
So, you could shift a chord up several octaves by using large invert
|
|
|
|
|
values.<A NAME="tex2html46"
|
|
|
|
|
HREF="#foot4820"><SUP>12.2</SUP></A>
|
2006-11-10 08:07:56 +00:00
|
|
|
<P>
|
2007-04-29 06:47:40 +00:00
|
|
|
Inversions apply to each bar of a sequence. So, the following is a good example:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>SeqSize 4
|
|
|
|
|
<BR>
|
|
|
|
|
Chord-1 Sequence STR1
|
|
|
|
|
<BR>
|
|
|
|
|
Chord-1 Invert 0 1 0 1 </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2007-04-29 06:47:40 +00:00
|
|
|
Here the sequence pattern size is set to 4 bars and the pattern
|
|
|
|
|
for each bar in the Chord-1 track is set to ``STR1''. Without the next line,
|
|
|
|
|
this would result in a rather boring, repeating pattern. But, the
|
|
|
|
|
Invert command forces the chord to be in the root position for the
|
|
|
|
|
first bar, the first inversion for the second, etc.
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2007-04-29 06:47:40 +00:00
|
|
|
You can use a negative Invert value:
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2007-04-29 06:47:40 +00:00
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Chord-1 Invert -1 </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2007-04-29 06:47:40 +00:00
|
|
|
In this case the C major chord becomes G, C and E.
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2007-04-29 06:47:40 +00:00
|
|
|
Note that using fewer Invert arguments than the current sequence size
|
|
|
|
|
is permitted.
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> simply expands the number of arguments to the
|
|
|
|
|
current sequence size. You may use a ``/'' for a repeated value.
|
2006-11-10 08:07:56 +00:00
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
<P>
|
|
|
|
|
A S<SMALL>EQUENCE</SMALL> or C<SMALL>LEAR</SMALL>S<SMALL>EQ</SMALL> command resets I<SMALL>NVERT</SMALL> to 0.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
This command on has an effect in C<SMALL>HORD</SMALL> and A<SMALL>RPEGGIO</SMALL>
|
|
|
|
|
tracks. And, frankly, A<SMALL>RPEGGIO</SMALL>s sound a bit odd with
|
|
|
|
|
inversions.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
If you use a large value for I<SMALL>NVERT</SMALL> you can force the notes out
|
|
|
|
|
of the normal MIDI range. In this case the lowest or highest possible
|
|
|
|
|
MIDI note value will be used.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION001260000000000000000"></A> <A NAME="limit"></A>
|
2006-11-10 08:07:56 +00:00
|
|
|
<BR>
|
2007-04-29 06:47:40 +00:00
|
|
|
Limit
|
|
|
|
|
</H1>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2007-04-29 06:47:40 +00:00
|
|
|
If you use ``jazz'' chords in your piece, some people might not like
|
|
|
|
|
the results. To some folks, chords like 11th, 13th, and variations
|
|
|
|
|
have a dissonant sound. And, sometimes they are in a chart, but don't
|
|
|
|
|
really make sense. The L<SMALL>IMIT</SMALL> command can be used to set the
|
|
|
|
|
number of notes of a chord used.
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2007-04-29 06:47:40 +00:00
|
|
|
For example:
|
2006-11-10 08:07:56 +00:00
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Chord Limit 4 </B>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
will limit any chords used in the C<SMALL>HORD</SMALL> track to the first 4
|
|
|
|
|
notes of a chord. So, if you have a C11 chord which is C, E, G,
|
|
|
|
|
B<IMG
|
|
|
|
|
WIDTH="12" HEIGHT="21" ALIGN="BOTTOM" BORDER="0"
|
|
|
|
|
SRC="img1.png"
|
|
|
|
|
ALT="$\flat$">, D, and F, the chord will be truncated to C, E, G and
|
|
|
|
|
B<IMG
|
|
|
|
|
WIDTH="12" HEIGHT="21" ALIGN="BOTTOM" BORDER="0"
|
|
|
|
|
SRC="img1.png"
|
|
|
|
|
ALT="$\flat$">.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
This command only applies to C<SMALL>HORD</SMALL> and A<SMALL>RPEGGIO</SMALL> tracks.
|
|
|
|
|
It can be set for other tracks, but the setting will have no effect.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Notes: L<SMALL>IMIT</SMALL> takes any value between 0 and 8 as an argument.
|
|
|
|
|
The ``0'' argument will disable the command. This command applies to
|
|
|
|
|
all chords in the sequence--only one value can be given in the
|
|
|
|
|
command.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
To restore to its default (off) setting, use a ``0'' as the argument.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
For a similar command, with different results, see the C<SMALL>OMPRESS</SMALL>
|
|
|
|
|
command (<A HREF="#compress">here</A>).
