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816 lines
22 KiB
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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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<TITLE>Solo and Melody Tracks</TITLE>
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HREF="node11.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="tex2html465"
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HREF="node11.html">Automatic Melodies: Aria Tracks</A>
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<B> Up:</B> <A NAME="tex2html463"
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HREF="mma.html">Reference Manual</A>
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<B> Previous:</B> <A NAME="tex2html457"
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HREF="node9.html">Lyrics</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="tex2html466"
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HREF="node10.html#SECTION001010000000000000000">Note Data Format</A>
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<UL>
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<LI><A NAME="tex2html467"
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HREF="node10.html#SECTION001011000000000000000">Long Notes</A>
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<LI><A NAME="tex2html468"
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HREF="node10.html#SECTION001012000000000000000">Using Defaults</A>
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<LI><A NAME="tex2html469"
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HREF="node10.html#SECTION001013000000000000000">Other Commands</A>
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</UL>
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<BR>
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<LI><A NAME="tex2html470"
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HREF="node10.html#SECTION001020000000000000000">KeySig</A>
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<LI><A NAME="tex2html471"
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HREF="node10.html#SECTION001030000000000000000">AutoSoloTracks</A>
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<LI><A NAME="tex2html472"
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HREF="node10.html#SECTION001040000000000000000">Drum Solo Tracks</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="SECTION001000000000000000000"></A>
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<A NAME="chap-solo"></A>
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<BR>
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Solo and Melody Tracks
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</H1>
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<P>
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So far the creation of accompaniment tracks using drum and chord
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patterns has been discussed. However, there are times when chording
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(and chord variations such as arpeggios) are not sufficient.
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Sometimes you might want a real melody line!
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<P>
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> has two internal track types reserved for melodic lines. They
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are the S<SMALL>OLO</SMALL> and M<SMALL>ELODY</SMALL> tracks. These two track types
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are identical with two major exceptions:
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<P>
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<UL>
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<LI>S<SMALL>OLO</SMALL> tracks are only initialized once, at start up.
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Commands like S<SMALL>EQ</SMALL>C<SMALL>LEAR</SMALL> are ignored by S<SMALL>OLO</SMALL> tracks.
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<P>
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</LI>
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<LI>No settings in S<SMALL>OLO</SMALL> tracks are saved or restored with
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G<SMALL>ROOVE</SMALL> commands.
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<P>
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</LI>
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</UL>
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<P>
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These differences mean that you can set parameters for a S<SMALL>OLO</SMALL>
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track in a preamble in your music file and have those settings valid
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for the entire song. For example, you may want to set an instrument at
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the top of a song:
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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>Solo Voice TenorSax </B>
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</td></tr>
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</Table>
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<P>
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On the other hand, M<SMALL>ELODY</SMALL> tracks save and restore grooves just
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like all the other available tracks. If you have the following sequence
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in a song file:
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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>Melody Voice TenorSax
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<BR>
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Groove Blues
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<BR> ... musical data </B>
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</td></tr>
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</Table>
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<P>
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no one will be surprised to find that the M<SMALL>ELODY</SMALL> track
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playing with the default voice (Piano).
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<P>
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As a general rule, M<SMALL>ELODY</SMALL> tracks have been designed as a
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``voice'' to accompany a predefined form defined in a
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G<SMALL>ROOVE</SMALL>--it is a good idea to define M<SMALL>ELODY</SMALL> parameters
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as part of a G<SMALL>ROOVE</SMALL>. S<SMALL>OLO</SMALL> tracks are thought to be
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specific to a certain song file, with their parameters defined in the
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song file.
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<P>
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Apart from the exceptions noted above, S<SMALL>OLO</SMALL> and M<SMALL>ELODY</SMALL>
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tracks are identical.
