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1362 lines
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<!--Converted with LaTeX2HTML 2008 (1.71)
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original version by: Nikos Drakos, CBLU, University of Leeds
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* revised and updated by: Marcus Hennecke, Ross Moore, Herb Swan
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* with significant contributions from:
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Jens Lippmann, Marek Rouchal, Martin Wilck and others -->
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<HTML>
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<HEAD>
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<TITLE>Patterns</TITLE>
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<META NAME="description" CONTENT="Patterns">
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<META NAME="keywords" CONTENT="mma">
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<A NAME="tex2html450"
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HREF="node5.html">
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<IMG WIDTH="37" HEIGHT="24" ALIGN="BOTTOM" BORDER="0" ALT="next" SRC="next.png"></A>
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<IMG WIDTH="63" HEIGHT="24" ALIGN="BOTTOM" BORDER="0" ALT="previous" SRC="prev.png"></A>
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<BR>
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<B> Next:</B> <A NAME="tex2html451"
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HREF="node5.html">Sequences</A>
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<B> Up:</B> <A NAME="tex2html449"
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HREF="mma.html">Reference Manual</A>
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<B> Previous:</B> <A NAME="tex2html443"
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HREF="node3.html">Tracks and Channels</A>
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<BR></DIV>
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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 CLASS="ChildLinks">
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<LI><A NAME="tex2html452"
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HREF="node4.html#SECTION00410000000000000000">Defining a Pattern</A>
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<UL>
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<LI><A NAME="tex2html453"
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HREF="node4.html#SECTION00411000000000000000">Bass</A>
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<LI><A NAME="tex2html454"
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HREF="node4.html#SECTION00412000000000000000">Chord</A>
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<LI><A NAME="tex2html455"
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HREF="node4.html#SECTION00413000000000000000">Arpeggio</A>
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<LI><A NAME="tex2html456"
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HREF="node4.html#SECTION00414000000000000000">Walk</A>
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<LI><A NAME="tex2html457"
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HREF="node4.html#SECTION00415000000000000000">Scale</A>
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<LI><A NAME="tex2html458"
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HREF="node4.html#SECTION00416000000000000000">Aria</A>
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<LI><A NAME="tex2html459"
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HREF="node4.html#SECTION00417000000000000000">Plectrum</A>
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<LI><A NAME="tex2html460"
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HREF="node4.html#SECTION00418000000000000000">Drum</A>
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<LI><A NAME="tex2html461"
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HREF="node4.html#SECTION00419000000000000000">Drum Tone</A>
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</UL>
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<BR>
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<LI><A NAME="tex2html462"
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HREF="node4.html#SECTION00420000000000000000">Including Existing Patterns in New Definitions</A>
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<LI><A NAME="tex2html463"
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HREF="node4.html#SECTION00430000000000000000">Multiplying and Shifting Patterns</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="SECTION00400000000000000000"></A>
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<A NAME="sec-pats"></A>
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<BR>
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Patterns
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</H1>
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<P>
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> builds its output based on P<SMALL>ATTERN</SMALL>s and S<SMALL>EQUENCE</SMALL>s
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supplied by you. These can be defined in the same file as the rest of
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the song data, or can be included (see
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<A HREF="node27.html#sec-paths">here</A>) from a library file.
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<P>
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A pattern is a definition for a voice or track which describes what
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rhythm to play during the current bar. The actual notes selected for
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the rhythm are determined by the song bar data (see
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<A HREF="node8.html#sec-music">here</A>).
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<P>
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<H1><A NAME="SECTION00410000000000000000">
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Defining a Pattern</A>
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</H1>
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<P>
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The formats for the different tracks vary, but are similar enough to
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confuse the unwary.
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<P>
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Each pattern definition consists of three parts:
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<P>
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<UL>
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<LI>A unique label to identify the pattern. This is
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case-insensitive. Note that the same label names can be used in
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different tracks--for example, you could use the name “MyPattern”
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in both a Drum and Chord pattern ... but this is probably not a
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good idea. Names can use punctuation characters, but must not begin
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with an underscore (“_”). The pattern names “z” or “Z” and
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“-” are also reserved.
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<P>
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</LI>
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<LI>A series of note definitions. Each set in the series is
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delimited with a “;”.
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<P>
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</LI>
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<LI>The end of the pattern definition is indicated by the
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end-of-line.
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</LI>
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</UL>
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<P>
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In the following sections definitions are shown in continuation lines;
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however, it is quite legal to mash all the information onto a single
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line.
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<P>
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The following concepts are used when defining a pattern:
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<P>
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<DL>
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<DD><A NAME="beat-offset"></A></DD>
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<DT><STRONG>Start</STRONG></DT>
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<DD>When to start the note. This is expressed as a beat
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offset. For example, to start a note at the start of a bar you use
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“1”, the second beat would be “2”, the fourth “4”, etc. You
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can easily use off-beats as well: The “and” of 2 is “2.5”, the
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“and ahh” of the first beat is “1.75”, etc. Using a beat offset
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greater than the number of beats in a bar or less than “0” is not
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permitted. Please note that offsets in the range “0” to “.999”
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will actually be played in the <SPAN CLASS="textit">previous</SPAN> bar using the chord
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specified at beat 1 of the current bar (this can be useful in Jazz
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charts, and it will generate a warning!).<A NAME="tex2html20"
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HREF="#foot1692"><SUP><SPAN CLASS="arabic">4</SPAN>.<SPAN CLASS="arabic">1</SPAN></SUP></A> See
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T<SMALL>IME</SMALL> (<A HREF="node16.html#time">here</A>).
