Serban NichiforComposer, Teacher

Roumania, Bucarest

About the artist

http://www.voxnovus.com/composer/Serban_Nichifor.htm

Born: August 25, 1954, in Bucharest, Romania

Married to Liana Alexandra, composer: http://www.free-scores.com/partitions_gratuites_lianaalexandra.htm#

Studies

National University of Music, Bucharest, Doctor in MusicologyTheology Faculty, University of BucharestInternational courses of composition at Darmstadt, Weimar, Breukelen and MunchenUSIA Stipendium (USA)

Present Position

Professor at the National University of Music, Bucharest (Chamber Music Department);Member of UCMR (Romania), SABAM (Belgium), ECPMN (Holland)Vice-president of the ROMANIA-BELGIUM AssociationCellist of the Duo INTERMEDIA and co-director of the NUOVA MUSICA CONSONANTE-LIVING MUSICFOUNDATION INC.(U.S.A) Festival, with Liana ALEXANDRA

Selected Works

OPERA, SYMPHONIC, VOCAL-SYMPHONIC AND CONCERTANTE MUSIC:

Constellations for Orchestra (1977)Symphony I Shadows (1980)Cantata Sources (1977)Cantata Gloria Heroum Holocausti (1978)Opera Miss Christina (libretto by Mircea ELIADE,1981... (more online)Qualification: PROFESSOR DOCTOR IN COMPOSITION AND MUSICOLOGYPersonal web: http://romania-on-line.net/whoswho/NichiforSerban.htmAssociate: SABAM - IPI code of the artist : I-000391194-0

About the piece

Title: INTRODUCTION TO COMPUTER MUSIC [Compendium - Second Edition]

Composer: Nichifor, SerbanLicence: Copyright (c) by Serban NichiforPublisher: Nichifor, SerbanInstrumentation: Music theoryStyle: Contemporary

Serban Nichifor on free-scores.com

http://www.free-scores.com/Download-PDF-Sheet-Music-serbannichifor.htm

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SERBAN NICHIFOR

LIANA ALEXANDRA

INTRODUCERE IN COMPUTER MUSICCompendium

http://www.free-scores.com

SERBAN NICHIFOR

LIANA ALEXANDRA

INTRODUCEREIN COMPUTER MUSIC

Compendium

Editura Stephanus2009

http://www.free-scores.com

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SERBAN NICHIFOR

LIANA ALEXANDRA

INTRODUCERE IN COMPUTER MUSICCompendium

INTRODUCERE

Adresat in principal studentilor Universitatii Nationale de Muzica din Bucuresti, dar si tuturorcelor interesati in investigarea complexului fenomen „COMPUTER MUSIC“, acest compendiumincearca sa surpinda, intr-o imagine eminamente sintetica, coordonatele unui nou gen muzicalaflat in plina evolutie - cu consecinte majore in prezentul, dar mai ales viitorul artei sunetelor.Nascut, ca si jazz-ul, in atat de fecundul spatiu cultural nord-american (ponderea muzicienilordin U.S.A fiind de peste 90 % !), genul „Computer Music“ reprezinta acum o dimensiune unanimrecunoscuta – dinamica dezvoltarii sale fiind impresionanta, mai ales printr-o perpetuaexpansiune in cele mai inedite domenii ale cunoasterii, determinand si elaborarea unor proiecteinter-disciplinare – in planurile creatiei, interpretarii si cercetarii - imposibil de realizat cumijloacele traditionale. De aceea, prezentul compendiu nu poate avea un caracter exhaustiv – elreflectand in mod pragmatic, din perspectiva practicii muzicale, doar trei elemente constitutive,ce sunt structurate in capitolele: (A) „Evolutia mijloacelor de prelucrare a informatiei, cu aplicatiela arta sunetelor“, (B) “Elaborarea audio-numerica“ si (C) „Muzica de camera asistata decalculator“. Avand o configuratie interactiva (determinata si de evolutia extraordinar de rapida agenului, in multiplele lui ipostaze), compendium-ul evidentiaza in acest sens si o serie de legaturi(„links“-uri) cu unele dintre cele mai documentate surse de informare accesibile prin Internet.Dedic aceasta lucrare sotiei mele, distinsei compozitoare si profesoare Liana ALEXANDRA(http://www.romania-on-line.net/whoswho/AlexandraLiana.htm ).

- Capitolul A -EVOLUTIA MIJLOACELOR DE PRELUCRARE A INFORMATIEI, CU APLICATIE IN

ARTA SUNETELOR

- I.)– a.) Mijloace manuale in sistem zecimal: 1.) Abacul (inventat in China antica si preluat decultura greco-romana); 2.) Instrumentele de navigatie;- b.) Mijloace mecanice in sistem zecimal:1.) Rigla de calcul (1620, William Oughtred, logaritmi); 2.) Masina de calcul inventata deLeonardo da Vinci (sec.XV, operationala cu numere pana la 13 cifre); 3.) “Arca Musarithmica”-sintetizorul pneumatic (cu partitura montata pe un tambur-program) imaginat in 1640 deAthanasius Kircher (teoretician al manieristilor si autor al primei enciclopedii) in “MusurgiaUniversalis”; 4.) Masina de calcul inventata de Blaise Pascal (1642 – bazata pe adunare siscadere); 5.) Aritmometrul inventat de Gottfried von Leibnitz (1671 – cu cele 4 operatiiaritmetice) si perfectionat de Xavier Thomas (1820) si Charles Babbage (1822 – “AnalyticalEngine” - masina diferentiala cu cartele perforate, operationala pana la 8 secimale si capabila sagenereze structuri muzicale, asa cum remarca in 1847 Lady Ada Lovelace) - evoluand pana ladiferitele masini de calcul mecanice si electromecanice utilizate inclusiv in a doua jumatate a sec.XX (bazate pe principiul rotilor Odhner si pe stocarea informatiei pe banda de hartie perforata);6.) “Würfelspiel” (“Joc de zaruri”) de Wolfgang Amadeus Mozart (1756-1791) – primul experimentde aleatorism controlat in muzica (Appendix 3); 7.) Sisteme mecanice cu program: a.) Razboiul detesut cu cartele perforate (1802, Joseph Jacquard); b.) Echipamentul mecanografic cu cartele

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perforate inventat de americanul Herman Hollerith si folosit in 1890 la prelucrarea datelorreferitoare la recensamanatul populatiei din S.U.A.;- II.) Calculatoarele din generatia 0 (1931-1944), cu program si in sistem zecimal: 1.)calculatoarele electromecanice Z1 – Z3 (1931-1941, Konrad Zuse); 2.) calculatorul Colossus (cu2000 de tuburi electronice, realizat in 1943 la British Intelligence Establishement si utilizat indescifrarea codului secret german “Enigma”); 3.) calculatorul cu relee electromagnetice sicartele perforate ASCC (Automatic Sequence Controller Computer) realizat in 1937, laUniversitatea Harvard, de Howard Aitken si perfectionat cu sprijinul IBM in 1944, princalculatorul “Mark 1 Harvard” (primul calculator electromecanic complet automatizat si dirijatprin program – operational pana in 1949).- III.) Calculatoare electronice in sistem binar: - 1.) Calculatoarele electronice din generatia 1 (1946-1958), bazate pe o arhitectura sintetizatade americanul John von Neumann (in sistem binar si logica booreana): 1.) ENIAC/ElectronicNumerical Integrator and Calculator (1946, U.S.A., John V. Manchly, J. Presper Eckert, Johnvon Neumann – Universitatea Pennsylvania – operational pana in 1955); in anul 1957Departamentul Apararii din S.U.A. organizeaza initiaza proiectul ARPA, reprezentand primaretea cibernetica de comunicatii; 2.) UNIVAC-1/Universal Automatic Computer (1950, U.S.A. –primul calculator electronic comercializat); 3.) MANCHESTER MARK 1 (1948, Marea Britanie– cu program memorat): 4.) EDSAC/Electronic Digital Sequential Automatic Computer (1949,Universitatea din Cambridge – folosind efectiv primul sistem de operare); 5.) apar primelestudiouri de computer music – in 1957 la Bell Laboratories din Murray Hill (New Jersey), iar in1958 la Illinois University, unde este elaborata prima compozitie muzicala pe computer – “IlliacSuite” for string quartet (1956) de Lejaren Hiller si Leonard Isaacson; apar primele programe dinseria “MUSIC” realizate de Max Matthews la Bell Labs; 6.) in Romania – CIFA/CalculatorulInstitutului de Fizica Atomica, 1957), MECIPT (Institutul Politehnic din Timisoara) si DACICC1 (Institutul de Calcul din Cluj); - 2.) Calculatoarele electronice din generatia a II-a (1959-1963) - bazate pe tranzistori (in locultuburilor electronice) si pe limbajele de nivel inalt COBOL si FORTRAN – au fost realizate decompaniile americane Honeywell, IBM, Burroughs si Univac; in 1962, US Air Force realizeazaprima retea decentralizata (prin fragmentarea informatiilor trimise, ce sunt reasamblate, inordine, la receptor) ; in 1959 sunt infiintate “The Columbia-Princeton Electronic MusicCenter”(dotat cu un RCA Mark II Synthsizer si coordonat de Vladimir Ussachevsky, Otto Luening siMilton Babitt) si “The San FranciscoTape Music Center” (fondat de Morton Subotnick, RamonSender, Pauline Oliveros si Terry Riley – studioul fiind echipat cu sistemul electronic “100-series”proiectat de Donald Buchla); experimentele sonore realizate de Max Mathews la Bell Labs (cu RCAMark II si IBM 7090) sunt gravate pe discul “Music from Mathematics” (Decca DL 79103); aparnoi compozitii generate pe calculator - “Stochastic Quartet” de James Tenney (1963, Bell Labs) si“Computer Cantata” de Lejaren Hiller si Robert Baker (1963, Illinois University); in Romania aparcomputerele MECIPT II (Institutul Politehnic Timisoara), CET 500 5I.P.A. Bucuresti) siDACICC 200 (Institutul de Calcul din Cluj); - 3.) Calculatoarele electronice din generatia a III-a (1964-1970) – bazate pe circuite integrate,pe limbajele de nivel foarte inalt PASCAL, LISP si pe limbajele cu interfata grafica – au fostproduse in S.U.A. de firmele IBM (International Business Machines) si DEC (Digital EquipmentCorporation); la Princeton Studio apare “Quartets in Pairs” (1964) de J.K. Randall – o lucraremuzicala ce trateaza computerul ca instrument in timp real; la Bells Lab este elaborata – in bazaprogramului “MUSIC V” – lucrarea “Mutations I” (1969) de Jean-Claude Risset (relationandfrecventa si timbrul sonor), iar la”San FranciscoTape Music Center” sunt realizate 3 pieseantologice semnate de Morton Subotnick: “Silver Apples if the Moon” (1966), “The Wild Bull”(1967) si “Touch” (1968) – toate beneficiind de oportunitatile echipamentului Buchla; programul“MUSIC 360”, creat de Barry Vercoe la Princeton Studio, va determina si aparitia unor noi siimportante compozitii – “Synthesism” de Barry Vercoe (1969) si “Earth’s Magnetic Field” deCharles Dodge (1970 – lucrare bazata pe “diagrama Bartels”, ce ilustreaza schimbarile activitatiimagnetice a Pamantului); in aceasta perioada apar si sintetizatoarele analogice concepute de PaoloKetoff (“Syn-Ket” – utilizat de John Eaton) si Robert A. Moog (introdus de Walter/Wendy Carlos inmuzica populara) – sistemele acestora fiind ulterior comercializate pe scara larga de firmele ARP,Korg/Unicord, Oberheim,Roland si EML; in 1969 UCLA organizeaza reteaua ARPANET(precursoarea INTERNET-ului), la care se conecteaza principalele universitati americane; esteinfiintat – in cadrul Stanford University – renumitul Center for Computer Research in Music andAcoustics, sub coordonarea lui John Chowning (compozitor si inovator in domeniile modulatiei de

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frecventa si spatializarii); in cadrul cercetarilor efectuate la acest prestigios centru, compozitorulProf.Emeritus Leland Smith creeaza “SCORE”, primul program de redactare a partiturilormuzicale, ce este utilizat si astazi la cele mai importante edituri din lume; in Franta se infiinteaza inanul 1970, sub coordonarea compozitorilor Françoise BARRIERE si Christian CLOZIER, celebrul“Groupe de Musique Expérimentale de Bourges” (GMEB), devenit mai tarziu “InstitutInternational de Musique Electroacoustique de Bourges” (IMEB), cu o prodigioasa activitate indifuzarea muzicii electronice (festivaluri, concursuri, concerte, cursuri de specializare, editare dediscuri, etc.); in Romania au aparut calculatoare foarte performante, precum FELIX C-256(1971, realizat, dupa licenta franceza IRIS-50, la Fabrica de Calculatoare Electronice Felix dinBucuresti), CORAL- 4011 (minicalculator dupa licenta americana DEC, realizat de F.C.E.Felix-Bucuresti) si INDEPENDENT-I-100 (minicalculator proiectat integral la Institutul de Tehnica deCalcul din Bucuresti si realizat de F.C.E. Felix-Bucuresti); in domeniul interferentelor informaticiicu arta, se remarca contributiile extrem de pretioase datorate matematicienilor romani Grigore C.Moisil si Solomon Marcus, ce au colaborat in aceasta directie si cu importanti compozitori, precumAnatol Vieru si Aurel Stroe;- 4.) Calculatoarele electronice din generatia a IV-a (1971-prezent) – bazate pe microprocesoare(procesoare integrate intr-un circuit integrat – CIP, inventat in 1971 de americanul Marcian TedHoff si realizat de firma INTEL) – se numesc microcalculatoare, utilizand memoriile cu bulemagnetice, discurile optice, programe de tip ADA si programe orientate pe obiecte; in 1971, laBell Labs se experimenteaza sinteza digitala a vocii umane – printr-o tehnica originala aplicatapentru prima data in compozitia “Speech Songs” de Charles Dodge; in 1972, compozitorul JonAPPLETON impreuna cu inginerii Sydney ALONSO si Cameron JONES construiesc primulsintetizor digital – DDS (Dartmouth Digital Synthesizer) – perfectionat in 1976 prin seria“Synclavier”, dezvoltata in paralel cu “Con Brio ADS 200”, “Fairlight Computer MusicInstrument”, “Crumar General Development System” si “Alpha Syntauri” – toate acesteinstrumente oferind importante facilitati in travaliul componistic, dar si in domeniul performantei intimp real (“live/electronic music”); la Paris este infiintat – dupa redutabilul model oferit de catreStanford-CCRMA (www-ccrma.stanford.edu/planetccrma/) – mult apreciatul IRCAM (Institut deRecherche et Coordination Acoustique/Musique – www.ircam.fr ) condus, sub patronaj american, decompozitorul francez Pierre BOULEZ; deosebit de active sunt si institutiile similare din Belgia(renumitul Instituut voor Psychoacustica en Elektronische Muziek-IPEM din Gent, precum si numai putin notoriul Institut « Musiques & Recherches” din Bruxelles - www.musiques-recherches.org), Olanda (Institute of Sonology din Utrecht), Anglia (BBC Studio), Italia (RAI Studio), Polonia(Studio of Polish Radio), Ungaria (Studio of Radio Budapest), Germania (NWDR Studio din Köln)si Japonia (NHK Studio) – ce au urmat cu consecventa modelul american, ilustrand adevarataavangarda si in acest domeniu; in perioada 1972-1979, “Working Group” din S.U.A. (coordonatde Vinton Cerf) sintetizeaza fundamentele protocoalelor TCP (Transmission Control Protocol) siIP (Internet Protocol) referitoarele la transferurile de fisiere intre grupurile de dialog(“newsgroups”) si la posta electronica; din 1983 ARPANET-ul (la care s-au conectat institutiileguvernamentale, universitatile, bibliotecile si muzeele americane) ramane o retea exclusiv civila -Pentagonul utilizand propria retea MILNET; in perioada 1987-1993, INTERNET-ul (coordonatde MICHIGAN UNIVERSITY, de IBM si de MCI) se extinde catre Europa si apoi in intreagalume – prin aparitia WORLD WIDE WEB (www), ca sistem unanim recunoscut de navigare cuajutorul unor programe speciale (MOSAIC, NETSCAPE, INTERNET EXPLORER); tot inS.U.A se dezvolta principalele sisteme de operare pentru supercalculatoare (UNIX, cu extensiileBerkeley-1986 si cu programul derivat LINUX; realizat in 1991 de studentul Linus Torvalds),pentru mainframe-uri (IMB OS/400), pentru minicalculatoare (RSX11M, cu versiunearomaneasca MIX), pentru microcalculatoare IBM-PC (MICROSOFT-DISC OPERATINGSYSTEM/MS-DOS, din care a derivat seria WINDOWS) si Apple MacIntosh (Mac OS) si pentrucalculatoarele portabile miniaturizate (WINDOWS CE); apar in U.S.A. doua lucrari teoretice dereferinta in domeniul muzicii electro- acustice: “Electronic Music. Systems, Techniques, andControls” de Allen STRANGE si “Introduction To Electro-Acoustic Music” de Barry SCHRADER;in U.S.A., disciplina “Computer Music” este inclusa in programele curente de studiu ale celor maiimportante universitati si colegii, precum:- Stanford University-CCRMA www-ccrma.stanford.edu/planetccrma/;- MIT Media Lab http://sound.media.mit.edu ;- Brooklin College Center for Computer Music www.brooklyn.cuny.edu ;- Columbia-Princeton Electronic Music Center http://www.columbia.edu ;- Cal State Univ/Northridge Music http://www.csun.edu/~dwh50750/tech_classes/MUS191/;- Northwestern University http://faculty-web.at.nwu.edu/music/webster/D34/;

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- Rutgers University http://mmlweb.rutgers.edu/imtmw.html;- Furman University http://www.furman.edu/~dkoppelm/Tech/17/mus17.html;- Dartmouth College - Bregman Electronic Music Studio http://music.dartmouth.edu ;- University of Northern Colorado http://arts.unco.edu/musictech/mus209/index.html;- SUNY Plattsburgh http://faculty.plattsburgh.edu/richard.davies/courses/mus_305syl.htm;- Univ of Southern Cal http://www-rcf.usc.edu/~kds/courses/mued_452.pdf;- Southwest Texas State http://147.26.106.74/tech/MusTechsyllabus.html;- Lebanon Valley College http://csunix1.lvc.edu/~snyder/mme803/mtfesyl.htm;- Louisiana Tech Univ. http://performingarts.latech.edu/music/MusicTechnology/TechnologySyllabusLankford.html;- Metropolitan State College of Denver http://clem.mscd.edu/~worster/mtech1/1900syl.html;- Unversity of Washington http://depts.washington.edu/smccweb/courses/400/syl.html;- Kennesaw State University http://ksumail.kennesaw.edu/~lsherr/2100syllabus.html;- Palomar College http://www.palomar.edu/performingarts/midilab/music180.html;- University of Illinois,Champaign-Urbana http://www-camil.music.uiuc.edu/classes/210/syllabus/syllabus.html;- Brown University http://www.brown.edu/Departments/Music/Music11/syllabus.html;- University of Texas at San Antonio http://music.utsa.edu/technology/mat/;- University of South Carolina http://www.music.sc.edu/ea/mued/mued554/syllabus.html;- University of Wisconsin at Whitewater http://facstaff.uww.edu/craggsj/techsyl.html;- Northern State University (Aberdeen, SD) http://lupus.northern.edu:90/wieland/mus321.htm;- Eastern Kentucky University http://www.music.eku.edu/faculty/davis/Mus584Syllabus.html;- Cal State, Chico http://www.csuchico.edu/~seppanen/103/syllabus103.pdf;- Auburn University http://www.auburn.edu/~wallski/CTM650/CTM650syllabus.html;- Radford University http://www.runet.edu/~rscohen/Music127/syllabus.htm;- McMurray http://cs1.mcm.edu/~dshea/comped.html;- Case Western Reserve University http://www-midischool.cwru.edu/MUSC308/syllabus.html;- Dordt College (IA) http://homepages.dordt.edu/~hduitman/musicstudent/musictechnology.html;- Alma College http://www.alma.edu/academics/music/mus215/syllabus.htm;- Youngstown State University http://www.fpa.ysu.edu/music/crist/came.pdf;- Georgia State University http://www.trombonelessons.com/syllabus.html;- East Carolina State http://www.music.ecu.edu/courses/6300/6300syllabus.html;- University of North Carolina, Greensboro http://www.uncg.edu/~vltrolli/courses.html;- Elmhurst College (IL) http://www.elmhurst.edu/~markh/musicedtech/;- Central Michigan State http://blackboard.cmich.edu:80/bin/common/course.pl?course_id=_39_1&frame=;- University of Delaware http://amy.music.udel.edu/faculty/mmorgan/index.html;- Berklee School of Music http://classes.berklee.edu/mbierylo/mtec111.html;- Flordia State University http://otto.cmr.fsu.edu/%7Emus2360/Schedules/Syllabus.html;- James Madison University http://www.lib.jmu.edu/users/cockbuba/mus150/;- Peabody http://mambo.peabody.jhu.edu/%7Emdboom/itc/;- University of Montevallo http://www.cfa.montevallo.edu/mtech/Su2000/mu676/syllabus.htm;- SUNY at Stonybrook http://www.sinc.sunysb.edu/Class/lta208/syllabus.html;- University of California at Irvine http://www.arts.uci.edu/music/mzed/Music_51/M51_syllabus.html;- University of Central Florida http://pegasus.cc.ucf.edu/~jgardner/m&t.html;- University of Michigan http://www-personal.umich.edu/~msimoni/Sp98PAT201.html;- Alma College http://academics.alma.edu/music/mus214/syllabus.html;- Penn State University Music http://www.courses.psu.edu/courseweb/courses/index.cgi?course=music497d_meb26;- University of Hawaii at Manoa http://www.outreach.hawaii.edu/programs/2001/EVENT-L04269.htm;- Dakota State University http://www.homepages.dsu.edu/mortensd/MUS_600/MUS600syl.htm;- St. Cloud State http://www.stcloudstate.edu/~slmiller/101syllabus.htm;- St. Olaf College http://www.stolaf.edu/people/hamlin/elmus/em99/syllabus.htm;- Univ. of Texas San Antonio http://multimedia.utsa.edu/index-mp.html;- New York University http://www.nyu.edu/classes/gilbert/cai/ ;- University of Michigan http://www-personal.umich.edu/~msimoni/F97PAT441.html;- UC Berkeley http://media2.bmrc.berkeley.edu/classes/m198/;- Northwestern http://www.northwestern.edu/musicschool/classes/webAuthoring/;- University of Utah http://www.finearts.utah.edu/artstech/FA3000/index.html;- Loyola New Orleans http://music.loyno.edu/cd/mugnm450.pdf;- University of Houston http://www.uh.edu/~tkoozin/techseminar.html;

compozitorul Dwight WINENGER infiinteaza in U.S.A renumita “LIVING MUSICFOUNDATION” (http://www.e-universe.com/lmfhome/ ) - unul dintre cele mai importante centreinternationale de promovare a muzicii noi (inclusiv in genul “Computer Music”) , ce este coordonatactualmente de catre compozitorul si profesorul Charles Norman MASON; dintre membrii L.M.F.mentionam pe Liana ALEXANDRA, Charles ARGERSINGER, Christy BANKS, Rusty BANKS,Heskel BRISMAN, Madeline BYRNE, Barry L. COHEN, Dinos CONSTANTINIDES, GeorgeCRUMB, Greg D´ALESSIO, David DEL TREDICI, Aurelio DE LA VEGA, Carlos DELGADO,Emma Lou DIEMER, Violeta DINESCU, Donna Kelly EASTMAN, Grant FLETCHER, LukasFOSS, Orlando GARCIA, David McGUIRE, Dorothy HINDMAN, Craig HULTGREN, LadislavKUBIK, Dennis KAM, Hye Kyung LEE, David LIPTAK, Tom LOPEZ, Serban NICHIFOR, RodneyOAKES, Pauline OLIVEROS, Aaron J. RABUSHKA, Bruce REIPRICH, Wieslaw RENTOWSKI,Andrew RINDLFLEISCH, Elliott SCHWARTZ, Nicolas SLONIMSKY, Gregg SMITH, Erich H.STEM, Augusta READ THOMAS, Catherine TOWBIN, Mary Jeanne VAN APPLEDORN, David

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VAYO, Rob VOISEY, Olly WILSON, Paul WITNEY, Scott WYATT; in anul 1984 se infiinteazanumai putin celebra SOCIETATEA DE MUZICA ELECTRO-ACUSTICA DIN STATELEUNITE/THE SOCIETY FOR ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES-SEAMUS (http://seamus.Isu.edu ), avand ca presedinte fondator pe compozitorul BarrySCHRADER, profesor la California Institute of the Arts; sunt dezoltate noi programe speciale deredactare a partiturilor (CAKEWALK, ENCORE, FINALE, NOTE WORTHY, MUSIC WRITE,MUSIC PUBLISHER si INTELLISCORE – printre altele - in S.U.A.; MOZART si SIBELIUS inAnglia; PIZZICATO in Belgia), precum si numeroase programe de editare muzicala, in bazasistemelor de operare WINDOWS (ca de pilda bogata serie a aplicatiilor elaborate de firmeleamericane SONIC FOUNDRY, REAL, DIGIDESIGN si ADOBE, precum si de firma germanaMUSICMATCH) si APPLE (in aceasta directie recentul program american “MetaSynth” ilustrandnoi modalitati de convertire a imaginii in sunet); in Noiembrie 2003 se desfasoara in Romaniaprimul festival de COMPUTER MUSIC, coordonat de compozitorii Liana ALEXANDRA si SerbanNICHIFOR in cadrul Universitatii Nationale de Muzica din Bucuresti, sub genericul “NUOVAMUSICA CONSONANTE-LIVING MUSIC FOUNDATION” – fiind prezentate lucrari apartinandunor compozitori din U.S.A. (Ben BIERMAN, George BRUNNER, Madelyne BYRNE, ChrisCHAFE, Douglas COHEN, Bob FANELLI, Matthew HAY, John J.A. JANNONE, Peter KIRN,Tom LOPEZ, Miguel MACIAS, Charles Norman MASON, David McGUIRE, Rodney OAKES,Marco OPPEDISANO, Udi PLADOTT, Mark PRIEST, Patricia REPAR, Barry SCHRADER,Martin SIMON, Dirk Johan STROMBERG, Robert VOISEY, Dwight WINENGER, AmnonWOLMAN), Belgia (Kris DE BAEDERMACKER, Joris DE LAET, Raoul DE SMET, TodorTODOROFF, Dick VEVLEMANS, Wilfried WESTERLINCK), Anglia (David WEBBER), Italia(Gianluca CANGEMI) si Romania (Liana ALEXANDRA, Octavian NEMESCU, SerbanNICHIFOR, Livia TEODORESCU, Sever TIPEI, Dan VOICULESCU); apare pe Internet primulcurs interactiv in domeniul “MUSIC AND COMPUTERS”, conceput la Darmouth College(U.S.A.)– sub coordonarea compozitorului si profesorului Jon APPLETON – de catre Phil BURK,Larry POLANSKY, Douglas REPETTO, Mary ROBERTS si Dan ROCKMORE.

(http://eamusic.dartmouth.edu/~book/MATCpages/tableofcontents.html ); Facultatea deInterpretare Muzicala din cadrul Universitatii Nationale de Muzica din Bucuresti initiaza, in anuluniversitar 2003-2004, primul curs de Computer Music din Romania;

- 5.) Calculatoarele electronice din generatia a V-a se bazeaza pe dezvoltarea -incepand din1981, in S.U.A. si in Japonia - a inteligentei artificiale dupa modelul uman (interfata vocala,sensibilitate vizuala, auditiva, tactila) - ele fiind inca in faza experimentala. O alta dimensiuneeste determinata de perspectivele fascinante ale INTERNET-ului. In prezent, redutabilulcompozitor si profesor Chris CHAFE – director al Stanford- CCRMA – a initiat impresionantulexperiment SoundWIRE, utilizand o serie de aplicatii originale ale sistemului LINUX in realizareape INTERNET a unor legaturi audio complexe (permitand, de pilda, interpretilor sa cante impreunain timp real, de la mari distante, in conditii acustice ideale – realizandu-se astfel un proces deaudio-teleportare !). In acest context, aplicandu-se standardul ping (ca metoda de testare aconectivitatii computerelor, ce consta in masurarea RTT=round trip time), s-a observat ca reteaua(respectiv, INTERNET-ul) reactioneaza la fluxul (traficul) variabil de mesaje ca o coarda muzicala(avand lungimea direct proportionala cu distanta dintre cele doua computere conectate) – aceastacoarda virtuala producand (la excitarea ei prin mijloace specifice tehnicii SoundWIRE) diferitesunete (waves) in functie de “modul de atac” prin ping-uri in real-time. Inaltimea (deci frecventa=f)acestor sunete este invers proportionala cu RTT-ul ping-ului:

f = 1/sR’ , unde s = {1 : R<5ms k : R>5ms} k = 0,025.

(cf. Chris CHAFE and Randal LEISTIKOW – Levels of Temporal Resolution in Sonification ofNetwork Performance, CCRMA,Music Department,Stanford University,Stanford, CA USA94305, cc@ccrma.stanford.edu randal@ccrma.stanford.edu )

Reteaua (INTERNET-ul) devine astfel si un autentic instrument muzical ce executa o partituraconceputa prin conectarea specifica a doua computere aflate la o distanta cat mai mare (pentru ase sintetiza o coarda virtuala cat mai ampla ca spectru armonic) – compozitia rezultata fiinddifuzata public in timp real. Totodata, tehnica SoundWIRE reprezinta si o confirmare aviabilitatii perceptiei holistice quasi-acustice a Universului – demonstrand o data in pluscaracterul cosmogonic al Vibratiei Transcendentale.

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- Capitolul B -ELABORAREA AUDIO-NUMERICA

1.) PROLEGOMENE

- Ciclul creatiei prin analogie (in perspectiva panenteista si prin reductie fenomenologica):DUMNEZEU (« LOGOSUL CREATOR », « MARELE ARHITECT AL UNIVERSULUI ») >Continuumul realitatii informational-energetice (« Panarmonios Kosmou Sintaxis », « MusicaCaelestis » - cf. Appendix 2) > Creatia Muzicala (componistica si interpretativa) > CreatiaInstrumentala > Creatia Electro-Acustica > Computer Music.

- Definirea Informatiei : a.) ontologic (sub aspect existential) = componenta a traidei« informatie-energie-materie » ( ca principiu universal) ; b.) cibernetic (matematic, prin analogieformala) = cantitatea de noutate (dependenta si de gradul de interes al receptorului) ;epistemologic (prin cunoastere stiintifica) = componenta a dihotomiei « realitate-informatie »(realitatea manifestandu-se prin informatie in procesul delimitarii « adevar/eroare ») ; semiotic(sub aspectul logicii simbolice) = un ansamblu logic de semne (sau « semnificanti ») purtatoare desensuri (sau « semnificati »), in contextul comunicarii.

- Comunicarea Muzicala : DUMNEZEU – CREATORUL >[comunicarea unui Sens Mistic,soterilogic –exprimat prin Semn Divin]> Compozitor >[a.) decodificarea quasi-hermeneutica aSemnului Divin prin descoperirea « irationala » (pnevmatologica) a Sensului Mistic(« mysterium tremendum »); 2.) codificarea Sensului Mistic in semn grafic muzical (partitura), prin procesul de « creatie componistica »; 3.) comunicarea partiturii (in manuscris sau prinintermediul editorului)]> Interpret [a.) decodificarea partiturii (rationala la nivel formal,intuitiva/« irationala » la nivel conceptual) si decelarea Sensului Mistic-muzical; b.) codificareaSensului Mistic-muzical in semn acustic (sunet), prin procesul de « creatie interpretativa » ; c.)comunicarea interpretarii (prin concert sau inregistrare)] > Public [a.) decodificarea individuala(in functie de cultura muzicala, dar si de intuitie) a semnului acustic in Sens Mistic ; b.)asimilarea personala dar si in comuniune (« ab alio in alis ») a Sensului Mistic al muzicii inprocesul soteriologic al perfectionarii spirituale, conform Planului Divin].

- Dimensiuni sonore : 1.) fizice (obiective) : spatiul sonor [frecventa (audibilila la om : 1620000Hz) x amplitudine (perceptibila/suportabila la om : de la 10 la puterea –16 W/cm² pana la12 W/cm²) x structura spectrala (« naturala » si « artificiala » - acustica/electroacustica) xlocatie (inchisa/deschisa)] x timpul fizic-infinit (‘’, ’, h, d, m, y, etc.) ; 2.) muzicale (subiective) :spatiul muzical [inaltime (netemperata - in sistemele extraeuropene si in cele europene desorginte pitagoreica ; temperata in sistemul european occidental, incepand din sec.al XVIII-lea) xintensitate (relativa : ppppp-fffff, valorile depinzand de sursa, stil, acustica topos-ului, etc.) xtimbru (vocal, instrumental-acustic/electroacustic, mixt) x topos (amplasamentul sursei :scenic/extra-scenic, mono-/stereo-/qudrofonic/panoramic/multi-dimensional)] x timpul muzical-finit : ritm, agogica, forma [evolutiva/non-evolutiva ; repetitiva/non-repetitiva ; catenata (mono-/bi-/tri-/tripentapartite/rondo/suita/forma “mozaic”)/contrastanta (sonata) ; variationala/meta-(ana-)morfotica ; monodica/polifonica/heterofonica; omogena/mixta ; inchisa/deschisa; supra-/juxtapusa ; determinista/stochastica (aleatorie - controlata/necontrolata) ; micro-/macrostructurala (de la celula, motiv, fraza, perioada, sub-sectiune si sectiune la parte si intreg)].

