Symbols and Constants

This appendix is a reference to the chords that MMA recognizes and name/value tables for drum and instrument names. The tables have been auto-generated by MMA using the -D options.

Chord Names

MMA recognizes standard chord names as listed below. The names are case sensitive and must be entered in uppercase letters as shown:

A A$\sharp$ A$\flat$ B B$\sharp$ B$\flat$ C C$\sharp$ C$\flat$ D D$\sharp$ D$\flat$ E E$\sharp$ E$\flat$ F F$\sharp$ F$\flat$ G G$\sharp$ G$\flat$

Please note that in your input files you must use a lowercase “b” or an “&” to represent a $\flat$ and a “#” for a $\sharp$.

All “7th” chords are “dominant 7th” unless specifically noted as “major”. A dominant 7th has a flattened 7th note (in a C7 chord this is a b$\flat$; a C Major 7th chord has a b$\natural$).

For a more detailed listing of the chords, notes and scales you should download the document www.mellowood.ca/mma/chords.pdf.gz.

The following types of chords are recognized (these are case sensitive and must be in the mixed upper and lowercase shown):

$\sharp$5	Augmented triad.
(add$\sharp$9)	Major chord plus sharp 9th (no 7th.)
(add9)	Major chord plus 9th (no 7th.)
(add$\flat$9)	Major chord plus flat 9th (no 7th.)
($\flat$5)	Major triad with flat 5th.
+	Augmented triad.
+7	An augmented chord (raised 5th) with a dominant 7th.
+7$\flat$9$\sharp$11	Augmented 7th with flat 9th and sharp 11th.
+9	7th plus 9th with sharp 5th (same as aug9).
+9M7	An augmented chord (raised 5th) with a major 7th and 9th.
+M7	Major 7th with sharp 5th.
11	9th chord plus 11th (3rd not voiced).
11$\flat$9	7th chord plus flat 9th and 11th.
13	7th (including 5th) plus 13th (the 9th and 11th are not voiced).
13$\sharp$11	7th plus sharp 11th and 13th (9th not voiced).
13$\sharp$9	7th (including 5th) plus 13th and sharp 9th (11th not voiced).
13$\flat$5	7th with flat 5th, plus 13th (the 9th and 11th are not voiced).
13$\flat$9	7th (including 5th) plus 13th and flat 9th (11th not voiced).
13sus	7sus, plus 9th and 13th
13sus$\flat$9	7sus, plus flat 9th and 13th
5	Altered Fifth or Power Chord; root and 5th only.
6	Major tiad with added 6th.
6(add9)	6th with added 9th. This is sometimes notated as a slash chord in the form “6/9”.
69	6th with added 9th. This is sometimes notated as a slash chord in the form “6/9”.
7	7th.
7$\sharp$11	7th plus sharp 11th (9th omitted).
7$\sharp$5	An augmented chord (raised 5th) with a dominant 7th.
7$\sharp$5$\sharp$9	7th with sharp 5th and sharp 9th.
7$\sharp$5$\flat$9	An augmented chord (raised 5th) with a dominant 7th and flat 9th.
7$\sharp$9	7th with sharp 9th.
7$\sharp$9$\sharp$11	7th plus sharp 9th and sharp 11th.
7$\sharp$9$\flat$13	7th with sharp 9th and flat 13th.
7(omit3)	7th with unvoiced 3rd.
7+	An augmented chord (raised 5th) with a dominant 7th.
7+5	An augmented chord (raised 5th) with a dominant 7th.
7+9	7th with sharp 9th.
7-5	7th, flat 5.
7-9	7th with flat 9th.
7alt	7th with flat 5th and flat 9th.
7$\flat$5	7th, flat 5.
7$\flat$5$\sharp$9	7th with flat 5th and sharp 9th.
7$\flat$5$\flat$9	7th with flat 5th and flat 9th.
7$\flat$9	7th with flat 9th.
7$\flat$9$\sharp$11	7th plus flat 9th and sharp 11th.
7omit3	7th with unvoiced 3rd.
7sus	7th with suspended 4th, dominant 7th with 3rd raised half tone.
7sus2	A sus2 with dominant 7th added.
7sus4	7th with suspended 4th, dominant 7th with 3rd raised half tone.
7sus$\flat$9	7th with suspended 4th and flat 9th.
9	7th plus 9th.
9$\sharp$11	7th plus 9th and sharp 11th.
9$\sharp$5	7th plus 9th with sharp 5th (same as aug9).
9+5	7th plus 9th with sharp 5th (same as aug9).
9-5	7th plus 9th with flat 5th.
9$\flat$5	7th plus 9th with flat 5th.
9sus	7sus plus 9th.
9sus4	7sus plus 9th.
M	Major triad. This is the default and is used in the absense of any other chord type specification.
M13	Major 7th (including 5th) plus 13th (9th and 11th not voiced).
M13$\sharp$11	Major 7th plus sharp 11th and 13th (9th not voiced).
M6	Major tiad with added 6th.
M7	Major 7th.
M7$\sharp$11	Major 7th plus sharp 11th (9th omitted).
M7$\sharp$5	Major 7th with sharp 5th.
M7(add13)	7th (including 5th) plus 13th and flat 9th (11th not voiced).
M7+5	Major 7th with sharp 5th.
M7-5	Major 7th with a flat 5th.
M7$\flat$5	Major 7th with a flat 5th.
M9	Major 7th plus 9th.
M9$\sharp$11	Major 9th plus sharp 11th.
add$\sharp$9	Major chord plus sharp 9th (no 7th.)