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<P>
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The offset can be further modified by appending a note length (see
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the duration chart, below). If you want to specify an offset in the
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middle of the first beat you can use “1.5” or “1+8”. The latter
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means the first beat plus the value of an eight note. This notation
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is quite useful when generating “swing” sequences. For example,
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two “swing eights” chords on beat one would be notated as: “1 81
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90; 1+81 82 90”.
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<P>
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You can subtract note lengths as well, but this is rarely done. And,
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to make your style files completely unreadable, you can even use
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note length combinations. So, yes, the following pattern is
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fine:<A NAME="tex2html21"
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HREF="#foot1693"><SUP><SPAN CLASS="arabic">4</SPAN>.<SPAN CLASS="arabic">2</SPAN></SUP></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 Define C1 2-81+4 82 90 </B>
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</td></tr>
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</Table>
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<P>
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<A NAME="notelength"></A>
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<P>
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</DD>
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<DT><STRONG>Duration</STRONG></DT>
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<DD>The length of a note is somewhat standard musical
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notation. Since it is impractical to draw in graphical notes or to
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use fractions (like <SPAN CLASS="textbf">1/4</SPAN>)
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> , uses a shorthand
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notation detailed in the following table:
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<P>
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<BLOCKQUOTE>
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<Table CellSpacing=0 Width="80%" Align="Center" CellPadding=10 BGColor="#dddddd" Border=3>
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<tr> <td>
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<TABLE CELLPADDING=3 BORDER="1">
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<TR><TD ALIGN="LEFT"><SPAN CLASS="textit">Notation</SPAN></TD>
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<TD ALIGN="LEFT"><SPAN CLASS="textit">Description</SPAN></TD>
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</TR>
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<TR><TD ALIGN="LEFT">1</TD>
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<TD ALIGN="LEFT">Whole note</TD>
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</TR>
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<TR><TD ALIGN="LEFT">2</TD>
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<TD ALIGN="LEFT">Half</TD>
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</TR>
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<TR><TD ALIGN="LEFT">4</TD>
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<TD ALIGN="LEFT">Quarter</TD>
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</TR>
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<TR><TD ALIGN="LEFT">8</TD>
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<TD ALIGN="LEFT">Eighth</TD>
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</TR>
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<TR><TD ALIGN="LEFT">81</TD>
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<TD ALIGN="LEFT">The first of a pair of swing eights</TD>
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</TR>
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<TR><TD ALIGN="LEFT">82</TD>
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<TD ALIGN="LEFT">The second of a pair of swing eights</TD>
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</TR>
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<TR><TD ALIGN="LEFT">16</TD>
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<TD ALIGN="LEFT">Sixteenth</TD>
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</TR>
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<TR><TD ALIGN="LEFT">32</TD>
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<TD ALIGN="LEFT">Thirty-second</TD>
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</TR>
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<TR><TD ALIGN="LEFT">64</TD>
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<TD ALIGN="LEFT">Sixty-fourth</TD>
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</TR>
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<TR><TD ALIGN="LEFT">3</TD>
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<TD ALIGN="LEFT">Eight note triplet</TD>
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</TR>
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<TR><TD ALIGN="LEFT">43</TD>
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<TD ALIGN="LEFT">Quarter note triplet</TD>
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</TR>
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<TR><TD ALIGN="LEFT">23</TD>
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<TD ALIGN="LEFT">Half note triplet</TD>
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</TR>
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<TR><TD ALIGN="LEFT">6</TD>
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<TD ALIGN="LEFT">Sixteenth note triplet</TD>
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</TR>
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<TR><TD ALIGN="LEFT">5</TD>
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<TD ALIGN="LEFT">Eight note quintuplet</TD>
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</TR>
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<TR><TD ALIGN="LEFT">0</TD>
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<TD ALIGN="LEFT">A single MIDI tick</TD>
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</TR>
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<TR><TD ALIGN="LEFT">ddT</TD>
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<TD ALIGN="LEFT">dd MIDI ticks.</TD>
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</TR>
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</TABLE>
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</td></tr>
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</Table>
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</BLOCKQUOTE>
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<P>
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The “81” and “82” notations represent the values of a pair of
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eighth notes in a swing pair. These values vary depending on the
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setting of S<SMALL>WING</SMALL>M<SMALL>ODE </SMALL>S<SMALL>KEW</SMALL>, see
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<A HREF="node17.html#swingmode">here</A>.
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<P>
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The note length “0” is a special value often used in drum tracks
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where the actual “ringing”length appears to be controlled by the
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MIDI synth, not the driving program. Internally, a “0” note length
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is converted to a single MIDI tick.
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<P>
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Lengths can have a single or double dot appended. For example,
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“2.” is a dotted half note and “4..” adds an eight and sixteenth
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value to a quarter note.
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<P>
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Note lengths can be combined using “+”. For example, to make a
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dotted eight note use the notation “8+16”, a dotted half “2+4”,
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and a quarter triplet “3+3”.
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<P>
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Note lengths can also be combined using a “-”. For example, to
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make a dotted half you could use “1-4”. Subtraction might appear
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silly at first, but is useful in generating a note <SPAN CLASS="textit">just</SPAN> a bit
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shorter than its full beat. For example, “1-0” will generate a
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note 1 MIDI tick shorter than a whole note. This can be used in
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generating breaks in sustained tones.<A NAME="tex2html22"
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HREF="#foot1695"><SUP><SPAN CLASS="arabic">4</SPAN>.<SPAN CLASS="arabic">3</SPAN></SUP></A>
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<P>
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It is permissible to combine notes with “dots”, “+”s and
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“-”s. The notation “2.+4” would be the same as a whole note.
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<P>
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The actual duration given to a note will be adjusted by the
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A<SMALL>RTICULATE</SMALL> value <A HREF="node24.html#articulate">here</A>).