- Evolutia Muzicii Electro-Acustice: 1.) Tape Music (Musique Concrète; Electronic (Acousmatic)Music (Synthesizer Music: - analog-RCA, Buchla, Moog, Korg, etc.; - digital-Synclavier,

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Yamaha, etc.)]; 2.) Live-Electronic Music (Tape and Instruments; Electronics and Instruments);3.) Computer Music (Bell Labs, Princeton Studio, CCRMA, IRCAM, etc.)]; 4.) Cyber-Art(Digital Music; Computer Animation/Audio-Visual Effects; Interactive Art; Net Vision(SoundWIRE Project-CCRMA, etc.).- Calculul algoritmic in sinteza audio-numerica :1.) Daniel CUMMEROW: „The Sound of Mathematics“ [combinari (triunghiul lui Pascal),constante (e, pi, omega, numarul lui Ramanujan), functii (phi-Euler, mu-Möbius, functiitrigonometrice), numere (Niven, prime, tripletii primitivi ai lui Pitagora), siruri (fluturele luiLorenz, sirul lui Fibonacci, sectiunea de aur)] (www.geocities.com/Vienna/9349/ ;daniel.cummerow@stockholm.mail.telia.com);2.) Chris K. CALDWELL :"Prime Number Listening Guide"(www.utm.edu/research/primes/programs/music/listen/);3.) Ivars PETERSON: Dancing chaos (MAA Online, Jan. 11, 1999), Prime listening (MAAOnline, June 22, 1998) –The Mathematical Association of America (webmaster@maa.org ,ip@sciserv.org );4.) José Oscar MARQUES: "The Strange Beauty of Fractal Music"(www.midiworld.com/c/jmarques.htm);

- 2.) SINTEZA SUNETULUI DIGITAL

- Tipuri de sunete electro-acustice (waveforms/waveshapes): sinusoidal (sine - ~), “dinti deferastrau” (sawtooth – I\), rectangular (square – I_I) si triunghiular (triangle - /\) .- Anvelopa sunetului: Attack-Decay-Sustain-Release (ADSR).- Conversia sunetului: ADC sau A->D = “Analog to Digital Conversion” [transformarea imaginiiacustice in imagine numerica binara (0 si 1)]; DAC sau D->A = “Digital to Analog Conversion”[transformarea imaginii numerice binare (0 si 1) in imagine acustica]. Sunetul analog are uncaracter continuu, iar cel digital este gradual, format din “trepte” succesive de informatii(numite “samples”) - a caror viteza este direct proportionala cu fidelitatea (calitatea)reproducerii; astfel, “Teorema Nyquist” a stabilit ca respectiva viteza (“sampling rate” sau“sampling frequency” - masurata in Hz) trebuie sa aiba o valoare cel putin dubla in raport cucea mai inalta frecventa cuprinsa in semnalul sonor.- Sampling frequency: Unitatea de masura a informatiei in teoria statistica a comunicatiei este“BIT”-ul (ca prescurtare a “Binary digIT”). [Considerand doua evenimente cu probabilitatiegale de realizare, BIT-ul reprezinta informatia obtinuta asupra unui eveniment prin realizareasa, sau incertitudinea asupra evenimentului inlaturata prin realizarea sa.] Multiplii BIT-uluisunt: 4 bits = 1 nibble; 8 bits = 2 nibbles = 1 byte; 16 bits = 2 bytes = 1 word; 1024 bits = 1kilobyte (K) ; 1000 K = 1 megabyte (MB) ; 1000 MB = 1 gigabyte (GB) ; 1000 GB = 1 terabyte(TB) . Formula standard de reproducere sonora (utilizata si in realizarea CD-urilor audio) esteaceea a unei viteze (“sampling frequency” sau “sampling rate”) de 44100 Hz la 16 bits [conform“Teoremei Nyquist” enuntate mai sus, “sampling frequency” de 44100 Hz este raportata la pragulauditiv superior (la om), ce este situat la cca 20000 Hz]. NB - data fiind constitutia exclusivnumerica a sunetului digital, imaginea sonora este perfect conservata, eliminandu-se zgomotelecomplementare ce apar in cazul inregistrarilor analoge.- Dimensiunile audio si compresia digitala: o secunda de muzica reprodusa in formatul standard“audio-CD Stereo” este alcatuita din doua “samples” (cate unul pentru fiecare canal) de 16-bit (=2 bytes) totalizand asadar 4 bytes derulati cu viteza de 44100 Hz – consumand in consecinta unspatiu de 176.400 bytes (= 176,4 kilobytes). Un minut va consuma asadar 10. 584 kilobytes (=10,584 MB), iar o ora – 635,04 MB. In aceste conditii, necesitatile transmiterii muzicii peInternet au determinat realizarea unor noi formate audio ce sunt comprimate dupa algoritmispecifici. De pilda, aplicand principiul de codificare “mu-law” (conform caruia auzul uman estemult mai sensibil la schimbarile joase de amplitudine decat la cele inalte), formatul MP3 reducespatiul ocupat de fluxul sonor “citindu-l” printr-o grila cu numai 256 de elemente.

- 3.) TIPURI DE FISIERE DIGITALE AUDIO

ACID Project Files (acd, acd-bak), ACID Projekt With Embedded Media (acd-zip), Ad LibSample (smp), Amigo SVX (svx, iff), Audacity projects (aup), Audition Loop (cel), CAKEWALKFiles (wrk, bun), CD Audio (cda), Covox V8 (v8), Creative Labs VOC (voc), Dialogic VOXADPCM (vox), Gravis Patch (pat), ENCORE File (enc),FINALE Coda Notation File (mus),

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FINALE ENIGMA Transportable File (etf), FINALE Coda Template File (ftm), InterVoice(ivc),IRCAM Files (snd), Main Concept MPEG 1 (mpg, mpeg, m1a), Main Concept MPEG 2(mpg, mpeg, m2a), Macintosh Audio Interchange File Format/AIFF (aif, snd), MacintoshResource (snd), Macromedia Flash (swf),MIDI SDS (sds), MIDI Files – Format 1 [all instrumentssaved to separate tracks] si Format 2 [all instruments saved into a single track] (mid, smf, rmi),MidiScan File (mnd), MOZART File (mz), MP3 Audio (mp3), Mp3PRO FhG (mp3), OggVorbis(ogg), Music Write 2000 File (mwk), NeXT/Sun (Java) File (au, snd), NoteWorthy Composer(nwc), PIZZICATO File (piz), QuickScore File (qsd), Quick Time (mov, qt, dv, gif), Raw File(raw),RealMedia (rm, ra), RealNetwork G2 (rm), RHAPSODY File (rhp), Sample Vision (smp),SmartScore File (fin), SCORE File (pge, pag, mus), SIBELIUS File (sib), SIBELIUS Scorch WebPage (htm), Sonic Foundry (sfr), Sound Designer 1 (dig, sd), Sounder/Sound Tool (snd), Videofor Windows (avi), Tune Smithy Fractal Tunes (ts),TwinVQ ver 2.0 format (vqf), WindowsMedia Audio (wma), Windows Media Format (asf), NIFF (Notation Interchange File Format -format standard pentru notatia muzicala).

- 4.) PRINCIPALELE FISIERE DIGITALE AUDIO UTILIZATE IN ACEST CURS:-

- MIDI [Musical Instrument Digital Interface] (mid) a aparut in 1983 (lansarea sa a avutloc la Los Angeles – The First North American Manufacturers Show) si cuprinde: (1)Protocolul de comunicatii (limbajul codificat in forma binara), (2) Conectorul (interfatahardware – ce este de tipul „5 pins DIN MIDI“) si (3) Formatorul de distributie „StandardMIDI Files“ ( SMF sau „mid“), ce contine „Status Byte“ (format din „Note On“, „NoteOff“, „System Exclusive“/„SysEx“ si „Path Change“) configurat in „Chains“ si „Loops“distribuite pe cele 16 canale – „MIDI Chanels 0-15“ – fie in forma mixata intr-un singurtraiect („MIDI O“), fie in cea spatializata pe 16 voci separate („MIDI 1“). Fisierul estefoarte redus, iar celelalte coordonate (dinamica, timbrul, panoramarea) sunt mobile,putand fi precizate de catre utilizator – aceste aspecte constituind principalele diferente inraport cu celelalte tipuri de fisiere audio (wav, mp3, aiff, rm, etc.), ce sunt cu mult maivoluminoase (deci mai greu de transmis prin Internet) si au toti parametrii inamovibili.Formatul MIDI are numeroase aplicatii: instrumente muzicale electronice, sintetizoaredigitale, sequencers, programe de redactare muzicala („MIDI Notation Software“ – ca depilda „MOZART“, „FINALE“, „CAKEWALK“, „SIBELIUS“, etc.), „MIDI ShowControl“ (in spectacole), „MIDI Machine Control“ (in studiourile de inregistrari) – toateputand fi interconectate prin noile protocoale „GENERAL MIDI 1“ (GM1 din 1991) si„GENERAL MIDI 2“ (GM2 din 1999) stabilite de catre „MIDI ManufacturersAssociation Incorporated“ din Los Angeles.- WAVE (wav) – formatul standard audio-digital necomprimat CD-DA [aplicat inrealizarea CD-urilor – format CD-Audio (cda)], ce a fost asimilat in sistemele de operareMICROSOFT WINDOWS. Este formatul cel mai voluminos (1 minut = 10 MB –contraindicat asadar in transmisiile prin Internet), dar si cel mai fidel sub aspect acustic– fiind singurul format utilizat in procesul de editare a CD-urilor.In sistemul Macintosh, formatul standard necompresat (deci echivalentul formatului“Wave” din Windows) este “AIFF” (Audio Interchange File Format).- MP3 [MPEG I – layer 3 Audio Codec] (mp3, mpeg, mpg) este unul dintre cele maieficiente si mai populare fisiere de compresie audio - “compresia Hoffman” utilizataimplicand analizarea muzicii prin grila pragurilor de audibilitate umana (2 Hz – 20 KHz)si eliminarea elementelor inaudibile. Marimea fisierului este determinata de numarul dekilobiti per secunda (8, 16, 18, 20, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256,320 kbps – configuratia optima - in raportul fidelitate/dimensiune - fiind cea de 128 kbps).Acest tip de fisier este format din milioane de cadre, fiecare cadru continand titlul (deidentificare a punctelor de reper), eticheta (cu informatii despre muzica respectiva) sidatele propriu-zise (compresate si inregistrate sub forma de biti). O alternativa free la MP3 este reprezentata de formatul “Ogg Vorbis”(marcat prin sufixul “ogg”).

- 5.) PROGRAME DE CONVERTIRE UTILIZATE IN ACEST CURS:

- MIDI-WAV (Midi2Wav Demo - www.midi2wav.com );

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- WAV-MIDI (IntelliScore Poliphonic Demo – www.intelliscore.net; AmazingMIDI Demo - www.pluto.dti.ne.jp/~araki/amazingmidi/);

- WAV-MP3-WMA (Shuffler Music Convertor – www.illustrate.org ; MusicMatch JukeboxDemo - http://mmjb.musicmatch.com ; Sound Forge 4.5 Demo - www.sonicfoundry.com ;ACID Pro 4.0 Demo - http://sonicfoundry.com/acid ; Adobe Audition 1.0 Demo -www.adobe.com/audition );

- WAV-AIFF si WAV-OggVorbis-WAV (Audacity 1.2.0.-pre2 Free Digital Audio Editor –www.sourceforge.net )

1 minut de muzica stereo = 10 MB WAV = 10 MB AIF = 973 KB OGG = 950 KB WMA (128kbps) = 937 KB MP3 (128 kbps) = 253 KB AUD (Audacity Projects) = 122 KB RM (16 kbps).

1’ WAV = 1’ AIF = 10,27’ OGG = 10,53’ WMA (128 kbps) = 10,67’ MP3 (128 kbps) = 39,53’AUD = 82’ RM (16 kbps) = 1100,1’ MIDI (format 0) = 10 MB.

- 6.) PROGRAME MUZICALENB - Prezentul compendium are un caracter strict didactic. Programele de calculator analizate fac obiectul dispozitiilorlegale (interne si internationale) in materie de copyright – utilizarea lor impunand respectarea conditiilor specificate deproducatori pe site-urile indicate la fiecare software.

- a.) Programe de redactat partituri (Music Notation Programs):ABC, Braeburn Software products (Noteworthy 2, Music Publisher, Music Publisher 32),Brahms (Koobase), Cakewalk family, Capella, CodaMusic products (Finale, Finale Allegro,PrintMusic), CSound, CuBase, Graphire, Music Press , GVOX products (Encore, MusicTimeDeluxe), Igor , LilyPond , Lime , Melody Assistant , MidiScore , Mosaic , Mozart , MTX , MUP ,Muse , Musicator , MusicEase , MusicWrite , MusiXTeX , NIFF , Nightingale , NoteworthyComposer , Object Composer , Opcode products (Fermata, Studio Vision Pro 4.5.1, Vision DSP4.5.1 – pentru Macintosh -, la www.opcode.com) , OpusTeX , Personal Composer , PMX ,Rosegarden , Sibelius, Sionsoft (QuickScore Elite 9.0, Copyst 6.0).(cf. http://www.mulveyfamily.com/Katy/Music/Notation/contents.html)

Site-urile principalelor programe: Mozart (www.mozart.co.uk), Finale (www.codamusic.com),Sibelius (www.sibelius.com), Score (www.scoremus.com , http://ace.acadiau.ca/score si adresaautorului Prof. Leland SMITH lcs@ccrma.stanford.edu), Encore (www.gvox.com), Pizzicato (www.arpegemusic.com), Sion QuickScore Elite(www.sionsoft.com), Nightingale Music NotationSoftware for Macintosh Entrance (www.ngale.com), MusEdit Powerful Notation Software(www.musedit.com) , Music Publisher (www.braeburn.co.uk), NoteWorthy(www.braeburn.demon.co.uk), MusicWrite Professional (www.voyetra-turtle-beach.com),NoteWorthy Composer (www.noteworthysoftware.com) , Opcode (www.opcode.com), Sionsoft(www.sionsoft.com ), OpusTeX (ftp://ftp.tex.ac.uk/incoming/opustex/arwork), Csound, Rosegardensi SNDAN (www.csound.com), NIFF (Notation Interchange File Format) Notation File Standard(www.musitek.com/niff.html), Lime Notation Software (www.cerlsoundgroup.org )

- b.) Programe audio de fonotecare (Music Editors):AudioEdit Deluxed , Digitonix Element, DubIt, FruityLoops , Midi Quartet , Midi Works,Mobius, Music Publisher 32, QUARTET X2 Music Studio, Song Writer, TablEdit TablatureEditor, XG-Gold, Blaze Media Pro, ezMP3edit, MP3 Audio Mixer,MP3 File Editor, AdvancedMP3 Cutter, AAA Wave , Ace of WAV 2.6, Acoustic Labs Mixer 2.5 , Adobe Audition , AllEditor 2.2 , Anvil Studio 2003 , Audio Edit 3.4 , AudioEdit Deluxe , AVI Splitter , AVS AudioUtilities , Blaze Audio RipEditBurn , Blaze Media Pro , BlazeAudio Wave Creator , BPS AudioConverter Pro , Cakewalk, Claudio Complete luxury audio recorder with MP3 , Cool Edit 20001.1 , Cool Edit Pro 2.0 , DART XP, Digidesign, GoldWave, MagicScore, n-Track Studio, WaveSplitter, Midi Tracker, Sound Forge, Native Instruments, Propellerhead, Steinberg, etc.(cf. http://www.freefunfiles.com) Site-urile principalelor programe: Sound Forge (www.sonicfoundry.com), Pro Tools(www.digidesign.com), Audacity (http://audacity.sourceforge.net), MusicMatch Jukebox(http://www.musicmatch.com), Real (www.real.com), Cakewalk (www.cakewalk.com), VoyetraDigital Orchestrator Pro (www.voyetra.com),

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Adobe Audition (www.adobe.com), Magix (www;magix.com).

Alte site-uri cu programe muzicale : www.rocketdownload.com, www.zdnet.com,www.hitsquad.com, www.sonicspot.com, www.asp-shareware.org, www.square1music.com,http://garbo.uwasa.fi, www.freefunfiles.com , www.simplythebest.net/shareware/music .

PROGRAME AUDIO IN SISTEMUL DE OPERARE LINUX(Audio software for LINUX)

Majoritatea sunt prezentate pe site-ul http://linux-sound.org/ , cele mai utilizate fiind :- Ardour (free software multi-channel – http://ardour.sourceforge.net/ ) ;- FinalScratch (generator de sunete ce ruleaza atat pe Linux cat si pe MacOS X –

www.finalscratch.com/fs4 / ) ;- MusE (sequencer MIDI/Audio pe Red Hat, ce proceseaza date MIDI controland device-urile

de sunet - realizat la Center for Computer Research in Music and Acoustics (CCRMA) -Department of Music, Stanford University (USA) -www.ccrma.stanford.edu/planetccrma/software/ ) ;

- Rosegarden 4 (editor de partituri, de tip KDE3 – bazat pe bibliotecile « kdelibs3 » - www.all-day-breakfast.com/rosegarden/ ) ;

- Sweep (editor de sunet - inclus in distributia « SuSE 8.2 » - utilizat pentru post-procesareainregistrarilor digitale prin lectorul virtual « Scrubby » -www.metadecks.org/software/sweep );

- NoteEdit (editor de partituri si sintetizor de instrumente muzicale virtuale – inclus indistributia « SuSE » - http://rnvs.informatik.tu-chemnitz.de/~jan/noteedit/noteedit.html );

- FluidSynth (sintetizor software bazat pe samples/ «wavetable synthesis » -www.fluidsynth.org ) ;

- AlsaModularSynth [sintetizorul software ALSA (« Advanced Linux Sound Architecture »)utilizeaza module pre-definite, precum MCV (« MIDI Controlled Voltage Supply » - ceconverteste timbrele MIDI in valori de tensiune), VCO (« Voltage Controlled Oscillator » -generator de sunete determinate de valorile de tensiune), PMC (« Pulse Code Modulation » -converter analog/digital si digital/analog, ca interfata pentru difuzoare) si VCA (« VoltageControlled Amplifier » - amplificator bazat pe valorile de tensiune) -http://alsamodular.sourceforge.net/

- NB – revista « LINUX MAGAZIN » (www.linux-magazin.ro ) Nr.4/Decembrie 2003 (pag.21-35) include o prezentare amanuntita a acestor noi programe audio.

PROGRAME AUDIO IN SISTEMUL DE OPERARE MACINTOSH(Apple MacIntosh – Mac OS Audio Software)

Numeroase programe specifice pot fi procurate pe Internet, ca de pilda pe site-ulwww.hitsquad.com/smm/mac , atat in categoria « Music Notation » (Cubase Score 5 ; Lime MusicNotation Software 8.08 ; NoteAbility Pro v.1.996 ; ScoreWriter 2 ; Sibelius 3.1 ; Finale 2003 ;Vivaldi Gold Mac ; Sonata 4.0, etc.), cat si in categoria « Audio Editors » [Ableton Live 3.0.2(real-time audio production) ; Amadeus II 3.6.1 (direct-to-disk sound editor and analyser withMP3 support) ; Audacity 1.1.1 for Mac (free cross-platform miti-track sound editor) ; SoundSculptor II (multi-track sound editor), Peak(http://eamusic.darmouth.edu/masters.courses/Music24/software.htmp ), etc.].

PROGRAME AUDIO IN SISTEMUL DE OPERARE WINDOWS(Windows Audio Software)

NB- Sunt prezentate doar programe disponibile in versiunile „Free“ si „Demo“

- a.) PROGRAME MIDI DE REDACTARE MUZICALA

„MOZART VIRTUOSO 6“ THE MUSIC PROCESSOR BY DAVID WEBBER© David WEBBER 1994-2004http://www.mozart.co.ukdave@mozart.co.uk484 Warrington Rd., Culcheth, Warrington, WA3 5RA, UK

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FUNCTIILE PROGRAMULUI „MOZART 6“I.) GENERALE- File: New (+ Template: None, Alto Sax Jazz Quartet, Brass Band, Brass, Quintet, Clarinet andPiano, Clarinet Choir, Clarinet Jazz Quartet, Clarinet Quartet, Crumhorn Quartet, defaultPart., Fake Book, Flute and Piano, Flute Jazz Quartet, Guitar, Jazz Band 1, Jazz Band 2, Oboeand Piano, Orchestra [2 Fl., 2 Ob., 1 C:I:, 2 Cl., 1 Cl.B., 2 Fg., 4 Hr., 3 Trbe, 3 Trbn., Tuba,Timp., 2 Perc., Archi = 29 staves], Piano solo, Recorder Consort, Recorder Quartet, Sax Quartet,Solo bass clef, Solo treble cleff, Song Sheeet, Soprano Sax Jazz Quartet, String Quartet, TenorSax Jazz Quartet, Trombone and Piano, Trumpet and Piano, Trumpet Jazz Quartet, Viola andPiano, Violin and Piano, Voice and Piano, Wind Band, Wind Octet, Wind Quintet), Open ,Import (Open clipboard,Play in new piece, Re-import played-in piece, Import MIDI), Print Setup,Stop playing, Exit.- View: Tool bars, Keyboard shortcuts, Colour scheme, Global preferences: Metronome,Chordsymbols,Autosave,Settings,Music,Playback,MIDI echo, MIDI port. - Help: Mozart help topics, Search for help, Lesing help,Command list,Editingcommands,Getting started,Tip of day,Optaining support,About Mozart.

II.) SPECIALE- File: New, Open, Close, Save, Save as, Import (Open clipboard,Play in new piece, Re-import

played-in piece, Import MIDI)), Export (Save MIDI, Save MIDI as, Save Template),Duplicate, Print, Print preview, Print setup, Play (Play & track, Play, Play & track forword,Play forword), Send, Exit.

- Edit: Undo, Redo, Cut Copy, Paste, Copy image, Copy print image, Insert bars, Delate bars, Cutbars, Insert beat, Delate beat, Select all staves, ,Select whole piece, Go to bar.

- View: Music font, Zoom in, Zoom out, Tool bars, Keyboard shorcuts, Visible music items,Colour scheme, Global preferences, MIDI options, Swing, MIDI in connection, MIDI outconnection, Tune properties, Refresh.

- Item: Note (Enter note, Enter rest, Sharpen, Flatten, Accidental, Enharmonic, Enharmonicdefault, Dot, Double dot, Octave up, Octave down, Pitch, Convert to note, Convert to rest),Partition (Merge notes, Split note (#), Split note (‘), Split note (\), Multiplet, Triplet, Soublet,Remove multiplet), Tails (Joint, Invert, Default direction, Flip note head), Accents (Accent,Attack, Staccato, ,Tenuto, Open, Closed, Pause, Accent below, Attack below, Staccato stem,Tenuto stem, Pause below), Ornaments (Trill, Mordent, Inverted Mordent, Turn, InvertedTurn, Appoggiatura, Grace note, Reiteration-0,1 /, 2 //, 3 ///), Phrasing (Phrase mark, Phrasemark below, Tie, Tie…, Invert Tie), Bar lines (Bar line, Repeat, Final bar line, Line break,Music break, Number, Rehearsal mark, First time. Second time), Dynamics (fz, fff, ff, f, mf,mp, p pp ppp, cresc., dim., swell, fade), Symbol (Chord symbol, Chord repeat, Text, Downbow, Up bow, Pedal, Pedal off, Break, Tempo), Control (Mute, Unmute), Properties (Offset,Hide/Show, Properties), Spacing (Insert, Compress end).

- Bar: Joint Tails, Invert Tails, Default Tails direction, Accidents, Enharmonic default, Octaveup, Octave down, Compress bar, Whole bar repeat (./.), Whole bar rest, n bar rest, Pad withrests.

- Score: Transpose piece, Key, Time signature, Tempo, Stave, Clef, Instrument, Concert octave(up, down), Combine strands, Separate strands, Score layout, Lyric lines (Add lyric line, Removelyric line, Move lyric line up, Move lyric line down), Style options (Chord symbols, Clefs),Written pitch.

- Layout: Titles, Page format, Music font, Bar numbering, Print empty stave, Justify.- Window: New window, Cascade, Title, Arrange items, Close all, Next window, Previous

window, n Mozart n.- Help: Mozart help topics, Search for help, Lesing help,Command list,Editing

commands,Getting started,Tip of day,Optaining support,About Mozart.-OPERATII CURENTE1.) O noua lucrare:

File-New- precizand Template/Formatul de solist sau ansamblu pre-existent, Key/Tonalitate,Time/Masura, Tempo -OK; apoi:Layout Titles (precizand Title/Titlu, Composer/Compozitor, Reference/Denumirea si/saucaracterul Tempo-ului);

- sau:File-New- precizand Template <None>, Staves (Portative) “n” (de la 1 la 64)-OK; apoi

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Score-Clef/Cheie,Instrument,Score layout (precizand Score si Style), eventual Lyric lines; apoi:Layout Titles (precizand Title/Titlu, Composer/Compozitor, Reference/Denumirea si/saucaracterul Tempo-ului);

2.) O lucrare pre-existenta:File-Open; sau File-Import MIDI.

3.) Redactarea textului muzical:Scrierea efectiva a notelor implica urmatoarele trei operatii: precizarea duratei (longa = 0, notaintraga = 1, doimea = 2, patrimea = 3, optimea = 4, saisprezecimea = 5, etc.), precizarea inaltimiicu butonul stang al mouse-ului (sau cu tastele de orientare sus/jos/stanga/dreapta, sau cuclaviatura virtuala ce apare in imaginea programului) si fixarea notei prin apasarea tastei despatiu a keyboard-ului. Pentru stergerea rapida a unei note se utilizeaza tastele de orientare siapoi tasta Delete, iar pentru stergerea mai multor note, acestea se selecteaza cu mouse-ul, dupacare se apasa aceeasi tasta Delete. Pentru anularea unei/unor masuri se utilizeaza comanda Edit-Delete bars, iar pentru adaugarea unei/unor masuri - comanda Edit-Insert bars.

4.) Alte operatii frecvente:

ItemPartitionMultiplet (pentru formule ritmice exceptionale), ItemTails (pentru orientarea“cozilor”), ItemAccents (pentru accente), Item Ornaments (pentru ornamente), ItemPhrasing(pentru indicarea legaturilor de frazare), ItemBarline (pentru barele de masura, de repetitie,precum si pentru bara finala), ItemDynamics (pentru nuante), ItemSymbolText (pentru texteleintegrate in partitura, ca de pilda indicatiile de expresie), ScoreTranspose (pentru transpunerealucrarii). Schimbarile de tonalitate, masura, tempo si chei se realizeaza cu comenzile din Score:Key, Time signature, Tempo si, respectiv, Clef.Transpunerile la octava superioara sau la ceainferioara - prin comenzile din Bar: Octave up si Octave down, numerotarea masurilor - princomanda Layout - Bar numbering, repetarea masurilor ("lenesii") - prin Bar-Whole bar repeat,extragerea stimelor - prin File-Duplicate, iar tiparirea – prin File-Print.Explicatii suplimentarese pot obtine prin activarea functiei Help, sau prin accesarea site-ului www.mozart.co.uk

Functiile programuluiFINALE 2003

The Art of Music Notation© 2002 by MakeMusic! IncCoda Music Technologies

www.codamusic.com

“Keyboard Shortcuts and Special Mouse Clicks”(material extras din “Finale User Manual”)

- File Menu:New (Ctrl-N),Open (Ctrl-O),Close (Ctrl-W),Save (Ctrl-S),Import (Ctrl-I),PrintScore (Ctrl-P),Quit (Alt-F4); - Edit Menu:Undo )Ctrl–Z),Redo (Ctrl–Y),Undo List (Ctrl-shift–Z),Cut (Ctrl–X),Cut-createClip file (Press ctrl when choosing Cut),Cut-display Items to Clip dialog box (Press shift whenchoosing Cut),Cut-create Clip file and specify items (Press ctrl-shift when choosing Cut),Copy(Ctrl–C),Copy-create Clip file (Press ctrl when choosing Copy),Copy-display Items to Clip dialogbox (Press shift when choosing Copy),Copy-create Clip file and specifyitems (Press ctrl-shiftwhen choosing Copy),Insert-insert from a Clip file (Press ctrl when choosing Insert),ReplaceEntries Ctrl-V),Replace Entries-paste from a Clip file (Press ctrl when choosing Replace EntriesSelect All Ctrl-A),Update Layout (Ctrl–U),Update Layout and remove measure groupings (Pressshift when choosing Update Layout); - View Menu:Page View (Ctrl-E),Scroll View (Ctrl-E),Home Position (Home key),End Position(End key),Redraw Screen (Ctrl–D),View at 400% (Ctrl–4),View At 200% (Ctrl–2),View At 100%(Ctrl–1),View At 75% (Ctrl–7),View At 50% (Ctrl–5),View At X % (Ctrl–0),View At Last Size(Double-right-click on the score),Define a Staff Set (Press Ctrl when choosing Staff Set-in ScrollView only),Change layers (Alt-Shift-layer number 1-4);

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- General Keyboard Shortcuts: OK all open dialog boxes (Ctrl-click the OK button),Cancel allopen dialog boxes (Ctrl-click the Cancel button), Redraw Interrupt (Esc),Apply a Metatool (Pressa number or letter and click the score),Program a Metatool (Press shift-number or shift-letter),Program a keyboard equivalent for a tool (Press shift-Function key F2-F12),Switch to atool you’ve programmed (Press Function key F2-F12),Select Yes or No in dialog boxes (Type Nfor “no” and Y for “Yes”),Move to top of page/score (Page Up),Move to bottom of page/score(Page Down),Next or Previous Page (Ctl-PageUp or Ctl-PageDown),Change layers (Alt-Shift-layer number);

- Articulation Tool:Display the Articulation Selection dialog box (Click on, above, or below anote or rest that doesn’t have an articulation attached, or click on a note whose articulationhandles are visible,OR drag-enclose a group of notes),Display articulation handle (Click a note towhich an articulation has been attached),Select an ( Click, or shift-click the handle),Move anarticulation (Drag the handle -ctrl-drag the handle to move without using dynamicdrawing),Delete an articulation (Select the handle and press delete, or right-click the handle andselect Delete from the contextual menu. Drag-enclose a group of notes while holding delete todelete articulations on all the notes),Display the Articulation Designer dialog box (Double-clickan articulation handle, or right-click the handle and select Edit Articulation Definition from thecontextual menu); - Chord Tool:Display positioning arrows (Click the staff - but not on a note or rest),Display theChord Definition dialog box (Click a note with no chord symbol attached - with Manual Inputselected in the Chord Menu -, or double-click a chord symbol handle,or right-click the handleand select Edit Chord Definition from the contextual menu),Display a handle on chord symbols(Click a note with a chord symbol attached or select Show All Chord Handles from the ChordMenu -when Manual Input is selected in the Chord Menu), Delete a chord symbol (Select thehandle and press delete, or right-click the handle and select Delete from the contextualmenu),Move a chord symbol (With Manual Input selected in the Chord Menu, drag thesymbol handle or ctrl-drag the handle to move without using dynamic drawing),Input chordsymbols using MIDI keyboard (With MIDI Input selected click a note and play chord on theMIDI keyboard),Analyze chord in one or two staves (With One- or Two-Staff Analysis selected inthe Chord Menu, click on a note in the chord); - Clef Tool:Display the Change Clef dialog box (Click a measure without a mid-measure clef),Display handles in mid-measure clefs (Click a measure with a mid-measure clef),Adjust the mid-measure clef position (Drag the handle of the mid-measure clef),Delete a mid-measure clef (Selectthe handle and press delete, or right-click the handle and select Delete from the contextualmenu),Change a mid-measure clef to another clef (Double-click the mid-measure clef’s handleand drag left or right, or right-click the handle and select Edit Clef Definition),To insert anothermid-measure clef (Double-click in the measure),Display the mid-measure clef dialog box (Ctrl-click a mid-measure clef’s handle, or right-click the handle and select Edit Clef Definition fromthe contextual menu); - Expression Tool:Display the Expression Selection dialog box (Double-click on, above, orbelow a measure or note that doesn’t have an expression attached),Display an expression handles(Click on a measure or note with an xpression attached - when show all handles is notselected);Select an expression handle (Click, or shift-click to select multiple handles or press ctrl-A to select all available handles),Move selected expressions (Drag the selected handles),Moveselected expressions without using dynamic drawing (Ctrl-drag the selected handles),Deleteselected expressions (Press delete, or right-click the handle and select Delete from the contextualmenu),Resize a shape expression (Double-click an expression handle, or right-click the handleand select Edit Score Shape Expression Graphically from the contextual menu),Display the TextExpression Designer dialog box (Double-click an expression handle - text expression -, or right-click the handle and select Edit Text Expression Definition from the contextual menu),Displaythe Shape Expression Designer dialog box (Ctrl-double-click an expression handle - shapeexpression -, or rightclick the handle and select Edit Shape Expression Definition from thecontextual menu),Display the Measure or Note Expression Assignment dialog box (Shift-double-click an expression handle, or right-click the handle and select Edit Expression Assignment fromthe contextual menu); - Graphics Tool:Align Left (Ctrl-Shift- [ -left square bracket),Center Horizontally (Ctrl-Shift-' -apostrophe), Align Right Ctrl-Shift- ] -right square bracket),Align Top (Ctrl- - -minus),Center Vertically (Ctrl-Shift- = -equals),Align Bottom Ctrl-Shift- - -minus),Place agraphic in the Shape Designer (Click in the Shape Designer display area, the Place Graphics