add9	Major chord plus 9th (no 7th.)
add$\flat$9	Major chord plus flat 9th (no 7th.)
aug	Augmented triad.
aug7	An augmented chord (raised 5th) with a dominant 7th.
aug7$\sharp$9	An augmented chord (raised 5th) with a dominant 7th and sharp 9th.
aug7$\flat$9	An augmented chord (raised 5th) with a dominant 7th and flat 9th.
aug9	7th plus 9th with sharp 5th (same as aug9).
aug9M7	An augmented chord (raised 5th) with a major 7th and 9th.
dim	A dim7, not a triad!
dim3	Diminished triad (non-standard notation).
dim7	Diminished seventh.
dim7(addM7)	Diminished tirad with added Major 7th.
m	Minor triad.
m$\sharp$5	Minor triad with augmented 5th.
m$\sharp$7	Minor Triad plus Major 7th. You will also see this printed as “m(maj7)”, “m+7”, “min(maj7)” and “min$\sharp$7” (which MMA accepts); as well as the MMA invalid forms: “-($\Delta$7)”, and “min$\natural$7”.
m(add9)	Minor triad plus 9th (no 7th).
m($\flat$5)	Minor triad with flat 5th (aka dim).
m(maj7)	Minor Triad plus Major 7th. You will also see this printed as “m(maj7)”, “m+7”, “min(maj7)” and “min$\sharp$7” (which MMA accepts); as well as the MMA invalid forms: “-($\Delta$7)”, and “min$\natural$7”.
m(sus9)	Minor triad plus 9th (no 7th).
m+5	Minor triad with augmented 5th.
m+7	Minor Triad plus Major 7th. You will also see this printed as “m(maj7)”, “m+7”, “min(maj7)” and “min$\sharp$7” (which MMA accepts); as well as the MMA invalid forms: “-($\Delta$7)”, and “min$\natural$7”.
m+7$\sharp$9	Augmented minor 7 plus sharp 9th.
m+7$\flat$9	Augmented minor 7 plus flat 9th.
m+7$\flat$9$\sharp$11	Augmented minor 7th with flat 9th and sharp 11th.
m11	9th with minor 3rd, plus 11th.
m11$\flat$5	Minor 7th with flat 5th plus 11th.
m13	Minor 7th (including 5th) plus 13th (9th and 11th not voiced).
m6	Minor 6th (flat 3rd plus a 6th).
m6(add9)	Minor 6th with added 9th. This is sometimes notated as a slash chord in the form “m6/9”.
m69	Minor 6th with added 9th. This is sometimes notated as a slash chord in the form “m6/9”.
m7	Minor 7th (flat 3rd plus dominant 7th).
m7$\sharp$5	Minor 7th with sharp 5th.
m7$\sharp$9	Minor 7th with added sharp 9th.
m7($\sharp$9)	Minor 7th with added sharp 9th.
m7(add11)	Minor 7th plus 11th.
m7(add13)	Minor 7th plus 13th.
m7($\flat$9)	Minor 7th with added flat 9th.
m7(omit5)	Minor 7th with unvoiced 5th.
m7-5	Minor 7th, flat 5 (aka 1/2 diminished).
m7$\flat$5	Minor 7th, flat 5 (aka 1/2 diminished).
m7$\flat$5$\flat$9	Minor 7th with flat 5th and flat 9th.
m7$\flat$9	Minor 7th with added flat 9th.
m7$\flat$9$\sharp$11	Minor 7th plus flat 9th and sharp 11th.
m7omit5	Minor 7th with unvoiced 5th.
m9	Minor triad plus 7th and 9th.
m9$\sharp$11	Minor 7th plus 9th and sharp 11th.
m9$\flat$5	Minor triad, flat 5, plus 7th and 9th.
mM7	Minor Triad plus Major 7th. You will also see this printed as “m(maj7)”, “m+7”, “min(maj7)” and “min$\sharp$7” (which MMA accepts); as well as the MMA invalid forms: “-($\Delta$7)”, and “min$\natural$7”.
mM7(add9)	Minor Triad plus Major 7th and 9th.
maj13	Major 7th (including 5th) plus 13th (9th and 11th not voiced).
maj7	Major 7th.
maj9	Major 7th plus 9th.
m$\flat$5	Minor triad with flat 5th (aka dim).
min$\sharp$7	Minor Triad plus Major 7th. You will also see this printed as “m(maj7)”, “m+7”, “min(maj7)” and “min$\sharp$7” (which MMA accepts); as well as the MMA invalid forms: “-($\Delta$7)”, and “min$\natural$7”.
min(maj7)	Minor Triad plus Major 7th. You will also see this printed as “m(maj7)”, “m+7”, “min(maj7)” and “min$\sharp$7” (which MMA accepts); as well as the MMA invalid forms: “-($\Delta$7)”, and “min$\natural$7”.
msus4	Minor suspended 4th, minor triad plus 4th.
omit3(add9)	Triad: root, 5th and 9th.
omit3add9	Triad: root, 5th and 9th.
sus	Suspended 4th, major triad with the 3rd raised half tone.
sus(add$\sharp$9)	Suspended 4th, major triad with the 3rd raised half tone plus sharp 9th.
sus(add9)	Suspended 4th, major triad with the 3rd raised half tone plus 9th.
sus(add$\flat$9)	Suspended 4th, major triad with the 3rd raised half tone plus flat 9th.
sus2	Suspended 2nd, major triad with the major 2nd above the root substituted for 3rd.
sus4	Suspended 4th, major triad with the 3rd raised half tone.
sus9	7sus plus 9th.
o	A dim7 using a degree symbol
o(addM7)	dim7(addM7) using degree symbol
o3	A dim3 (triad) using a degree symbol
ø	Half-diminished using slashed degree symbol