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION001270000000000000000"></A> <A NAME="sec-notespan"></A>
|
2006-11-10 08:07:56 +00:00
|
|
|
<BR>
|
2007-04-29 06:47:40 +00:00
|
|
|
NoteSpan
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Many instruments have a limited range. For example, the bass section
|
|
|
|
|
of an accordion is limited to a single octave<A NAME="tex2html47"
|
|
|
|
|
HREF="#foot4750"><SUP>12.3</SUP></A>To emulate these sounds it is a simple matter of limiting
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> 's
|
|
|
|
|
output to match the instrument. For example, in the ``frenchwaltz''
|
|
|
|
|
file you will find the directive:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Chord NoteSpan 48 59 </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
which forces all C<SMALL>HORD</SMALL> tones to the single octave represented
|
|
|
|
|
by the MIDI values 48 though 59.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
This command is applied over other voicing commands like O<SMALL>CTAVE</SMALL>
|
|
|
|
|
and R<SMALL>ANGE</SMALL> and even T<SMALL>RANSPOSE</SMALL>. Notes will still be
|
|
|
|
|
calculated with respect to these settings, but then they'll be forced
|
|
|
|
|
into the limited N<SMALL>OTE</SMALL>S<SMALL>PAN</SMALL>.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
N<SMALL>OTE</SMALL>S<SMALL>PAN</SMALL> expects two arguments: The first is the range start, the
|
|
|
|
|
second the range end (first and last notes to use). The values are
|
|
|
|
|
MIDI tones and must be in the range 0 to 127. The first value must be
|
|
|
|
|
less than the second, and the range must represent at least one full
|
|
|
|
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octave (12 notes). It can be applied to all tracks except D<SMALL>RUM</SMALL>.
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<P>
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<H1><A NAME="SECTION001280000000000000000"></A> <A NAME="sec-range"></A>
|
2006-11-10 08:07:56 +00:00
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<BR>
|
2007-04-29 06:47:40 +00:00
|
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|
Range
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</H1>
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<P>
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For A<SMALL>RPEGGIO</SMALL> and S<SMALL>CALE</SMALL> tracks you can specify the number
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|
|
of octaves used. The effects of the R<SMALL>ANGE</SMALL> command is slightly
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|
different between the two.
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<P>
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S<SMALL>CALE</SMALL>: Scale tracks, by default, create three octave scales.
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The R<SMALL>ANGE</SMALL> value will modify this to the number of octaves
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specified. For example:
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<P>
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
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<tr><td>
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<B>Scale Range 1 </B>
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</td></tr>
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</Table>
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<P>
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will force the scales to one octave. A value of 4 would create 4
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octave scales, etc.
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<P>
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You can use fractional values when specifying R<SMALL>ANGE</SMALL>. For example:
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<P>
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>Scale Range .3 </B>
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</td></tr>
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</Table>
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<P>
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will create a scale of 2 notes.<A NAME="tex2html48"
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HREF="#foot4771"><SUP>12.4</SUP></A> And,
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<P>
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>Scale Range 1.5 </B>
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</td></tr>
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</Table>
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<P>
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will create a scale of 10 notes. Now, this gets a bit more confusing for you if
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you have set S<SMALL>CALE</SMALL>T<SMALL>YPE</SMALL> C<SMALL>HROMATIC</SMALL>. In this case a R<SMALL>ANGE 1</SMALL> would
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|
generate 12 notes, and R<SMALL>ANGE 1.5</SMALL> 18.
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<P>
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Partial scales are useful in generating special effects.
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<P>
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A<SMALL>RPEGGIO</SMALL>: Normally, arpeggios use a single octave.<A NAME="tex2html49"
|
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|
|
HREF="#foot4778"><SUP>12.5</SUP></A>The R<SMALL>ANGE</SMALL> command specifies the number of octaves<A NAME="tex2html50"
|
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|
|
|
HREF="#foot4821"><SUP>12.6</SUP></A> to use. A fractional value can be used; the exact result
|
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|
depends on the number of notes in the current chord.
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<P>
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|
In all cases the values of ``0'' and ''1'' have the same effect.