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dialog box appears),Select a graphic or graphics (Click a graphic or drag-enclose graphics, shift-click a graphic),Display the Graphic Attributes dialog box (Ctrl-Shift- T or double-click agraphic),Place a graphic in the score (Double-click in the score, the Place Graphics dialog boxappears),Select a region containing the musical example to Export (Double-click and drag toenclose a region in Page View),Delete the selected graphics (Press delete for one or more selectedgraphics),Adjust the graphic’s position in the score (Drag a selected graphic),Resize the graphichorizontally or vertically (Drag a graphic’s bounding handle); - Hand Grabber Tool:Temporarily switch to Hand Grabber Tool (Press the right-button); - HyperScribe Tool:Indicate where to begin transcription (Click a measure), End HyperScribe in themiddle of measure (Ctrl-click anywhere on the score); - Transription Tool:Display the Transcription window (Click a measure or ctrl-click a measure if youhad Transcribe in Measures selected while transcribing),Transcribe a measure at a time (Click a measurewith Transcribe in Measures selected); - Lyrics Tool:Click Assign lyrics one syllable at a time (Click within the staff lines at theposition of the note),Click Assign lyrics all at once (Ctrl-click within the staff lines at the positionof the first note),Display a Word Extension handle(Click within the staff lines at the position ofthe sustained syllable With), Edit Word Extension selected from the Lyric Menu),Move SyllablesClick within the staff lines at the position of the syllable with Adjust Syllables selected from theLyric Menu),Move to the previous or next verse, chorus or section(“up arrow” or “downarrow” using Type into Score),Left Justify syllable (Ctrl- [ -left square bracket),Right Justifysyllable (Ctrl- ] -right square bracket), Center Justify syllable (Ctrl- ' -apostrophe),Align syllableblock to the Left (Ctrl-Shift- [ -left square bracket),Center syllable block Horizontally (Ctrl-Shift- ' -apostrophe),Align syllable block to the Right Ctrl-Shift- ] -right square bracket); - Mass Edit Tool:Display the Fit Measures dialog (Ctrl- M -with measures selected in PageView),Lock currently selected systems (L),Unlock currently selected systems (U),Select a measureor measures (If “Select Partial Measures” is selected in the Edit Menu, doubleclick a measure; If“Select Partial Measures” is off, a single click selects a measure; drag-enclose a region),Extend aselection of measures vertically (Double-click a selected measure to include the entire verticalmeasure “stack” -that measure in all staves; If “Select Partial Measures”is turned on, the firstdouble-click selects a single full measure, and the second double-click selects the measure stack;Shift-click a measure or a beat within a measure),Extend a selection of measure horizontally toend or beginning(While holding down Shift, press”right arrow” or “left arrow”. If “SelectPartial Measures”is turned on, Shift-“right arrow” or Shift-“left arrow” selects the end orbeginning of the measure, then to the end or beginning of the score),Select a staff or staves Clickto the left of a staff; Shift-click to the left of a staff to extend the selection),Move or Copy aselected section of music (Drag the region so it is superimposed on the beginning of an unselectedregion, which elements and whether you are moving or copying are selected in the Mass EditMenu before you drag; Ctrl-shiftclick the place where the selected elements should be copied ormoved to),Display the Items to Clip dialog box (Press ctrl or shift while choosing Cut or Copyfrom the Edit Menu),Display the Paste dialog box (Press ctrl while choosing Insert or ReplaceEntries in the Edit Menu),Delete selected music (Press delete),Move selected measures to theprevious or next staff system(“up arrow” or “down arrow”),Erase selected music (Pressbackspace),Cancel a Mass Edit operation (Press esc), Implode Music -displays the Implode Musicdialog box(Select the measures you want to affect, then press 1 on your computerkeyboard),Drag-Implode Music for multiple staves -displays the Implode Music dialog box(PressI while dragging selected measures to their destination),Drag-Explode Music for multiple staves -displays the Explode Music dialog box (Select the measures you want to affect, then press 2 onyour computer keyboard),Explode Music -displays the Explode Music dialog box(Press E whiledragging selected measures to their destination),Respace notes, lyrics, and accidentals -ApplyBeat Spacing command - using the settings in Document Options-Music Spacing (Select themeasures you want to affect, then press 3 on your computer keyboard),Respace notes, lyrics, andaccidentals - Apply Note Spacing command - using the settings in Document Options-MusicSpacing (Select the measures you want to affect, then press 4 on your computer keyboard),Showelapsed time based on current tempo –displays the Elapsed Time dialog box(Select the measuresyou want to affect, then press 5 on your computer keyboard),Transpose –programmable(Selectthe measures you want to affect, then press any number between 6 and 9 on your computerkeyboard),Select or deselect the SmartFind Source Region (Control-F),Display the ApplySmartFind and Paint dialog box (Control-Shift-F);

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- Measure Tool:Display the Add Measures dialog box (Ctrl-click the Measure Tool, or right-click the Measure Tool and select Add Measures from the context menu), Add single blankmeasure to the score (Double-click the Measure Tool, or right-click the Measure Tool and selectAdd One Measure from the context menu),Display the Measure Attributes dialog box (Double-click the top barline handle or measure, or right-click the handle -or upper handle- and selectEdit Measure Attributes from the contextual menu),Make the Measure wider or narrower (Dragthe top barline handle right or left),Display a beat chart Click the second barline -or middle ifthere are three- handle, or rightclick the handle and select Edit Beat Chart from the contextualmenu),Display a split-point bar (Click the third –bottom- barline handle, or right-click thehandle and select Edit Split Points from the contextual menu),Move a beat horizontally in allstaves (Drag one of the lower handles in the beat chart), Move a beat and all subsequent beatshorizontally in all staves(Shift-drag one of the lower handles in the beat chart),Add another pairof beat positioning handles (Double-click between two upper handles of a beat chart),Display theBeat Chart Element dialog box (Double-click an upper handle in the beat chart),Delete a beatchart pair from the beat chart (Click on an upper handle to select it and press delete),Change abarline (Right-click the handle and select the desired barline type -Normal, Double, Final, Solid,Dashed, Invisible, Tick- from the contextual menu),Display a handle on every measure number(Click the Measure Tool),Reset measure number positioning (Press backspace, or right-click thehandle and select Restore Default Position from the contextual menu),Delete a measure number(Press delete, or right-click the handle and select Delete from the contextual menu),Move ameasure number Drag the measure number’s handle Display the Enclosure Designer dialog box(Double-click a measure number’s handle, or right-click the handle and select Edit Enclosurefrom the contextual menu),Force a measure number to appear (Ctrl-click a measure without ameasure number),Force measure numbers on a measure in all staves of a staff system(Ctrl-shift-click on a measure • Break a multimeasure rest (Right-click the handle and select Break amultimeasure rest from the contextual menu); - Mirror Tool:Display Mirror and Placeholder icons (Click the Mirror Tool),Display thePlaceholder dialog box (Click a measure with notes or with a Placeholder icon),Display theTilting Mirror dialog box (Click an empty measure or a measure with a Mirror icon),Display theMirror Attributes dialog box (Shift-click a measure with a Mirror icon); - Note Mover Tool:Display a handle on every notehead in the measure (Click a measure);Select a handle or handles (Click, shift-click, drag-enclose or shift-drag-enclose thehandles),Delete selected notes -still in their original measure (Press delete, or right-click thehandle and select Delete from the contextual Menu),Move or Copy notes to another measure(Drag a note or a group of notes to the end of the measure and the selected action in the NoteMover Menu will take place),Copy notes to the beginning of a measure (Drag a note or a group ofnotes to the beginning of the measure –if the measure isn’t rhythmically full); - Ossia Tool:Display handles on every ossia measure (Click the Ossia Tool in PageView),Display a handle on a measure-assigned ossia measure (Click the Ossia Tool in Scroll Viewand click the measure to which the Ossia measure is attached),Display the Ossia MeasureDesigner dialog box (In Page View, double-click anywhere on the document; In Scroll View clicka measure with no ossia measure attached, or double-click a measure with an ossia measureattached; Double-click a floating measure’s handle, or right-click the handle and select EditOssia Definition from the contextual menu),Select an ossia measure (Click the ossia measure’shandle); Move a selected ossia measure (Drag the handle),Delete a selected ossia measure (Pressdelete, or right-click the handle and select Delete from the contextual menu),Display the PageAssignment for Ossia Measure dialog box (Shift-double-click a page-assigned floating measure’shandle, or right-click the handle and select Edit Ossia Assignment from the contextual menu -inPage View),Display the Measure Assignment for Ossia Measure dialog box (Shift-double-click ameasure-assigned floating measure’s handle, or right-click the handle and select Edit OssiaAssignment from the contextual menu); - Page Layout Tool:Display Page and System margins (Click the Page Layout Tool), Resizepage, margins or system (Drag a handle in Page View), Move a system (Drag the system in PageView), Move a system without moving other systems( Hold down Ctrl and drag the center of astaff system), Select handles (Drag-enclose to select handles),Select all handles (Ctrl-A); - Repeat Tool:Display the Repeat Selection dialog box (Click a measure without a repeat ordouble-click a measure with a repeat), Display handles on a repeat (Click a measure with arepeat), Delete a text repeat, repeat barline (Click on the handle and press delete, or right-clickthe handle and select Delete from the contextual menu), Move a text repeat (Select the handle

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and drag), Change the size of a repeat barline’s bracket (Drag the repeat bracket handle up ordown, left or right), Display the Repeat Designer dialog box (Double-click a text repeat handle, orright-click the handle and select Edit Repeat Definition from the contextual menu), Display theBackward Repeat Bar Assignment dialog Box (Double-click a repeat barline handle, or right-click the handle and select Edit Repeat Assignment from the contextual menu), Display theEnding Repeat Bar Assignment dialog box (Double-click a repeat ending number handle, orright-click the handle and select Edit Repeat Assignment from the contextual menu), Display theRepeat Assignment dialog box (Shift-double-click a text repeat handle, or right-click the handleand select Edit Repeat Assignment from the contextual menu); - Resize Tool:Reduce or enlarge a notehead (Click on the notehead or right-click and selectResize Notehead from the contextual menu),Reduce or enlarge an entire note or beam group(Click on the note stem or right-click and select Resize Note or Rest from the contextual menu),Reduce or enlarge a staff (In Page View, click to the left of the staff or right-click and selectResize Staff from the contextual menu), Reduce or enlarge a system (In Page View, click betweenany two staves in the system or rightclick and select Resize System from the contextual menu),Reduce or enlarge a page, or a range of pages (In Page View, click the upper-left corner of thepage or right-click and select Resize Page from the contextual menu); - Selection Tool:Switch to Selection Tool (Ctrl-Shift-A),Select an item (Click on the item),Select the appropriate tool to edit item With item selected, double-click or press enter), Selectbetween overlapping items (Click on the item then press plus or minus to cycle throughoverlapping items); - Simple Entry Tool:128th Note through Double Whole ( 0-8 )• 128th Rest through DoubleWhole Rest(Shift and a number key (0–7) or Enter-0 through Enter-8 on the Number Keypad) •Switch Tools and clear other selections (Double-click tool or quickly repeat tool selectionkeyboard shortcut) • Erase selected Note or Rest or select the Eraser Tool to delete accidentals,ties, dots or tuplets (Delete) • Make a selected note sharp or select the Sharp Tool (S or + plus) •Make a selected note flat or select the Flat Tool (F or - minus) • Make a selected note natural orselect the Natural Tool (Shift-8 or N or * asterisk) • Add double-flat to selected note(V) • Adddouble-sharp to selected note (X) • Lower selected note by half step or select the Half Step DownTool (Shift-F or Enter- -minus With selection,”down arrow”• Raise selected note by half step orselect the Half Step Up Tool (Shift-S or Enter-+ plus With selection,”up arrow”• Change selectednote to a rest or toggle between Note and Rest Tools ® • Add an augmentation dot to the selectednote or select the Dot Tool (. period) • Tie selected note to the next note or select the Tie Tool (Tor = equals or Enter-/ )• Tie selected note to the previous note or select the Tie Tool (Shift-T) •Toggle grace note state of selected note or select the Grace Note Tool (G or / backslash) • Toggletuplet state (create new one or erase existing tuplet) of selected note or select the Tuplet Tool (9) •Access Simple Entry Tuplet Definition dialog box for duplet, septuplets or other tuplets (With theTuplet Tool, shift-click the staff )• Show/Hide a courtesy accidental on selected note (A) •Break/Join Beam on selected note (B) • Restore default beaming (Shift-B) • Show/Hide selectednote or rest (H) • Flip stem on selected note (L) • Restore stem direction to “floating” status onselected note (Shift-L) • Flatten beams for selected note (M) • Add or remove parentheses aroundaccidentals for selected note (P) • Select a note or rest (Control-click the note or rest) • Select anote or rest within a chord without clearing previous selection (Control-shift-click the note orrest)• Move selection one note/rest to the left If no selection, select the last edited note/rest (“leftarrow”) • Move selection one note/rest to the right(“right arrow”) • Move selection one note up, ifchord selected Control -”up arrow”)• Move selection one note down, if chord selected Control-“down arrow”) • Select all notes in selected chord (Ctrl-A-click the chord) • Clear selection(Escape or Backspace); - Smart Shape Tool:Flip a selected Slur (Ctrl- F), Change a selected Slur back to Automatic(Ctrl-Shift- F), Display handles on all smart shapes (Click the Smart Shape Tool, Edit or Delete aSmart Shape Click the handle of the Smart Shape) • Control-A (Select all Smart Shapes on thepage) • Drag or nudge an endpoint handle Change the slur’s ending or starting note • Drag ornudge a center curve handle Change the slur’s arc height • Shift-drag a center curve handleChange the slur’s arc height and angle • Drag or nudge an inner curve handle (Change the slur’sarc and inset asymmetrically) • Control-drag an inner curve handle (Change the slur’s arc andinset symmetrically) • Control-double-click and drag (Create an inverted bracket with the hookpointing away from the staff instead of toward the staff. It will also change the text for an 8va or15ma below the staff or 8vb or 15mb above the staff), Display the Smart Line Style Selectiondialog box (Ctrl-click the Custom Line Tool), Add a slur (S) • Add a dashed slur (V), Add a

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crescendo (<),Add a decrescendo (>) • Add a trill (T) • Add a trill extension (E) • Add an 8va or8vb marking (8) • Add a 15ma or 15mb marking (1) • Add a double-ended bracket (O) • Add adashed double-ended bracket (H) • Add a bracket (K) • Add a dashed bracket ® • Add a line (L)• Add a dashed line (D) • Add a glissando (G) • Add a bend (N) • Add a tab slide (A) • Add acustom line (C); - Speedy Entry Tool:Display the Edit Frame dialog box (Ctrl-click any measure that containsmusic), Remove note, rest or chord (delete),Hide/show note or rest (letter O or H), Add orremove accidental parentheses (P), Jump to previous measure ([ -left square bracket- or shift“left arrow”), Jump to next measure (] -right square bracket- or shift “right arrow”), Flip stemin opposite direction (L),Restore stem direction to “floating” status (Ctrl-L) • Change to/from agrace note (; -semicolon- or G) • Change to/from a slashed flagged grace note (` -accent- or ; -semicolon- or G), Voice 1/2 (' -apostrophe) Switch to next layer (shift–' -apostrophe) Moveediting frame down a staff (shift “down arrow”), Move editing frame up a staff (shift “uparrow”), Add or change note 64th–double whole note (1–8), Add or change 128th note (ctrl-0 -zero) Insert 64th note–whole note (shift-1 through shift-7 -on keyboard only-with MIDI, whileplaying note) Insert 128th note -without MIDI (ctrl-0 –zero-in insert mode only),Add 64th rest–whole rest -with MIDI (shift-1 through shift-7 without pressing note). Add rest -with or withoutMIDI (ctrl-shift-1-7 on keyboard only) Add 128th rest with MIDI (ctrl-0 -zero) Add a rest withHands-Free MIDI(play any three note cluster), Toggle Insert mode (insert or shift-0 -zero)Constrain dragging a note horizontal/vertical(shift-drag),Begin a tuplet -duplet–octuplet(ctrl-2through ctrl-8), Define a tuplet (ctrl-1) • Raise by a half step (+ plus or shift-S)• Lower by a halfstep (– minus or shift-F), Raise by a half step for entire measure(ctrl- + plus) Lower by a halfstep for entire measure(ctrl- – minus) • Flat note (F) • Sharp note (S) • Natural note (N )• Double-sharp (X) • Double-flat (V),Previous note(“left arrow),Next note(“right arrow”),Move to firstnote or rest in measure (ctrl-“left arrow”), Move just beyond last note or rest in measure (ctrl-“right arrow”), Down a step(“down arrow”),Up a step(“up arrow”),Remove note from chord(backspace) • Change single note to rest (backspace or R) • Tie/untie to next note (= equals or T) •Tie/untie to previous note (ctrl = equals or shift-T), Flip a tie (ctrl-F),Restore tie direction toautomatic (ctrl-shift-F) • Break/join beam from previous note (/ -backslash or B) • Restoredefault beaming (Shift-B) • Flatten a beam (\ -forward slash or M), Show/hide any accidental (*asterisk) • Show/hide a courtesy accidental (A), Restore courtesy accidental to optional status(ctrl-* asterisk) Return a rest to its default position (* asterisk), Exit measure and redraw/re-enter measure (0 zero) Flip a note to its enharmonic equivalent (9), Flip enharmonic throughoutmeasure (ctrl-9 - cursor on first note in measure), Add a dot (. period) Add a note to a chord(enter), Change a rest to a note (enter) • Specify a pitch, high C–B without MIDI (Q-W-E-R-T-Y-U - with Caps Lock) • Specify a pitch, middle C–B without MIDI (A-S-D-F-G-H-J - with CapsLock) • Specify a pitch, low C–B without MIDI (Z-X-C-V-B-N-M - with Caps Lock) • Raise allpitch keys an octave (, comma with Caps Lock) • Lower all pitch keys an octave(I -letter I withCaps Lock) • Restore all pitch keys to normal register(K with Caps Lock); - Special Tools Tool:Display handles in the measure (Click the Special Tool you want to useand click on the measure), Select a handle or handles (Click, shift-click or drag-enclose, or ctrl-A), Reset the note to its original state (Press delete or backspace), Move selected items veryslightly (Use the arrow keys), Flip a selected tie (Ctrl-F), Restore tie direction to automatic (Ctrl-shift-F); - Staff Tool: Display the Staff Menu and handles (Click the Staff Tool), Select a staff orstaves(Click a staff or a staff handle, or drag-enclose staff handles), Add the staff to the selection.If a staff is already selected, remove the staff from the selection (Shift-click a staff or a staffhandle), Display the Staff Attributes dialog box(Double-click a staff or a staff handle, or double-click a full or abbreviated staff name handle, or right-click the handle and select Edit StaffAttributes from the contextual menu), Add a staff without repositioning the lower staves to makeroom for the new staff. (Double-click in the score in Scroll View), Insert a staff between staves,repositioning the lower staves to make room for the new staff(Shift-double-click below a staff inthe score in Scroll View), Display the Group Attributes dialog box(Double-click a group handle,or double-click a bracket handle, or right-click the group or bracket handle and select EditGroup Attributes from the contextual menu. right-click the staff handle and select Add Groupand Bracket from the contextual menu),Delete the selected staves without repositioning theremaining staves(Press delete for selected staves, or right-click the handle and select DeleteStaves from the contextual menu),Delete the selected staves and reposition the remainingstaves(Press shift-delete for selected staves, or right-click the handle and select Delete Staves and

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Reposition from the contextual menu).Adjust the staff’s position in Scroll View only. Theplacement of staves remains unchanged in Page View. When you choose Special Part Extractionfrom the Edit Menu, Finale removes the checkmark by the command, and displays the full scoreusing the new positioning in Scroll View.(Drag a staff or a staff handle in Scroll View -whenSpecial Part Extraction is selected in the Edit Menu), Adjust the staff’s position in every staffsystem in Page View and the position of the staff in Scroll View. When the top staff is adjusted,Finale adjusts the distance between staves, as well as staff systems(Drag a staff or a staff handlein Page View -when Special Part Extraction is not selected in the Edit Menu. Note: If two handlesappear on a staff, drag the top handle),Adjust the staff’s position in every staff system in PageView; leave the position of the staff unchanged in Scroll View. Finale adjusts the distancebetween staves, as well as staff systems(Drag a staff or a staff handle in Page View -when SpecialPart Extraction is selected in the Edit Menu. Note: If two handles appear on a staff, drag the tophandle), Adjust the staff’s position only in the current staff system -drag the top handle to adjustthe position of the staff in all staff systems in Page View(Drag the staff’s lower handle in PageView. Note: If a staff system has been optimized using the Page Layout Tool, two handles willappear on each staff in the optimized staff system), Select a group or groups(Click a grouphandle, or drag-enclose group handles),Add the group to the selection. If a group is alreadyselected, remove the group from the selection(Shift-click a group handle), Edit a full orabbreviated group name using the Edit Text window.(Ctrl-click a group handle, or right-clickthe handle and select Edit Full Group Name or Edit Abbreviated Group Name from thecontextual menu.), Position a group name using the Position Full Group Name or PositionAbbreviated Group Name dialog box. (Ctrl-shift-click a group handle, or right-click the handleand select Position Full Group Name or Position Abbreviated Group Name from the contextualmenu.), Revert the position of the group names to their default position.(Press backspace forselected groups), Remove the selected group definitions.(Press delete for selected groups, orright-click the handle and select Delete Group from the contextual menu.), Adjust the position ofa group name. (Drag a group handle), Select a staff name or names. (Click a staff name handle,or drag-enclose staff name handles), Add the staff name to the selection. If a staff name is alreadyselected, remove the staff name from the selection. (Shift-click a full or abbreviated staff namehandle), Edit a full or abbreviated staff name using the Edit Text window. (Ctrl-click a full orabbreviated staff name handle, or right-click the handle and select Edit Full Staff Name or EditAbbreviated Staff Name from the contextual menu), Position the selected staff name using thePosition Full Staff Name or Position Abbreviated Staff Name dialog box. (Ctrl-shift-click a full orabbreviated staff name handle, or right-click the handle and select Position Full Staff Name orPosition Abbreviated Staff Name from the contextual menu.), Revert the position of the full orabbreviated staff name to its default position.(Press backspace for a selected staff name handle),Adjust the position of the selected staff name. (Drag a full or abbreviated staff name handle),Select a bracket or brackets (Click a bracket handle, or drag-enclose several bracket handles),Add the bracket to the selection. If a bracket is already selected, remove the bracket from theselection.(Shift-click a bracket handle), Remove the selected brackets. (Press delete for selectedbrackets, or right-click the handle and select Delete from the contextual menu.), Revert theselected brackets to their default length. (Press backspace for selected brackets), Make a brackettaller or shorter. (Drag a bracket handle vertically), Move a bracket closer to or away frombracketed staves.(Drag a bracket handle horizontally) Select a clef for the staff. (Right-click thestaff handle and select Select Clef from the contextual menu.), Remove Staff Styles from selectedregion. (Backspace); - Text Tool: Left Justify text in a text block (Ctrl- [ left square bracket), Right Justify text in atext block (Ctrl- ] right square bracket), Center Justify text in a text block (Ctrl- ' apostrophe),Full Justify text in a text block (Ctrl- ; semicolon), Forced Full Justify text in a text block (Ctrl-Shift- ; semicolon), Bold (Ctrl-Shift- B), Italic (Ctrl-Shift- I), Underline (Ctrl-Shift- U), IncreasePoint Size by one (Ctrl-Shift- . period), Decrease Point Size by one (Ctrl-Shift- , comma), PageNumber Text Insert (Ctrl-Shift- P), Sharp sign Text Insert (Ctrl-Shift- S), Flat sign Text Insert(Ctrl-Shift- F), Natural sign Text Insert (Ctrl-Shift- N), Display Character Settings dialog box(Ctrl-T Display), Line Spacing dialog box (Ctrl-Shift-L), Align Text block to the Left (Ctrl-Shift-[ left square bracket), Center Text block Horizontally (Ctrl-Shift- ' apostrophe), Align Text blockto the Right (Ctrl-Shift- ] right square bracket), Align Text block to the Top Ctrl- - minus),Center Text block Vertically (Ctrl-Shift- = equals), Align Text block to the Bottom (Ctrl-Shift -minus), Display the Standard Frame dialog box (Ctrl- M), Display the Custom Frame dialog box(Ctrl-Shift- M), Display the Frame Attributes dialog box (Ctrl-Shift- T or shift-double-click a

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text block handle, or right-click the handle and select Edit Frame Attributes from the contextualmenu.), Display the Text Menu (Click the Text Tool), Display handles on text blocks (/Click theText Tool), Select a text block or text blocks (Click a text block handle or drag-enclose text blockhandles, shiftclick a text block handle), Create an unbounded frame that expands as you entertext (Double-click in the score),Create a bounded, fixed-size frame for text (Double-click anddrag in the score), Edit the text block (Double-click a text block handle, or right-click the handleand select Edit Text from the contextual menu.), Delete the selected text blocks (Press delete forone or more selected text blocks, or right-click the handle and select Delete from the contextualmenu.),Adjust the text block’s position in the score (Drag a selected text block handle); - Tuplet Tool:Display positioning handles (Click the first note of a tuplet), Position tuplet(Drag a positioning handle),Position tuplet without dynamic drawing (Ctrl-drag a positioninghandle), Delete tuplet (Press delete for selected tuplet, or right-click the handle and select Deletefrom the contextual menu.), Display the Tuplet Definition dialog box (Double-click a positioninghandle or the first note in a group that you want to define as tuplets, or right-click the handle andselect Edit Tuplet Definition from the contextual menu.), Display the Default Tuplet VisualDefinition dialog box(Ctrl-click the Tuplet Tool, or right-click the Tuplet Tool and select EditDefault Tuplet Visual Definition from the drop-down list); -Zoom Tool:Zoom in - enlarge 2x, if tool is selected(Click the score), Zoom out -reduce by 1/2,if tool is selected (Ctrl-click the score), Temporary switch to Zoom Tool: enlarge (Shift-click theright-button), Temporary switch to Zoom Tool: reduce (Ctrl-Shift-click the right-button), Fill thescreen with the selected area (Drag-enclose an area); - Playback:Begin/Pause playing -Playback Controls open(Alt-D-P or Alt-D-O), Begin playingfrom the measure clicked (Spacebar–click in staff), Begin playing from the clicked measure in theclicked staff only (Shift-spacebar–click in staff), Begin playing from the clicked measure in allstaves (Spacebar–click in between staves), Begin playing from measure one in all staves(Spacebar–click to the left of a staff system), Begin playing from measure 1 for the clicked staff(Spacebar-shift-click to the left of staff), “Scrub” onscreen music - all staves (Ctrl-spacebar -anddrag across music), “Scrub” onscreen music - clicked staff only (Ctrl-Shift-spacebar -and dragacross music).

Functiile programuluiSIBELIUS

Versiunea 2© 1987-2001 by Sibelius Software Limited

www.sibelius.com

- File: New (Type of manuscript paper, Instruments, Play using the device), Open [AllMusic Files (sib, mid, opt, mus, etf, tmp, pag, pge, s7), Sibelius (sib), MIDI (mid), PhotoScore (opt), Finale/Allegro/PrintMusic (mus), Finale ENIGMA (etf), SCORE File(tmp)/Page (mus, pag, pge), Sibelius 6/7 (s7)], Append Score (sib), Close, Close All, Save,Save As [Sibelius (sib), Scorch Web Page (htm), MIDI (mid)], Save As Graphics (EPS,BMP, EMF), Save As Manuscript Paper, Save All [Sibelius (sib), Scorch Web Page (htm),MIDI (mid)], Print, Extract Parts, Publish on SibeliusMusic.com, Score Info, Plug-ins[Batch Processing (Apply House Style to Folder of Files, Convert: Folder of Acorn SibeliusFiles/Folder of Files to Graphics/Folder of Finale Files/Folder of MIDI Files; Print Folderof Scores), Composing Tools (Double Notes Values, Finf Motif, Find Range, Halve NotesValues, Invert, Pitch Mapping, Retrograde), Notation (Add: Brass Fingering/CautionaryAccidrentals,/Chord Symbols/Ficta Above Note/Note Names/String Fingering/Tonic Sol-Fa; Make Layout Uniform/Pitches Constant, Number Beats, Remove Dangling Ties/Rests,Respell Flats as Sharps/Sharps as Flats, Split Dotted Quarter Rests), Playback (CopyDinamics, Cresc./Dim. Playback, Quarter-tone Playback), Proof-reading (Check: Clefs/forParallel 5ths-8ves/Harp Pedaling/Pizzicatos/Repeat Barlines; Proof-read), Edit Plug-ins,Show Plug-in Trace Window], Preferences (General, Keyboard Shorcuts, Word Menus),Register/Transfer (Register Sibelius, Transfer SavingOut/In), Exit.

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- Edit: Undo, Redo, Undo/Redo History, Cut, Copy, Paste, Repeat, Delete, Flip, Voice (1-4; All;Swap 1-2/1-3/1-4/2-3/2-4/3-4), Hide or Show (Hide, Show, Show in Score/in Parts), Select(All/More/System Passage/None), Filter [Advanced Filter, Chord Symbols, Dynamics,Expression Tool, Guitar Frames, Hairpins, Lyrics, Notes and Chords, Slurs, Tuplets,Voice 1-4, Voice 1-4 Only, Top/2nd/3rd/Bottom Note, Top Note/2-nd Note/3rd Note/bottomNote or Single Notes, Player 1-2 (for Delation)], Find, Find Next, Go to Bar/Page;

- View: Attachment, Breacks and Locks, Hidden Objects, Highlights, Note Colors (Note out ofRange, Pitch Spectrum, Voice Colors, None), Page Margins, Textures,Selection/Object/Staff Rulers, Full Screen, Scroll Bars, Toolbar, Zoom (Zoom, ZoomIn/Out);

- Create: Bar, Barline, Clef, Graphic, Guitar Frame, Highlight, Instruments, Key Signature,Line, Rehearsal Mark, Symbol, Text [Expression, Technique, Lyrics, Lyrics verse 3-5,Chord symbol, Other Staff Text (Plain text, Lyrics verse 3-5, Figured bass, Fingering,Boxer text, Small text, Lyrics above staff, Nashville chord numbers, Footnote, Technique2, Note flags 2, Small Text 2), Title, Subtitle, Composer, Lyricist, Dedication, Tempo,Metronome mark, Other System Text (Copyright, Header, Header – after first page,Footer – outside edge/inside edge, Rit./accel., Title 2, Header 2, Footer 3, Footer, Footer 2),Special Text (Bar numbers, Guitar frame fret, Instrument name at top left, Instrumentnames, Multirests, Page numbers, Rehearsal marks, Time signatures-huge/large,Tablature letters/numbers, Tuplets)], Bar Numbers Change, Bracket or Brace (Bracket,Sub-bracket, Brace), Extra Slur Arc, Extra Staff (Above, Below, Ossia Above/Below), StaffType Change [Pitched (1-5 lines, No lines, etc.), Tab (Standard guitar, Bass guitar, etc.),Percussion (1-5 lines)], Transposition Change;

- Play: Play or Pause, Stop, All Notes Off, Mixer, Performance, Dictiuonary, Devices,Substitute Devices, Playback Options;

- Notes: Flexi time, Flexi-time Options, Arrange, Edit Arrange Styles, Transpose, TransposingScore, Add Interval (2-9 Above/Below, Unison), Add Interval (A-B-C-D-E-F-G + Shift),Cross-Staff Notes (Move Up/Down a Staff), Respell Accidental, Reset Beam Groups/Stemsand Beam Angles;

- Layout: Document Setup, Break (System/Page Break, Split System/Multirest), Format(Make Into System/Page, Lock/Unlock Format), Align: in a Row/in a Column/Staves;Hide/Show Empty Staves; Reset: Portion/Design/Note Spacing/Space Above Staff/SpaceBelow Staff;

- House Style: Engraving Rules, Note Spacing Rule, System Object Positions, DefaultPositions, Timecode, Edit: Lines/Noteheads/Staff Types/Symbols/Text Styles; Use:Multirests/“Show in Part“; Import/Export House Style;

- Window: New Window, Title Horizontaly/Verticaly, Cascade, Mixer, Navigator, Properties,Keypade (separate);

- Help: Sibelius Help, Tip of the Day, Help Center, Sibelius.com, Sibelius.com Education Area,SibeliusMusic.com Internet Publishing, Sibelius Magazine, PhotoScore Professional, SibeliusTeaching Tools, About Sibelius.

- Comenzile operative (ce apar suprapuse partiturii in lucru): General, Text, Lines, Bars,Staves, Notes, Keypad;

- Comenzi rapide uzuale: A/B/C/D/E/F/G (LA/SI/DO/RE/MI/FA/SOL), 1-6 pe keypad(TREZECIDOIME-NOTA INTREAGA), 7-9 pe keypad (BECAR,DIEZ,BEMOL), Ctrl +3 (TRIOLET), Ctrl + 2-9 (ALTE DIVIZIUNI EXCEPTIONALE), P (PLAY), Esc (STOP),Ctrl + F/M/P (f/m/p – ca expresie), Ctrl + Shift + C/D (CRESC./DIM.).