In modern pop charts the “M” in a major 7th chord (and other major chords) is often represented by a “$\Delta$”. When entering these chords, just replace the “$\Delta$” with an “M”. For example, change “G$\Delta$7” to “GM7”.

A chord name without a type is interpreted as a major chord (or triad). For example, the chord “C” is identical to “CM”.

There are also two not-chord items: “z” and “z!”. These are MMA 's idea of rests. See details here.

MMA has an large set of defined chords. However, you can add your own with the DEFCHORD command, details here.

Octave Adjustment

Depending on the key and chord sequence, a chord may end up in the wrong octave. This is caused by MMA 's internal routines which create a chord: all of the tables are maintained for a “C” chord and the others are derived from that point by subtracting or adding a constant. To compensate you can add a leading “-” or “+” to the chordname to force the movement of that chord and scale up or down an octave.

For example, the following line will move the chord up and down for the third and fourth beats:

Cm Fm -Gm +D7

The effect of octave shifting is also highly dependent on the voicing options in effect for the track.

You'll have to listen to the MMA output to determine when and where to use this adjustment. Hopefully, it won't be needed all that much.

If you have a large number of chords to adjust, use the CHORDADJUST command , here.

Altered Chords

According to Standardized Chord Symbol Notation altered chords should be written in the form Cmi ⁷(^$\flat$9_$\sharp$5). However, this is pretty hard to type (and parse). So, we've used the convention that the altered intervals should be written in numerical order: Cm$\sharp$5$\flat$9. Also, note that we use “m” for “minor” which appears to be more the conventional method than “mi”.

Diminished Chords

In most pop and jazz charts it is assumed that a diminished chord is always a diminished 7th ... a diminished triad is never played. MMA continues this, sometimes erroneous assumption.^A.1 You can change the behavior in several ways: change the chord notes and scale for a “dim” from a dim7 to a triad by following the instructions here; use the slightly oddball notation of “m$\flat$5” which generates a “diminished triad”; or use the more-oddball notation “dim3”. Our recommendation is to use “m$\flat$5” for the triad and “dim7” for the four note chord.