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<P>
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In special cases you might want to forget all standard duration
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conventions and specify the length of a note or chord in MIDI
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ticks. Just append a single “t” or “T” to end of the value. For
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example, a quarter note duration can be set with a “4” or
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“192t”. Using MIDI values can simplify the creation of odd-length
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beats.
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<P>
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When using MIDI tick values you cannot use “+”, “-” or “.” to
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combine or modify the value.
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<P>
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</DD>
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<DT><STRONG>Volume</STRONG></DT>
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<DD>The MIDI velocity<A NAME="tex2html23"
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HREF="#foot1458"><SUP><SPAN CLASS="arabic">4</SPAN>.<SPAN CLASS="arabic">4</SPAN></SUP></A> to use for the specified note.
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For a detailed explanation of how
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> calculates the volume of a
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note, see <A HREF="node18.html#sec-volume">read this</A>.
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<P>
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MIDI velocities are limited to the range 0 to 127. However,
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> does not check the volumes specified in a pattern for
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validity.<A NAME="tex2html24"
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HREF="#foot1463"><SUP><SPAN CLASS="arabic">4</SPAN>.<SPAN CLASS="arabic">5</SPAN></SUP></A>
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<P>
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In most cases velocities in the range 50 to 100 are useful.
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<P>
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</DD>
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<DT><STRONG>Offset</STRONG></DT>
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<DD>The offset into the current chord. If you have, for
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example, a C minor chord (C, E<SPAN CLASS="MATH"><IMG
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WIDTH="13" HEIGHT="20" ALIGN="BOTTOM" BORDER="0"
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SRC="img1.png"
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ALT="$ \flat$"></SPAN>, and G) has 3 offsets: 0, 1
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and 2. Note that the offsets refer to the <SPAN CLASS="textit">chord</SPAN> not the
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scale. For example, a musician might refer to the “fifth”--this
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means the fifth note of a scale ... in a major chord this is the
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third note, which has an offset of 2 in
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> .
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<P>
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</DD>
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</DL>
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<P>
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Patterns can be defined for B<SMALL>ASS</SMALL>, W<SMALL>ALK</SMALL>, C<SMALL>HORD</SMALL>,
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A<SMALL>RPEGGIO</SMALL> and D<SMALL>RUM</SMALL> tracks. All patterns are shared by the
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tracks of the same type--<SPAN CLASS="textit">Chord-Sus</SPAN> and <SPAN CLASS="textit">Chord-Piano</SPAN>
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share the patterns for <SPAN CLASS="textit">Chord</SPAN>. As a convenience,
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> will
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permit you to define a pattern for a sub-track, but remember that it
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will be shared by all similar tracks. 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>Drum Define S1 1 0 50 </B>
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</td></tr>
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</Table>
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<P>
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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>Drum-woof Define S1 1 0 50 </B>
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</td></tr>
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</Table>
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<P>
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Will generate identical outcomes.<A NAME="tex2html25"
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HREF="#foot1477"><SUP><SPAN CLASS="arabic">4</SPAN>.<SPAN CLASS="arabic">6</SPAN></SUP></A>
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<P>
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<H2><A NAME="SECTION00411000000000000000"></A> <A NAME="sec-bass"></A>
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<BR>
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Bass
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</H2>
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<P>
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A B<SMALL>ASS</SMALL> pattern is defined 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>
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<tr><td>
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<B>Position Duration Offset Volume ; ...</B>
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</td></tr>
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</Table>
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<P>
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Each group consists of an beat offset for the start point, the note
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duration, the note offset and volume.
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<P>
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The note offset is one of the digits “1” through “7”, each
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representing a note of the chord scale. So, if you want to play the
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root and fifth in a traditional bass pattern you'd use “1” and “5”
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in your pattern definition.
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<P>
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The note offset can be modified by appending a single or multiple set
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of “+” or “-” signs. Each “+” will force the note up an octave;
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each “-” forces it down. This modifier is handy in creating bass
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patterns when you wish to alternate between the root note and the root
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up an octave ... but users will find other interesting
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patterns. There is no limit to the number of “+”s or “-”s. You can
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even use both together if you're in a mood to obfuscate.
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<P>
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The note offset can be further modified with a single accidental "#",
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"&" or "b". This modifier will raise or lower the note by a
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semitone.<A NAME="tex2html26"
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HREF="#foot1696"><SUP><SPAN CLASS="arabic">4</SPAN>.<SPAN CLASS="arabic">7</SPAN></SUP></A> In the boogie-woogie
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library file a "6#" is used to generate a dominant 7th.
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<P>
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="#efefef" Border=3>
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<tr><td Align="CENTER" BGColor="White">
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<SPAN CLASS="textbf"><BIG CLASS="XLARGE">Bass Definition</BIG></SPAN> <A NAME="eg:b8"></A>
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</tr> </td>
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<tr> <td >
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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>Bass Define Broken8 1 8 1 90 ; \
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<BR> 2 8 5 80 ; \
|
|
<BR> 3 8 3 90 ; \
|
|
<BR> 4 8 1+ 80 </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
<BR>
|
|
<BR> <SPAN CLASS="textbf">Sheet Music Equivalent</SPAN>
|
|
|
|
<P>
|
|
<BR>
|
|
<BR>
|
|
|
|
<P>
|
|
<IMG WIDTH="95%" SRC="mupex/bassb8.png" ALT="Lost Image">
|
|
|
|
|
|
</td> </tr>
|
|
</Table>
|
|
|
|
<P>
|
|
|
|
<P>
|
|
<A HREF="#eg:b8">This example</A> defines 4 bass notes
|
|
(probably staccato eight notes) at beats 1, 2, 3 and 4 in a
|
|
<SPAN CLASS="textbf">4/4</SPAN> time bar. The first note is the root of the chord, the
|
|
second is the fifth; the third note is the third; the last note is the
|
|
root up an octave. The volumes of the notes are set to a MIDI velocity
|
|
of 90 for beats 1 and 3 and 80 for beats 2 and 4.