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<P>
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Unlike the other available tracks, you do not define a sequence or
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pattern for a S<SMALL>OLO</SMALL> or M<SMALL>ELODY</SMALL> track. Instead, you specify
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a series of notes as a R<SMALL>IFF</SMALL> pattern. For example, consider the
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first two bars of ``Bill Bailey'' (the details of melody notation will
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be covered later in this chapter):
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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>Solo Riff 4c;2d;4f;
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<BR>
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F
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<BR>
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Solo Riff 4.a;8g#;4a;4c+;
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<BR>
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F </B>
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</td></tr>
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</Table>
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<P>
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In this example the melody has been added to the song file.
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<P>
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Specifying a R<SMALL>IFF</SMALL> for each bar of your song can get tedious, so
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there is a shortcut ...any data surrounded by curly brackets ``{
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}'' is interpreted as a R<SMALL>IFF</SMALL> for a S<SMALL>OLO</SMALL> or
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M<SMALL>ELODY</SMALL> track. This means that the above example could be
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rewritten as:
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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>F {4c;2d;4f;}
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<BR>
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F {4.a;8g#;4a;4c+;} </B>
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</td></tr>
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</Table>
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<P>
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By default the note data is inserted into the S<SMALL>OLO</SMALL> track. If
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more than one set of note data is present, it will be inserted into
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the next track set by the A<SMALL>UTO</SMALL>S<SMALL>OLO</SMALL>T<SMALL>RACKS</SMALL> command
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(<A HREF="#autosolotracks">here</A>).
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<P>
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<H1><A NAME="SECTION001010000000000000000">
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Note Data Format</A>
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</H1>
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<P>
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The notes in a S<SMALL>OLO</SMALL> or M<SMALL>ELODY</SMALL> track are specified as a
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series of ``chords''. Each chord can be a single note, or several
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notes (all with the same duration). Each chord in the bar is delimited
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with a single semicolon.<A NAME="tex2html42"
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HREF="#foot4027"><SUP>10.1</SUP></A>
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<P>
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Each chord can have several parts. All missing parts will default to
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the value in the previous chord. The various parts of a chord must be
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specified in the order given in the following table.
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<P>
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<DL>
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<DT><STRONG>Duration</STRONG></DT>
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<DD>The duration of the note. This is specified in the
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same manner as chord patterns; see
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<A HREF="node4.html#notelength">here</A> for details on how to
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specify a note duration.
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<P>
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</DD>
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<DT><STRONG>Pitch</STRONG></DT>
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<DD>The note in standard musical notation. The lowercase
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letters ``a'' to ``g'' are recognized as well as ``r'' to specify a
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rest (please note the exception for <I>Drum Solo Tracks</I>,
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<A HREF="#drumtype">here</A>).
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<P>
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</DD>
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<DT><STRONG>Accidental</STRONG></DT>
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<DD>A pitch modifier consisting of a single ``#''
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(sharp), ``&'' (flat) or ``n'' (natural). Please note that an
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accidental will override the current K<SMALL>EYSIG</SMALL> for the current
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bar (just like in real musical notation). Unlike standard musical
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notation the accidental <I>will</I> apply to similarly named notes
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in different octaves.
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<P>
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Please note that when you specify a chord in
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> you can use
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either a ``b'' or a ``&'' to represent a flat sign; however, when
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specifying notes for a S<SMALL>OLO</SMALL> you can only use the ``&''
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character.
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<P>
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</DD>
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<DT><STRONG>Octave</STRONG></DT>
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<DD>Without an octave modifier, the current octave specified
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by the O<SMALL>CTAVE</SMALL> directive is used for the pitch(es). Any number
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of ``-'' or ``+'' signs can be appended to a note. Each ``-'' drops
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the note by an octave and each ``+'' will increase it. The base
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octave begins with ``c'' below the treble clef staff.
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<P>
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</DD>
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<DT><STRONG>Volume</STRONG></DT>
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<DD>A volume can be specified. The volume is a string like
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``ff'' surrounded by ``<IMG
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WIDTH="33" HEIGHT="33" ALIGN="MIDDLE" BORDER="0"
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SRC="img2.png"
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ALT="$< >$">'' brackets. For example, to set the
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volume of a chord to ``very loud'', you could use the string
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<IMG
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WIDTH="19" HEIGHT="33" ALIGN="MIDDLE" BORDER="0"
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SRC="img3.png"
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ALT="$<$">ffff<IMG
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WIDTH="19" HEIGHT="33" ALIGN="MIDDLE" BORDER="0"
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SRC="img4.png"
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ALT="$>$"> in the chord specification
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(<A HREF="node16.html#sec-volume">here</A>) Of course, it is
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probably easier to set accented beats with the A<SMALL>CCENT</SMALL>
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directive (<A HREF="node16.html#accent">here</A>).