Notational notes: In printed music a “diminished” chord is sometimes represented with a small circle symbol (e.g. “F ^o”) and a “half-diminished” as a small slashed circle (e.g., “C ^ø”). MMA accepts this input so long as:

^o

is represented by the character code 176,

^ø

is represented by the character code 248.

Slash Chords

Charts sometimes use slash chords in the form “Am/E”. This notation is used, mainly, to indicate chord inversions. For example, the chord notes in “Am/E” become “E”, “A” and “C” with the “E” taking the root position. MMA will accept chords of this type. However, you may not notice any difference in the generated tracks due to the inversions used by the current pattern.

You may also encounter slash chords where the slash-part of the chord is not a note in the chord. Consider the ambiguous notation “Dm/C”. The composer (or copyist) might mean to add a “C” bass note to a “Dm” chord, or she might mean “Dm7”, or even an inverted “Dm7”. MMA will handle these ... almost perfectly. When the “slash” part of the chord indicates a note which is not a note in the chord, MMA assumes that the indicated note should be used in the bass line. Since each chord generated by MMA also has a “scale” associated with it for use by bass and scale patterns this works. For example, a C Major chord will have the scale “c, d, e, f, g, a, b”; a C Minor chord has the same scale, but with an e$\flat$. If the slash note is contained in the scale, the scale will be rotated so that the note becomes the “root” note.

A warning message will be printed if the note is not in both the chord and the scale.

Another notation you may see is something like “Dm/9”. Again, the meaning is not clear. It probably means a “Dm9”, or “Dm9/E” ... but since MMA isn't sure this notation will generate an error.

As an option, you can use a Roman or Arabic numeral in the range “I” to “VII” or “1” to “7” to specify the bass note (sometimes referred to as “fingered bass”). For example, to specify the bass note as the 5th in a C major chord you can use either G/D, G/V, or G/v. The Roman portion can be in upper or lower case.

Please note that for fairly obvious reasons you cannot have both slash notation and an inversion (see the next section).

For more details on “slash chords” your favorite music theory book or teacher is highly recommended!

Chord Inversions

Instead of using a slash chord you can specify an inversion to use with a chord. The notation is simply an “>” and a number between -5 and 5 immediately following the chord name.

The chord will be “rotated” as specified by the value after the “>”.

For example, the chord “C>2” will generate the notes G, C and E; “F>-1” gives C, F and A.

There is an important difference between this option and a slash chord: in inversions neither the root note nor the associated scale are modified.

The actual effect of a chord inversion will vary, perhaps greatly, depending on the VOICING mode. For example, using an inverted chord with VOICING MODE=OPTIMAL makes no difference at all, using with VOICING MODE=NONE (the default) gives the most difference.

Barre Settings

It is possible to set a barre for a chord in a PLECTRUM track by adding a “:” and a value to the chordname. A barre setting must be the last item in a chordname and is only used by PLECTRUM tracks. Barre values must be in the range -20 to 20. Examples include “Cm:3”, “E7>2:-2” and “+F:4”.

Important: unlike a real instrument, MMA barre chords do not change the pitch (transpose) the chord. The same chord is played, but with a higher tonality.

Roman Numerals

Instead of standard chord symbol notation you can use roman numerals to specify chords. This is not the place for music theory, but, simply put, a roman numeral specifies an interval based on the current key. So, in the key of C Major a ”I” would be a C major chord, “V” a G major, etc.

When using Roman numeral chords it is very important to set the KEYSIGnature! Failing to do this will result in undefined behavior^A.2. See here for details on setting the key signature.

MMA recognizes the following:

I to VII

These uppercase roman numerals represent major chords.

i to vii

Lowercase roman numerals represent minor chords.

In addition, certain modifiers can be used to specify a chord quality (major, diminished, etc). These are appended to the roman numeral (without spaces). MMA is a bit lazy when it comes to the strict interpretation of chord qualities and permits many constructions which are technically incorrect (but work fine musically). Quality modifiers include the following:

0, o, O or ^o

a diminished triad. Only valid with lowercase (minor) numerals,

07, o7, O7 or ^o

a diminished seventh chord. Only valid with lowercase (minor) numerals,

-07, -o7, -O7 or ^ø

a half diminished seventh chord. Only valid with lowercase (minor) numerals,

b or &

Lowers the resulting chord pitch by a semitone,

#

Raises the resulting chord pitch by a semitone.