|
|
|
|
<P>
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> refers to note tables to determine the “scale” to use in a
|
|
bass pattern. Each recognized chord type has an associated scale. For
|
|
example, the chord “Cm” consists of the notes “c”, “e<SPAN CLASS="MATH"><IMG
|
|
WIDTH="13" HEIGHT="20" ALIGN="BOTTOM" BORDER="0"
|
|
SRC="img1.png"
|
|
ALT="$ \flat$"></SPAN>”
|
|
and “g”; the scale for this chord is “c, d, e<SPAN CLASS="MATH"><IMG
|
|
WIDTH="13" HEIGHT="20" ALIGN="BOTTOM" BORDER="0"
|
|
SRC="img1.png"
|
|
ALT="$ \flat$"></SPAN>, f, g, a, b”.
|
|
|
|
<P>
|
|
Due to the ease in which specific notes of a scale can be specified,
|
|
B<SMALL>ASS</SMALL> tracks and patterns are useful for much more than “bass”
|
|
lines! These tracks are useful for sustained string voices,
|
|
interesting arpeggio and scale lines, and counter melodies.
|
|
|
|
<P>
|
|
|
|
<H2><A NAME="SECTION00412000000000000000"></A> <A NAME="sec-chordseq"></A>
|
|
<BR>
|
|
Chord
|
|
</H2>
|
|
|
|
<P>
|
|
A C<SMALL>HORD</SMALL> pattern is defined with:
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Position Duration Volume1 Volume2 ...; ...</B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
Each group consists of an beat offset for the start point, the note
|
|
duration, and the volumes for each note in the chord. If you have
|
|
fewer volumes than notes in a chord, the last volume will apply to the
|
|
remaining notes.
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="#efefef" Border=3>
|
|
<tr><td Align="CENTER" BGColor="White">
|
|
<SPAN CLASS="textbf"><BIG CLASS="XLARGE">Chord Definition</BIG></SPAN> <A NAME="eg:s4"></A>
|
|
</tr> </td>
|
|
<tr> <td >
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Chord Define Straight4+3 1 4 100 ; \
|
|
<BR> 2 4 90 ; \
|
|
<BR> 3 4 100 ; \
|
|
<BR> 4 3 90 ; \
|
|
<BR> 4.3 3 80 ; \
|
|
<BR> 4.6 3 80 </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
<BR>
|
|
<BR> <SPAN CLASS="textbf">Sheet Music Equivalent </SPAN>
|
|
|
|
<P>
|
|
<BR>
|
|
<BR>
|
|
<IMG WIDTH="95%" SRC="mupex/chord43.png" ALT="Lost Image">
|
|
|
|
|
|
</td> </tr>
|
|
</Table>
|
|
|
|
<P>
|
|
|
|
<P>
|
|
<A HREF="#eg:s4">This example</A> defines a
|
|
<SPAN CLASS="textbf">4/4</SPAN> pattern in a quarter, quarter, quarter, triplet rhythm.
|
|
The quarter notes sound on beats 1, 2 and 3; the triplet is played on
|
|
beat 4. The example assumes that you have C major for beats 1 and 2,
|
|
and G major for 3 and 4.
|
|
|
|
<P>
|
|
Using a volume of “0” will disable a note. So, you want only the
|
|
root and fifth of a chord to sound, you could use something like:
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Chord Define Dups 1 8 90 0 90 0; 3 8 90 0 90 0 </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
|
|
<H2><A NAME="SECTION00413000000000000000">
|
|
Arpeggio</A>
|
|
</H2>
|
|
|
|
<P>
|
|
An A<SMALL>RPEGGIO</SMALL> pattern is defined with:
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Position Duration Volume ; ...</B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
The arpeggio tracks play notes from a chord one at a time. This is
|
|
quite different from chords where the notes are played all at
|
|
once--refer to the S<SMALL>TRUM</SMALL> directive
|
|
(<A HREF="node24.html#strum">here</A>).
|
|
|
|
<P>
|
|
Each group consists of an beat offset, the note duration, and the note
|
|
volume. You have no choice as to which notes of a chord are played
|
|
(however, they are played in alternating ascending/descending
|
|
order.<A NAME="tex2html27"
|
|
HREF="#foot1699"><SUP><SPAN CLASS="arabic">4</SPAN>.<SPAN CLASS="arabic">8</SPAN></SUP></A> Volumes are
|
|
selected for the specific beat, not for the actual note.
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="#efefef" Border=3>
|
|
<tr><td Align="CENTER" BGColor="White">
|
|
<SPAN CLASS="textbf"><BIG CLASS="XLARGE">Arpeggio Definition</BIG></SPAN> <A NAME="eg:arp4s"></A>
|
|
</tr> </td>
|
|
<tr> <td >
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Arpeggio Define 4s 1 4 100; \
|
|
<BR> 2 4 90; \
|
|
<BR> 3 4 100; \
|
|
<BR> 4 4 100 </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
<BR>
|
|
<BR> <SPAN CLASS="textbf">Sheet Music Equivalent </SPAN> <BR>
|
|
<BR>
|
|
<IMG WIDTH="95%" SRC="mupex/arp4s.png" ALT="Lost Image">
|
|
|
|
|
|
</td> </tr>
|
|
</Table>
|
|
|
|
<P>
|
|
|
|
<P>
|
|
<A HREF="#eg:arp4s">This example</A> plays quarter note
|
|
on beats 1, 2, 3 and 4 of a bar in <SPAN CLASS="textbf">4/4</SPAN> time.
|
|
|
|
<P>
|
|
|
|
<H2><A NAME="SECTION00414000000000000000">
|
|
Walk</A>
|
|
</H2>
|
|
|
|
<P>
|
|
A W<SMALL>ALK</SMALL>ing Bass pattern is defined with:
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Position Duration Volume ; ...</B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
Walking bass tracks play up and down the first part of a scale, paying
|
|
attention to the “color”<A NAME="tex2html28"
|
|
HREF="#foot1701"><SUP><SPAN CLASS="arabic">4</SPAN>.<SPAN CLASS="arabic">9</SPAN></SUP></A> of the
|
|
chord. Walking bass lines are very common in jazz and swing
|
|
music. They appear quite often as an “emphasis” bar in marches.
|
|
|
|
<P>
|
|
Each group consists of an beat offset, the note duration, and the note
|
|
volume.