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Functiile programuluiNoteWorthy Composer v. 1.75

© 2002 NoteWorty Software. Incwww.notewortysoftware.com

- File: New, Open (NWC Files, MIDI Files, Song Files) Save, Save As (Standard NWC File,Type 1 Midi File, Type 0 Midi Files, Uncompressed NWC File), Revert, Close, Info [Title,Author, Copyright Notice 2 (All Rights Reserved), Comments], Page Setup, Printer Setup,Print Preview, Print, History, Exit;

- Edit: Undo Page Setup, Redo, Cut, Copy, Copy Special, Paste, Clear, Select All, RemoveChord Note, Beam, Triplet, Find, Find Next, Go to, Lyrics, Properties;

- View: Zoom In/Out, Zoom, Refresh Score, Status Bar, Toolbars;- Staff: New Staff, Import Recording, Delete Staff, Move Staff, Move Staff Up/Down, Mute

Staff, Staff Properties;- Insert: Note, Rest, Chord Member, Bar Line, Bar Line (Decorated), Clef, Dynamic,

Dynamic Variance, Flow Direction, Key Signature, Performance Style, Special Ending,Sustain Pedal, Tempo, Tempo Variance, Text, Time Signature, Instrument Patch, Multi-point Controller;

- Notes: Whole, Half, Quarter, Eight, Sixteenth, Thirty-second, Sixty-fourth; Natural, Flat,Sharp, Double Sharp, Double Flat; Accent, Dotted, Double-Dotted, Grace, Slur, Staccato,Tenuto, Tied, Stem Up/Down;

- Tools: Record, Staff Play, Play, Stop; Score Review, Mute List, MIDI Input Active,Persistent Note Tools; Automatic Beam, Transpose Staff, Force Accidentals; Audit BarLines/Accidents/Enharmonic Spelling/Note Stems; Options;

- Window: Cascade, Title, Arrange Icons, Close All;- Help: Contents, Search for Help on, Did you know, Getting Started, Command Reference,

Keyboard Reference, Benefits of Registering, How to Order, Support, Go to NoteWorthySoftware.com, Check for Web Updates, About.

Functiile programuluiLIME 8.00

© January 2003 by Lippold HAKEN and Dorothea BLOSTEINwww.cerlsoundgroup.org

lime, 1906 Augusta, Champaign, IL-61821, USA

- File: New, Open, Import NIFF, Import MIDI, Close, Save, Save As (Lime Fle – lim),Export NIFF, Export MIDI, Revert, Layout, Print Setup, Print, Print Multiple, AboutLime, Exit;

- Edit: Undo, Redo, Cut, Copy, Copy Music, Paste, Clear (Note, Text, Annotation, At EachSystem, On Each Page, In Every Context, Staff/Chord/Accident Drag, Invisible Notes),Copy Measures, Align Annotations, Duplicate, Extend Line to Here, Allow Any Alt-click,Enable Duration Edits, Shortcut Keys, Options:

- Context: Previous Notation Context, Next Notation Context, Part Extraction, Score;- Page: Previous/Next Page, Go to Page/Bar, Split Page/System, Add to Next Page/System,

Systems, Insert/Delete Measures, Correct Measure;- Voice: Previous/Next Part or Voice, Record, Note Entry, Parts and Voices, Voice to Staff

Above/Bellow, Staff Drag, Hightlight Voice, Voice on Channel;- Note: Previous/Next Note, Show Accidental, Default/Special Accidentals, Transpose,

Notehead Color, Tablature String/Thumb, Hide Tuplet/Rest, Don’ t Combine Rest, ChordDrag, Internal Fields;

- Stem: Stem Up/Down, No Stem, Slashed Stem, Stem Between Staves, Continue/End Beam,Continue/End Subbeam, Default Beaming, Beaming Rule, Tremolo Beam, Swing EightBeam, Modify Slur/Tie;

- Hear: Hear, Tuning, Dynamic Levels, Default Playback, Modify Playback (Softer, Louder,Level, Lower, Higher, Pitch, Shorter, Longer, Earlier, Later), Recompute Playback, Play

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Octave Higher/Lower, Keyboard Shift (3-1 Octaves Up, Normal, 1-3 Octaves Down), MIDIInput/Output;

- Symbol: Clef, Key/Time Signature, Bar Line, Align Bars, System Bracket, Parameters,Hidden Test;

- Annotation: Preview/Next Annotation, Text Category, Font, Size, Style, Text Assistant,Line, Curve, Line and Curve Style, Horizontal/Vertical Lock, All Notation Context, OnlyIn Score, Not In Score, This Notation Context Only;

- Window: Previous/Next Window, Arrange Icons, Close All.

Functiile programuluiENCORE - The Musician’s Choice for Composing & Publishing

Version 4.5.5© 1993-2003 Interactive Music, Passport Designs, Inc.

www.gvox.comPO Box 2755, NJ 07091, USA

- File: New (Page Layout: Staves per system, Systems per page, Measures per system, StaffFormat), Open [Scores (enc, mus, mto, rhp), MIDI (mid, miff), MT Pro (mts)], Close, Save,Save As [Encore Files (enc), MIDI Files (mid), MT Pro Files (mts)], Revert to Saved,Extract Part, Score Settings/Page Setup (Score Window Title; Enlarge or Reduce Score;Margin Setting), Print, Export to ESP, Exit;

- Edit: Undo Guess Durations, Cut, Copy, Paste, Clear, Select All, NudgeLeft/Right/Up/Down;

- Notes: Attributes (Notes, Beams, Rests), Voice (Set to Voice 1-8), Accidents to(Enharmonics, Sharps, Flats), Stems (Up, Down, Normalize), Marks (Add, Remove), TieNotes, Slur Notes, Beam Notes (Beam Group, Beam on Beat, Sub Group, Flatten Beams),Change – Pitch, Duration, Velocity; Make-Chord, Tab, Grace/Cue; Revert to Raw, GuessDurations;

- Measures: Add/Delete Measure, Tempo, Time/Key Signature, Barline Types, Endings,Coda Phrases, Measure Numbers, Compressed Rests, Align/Swing Playback, AlignSpacing;

- Score: Text Elements, Add/Delete Page, Add/Delete Staff, Split this Staff, Tablature Staff,Percussion Staff, Conect/Center Staves, Center Systems, Measure per System, Systems perPage;

- View: Show/Hide Score Colors, Guitar Frets, Show/Hide Staves, Refresh Score, LinearView, Hide Floating Windows;

- Windows: Palette (Notes, Clefs, Graphics, Tools, Dynamics, Marks 1, Marls 2, Symbols,Guitar, Expressions, Color), Keyboard, Tempo, Toolbar, Staff Sheet, Tile, Cascade,Arrange Icons, Close All;

- Setup: MIDI Setup, Record Setup, Transcription Setup, Spacing Defaults, Click Setup,Toolbar Setup, Click On, Follow Playback, Auto Guess/Beam, Auto Space, SavePreferences;

- Help: Topics, Current Topic, Help on Help, Link to Web Site, About Encore.

Prezentarea generala a programuluiSCORE

Computer Music Typography SystemWritten by Leland SMITH

Programers: Leland SMITH, Perry DEVINE© 1977-1992 by Leland SMITH

© 1986-1992 by Passport Designs, Inc.© 1995-2004 by San Antonio Press, PO Boc 60247, Palo Alto, CA-94306, USA

www.scoremus.comhttp://ace.acadiau.ca/scorelcs@ccrma.stanford.edu

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- Complex de programe [SCORE Version 4.01, Midiscor (SCORE to MIDI),MIDISCORWRITE (MIDI to SCORE), FINALSCORE (Finale to SCORE)] realizate la Centerfor Computer Research in Music and Acoustics (CCRMA) - Department of Music, StanfordUniversity (USA) de Prof. Leland SMITH – toate operand pe MS-DOS (drive: floppy -cf.”Appendix 1”) si avand urmatoarele coordonate: 1100 items, 11000 parameters, 29000 graphicvectors.

- b.) PROGRAME WAV DE EDITARE MUZICALA

Functiile programuluiSOUND FORGE 4.5

http://www.sonicfoundry.com

GENERALE- File: New, Open (All Types), Work space (open), Exit;- Edit: Paste to New;- View: Full Screen, Toolbars, Clipboard (Contents, Play), Region List, Playlist/Cutlist,

Keyboard, Mixer, Time Display, Video Preview, Play Meters, Undo/Redo History;- Special: Record;- Tools: Batch Convertor, Preset Manager;- Options: MIDI Input Sync/Trigger, MIDI Output Sync, MIDI Triggers, Preferences;- Window: New Window;- Help: Contents, Search for Help, Keyboard Shortcuts, Troubleshooting, Tip of Day, Sonic

Foundry on Web (Product News, Frequently Asked Questions, Online Support, Sound ForgeHome Page, Send Feedback, Sonic Foundry Home Page), About Sound Forge.

SPECIALE- File: New, Open (All Tzpes), Close, Workspace, Save, Save As (asf, smp, svx, iff, v8, voc, vox,

pat, ivc, aif, snd, sds, au, snd, rm, ra, smp, sfr, dig, sd, snd, avi, wav, wma), Save All,Properties, Send, Exit;

- Edit: Can`t Undo, Can`t Redo, Can`t Reper, Cut, Copy, Copy Object Link, Paste, PasteSpecial (Crossfade, Mix, Overwrite, Replicate, Paste to New), Trim/Crop, Delete (Clear),Select All, Preview Cut/Cursor, Pre-roll Cursor, Tool (Edit, Magnify, Pencil), Go To,Selection (Snap to Time, Snap Edge to Time, Snap to Yero, Snap Edge to Yero, Set), UndoAll, Disable Undo/Redo;

- View: Maximize Width, Full Screen, Clipboard (Contents, Play), Zoom Level (Out Full,Window, Selection), Zoom Time (In Full, Normal, Out Full, Selection), Focus to DataWindow, Region List, Playlist/Cutlist, Keyboard, Mixer, Time Display, Video Preview, PlayMeters, Undo/Redo History, Loop Tuner;

- Special: Transport (Record, Play All, Play, Pause, Stop, Go to Start, Rewind, Forward, Go toEnd, Play Normal Mode, Play Looped Mode, Play as Sample/Cutlist Mode), Region list(Add, Delete, Edit, Replicate, Split, Update, Clear, Markers to Regions, Open, Save As, Copyonto Clipboard), Playlist/Cutlist (Add, Delete, Edit, Replicate, Clear, Stop Point, Pre-rollPlayback, Open, Save As, Copy onto Clipboard, Convert to New, Treat as Cutlist, Delete CutRegions), ASF Markers/Commands (Save As, Import, Add Command), ACID Looping Tools(Halve Selection, Double Selection, Shift Selection Left, Shift Selection Right, Rotate Audio),Edit ACID Properties, Edit Sample, Edit Frame Rate, Edit Tempo, Center Cursor, DropMarker, Create Region, Create Sample Loop, Mark In, Mark Out, Toggle Selection,Undo/Redo History (Clear, Clear All), Rebuild Peak Data;

- Process: Audio Trim/Crop, Channel Concertor, Convert to 8-Bit, DC Offset, EQ (Graphic,Paragraphic, Parametric), Fade (Graphic, In, Out), Insert Silence, Invert/Flip, Mute,Normalize, Pan/Expand, Resample, Reverse, Smooth/Enhance, Time Compress/Expand,Volume;

- Effects: Amplitude Modulation, Chorus, Delay/Echo (Multi-Tap, Simple), Distorsion,Dynamics (Graphic, Multi-Band), Envelope, Flage/Wah-Wah, Gapper/Snipper, Noise Gate,Pitch (Bend, Shift), Reverb, Vibrato;

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- Tools: Auto Region, Batch Converter, Crossfade Loop, Extract Regions, Find, PresetManager, Run Batch Script, Sampler, Spectrum Analysis, Statistics, Synthesis (DTMF/MFTones, FM, Simple);

- DirectX : Audio Plug-In Chainer, CW, SF, etc.;- Options: Status Format (Samples, Time, Seconds, Time& Frames, Absolute Frames,

Measures & Beats, SMPTE - Non-Drop, Drop, EBU, Film Sync), Annotations (Marker -Names, Lines; Region - Names, Lines; Loop – Region, Lines), Play Meters (Reset Clip, etc.),Time Display (Position, Sync/Trigger Status, Playlist Position, Passive Update), Video(Passive Update, etc.), Scroll Playback, Scroll Smoothy, Drag and Drop Snapping, LockLoop/Region Length, Past Events, Selection Grid Lines, Auto Snap - to Time, to Yero, MIDI– Input Sync/Trigger, Output Sync, Pre-Queue for SMPTE/MTE, MIDI Triggers,Preferences;

- Window: New Window, Cascade, Title – Horizontally, Vertically, Arrange Icons, MinimizeAll, Restore All, Close All:

- Help: Contents, Search for Help, Keyboard Shortcuts, Troubleshooting, Tip of Day, SonicFoundry on Web (Product News, Frequently Asked Questions, Online Support, Sound ForgeHome Page, Send Feedback, Sonic Foundry Home Page), About Sound Forge.

Functiile programuluiAudacity 1.2.0-pre2

http://audacity.sourceforge.net

- File : New , Open (Audacity Projects-aup, WAV-wav, AIFF-aif, AU-au, MP-mp3, OggVorbis-ogg, List of Files-lof), Close, Save Project (aup), Save Project As (aup) Export AsWAV, Export Selection As WAV, Export As MP3, Export Selection As MP3 (NB-functia mp3 esteviabila doar prin adaugarea « lame_enc.dll », ce poate fi obtinut la mitiok.free.fr sau lawww.jthz.com/~lame/ ), Export As OggVorbis, Export Selection As OggVorbis, Export Labels,Preferences, Exit ;- Edit : Undo, Redo, Cut, Copy, Paste, Trim, Delete, Silence, Split, Duplicate, Select (All, Start, toCursor, Cursor to End) , Find O Crossing, Selection Save, Move Cursor (to Track Start, to TrackEnd, to Selection Start, to Selection End), Snap-To (On, Off) ;- View : Zoom In, Zoom Normal, Zoom Out, Fit in Window, Fit Vertically, Zoom to Selection, SetSelection Format (min :sec, sec, ho :min :sec, film , PAL, NTSC, cdda, samples, etc.), History, PlotSpectrum, Float Control Toolbar, Float Edit Toolbar, Float Mixer Toolbar ;- Project : Import Audio, Import Labels, Import MIDI (NB-doar vizualizat), Import Raw Data, EditID3 Tags, Quick Mix, New Audio Track, New Stereo Track, New Label Track, New Time Track,Remove Tracks, Align Tracks (with Zero, with Cursor, with Selection, Together), Align and movecursor (with Zero, with Cursor, with Selection), Add Label Art Selection ;- Generate : Silence, Tone, White Noise ;- Effect : Amplify, BassBoost, Change Pitch, Change Speed, Change Tempo, Compress, Echo,Equalization, Fade In, Fade Out, FFT Filter, Invert, Noise Removal, Normalize, Nyquest Prompt,Phaser, Repeat, Reverse, Wahwah ;- Analyse ;- Help : About Audacity, Online Help.

NB – Acest performant program este utilizat si in experimentele efectuate la CCRMA – StanfordUniversity.

Functiile programuluiPRO TOOLS Freeversion 5.0.1.471

© 1991-2000 digidesign – A divios of Avidhttp://www.digidesign.com

- File: New Session, Open Session, Close Session, Save Session, Save Session As, SaveSession Copy In, Revert to Saved, Bounce to Disk, New Track, Rename Selected Tracks,

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Group Selected Tracks, Delete Selected Tracks, Import Audio/Track, Import MIDI/Track,Import MIDI, Get Info, Exit;

- Edit: Can´t Undo, Cut, Copy, Paste, Merge Paste, Clear, Duplicate, Repeat, Shift, SelectAll, Trim, Capture Region, Separate Region, Heal Separation, Quantize Regions,Mute/Unmute Region, Lock/Unlock Region, Consolidate Selection, Identify Sync Point,Identify Beat, Identify Silence, Strip Silence, Insert Silence, Fades (Create/Delete Fades,Fade To Start/End), Thin Automation;

- AudioSuite: DeEsser, Compressor, Limiter, Expander-Gate, Gate, 1-Band EQ II, 4-BandEQ II, Invert, Duplicate, short delay, slap delay, medium delay, long delay, Normalize,Gain, Reverse, DC Offset Removal, Time Compression Expansion, Pitch Shift;

- MIDI: Change Tempo, Change Meter, Quantize, Change Velocity, Change Duration,Transpose, Select Notes, Split Notes, Input Quantize, Click, Click Options, MIDI BeatClock, Input Filter, MIDI Thru, All Notes Off;

- Operations: Destructive Record, Loop Record, QuickPunch, Auto Input Monitor, InputOnly Monitor, Online, Pre/Post-Roll Playback, Loop Playback, Scroll Options,(No Auto-Scrolling, Scroll After Playback, Page Scroll During Playback), Link Edit and TimelineSelection, Play Edit Selection, Active In Background, Pre-Fader Metering;

- Display: Show Edit Window, Narrow Mix Window, Mix Window Shows (Comment View,1/0 View, Insert View, Sends View, All, None), Edit Window Shows (Comment View, 1/0View, Insert View, Sends View, All, None), Transport Window Shows (Counters, MIDIControls, Expanded), Sends View Shows (Bars:Beats, Minutes:Seconds, Samples,Markers, Tempo, Meter, All, None), DSP Usage Window Shows, Disk Space WindowShows, Display Time In Regions (None, Current Time, Original Time Stamp, User TimeStamp), Display Name In Regions, Display Auto-Created Regions, Bars:Beats,Minutes:Seconds, Samples;

- Windows: Show/Hide Mix; Show Edit, MIDI Operations, Tempo/Meter; 1-9 on numerickeypad only – show: Transport, Session Setup, Big Counter, Automation Enable, MemoryLocations, Disk Space;

- Help: Pro Tools Reference Guide, DigiRack Plug-Ins Guide, MIDI Controllers Guide,Keyboard Shortcuts, About Pro Tools.

- c.) CONVERTERE

- WAV-MP3-WMA -

Functiile programuluiMusicMatch Jukebox 6.00http://www.musicmatch.com

- File : Open [All Song Files (cda, epcx, mp2, mp3, saf, wav, wma)], Convert [din wav in wma(5, 6, 8, 10, 12, 16, 20, 22, 32, 36, 40, 44, 48, 64, 80, 96, 128, 160 kbps), sau in mp3CBR (8, 16,18, 20, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256, 320 kbps), sau in mp3VBR(1-100%) ; din mp3 in wav, sau in wma (5-160 kbps), sau in mp3CBR (8-320 kbps), sau inmp3VBR (1-100%) ; din wma doar in wma (5-160 kbps)], Add New Track(s) to MusicLibrary, Open Music Library, Print, Export Play List Tracks, Create CD from Playlist, Exit ;

- Edit : Playlist Track Tag(s), Select All in Playlist, Clear Playlist, Copy Art to Clipboard,Paste/Tag Art from Clipboard ;

- View : Small Player View, Full Player View, My Library, MusicMatch Radio, Music Guide,NowPlaying, Recorder, Media Window, Buy CD Site, Visualizations (Select, Start, Configure),Sound Enhancement (Select, Enable, Show UI), Auto Arrange Components, Always on Top ;

- Options : Player [Play Control (Previous, Record, Play, Pause, Stop, Next, Seekbackward/forward, Skip back songs/forward songs, Increase Volum, Decrease Volum,Mute), Play Cycle (Once, Repeat), Play Reording (Reorder by Album/Track, Shuffle),Equalizer, Settings], Playlist [Open Music, Auto DJ, Save Playlist, Clear Playlist], MusicLibrary [New/Open/Save/Clear/Export/Import/Add New Track(s) to Music Library,Delete/Edit/Find Track(s), Search and Add Track(s) from All Drives, Music LibrarySettings], Recorder [Control (Start, Stop, Cancel, CDDB Refresh, Select All/None), Source

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(E:/CD, Line In, Mic In, System Mixer), Quality (MP3-160, 128, 96, 64 kbps ; WMA-128, 96,64 kbps ; WAV ; Custom VBR-6% ; Custom CBR-48 kbps ; Custom WMA-5 kbps), SendAlbum Info to CDDB, Settings – NB-pentru auto-configurare :Settings/Recorder/Advanced/Autoconfig/medium], Add New Features, Get MiusicRecommendations, Update Software, Change Skin, Download Skins, Change Text Size,Settings ;

- Help : MusicMatch Jukebox Help, Getting Started, Tip of Day, Additional Help Online,Purchase UpdateRegistration, Request Technical Support, Online Satisfaction Survey, AboutMusicMatcj Jukebox.

Functiile programuluiShuffler Music Converter 4 r2

http://www.ilustrate.org

- Convert (From): Mp3 File(s), Wave File(s), WMA File (s);- Next – Convert to Audio Format: Wave (Quality 44.100 Hy, 16 Bit, Stereo), MP3 (Quality 56,

64, 96, 128, 160, 192, 256, 320 Kbps, Stereo/Mono), WMA (Quality 32.000 Khz – 36, 48, 64,Kbps Stereo; 44.100 Khz – 48, 64, 96, 128, 160 Kbps Stereo); Save Converted File(s): SameFolder as Original/This Folder-Browse;

- Back/Convert;- Exit;- Help;- About.

- WAV in MIDI -

Functiile programuluiAmazingMIDI v1.70

Copyright © 1998-2003 arakisoftwarehttp://www.pluto.dti.ne.jp/~araki/amazingmidi/

- File : Specify Tone File (piano0, piano1, pulse, sample, sine), Specify Input File (wav),Specify Output File (mid), Exit ;

- Play : Play Tone File, Play Input File, Play Output File ;- Transcribe : Transcribe ;- View : Zoom In Horizontally, Zoom Out Horizontally, Zoom In Vertically, Zoom Out

Vertically ;- Help: Contents, About AmazingMIDI.-

- MIDI in WAV (sau MP3) –-

ACID Pro 4.0http://sonicfoundry.com/acid

– Prin activarea functiilor File/Open/MIDI Files si apoi File/ Render As/Save as type WAV (sauMP3) [NB - toate functiile acestui complex program de editare sunt prezentate mai jos].

-IMAGINEA PARTITURII IN SUNET -

Functiile programuluiSharpEye Music Reader

version 1.15 (Mar 18 2000)© 1999-2000 Graham Jones

www.visiv.co.uk

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- Image: Display Image, Open (TIFF, BMP), Zoom (25%, 50%, 100%), Edit (RotateLeft/Right/By 180, Invert), Delete Zone, Read, Batch process, Exit ;

- Music: Save, Save As, Open ;- MIDI: Save, Save As ;- NIFF: Save, Save As ;- Options: MIDI Options, Save window positions ;- Help: Content, About SharpEye.

NB – Acest interesant program transforma imaginile partiturilor editate (dar nu si manuscrisele)- scanate in prealabil (in formatele BMP si TIFF) - in fisiere audio (MIDI si NIFF/NotationInterchange File Format).

- TEXT SCRIS, IN SUNET (VOCE) -

Functiile programuluiRiver Past TalkativeVersion 1.5.1.31216

© 2003 River Past Corporationwww.riverpast.com

- File: New, Open [Text File (txt), Rich Text Format (rtf)], Save As [Text File (txt), RichText Format (rtf)], Open Settings [River Past Talkative Settings 8sts)], Save Settings[River Past Talkative Settings 8sts)], Exit;

- Edit: Undo, Redo, Cut, Copy, Paste, Clear, Select All;- Speech: Start, Pause, Stop, Record (WAV, PM3, WMA, AVI; Stereo/Mono; Resolution

8/16 bits, Sample Rates 8-48 khy, Bitrqte 352, 8 kb/sec.);- Download: Latest DirectX, Windows Media Format runtime, Text-to-Speech Engine

(SAPI 5.1);- Try: Audio: Capture/CD Ripper/Converter; Screen Recorder, Video Cleqner, Video

Perspective, Web Slides;- Help: Contents, Buy Now, Register, Go to River Post Website, About River Past Talkative.

NB – Acest converter necesita si instalarea unor programe complementare (DirectX, SAPI 5.1Text-to-Speech Engine, etc.), ce sunt descarcate automat de pe Internet prin activarea functiei“Download”.

- IMAGINEA FOTOGRAFICA, IN SUNET -(pixels in MIDI)

Functiile programuluiMIDImage – The Loxound Musical Pixelator

Version 2.4.4.1(conceput cu “Borland Delphi v.5”)© 2003 Brute Force Programming,

© by Daniel J. Wojcik, Landstuhlerstr.2,Ramstein-Miesenbacg 66877 Germanylmp@genjerdan.comwww.genjerdan.com

- File: New Project [Project Files (Iprj), MIDI Files (mid), Configuration Files (Impc),WAVE Files (wav)], Open Project [Project Files (Iprj), Images (bmp, jpg, gif), MIDI Files(mid), Configuration Files (Impc), Patches (bank)], Save Project, Add Image to Project(jpg, jpeg, bmp, gif), Create Web Page, Save Settings As (mid, Iprj, Impc, wav), LoadMIDI, Print Composition Settings, Exit;

- Configure: Pathes & Note Ranges, Select MIDI Device, Configure Scales, Bank Settings,Load Additional Patches (Banks);

- Options: Track 10 is Percussion, Boost Dynamics, Show Flyover Hints, Overwrite Imageon Save, Strict Bank Control;

- Tools: Create Bank Patch List, Autoload SoundFonts, Go to Position, Track Editor;- Help: Help, Program Info, Registration, Credits, MIDImage Homepage.

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- d.) PROGRAME (WAV, MP3, MIDI) DE EDITARE MULTI-TRACKS

Functiile programuluiACID Pro 4.0

http://sonicfoundry.com/acid

- File: New, Open [All Project and Media Files – incl. ACID Project Files (acd, acd-bak), MIDIFiles (mid, smf, rmi), CD Audio, MP3 Audio (cda), Audio Interchange File Format (aif),OggVorbis (ogg), Quick Time (mov, qt, dv, gif), Sonic Foundry Audio (sfa), Sonic FoundryPerfect Clarity Audio (pca), Sonic Foundry Wave64 (w64), Wave Microsoft (wav), WindowsMedia Audio V8 (wma), Windows Media Video V8 (wmv)], Save, Save As [ACID ProjectFile (acd), ACID Project File With Embedded Media (acd-zip], Export Loops [AIFF (aif),MP3 Audio (mp3), OggVorbis (ogg), Sonic Foundry Perfect Clarity Audio (pca), WaveMicrosoft (wav)], Render As [AIFF (aif) Main Concept MPEG1 (mpg), Main ConceptMPEG2 (mpg), MP3 Audio (mp3), OggVorbis (ogg), Quick Time (mov), Real Media (rm),Sonic Foundry Perfect Clarity Audio (pca), Sonic Foundry Wave64 (w64), Video forWindows (avi), Wave Microsoft (wav), Windows Media Audio V8 (wma), Windows MediaVideo V8 (wmv)], Extract Audio from CD, Get Media from Web, Publish Setup, Publish,Properties (Summary (Title, Artist, Engineer, Copyright, Comments), Audio (Master busmode Stereo/5.a Round, Number of additional stereo busses, Sample rate-Hz., Bit depth-8/16/24)], Exit;

- Edit: Undo Draw Event, Redo, Cut, Copy, Paste, Delete, Select All, Paste Repeat, Paste Insert,Trim, Split, Join, Fit to Time, Editing Tool (Draw, Selection, Paint, Erase, Envelope, TimeSelection, Next Tool, Previous Tool), Undo All, Clear Undo History;

- View: Toolbar, Status Bar, Focus to Track View, Explorer, Chooper (vizualizeaza in detaliufisierul deschis), Mixer, Video, Audio Plug-In (introduce EQ), Track Properties (descriefisierul deschis), Surround Panner, Soft Synth Properties, Show Video Track, Show Bus Track,Zoom (Normal, Edit, Overview), Time Rules [Show Time Ruler, Samples, Seconds, Time &Frames, Absolute Frames, Feet and Frames 16 mm (40 fpf) si 35 mm (16 fpf), SMPTE FilmSync (24 fps), SMPTE EBU (25 fps, Video), SMPTE Non-Drop (29.97 fps, Video), SMPTEDrop (29.97 fps, Video), SMPTE 30 (30 fps, Audio), Set Time at Cursor], Show Envelopes(Volume, Pan), Minimize All Tracks;

- Insert: Marker, Region, Time Marker, Tempo/Key/Time Signature Cnage, Command MIDITrack, Assignable FX, Bus, Soft Synth (DLS Soft Synth, Sonic Foundry Inc.), Time, Envelopes(Volume, Pan);

- Tools: Render to New Track, Burn Track-at-Once Audio CD, Start AC-3DVD Burner, Reset AllMIDI Ports, Edit in Sound Forge;

- Options: Snapping (Enable, Grid Only), Grid Spacing (Ruler Marks, Measures, Half Notes,Quarter Notes, Quarter Notes Triplets, 8th Notes, 8th Notes Triplets, 16th Notes, 16th NotesTriplets, , 32th Notes, 32th Notes Triplets, 64th Notes, 64th Notes Triplets), Ripple Edits, LockEnvelopes to Events, Loop Playback, Enables Real-Time MIDI, Timecode (Generate MIDITimecode, Generate MIDI Clock, Trigger from MIDI Timecode), Customize Toolbar,Preferences;

- Help: Contents and Index, What`s This ?, Keyboard Shorcuts, ACIDplanet.com, Sonic Foundryon the Web, About ACID Pro.

Comenzi Mouse-dreapta: Select in Chopper, Select All on Track, Select Events to End, Cut, Copy,Paste, Delete, Split at Cursor, Join, Pitch Shift (Up Semitone, Down Semitone, Reset),Insert/Remove Envelope (Volum, Pan, Bus A,B,C, FX Automation), FX Automation Envelopes(FX Automation), Quick Fade Edges, Properties, Zoom to Loop Region;Add Point: Cut, Copy, Paste, Delete, Linear Fade, Fast Fade, Slow Fade, Smooth Fade, Sharp Fade,Hold, Select All, Reset All;

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Comenzi incluse in Track (de la stanga la dreapta): Minimize/Restore, Nume Track, MicrosoftSound Mapper, Track FX, Mute, Solo.OPERATII CURENTE CU „SAMPLES“ SI „LOOPS“ Acest program bazat pe tehnica buclelor sonore („loops based music creation“) implicacombinarea mai multor scurte fragmente muzicale pre-inregistrate („samples“), ce sunt ordonateintr-un folder special, reprezentand o banca de esantioane sonore (de obicei in formatele wav, mp3sau midi). Prin comanda „File/Open“ acestea pot fi inserate in track-uri (linii temporale), printrasarea lor cu „creionul“ digital activat prin comanda „Draw Tool button“. Esantioanele mailungi de 30“ se pot sincroniza prin „Beatmapper Wizard“, ce determina precizarea unui tempocomun tuturor track-urilor (in BPM = bits per minute, primul timp din prima masura fiindconsiderat „Downbeat“). Tempourile si inaltimile acestor esantioane sonore („samples“) pot fiulterior reformulate la diferite scari („rates“) de durate si frecvente, prin operatia „resample“. Deasemenea, in cadrul track-urilor se pot efectua operatiile curente, (cut, copy, paste, delete, split,etc.), precum si cele referitoare la configurarea dinamicii si a micro- structurii sonore („envelope“).Compozitia rezultata prin suprapunerea mai multor track-uri poate fi salvata (“Save“, „Save As“) informatele specifice programului (acd, acd-zip), precum si in celelalte formate uzuale – ca buclasonora („File/Export loops“ – aif, mp3, ogg, pca, wav) sau ca lucrare definitivata („File/Render As“– aif, mp3, ogg, mov, rm, pca, wwav, wma, etc.). Acest program bazat pe bucle sonore („loops“)reprezinta o cale foarte eficienta de sinteza a structurilor muzicale de factura repetitiva.

- e.) PROGRAME COMPLEMENTARE

Functiile programuluiKB PIANO Version 1.1

© 2003 Gabriel Fernandezhttp://www.qfsoftwqre.com

- File: New, Open (KBPiano Files – kbp), Save, Save As (kbp), Export to MIDI File (mid),Properties (Title, Author, Comment), Exit;

- Channel: Delete Events, Remove Vol Messages, Remote Pan Messages, Clear channel;- Options: Tuning, Show notes, Mem used, Midi devices, Restart Device;- Metronome: Set up (Milliseconds, Sound number, Volume), Enabled;- Help: Contents, KB Shortcuts, Quick Help, Support the author, About;- Alte comenzi: Patch, QChord, Play, Rec (Rec Over, Solo), Stop, Undo, Pan, Octave (1-6),

Channel [1-12, + (13-15), Name], Channel Volume, Master Volume.