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<P>
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</DD>
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<DT><STRONG>Tilde</STRONG></DT>
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<DD>The tilde character, ~, can appear as the
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first or last item in a note sequence. As the last character it
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signals that the final note duration extend past the end of the bar;
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as the first character it signals to use the duration extending past
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the end of the previous bar as an initial offset. For details, see
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below.
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<P>
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</DD>
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<DT><STRONG>Null</STRONG></DT>
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<DD>You can set a ``ignore'' or ``do nothing'' chord with the
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simple notation ``<IMG
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WIDTH="33" HEIGHT="33" ALIGN="MIDDLE" BORDER="0"
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SRC="img2.png"
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ALT="$< >$">''. If this is the only item in the chord
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then that chord will be ignored This means that no tones will be
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generated, and the offset into the bar will not be changed. The use
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of the notation is mainly for tilde notation with notes held over
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multiple bars.
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<P>
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</DD>
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</DL>
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<P>
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To make your note data more readable, you can include any number of
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space and tab characters (which are ignored by
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> ).
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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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<B><FONT SIZE="+2">Solo Notation</FONT></B> <A NAME="eg:solo"></A>
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</tr> </td>
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<tr> <td >
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<IMG WIDTH="90%" SRC="mupex/soloeg.png" ALT="Lost Image">
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<P>
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<BR>
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<BR>
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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>KeySig 1b
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<BR>
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F { 4ca-; 2da-; 4fd; }
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<BR>
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F { 4.af; 8g#f; 4af; c+f; }
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<BR>
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F { 4ca-; 2da-; 4fc; }
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<BR>
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F { 1af; } </B>
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</td></tr>
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</Table>
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<P>
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</td> </tr>
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</Table>
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<P>
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<P>
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<A HREF="#eg:solo">This example</A> shows a few bars of
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``Bill Bailey'' with the
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> equivalent.
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<P>
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<H2><A NAME="SECTION001011000000000000000">
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Long Notes</A>
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</H2>
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<P>
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Notes tied across bar lines can be easily handled in
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> scores.
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Consider the following:
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<P>
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<DIV ALIGN="CENTER">
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<IMG WIDTH="90%" SRC="mupex/tilde.png" ALT="Lost Image">
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</DIV>
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<P>
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It can be handled in three different ways in your score:
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<P>
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<UL>
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<LI>
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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>F {4c;d;e;4+2f;}
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<BR>
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F {2r;2c;} </B>
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</td></tr>
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</Table>
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<P>
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In this case you
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> will generate a warning message since the
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last note of the first bar ends past the end of that bar. The rest
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in the second bar is used to position the half note correctly.
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<P>
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</LI>
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<LI>
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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>F {4c;d;e;4+2f~};
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<BR>
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F {2r;2c;} </B>
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</td></tr>
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</Table>
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<P>
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This time a ~ character has been added to the end of
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the first line. In this case it just signals that you ``know'' that
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the note is too long, so no warning is printed.
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<P>
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</LI>
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<LI>
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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>F {4c;d;e;4+2f~;}
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<BR>
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F {~2c;} </B>
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</td></tr>
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</Table>
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<P>
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The cleanest method is shown here. The ~forces the
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insertion of the extra 2 beats from the previous bar into the start
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of the bar.