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> selects the actual note pitches to play based on the
|
|
current chord (you cannot change this).
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="#efefef" Border=3>
|
|
<tr><td Align="CENTER" BGColor="White">
|
|
<SPAN CLASS="textbf"><BIG CLASS="XLARGE">Walking Bass Definition</BIG></SPAN> <A NAME="eg:walk4"></A>
|
|
</tr> </td>
|
|
<tr> <td >
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Walk Define Walk4 1 4 100 ; \
|
|
<BR> 2 4 90; \
|
|
<BR> 3 4 90 </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
|
|
|
|
</td> </tr>
|
|
</Table>
|
|
|
|
<P>
|
|
|
|
<P>
|
|
<A HREF="#eg:walk4">This example</A> plays a bass note
|
|
on beats 1, 2 and 3 of a bar in <SPAN CLASS="textbf">3/4</SPAN> time.
|
|
|
|
<P>
|
|
|
|
<H2><A NAME="SECTION00415000000000000000">
|
|
Scale</A>
|
|
</H2>
|
|
|
|
<P>
|
|
A S<SMALL>CALE</SMALL> pattern is defined with:
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Position Duration Volume ; ...</B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
Each group consists of an beat offset for the start point, the note
|
|
duration, and volume.
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="#efefef" Border=3>
|
|
<tr><td Align="CENTER" BGColor="White">
|
|
<SPAN CLASS="textbf"><BIG CLASS="XLARGE">Scale Definition</BIG></SPAN> <A NAME="eg:scale"></A>
|
|
</tr> </td>
|
|
<tr> <td >
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Scale Define S1 1 1 90
|
|
<BR>
|
|
Scale Define S4 S1 * 4
|
|
<BR>
|
|
Scale Define S8 S1 * 8 </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
|
|
</td> </tr>
|
|
</Table>
|
|
|
|
<P>
|
|
|
|
<P>
|
|
<A HREF="#eg:scale">This example</A> defines three scale
|
|
patterns: “S1” is just a single whole note, not that useful on its
|
|
own, but it is used as a base for “S4” and “S8”.
|
|
|
|
<P>
|
|
“S4” is 4 quarter notes and “S8” is 8 eight notes. All the volumes
|
|
are set to a MIDI velocity of 90.
|
|
|
|
<P>
|
|
Scale patterns are quite useful in endings. More options for scales
|
|
detailed in the S<SMALL>CALE</SMALL>D<SMALL>IRECTION</SMALL>
|
|
(<A HREF="node24.html#scale-direction">here</A>) and S<SMALL>CALE</SMALL>T<SMALL>YPE</SMALL>
|
|
(<A HREF="node24.html#scale-type">here</A>) sections.
|
|
|
|
<P>
|
|
|
|
<H2><A NAME="SECTION00416000000000000000">
|
|
Aria</A>
|
|
</H2>
|
|
|
|
<P>
|
|
An A<SMALL>RIA</SMALL> pattern is defined with:
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Position Duration Volume ; ...</B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
much like a scale pattern. Please refer to the the A<SMALL>RIA</SMALL> section
|
|
(<A HREF="node12.html#chap-aria">here</A>) for more details.
|
|
|
|
<P>
|
|
|
|
<H2><A NAME="SECTION00417000000000000000">
|
|
Plectrum</A>
|
|
</H2>
|
|
|
|
<P>
|
|
An P<SMALL>LECTRUM</SMALL> pattern is defined with:
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Position Strum Volume1 Volume2 ...; ...</B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
Note the absence of a duration setting. For details, please refer to
|
|
the the P<SMALL>LECTRUM</SMALL> section
|
|
(<A HREF="node11.html#chap-plectrum">here</A>) for more details.
|
|
|
|
<P>
|
|
|
|
<H2><A NAME="SECTION00418000000000000000"></A> <A NAME="sec-drum"></A>
|
|
<BR>
|
|
Drum
|
|
</H2>
|
|
|
|
<P>
|
|
Drum tracks are a bit different from the other tracks discussed so
|
|
far. Instead of having each track saved as a separate MIDI track, all
|
|
the drum tracks are combined onto MIDI track 10.
|
|
|
|
<P>
|
|
A Drum pattern is defined with:
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Position Duration Volume; ...</B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="#efefef" Border=3>
|
|
<tr><td Align="CENTER" BGColor="White">
|
|
<SPAN CLASS="textbf"><BIG CLASS="XLARGE">Drum Definition</BIG></SPAN> <A NAME="eg:s2"></A>
|
|
</tr> </td>
|
|
<tr> <td >
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Drum Define S2 1 0 100; \
|
|
<BR> 2 0 80 ; \
|
|
<BR> 3 0 100 ; \
|
|
<BR> 4 0 80 </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
|
|
</td> </tr>
|
|
</Table>
|
|
|
|
<P>
|
|
|
|
<P>
|
|
<A HREF="#eg:s2">This example</A> plays a drum sound on
|
|
beats 1, 2, 3 and 4 of a bar in <SPAN CLASS="textbf">4/4</SPAN> time. The MIDI velocity
|
|
(volume) of the drum is 100 on beats 1 and 3; 80 on beats 2 and 4.