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<P>
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|
For both S<SMALL>CALE</SMALL> and A<SMALL>RPEGGIO</SMALL> there will always be a minimum of
|
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|
two notes in the sequence.
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<P>
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|
<H1><A NAME="SECTION001290000000000000000"></A> <A NAME="defchord"></A>
|
2006-11-10 08:07:56 +00:00
|
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|
<BR>
|
2007-04-29 06:47:40 +00:00
|
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|
DefChord
|
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</H1>
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|
<P>
|
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|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> comes with a large number of chord types already defined. In
|
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|
|
most cases, the supplied set (<A HREF="node27.html#sec-chordname">see this list</A>) is sufficient for all the ``modern'' or
|
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|
|
``pop'' charts normally encountered. However, there are those times
|
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|
|
when you want to do something else, or something different.
|
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|
|
<P>
|
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|
|
You can define additional chord types at any time, or redefine
|
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|
|
|
existing chord types. The D<SMALL>EF</SMALL>C<SMALL>HORD</SMALL> command makes no distinction
|
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|
|
between a new chord type or a redefinition, with the exception that a
|
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|
|
warning message is printed for the later.
|
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|
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|
|
<P>
|
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|
|
The syntax of the command is quite strict:
|
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|
<P>
|
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|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
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|
|
|
<tr><td>
|
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|
|
|
<B>DefChord NAME (NoteList) (ScaleList) </B>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
</td></tr>
|
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|
|
</Table>
|
|
|
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|
|
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|
|
<P>
|
|
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|
|
where:
|
2006-11-10 08:07:56 +00:00
|
|
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|
|
|
|
<P>
|
2007-04-29 06:47:40 +00:00
|
|
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|
|
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|
|
<UL>
|
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|
|
<LI><I>Name</I> can be any string, but cannot contain a ``/'', ``>'' or
|
|
|
|
|
space. It is case sensitive. Examples of valid <I>name</I>s include
|
|
|
|
|
``dim'', ``NO3'' and ``foo-12-xx''.
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2007-04-29 06:47:40 +00:00
|
|
|
</LI>
|
|
|
|
|
<LI><I>NoteList</I> is a comma separated list of note offsets
|
|
|
|
|
(actually MIDI note values), all of which are enclosed in a set of
|
|
|
|
|
``()''s. There must be at least 2 note offsets and no more than 8
|
|
|
|
|
and all values must be in the range 0 to 24. Using an existing chord
|
|
|
|
|
type, a ``7'' chord would be defined with (0, 4, 7, 10). In the case
|
|
|
|
|
of a C7 chord, this translates to the notes (c, e, g, b<IMG
|
|
|
|
|
WIDTH="12" HEIGHT="21" ALIGN="BOTTOM" BORDER="0"
|
|
|
|
|
SRC="img1.png"
|
|
|
|
|
ALT="$\flat$">).
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2007-04-29 06:47:40 +00:00
|
|
|
</LI>
|
|
|
|
|
<LI><I>ScaleList</I> is a list of note offsets (again, MIDI note
|
|
|
|
|
values), all of which are enclosed in a set of ``()''s. There must
|
|
|
|
|
be exactly 7 values in the list and all values must be in the range
|
|
|
|
|
0 to 24. Following on the C7 example above, the scale list would be
|
|
|
|
|
(0, 2, 4, 5, 7, 9, 10) or the notes (c, d, e, f, g, a, b<IMG
|
|
|
|
|
WIDTH="12" HEIGHT="21" ALIGN="BOTTOM" BORDER="0"
|
|
|
|
|
SRC="img1.png"
|
|
|
|
|
ALT="$\flat$">).