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<P>
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</LI>
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</UL>
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<P>
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If you have a very long note, as in this example:
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<P>
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<DIV ALIGN="CENTER">
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<IMG WIDTH="80%" SRC="mupex/tilde2.png" ALT="Lost Image">
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</DIV>
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<P>
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you can have both leading and ending tildes in the same chord;
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however, to force
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> to ignore the chord you need to include an
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empty chord marker:
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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>C {4c;d;e;4+2f~;}
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<BR>
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C {~<>~;}
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<BR>
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C {~2c;} </B>
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</td></tr>
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</Table>
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<P>
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> has some built-in error detection which will signal problems if
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you use a tilde at the end of a line which doesn't have a note held
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past the end of the current bar or if you use a tilde to start a bar
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which doesn't have one at the end of the previous bar.
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<P>
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|
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<H2><A NAME="SECTION001012000000000000000">
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|
Using Defaults</A>
|
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</H2>
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|
The use of default values can be a great time-saver, and lead to
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confusion! For example, the following all generate four quarter note
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``f''s:
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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>Solo Riff 4f; 4f; 4f; 4f;
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<BR>
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Solo Riff 4f; f; f; f;
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<BR>
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Solo Riff 4f; 4; 4; 4;
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<BR>
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Solo Riff 4f; ; ; ; </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
|
|
<H2><A NAME="SECTION001013000000000000000">
|
|
Other Commands</A>
|
|
</H2>
|
|
|
|
<P>
|
|
Most of the timing and volume commands available in other tracks also
|
|
apply to S<SMALL>OLO</SMALL> and M<SMALL>ELODY</SMALL> tracks. Important commands to
|
|
consider include A<SMALL>RTICULATE</SMALL>, V<SMALL>OICE</SMALL> and O<SMALL>CTAVE</SMALL>.
|
|
Also note that T<SMALL>RANSPOSE</SMALL> is applied to your note data.
|
|
|
|
<P>
|
|
|
|
<H1><A NAME="SECTION001020000000000000000"></A> <A NAME="keysig"></A>
|
|
<BR>
|
|
KeySig
|
|
</H1>
|
|
|
|
<P>
|
|
If you are including S<SMALL>OLO</SMALL> or M<SMALL>ELODY</SMALL> tracks you should
|
|
set the key signature for the song:
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>KeySig 2b </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
The argument consists of a single digit ``0'' to ``7'' followed by a
|
|
``b'' or ``&'' for flat keys or a ``#'' for sharp keys.
|
|
|
|
<P>
|
|
As an alternate, you can use a musical name like ``F'' or ``G#''.
|
|
|
|
<P>
|
|
The optional keywords ``Major'' or ``Minor'' (these can be abreviated
|
|
to ``Maj'' or ``Min'' ... and case doesn't count) can be added to this
|
|
command. This will accomplish two things:
|
|
|
|
<P>
|
|
|
|
<OL>
|
|
<LI>The MIDI track Key Signature event will be set to reflect minor
|
|
or major.
|
|
|
|
<P>
|
|
</LI>
|
|
<LI>If you are using a musical name the proper key will be used.
|
|
|
|
<P>
|
|
</LI>
|
|
</OL>
|
|
|
|
<P>
|
|
Setting the key signature effects the notes used in S<SMALL>OLO</SMALL> or
|
|
M<SMALL>ELODY</SMALL> tracks and sets a MIDI Key Signature event.<A NAME="tex2html44"
|
|
HREF="#foot4032"><SUP>10.2</SUP></A>
|
|
<P>
|
|
To summarize, the following are all valid K<SMALL>EY</SMALL>S<SMALL>IG</SMALL> directives:
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>KeySig 2# Major
|
|
<BR>
|
|
KeySig 1b
|
|
<BR>
|
|
KeySig 0b Min
|
|
<BR>
|
|
KeySig F Min
|
|
<BR>
|
|
KeySig A Major </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
|
|
<H1><A NAME="SECTION001030000000000000000"></A> <A NAME="autosolotracks"></A>
|
|
<BR>
|
|
AutoSoloTracks
|
|
</H1>
|
|
|
|
<P>
|
|
When a ``{ }'' expression is found in a chord line, it is assumed to
|
|
be note data and is treated as a R<SMALL>IFF</SMALL>. You can have any number
|
|
of ``{ }'' expressions in a chord line. They will be assigned to the
|
|
tracks specified in the A<SMALL>UTO</SMALL>S<SMALL>OLO</SMALL>T<SMALL>RACKS</SMALL> directive.