|
|
|
|
<P>
|
|
This example uses the special duration of “0”, which indicates 1
|
|
MIDI tick.
|
|
|
|
<P>
|
|
|
|
<H2><A NAME="SECTION00419000000000000000"></A> <A NAME="drum-tone"></A>
|
|
<BR>
|
|
Drum Tone
|
|
</H2>
|
|
|
|
<P>
|
|
Essential to drum definitions is the T<SMALL>ONE</SMALL> directive.
|
|
|
|
<P>
|
|
When a drum pattern is defined it uses the default “note” or
|
|
“tone” which is a snare drum sound. But, this can (and should) be
|
|
changed using the T<SMALL>ONE</SMALL> directive. This is normally issued at
|
|
the same time as a sequence is set up (see
|
|
<A HREF="node5.html#sec-seqs">sequences</A>).
|
|
|
|
<P>
|
|
T<SMALL>ONE</SMALL> is a list of drum sounds which match the sequence length.
|
|
Here's a short, concocted example (see the library files for many
|
|
more):
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Drum Define S1 1 0 90
|
|
<BR>
|
|
Drum Define S2 S1 * 2
|
|
<BR>
|
|
Drum Define S4 S1 * 4
|
|
<BR>
|
|
SeqClear
|
|
<BR>
|
|
SeqSize 4
|
|
<BR>
|
|
Drum Sequence S4 S2 S2 S4
|
|
<BR>
|
|
Drum Tone SnareDrum1 SideKick LowTom1 Slap </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
Here the drum patterns “S2” and “S4” are defined to sound a drum
|
|
on beats 1 and 3, and 1, 2, 3 and 4 respectively (see
|
|
<A HREF="#defmult">DefMult</A> for details on the “*”
|
|
option). Next, a sequence size of 4 bars and a drum sequence are set
|
|
to use this pattern. Finally,
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> is instructed to use a SnareDrum1
|
|
sound in bar 1, a SideKick sound in bar 2, a LowTom1 in bar 3 and a
|
|
Slap in bar 4. If the song has more than four bars, this sequence will
|
|
be repeated.
|
|
|
|
<P>
|
|
In most cases you will probably use a single drum tone name for the
|
|
entire sequence, but it can be useful to alternate the tone between
|
|
bars.
|
|
|
|
<P>
|
|
To repeat the same “tone” in a sequence list, use a single “/”.
|
|
|
|
<P>
|
|
The “tone” can be specified with a MIDI note value or with a
|
|
symbolic name. For example, a snare drum could be specified as “38”
|
|
or “SnareDrum1”. <A HREF="node30.html#sec-drumnames">The Drumnames
|
|
appendix</A> lists all the defined symbolic
|
|
names.
|
|
|
|
<P>
|
|
It is possible to substitute tone values. See
|
|
<A HREF="node23.html#set-drumtr">T<SMALL>ONE</SMALL>TR</A>.
|
|
|
|
<P>
|
|
|
|
<H1><A NAME="SECTION00420000000000000000">
|
|
Including Existing Patterns in New Definitions</A>
|
|
</H1>
|
|
|
|
<P>
|
|
When defining a pattern, you can use an existing pattern name in place
|
|
of a definition grouping. For example, if you have already defined a
|
|
chord pattern (which is played on beats 1 and 3) as:
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Chord Define M13 1 4 80; 3 4 80 </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
you can create a new pattern which plays on same beats and adds a
|
|
single push note just before the third beat:
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Chord Define M1+3 M13; 2.5 16 80 0 </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
A few points to note:
|
|
|
|
<P>
|
|
|
|
<UL>
|
|
<LI>the existing pattern must exist and belong to the same track,
|
|
|
|
<P>
|
|
</LI>
|
|
<LI>the existing pattern is expanded in place,
|
|
|
|
<P>
|
|
</LI>
|
|
<LI>it is perfectly acceptable to have several existing definitions,
|
|
just be sure to delimit each with a “;”,
|
|
|
|
<P>
|
|
</LI>
|
|
<LI>the order of items in a definition does not matter, each will be
|
|
placed at the correct position in the bar.
|
|
|
|
<P>
|
|
</LI>
|
|
</UL>
|
|
|
|
<P>
|
|
This is a powerful shortcut in creating patterns. See the included
|
|
library files for examples.
|
|
|
|
<P>
|
|
|
|
<H1><A NAME="SECTION00430000000000000000"></A> <A NAME="defmult"></A>
|
|
<BR>
|
|
Multiplying and Shifting Patterns
|
|
</H1>
|
|
|
|
<P>
|
|
Since most pattern definitions are, internally, repetitious, you can
|
|
create complex rhythms by multiplying a copy of an existing pattern.
|
|
For example, if you have defined a pattern to play a chord on beats 1
|
|
though 4 (a quarter note strum), you can easily create a similar
|
|
pattern to play eighth note chords on beats 1, 1.5, etc. though 4.5
|
|
with a command like:
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Track Define NewPattern OldPattern * N </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
where “Track” is a valid track name (“Chord”, “Walk”, “Bass”,
|
|
“Arpeggio” or “Drum”, as well as “Chord2” or “DRUM3”, etc.).
|
|
|
|
<P>
|
|
The “*” is absolutely required.
|
|
|
|
<P>
|
|
“N” can be any integer value between 2 and 100.