Examples of roman numeral chords include “I”, “IV”, “V7”, “ii0”, “V13” and “v13”.

Other chord modifiers such as octave adjustment, capo and inversions can be combined with roman numerals. So, “I:3”, “+ii>2” and “IV7>2:-2” are legitimate.

When specifying chords in Roman numeral notation “slash” inversions should be specified in Arabic or Roman numerals, details here.^A.3

MMA 's implementation differs from the standard in several ways:

• In Roman, the symbol for diminished chords should be the small, raised circle “ ^o”. Since it's hard to type that with a text editor we use a “0” (digit), “o” or “O”. Half diminished should be the slashed circle “ ^ø” ... to make typing easier we recommend our alternate of an “o” preceded by a “-”. If your input method and text editor support “ ^o” and “ ^ø” ensure they are the character values 176 and 248.

• In Roman, inversions are specified with small, raised Arabic numerals after the chord name. MMA doesn't support this.

• In Roman, bass notes are specified with a small Arabic numeral after the chord name. MMA doesn't support this. Use slash notation instead.

• Unlike Roman, complicated notations are permitted. For example (in the key of C) the roman chords ib6(add9) and Ibm6(add9) will both convert to the standard notation Cbm6(add9).

• MMA permits the use of a b or # to modify the pitch by a semitone. In strict Roman numeral usage the chord should be specified as an altered chord or inversion. However, it's much too common to see usages like C#dim in the key of C to disallow i#0. And to be completely wrong, but permitted, you could even use I#dim (blame it on the parser).

To aid in debugging, a special DEBUG option ROMAN is provided. When enabled this will display the conversions for both Roman numeral chords and slash notation. See here for information to enable/disable this option.

MIDI Voices

When setting a voice for a track (i.e. Bass Voice NN), you can specify the patch to use with a symbolic constant. Any combination of upper and lower case is permitted. The following are the names with the equivalent voice numbers:

Voices, Alphabetically

5thSawWave	86
Accordion	21
AcousticBass	32
AgogoBells	113
AltoSax	65
Applause/Noise	126
Atmosphere	99
BagPipe	109
Bandoneon	23
Banjo	105
BaritoneSax	67
Bass&Lead	87
Bassoon	70
BirdTweet	123
BottleBlow	76
BowedGlass	92
BrassSection	61
BreathNoise	121
Brightness	100
Celesta	8
Cello	42
Charang	84
ChifferLead	83
ChoirAahs	52
ChurchOrgan	19
Clarinet	71
Clavinet	7
CleanGuitar	27
ContraBass	43
Crystal	98
DistortonGuitar	30
EchoDrops	102
EnglishHorn	69
EPiano	5
Fantasia	88
Fiddle	110
FingeredBass	33
Flute	73
FrenchHorn	60
FretlessBass	35
Glockenspiel	9
Goblins	101
GuitarFretNoise	120
GuitarHarmonics	31
GunShot	127
HaloPad	94
Harmonica	22
HarpsiChord	6
HelicopterBlade	125
Honky-TonkPiano	3
IceRain	96
JazzGuitar	26
Kalimba	108
Koto	107
Marimba	12
MelodicTom1	117
MetalPad	93
MusicBox	10
MutedGuitar	28
MutedTrumpet	59
NylonGuitar	24
Oboe	68
Ocarina	79
OrchestraHit	55
OrchestralHarp	46
Organ1	16
Organ2	17
Organ3	18
OverDriveGuitar	29
PanFlute	75
Piano1	0
Piano2	1
Piano3	2
Piccolo	72
PickedBass	34
PizzicatoString	45
PolySynth	90
Recorder	74
ReedOrgan	20
ReverseCymbal	119
RhodesPiano	4
Santur	15
SawWave	81
SeaShore	122
Shakuhachi	77
Shamisen	106
Shanai	111
Sitar	104
SlapBass1	36
SlapBass2	37
SlowStrings	49
SoloVoice	85
SopranoSax	64
SoundTrack	97
SpaceVoice	91
SquareWave	80
StarTheme	103
SteelDrums	114
SteelGuitar	25
Strings	48
SweepPad	95
SynCalliope	82
SynthBass1	38
SynthBass2	39
SynthBrass1	62
SynthBrass2	63
SynthDrum	118
SynthStrings1	50
SynthStrings2	51
SynthVox	54
TaikoDrum	116
TelephoneRing	124
TenorSax	66
Timpani	47
TinkleBell	112
TremoloStrings	44
Trombone	57
Trumpet	56
Tuba	58
TubularBells	14
Vibraphone	11
Viola	41
Violin	40
VoiceOohs	53
WarmPad	89
Whistle	78
WoodBlock	115
Xylophone	13