|
|
|
|
<P>
|
|
By default, four tracks are assigned: <I>Solo</I>, <I>Solo-1</I>,
|
|
<I>Solo-2</I>, and <I>Solo-3</I>. This order can be changed:
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>AutoSoloTracks Melody-Oboe Melody-Trumpet Melody-Horn </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
Any number of tracks can be specified in this command, but they must
|
|
all be S<SMALL>OLO</SMALL> or M<SMALL>ELODY</SMALL> tracks. You can reissue this
|
|
command at any time to change the assignments.
|
|
|
|
<P>
|
|
The list set in this command is also used to ``fill out'' melody lines
|
|
for tracks set as H<SMALL>ARMONY</SMALL>O<SMALL>NLY</SMALL>. Again, an example:
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>AutoSoloTracks Solo-1 Solo-2 Solo-3 Solo-4
|
|
<BR>
|
|
Solo-2 HarmonyOnly 3Above
|
|
<BR>
|
|
Solo-3 HarmonyOnly 8Above </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
Of course, some voicing is also set ...and a chord line:
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>C {4a;b;c;d;} </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
The note data <I>{4a;b;c;d;} </I> will be set to the <I>Solo-1</I>
|
|
track. But, if you've not set any other note data by way of
|
|
R<SMALL>IFF</SMALL> commands to <I>Solo-2</I> and <I>Solo-3</I>, the note data
|
|
will also be copied to these two tracks. Note that the track
|
|
<I>Solo-4</I> is unaffected since it is <I>not</I> a
|
|
H<SMALL>ARMONY</SMALL>O<SMALL>NLY</SMALL> track. This feature can be very useful in creating
|
|
harmony lines with the harmonies going to different instruments. The
|
|
supplied file <TT><B>egs/harmony.mma</B></TT> shows an example.
|
|
|
|
<P>
|
|
|
|
<H1><A NAME="SECTION001040000000000000000"></A> <A NAME="drumtype"></A>
|
|
<BR>
|
|
Drum Solo Tracks
|
|
</H1>
|
|
|
|
<P>
|
|
A solo or melody track can also be used to create drum solos. The
|
|
first thing to do is to set a track as a drum solo type:
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Solo-MyDrums DrumType </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
This will create a new S<SMALL>OLO</SMALL> track with the name
|
|
<I>Solo-MyDrums</I> and set its ``Drum'' flag. If the track already
|
|
exists and has data in it, the command will fail. The MIDI channel 10
|
|
is automatically assigned to all tracks created in this manner. You
|
|
cannot change a ``drum'' track back to a normal track.
|
|
|
|
<P>
|
|
These is no limit to the number of S<SMALL>OLO</SMALL> or M<SMALL>ELODY</SMALL> tracks
|
|
you can create ...and it probably makes sense to have several
|
|
different tracks if you are creating anything beyond a simple drum
|
|
pattern.
|
|
|
|
<P>
|
|
Tracks with the ``drum'' setting ignore T<SMALL>RANSPOSE</SMALL> and
|
|
H<SMALL>ARMONY</SMALL> settings.
|
|
|
|
<P>
|
|
The specification for pitches is different in these tracks. Instead of
|
|
standard notation pitches, you must specify a series of drum tone
|
|
names or MIDI values. If you want more than one tone to be sounded
|
|
simultaneously, create a list of tones separated by commas.
|
|
|
|
<P>
|
|
Some examples:
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Solo-MyDrums Riff 4 SnareDrum1; ; r ; SnareDrum1; </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
would create a snare hit on beats 1, 2 and 4 of a bar. Note how the
|
|
second hit uses the default tone set in the first beat.
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Solo-MyDrums Riff 8,38;;;; </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
creates 4 hits, starting on beat 1. Instead of ``names''
|
|
MIDI values have been used (``38'' and ``SnareDrum1'' are identical). Note
|
|
how ``,'' is used to separate the initial length from the first tone.