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="#efefef" Border=3>
|
|
<tr><td Align="CENTER" BGColor="White">
|
|
<SPAN CLASS="textbf"><BIG CLASS="XLARGE">Multiply Define</BIG></SPAN> <A NAME="eg:drum2"></A>
|
|
</tr> </td>
|
|
<tr> <td >
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B> Drum Define S1 1 1 100
|
|
<BR>
|
|
Drum Define S13 S1 * 2
|
|
<BR>
|
|
Drum Define S1234 S1 * 4
|
|
<BR>
|
|
Drum Define S8 S1234 * 2
|
|
<BR>
|
|
Drum Define S16 S8 * 2
|
|
<BR>
|
|
Drum Define S32 S16 * 2
|
|
<BR>
|
|
Drum Define S64 S1 * 64 </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
|
|
</td> </tr>
|
|
</Table>
|
|
|
|
<P>
|
|
|
|
<P>
|
|
In <A HREF="#eg:drum2">this example</A> a Drum pattern
|
|
is defined which plays a drum tone on beat 1 (assuming <SPAN CLASS="textbf">4/4</SPAN>
|
|
time). Then a new pattern, “S13”, is created. This is the old “S1”
|
|
multiplied by 2. This new pattern will play a tone on beats 1 and 3.
|
|
|
|
<P>
|
|
Next, “S1234” is created. This plays 4 notes, one the each beat.
|
|
|
|
<P>
|
|
Note the definition for “S64”: “S32” could have been multiplied by
|
|
2, but, for illustrative purposes, “S1” has been multiplied by
|
|
64--same result either way.
|
|
|
|
<P>
|
|
When
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> multiplies an existing pattern it will (usually) do what
|
|
you expect. The start positions for all notes are adjusted to the new
|
|
positions; the length of all the notes are adjusted (quarter notes
|
|
become eighth notes, etc.). No changes are made to note offsets or
|
|
volumes.
|
|
|
|
<P>
|
|
<A HREF="#eg:sw8">This example</A> shows how to get a
|
|
swing pattern which might be useful on a snare drum.
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="#efefef" Border=3>
|
|
<tr><td Align="CENTER" BGColor="White">
|
|
<SPAN CLASS="textbf"><BIG CLASS="XLARGE">Swing Beat Drum Definition</BIG></SPAN> <A NAME="eg:sw8"></A>
|
|
</tr> </td>
|
|
<tr> <td >
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Begin Drum Define
|
|
<BR> SB8 1 2+16 0 90 ; 3.66 4+32 80
|
|
<BR> SB8 SB8 * 4
|
|
<BR>
|
|
End </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
<BR>
|
|
<BR> <SPAN CLASS="textbf">Sheet Music Equivalent, Normal Notation</SPAN>
|
|
|
|
<P>
|
|
<BR>
|
|
<BR>
|
|
<IMG WIDTH="95%" SRC="mupex/swingdrum8.png" ALT="Lost Image">
|
|
|
|
<P>
|
|
<BR>
|
|
<BR> <SPAN CLASS="textbf">Sheet Music Equivalent, Actual Rhythm</SPAN>
|
|
|
|
<P>
|
|
<IMG WIDTH="95%" SRC="mupex/swingdrum8-3.png" ALT="Lost Image">
|
|
|
|
|
|
</td> </tr>
|
|
</Table>
|
|
|
|
<P>
|
|
|
|
<P>
|
|
To see the effects of multiplying patterns, create a simple test file
|
|
and process it though
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> with the “-p” option.
|
|
|
|
<P>
|
|
Even cooler<A NAME="tex2html29"
|
|
HREF="#foot1667"><SUP><SPAN CLASS="arabic">4</SPAN>.<SPAN CLASS="arabic">10</SPAN></SUP></A> is combining a multiplier, and
|
|
existing pattern and a new pattern all in one statement. The following
|
|
is quite legal (and useful):
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Drum Define D1234 1 0 90 * 4 </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
which creates drum hits on beats 1, 2, 3 and 4.
|
|
|
|
<P>
|
|
More contrived (but examples are needed) is:
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Drum Define Dfunny D1234 * 2; 1.5 0 70 * 2 </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
If you're really interested in the result, run
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> with the “-p”
|
|
option with the above definition.
|
|
|
|
<P>
|
|
<A NAME="defshift"></A>
|
|
<P>
|
|
An existing pattern can be modified by <SPAN CLASS="textit">shifting</SPAN> it a beat, or
|
|
portion of a beat. This is done in a
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> definition with the
|
|
S<SMALL>HIFT</SMALL> directive. <A HREF="#eg:shift">This
|
|
example</A> shows a triplet pattern created to
|
|
play on beat 1, and then a second pattern played on beat 3.
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="#efefef" Border=3>
|
|
<tr><td Align="CENTER" BGColor="White">
|
|
<SPAN CLASS="textbf"><BIG CLASS="XLARGE">Shift Pattern Definition</BIG></SPAN> <A NAME="eg:shift"></A>
|
|
</tr> </td>
|
|
<tr> <td >
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Chord Define C1-3 1 3 90; \
|
|
<BR> 1.33 3 90; 1.66 3 90 </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
<BR>
|
|
<BR>
|
|
|
|
<P>
|
|
<IMG WIDTH="95%" SRC="mupex/trip1.png" ALT="Lost Image">
|
|
|
|
<P>
|
|
<BR>
|
|
<BR>
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Chord Define C3-3 C1-3 Shift 2 </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
<IMG WIDTH="95%" SRC="mupex/trip3.png" ALT="Lost Image">
|
|
|
|
|
|
</td> </tr>
|
|
</Table>
|
|
|
|
<P>
|
|
|
|
<P>
|
|
Note that the shift factor can be a negative or positive value. It can
|
|
be fractional. Just be sure that the factor doesn't force the note
|
|
placement to be less than 1 or greater than the T<SMALL>IME</SMALL> setting.