- NB – Prin comanda “Rec”, programul transforma tastatura (keyboard-ul) computerului intr-oclaviatura muzicala: prima linie de taste alfabetice in sistemul anglo-american(QWERTYUIOP[]) devine o claviatura cu un ambitus diatonic de o duodecima (C2-G3),cromatizabil prin adaugarea accidentilor (linia de taste numerice “2356790=” de deasupra) siextensibil la 6 octave (C2-G8), prin comanda “Octave 1-6” (sau F1 – F6); de asemenea, prinactivarea liniei IV de taste alfabetice (ZXCVBNM) se pot obtine trisonuri diatonice pe ambitusulC2-G3, extensibil la 6 octave prin tastele F7 – F12 (configuratia acordurilor putand fi setataprin comanda QChord). Liniile de taste alfabetice monodice (tastele diatonice“QWERTYUIOP[]” – la care se adauga tastele cromatice “2356790=”) si acordice(ZXCVBNM) se pot utiliza simultan; astfel, programul permite inregistrarea unor liniimonodice (“Rec/Solo”), cat si omofonice, polifonice sau eterofonice (prin suprapunericonsecutive - “Rec/Rec Over”) pe toate cele 15 canale disponibile – canalul 9 fiind rezervatpercutiei. Compozitia rezultata poate fi salvata (prin “Save” sau “Save As”) in formatul specific“KBPiano File” (kbp – ce nu este insa recunoscut de alte programe) sau in formatul MIDI(prin “Export to MIDI File”) – format universal ce poate fi ulterior convertit intr-o partituramuzicala (de pilda, prin programul “MOZART 6” - comanda “File/Import MIDI”), sauintegrat ca mostra (“sample”) sau bucla (“loop”) in programul “ACID Pro 4.0”.

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Functiile programuluiPRAAT doing phonetics by computer

Version 4.1.12© 1992-2003 by Paul Boersma and David Weenink

© 1992-1998 Summer Institute of Linguistics

- 1.) PRAAT objects- Control: Statistics, New Praat script, Open Praat script, Goodies (Calculator, Stop playing

sound, Report floating point properties), Preferences (Buttons, Sound input prefs, Soundoutput prefs), Quit;

- New: Record mono sound, Record stereo sound, Sound (Create sound, Create sound from:tone complex, gamma tone, Shepard tone), Matrix (Create Matrix, Create simple Matrix),Tables [Create Table, Create TableOfReal, Create formant table (Pools & Van Nierop1973), Create formant table (Peterson & Barney, 1952), Create TableOfReal (Pols 1973)],Tiers (Create: empty PointProcess, Poisson process, PitchTier, FormantTier, IntensityTier,DurationTier,AmplitudeTier), Create TextGrid, Create Strings as file list, Optimaly Theory(OT learning tutorial, Create: NoCoda grammar, place assimilation grammar, placeassimilation distribution, tongue-root grammar, metrics grammar), Articulatory synthesis(AS tutorial, Create: Articulation, Speaker, Artword, Vocal Track from phone), Polynomial(Create: Polynomial, LegendreSeries, ChebyshevSeries, MSpline, Ispline), Multidimensionalscaling (MDS tutorial, Create: letter R example, INDSCAL Carrol Wish example,Configuration; Draw splines and MDS class relations), Neural nets (FFNet tutorial, Create:Freedforward Net, Pattern with zeroes, empty Categories, iris example);

- Read: Read from file, Open long sound file, Read two Sounds from stereo file, Read fromspecial sound file (raw Alaw file, 16-bit Little Endian file, 16-bit Big Endian file), ReadMattrix from raw text file, Read Strings from raw text file, Read TableOfReal from headerlessspreadsheet file, Read Table from table file, Read from special tier file (Text Tier from Xwaves,Interval Tier from Xwaves);

- Write;- Help: Object window, Intro, FAQ, What’s new, Types of objects, Editors, Acknowledgments,

Formulas tutorial, Scripting tutorial, Programming, Go to manual page, Search Praat manual,About Praat.

- 2.) PRAAT picture

- File: Read from praat picture file, Write to praat picture file, Write to Windows metafile, Copyto clipboard, PostScript setting, Write to EPS file, Write to fontless EPS file, Print;

- Edit: Undo, Erase all;- Margins: Draw inner box; Text-left, right, top, bottom; Marks-left every, right every, bottom

every, top every; One mark-left, right, bottom, top; Marks (left, right, bottom, top); Logarithmicmarks (left, right, bottom, top), One logarithmic mark (left, right, bottom, top); Axes;

- World: Text; Text special; Draw-line, arrow, two-way arrow; Draw/Paint rectangle; Draw:Paintsounded rectangle; Draw arc; Draw/Paint ellipse; Draw/Paint circle; Draw/Paint circle (mm);Axes; Measure [Horizontal-mm to wc, wc to mm; Vertical-mm to wc, wc to mm; Text width(wc, mm), PostScript text width (wc, mm)];

- Select: Plain/Dotted/Dashed line; Line width,Black/White/Red/Green/Blue/Yellow/Cyan/Magenta/Maroon/Lime/Navy/Teal/Purple/Olive/Silver/Grey;

- Font: 10/12/14/18/24; Font size; Times/Helvetica/New Century Schoolbook/Palatino/Courier;- Help: Picture window help, About special symbols, About text styles, Phonetic symbol chart,

Search manual.

NB – Acest foarte specializat program este dedicat analizei, sintezei si prelucrarii sunetelor(cuvintelor), precum si generarii unor imagini grafice complexe ale fenomenului sonor. ProgramulPRAAT este utilizat si in experimentele efectuate la CCRMA – Stanford University.

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Principalele functii ale programuluiFractal Tune Smithy v.2.21

© Robert Walker 2000www.tunesmithy.co.uk

support@tunesmithy.co.uk

- NB – Programul genereaza melodii fractale in baza unor moduri prefigurate, darsintetizeaza si noi moduri, precum si noi configuratii ale desenelor melodice fractaleimaginate de utilizator. Structurile melodice rezultate pot fi salvate in mai multe formateaudio - inclusiv in formatul MIDI, ce poate fi convertit ulterior in partituri, inclusiv prinprogramele de redactat mentionate mai sus: “Mozart” (functia “Import MIDI”), “Finale”,“Sibelius”, “NoteWorthy Composer”, “Lime”, “Encore”,etc.

- Functiile de baza : Chose a View (la lansarea programului – cu optiunile: Tune Smithying,Play Fractal Tunes, Scales Work, etc.), File (New, Open, Save, Save As, etc.), Out (Mididefault, Play Control, etc.), In (Options, etc.), Voices (configurarea timbrelor MIDI), Parts,Pitch, Bs. (Play, Stop, Pause/Continue, Record, Arpeggio & Scale Playback, etc.), View (TuneSmithying, Play Fractal Tunes, Scales Work, etc.), Help (Help, About, etc.).

- Cele mai importante arhetipuri modale incluse in program:

1 n(1/7) ! 7 tone modes:1 1 2 1 2 Thai mode 1;+1 2 1 2 1 Thai mode 2;2 1 1 2 1 Thai mode 6.Modes_for_default_scales.lmd Alternate notes: 1 122 cents 271 cents 571 cents 677 cents 785 cents 947 cents ! Typical 7

note Pelog scale;[2] 1 1 2 3 Slendro Alit;+[1] 1 2 2 2 Jegog;1 3 1 1 1 Dangsoe;1 1 1 3 1 Manyura;1 1 2 1 2 PatetLima, Patet Nem, Jawar, Selisir;[1] 1 2 1 1 2 Patet Barang;1 2 1 1 2 Patet Lima, Nem with Pelog;[1] 1 1 2 1 2 PatetBarang with Pelog, Manangis, Slendro Gede, Pergenter 2;[2] 1 1 2 1 2 Liwung, Pergenter 1, Pengenter Alit;[3] 1 1 2 12 Tembung;[4] 1 1 2 1 2 Nyorog, Sunaren;[5] 1 1 2 1 2 Nyorog handap, Baro;2 1 1 2 1 Pelog;1 2 1 2 1 Bem,Pengenter;2 1 2 1 1 Miring, Slendro 2;[4] 2 1 2 1 1 Slendro 1;[1] 2 1 2 1 1 Slendro 3;[3] 2 1 2 1 1 Slendro 4;1 1 1 1 11 1 Lebeng.

Modes_for_default_scales.lmd Alternate notes:1 n(1/12) ! 12 tone modes;10 2 Warao ditonic: South America;+5 7Honchoshi: Japan;7 5 Niagari: Japan;6 1 5 Raga Ongkari;3 7 2 Ute tritonic;5 2 5 Raga Sarvasri, Warao tritonic:South America;5 5 2 Sansagari: Japan;3 4 5 Peruvian tritonic 2;4 3 5 Raga Malasri, Peruvian tritonic 1;1 5 1 5Messiaen truncated mode 5;5 1 5 1 Messiaen truncated mode 5 inverse;2 1 7 2 Warao tetratonic: South America;2 45 1 Raga Sumukam;1 4 3 4 Raga Lavangi;2 2 3 5 Eskimo tetratonic (Alaska: Bethel);2 3 2 5 Genus primum;5 2 3 2Genus primum inverse;2 4 2 4 Messiaen truncated mode 6;4 2 4 2 Messiaen truncated mode 6 inverse;2 3 4 3 RagaBhavani;4 3 3 2 Raga Mahathi;3 4 3 2 Bi Yu: China;1 6 1 3 1 Raga Deshgaur;1 3 1 6 1 Raga Megharanji;1 1 4 1 5Raga Nabhomani;1 5 1 1 4 Raga Saugandhini, Yashranjani;5 2 1 3 1 Raga Devaranjani (Devaranji);2 1 4 1 4 Hira-joshi, Kata-kumoi: Japan:=1 4 2 1 4 Hon-kumoi-joshi, Sakura, Akebono II: Japan, Olympos Enharmonic, RagaSalanganata, Saveri, Gunakri (Gunakali), Latantapriya;1 4 1 4 2 Iwato: Japan:4 2 1 4 1 Raga Amritavarshini,Malashri, Shilangi;4 1 4 2 1 Raga Bhinna Shadja, Kaushikdhvani, Hindolita;1 2 4 1 4 Balinese Pelog, RagaBhupalam, Bhupala Todi, Bibhas;4 1 2 4 1 Raga Gambhiranata, Ryukyu: Japan;1 4 2 4 1 Raga Gauri;4 1 4 1 2Raga Khamaji Durga;2 4 1 4 1 Raga Vaijayanti, Hamsanada;4 1 2 1 4 Raga Zilaf;4 1 3 3 1 Bacovia: Romania, RagaGirija;1 4 3 3 1 Raga Kshanika;1 3 1 3 4 Raga Megharanjani, Syrian pentatonic;3 3 1 4 1 Raga Multani;1 3 3 1 4Raga Reva, Revagupti, Ramkali, Vibhas (bhairava);2 2 2 5 1 Raga Kumurdaki (Kumudki);5 2 2 1 2 RagaKuntvarali;2 5 2 1 2 Raga Matha Kokila (Matkokil);2 2 5 2 1 Raga Neroshta;2 1 2 2 5 Raga Purnalalita, ChadGadyo: Jewish, Ghana Pentatonic 1;5 2 2 2 1 Raga Puruhutika, Purvaholika;2 3 2 1 4 Han-kumoi: Japan, RagaShobhavari;1 4 2 3 2 Kokin-joshi, Miyakobushi, Han-Iwato: Japan, Raga Vibhavari (Revati), Bairagi, Lasaki

1 4 2 2 3 Altered Pentatonic, Raga Manaranjani II: 2 1 2 4 3 Raga Abhogi;2 1 2 3 4 Raga Audav Tukhari;2 2 3 1 4 RagaBhupeshwari, Janasammodini;3 2 4 2 1 Raga Chandrakauns (modern), Marga Hindola, Rajeshwari;3 2 4 1 2 RagaChandrakauns (kafi), Surya, Varamu;1 2 3 2 4 Raga Chhaya Todi;2 3 2 4 1 Raga Desh;4 2 1 2 3 RagaDhavalashri;2 2 3 4 1 Raga Hamsadhvani (Hansadhvani);3 2 1 4 2 Raga Jayakauns;3 2 2 1 4 Raga KokilPancham;4 3 2 2 1 Raga Mamata;4 1 2 2 3 Raga Nagasvaravali, Raga Mand;3 2 2 4 1 Raga Nata,Udayaravicandrika, Madhuranjani;4 2 3 2 1 Raga Hindol (Sunada Vinodini), Sanjh ka Hindol;2 3 4 2 1 RagaRasranjani;2 1 4 2 3 Raga Sivaranjini (Shivranjani), Akebono I: Japan, Dorian Pentatonic;3 4 1 2 2 Raga Shailaja;24 1 2 3 Raga Shri Kalyan;4 3 2 1 2 Raga Valaji;4 1 2 3 2 Mixolydian Pentatonic, Raga Savethri;3 2 3 3 1 RagaChandrakauns (kiravani);1 3 3 3 2 Raga Manaranjani I;3 1 3 2 3 Raga Mohanangi;2 3 3 3 1 Raga Priyadharshini;13 3 2 3 Raga Rasika Ranjani, Vibhas (marva), Scriabin;3 3 1 3 2 Raga Samudhra Priya, Madhukauns (pentatonic);23 2 2 3 Ritusen, Ritsu (Gagaku): Japan, Zhi, Zheng: China, Raga Devakriya, Durga, Suddha Saveri, Arabhi, ScottishPentatonic, Ujo: Korea, Major complement;2 2 3 2 3 Major Pentatonic, Ryosen: Japan, Man Jue, Gong: China,Raga Bhopali (Bhup), Mohanam, Deskar, Bilahari, Kokila, Jait Kalyan, Peruvian Pentatonic 1, Ghana pent.2;2 3 2 32 Yo: Japan, Suspended Pentatonic, Raga Madhyamavati, Madhmat Sarang;gyptian;Rui Bin, Jin Yu, Qing Yu:China;2 3 3 2 2 Chaio: China;2 2 2 3 3 Kung: China;3 2 2 3 2 Minor Pentatonic, Raga Dhani (Suddha Dhanyasi),Abheri, Udhayaravi Chandrika, Qing Shang, Gu Xian, Jia Zhong, Yu: China, P’yongjo-kyemyonjo: Korea, Minyo:Japan, Peruvian Pentatonic 2, Blues Pentatonic;3 3 2 2 2 Raga Harikauns, Chin: China;3 2 3 2 2 Raga Malkauns(Malakosh), Raga Hindola, Man Gong, Quan Ming, Yi Ze, Jiao: China;2 2 3 3 2 Dominant Pentatonic, Shang:China;3 2 2 2 3 Minor added sixth Pentatonic, Kyemyonjo: Korea;1 1 4 1 4 1 Raga Vijayasri;1 1 4 1 1 4 Messiaenmode 5;4 1 1 4 1 1 Messiaen mode 5 inverse;2 2 1 1 1 5 Raga Dipak;2 1 3 1 4 1 Raga Amarasenapriya;1 1 4 1 2 3Raga Chandrajyoti;1 3 2 1 1 4 Raga Dhavalangam;1 3 1 2 4 1 Raga Gaula;1 4 2 1 1 3 Raga Kalakanthi;2 4 1 3 1 1Raga Malarani (Hamsanada);1 3 2 1 4 1 Raga Mandari, Gamakakriya, Hamsanarayani;1 4 2 1 3 1 Raga Padi;4 1 2

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1 3 1 Raga Paraju, Ramamanohari, Simhavahini, Sindhu Ramakriya, Kamalamanohari;1 3 1 2 1 4 Raga PurnaPancama, Malahari, Geyahejjajji, Kannadabangala;3 1 2 1 4 1 Raga Rasamanjari;1 3 1 4 1 2 Raga RudraPancama;4 1 2 1 1 3 Raga Saravati (Sharavati);2 1 3 1 1 4 Raga Syamalam;4 1 2 3 1 1 Raga Tilang, Savitri,Brindabani Tilang;1 3 1 4 2 1 Raga Vasanta, Chayavati;4 2 1 3 1 1 Raga Vijayavasanta;1 3 3 1 3 1 Raga Bauli;3 3 13 1 1 Raga Jivantini, Gaurikriya;1 3 3 1 1 3 Raga Kalagada;1 3 1 3 3 1 Raga Lalita, Sohini, Hamsanandi, LalitBhairav;1 1 3 3 1 3 Raga Suddha Mukhari;1 3 1 3 1 3 Messiaen truncated mode 3, Prometheus (Liszt);3 1 3 1 3 1Messiaen truncated mode 3 inverse, Major Augmented, Genus tertium.

2 1 4 2 2 1 Hawaiian:2 1 2 4 1 2 Raga Bagesri, Sriranjani, Kapijingla;2 2 2 1 4 1 Raga Caturangini;2 2 1 4 2 1 RagaHamsa Vinodini;4 1 2 2 2 1 Raga Hari Nata, Genus secundum;2 4 1 1 2 2 Raga Jaganmohanam;1 4 2 2 2 1 RagaJivantika;4 2 1 1 2 2 Raga Jyoti;4 1 2 1 2 2 Raga Kamalamanohari;4 1 2 2 1 2 Raga Khamas, Baduhari;2 1 4 2 1 2Raga Manavi;2 2 1 2 4 1 Raga Nalinakanti, Kedaram;1 4 2 1 2 2 Raga Phenadyuti, Insen, Honchoshi, Niagari:Japan;1 2 2 1 4 2 Honchoshi plagal form: Japan;2 2 1 4 1 2 Raga Rageshri (Rageshwari), Nattaikurinji;1 4 2 2 1 2Raga Rasavali;1 2 4 2 1 2 Raga Salagavarali;2 4 1 2 1 2 Raga Sarasvati;2 1 2 2 4 1 Raga Sindhura Kafi;1 2 2 2 1 4Raga Suddha Simantini;2 1 4 1 2 2 Raga Trimurti;4 2 1 2 1 2 Raga Vutari;1 3 2 3 1 2 Prometheus Neapolitan;3 2 1 13 2 Blues scale I;2 1 2 1 3 3 Pyramid Hexatonic;1 2 2 1 3 3 Double-Phrygian Hexatonic;3 1 1 2 3 2 RagaBhanumanjari, Jog;2 3 2 1 3 1 Raga Bhinna Pancama;2 1 2 3 3 1 Raga Ghantana, Kaushiranjani (Kaishikiranjani).

1 2 3 2 3 1 Raga Gurjari Todi:1 3 2 3 2 1 Raga Hamsanandi, Marva, Pancama, Puriya;1 3 2 2 1 3 Raga Hejjajji;1 3 1 2 23 Raga Kalavati, Ragamalini;2 2 3 1 3 1 Raga Latika;3 3 1 2 1 2 Raga Madhukauns (hexatonic);1 3 3 2 1 2 RagaMalayamarutam;2 1 3 3 2 1 Raga Ranjani, Rangini;2 3 2 3 1 1 Raga Brindabani Sarang, Megh (Megh Malhar);2 2 13 3 1 Raga Sarasanana;2 1 3 1 3 2 Raga Simharava (Sinharavam);3 2 2 1 3 1 Raga Takka;1 3 1 3 2 2 RagaVasantabhairavi;2 1 3 1 2 3 Raga Vijayanagari;1 2 2 3 3 1 Raga Viyogavarali;1 2 3 1 2 3 Messiaen truncated mode2;1 3 2 1 3 2 Messiaen truncated mode 2;2 3 2 2 1 2 P’yongjo: Korea, Yosen: Japan, Raga Darbar, Narayani,Suposhini, Andolika, Gorakh Kalyan, Mixolydian Hexatonic;2 2 2 3 1 2 Prometheus, Raga Barbara;1 2 2 3 2 2Ritsu: Japan, Raga Suddha Todi;2 2 1 2 2 3 Arezzo Major Diatonic Hexachord, Raga Kambhoji, Devarangini,Scottish Hexatonic;2 1 2 2 3 2 Minor Hexatonic, Raga Palasi, Manirangu, Nayaki, Yo: Japan, Eskimo Hexatonic 1(Alaska: King Island);2 2 2 2 3 1 Eskimo Hexatonic 2 (Alaska: Point Hope);1 2 3 2 2 2 Raga Bhavani;1 2 2 2 3 2Raga Gandharavam;3 2 2 1 2 2 Raga Gopikavasantam, Desya Todi, Phrygian Hexatonic;2 2 3 2 2 1 Raga Kumud,Sankara (Shankara), Lydian Hexatonic;3 2 2 2 1 2 Raga Manohari;2 2 2 3 2 1 Raga Mruganandana;2 3 2 2 2 1Raga Nagagandhari;2 3 2 1 2 2 Raga Navamanohari;2 2 1 2 3 2 Raga Siva Kambhoji, Vivardhini;2 1 2 2 2 3 RagaSuddha Bangala, Gauri Velavali;2 2 2 1 2 3 Raga Yamuna Kalyani, Kalyani Keseri, Ancient Chinese;2 2 2 2 2 2Whole-tone, Messiaen mode 1, Raga Gopriya, Anhemitonic Hexatonic.

1 1 4 1 1 1 3 Mela Salaga:1 1 4 1 1 3 1 Mela Jhalavarali, Raga Varali, Jinavali;1 1 4 1 3 1 1 Mela Raghupriya, RagaRavikriya, Ghandarva;1 1 4 1 1 2 2 Mela Jalarnava;1 1 4 1 2 1 2 Mela Navanitam, Raga Nabhomani;1 1 4 1 2 2 1Mela Pavani, Raga Kumbhini;2 2 1 4 1 1 1 Raga Ragesri;4 1 2 2 1 1 1 Raga Madhuri;1 1 3 1 1 3 2 ChromaticMixolydian;1 3 1 1 3 2 1 Chromatic Lydian, Raga Lalit, Bhankar;3 1 1 3 2 1 1 Chromatic Phrygian;1 1 3 2 1 1 3Chromatic Dorian, Mela Kanakangi, Raga Kanakambari;1 3 2 1 1 3 1 Chromatic Hypolydian, Purvi That, MelaKamavardhani, Raga Shri, Pantuvarali, Basant, Kasiramakriya, Suddharamakriya, Puriya Dhanashri, Dhipaka;3 21 1 3 1 1 Chromatic Hypophrygian, Blues scale III;2 1 1 3 1 1 3 Chromatic Hypodorian, Raga Dvigandharabushini;23 1 1 3 1 1 Chromatic Mixolydian inverse;1 1 2 3 1 1 3 Chromatic Phrygian inverse;1 1 3 1 1 2 3 ChromaticHypophrygian inverse;3 1 1 3 1 1 2 Chromatic Hypodorian inverse;1 1 3 2 1 3 1 Mela Ganamurti, RagaGanasamavarali;1 1 3 2 3 1 1 Mela Tanarupi, Raga Tanukirti;1 3 1 1 2 3 1 Raga Lalita, Chromatic Hypolydianinverse, Raga Suddha Pancama;1 3 1 2 1 1 3 Mela Gayakapriya, Raga Kalakanti, Gipsy Hexatonic;1 3 1 2 1 3 1Major Gipsy, Persian, Double Harmonic Major, Bhairav That, Mela Mayamalavagaula, Raga Paraj, Kalingada,Second Byzantine mode, Hitzaskiar: Greece, Maqam Zengule, Hijaz Kar, Suzidil;1 3 1 2 3 1 1 Mela Hatakambari,Raga Jeyasuddhamalavi;3 1 1 2 1 1 3 Mela Yagapriya, Raga Kalahamsa;3 1 1 2 1 3 1 Mela Gangeyabhusani, RagaGangatarangini, Sengah: Greece;3 1 1 2 3 1 1 Mela Calanata, Raga None, Chromatic Dorian inverse;1 2 3 1 1 1 3Mela Gavambodhi, Raga Girvani;1 2 3 1 1 3 1 Todi That, Mela Shubhapantuvarali, Raga Multani,Gamakasamantam, Chromatic Lydian inverse.

1 2 3 1 3 1 1 Mela Divyamani:1 3 2 1 1 1 3 Mela Dhavalambari, Foulds’ Mantra of Will scale;1 3 2 1 3 1 1 MelaVisvambhari, Raga Vamsavathi;1 3 1 3 2 1 1 Verdi’s Enigmatic descending;2 1 3 1 1 1 3 Mela Syamalangi, RagaShyamalam;2 1 3 1 1 3 1 Minor Gipsy, Mela ;imhendramadhyama, Raga Madhava Manohari, Maqam Nawa Athar,Hisar, Double Harmonic Minor, Hungarian Minor, Niavent: Greece;2 1 3 1 3 1 1 Mela Nitimati, Raga Nisada,Kaikavasi;3 1 2 1 1 1 3 Mela Sucaritra, Raga Santanamanjari;3 1 2 1 1 3 1 Mela Dhatuvardhani, Raga DhautaPancama, Devarashtra;3 1 2 1 3 1 1 Mela Rasikapriya, Raga Rasamanjari, Hamsagiri;1 3 1 1 3 1 2 Oriental, RagaAhira-Lalita, Minor Gipsy inverse;2 1 2 2 1 3 1 Harmonic Minor, Spanish gipsy, Mischung 4, Pilu That, MelaKiravani, Raga Kiranavali, Kirvani, Kalyana Vasantha, Deshi(3), Maqam Bayat-e-Esfahan, Zhalibny Minor;1 3 1 2 21 2 Harmonic Minor inverse, Mela Cakravaka, Raga Ahir Bhairav, Bindumalini, Vegavahini, Makam Hicaz,Zanjaran;2 2 1 2 1 3 1 Harmonic Major, Mela Sarasangi, Raga Haripriya, Mischung 2, Ethiopian;1 2 1 3 1 2 2Makam Huzzam, Phrygian flat 4;2 2 1 3 1 2 1 Ionian sharp 5;1 2 2 1 3 1 2 Locrian natural 6, Maqam Tarznauyn;2 12 1 2 3 1 Locrian no.2;1 2 1 2 2 1 3 Ultra Locrian, Mixolydian sharp 1;1 2 2 1 2 1 3 Locrian double-flat 7;2 3 1 2 1 21 Nohkan Flute scale: Japan;2 1 1 3 1 2 2 Sambah (Sabach): Greece;2 1 2 1 3 1 2 Makam Karcigar, Dorian flat 5,Kiourdi ascending: Greece;2 1 2 1 3 2 1 Jeths’ mode;1 1 3 2 1 2 2 Mela Ratnangi, Raga Phenadyuti;1 1 3 2 2 1 2Mela Vanaspati, Raga Bhanumati;1 1 3 2 2 2 1 Mela Manavati, Raga Manoranjani;1 2 2 2 1 1 3 Mela Senavati, RagaSenagrani, Malini;1 2 2 2 1 3 1 Neapolitan Minor, Mela Dhenuka, Raga Dhunibinnashadjam, Maqam ShahnazKurdi.

1 2 2 2 3 1 1 Mela Rupavati:1 3 1 2 1 2 2 Mela Vakulabharanam, Alhijaz: Arabic, Raga Jogiya, Vativasantabhairavi,Ahava Rabba: Jewish, Maqam Humayun, Hitzaz: Greece, Dorico Flamenco: Spain, Harmonic Major inverse, PhrygianDominant;1 3 1 2 2 2 1 Mela Suryakanta, Bhairubahar That, Raga Supradhipam, Sowrashtram.2 1 2 1 1 3 2 Modified Blues:2 1 2 2 1 1 3 Mela Jhankaradhvani, Raga Jhankara Bhramavi;2 1 2 2 3 1 1 Mela

Varunapriya, Viravasantham;2 2 1 2 1 1 3 Mela Mararanjani, Raga Keseri;2 2 1 2 3 1 1 Mela Naganandini, RagaNagabharanam, Samanta;3 1 1 2 1 2 2 Mela Ragavardhani, Raga Cudamani;3 1 1 2 2 1 2 Mela Vagadhisvari, RagaBhogachayanata, Nandkauns, Ganavaridhi, Bluesy R&R;3 1 1 2 2 2 1 Mela Sulini, Raga Sailadesakshi, RagaTrishuli, Houzam: Greece;1 2 3 1 1 2 2 Mela Bhavapriya, Raga Bhavani, Kalamurti;1 2 3 1 2 1 2 MelaSadvidhamargini, Raga Sthavarajam, Tivravahini;1 2 3 1 2 2 1 Mela Suvarnangi, Raga Sauviram;1 3 2 1 1 2 2 Mela

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Namanarayani, Raga Narmada, Pratapa;1 3 2 1 2 1 2 Mela Ramapriya, Raga Ramamanohari, Romanian Major,Petrushka chord;1 3 2 1 2 2 1 Marva That, Mela Gamanasrama, Raga Partiravam, Puriya, Puriya Kalyan, Sohani,Peiraiotikos: Greece.

1 3 2 2 2 1 1 Verdi’s Enigmatic ascending:;2 1 3 1 1 2 2 Mela Sanmukhapriya, Raga Camara, Chinthamani;2 1 3 1 2 1 2Mela Hemavati, Raga Desisimharavam, Maqam Nakriz, Tunisian, Hedjaz, Misheberekh: Jewish, Souzinak (PeiraiotikoMinore): Greece, Dorian sharp 4, Kaffa;2 1 3 1 2 2 1 Lydian Diminished, Mela Dharmavati, Raga Arunajualita,Dumyaraga, Madhuvanti, Ambika.2 2 2 1 1 1 3 Mela Kantamani, Raga Kuntala, Srutiranjani:2 2 2 1 1 3 1 Mela Latangi, Raga Gitapriya, Hamsalata;2 2 2

1 3 1 1 Mela Citrambari, Raga Chaturangini;2 3 2 2 1 1 1 Raga Sorati, Sur Malhar;3 1 2 1 1 2 2 MelaJyotisvarupini, Raga Jotismatti;3 1 2 1 2 1 2 Hungarian Major, Mela Nasikabhusani, Raga Nasamani;3 1 2 1 2 2 1Mela Kosalam, Raga Kusumakaram, Lydian sharp 2;;3 1 2 2 1 2 1 Aeolian flat 1;1 2 2 1 2 2 2 Gr.Mixolydian,Gr.Hyperdorian, Med.Hypophrygian, Med.Locrian, Pien chih: China, Makam Lami, Yishtabach: Jewish;2 2 1 2 2 21 Gr.Lydian, Med.Ionian, Med.Hypolydian, Major, Bilaval That, Mela Shankarabharanam, Ghana Heptatonic,Peruvian major, 4th plagal Byzantine, Ararai: Ethiopian, Makam Cargah, Ajam Ashiran, Dastgah Mahur, DastgahRast Panjgah;2 1 2 2 2 1 2 Gr.Phrygian, Med.Dorian, Med.Hypomixolydian, Kafi That, Mela; araharapriya, RagaBageshri, Sriraga, Bhimpalasi, Mischung 5, Gregorian nr.8, Eskimo Heptatonic, Yu: China, Hyojo, Oshikicho,Banshikicho: Japan;1 2 2 2 1 2 2 Gr.Dorian, Med.Phrygian, Gr.Med.Hypoaeolian, Bhairavi That, Mela Hanumatodi,Raga Asavari (Asaveri), Raga Bilashkhani Todi, In: Japan, Makam Kurd, Gregorian nr.3, Ousak: Greece, Majorinverse;2 2 2 1 2 2 1 Gr.Hypolydian, Med.Lydian, Kalyan That (Yaman), Mela Mecakalyani, Raga Shuddh Kalyan,Ping, Kung: China;2 2 1 2 2 1 2 Gr.Hypophrygian, Gr.Ionian (Iastian), Med.Mixolydian, Gr.Med.Hypoionian,Khamaj That, Mela Harikambhoji, Raga Harini, Janjhuti, Surati, Mischung 3, Ching, Shang: China, Gregoriannr.7;2 1 2 2 1 2 2 Gr.Med.Hypodorian, Gr.Med.Aeolian, Gr.Hyperphrygian, Natural Minor, Asavari That, MelaNatabhairavi, Raga Jaunpuri, Raga Adana, Se, Chiao: China, Gregorian nr.2, Makam Buselik, Nahawand, Peruvianminor, Geez, Ezel: Ethiopian, Kiourdi descending: Greece;2 1 2 2 2 2 1 Melodic Minor ascending, Jazz Minor,Minor-Major, Mela Gaurimanohari, Raga Patdip, Velavali, Deshi(2), Mischung 1, Hawaiian.