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Solo-MyDrums Riff 4 SnareDrum1,53,81; r; 4 SideKick ; </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
creates a ``chord'' of 3 tones on beat 1, a rest on beat 2, and a
|
|
``SideKick'' on beat 3.
|
|
|
|
<P>
|
|
Using MIDI values instead of names lets you use the full range of note
|
|
values from 0 to 127. Not all will produce valid tones on all synths.
|
|
|
|
<P>
|
|
To make the use of solo drum tracks a bit easier, you can use the the
|
|
T<SMALL>ONE</SMALL> command to set the default drum tone to use (by default
|
|
this is a SnareDrum. If you do not specify a tone to use in a solo the
|
|
default will be used.
|
|
|
|
<P>
|
|
You can access the default tone by using the special Tone ``*''. In
|
|
the following example:
|
|
|
|
<P>
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
<tr><td>
|
|
<B>Begin Solo-Block
|
|
<BR> DrumType
|
|
<BR> Tone LowWoodBlock
|
|
<BR>
|
|
End
|
|
<BR> ...
|
|
<BR>
|
|
Solo-Block Riff 4r; SnareDrum; * ; ;
|
|
<BR> ...
|
|
<BR>
|
|
Solo-Block Riff 4;;;; </B>
|
|
|
|
</td></tr>
|
|
</Table>
|
|
|
|
<P>
|
|
The first solo created will have a rest on beat 1, a SnareDrum on beat
|
|
2 and LowWoodBlock on beats 3 and 4. The second will have LowWoodBlock
|
|
on each beat.
|
|
|
|
<P>
|
|
<BR><HR><H4>Footnotes</H4>
|
|
<DL>
|
|
<DT><A NAME="foot4027">... semicolon.</A><A
|
|
HREF="node10.html#tex2html42"><SUP>10.1</SUP></A></DT>
|
|
<DD>I have borrowed heavily from the
|
|
notation program MUP for the syntax used here. For notation I highly
|
|
recommend MUP and use it for most of my notation tasks, including
|
|
the creation of the score snippets in this manual. MUP is available
|
|
from Arkkra Enterprises, <TT><A NAME="tex2html43"
|
|
HREF="http://www.Arkkra.com/">http://www.Arkkra.com/</A></TT>.
|
|
|
|
</DD>
|
|
<DT><A NAME="foot4032">... event.</A><A
|
|
HREF="node10.html#tex2html44"><SUP>10.2</SUP></A></DT>
|
|
<DD>For
|
|
the most part, MIDI Key Signature events are ignored by playback
|
|
programs. However, they <I>may</I> be used in other MIDI programs
|
|
which handle notation.
|
|
|
|
</DD>
|
|
</DL><HR>
|
|
<!--Navigation Panel-->
|
|
<A NAME="tex2html464"
|
|
HREF="node11.html">
|
|
<IMG WIDTH="37" HEIGHT="24" ALIGN="BOTTOM" BORDER="0" ALT="next" SRC="next.png"></A>
|
|
<A NAME="tex2html462"
|
|
HREF="mma.html">
|
|
<IMG WIDTH="26" HEIGHT="24" ALIGN="BOTTOM" BORDER="0" ALT="up" SRC="up.png"></A>
|
|
<A NAME="tex2html456"
|
|
HREF="node9.html">
|
|
<IMG WIDTH="63" HEIGHT="24" ALIGN="BOTTOM" BORDER="0" ALT="previous" SRC="prev.png"></A>
|
|
<BR>
|
|
<B> Next:</B> <A NAME="tex2html465"
|
|
HREF="node11.html">Automatic Melodies: Aria Tracks</A>
|
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<B> Up:</B> <A NAME="tex2html463"
|
|
HREF="mma.html">Reference Manual</A>
|
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<B> Previous:</B> <A NAME="tex2html457"
|
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HREF="node9.html">Lyrics</A>
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<!--End of Navigation Panel-->
|
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<ADDRESS>
|
|
bob
|
|
2007-03-07
|
|
</ADDRESS>
|
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</BODY>
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</HTML>
|