|
|
|
|
<P>
|
|
And, just like the multiplier discussed earlier you can shift patterns
|
|
as they are defined. And shifts and multipliers can be combined. So,
|
|
to define a series of quarter notes on the offbeat you could use:
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Drum Define D1234' 1 0 90 * 4 Shift .5 </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
which would create the same pattern as the longer:
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Drum Define D1234' 1.5 1 90; 2.5 1 90; 3.5 1 90; 4.5 1 90 </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
|
|
<P>
|
|
<BR><HR><H4>Footnotes</H4>
|
|
<DL>
|
|
<DT><A NAME="foot1692">... warning!).</A><A
|
|
HREF="node4.html#tex2html20"><SUP><SPAN CLASS="arabic">4</SPAN>.<SPAN CLASS="arabic">1</SPAN></SUP></A></DT>
|
|
<DD>The exception is
|
|
that R<SMALL>TIME</SMALL> may move the chord back into the bar.
|
|
|
|
</DD>
|
|
<DT><A NAME="foot1693">... fine:</A><A
|
|
HREF="node4.html#tex2html21"><SUP><SPAN CLASS="arabic">4</SPAN>.<SPAN CLASS="arabic">2</SPAN></SUP></A></DT>
|
|
<DD>The start offset is the value of the first of a pair
|
|
of swing eights plus a quarter <SPAN CLASS="textit">before</SPAN> the second beat.
|
|
|
|
</DD>
|
|
<DT><A NAME="foot1695">... tones.</A><A
|
|
HREF="node4.html#tex2html22"><SUP><SPAN CLASS="arabic">4</SPAN>.<SPAN CLASS="arabic">3</SPAN></SUP></A></DT>
|
|
<DD>See the supplied
|
|
G<SMALL>ROOVE</SMALL> “Bluegrass” for an example.
|
|
|
|
</DD>
|
|
<DT><A NAME="foot1458">... velocity</A><A
|
|
HREF="node4.html#tex2html23"><SUP><SPAN CLASS="arabic">4</SPAN>.<SPAN CLASS="arabic">4</SPAN></SUP></A></DT>
|
|
<DD>MIDI “note on” events are
|
|
declared with a “velocity” value. Think of this as the
|
|
“striking pressure” on a piano.
|
|
|
|
</DD>
|
|
<DT><A NAME="foot1463">... validity.</A><A
|
|
HREF="node4.html#tex2html24"><SUP><SPAN CLASS="arabic">4</SPAN>.<SPAN CLASS="arabic">5</SPAN></SUP></A></DT>
|
|
<DD>This is a feature that you probably don't want to
|
|
use, but if you want to ensure that a note is always sounded use a
|
|
very large value (e.g., 1000) for the volume. That way, future
|
|
adjustments will maintain a large value and this large value will
|
|
be clipped to the maximum permitted MIDI velocity.
|
|
|
|
</DD>
|
|
<DT><A NAME="foot1477">... outcomes.</A><A
|
|
HREF="node4.html#tex2html25"><SUP><SPAN CLASS="arabic">4</SPAN>.<SPAN CLASS="arabic">6</SPAN></SUP></A></DT>
|
|
<DD>What really happens is that
|
|
this definition is stored in a slot named “DRUM”.
|
|
|
|
</DD>
|
|
<DT><A NAME="foot1696">...
|
|
semitone.</A><A
|
|
HREF="node4.html#tex2html26"><SUP><SPAN CLASS="arabic">4</SPAN>.<SPAN CLASS="arabic">7</SPAN></SUP></A></DT>
|
|
<DD> Be careful using this feature ... certain
|
|
scales/chords may return non-musical results.
|
|
|
|
</DD>
|
|
<DT><A NAME="foot1699">...
|
|
order.</A><A
|
|
HREF="node4.html#tex2html27"><SUP><SPAN CLASS="arabic">4</SPAN>.<SPAN CLASS="arabic">8</SPAN></SUP></A></DT>
|
|
<DD>See the D<SMALL>IRECTION</SMALL> command
|
|
(<A HREF="node24.html#scale-direction">here</A>).
|
|
|
|
</DD>
|
|
<DT><A NAME="foot1701">... “color”</A><A
|
|
HREF="node4.html#tex2html28"><SUP><SPAN CLASS="arabic">4</SPAN>.<SPAN CLASS="arabic">9</SPAN></SUP></A></DT>
|
|
<DD>The color of a chord are items
|
|
like “minor”, “major”, etc. The current walking bass algorithm
|
|
generates acceptable (uninspired) lines. If you want something
|
|
better there is nothing stopping you from using a R<SMALL>IFF</SMALL> to
|
|
over-ride the computer generated pattern for important bars.
|
|
|
|
</DD>
|
|
<DT><A NAME="foot1667">... cooler</A><A
|
|
HREF="node4.html#tex2html29"><SUP><SPAN CLASS="arabic">4</SPAN>.<SPAN CLASS="arabic">10</SPAN></SUP></A></DT>
|
|
<DD>In this case the word “cool” substitutes for
|
|
the more correct “useful”.
|
|
|
|
</DD>
|
|
</DL>
|
|
<DIV CLASS="navigation"><HR>
|
|
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|
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<A NAME="tex2html450"
|
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HREF="node5.html">
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<A NAME="tex2html442"
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HREF="node3.html">
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<IMG WIDTH="63" HEIGHT="24" ALIGN="BOTTOM" BORDER="0" ALT="previous" SRC="prev.png"></A>
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<BR>
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<B> Next:</B> <A NAME="tex2html451"
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HREF="node5.html">Sequences</A>
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HREF="mma.html">Reference Manual</A>
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<B> Previous:</B> <A NAME="tex2html443"
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<ADDRESS>
|
|
bob
|
|
2010-11-07
|
|
</ADDRESS>
|
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</BODY>
|
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</HTML>
|