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2007-04-29 06:47:40 +00:00
|
|
|
</LI>
|
|
|
|
|
</UL>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
<P>
|
|
|
|
|
Some examples might clarify. First, assume that you have a section of
|
|
|
|
|
your piece which has a major chord, but you only want the root and
|
|
|
|
|
fifth to sound for the chords and you want the arpeggios and bass
|
|
|
|
|
notes to <I>only</I> use the root. You could create new patterns, but
|
|
|
|
|
it's just as easy to create a new chord type.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>DefChord 15 (0,4) (0, 0, 0, 0, 0, 0, 0)
|
|
|
|
|
<BR>
|
|
|
|
|
15 C / G /
|
2006-11-10 08:07:56 +00:00
|
|
|
<BR>
|
2007-04-29 06:47:40 +00:00
|
|
|
16 C15 / G15 </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
In this case a normal Major chords will be used in line 15. In line 16
|
|
|
|
|
the new ``15'' will be used. Note the trick in the scale: by setting
|
|
|
|
|
all the offsets to ``0'' only the root note is available to the
|
|
|
|
|
<SMALL>WALK</SMALL> and <SMALL>BASS</SMALL> tracks.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Sometimes you'll see a new chord type that
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> doesn't know. You
|
|
|
|
|
could write the author and ask him to add this new type, but if it is
|
|
|
|
|
something quite odd or rare, it might be easier to define it in your
|
|
|
|
|
song. Let's pretend that you've encountered a ``Cmaj12'' A reasonable
|
|
|
|
|
guess is that this is a major 7 with an added 12th (just the 5th up an
|
|
|
|
|
octave). You could change the ``maj12'' part of the chord to a ``M7''
|
|
|
|
|
or ``maj7'' and it should sound fine. But:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>DefChord maj12 (0, 4, 7, 11, 19) (0, 2, 4, 5, 7, 9, 11) </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
is much more fun. Note a few details:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<UL>
|
|
|
|
|
<LI>The name ``maj12'' can be used with any chord. You can have
|
|
|
|
|
``Cmaj12'' or G<IMG
|
|
|
|
|
WIDTH="12" HEIGHT="21" ALIGN="BOTTOM" BORDER="0"
|
|
|
|
|
SRC="img1.png"
|
|
|
|
|
ALT="$\flat$">maj12''.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI>``maj12'' a case sensitive name. The name ``Maj12'' is quite
|
|
|
|
|
different (and unknown).
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI>A better name might be ``maj(add12)''.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI>The note and scale offsets are MIDI values. They are easy to
|
|
|
|
|
figure if you think of the chord as a ``C''. Just count off notes
|
|
|
|
|
from ``C'' on a keyboard (C is note 0).
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI><I>Do Not</I> include a chord name (ie: C or B<IMG
|
|
|
|
|
WIDTH="12" HEIGHT="21" ALIGN="BOTTOM" BORDER="0"
|
|
|
|
|
SRC="img1.png"
|
|
|
|
|
ALT="$\flat$">) in the
|
|
|
|
|
definition. Just the <I>type</I>.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</LI>
|
|
|
|
|
</UL>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The final example handles a minor problem in
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> and ``diminished''
|
|
|
|
|
chords. In most of the music the author of
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> encounters, the
|
|
|
|
|
marking ``dim'' on a chord usually means a ``diminished 7th''. So,
|
|
|
|
|
when
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> initializes it creates a copy of the ``dim7'' and calls it
|
|
|
|
|
``dim''. But, some people think that ``dim'' should reference a
|
|
|
|
|
``diminished triad''. It's pretty easy to change this by creating a
|
|
|
|
|
new definition for ``dim'':
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2007-04-29 06:47:40 +00:00
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>DefChord dim (0, 3, 6) (0, 2, 3, 5, 6, 8, 9 ) </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
In this example the scale notes use the same notes as those in a
|
|
|
|
|
``dim7''. You might want to change the B<IMG
|
|
|
|
|
WIDTH="19" HEIGHT="21" ALIGN="BOTTOM" BORDER="0"
|
|
|
|
|
SRC="img7.png"
|
|
|
|
|
ALT="$\flat{}\flat$"> (9) to B<IMG
|
|
|
|
|
WIDTH="12" HEIGHT="21" ALIGN="BOTTOM" BORDER="0"
|
|
|
|
|
SRC="img1.png"
|
|
|
|
|
ALT="$\flat$">
|
|
|
|
|
(10) or B (11). If you really disagree with the choice to make a dim7
|
|
|
|
|
the default you could even put this in a <TT><B>mmarc</B></TT> file.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
It is even easier to use the non-standard notation ``dim3'' to specify
|
|
|
|
|
a diminished triad.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION0012100000000000000000">
|
|
|
|
|
PrintChord</A>
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
This command can be used to make the create of custom chords a bit
|
|
|
|
|
simpler. Simply pass one or more chord types after the command and
|
|
|
|
|
they will be displayed on your terminal. Example:
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>PrintChord m M7 dim </B>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
in a file should display:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>m : (0, 3, 7) (0, 2, 3, 5, 7, 9, 11) Minor triad.
|
|
|
|
|
<BR>
|
|
|
|
|
M7 : (0, 4, 7, 11) (0, 2, 4, 5, 7, 9, 11) Major 7th.
|
2006-11-10 08:07:56 +00:00
|
|
|
<BR>
|
2007-04-29 06:47:40 +00:00
|
|
|
dim : (0, 3, 6, 9) (0, 2, 3, 5, 6, 8, 9) Diminished.