2 2 2 2 1 2 1 Lydian Augmented, Lydian sharp 5:2 2 1 1 2 2 2 Major Locrian;2 1 2 1 2 2 2 Minor Locrian, HalfDiminished, Locrian sharp 2, Minor flat 5;1 2 1 2 2 2 2 Super Locrian, Altered, Diminished Whole-tone, Locrian flat4, Pomeroy, Ravel;1 2 2 2 2 2 1 Neapolitan Major, Phrygian Major, Mela Kokilapriya, Raga Kokilaravam;1 2 2 2 2 12 Mela Natakapriya, Jazz Minor inverse, Phrygian-Mixolydian, Raga Natabharanam, Ahiri Todi;2 2 1 2 1 2 2Mischung 6, Mixolydian flat 6, Major-Minor, Mela Carukesi, Raga Charukeshi, Tarangini

2 2 2 1 1 2 2 Lydian Minor, Mela Risabhapriya, Raga Ratipriya;2 2 2 1 2 1 2 Lydian Dominant, Mela Vacaspati, RagaBhusavati, Overtone, Lydian-Mixolydian, Bartok;2 2 2 2 2 1 1 Leading Whole-tone;1 3 1 1 1 1 3 1 Raga Ramkali(Ramakri)1 1 1 3 1 1 1 3 Messiaen mode 4:3 1 1 1 3 1 1 1 Messiaen mode 4 inverse;1 3 1 1 1 2 2 1 Raga Bhatiyar;2 1 3 1 1 1 1 2

Raga Cintamani;1 3 1 2 1 1 2 1 Raga Saurashtra;1 2 2 1 1 1 3 1 Half-diminished Bebop;1 3 1 1 2 2 1 1 Verdi’s Scalaenigmatica;1 1 1 2 2 1 3 1 Harmonic and Neapolitan Minor mixed;1 3 1 2 1 2 1 1 Maqam Hijaz;1 2 1 1 1 3 1 2Maqam Shadd’araban;2 1 2 2 2 1 1 1 Raga Mian Ki Malhar, Bahar, Sindhura;2 1 2 2 1 1 1 2 Raga Mukhari,Anandabhairavi, Deshi, Gregorian nr.1, Dorian/Aeolian mixed;2 1 1 1 2 2 1 2 Minor Bebop, Raga Zilla,Mixolydian/Dorian mixed;2 2 1 2 2 1 1 1 Genus diatonicum, Dominant Bebop, Raga Khamaj, Desh Malhar, AlhaiyaBilaval, Maqam Shawq Awir, Gregorian nr.6, Major/Mixolydian mixed, Chinese Eight-Tone, Rast: Greece

2 2 1 2 1 1 2 1 Major Bebop, Altered Mixolydian:2 1 2 1 1 2 1 2 Blues scale II;1 2 1 1 2 1 2 2 Spanish Phrygian;1 2 1 1 1 22 2 Espla’s scale, Eight-tone Spanish;2 1 2 1 2 1 2 1 Diminished, Modus conjunctus, Messiaen mode 2 inverse,Whole-Half step scale;2 2 1 1 1 2 2 1 Ishikotsucho: Japan, Raga Yaman Kalyan, Chayanat, Bihag, Hamir Kalyani,Kedar, Gaud Sarang, Genus diatonicum veterum correctum, Gregorian nr.5, Kubilai’s Mongol scale, Major/Lydianmixed;2 1 2 2 1 1 2 1 Zirafkend: Arabic;1 1 1 2 2 2 1 2 Adonai Malakh: Jewish;1 2 1 2 2 1 2 1 Magen Abot: Jewish;21 2 2 1 2 1 1 Maqam Nahawand, Raga Suha (Suha Kanada), Gregorian nr.4, Utility Minor;1 2 1 2 1 2 1 2 Octatonic,Messiaen mode 2, Dominant Diminished, Diminished Blues, Half-Whole step scale

1 1 2 2 1 1 2 2 Messiaen mode 6:2 2 1 1 2 2 1 1 Messiaen mode 6 inverse;1 2 2 1 1 2 2 1 Van der Horst Octatonic;1 1 2 1 12 1 1 2 Messiaen mode 3, Tsjerepnin;2 1 1 2 1 1 2 1 1 Messiaen mode 3 inverse;2 1 2 2 1 1 1 1 1 Raga Pilu, FullMinor;2 1 1 1 2 2 1 1 1 Raga Malgunji, Ramdasi Malhar;2 2 1 2 1 1 1 1 1 Raga Pahadi;2 1 1 1 1 1 2 1 2 BluesEnneatonic;;2 1 2 1 1 1 1 1 2 Kiourdi: Greece;2 2 1 1 1 2 1 1 1 Taishikicho: Japan, Ryo: Japan, Raga Chayanat;1 2 11 2 1 1 2 1 Genus chromaticum;1 2 1 1 2 1 2 1 1 Moorish Phrygian;1 1 2 1 1 1 2 1 2 Youlan scale: China;1 1 1 2 2 1 11 2 Chromatic and Diatonic Dorian mixed;1 1 2 1 2 1 1 2 1 Chromatic and Permuted Diatonic Dorian mixed;2 1 1 12 1 1 1 2 Modes of Major Pentatonic mixed;1 1 1 1 2 1 1 1 1 2 Messiaen mode 7;2 1 1 1 1 2 1 1 1 1 Messiaen mode 7inverse;2 1 1 1 2 1 1 1 1 1 Major/Minor mixed;2 1 1 1 1 1 2 1 1 1 Minor Pentatonic with leading tones;1 1 1 1 1 2 1 2 11 Raga Sindhi-Bhairavi;1 1 2 1 1 1 1 2 1 1 Symmetrical Decatonic;1 1 1 1 1 1 1 1 1 1 1 1 Twelve-tone Chromatic

Modes_for_default_scales.lmd Alternate notes-1 3^(1/13) ! Bohlen-Pierce scale:+3 1 2 1 3 2 1 Prooijen Major;2 1 3 1 2 3 1Prooijen Minor;2 1 2 1 1 2 1 2 1 Delta, Moll I;1 2 1 2 1 1 2 1 2 Dur I, Delta inverse;1 2 1 2 1 1 2 2 1 Gamma;1 2 2 1 12 1 2 1 Gamma inverse;2 1 1 2 1 2 1 1 2 Dur II;2 1 1 2 1 2 1 2 1 Lambda;=1 2 1 2 1 2 1 1 2 Harmonic, Lambdainverse;1 2 1 2 1 2 1 2 1 Pierce, Moll II;1 1 2 1 2 1 2 1 2 Walker A;1 2 1 1 2 1 2 1 2 Walker B;2 1 2 1 2 1 2 1 1 WalkerI;2 1 2 1 2 1 1 2 1 Walker II.

1 n(1/15) ! 15 tone equal modes:4 1 4 1 4 1 Blackwood Hexatonic;+3 1 2 3 1 4 1 Fifteen-tone Harmonic Minorl3 2 1 3 1 41 Fifteen-tone Harmonic Majorl3 2 1 3 2 3 1 Fifteen-tone “Major”l3 1 2 3 1 3 2 Fifteen-tone “Minor”, NaturalMinorl3 1 2 3 2 3 1 Fifteen-tone Melodic Minorl2 2 2 3 2 2 2 Fifteen-tone Miller’s Porcupine-7l2 3 2 2 2 2 2 Fifteen-tone Miller’s Porcupine-7 Majorl=3 1 1 1 3 1 1 2 1 1 Fifteen-tone Major/Minor mixedl1 2 1 2 1 2 1 2 1 2 BlackwoodDecatonicl1 2 1 1 1 2 1 1 1 1 2 1 Twelve-tone ChromaticlModes_for_default_scales.lmd Alternate notesl.

1 n(1/17) ! 17 tone equal modes:3 3 4 3 4 Seventeen-tone Major Pentatonic;+4 3 3 4 3 Seventeen-tone MinorPentatonic;;=3 4 3 4 3 Seventeen-tone Suspended Pentatonic;3 1 3 3 1 5 1 Seventeen-tone Harmonic Minor;3 3 1 3 15 1 Seventeen-tone Harmonic Major;3 3 1 3 3 3 1 Seventeen-tone Major;3 1 3 3 1 3 3 Seventeen-tone NaturalMinor;3 1 3 3 3 3 1 Seventeen-tone Melodic Minor;2 1 1 2 1 2 1 2 1 1 2 1 Twelve-tone Chromatic (2/11-commapositive).

Modes_for_default_scales.lmd Alternate notes-Arabic 17-tone pythagorean ! Arabic 17-tone Pythagorean (Arp.):3 3 1 3 31 3 Safi al-Din’s maqam ‘Ussaq;+3 1 3 3 1 3 3 Safi al-Din’s maqam Nawa;1 3 3 1 3 3 3 Safi al-Din’s maqam AbuSalik;3 2 2 3 2 2 3 Safi al-Din’s maqam Rast;3 2 2 2 3 2 3 Safi al-Din’s maqam Zangulah;2 3 2 2 2 3 3 Safi al-Din’s

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maqam Rahawi;2 2 3 2 2 3 3 Safi al-Din’s maqam Husaini;2 2 3 2 3 2 3 Safi al-Din’s maqam Higazi;2 3 2 2 3 2 2 1Safi al-Din’s maqam ‘Iraq;3 2 2 3 2 2 2 1 Safi al-Din’s maqam Isfahan;2 2 3 2 2 1 3 2 Safi al-Din’s maqamZirafkand;2 3 2 2 1 3 2 2 Safi al-Din’s maqam Buzurk;1 2 1 2 1 1 2 1 2 1 3 Ishaq al-Mausili’s mode;1 2 1 1 1 1 1 2 1 11 1 1 2 al-Kindi’s mode.

Modes_for_default_scales.lmd Alternate notes-1 n(1/19) ! 19 tone modes:5 4 5 5 Four out of 19;+3 3 5 3 5 Nineteen-toneMajor Pentatonicl5 3 3 5 3 Nineteen-tone Minor Pentatonic;3 5 3 5 3 Nineteen-tone Suspended Pentatonic;4 4 4 4 3Five out of 19;4 4 3 4 4 Quasi-equal Pentatonic;3 3 3 3 3 4 Yasser’s Hexad;5 1 5 1 1 5 1 Oljare Augmented;=4 1 4 1 41 4 Oljare Diminished;1 2 5 1 2 5 3 Ratio 1:2 Chromatic Mixolydian;2 5 1 2 5 3 1 Ratio 1:2 Chromatic Lydian;5 1 25 3 1 2 Ratio 1:2 Chromatic Phrygian;1 2 5 3 1 2 5 Ratio 1:2 Chromatic Dorian;2 5 3 1 2 5 1 Ratio 1:2 ChromaticHypolydian;5 3 1 2 5 1 2 Ratio 1:2 Chromatic Hypophrygian;3 1 2 5 1 2 5 Ratio 1:2 Chromatic Hypodorian;3 2 3 3 24 2 Nineteen-tone Harmonic Minor;3 3 2 3 2 4 2 Nineteen-tone Harmonic Major;3 3 2 3 3 3 2 Nineteen-toneMajor;3 2 3 3 2 3 3 Nineteen-tone Natural Minor;3 2 3 3 3 3 2 Nineteen-tone Melodic Minor;2 2 3 2 2 3 2 3 OljareOctatonic;1 3 1 3 3 1 3 1 3 Oljare Pentaenharmonic;2 2 2 2 2 2 2 2 2 1 Negri’s Ten Plus Nine;3 1 1 3 1 3 1 1 3 1 1Keenan eleven out of 19;3 1 1 3 1 1 1 1 3 1 3 McLaren eleven out of 19;2 2 2 2 2 1 2 1 2 2 1 Krantz eleven out of 19;12 2 1 2 1 2 1 2 2 1 2 Meantone Chromatic (1/3-comma);2 1 2 1 2 1 2 2 1 2 1 2 Genus diatonico-chromaticum;2 1 2 1 22 1 2 1 2 1 2 Yasser’s Supradiatonic.

Modes_for_default_scales.lmd Alternate notes-1 n(1/22) ! 22 tone equal modes (Paul Erlich): +5 ; 4 5 4 Septimal Minor Pentatonic;6 3 1 3 6 3 Blues;4 3 3 4 4 4 Harmonic Whole-Tone;4 3 4 4 3 4 “9-limit”

Consonant Whole-Tone;4 4 1 4 4 4 1 Twenty-two tone Major;4 1 4 4 1 4 4 Twenty-two tone Minor;4 2 3 4 2 5 2Twenty-two tone Harmonic Minor;4 3 2 4 2 5 2 Twenty-two tone Harmonic Major;4 3 2 4 3 4 2 Twenty-two tone“Just” Major;4 2 3 4 2 4 3 Twenty-two tone Natural Minor;4 2 3 4 3 4 2 Twenty-two tone Melodic Minor;4 3 3 3 3 33 Major quasi-equal Heptatonic;3 3 3 4 3 3 3 Minor quasi-equal Heptatonic;2 3 2 3 2 3 2 3 2 Rezsutek’s Percussionscale;2 2 3 2 2 2 3 2 2 2 Standard Pentachordal Major;2 2 3 2 2 2 2 3 2 2 Static Symmetrical Major;2 3 2 2 2 2 2 3 2 2Alternate Pentachordal Major;2 3 2 2 2 2 3 2 2 2 Dynamic Symmetrical Major;2 2 2 3 2 2 2 2 2 3 StandardPentachordal Minor;2 2 2 3 2 2 2 2 3 2 Static Symmetrical Minor;2 2 2 2 3 2 2 2 3 2 Alternate Pentachordal Minor;22 2 2 3 2 2 2 2 3 Dynamic Symmetrical Minor;3 1 1 3 1 3 1 3 1 1 3 1 Twelve-tone Chromatic (1/3-comma positive).

1/1 256/243 16/15 10/9 9/8 32/27 6/5 5/4 81/64 4/3 27/20 45/32 729/512 3/2 128/81 8/5 5/3 27/16 16/9 9/5 15/8 243/128 2 !Indian shruti 22 tone scale:

2 7 4 1 8 Raga Saveri;+1 6 6 3 6 Raga Vibhas (marva);4 3 6 7 2 Raga Hamsadhvani;3 4 6 3 6 Raga Deskar;6 3 6 3 4Raga Malkauns;3 6 4 3 6 Raga Suddha Malhar;4 3 6 4 5 Raga Bhupali;4 5 4 4 5 Raga Durga;1 4 6 3 7 1 RagaGurjari Todi;7 2 4 5 2 2 Raga Tilang;2 5 6 2 5 2 Raga Bauli;6 3 4 2 5 2 Raga Takka;4 3 2 4 3 6 Raga Kambhoji;1 47 1 1 7 1 Todi That;1 6 2 4 1 7 1 Bhairav That;2 4 6 1 1 7 1 Raga Multani;1 4 7 1 1 6 2 Raga Varali;1 4 4 4 1 7 1Raga Rampurmat Pilu;1 6 2 2 3 7 1 Raga Lalita;1 4 4 4 1 5 3 Raga Asavari;1 4 4 4 1 4 4 Raga Bilashkhani Todi;4 14 4 1 4 4 Raga Jaunpuri;4 4 4 1 4 4 1 Raga Yaman;2 5 5 1 2 5 2 Purvi That, Raga Shri;2 5 5 1 3 4 2 Raga PuriyaKalyan;4 3 2 4 4 1 4 Khamaj That;2 5 4 2 4 3 2 Raga Marva;4 3 2 4 4 3 2 Shadja Grama, MurchhanaUttaramandra, Shuddha Swara Saptaka;[20] 2 4 3 2 4 4 3 Murchhana Rajani;[17] 3 2 4 3 2 4 4 MurchhanaUttarayata;4 3 2 4 3 2 4 Murchhana Suddhasadja, Raga Harikambhoji, Palaiyazh;4 4 3 2 4 3 2 MurchhanaAsvakranta;3 2 4 4 3 2 4 Murchhana Abhirudgata, Kafi That, Raga Bageshri;4 3 2 4 3 4 2 Madhyama Grama,Bilaval That, Murchhana Suddhamadhya;[20] 2 4 3 2 4 3 4 Murchhana Margavi;3 4 2 4 3 2 4 MurchhanaHrishyaka;4 3 4 2 4 3 2 Murchhana Sauviri, Kalyan That;2 4 3 4 2 4 3 Murchhana Harinasva, Bhairavi That;[4] 3 24 3 4 2 4 Murchhana Kalopanata;3 2 4 3 2 4 4 Gandhaara Grama (Sarngadeva der. ma-grama);4 2 4 3 2 4 3Gandhaara Grama (Narada der. ma-grama), Murchhana Pauravi;4 2 3 4 2 4 3 Gandhaara Grama (Damodara),Raga Darbari, Darbari Kanada;2 4 4 3 2 4 3 Gandhaara Grama (Popley), Murchhana Matsarikrita;4 2 3 4 2 3 4Asavari That;3 4 2 4 3 4 2 Raga Jogiya;2 3 4 4 2 3 4 Raga Kanakangi;4 2 3 4 4 2 3 Raga Kharaharapriya,Bhimpalasi;3 2 4 3 3 3 4 Gandhaara Grama (Sarngadeva der. sa-grama);4 2 4 3 3 3 3 Gandhaara Grama (Naradader. sa-grama);2 4 3 3 3 4 3 Gandhaara Grama (Somanatha);1 6 2 1 3 1 6 2 Raga Ramkali;1 6 2 4 1 2 4 2 RagaSaurashtra;4 3 2 3 1 3 5 1 Raga Yaman Kalyan;4 3 2 3 1 4 4 1 Raga Bihag;2 5 2 3 1 3 4 2 Raga Bhatiyar;4 2 3 4 4 2 21 Raga Mian Ki Malhar;3 2 4 4 2 1 2 4 Raga Mukhari;4 3 2 3 1 4 3 2 Raga Gaud Sarang;4 3 2 4 3 2 3 1 RagaKhamaj;4 2 3 4 2 2 2 3 Raga Anandabhairavi;4 3 2 2 2 3 4 2 Raga Suddha Kalyan;4 2 2 1 4 4 2 2 1 Raga RamdasiMalhar;4 3 2 3 1 3 2 3 1 Raga Chayanat;3 2 1 1 2 3 1 3 2 1 1 2 Old Indian gamut;2 2 2 1 2 2 2 2 2 2 1 2 ModernIndian gamut.

Modes_for_default_scales.lmd Alternate notes - 1 n(1/27) ! 27 tone equal modes: +1 1 2 1 1 1 1 2 1 1 1 1 2 1 1 15-Tone MOS;1 n(1/31) ! 31 tone equal modes:10 10 10 1 Genus quartum;+5 8 5 13

Genus primum;13 6 6 6 Genus decimum;6 6 7 6 6 Quasi-equal Pentatonic;5 7 6 7 5 1 Genus quintum;6 6 6 1 6 6Genus octavum;8 2 8 3 7 3 Genus tertium;4 6 9 6 4 2 Genus nonum;10 3 5 5 5 3 Genus secundum;4 6 5 6 4 6 Genusseptimum;1 2 10 1 2 10 5 Enharmonic Mixolydian;2 10 1 2 10 5 1 Enharmonic Lydian;10 1 2 10 5 1 2 EnharmonicPhrygian;1 2 10 5 1 2 10 Enharmonic Dorian;2 10 5 1 2 10 1 Enharmonic Hypolydian;10 5 1 2 10 1 2 EnharmonicHypophrygian;5 1 2 10 1 2 10 Enharmonic Hypodorian;5 2 2 9 2 2 2 Hemiolic Chromatic Hypodorian;2 2 9 2 2 9 5Hemiolic Chromatic Mixolydian;2 9 2 2 9 5 2 Hemiolic Chromatic Lydian;9 2 2 9 5 2 2 Hemiolic ChromaticPhrygian;2 2 9 5 2 2 9 Hemiolic Chromatic Dorian;2 9 5 2 2 9 2 Hemiolic Chromatic Hypolydian;9 5 2 2 9 2 2Hemiolic Chromatic Hypophrygian;2 3 8 2 3 8 5 Ratio 2:3 Chromatic Mixolydian;3 8 2 3 8 5 2 Ratio 2:3 ChromaticLydian;8 2 3 8 5 2 3 Ratio 2:3 Chromatic Phrygian;2 3 8 5 2 3 8 Ratio 2:3 Chromatic Dorian;3 8 5 2 3 8 2 Ratio 2:3Chromatic Hypolydian;8 5 2 3 8 2 3 Ratio 2:3 Chromatic Hypophrygian;5 2 3 8 2 3 8 Ratio 2:3 ChromaticHypodorian;2 5 6 2 5 6 5 Soft Diatonic Mixolydian;5 6 2 5 6 5 2 Soft Diatonic Lydian;6 2 5 6 5 2 5 Soft DiatonicPhrygian;2 5 6 5 2 5 6 Soft Diatonic Dorian;5 6 5 2 5 6 2 Soft Diatonic Hypolydian;6 5 2 5 6 2 5 Soft DiatonicHypophrygian;5 2 5 6 2 5 6 Soft Diatonic Hypodorian;5 3 5 5 3 7 3 Thirty-one tone Harmonic Minor;5 5 3 5 3 7 3Thirty-one tone Harmonic Major;5 5 3 5 5 5 3 Thirty-one tone Major, Intense Diatonic Lydian, M.Ionian;5 3 5 5 3 55 Thirty-one tone Natural Minor, Intense Diatonic Hypodorian, Aeolian;5 3 5 5 5 5 3 Thirty-one tone MelodicMinor;5 5 3 5 3 5 5 Thirty-one tone Major-Minor;3 5 5 3 5 5 5 Intense Diatonic Mixolydian, M.Locrian;5 3 5 5 5 3 5Intense Diatonic Phrygian, M.Dorian;3 5 5 5 3 5 5 Intense Diatonic Dorian, M.Phrygian;5 5 5 3 5 5 3 IntenseDiatonic Hypolydian, M.Lydian;5 5 3 5 5 3 5 Intense Diatonic Hypophrygian, M.Mixolydian;4 4 5 4 4 5 5 NeutralDiatonic Mixolydian;4 5 4 4 5 5 4 Neutral Diatonic Lydian;5 4 4 5 5 4 4 Neutral Diatonic Phrygian;4 4 5 5 4 4 5Neutral Diatonic Dorian;4 5 5 4 4 5 4 Neutral Diatonic Hypolydian;5 5 4 4 5 4 4 Neutral Diatonic ;Hypophrygian;5 44 5 4 4 5 Neutral Diatonic Hypodorian;4 5 4 4 5 4 5 Neutral Mixolydian;5 4 4 5 4 5 4 Neutral Lydian;4 4 5 4 5 4 5

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Neutral Phrygian;4 5 4 5 4 5 4 Neutral Dorian;5 4 5 4 5 4 4 Neutral Hypolydian;4 5 4 5 4 4 5 NeutralHypophrygian;5 4 5 4 4 5 4 Neutral Hypodorian;4 6 2 6 4 3 3 3 Genus sextum;5 5 3 5 5 3 2 3 Genus diatonicum;5 3 53 5 2 5 3 Modus conjunctus;3 5 2 5 3 5 3 5 Octatonic;5 2 6 5 2 5 6 “ Natural Minor;3 5 2 3 5 3 2 5 3 Genuschromaticum;5 3 3 3 3 5 3 3 3 Rothenberg Generalized Diatonic;3 3 4 3 5 3 4 3 3 Hahn symmetric pentachordal;3 4 33 5 3 4 3 3 Hahn pentachordal;4 3 4 3 4 3 4 3 3 Thirty-one tone Orwell;4 1 4 4 4 1 4 4 1 4 Breed 10-tone;4 2 4 2 4 2 43 3 3 Lumma Decatonic;5 1 5 1 5 1 5 1 5 1 1 de Vries 11-tone;5 2 1 2 5 3 2 1 4 1 2 3 Genus bichromaticum;3 4 3 3 2 14 1 4 1 2 3 Genus enharmonicum vocale;2 2 4 2 2 3 3 3 1 3 3 3 Genus enharmonicum instrumentale;2 3 3 2 3 2 3 2 3 32 3 Meantone Chromatic (53/220-comma);3 2 3 2 3 2 3 3 2 3 2 3 Genus diatonico-chromaticum;3 2 2 3 3 2 3 3 2 2 3 3Fokker 12-tone.

Modes_for_default_scales.lmd Alternate notes-1 100 cents !Equal Temperament (M)-12 Default 12 tone list...:+10 2 Warao ditonic: South America;5 7 Honchoshi: Japan;7 5 Niagari: Japan;6 1 5 Raga Ongkari;3 7 2 Ute tritonic;5

2 5 Raga Sarvasri, Warao tritonic: South America;5 5 2 Sansagari: Japan;3 4 5 Peruvian tritonic 2;4 3 5 RagaMalasri, Peruvian tritonic 1;1 5 1 5 Messiaen truncated mode 5;5 1 5 1 Messiaen truncated mode 5 inverse;2 1 7 2Warao tetratonic: South America;2 4 5 1 Raga Sumukam;1 4 3 4 Raga Lavangi;2 2 3 5 Eskimo tetratonic (Alaska:Bethel);2 3 2 5 Genus primum;5 2 3 2 Genus primum inverse;2 4 2 4 Messiaen truncated mode 6;4 2 4 2 Messiaentruncated mode 6 inverse;2 3 4 3 Raga Bhavani;4 3 3 2 Raga Mahathi;3 4 3 2 Bi Yu: China;1 6 1 3 1 RagaDeshgaur;1 3 1 6 1 Raga Megharanji;1 1 4 1 5 Raga Nabhomani;1 5 1 1 4 Raga Saugandhini, Yashranjani;5 2 1 3 1Raga Devaranjani (Devaranji);2 1 4 1 4 Hira-joshi, Kata-kumoi: Japan=1 4 2 1 4 Hon-kumoi-joshi, Sakura,Akebono II: Japan, Olympos Enharmonic, Raga Salanganata, Saveri, Gunakri (Gunakali), Latantapriya.

1 4 1 4 2 Iwato: Japan:4 2 1 4 1 Raga Amritavarshini, Malashri, Shilangi;4 1 4 2 1 Raga Bhinna Shadja,Kaushikdhvani, Hindolita;1 2 4 1 4 Balinese Pelog, Raga Bhupalam, Bhupala Todi, Bibhas;4 1 2 4 1 RagaGambhiranata, Ryukyu: Japan;1 4 2 4 1 Raga Gauri;4 1 4 1 2 Raga Khamaji Durga;2 4 1 4 1 Raga Vaijayanti,Hamsanada;4 1 2 1 4 Raga Zilaf;4 1 3 3 1 Bacovia: Romania, Raga Girija;1 4 3 3 1 Raga Kshanika;1 3 1 3 4 RagaMegharanjani, Syrian pentatonic;3 3 1 4 1 Raga Multani;1 3 3 1 4 Raga Reva, Revagupti, Ramkali, Vibhas(bhairava);2 2 2 5 1 Raga Kumurdaki (Kumudki);5 2 2 1 2 Raga Kuntvarali;2 5 2 1 2 Raga Matha Kokila(Matkokil);2 2 5 2 1 Raga Neroshta;2 1 2 2 5 Raga Purnalalita, Chad Gadyo: Jewish, Ghana Pentatonic 1;5 2 2 2 1Raga Puruhutika, Purvaholika;2 3 2 1 4 Han-kumoi: Japan, Raga Shobhavari;1 4 2 3 2 Kokin-joshi, Miyakobushi,Han-Iwato: Japan, Raga Vibhavari (Revati), Bairagi, Lasaki.

- Capitolul C -MUZICA DE CAMERA ASISTATA DE CALCULATOR

1.) Aspecte intonationale

- Acordajul, precum si intonatia – individuala si de ansamblu -, pot fi verificate si corectateprin programul « In-Tune Multi-Instrument Tuner ».

Functiile programuluiIn-Tune Multi-Instrument Tuner v. 1.8© 2001-2002 Joseph Heimiller by Aspire Softwarewww.MusicMasterWorks.com

- Options : Auto-String Select, Tuning Options ;- Source : Default Windows Input, Wave Out Mix, Yamaha Audio Microphone/CD

Audio/Line in ;- Help ; Unlock ;- Configurari : Instrument Type, View (Graph ; Gauge), Pitch Range, Strings, Pitch Indicator,

Pitch Graph, Frequency, Average Frequency, Target Frequency, View Microphone Input(Yellow=too low, Green=good, Red=too high) .

2.) Interpretarea comparata

- Se utilizeaza programul Acid Pro 4 , inserandu-se pe track-uri separate versiunileinterpretative analizate, prin comenzile: File-Open-anularea functiei sincronizatoareBeatmapper Wizart (cu „No“ si „Finish“)-trasarea desenului sonor (Mouse-Stanga tinut apasat).Programul vizualizeaza toate configuratiile spatio-temporale specifice, iar versiunile inserate potfi audiate separat prin comanda Solo (X). Prin aceasta metoda pot fi analizati toti parametriisonori, iar imaginea grafica a operatiei (ce este edificatoare – inclusiv in realizarea unor studii

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teoretice) poate fi conservata prin comenzile: Save As-ACID Project File (acd)/sau ACID ProjectFile With Embedded Media (acd-zip).

3.) Politempia structurala

- Elaborata de dirijorul, compozitorul si matematicianul roman Mihai BREDICEANU, teoriatimpului polimodular (apud Mihai BREDICEANU, Timpul polimodular si artele vizuale,Bucuresti, Ed.Stiintifica si Enciclopedica, 1982, si Music and Polymodular Time/StructuralPolytempi Music. Lecture given at New York University, January 5, 1985 – curs universitar)analizeaza fenomenul politempiei (reliefat de pilda in lucrarile lui Mahler si Ives) si descrieevolutia unui numar finit de evenimente sonore desfasurate simultan in “ceasuri” (masuri detimp) diferite – sau, cu alte cuvinte, proiectarea simultana a mai multor SISTEME DEPULSATII REALE (SPR) reductibile fenomenologic la un SISTEM REFERENTIAL DETIMP (SRT). Fiecare SPR are proprii MODULI TEMPORALI (M) ce se reflecta la nivelulSPR in tempouri specifice, induse interpretilor sau grupurilor de interpreti prin semnalevizuale sau sonore (“beeps”) – ultimele fiind receptionate prin casti. In acest sens, autorul ainventat un aparat special denumit “Polytimer” si brevetat inca din 1970 in Romania, USAsi Franta.

- Computerul permite amplificarea acestor interesante experimente sonore, ce au reprezentatin primul rand o aplicare a teoriei einsteiniene a relativitatii (miscarea relativa a obiectelorsi observatorului), dar si o confirmare a teoriei bergsoniene referitoare la perceptiasubiectiva a timpului (in functie de varsta si stare emotionala) - asa cum remarca sieminentul muzicolog roman Prof.univ.Dr.Victor GIULEANU (Tratat de Teoria Muzicii,Bucuresti, Editura Muzicala, 1986, pag.745-752).

- Astfel modulii temporali pot fi realizati si multiplicati cu programul “MOZART” – ulteriorei fiind difuzati prin “computere paralele” corespunzatoare “muzicilor paralele” ce sesuprapun. In prealabil se analizeaza evolutia temporala a fiecarei muzici si se elaboreazacate o partitura a “beeps”-urilor (cu variatiile de tempouri specifice fiecarei muzici). Acestepartituri de “beeps”-uri (configurate exclusiv pe timbre percutante – de pilda 2 Wood-Block-uri: cel grav pentru timpii principali iar cel acut pentru timpii secundari) sunt difuzate princasti interpretilor, ce isi adapteaza executia tempourilor respective. “Computerele paralele”sunt eventual subordonate unui server avand functia de a controla (la nivelul“hiperpulsatiei”- ca factor comun al politempiei) evolutia intregului proces, ce poate fiamplificat si prin utilizarea Internetului - de pilda in sensul experimentelor efectuate prinproiectul “SoundWIRE” mentionat mai sus.

4.) Efectul de intarziere in practica ansamblurilor – cu aplicatie la proiectul “Sound WIRE”

O analiza pertinenta a acestui aspect a fost realizata in studiul-pilot “The Effects of Latency onEnsemble Performance” elaborat in Mai 2002 de Nathan SCHIETT, sub coordonarea lui ChrisCHAFE, directorul CCRMA din cadrul Universitatii Stanford (USA). Aceasta ampla cercetaresponsorizata de prestigioasa National Science Foundation a implicat efectuarea unor experimentebazate pe scenarii muzicale inedite desfasurate in real-time, ca de pilda cantatul in ansambluprin transmisii pe Internet la distante continentale. Sub aspect teoretic, s-au luat in considerareurmatoarele elemente: intarzierea de < 7 msec nu este perceptibila; intarzierile tolerabile inconvorbirile telefonice sunt de 100-300 msec; intarzierile tolerabile in concerte publice sunt decca 40 msec pentru ansamblurile simfonice (situate pe scene ce depasesc 40 ft – distanta parcursain aer de unda sonora in 40 msec) si de cca 5 msec pentru formatiile camerale (motiv pentru caredistanta maxima intre muzicieni este de 2 m ! – cf.http://ww2.mcgill.ca/icc/canarie/learnWare/milestone1/App1.htm )Prin masurarea diferitelor nivele ale coordonatei EPT (Ensemble Performance Thereshold) s-austabilit limitele (in msec) ale LDS (Latency Design Spec), sintetizandu-se totodata o serie deconcluzii referitoare la: (1) relatia dintre intarziere (delay, latency) si tempo (daca intarziereaeste mai mare de 30 msec, tempoul are tendinta sa scada; EPT-ul muzicii ritmice este de cca 20-

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30 msec); (2) aplicarea strategiei de tip “leader-subordonat” pentru mentinerea unui tempouniform chiar si in conditiile unei intarzieri mari (de 50-70 msec) a determinat aparitia unorsevere desincronizari; EPT-ul variaza in functie de specificul muzicii (viteza, stil, timpul de atactal instrumentelor, etc.); (3) nivelul optim al intarzierii este de 10-20 msec (si nu de 0 msec); (6)EPT-ul determinat prin intarziere electronica este cu mult mai scazut decat in cazul EPT-uluideterminat in mediul acustic natural, ce include fenomene complementare de reverberatie sivariatie de amplitudine.- Acest important studiu poate fi obtinut pe site-ul www-ccrma.stanford.edu , sau la adresa

cc@ccrma.stanford.edu

5.) Configurarea Toposului Acustic(de la spatiul arhitectonic la spatiul virtual)

Precizare terminologica : notiunea de « TOPOS » ( >gr. τοπος = loc) desemneaza in domeniul acusticii muzicale spatiulfizic in care evolueaza sursa sonora (sala de concert). Toposul Acustic impreuna cu Inaltime(Frecventa),Volumul(Amplitudinea) si Timbrul(Structura Spectrala) reprezinta parametrii Spatiului Sonor – proiectiile acestuia inTimp definind Sunetul [ce se clasifica in Sunet muzical (cu Frecventa regulata) si Zgomot (cu Frecventa neregulata)].Asadar,

Sunetul = Spatiu Sonor x Timpin care :Spatiul Sonor = Frecventa x Amplitudine x Structura Spectrala x Topos Acustic.