Voices, By MIDI Value

0	Piano1
1	Piano2
2	Piano3
3	Honky-TonkPiano
4	RhodesPiano
5	EPiano
6	HarpsiChord
7	Clavinet
8	Celesta
9	Glockenspiel
10	MusicBox
11	Vibraphone
12	Marimba
13	Xylophone
14	TubularBells
15	Santur
16	Organ1
17	Organ2
18	Organ3
19	ChurchOrgan
20	ReedOrgan
21	Accordion
22	Harmonica
23	Bandoneon
24	NylonGuitar
25	SteelGuitar
26	JazzGuitar
27	CleanGuitar
28	MutedGuitar
29	OverDriveGuitar
30	DistortonGuitar
31	GuitarHarmonics
32	AcousticBass
33	FingeredBass
34	PickedBass
35	FretlessBass
36	SlapBass1
37	SlapBass2
38	SynthBass1
39	SynthBass2
40	Violin
41	Viola
42	Cello
43	ContraBass
44	TremoloStrings
45	PizzicatoString
46	OrchestralHarp
47	Timpani
48	Strings
49	SlowStrings
50	SynthStrings1
51	SynthStrings2
52	ChoirAahs
53	VoiceOohs
54	SynthVox
55	OrchestraHit
56	Trumpet
57	Trombone
58	Tuba
59	MutedTrumpet
60	FrenchHorn
61	BrassSection
62	SynthBrass1
63	SynthBrass2
64	SopranoSax
65	AltoSax
66	TenorSax
67	BaritoneSax
68	Oboe
69	EnglishHorn
70	Bassoon
71	Clarinet
72	Piccolo
73	Flute
74	Recorder
75	PanFlute
76	BottleBlow
77	Shakuhachi
78	Whistle
79	Ocarina
80	SquareWave
81	SawWave
82	SynCalliope
83	ChifferLead
84	Charang
85	SoloVoice
86	5thSawWave
87	Bass&Lead
88	Fantasia
89	WarmPad
90	PolySynth
91	SpaceVoice
92	BowedGlass
93	MetalPad
94	HaloPad
95	SweepPad
96	IceRain
97	SoundTrack
98	Crystal
99	Atmosphere
100	Brightness
101	Goblins
102	EchoDrops
103	StarTheme
104	Sitar
105	Banjo
106	Shamisen
107	Koto
108	Kalimba
109	BagPipe
110	Fiddle
111	Shanai
112	TinkleBell
113	AgogoBells
114	SteelDrums
115	WoodBlock
116	TaikoDrum
117	MelodicTom1
118	SynthDrum
119	ReverseCymbal
120	GuitarFretNoise
121	BreathNoise
122	SeaShore
123	BirdTweet
124	TelephoneRing
125	HelicopterBlade
126	Applause/Noise
127	GunShot

Drum Notes

When defining a drum tone, you can specify the patch to use with a symbolic constant. Any combination of upper and lower case is permitted. In addition to the drum tone name and the MIDI value, the equivalent “name” in ^superscript is included. The “names” may help you find the tones on your keyboard.

Drum Notes, Alphabetically

Cabasa	69A
Castanets	84C
ChineseCymbal	52E
Claves	75E$\flat$
ClosedHiHat	42G$\flat$
CowBell	56A$\flat$
CrashCymbal1	49D$\flat$
CrashCymbal2	57A
HandClap	39E$\flat$
HighAgogo	67G
HighBongo	60C
HighQ	27E$\flat$
HighTimbale	65F
HighTom1	50D
HighTom2	48C
HighWoodBlock	76E
JingleBell	83B
KickDrum1	36C
KickDrum2	35B
LongGuiro	74D
LongLowWhistle	72C
LowAgogo	68A$\flat$
LowBongo	61D$\flat$
LowConga	64E
LowTimbale	66G$\flat$
LowTom1	43G
LowTom2	41F
LowWoodBlock	77F
Maracas	70B$\flat$
MetronomeBell	34B$\flat$
MetronomeClick	33A
MidTom1	47B
MidTom2	45A
MuteCuica	78G$\flat$
MuteHighConga	62D
MuteSudro	85D$\flat$
MuteTriangle	80A$\flat$
OpenCuica	79G
OpenHighConga	63E$\flat$
OpenHiHat	46B$\flat$
OpenSudro	86D
OpenTriangle	81A
PedalHiHat	44A$\flat$
RideBell	53F
RideCymbal1	51E$\flat$
RideCymbal2	59B
ScratchPull	30G$\flat$
ScratchPush	29F
Shaker	82B$\flat$
ShortGuiro	73D$\flat$
ShortHiWhistle	71B
SideKick	37D$\flat$
Slap	28E
SnareDrum1	38D
SnareDrum2	40E
SplashCymbal	55G
SquareClick	32A$\flat$
Sticks	31G
Tambourine	54G$\flat$
VibraSlap	58B$\flat$