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> assumes a
|
|
|
|
|
diminished 7th. </B>
|
2006-11-10 08:07:56 +00:00
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2007-04-29 06:47:40 +00:00
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</td></tr>
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</Table>
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2006-11-10 08:07:56 +00:00
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<P>
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2007-04-29 06:47:40 +00:00
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From this you can cut and paste, change the chord or scale and insert
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the data into a D<SMALL>EF</SMALL>C<SMALL>HORD</SMALL> command.
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<P>
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<H1><A NAME="SECTION0012110000000000000000">
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Notes</A>
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</H1>
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<P>
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> makes other adjustments on-the-fly to your chords. This is done
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to make the resulting sounds ``more musical'' ...to keep life
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interesting, the definition of ``more musical'' is quite elusive. The
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following notes will try to list some of the more common adjustments
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made ``behind your back''.
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<P>
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<UL>
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<LI>Just before the notes (MIDI events) for a chord are generated
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the first and last notes in the chord are compared. If they are a
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separated by a half-step (or 1 MIDI value) or an octave plus
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half-step, the volume of the first note is halved. This happens in
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chords such as a Major-7th or Flat-9th. If the adjustment is
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not done the dissonance between the two tones overwhelms the ear.
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<P>
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</LI>
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</UL>
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<BR><HR><H4>Footnotes</H4>
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<DL>
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<DT><A NAME="foot4818">...
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algorithms</A><A
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HREF="node12.html#tex2html45"><SUP>12.1</SUP></A></DT>
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<DD>Great thanks are due to Alain Brenzikofer who not
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only pressured me into including the V<SMALL>OICING</SMALL> options, but
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wrote a great deal of the actual code.
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</DD>
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<DT><A NAME="foot4820">...
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values.</A><A
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HREF="node12.html#tex2html46"><SUP>12.2</SUP></A></DT>
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<DD>The term ``shift'' is used here, but that's not
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quite what
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> does. The order of the notes in the internal buffer
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stays the same, just the octave for the notes is changed. So, if the
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chord notes are ``C E G'' with the MIDI values ``0, 4, 7'' an invert
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of 1 would change the notes to ``C<IMG
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WIDTH="12" HEIGHT="20" ALIGN="BOTTOM" BORDER="0"
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SRC="img6.png"
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ALT="$^{2}$"> E G'' and the MIDI values
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to ``12, 4, 7''.
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</DD>
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<DT><A NAME="foot4750">... octave</A><A
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HREF="node12.html#tex2html47"><SUP>12.3</SUP></A></DT>
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<DD>Some accordions
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have ``freebass'' switches which overcomes this, but that is the
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exception.
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</DD>
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<DT><A NAME="foot4771">... notes.</A><A
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HREF="node12.html#tex2html48"><SUP>12.4</SUP></A></DT>
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<DD>Simple math here: take the number of notes in a scale (7) and
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multiply by .3. Take the integer result as the number of notes.
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</DD>
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<DT><A NAME="foot4778">... octave.</A><A
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HREF="node12.html#tex2html49"><SUP>12.5</SUP></A></DT>
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<DD>Not quite true: they
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use whatever notes are in the chord, which might exceed an octave span.
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</DD>
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<DT><A NAME="foot4821">... octaves</A><A
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HREF="node12.html#tex2html50"><SUP>12.6</SUP></A></DT>
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<DD>Again, not quite true: the
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command just duplicates the arpeggio notes the number of times specified in the
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R<SMALL>ANGE</SMALL> setting.
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</DD>
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</DL><HR>
|
2006-11-10 08:07:56 +00:00
|
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|
2007-04-29 06:47:40 +00:00
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HREF="node13.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="node11.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="tex2html492"
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HREF="node13.html">Harmony</A>
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<B> Up:</B> <A NAME="tex2html490"
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2006-11-10 08:07:56 +00:00
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HREF="mma.html">Reference Manual</A>
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2007-04-29 06:47:40 +00:00
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HREF="node11.html">Automatic Melodies: Aria Tracks</A>
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2006-11-10 08:07:56 +00:00
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<ADDRESS>
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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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