Edificatoare in aceast sens sunt cercetarile complexe efectuate la celebrul EXPERIMENTALMUSIC STUDIOS al Universitatii din Illinois-U.S.A. (http://ems.music.uiuc.edu/ems/index.html )de catre Scott WYATT - in domeniul difuzarii/proiectiei sonore (« Investigative Studies on SoundDiffusion/Projection at the University of Illinois : a report on an explorative collaboration ») -,precum si cele initiate de Sever TIPEI (compozitor american de origine romana), impreuna cumatematicianul Hans G. KAPER - in directia proiectarii, intr-un mediu imersiv al realitatiivirtuale, a compozitiilor multiple, a vizualizarii muzicii si a sonificarii stiintifice (« ManifoldCompositions, Music Visualization, and Scientific Sonification in an Immersive Virtual-RealityEnvironment »). Astfel, in introducerea pertinentului sau studiu compozitorul Scott WYATTafirma ca primele investigatii in planul spatializarii sonore s-au concretizat, intre altele, prinmuzica concreta elaborata de Pierre SCHAEFFER, prin creatiile lui Edgard VARESE (”PoèmeElectronique”), John CAGE (ciclul “Imaginary Landscape”), Earle BROWN (“Octet”), JojiYUASA (“Icon”), Morton SUBOTNICK (“Touch”), John CHOWNING (“Turenas”), SalvatoreMARTIRANO (“Sal-Mar Construction”), Ben JOHNSTON si Herbert BRUN (ultimii treicreatori activand in cadrul “University of Illinois Experimental Music Studios”), precum si prinexperimentele facute la G.M.E.B. (Bourges) cu “Gmebaphone”-ul si cu “Acousmonium”-ulutilizat de François BAYLE. In prezent, echipa de acusticieni a IRCAM-Paris (www.ircam.fr )coordonata de Olivier WARUSFEL are ca domeniu de cercetare controlul propagarii sunetuluiin spatiu – considerat in dimensiunea sa arhitectonica, sau mediatizat prin mijloace electro-acustice. Aceste investigatii – ce au ca finalitate sintetizarea unor modele de integrare aspatializarii sonore ca parametru constitutiv al unor noi creatii componistice – sunt ordonate (indimensiunile fundamentale, de natura obiectiva si perceptiva) prin urmatoarele proiecte:caracterizarea obiectiva a fenomenelor acustice ; modelarea fizica (« physivcal modeling ») siperceptiva a acestora ; simularea lor pe computer prin crearea unor interfete de comanda aaplicatiilor acustice virtuale cu ajutorul Spatializatorului digital, ce opereaza - in sistem« MacIntosh » - cu un ansamble de algoritmi bazati pe modele geometrice, oferind diferiteipoteze de propagare si reflexie sonora: difractia, absorbtia in incidenta razanta, reflexiaspeculara sau ideal difuza. Aceste experimente au dus si la elaborarea unei noi metode dedeterminare exacta a dimensiunii reverberatiei in salile de concert. Spatializatorul este compusdin module logice de prelucrare a semnalului si de comanda in timp real – generand sintezalocatiei surselor si cea a efectului de sala (reverberatia artificiala). Modulul de prelucrare poate ficonfigurat pentru sisteme individuale de reproducere tridimensionala (la casca sau prin doitransductori), precum si pentru sisteme «multi-tracks » (cu reproduceri « stereo » si « stereo-3/2 »). In coordonata « scenei sonore virtuale », modulul de comanda permite controlulprelucrarii audio-numerice a semnalelor intr-o maniera accesibila, adaptata – prin functii« simbolice » - procesului de elaborare muzicala. In paralel, prin proiectul « Design Sonore », s-aexperimentat si fenomenul legat de perceptia si controlul iradiatiei surselor sonore instrumentale

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– in scopul realizarii unor surse sonore artificiale capabile sa reproduca caracteristicile celornaturale si totodata sa induca directivitatea sunetului, printr-un sistem de transductori(difuzoare) ce compun « imaginea de directivitate » a semnalelor prelucrate « prin sintezaaditiva » (in modul si in faza-filtrat), urmarindu-se efectele fizice si psiho-fizice ale fenomenului.S-au sintetizat astfel, cu putine surse sonore, « imagini de directivitate » fascinante prin noutateasi complexitatea lor. Asa cum subliniaza si cercetatorii de la IRCAM, aplicatiile studiului suntnumeroase : « dincolo de simularea caracteristicilor spatiale ale instrumentelor pentru sunete pre-inregistrate sau pentru sunetelor de sinteza, acest procedeu de reproducere permite optimizareadirectivitatii ansamblurilor de difuzoare, corectia ecoului in sistemele de teleconferinta, controlul intimp real a orientarii directiei in fluxurile sonore, precum si multe alte efecte ». Un alt programdeosebit de important in domeniul interactiunii timp-real/spatializare este « Max/MSP - version4.3.1» (aplicabil atat pe « Mac » cat si pe « Windows XP » si disponibil la adresahttp://www.cycling74.com/products/download.html ), utilizat de asemena la IRCAM in combinatiecu programele « AudioSculpt », « Modalys » si « Diphone », ce sunt axate pe analiza/sintezasonora.

6.) Configurarea Acusticii Instrumentale

Tot la IRCAM-Paris (www.ircam.fr – proiect coordonat de Rene CAUSSE) – dar si la alteimportante centre de cercetare acustica din U.S.A. , precum Bregman Electronic MusicStudio/Dartmouth College (http://eamusic.darmouth.edu – proiect coordonat de CharlieSULLIVAN) - s-au efectuat si o serie de experimente dedicate studierii functionalitatiiinstrumentelor traditionale (in scopul perfectionarii lor prin « grefe acustice »), precum sirealizarii unor noi instrumente reale sau virtuale. Caracterul eterogen al domeniului organologica impus initierea unor cercetari fundamentale multidisciplinare (acustica, botanica, mecanicavibratiilor, mecanica fluidelor), in colaborare cu institutii de specialitate. Un proiect important serefera la modelare fizica (« physical modeling ») a instrumentelor si a vocii – in aceasta directiecontinuandu-se experimentele ce au condus, inca de acum doua decenii, la stabilirea« algoritmului Karplus-Strong » (K.KARPLUS and A.STRONG - Digital Synthesis of Plucked-String and Drum Timbres, Computer Music Journal, 7(2), 1983. [bibtex-entry]http://www.cmi.univ-mrs.fr/HASSIP/hassipbib/Author/KARPLUS-K.html )pentru unele instrumente cu corzi ciupite (chitara, banjo, koto) si de percutie, prin analizareaelementelor constitutive (sunet, vibratie, aer, coarda, etc.) si prin reconstituirea timbrelororiginale cu ajutorul unor sisteme speciale (« building blocks »), bazate pe « delays », filtre,« feedbacks loops » si mai ales pe « buffers » (unitati de memorie cu acces aleatoriu – tip RAM,ce acumuleaza si totodata elibereaza permanent informatii, intr-un proces repetitiv generand –prin periodicitate - frecvente sonore). S-au elaborat astfel, prin multiple analize si simulari, sialte esantioane (« semnaturi acustice ») caracteristice instrumentelor cu ancie simpla (clarinet,saxofon), cu ancie dubla (oboi, fagot), cu jet de aer (Blockflöte, flaut transversal, tub de orga) sicu ancii libere (acordeon – in acest caz evidentiindu-se faptul ca o miscare sinusoidala a ancieipoate genera un timbru foarte bogat, compus din peste 30 de armonice) ; in prezent la IRCAMsunt analizate sunetele pianului (studiindu-se diferentele observate in dubla-diminuare, intrediferitele partiale), precum si cele ale instrumentelor de coarde (in special in zona zgomotelorcomplementare produse prin contactul arcusului cu coarda). Rezultatele acestor atat depertinente cercetari sunt ulterior implementate in programele originale (ruland pe sistemul deoperare « MacIntosh ») « Resonans » si « Modalys-ER » (ex « Mosaïc ») – ultimul oferind odescriere uniforma a modelelor. Aplicatiile sunt multiple : de la cele mai traditionale (ca de pildanotarea calitatii trompetelor), pana la determinari ale raportului psiho-fizic in utilizarea unorinstrumente traditionale modificate partial sau total, ca de pilda flautul cu sfert de ton si sistememicro-intervalice, arcusul de vioara construit din materiale sintetice, Mundstück-ul cu volumvariabil pentru clarinet (permitand schimbarea frecventei in timp real), noul dispozitivelectronic de acordaj al timpanului sau surdina wawa pentru corn. In acest context trebuiesubliniata si contributia esentiala adusa de compozitorul american Rodney OAKES (profesoremerit la Los Angeles Harbor College si fondator al « Journal SEAMUS ») in impunerea midi-trombonului ca instrument de importanta majora pentru creatia muzicala live-electronica.In paralel, la Institutul International de Muzica Electroacustica de la Bourges – IMEB(www.imeb.asso.fr ) coordonat de Françoise BARRIERE si de Christian CLOZIER se utilizeazain mod curent doua instrumente digitale originale (atat in coordonata « hard », cat si in cea« soft »), deosebit de utile in plan pedagogic (« Cybersongosse 7 ») si interpretativ

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(« Cybernéphone 7 »). Referitor la sinteza vocala, mentionam cercetarile efectuate la PrincetonUniversity din U.S.A. de Perry R. COOK, ce s-au finalizat si prin programul de modelare fizica« SPASM singing voice software » (http://www.cs.princeton.edu/~prc/NewWork.html ) , precumsi inovatiile in domeniul emisiei vocale prelucrate audio-numeric reliefate in creatiile realizate laprestigiosul « Brooklyn College Center for Computer Music » de compozitorul Robert VOISEY,director al societatii « Vox Novus » din New York

7.) Alte domenii abordate la IRCAM(apud www.ircam.fr )

- Cercetarea psihoacustica (Asociatia PECA, Coordonator Stephen McADAMS) –proiectele „Perceptia si memorizarea timbrului muzical“ (analiza parametrilor acustico-auditivi; perceptia proprietatilor fizice ale obiectelor sonore; caracterizarea verbala atimbrului muzical si a relatiilor dintre timbre); „Procesul organizarii auditive“ (organizareasimultana si cea secventiala); „Perceptia structurilor muzicale contemporane“ (perceptiainarmonicitatii in agregatele de inaltimi si a progresiei in secvente de agregate – cu TristanMURAIL; evolutia atentiei in structuri cu straturi multiple - cu Antoine BONNET; relatiaperceptiva intre micro- si macro-structuri in sunetele si secventele sintetizate – cu MarcoSTROPPA); programe originale: „PsiExp“ si „FTS“;- Compozitia asistata de ordinator – CAO (Echipa „Representations Musicales“,Coordonator Gerard ASSAYAG) – activitate curenta: aplicatii ale programelor originale“PatchWork”, “Sympatos” si “OpenMusic” in cadrul „Forumului utilizatorilor“, implicandcolaborari sistematice cu compozitori si muzicologi interesati in elaborarea unor proiecteavansate de informatica muzicala;- Analiza/sinteza sonora (Echipa coordonata de Xavier RODET) – proiecte: „Sintezaaditiva“ (aplicarea algoritmului de sinteza „FFT-1“ in studiul anvelopei spectrale); „Sintezasursa-filtru“ (producerea unor variate sunete instrumentale si detectarea inaltimii si analizeizgomotului complementar); „Sinteza SINOLA“ (bazata pe suprapuberea si juxtapunereaformelor elementare de unda, determinand modificarea inaltimii si a duratei sunetelor emisevocal – vorbit sau cantat); „Sinteza modelelor fizice“ (analizarea in timp real a modelelormatematice si informatice ale instrumentelor acustice din clasele clarinet, trompeta si voce;studiul oscilatiilor periodice si haotice); „Caracterizarea semnalelor sonore - diferite decuvinte“ (extragerea parametrilor constitutivi, separarea de surse, segmentare, identificare sirecunoastere, reprezentarile unor scene reale si ale sintezei intr-un limbaj hieratic legat incontinut, prelucrari si transformari ale obiectelor sonore, codificarea selectiva a continutului);„Farinelli“ (fuziunea timbrelor – cu aplicatie la reconstituirea vocii celebrului cantaret castrat,pentru filmul realizat de Gerard CORBIAU); programe originale: „Super VP“,„AudioSculpt“, „Diphone Studio“, „Chant“ (sinteza granulara), „Xspect“.

8.) Procedee de sinteza si transformare digitala a sunetuluiutilizate si in aplicatii camerale live-electronice

NB – Se disting 2 categorii de muzici live-electronice : cea pentru interpreti in timp real si bandaelectronica preinregistrata – numita si «tape and instruments music», precum si cea in carebanda este inlocuita cu sunete electronice produse ad-hoc sau cu sunetele interpretilor prelucratechiar in momentul producerii lor (asadar in timp real) - aceasta a doua categorie formand genul« electronics and instruments music ». In muzica electro-acustica analoga se utilizau sistemecomplexe de prelucrare (incluzand mai multe magnetofoane, mixere, filtre, ring-modulatoare,amplificatoare, difuzoare – procedeele fiind exemplar analizate de Allen STRANGE in tratatulElectronic Music. Systems, Techniques, and Controls. WM.C.Brown Company Publishers , 1972,ISBN 0-697-03612-X, p.126-137). Tehnica digitala a inlocuit insa – cu rezultate acustice netsuperioare - aceste sisteme analoge prin programe si module specializate in sinteza siprelucrarea numerica a sunetului . Dat fiind faptul ca noile aplicatii sunt in plina evolutie,prezentarea de mai jos nu este (si nici nu ar putea fi !) exhaustiva, ea limitandu-se doar la uneledintre cele mai importante aspecte relevate pana la data elaborarii acestei lucrari – ce sunt expuseconcentrat, dar cu trmiteri directe la principalele surse de informatie ce pot oferi celor interesatidetalii suplimentare.

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- a.) « Phase Shifting » - procesul sonor de tip « phasor » este dedus din « Teorema luiFourier » (toate functiile periodice pot fi exprimate prin suma – pana la Infinit – a sinusoidelorcomponente) si se bazeaza pe baleierea (« sweep ») uniforma si continua (intr-un « perpetuummobile » ascendent-descendent) a partialelor (armonicelor) unui sunet, implicand trecereasemnalului initial printr-o serie de filtre speciale (generand un « phase-lag » asemanator unui« time delay ») si suprapunerea semnalului astfel prelucrat cu semnalul originar ; vor rezulta oserie de intersectii (« notches ») in spectrul tonal, determinate de filtrarile combinate (« combfilter response »). Functiile principale de control in modulul « MXR Phase 100 » sunt : (1) Speed(referitoare la viteza ratei « sweep » intre limitele 0.1 – 10 Hz) si (2) Intensity (actionand - inpatru pozitii caracteristice - asupra celor doua coordonate fundamentale ale procesului « phaseshifting » - amplitudinea dimensiunii « sweep » si profunzimea dimensiunii « notch »).

- b.) “The Phase Vocoder” – prin analizarea/resintetizarea sunetelui [conform “reprezentarilorFourier” - DFT (“Discrete Fourier Transform”), FFT (“Fast Fourier Transform” –reprezentarea cea mai frecvent utilizata) si IFFT (“Inverse Fast Fourier Transform”)] se poateschimba atat inaltimea unui sunet fara a-i modifica lungimea (“pitch shifting”), cat si lungimeaunui sunet fara a-i altera inaltimea (“time stretching”). Ambele tipuri de transformari pot fioperate cu ajutorul programului “Audacity 1.2.0-pre2”: “pitch shifting” prin comenzile “Edit-Select-All“ + „Effect-Change Pitch without Changing Tempo“, iar „time stretching“ princomenzile “Edit-Select-All“ + „Effect-Change Tempo without Changing Pitch“.

- c.) „Convolution“ – convolutia reprezinta un caz particular de utilizare a „phase vocoder“prin realizarea unei „sinteze incrucisate“ („cross-synthesis“) implicand impunerea uneicoordonate a unui sunet (numit „impulse response“) altui sunet. Reverberatia digitala ofera unexemplu concludent de convolutie: rezonanta caracteristica a unei sali este inregistrata (formandun „impulse response“) si impusa unui alt sunet. Programul „Sound Forge“ ofera posibilitateaunui astfel de proces prin comanda „Effects-Reverb“ – specificandu-se tipul de „impulse record“prin „Reverberation mode“: Rich hall, Wide open hall, Concert hall, Deep hall, Long hall, Warmambience, Metal tank, etc. Prin convolutie pot fi insa generate si noi sunete, ca de pilda sintezadintre zgomot si respiratie – realizata cu programul „Soundhack“ creat de Tom ERBE (apudBURK, Phil. POLANSKY, Larry. REPETTO, Douglas. ROBERTS, Mary. ROCKMORE, Dan.Music and Computers – an interactive web-text.(http://eamusic.dartmouth.edu/~book/MATCpages/tableofcontents.html ). Aceeasi autori semnaleaza un aspectdeosebit de interesant: reverberatia simpla poate fi simulata si prin convolutia “zgomotului alb”(“whitenoise”) cu orice alt sunet.

- d.) „Sampling“ – acest foarte popular procedeu (in special in genurile„rap“, „dance“ si„beat“ ) consta in selectarea unor mici esantioane sonore din muzici pre-existente, sau in creareaunor esantioane originale si in recontextualizarea lor prin mijloace digitale – cu eventualemodificari ale frecventelor si ale duratelor initiale. In acest sens au fost realizate - ca „hardware“- instrumente digitale specifice („Samplers“ si „Drum Machines“) , iar in domeniul „software“au aparut, in principalele sisteme de operare (Windows, Mac si Linux) noi programe de tip„Digital Audio Workstations“ -DAW (incluzand functiile: analog/digital-input/output, soundrecording/editing/playback/multi-track mixer/amplifier, etc.) - ca de pilda „Pro Tools“, „Acid“,„Cakewalk“, „The Matk of the Unicorn-MOTU“ (cu „FireWire interface“), etc.

- e.) „Localizare/Spatializare“ – Localizarea sursei sonore prin auzul „cyclaural“ estedeterminata de mai multi factori: intensitatea sunetului (ce este mai puternica la urechea maiapropiata de sursa), diferentele de perceptie („Interaural Time Delay“-ITD – aspect determinatde distantele inegale dintre sursa si fiecare dintre urechi, marcate printr-o mica intarziere aperceptiei la urechea mai indepartata) si cele de frecventa (asa-numitele „Head RealatedTransfer Functions“-HRTF - generate de obstacolele fonice plasate pe traseul sonor, ce producun efect de „low-pass filter“ specific fiecarei urechi). In consecinta, spatializarea sonora poate fisimulata - in doua dimensiuni - prin diferentierile de intensitate, ecou si filtraj dintre cele douacanale audio (de pilda, localizarea sursei in partea stanga impune cresterea intensitatii pe canalul„Left“ si totodata adaugarea unui mic ecou si filtrarea frecventelor inalte pe canalul „Right“). Inacest sens s-au efectuat experimente relevante cu „Binaural Dummy Head Recording“ – oinstalatie de inregistrare ce reconstituie cutia craniana, avand amplasate microfoanele in

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orificiiile auditive. Solutiile descrise mai sus se pot aplica si intr-o proiectie audio „3-D“ (ce ia inconsiderare si coordonata verticala a perceptiei auditive). Multe dintre procedeele aplicate aufost utilizate si in „epoca analoga“, fiind pertinent descrise de Allan STRANGE in tratatulElectronic Music. Systems, Techniques, and Controls. WM.C.Brown Company Publishers , 1972,ISBN 0-697-03612-X, Cap. 9 “Location Modulation”, p.75-85).

- f.) „Prelucrari grafice“ – operatii ce determina convertirea imaginilor vizuale in imagini sonore,cu ajutorul unor instrumente si, respectiv, programe speciale: de la aparatul „Spectrogram“(creat de High LeCaine in 1950) si de la „UPIC“ (sistem inventat de Iannis XENAKIS si utilizatla CEMAMu-Paris), pana la aplicatiile software „MetaSynth“ , „Hyperupic“,„SoundHack/QT-coder“, „AudioSculpt“ , „Squiggy“ (in „Mac“) si „MIDImage“ (in„Windows“). Dintre toate acestea, „Squiggy“ (creat Douglas REPETTO la renumitul „DarmouthCollege“ din S.U.A.) este cel mai performant program „graphics-to-sound“ avand ca finalitateinterpretarile live-electronice.

- g.) „Sinteza aditiva“ - conform „Teoremei lui Fourier“ (“toate functiile periodice pot fiexprimate prin suma – pana la Infinit – a sinusoidelor componente”), un sunet complex poate ficreat prin insumarea unor sunete simple – ca de pilda prin aditia de armonice, prin reconstruireaanvelopei ADSR (Attack-Decay-Sustain-Release), prin asa-numitul “Shepard Tone Effect” (bazatpe perceptia “chroma” referitoare la circularitatea frecventelor distantate la o octava – adicainmultite cu 2), sau prin sinteza formantilor (adica a acelor frecvente fixe, ireversibile ce definescun anumit timbru vocal sau instrumental).

- h.) „Filtrari“ - tratarea sunetelor cu filtre fixe (formand „filter bank“) si variabile –aceasta ultima categorie incluzand filtrele: „High-pass“ (ce elimina frecventele joase), „Low-pass“(ce elimina frecventele inalte), „Band-pass“ [ce selecteaza doar o anumita banda de frecvente,definita prin „bandwidth“ – adica prin diferenta dintre „cutoff frequencies“ (cea mai inalta si ceamai joasa frecventa la amplitudine maxima) – si prin „center frequency“ (frecventa medie)] si„Band-reject“ (ce elimina o anumita banda de frecvente). Prin „EQ.Graphic Equalizers“ (variindde obicei intre – 10 si + 12 dB) se pot realiza amplificari si/sau atenuari ale mai multor benzi defrecventa. De asemenea, anumite situatii sonore impun utilizarea filtrelor „Finite ImpulseResponse“-FIR (incluzand „delays“ ale unor fragmente sonore anterioare) si „Infinite ImpulseResponse“ –IIR (incluzand efectul „feedback“).

- j.) “Waveshaping” - operatie constand in transformarea sunetelor simple in sunetecomplexe printr-o “functie de transfer” [y = f(x)] – ca de pilda in cazul transformarii formeisinusoidale a unui sunet intr-una triunghiulara. Functia de transfer poate avea si configuratiaunui “Polynomial Chebyshev” – asa cum demonstreaza si autorii admirabilului tratat “Musicand Computers – an interactive web-text”(http://eamusic.dartmouth.edu/~book/MATCpages/tableofcontents.html ).

- j.) “Modulatia de Amplitudine” – “Amplitude Modulation” (AM) este un proces de prelucraretimbrala (analog unui efect de tremolo, implicand varieri periodice ale volumului sonor), ceconsta in modificarea amplitudinii semnalului sonor initial (numit “carrier signal”) printr-unsemnal de modulatie (numit “modulating signal”) inducand - prin coordonatele sale deamplitudine, frecventa si forma (“waveshape”) – nivelul, viteza si, respectiv, configuratia(“pattern”) modulatiei de amplitudine; amplitudinea sunetului initial va deveni amplitudineamedie a sunetului modulat. De pilda, dintr-un sunet initial (“carrier signal” – pe care il numim“x”) de 700 Hz sinus modulat in amplitudine cu un sunet (“modulating signal” – pe care ilnumim “y”) de 5 Hz sinus va rezulta un sunet sinus cu amplitudinea medie de 700 Hz si cuvariatii de amplitudine intre 705 Hz (x + y) si 695 Hz (x – y), la o viteza de 5 cicluri/secunda. Dacasunetul de modulatie este de peste 20 Hz, viteza schimarilor va fi imperceptibila in planulamplitudinii (volumului) – in aceasta situatie ea percepandu-se ca doua noi frecvente (numite“sidebands”) reprezentand suma (x + y) si diferenta(x – y) dintre sunetul original si cel de modulatie, ce se suprapun peste sunetul original.Astfel, daca x = 700 Hz sinus si y = 20 Hz sinus, vor rezulta 3 sunete cu frecventele de 700 Hysinus (x), 720 Hz sinus (x + y) si 680 Hz sinus (x – y). In programul “Sound Forge” AM serealizeaza prin functia “Effects-Amplitude Modulation”. [apud SCHRADER, Barry. IntroductionTo Electro-Acoustic Music. Published by Pretince-Hall, Inc., Englewood Cliffs, N.J. – p. 88-90;

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STRANGE, Allen. Electronic Music. Systems, Techniques, and Controls. WM.C.Brown CompanyPublishers , 1972, ISBN 0-697-03612-X, p.9-11].

- k.) “Modulatia de Frecventa” - “Frequncy Modulation” (FM) este de asemenea un proces deprelucrare timbrala (dar analog unui efect de vibrato, implicand varieri periodice ale inaltimiisonore), ce consta in modificarea frecventei semnalului sonor initial (numit “carrier signal”)printr-un semnal de modulatie (numit “modulating signal”) inducand - prin coordonatele sale deamplitudine, frecventa si forma (“waveshape”) – nivelul, viteza si, respectiv, configuratia(“pattern”) modulatiei de frecventa; frecventa sunetului initial va deveni frecventa medie asunetului modulat. Procesul FM este asemanator cu procesul AM – primul actionand insa inplanul frecventei sonore (adica al inaltimii), iar cel de al doilea in planul amplitudinii sonore(adica al volumului). Ca si in AM, o modulatie de frecventa cu un sunet de modulatie de peste 20Hz va produce doua noi frecvente (“sidebands”) reprezentand suma (x + y) si diferenta (x – y)dintre sunetul original si cel de modulatie, ce se suprapun peste sunetul original. In plus, in FM,“peak frequncy deviation” ilustreaza o functie a amplitudinii semnalului modulat in frecventa siindica diferenta dintre maxima/minima sunetului modulat si sunetul initial (de pilda, avand un“carrier signal” de 700 Hz, ce este modulat in sus la 900 Hz si in jos la 500 Hz, valoarea “peakfrequncy deviation” va fi de 200 Hz). In programul “Sound Forge” FM se realizeaza prin functia“Tools-Synthesis-FM”. Tot in acest domeniu, se remarca si faptul ca frecventele emise subpragul auditiv uman inferior (de 20 Hz) sunt percepute ca durate – acest fenomen deschizandperspectivele unor interesante transformari ale coordonatelor “spatiu sonor” si “timp muzical”,cu aplicatii directe in practica componistica - asa cum am demonstrat in studiul meu “Mistica luiDebussy si revelatia universului supratonal” [ Revista "Muzica" Nr.3/1999, Bucuresti (pag.61-72)]. In sfarsit, “Ring Modulation” reprezinta un caz particular de FM si consta in realizareasumei si a diferentei dintre doua frecvente cu ajutorul unui aparat (initial analog) numit “RingModulator”; acest efect a fost insa transpus si in mediul digital (de pilda in programul “Csound”dezvoltat de Barry VERCOE la MIT). [apud SCHRADER, Barry. Introduction To Electro-Acoustic Music. Published by Pretince-Hall, Inc., Englewood Cliffs, N.J. – p.50-51 si 90-92;CHOWNING, John M. The Synthesis of the Complex Audio Spectra by Means of FrequencyModulation. in Journal of the Audio Engineering Society, vol.21,no.7 (1973); STRANGE, Allen.Electronic Music. Systems, Techniques, and Controls. WM.C.Brown Company Publishers , 1972, ISBN 0-697-03612-X, p.12-20; BURK, Phil. POLANSKY, Larry. REPETTO, Douglas. ROBERTS, Mary.ROCKMORE, Dan. Music and Computers – an interactive web-text.(http://eamusic.dartmouth.edu/~book/MATCpages/tableofcontents.html )].

- l.) “Morphing” – preluat din artele vizuale (domeniu in care “anamorfoza” reprezinta otehnica descoperita inca din antichitate), acest procedeu de transformare a unei imagini in alta -aparent total diferita de prima - a fost aplicat pentru prima data in arta sunetelor in 1976, inCvartetul meu de Coarde “Anamorphose” [© 1977 by Edition Modern München – Germany], cea fost distins cu Premiul I la Concursul International de Compozitie “GAUDEAMUS” dinOlanda (1977). Ulterior, in studiul “Anamorfoza Sonora” (publicat in revista “Muzica”-Bucuresti, Nr.6/Iunie 1985, p.18-21) - pe care l-am prezentat de asemenea in conferintelesustinute la “Cursurile Internationale de Muzica Noua” de la Darmstadt-Germania (1980),precum si la Michigan University-USA (1982) – am aratat ca “doua (sau mai multe) structurimuzicale aparent disjuncte pot coexista functional, fara a constitui un colaj, daca raspund conditieide a avea cel putin un element constitutiv comun. Astfel, intre multimile sonore A, A’ si B, avandproprietatile: A intersectat cu B = 0, si A intersectat cu A’ = diferit de 0, se poate exprima relatia decolaj prin A><A’ si cea de anamorfoza prinA<>B.” Ulterior, in studiul “Anamorfozele TimpuluiMuzical” (publicat in revista “Muzica”-Bucuresti, Nr.3/1991, p.100-107), precum si in tratatul“MUSICA CAELESTIS – Anamorfozele Sacrului in Arta Sunetelor”(Editura UNMB,2000, ISBN973-0-02102-3), am dezvoltat cercetarea muzicologica in acest domeniu aplicat, de altfel, inmajoritatea creatiilor mele componistice (de pilda, in opera “Domnisoara Christina” (1981),conceputa dupa un libret de Mircea ELIADE, in care am extins utilizarea tehnicii anamorfoticedin domeniul sonor in cel multi-media. In prezent, posibilitatile practic nelimitate ale sistemelordigitale au determinat aparitia unor programe specializate in anamorfoza muzicala /“musicmorphing”, precum “Diphone” (promovat la IRCAM-Paris, www.ircam.fr ), “Cendroid” (creat,in baza programului “SoundHack”, de compozitorii Douglas I. REPETTO si LarryPOLANSKY de la Dartmouth College - Bregman Electronic Music Studiohttp://music.dartmouth.edu/~douglas/cendroid.sit.hqx ) si de “PROSONIQ morph VST PC – Realtime

47

Audio Morphing Plugin” (http://products.soniq.com ), “Voicechanger Software”(www.voicechanger.biz ) si deja mentionatul “crusherX” (www.crusher-x.de – ce poate fi descarcatla adresa : www.stelkens.de/bs/download ). Practic, exista doua modalitati de realizare a efectului“morphing” in arta sunetelor: prin substitutie (sau “replacement morph”, adica prin inlocuireatreptata a fiecarui sunet din prima imagine cu un sunet din imaginea a doua) si prin interpolare(sau “interpolation morph”, adica prin compararea/definirea valorilor specifice celor douaimagini si prin intercalarea unei imagini intermediare, ce este bazata pe elementele comune aleimaginilor principale). Toate aceste aspecte expuse in Capitolul 5_6 “Morphing” din recentultratat Music and Computers – an interactive web-text (2003 – http://eamusic.darmouth.edu/~book/ )reprezinta de fapt o confirmare – formulata in baza cercetarilor efectuate cu mijloace tehnice deultima ora - a teoriei anamorfozei sonore, definite si aplicate intuitiv de mine incepand din anul1976.

- m.) “Sinteza granulara” – “Granular Synthesis” se refera la procedee specifice de generare a“norilor de sunete” (“sound clouds”), ca elemente de natura stochastica introduse in limbajulmuzical contemporan inca din 1971 de catre marele compozitor grec Iannis XENAKIS (nascut inRomania si stabilit in Franta). Aceste complexe imagini sonore globale sunt alcatuite din multimi– sau “regiuni schimbatoare de energie sonora” (“shifting regions of sound energy”) - cuprinzandmii de sunete (de obicei sinusoidale, ce pot fi insa si “sampled sounds”) extrem de scurte (cudurate mai mici de 100 de milisecunde), ce isi metamorfozeaza permanent configuratiile defrecventa si amplitudine – comportandu-se (conform principiilor probabilistice) ca niste picaturide ploaie, transformabile (in anumite conditii meteorologice) in fulgi de zapada… La randul lor,“norii de sunete” (proveniti, de pilda, atat de la un ansamblu cameral, cat si de la un computer)se pot intersecta, generand noi fenomene sonore absolut inedite! Cercetarile lui IannisXENAKIS au fost dezvoltate si de compozitorul canadian Barry TRUAX, ce a elaborat, in1986, un sistem in real-time (PODX, realizat la Simon Fraser University). Actualmente suntaplicate o serie de programe speciale, precum “Chant” (utilizat, in sistem “Mac”, la IRCAM-Paris, www.ircam.fr ), “KTGranulator” (www.smartelectronix.com/~koen ) si “crusherX”(www.crusher-x.de ) – ultimul avand, pe langa functia de “vapor synthesis”, si pe aceea de“morphing system”.