Drum Notes, by MIDI Value

27	HighQE$\flat$
28	SlapE
29	ScratchPushF
30	ScratchPullG$\flat$
31	SticksG
32	SquareClickA$\flat$
33	MetronomeClickA
34	MetronomeBellB$\flat$
35	KickDrum2B
36	KickDrum1C
37	SideKickD$\flat$
38	SnareDrum1D
39	HandClapE$\flat$
40	SnareDrum2E
41	LowTom2F
42	ClosedHiHatG$\flat$
43	LowTom1G
44	PedalHiHatA$\flat$
45	MidTom2A
46	OpenHiHatB$\flat$
47	MidTom1B
48	HighTom2C
49	CrashCymbal1D$\flat$
50	HighTom1D
51	RideCymbal1E$\flat$
52	ChineseCymbalE
53	RideBellF
54	TambourineG$\flat$
55	SplashCymbalG
56	CowBellA$\flat$
57	CrashCymbal2A
58	VibraSlapB$\flat$
59	RideCymbal2B
60	HighBongoC
61	LowBongoD$\flat$
62	MuteHighCongaD
63	OpenHighCongaE$\flat$
64	LowCongaE
65	HighTimbaleF
66	LowTimbaleG$\flat$
67	HighAgogoG
68	LowAgogoA$\flat$
69	CabasaA
70	MaracasB$\flat$
71	ShortHiWhistleB
72	LongLowWhistleC
73	ShortGuiroD$\flat$
74	LongGuiroD
75	ClavesE$\flat$
76	HighWoodBlockE
77	LowWoodBlockF
78	MuteCuicaG$\flat$
79	OpenCuicaG
80	MuteTriangleA$\flat$
81	OpenTriangleA
82	ShakerB$\flat$
83	JingleBellB
84	CastanetsC
85	MuteSudroD$\flat$
86	OpenSudroD

MIDI Controllers

When specifying a MIDI Controller in a MIDISEQ or MIDIVOICE command you can use the absolute value in (either as a decimal number or in hexadecimal by prefixing the value with a “0x”), or the symbolic name in the following tables. The tables have been extracted from information at http://www.midi.org/about-midi/table3.shtml. Note that all the values in these tables are in hexadecimal notation.

Complete reference for this is not a part of MMA . Please refer to a detailed text on MIDI or the manual for your synthesizer.

Controllers, Alphabetically

AllNotesOff	123
AllSoundsOff	120
AttackTime	73
Balance	8
BalanceLSB	40
Bank	0
BankLSB	32
Breath	2
BreathLSB	34
Brightness	74
Chorus	93
Ctrl102	102
Ctrl103	103
Ctrl104	104
Ctrl105	105
Ctrl106	106
Ctrl107	107
Ctrl108	108
Ctrl109	109
Ctrl110	110
Ctrl111	111
Ctrl112	112
Ctrl113	113
Ctrl114	114
Ctrl115	115
Ctrl116	116
Ctrl117	117
Ctrl118	118
Ctrl119	119
Ctrl14	14
Ctrl15	15
Ctrl20	20
Ctrl21	21
Ctrl22	22
Ctrl23	23
Ctrl24	24
Ctrl25	25
Ctrl26	26
Ctrl27	27
Ctrl28	28
Ctrl29	29
Ctrl3	3
Ctrl30	30
Ctrl31	31
Ctrl35	35
Ctrl41	41
Ctrl46	46
Ctrl47	47
Ctrl52	52
Ctrl53	53
Ctrl54	54
Ctrl55	55
Ctrl56	56
Ctrl57	57
Ctrl58	58
Ctrl59	59
Ctrl60	60
Ctrl61	61
Ctrl62	62
Ctrl63	63
Ctrl79	79
Ctrl85	85
Ctrl86	86
Ctrl87	87
Ctrl88	88
Ctrl89	89
Ctrl9	9
Ctrl90	90
Data	6
DataDec	97
DataInc	96
DataLSB	38
DecayTime	75
Detune	94
Effect1	12
Effect1LSB	44
Effect2	13
Effect2LSB	45
Expression	11
ExpressionLSB	43
Foot	4
FootLSB	36
General1	16
General1LSB	48
General2	17
General2LSB	49
General3	18
General3LSB	50
General4	19
General4LSB	51
General5	80
General6	81
General7	82
General8	83
Hold2	69
Legato	68
LocalCtrl	122
Modulation	1
ModulationLSB	33
NonRegLSB	98
NonRegMSB	99
OmniOff	124
OmniOn	125
Pan	10
PanLSB	42
Phaser	95
PolyOff	126
PolyOn	127
Portamento	65
PortamentoCtrl	84
PortamentoLSB	37
RegParLSB	100
RegParMSB	101
ReleaseTime	72
ResetAll	121
Resonance	71
Reverb	91
SoftPedal	67
Sostenuto	66
Sustain	64
Tremolo	92
Variation	70
VibratoDelay	78
VibratoDepth	77
VibratoRate	76
Volume	7
VolumeLSB	39

Controllers, by Value

0	Bank
1	Modulation
2	Breath
3	Ctrl3
4	Foot
5	Portamento
6	Data
7	Volume
8	Balance
9	Ctrl9
10	Pan
11	Expression
12	Effect1
13	Effect2
14	Ctrl14
15	Ctrl15
16	General1
17	General2
18	General3
19	General4
20	Ctrl20
21	Ctrl21
22	Ctrl22
23	Ctrl23
24	Ctrl24
25	Ctrl25
26	Ctrl26
27	Ctrl27
28	Ctrl28
29	Ctrl29
30	Ctrl30
31	Ctrl31
32	BankLSB
33	ModulationLSB
34	BreathLSB
35	Ctrl35
36	FootLSB
37	PortamentoLSB
38	DataLSB
39	VolumeLSB
40	BalanceLSB
41	Ctrl41
42	PanLSB
43	ExpressionLSB
44	Effect1LSB
45	Effect2LSB
46	Ctrl46
47	Ctrl47
48	General1LSB
49	General2LSB
50	General3LSB
51	General4LSB
52	Ctrl52
53	Ctrl53
54	Ctrl54
55	Ctrl55
56	Ctrl56
57	Ctrl57
58	Ctrl58
59	Ctrl59
60	Ctrl60
61	Ctrl61
62	Ctrl62
63	Ctrl63
64	Sustain
65	Portamento
66	Sostenuto
67	SoftPedal
68	Legato
69	Hold2
70	Variation
71	Resonance
72	ReleaseTime
73	AttackTime
74	Brightness
75	DecayTime
76	VibratoRate
77	VibratoDepth
78	VibratoDelay
79	Ctrl79
80	General5
81	General6
82	General7
83	General8
84	PortamentoCtrl
85	Ctrl85
86	Ctrl86
87	Ctrl87
88	Ctrl88
89	Ctrl89
90	Ctrl90
91	Reverb
92	Tremolo
93	Chorus
94	Detune
95	Phaser
96	DataInc
97	DataDec
98	NonRegLSB
99	NonRegMSB
100	RegParLSB
101	RegParMSB
102	Ctrl102
103	Ctrl103
104	Ctrl104
105	Ctrl105
106	Ctrl106
107	Ctrl107
108	Ctrl108
109	Ctrl109
110	Ctrl110
111	Ctrl111
112	Ctrl112
113	Ctrl113
114	Ctrl114
115	Ctrl115
116	Ctrl116
117	Ctrl117
118	Ctrl118
119	Ctrl119
120	AllSoundsOff
121	ResetAll
122	LocalCtrl
123	AllNotesOff
124	OmniOff
125	OmniOn
126	PolyOff
127	PolyOn

Footnotes

... assumption.^A.1

Sometimes a reliable source agrees with us ... in this case Standardized Chord Symbol Notation is quite clear that “dim” is a Diminished 7th and a diminished triad should be notated as mi ^($\flat$5).

... behavior^A.2

Undefined in this case means that MMA assumes you are in the key of C Major.

...slashchords^A.3

It is permissible to use something like v/D, but you really shouldn't.