BIBLIOGRAFIE GENERALA SELECTIVA

- ALEXANDRA, Liana. Componistica Muzicala - un inefabil demers intre fantezie si rigoare. Editura UniversitatiiNationale de Muzica din Bucuresti, 1999.- ALEXANDRA, Liana. Tehnici de Orchestratie. Editura Universitatii Nationale de Muzica din Bucuresti, 2000. ISBN973-0-02115-5.- ARNELL, Billy. McScope: System. Music, Computers, and Software, April 1988: 58-60.- BERENDT, Joachim. The Jazz Book. 1953, 1959, 1968, 1973 Fischer Taschenbuch Verlag, Frankfurt am Main.Lawrence Hill & Company, New York, Westport. Independent Publishers Group, N.Y.,N.Y.10022.- BERGER, Wilhelm Georg. Muzica Simfonica moderna-contemporana 1930-1950. Vol.IV. Editura Muzicala, Bucuresti,1976.- BOWELS, Edmund A. Musicke’s Handmaiden: Or Technology in the Service of the Arts. in The Computer and Music.ed.Harry B. Lincoln, Ithaca: Cornell University Press, 1970.- BREDICEANU, Mihai Timpul polimodular si artele vizuale, Bucuresti, Ed.Stiintifica si Enciclopedica, 1982, si Musicand Polymodular Time/Structural Polytempi Music. Lecture given at New York University, January 5, 1985 – cursuniversitar.- BURK, Phil. POLANSKY, Larry. REPETTO, Douglas. ROBERTS, Mary. ROCKMORE, Dan. Music and Computers –an interactive web-text. (http://eamusic.dartmouth.edu/~book/MATCpages/tableofcontents.html )- CHAFE Chris and LEISTIKOW, Randal. Levels Of Temporary Resolution In Sonification Of Network Performance.Center for Computer Research in Music and Acoustics (CCRMA) Department of Music, Stanford University , Stanford,California 94305. (cc@ccrma.stanford.edu) (randal@ccrma.stanford.edu)- CHAFE, Chris ; WILSON, Scott ; WALLING, Daniel. Physical Model Synthesis With Application To Internet Acoustics.Center for Computer Research in Music and Acoustics (CCRMA) Department of Music, Stanford University , Stanford,California 94305. (cc, rswilson, dwalling@ccrma.stanford.edu)- CHAFE, Chris. A Short History of Digital Sound Synthesis by Composers in the U.S.A. Center for Computer Research inMusic and Acoustics (CCRMA) Department of Music, Stanford University , Stanford, California 94305.(cc@ccrma.stanford.edu)- CHOWNING, John M. The Simulation of Moving Sound Sources. in Journal of the Audio Engineering Society,vol.20,no.6 (1971).- CHOWNING, John M. The Synthesis of the Complex Audio Spectra by Means of Frequency Modulation. in Journal of theAudio Engineering Society, vol.21,no.7 (1973).- CHOWNING, John M, GREY John M., MOORER, James A., RUSH, Loren. Computer Simulation of Music InstrumentTones in Reverberant Spaces. Department of Music, Stanford University, Technical Report STAN-M-1, 1975.- CONGER, Jim. C Programming for MIDI. Redwood City: M & T Books, 1988.

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_ COOPER, Jim. Mind Over MIDI: Information Sources and System-exclusive Data Formats. Keyboard October, 1986:110-111.- DODGE, Charles and THOMAS A. Jerse. Computer Music : Synthesis, Compositions and Performance. Second Edition.New York : Macmillan Library, 1997.- EDSTROM, Brent. Making Music With Your Computer, Second Edition. EM Books, 2001, (www.astropro.com) LLC.ISBN 0-87288-744-8.- ENDERS, Bernd and KLEMME, Wolfgang. MIDI and Sound Book for the Atari ST. Redwood City: M & T Books, 1989.- GARDNER, John K., HARVEY, Brian, LAWSON, James R., RISSET, Jean-Claude. Computer Facilities for Music atIRCAM, as of October 1977. Rapports IRCAM, 3/78.- GIBSON, Bill. Audio Pro Home Recording Course, Volume I and II. Hal Leonard Corporation.- GIULEANU, Victor. Tratat de Teoria Muzicii, Bucuresti, Editura Muzicala, 1986.-HAMM, Charles. Music In The New World. W. W. Norton and Company, 1983. ISBN 0-393-95193-6.- HILLER, Lejare. Music Composed with Computers. in The Computer and Music.ed. Harry B. Lincoln, Ithaca: CornellUniversity Press, 1970.- HITCHCOCK , H. Wiley. Music In The United States : A Historical Introduction, Second Edition. 1974, 1969 Publishedby Pretince-Hall, Inc., Englewood Cliffs, N.J. 07632.-JOHNSON, ROGER. SCORES: An Anthology of New Music. Schirmer Books, A Division of Macmillan Publishing Co.,Inc., New York, 1981, ISBN 0-02-871190-4.-LEOPOLDSEDER, Hannes and SCHÖPF, Christine. “PRIXARS ELECTRONICA 2003 CyberArts”, Katje Cantz Verlag,Ostfildern-Ruit – D.A.P., Distributed Art Publishers, Inc., New York, 2003.-LIPSCOMB, Eric. HOW MUCH FOR JUST THE MIDI? BITNET: LIPS@UNTVAX, October 1989, North TexasComputing Center Newsletter, "Benchmarks".- MALM, P.William. Music Cultures On The Pacific, The Near East, And Asia, Second Edition. 1977, 1967. Published byPretince-Hall, Inc., Englewood Cliffs, N.J. 07632.- MANCINI, Henry. A Practical Guide To Professional Orchestration. 1973, Northridge Music Inc., Cherry Lane MusicCo., Inc. ISBN 0-89524-060-2.- MARCUS, Solomon. Semne despre semne. Editura Stiintifica si Enciclopedica, Bucuresti, 1979.- MATZKIN, Jonathan. A MIDI Musical Offering. PC Magazine 29 Nov. 1988: 229+; MIDI Manufacturers AssociationIncorporated - 1995-2003, Los Angeles, California.- MOLES, Abraham. Art et Ordinateur. Casterman, 1971 – Ed. Meridiane, Bucuresti, 1974;- MOORER, James A. Signal Processing Aspects of Computer Music – A Survey. in Computer Music Journal, vol. 1, no 1,February 1977.- NICHIFOR, Serban. Anamorfoza Sonora. Revista "Muzica" Nr.6/Iunie 1985, Bucuresti (pag.18-21).- NICHIFOR, Serban. Anamorfozele Timpului Muzical. De la ritmurile poetice la structuri heterometrice. Revista "Muzica"Nr.3/1991, Bucuresti (pag.100-107).- NICHIFOR, Serban. Mistica lui Debussy si revelatia universului supratonal. Revista "Muzica" Nr.3/1999, Bucuresti(pag.61-72).- NICHIFOR, Serban. Musica Caelestis. Anamorfotica Sacrului in arta sunetelor. Editura Universitatii Nationale deMuzica din Bucuresti, 2000. ISBN 973-0-02102-3.- NICHOLS, C. David. Musical Ecounters. ). Published by Pretince-Hall, Inc., Englewood Cliffs, N.J. 07632.- OTTMAN, W. Robert and MQINOUS, D. Frank. Rudiments of Music (Fourth Edition). . Published by Pretince-Hall,Inc., Englewood Cliffs, N.J. 07632.- PASCU-RADULESCU, Dorel. Esenta fenomenului sonor muzical. Bucuresti, Editura AGIR, 2000.- PERRY, Rosalie Sandra. Charles Ives And The American Mind. The Kent State University Press, 1974,- PERSICHETTI, Vincent. Twentieth Century Harmony. W.W.Norton and Company.- PETERS, Constantin. Reading up on MIDI for the Novice and the Pro. PC Magazine 29 Nov. 1988: 258;- POPESCU, Dumitru Gh. Teologie si Cultura. Bucuresti. Editura I.B.M.B.O.R., 1993.- RISSET, Jean-Claude. Synthesis of Sounds by Computer and Problems Concerning Timbre. in Music and Technology,Paris, La Revue Musicale, 1971, p.123.- SCHAFFER, Boguslaw. Introduction to Composition. PWP Edition, Varsovia, 1976.- SCHRADER, Barry. Introduction To Electro-Acoustic Music. Published by Pretince-Hall, Inc., Englewood Cliffs, N.J.07632.- SCHUETT, Nathan and CHAFE, Chris – Advisor. The Effects of Latency on Ensemble Performance. Researchsponsored by National Science Foundation. Center for Computer Research in Music and Acoustics (CCRMA)Department of Music, Stanford University , Stanford, California 94305. (cc@ccrma.stanford.edu)- STANCIU, Victoria, PANA, Adrian, BRAN, Florin si ERHAN, Florin. Bazele utilizarii calculatoarelorpersonale.Editura Economica, Bucuresti, 1999;- STRANGE, Allen. Electronic Music. Systems, Techniques, and Controls. WM.C.Brown Company Publishers , 1972,ISBN 0-697-03612-X.- WEBBER, David. "Mozart Virtuoso 6" The Music Processor - Tutorial Manual. (c) 1994-2001 by David Webber, 484Warrington Rd. Culcheth, Warrington, WA3 5RA, UK. The Thompson Partnership, Lion Buildings, Market Place,Uttoxeter, Staffs, ST14 8HZ, UK.(www.mozart.co.uk) (dave@musical.demon.co.uk) (dave@mozart.co.uk) (support@ttp.co.uk)- WHITE, Ron and WHITE, Michael. MP 3 Underground. Edit. BIC ALL, Bucuresti, 2002)- *** . Estetica, Informatie, Programare. Editura Stiintifica, Bucuresti,1972.- *** . Revista “LINUX MAGAZIN” Nr.4/Decembrie 2003, pag.21-35 (www.linux-magazin.ro ).- www.fractalmusiclab.com/default.asp - “Quasi Fractal Composer” by Paul WHALLEY; “Music In The

Numbers” by Lars KINDERMANN.- *** . Dictionar de Informatica. Editura Stiintifica si Enciclopedica, Bucuresti, 1981.

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ties…

op

ens

a su

b-d

irec

tory

of

file

uti

liti

es.

Ch

an

ge D

irecto

ry

(P

ath

) open

s th

e B

row

se F

old

er w

indow

wher

e a

new

dir

ecto

ry c

an b

e se

lect

ed.

Ru

n E

xp

lorer i

n C

urren

t D

irecto

ry l

aun

ches

Exp

lore

r. P

ress

ing

Ctr

l+S

hif

t+F

3 i

s th

e u

sual

way

to

get

to

th

is

item

, an

d w

ill

qu

ick

ly o

pen

Ex

plo

rer.

O

nce

Exp

lore

r is

op

en, yo

u c

ou

ld d

oub

le c

lick

on

a s

ong

or

style

to

lo

ad i

t in

.

(Ass

um

ing

th

at t

her

e is

a f

ile

asso

ciat

ion f

or

Ban

d-i

n-a

-Bo

x s

on

gs

and s

tyle

s m

ade

in E

xplo

rer.

)

Au

to-r

en

am

e s

on

g f

iles t

o L

on

g F

ile N

am

es w

ill

ren

ame

all

song

fil

es i

n t

he

curr

ent

dir

ecto

ry t

o l

on

g f

ile

nam

es,

usi

ng

th

e so

ng

tit

le a

s th

e n

ame.

Ren

am

e A

ny

Fil

e o

n d

isk

… o

r R

en

am

e C

UR

RE

NT

son

g f

ilen

am

e a

llo

ws

you

to

ren

ame

file

s.

Dele

te F

ile f

rom

dis

k d

elet

es a

song

fil

e w

ith

ou

t ex

itin

g t

he

pro

gra

m

“N

uk

e I

t!”

(D

ele

te C

UR

RE

NT

so

ng

fil

e f

ro

m l

ist)

.. d

elet

es t

he

curr

ent

song

.

Asso

cia

te F

ile t

yp

es (

son

gs,

sty

les)

wit

h W

ind

ow

s…

/ R

em

ov

e F

ile A

sso

cia

tio

ns (

so

ng

s, sty

les)

wit

h

Win

dow

s…

wil

l as

soci

ate

(or

rem

ov

e as

soci

atio

ns

for)

th

e fi

le t

yp

es f

or

Ban

d-i

n-a

-Bo

x s

ong

s an

d s

tyle

s in

Exp

lore

r. O

nce

set

, th

is m

ean

s th

at y

ou

can

do

ub

le c

lick

on

a s

ong

or

style

in

Exp

lore

r an

d B

and

-in

-a-B

ox w

ill

op

en

up w

ith t

hat

son

g o

r st

yle

.

Mak

e S

tan

da

rd

MID

I F

ile m

akes

a s

tand

ard m

idi

file

. Y

ou c

an s

ave

in T

yp

e 1

(m

ult

i-tr

ack

s) o

r T

yp

e 0

(si

ng

le

trac

k)

file

s. K

arao

ke

MID

I fi

les

are

also

su

pport

ed.

Chap

ter

14:

Ref

eren

ce

195

To

sav

e a

MID

I fi

le a

s a

Type

0, 1, o

r K

arao

ke

file

, pre

ss t

he

MID

I fi

le b

utt

on

, an

d c

ho

ose

th

e d

esir

ed

MID

I fi

le t

yp

e.

Th

is b

utt

on

sav

es a

MID

I F

ile

to D

isk. Y

ou c

an t

hen

lo

ad t

he

MID

I F

ile

into

yo

ur

sequ

ence

r

for

furt

her

ed

itin

g.

Th

is b

utt

on

cop

ies

the

MID

I F

ile

to t

he

Win

dow

s C

lipbo

ard

. T

hen

you

can

cli

pb

oar

d-p

aste

Ban

d-i

n-a

-Bo

x M

IDI

dat

a to

Pow

erT

rack

s P

ro A

ud

io, C

akew

alk

, et

c.

Go t

o O

pt.

| P

refe

rence

s an

d p

ress

th

e [M

IDI

Fil

e] b

utt

on t

o o

pen

th

e M

ID

I f

ile o

pti

on

s d

ialo

g b

ox

to

co

ntr

ol

ho

w

the

Mel

od

y,

Solo

, an

d H

arm

on

y a

re w

ritt

en t

o a

MID

I fi

le.

Prin

t S

on

g -

Ch

ord

s/M

elo

dy o

pen

s th

e P

rint

Op

tion

s d

ialo

g.

Prin

t M

ult

iple

Son

gs…

pri

nts

all

son

gs,

or

just

sel

ecte

d s

on

gs,

in

a s

on

g d

irec

tory

.

Mak

e S

on

g T

itle

s a

llo

ws

you t

o a

ssig

n l

on

g,

full

tit

les

to s

on

g f

ilen

ames

.

Load

User S

tyle

all

ow

s yo

u t

o c

hoo

se a

use

r st

yle

. (

See

Sel

ecti

ng S

tyle

s.)

Ex

it t

o e

xit

com

ple

tely

fro

m t

he

Ban

d-i

n-a

-Bo

x p

rogra

m.

Chap

ter

14:

Ref

eren

ce

196

Ed

it M

en

u

Ed

it | U

nd

o a

nd

Ed

it | R

ed

o a

llo

w y

ou

to

un

do

or

redo

mo

st o

per

atio

ns.

Ed

it | C

ut

funct

ion

s li

ke

a d

elet

e co

mm

and

to

rem

ov

e b

ars

fro

m a

son

g.

Ed

it | C

op

y a

nd

Ed

it | P

aste

are

to c

op

y c

hord

s.

Co

pyin

g a

sec

tio

n o

f ch

ord

s ca

n b

e done

in t

he

sam

e m

ann

er a

s

cop

yin

g t

ext

in a

Win

dow

s w

ord

pro

cess

or.

Co

py

ing

Ch

ord

s t

o t

he W

ind

ow

s C

lip

bo

ard

-S

elec

t th

e re

gio

n t

o c

op

y.

-P

lace

th

e m

ou

se c

urs

or

at t

he

bar

to

beg

in t

he

sele

ctio

n. T

hen

, hold

ing d

ow

n t

he

left

mo

use

bu

tto

n, d

rag

th

e

mo

use

ov

er t

he

reg

ion

. A

s you

do t

his

yo

u w

ill

see

that

the

reg

ion

wil

l be

inv

erte

d (

i.e.

lo

ok

s d

ark).

-W

hen

yo

u h

ave

sele

cted

th

e des

ired

reg

ion

of

chord

s to

copy, re

leas

e th

e m

ou

se b

utt

on.

-C

op

y t

he

sele

cted

reg

ion

to

the

clip

bo

ard

wit

h t

he

on-s

cree

n c

op

y b

utt

on

, th

e k

eyst

rok

es C

trl+

C,

or

sele

ct t

he

Ed

it |

Cop

y m

enu

ite

m.

Pa

sti

ng

Ch

ord

s f

ro

m t

he W

ind

ow

s C

lip

boa

rd

-A

ssu

min

g y

ou h

ave

alre

ady c

op

ied

so

me

cho

rds

to t

he

clip

bo

ard

, yo

u a

re t

hen

rea

dy t

o p

aste

th

e co

pie

d c

ho

rds

into

an

oth

er p

art

of

your

chord

shee

t.

-M

ov

e th

e h

igh

lig

ht

cell

to

th

e b

ar t

o b

egin

the

pas

te o

f ch

ord

s.

-C

op

y t

he

chord

s at

th

e h

igh

lig

hte

d b

ar w

ith t

he

on-s

cree

n p

aste

, th

e k

eyst

rok

es C

trl+

V,

or

choo

se t

he

Ed

it |

Pa

ste

men

u i

tem

.

Chap

ter

14:

Ref

eren

ce

197

Tip

: T

he

co

pie

d s

ectio

n r

em

ain

s in

th

e c

lipb

oa

rd a

nd

ca

n b

e u

se

d r

ep

ea

ted

ly.

If

yo

ur

so

ng

is in

th

e f

orm

ve

rse

-ve

rse

-b

rid

ge

-ve

rse

, yo

u c

an

sim

ply

co

py t

he

fir

st

ve

rse

to

th

e c

lipb

oa

rd,

an

d t

he

n p

aste

in

th

e o

the

r ve

rse

s.

Th

e c

lipb

oa

rd

co

nte

nts

re

ma

in e

ve

n if

yo

u lo

ad

in

a n

ew

so

ng

, so

yo

u c

an

co

py a

nd

pa

ste

be

twe

en

so

ng

s.

Cop

y F

ro

m…

To

… /

Co

py

Rests

/ E

rase F

ro

m…

To…

On

e of

the

bes

t w

ays

to c

op

y c

hord

s is

th

e C

op

y F

rom

… T

o…

co

mm

and

, or

pre

ssin

g A

lt+

C, w

hic

h w

ill

lau

nch

th

e

Co

py

Ch

ord

s a

nd

/or m

elo

dy

dia

log.

Th

e C

op

y R

est

com

man

d w

ill

sim

ilar

ly b

ring

up

th

e C

op

y R

ests

dia

log

to

allo

w c

op

yin

g o

f re

sts.

T

he

Era

se F

rom

… T

o…

co

mm

and

lau

nch

es t

he

Era

se C

ho

rd

s a

nd

/or m

elo

dy

dia

log

.

Th

ese

dia

log

s al

low

yo

u t

o s

pec

ify

th

e n

um

ber

of

bar

s to

cop

y o

r er

ase,

th

e lo

cati

on t

o c

op

y t

o, an

d t

he

op

tion

to

cop

y o

r er

ase

the

Ch

ord

s, M

elo

dy, S

olo

ist,

an

d/o

r L

yri

cs.

Co

py

/Mo

ve T

ra

ck

s o

pen

s th

e T

ra

ck

-to

-Tra

ck

Co

py

/Mov

e/D

ele

te d

ialo

g, w

hic

h a

llow

s co

pyin

g f

rom

on

e tr

ack

to

ano

ther

.

Chap

ter

14:

Ref

eren

ce

198

Sou

rce

trac

k c

an b

e an

y o

f th

e B

and

-in-a

-Bo

x t

rack

s –

Bas

s, D

rum

s, P

iano

, G

uit

ar, S

trin

gs,

Mel

od

y, or

So

lois

t.

The

trac

k t

o “

Copy/M

ove

sele

cted

chan

nel

s to

->

” ca

n b

e M

elody o

r S

olo

ist

(sin

ce t

hes

e ar

e th

e only

tra

cks

that

are

edit

able

in B

and

-in

-a-B

ox

).

In

tro

Bars -

Au

to G

en

erate

(o

r R

em

ov

e)

Th

is c

om

man

d w

ill

lau

nch

the

Gen

era

te I

ntr

o d

ialo

g w

her

e you c

an s

pec

ify t

he

char

acte

rist

ics

of

the

intr

o y

ou w

ish

to g

ener

ate.

F

or

mo

re i

nfo

rmat

ion

on t

his

fea

ture

ple

ase

refe

r to

th

e A

uto

mat

ic I

ntr

o s

ecti

on

.

In

sert

Ba

r(s

) in

sert

s a

cert

ain #

of

bar

s in

to t

he

chord

shee

t.

Dele

te B

ar(s

) re

moves

a c

erta

in #

of

bar

s fr

om

the

chord

shee

t.

Rep

ea

ts/c

od

as/1

st -2

nd e

nd

ings

You

can

add

rep

eats

an

d e

nd

ing

s so

th

at t

he

Lea

d S

hee

t w

indow

wil

l d

ispla

y a

nd

pri

nt

usi

ng 1

st /

2nd

en

din

gs.

Y

ou

can

ad

d y

ou

r ow

n r

epea

ts a

nd e

nd

ing

s b

y c

ho

osi

ng

th

is m

enu c

om

man

d t

o o

pen

th

e E

dit

Rep

ea

ts a

nd

En

din

gs

dia

log.

Red

uce (

du

ra

tio

ns o

f ch

ord

s b

y 1

/2)

cuts

ch

ord

dura

tio

ns

by 5

0%

(e.

g., 4

bea

ts>

>2bea

ts;

2bea

ts>

>1bea

t).

Ex

pa

nd

(d

ura

tio

ns o

f ch

ord

s b

y 2

) do

ub

les

the

dura

tion

s o

f ch

ord

s (e

.g., 1

bea

t>>

2b

eats

; 2

bea

ts>

>4b

eats

).

Chap

ter

14:

Ref

eren

ce

199

Un

fold

(co

nv

ert

to 1

BIG

ch

oru

s)

Ch

oo

se t

his

com

man

d t

o u

nfo

ld a

mu

lti-

cho

rus

son

g i

nto

one

BIG

choru

s. W

hen

sel

ecte

d,

Ban

d-i

n-a

-Box

wil

l

dis

pla

y a

ll c

horu

ses

and v

erse

s of

a so

ng w

ith

ou

t lo

op

s o

r re

pea

ts. I

t is

use

ful,

fo

r in

stan

ce, w

hen

you

hav

e a

song

wit

h 3

ch

oru

ses

and

wan

t to

co

nv

ert

it t

o a

sin

gle

lar

ge

cho

rus,

or

to c

ust

om

ize

a so

ng

wit

h t

he

“Ed

it S

etti

ng

s fo

r

Cu

rren

t B

ar”

feat

ure

to

ch

ange

met

er,

tem

po

, p

atch

es, st

yle

s an

d/o

r h

arm

on

ies

and g

ener

ate

a M

IDI

file

fo

r ex

port

.

bec

om

es..

.

Set

Tim

e S

ign

atu

re (

ra

ng

e o

f b

ars)

You c

an a

ssig

n a

sp

ecif

ic t

ime

signat

ure

at

any b

ar a

nd a

pp

ly i

t to

a r

ang

e o

f b

ars,

as

oft

en a

s you

wan

t. F

or

exam

ple

, to

hav

e o

ne

5/4

bar

, b

ar 1

3,

sele

ct t

his

men

u i

tem

, an

d t

ogg

le t

he

5/4

bu

tton

. T

hen

, ty

pe

in t

he

bar

beg

inn

ing

(1

3)

and

nu

mb

er o

f b

ars

(1)

in t

he

spac

e p

rov

ided

.

Tra

nsp

ose

Th

is m

enu

com

man

d o

pen

s a

sub

men

u w

ith

bo

th m

anu

al a

nd

auto

mat

ed o

pti

on

s fo

r tr

ansp

osi

ng t

he

com

ple

te s

on

g o

r se

lect

ed

par

ts o

f th

e so

ng

.

Tra

nsp

ose

Fro

m .. T

o ..

lau

nch

es t

he

Tran

sp

ose d

ialo

g f

or

tran

sposi

ng

a p

arti

cula

r se

ctio

n o

f th

e so

ng.

Th

e b

ar v

alu

es

can

be

typ

ed i

n m

anu

ally

, o

r yo

u c

an t

ran

spose

a p

ort

ion o

f a

son

g b

y h

igh

lig

hti

ng

th

e re

gio

n y

ou

wis

h t

o h

ave

tran

spose

d,

sele

ctin

g t

his

men

u i

tem

an

d t

yp

ing i

n t

he

new

key

you

wis

h t

o

tran

spose

to.

Chap

ter

14:

Ref

eren

ce

200

Tra

nsp

ose

DO

WN

or

UP

1 s

emit

on

e tr

ansp

ose

s th

e en

tire

so

ng

. T

his

can

be

don

e w

hil

e th

e so

ng i

s p

layin

g. B

and-

in-a

-Box w

ill

pau

se b

rief

ly,

then

res

um

e pla

yin

g i

n t

he

new

key

at

the

sam

e pla

ce i

n t

he

song.

Tra

nsp

ose

# o

f se

mit

on

es o

pen

s a

dia

log

wher

e you

can

type

in t

he

nu

mb

er o

f se

mit

on

es t

o t

ran

spo

se t

he

song

.

So

ng

Mem

o…

A s

on

g m

emo

of

up

to

2000

ch

arac

ters

may

be

add

ed. W

hen

a s

ong h

as a

mem

o a

ssoci

ated

wit

h i

t th

e

word

Mem

o h

igh

ligh

ts i

n p

ink

.

Cli

ckin

g o

n t

he

[Mem

o]

bu

tto

n l

aun

ches

the

So

ng

Mem

o d

ialo

g, w

her

e yo

u c

an t

yp

e or

edit

a m

emo

ab

ou

t th

e so

ng

and s

elec

t an

“A

uto

-open

” opti

on t

hat

wil

l sh

ow

th

e m

emo

eac

h t

ime

the

song i

s lo

aded

.

Au

to-G

en

erate

Son

g T

itle

all

ow

s yo

u t

o g

ener

ate

a ti

tle

for

a so

ng.

Th

ere

is a

lso

a b

utt

on o

n t

he

mai

n s

cree

n f

or

this

.

‘Ja

zz U

p’

Th

e c

ho

rd

s

This

wil

l “J

azz

Up”

the

chord

s by c

han

gin

g c

hord

s li

ke

C a

nd C

maj

to 7

th a

nd 6

th c

ho

rds.

S

ong

em

bel

lish

men

t w

ill

be

turn

ed o

n f

or

the

song. S

elec

t th

e ty

pe

of

7th

s fr

om

the

list

box,

and t

hen

cli

ck o

n t

he

[OK

– J

azz

UP

] butt

on.

‘Ja

zz D

ow

n’

Th

e c

ho

rd

s

This

wil

l “J

azz

Dow

n”

the

chord

s by c

han

gin

g c

hord

s w

ith 7

ths

(e.g

. C

7)

to t

riad

s (e

.g. C

) an

d 9

ths

and

13

ths

to 7

th

chord

s. S

ong e

mbel

lish

men

t is

turn

ed o

ff.

Pre

ss [

OK

– J

azz

Dow

n]

to p

roce

ed.

Ch

ord

Sett

ing

s…

Th

is l

aun

ches

th

e C

ho

rd

Op

tio

ns d

ialo

g b

ox

, w

her

e you

can

pu

t in

res

ts a

nd p

ush

es.

You c

an l

aun

ch t

he

Pre

vie

w,

Ch

ord

Bu

ild

er, or

Chord

-Su

bst

itu

tio

n F

un

ctio

ns

fro

m t

his

win

dow

.

Th

eC

ho

rd

Op

tion

s d

ialo

g b

ox c

an a

lso b

e o

pen

ed w

ith

the

cho

rd o

pti

ons

bu

tton

, w

ith

th

e k

eyst

rok

es

Alt

+F

5 o

r w

ith a

rig

ht

mo

use

bu

tton

cli

ck o

n t

he

chord

shee

t.

Sett

ings f

or C

urren

t B

ar…

Th

is c

om

man

d o

pen

s th

e E

dit

Sett

ings f

or C

urren

t B

ar d

ialo

g w

her

e you

can

ch

ang

e m

eter

, te

mp

o, p

atch

es,

style

s, a

nd

/or

har

mo

nie

s at

th

e cu

rren

t b

ar. T

his

dia

log i

s co

ver

ed i

n d

etai

l el

sew

her

e in

this

man

ual

an

d i

n t

he

on

lin

e H

elp

.

Sett

ing

s (

for T

his

So

ng

)…

Th

eS

on

g S

ett

ing

s d

ialo

g c

an a

lso

be

acce

ssed

by

pre

ssin

g t

he

[S]

sett

ings

butt

on o

n t

he

mai

n s

cree

n u

nder

the

song

tit

le. T

hes

e se

ttin

gs

are

full

y

exp

lain

ed i

n t

he

Pow

erG

uid

e c

hap

ter.

Chap

ter

14:

Ref

eren

ce

201

Sty

les M

en

u

Sty

leM

ak

er

Th

is o

pen

s a

sub

men

u w

ith

th

ree

Sty

leM

aker

op

tion

s.

New

- M

ak

e A

New

Sty

le

Th

is f

un

ctio

n a

llo

ws

yo

u t

o b

egin

to

cre

ate

a n

ew s

tyle

, u

sing

th

e S

tyle

Mak

er f

eatu

re.

See

on

lin

e T

uto

rial

#6

:

Sty

leM

aker

- M

akin

g a

New

Sty

le.

Ed

it a

Sty

le

Th

is a

llow

s you

to e

dit

an

ex

isti

ng

sty

le (

*.S

TY

) fr

om

dis

k. T

he

resu

ltin

g s

tyle

can

th

en b

e sa

ved

wit

h t

he

sam

e

nam

e o

r a

dif

fere

nt

nam

e.

Th

is f

un

ctio

n u

ses

the

Sty

leM

aker

. S

ee o

nli

ne

Tu

tori

al #

5:

Sty

leM

aker

– E

dit

ing S

tyle

s.

Ed

it C

urren

t S

tyle

Th

is a

llow

s you

to q

uic

kly

get

in

to t

he

Sty

leM

aker

to

ed

it t

he

curr

ent

style

. T

he

curr

ent

style

is

the

style

th

at i

s

dis

pla

yed

in

the

Sty

le B

ox o

n t

he

mai

n s

cree

n.

Usu

ally

you

wo

uld

use

Ctr

l+F

9 t

o d

o t

his

qu

ick

ly. S

ee o

nli

ne

Tu

tori

al #

5:

Sty

leM

aker

– E

dit

ing S

tyle

s.

Ma

ke a

Hy

brid

Sty

le

The

“Hybri

d S

tyle

s” f

eatu

re a

llow

s yo

u t

o p

lay a

nd c

reat

e a

style

that

has

in

stru

men

ts f

rom

up

to

fiv

e d

iffe

ren

t

style

s!

You

can

, fo

r ex

amp

le,

pla

y a

son

g w

ith

a R

egg

ae b

ass,

Ro

ck d

rum

s, S

alsa

pia

no

, or

any c

om

bin

atio

n o

f u

p

to f

ive

style

s th

at y

ou

wan

t.

Sty

le W

iza

rd

(A

uto

-Create

Sty

le f

ro

m M

ID

I f

ile)

Lau

nch

es t

he

Sty

le C

rea

tion

Wiz

ard

, w

hic

h a

uto

mat

ical

ly c

onv

erts

a M

IDI

file

(.M

ID)

to a

Ban

d-i

n-a

-Box

Sty

le

(.S

TY

). S

imp

ly o

pen

a M

IDI

file

, se

lect

your

op

tion

s, a

nd

pre

ss “

Sav

e-A

s S

tyle

.”

Sty

le i

s E

na

ble

d

Th

is i

tem

wil

l E

nab

le o

r D

isab

le t

he

style

. W

hen

dis

able

d,

the

nam

e o

f th

e st

yle

wil

l h

ave

an X

at

the

beg

inn

ing,

wh

ich

ind

icat

es a

dis

able

d s

tyle

. T

he

dis

able

d s

tyle

won

't so

und

or

wri

te a

ny d

ata

to t

he

MID

I fi

le. T

he

mo

st

com

mo

n u

se f

or

dis

abli

ng a

sty

le i

s w

hen

a M

IDI

file

is

load

ed t

o t

he

Mel

ody t

rack

. T

hen

th

e st

yle

won

't so

un

d a

nd

confl

ict

wit

h t

he

full

arr

ang

emen

t on t

he

Mel

ody t

rack

.

OK

to l

oa

d s

tyle

wit

h s

on

gs

Norm

ally

th

is i

s ch

eck

ed s

o t

hat

son

gs

load

wit

h t

he

asso

ciat

ed s

tyle

. B

ut

let’

s sa

y w

e’ve

dis

cover

ed a

new

sty

le,

and w

ant

to t

ry i

t o

ut

on

man

y d

iffe

ren

t so

ngs.

In

th

at c

ase

we

wou

ld e

nsu

re t

hat

th

is i

tem

is

NO

T c

hec

ked

. T

hen

wh

en a

so

ng

is

load

ed i

t w

ill

pla

y i

n t

he

new

sty

le w

e ar

e tr

yin

g o

ut.

Op

en

a U

ser S

tyle

from

dis

k…

Sty

les

can b

e se

lect

ed a

nd l

oad

ed w

ith L

ong

Fil

e N

ame

dia

log

s.

Chap

ter

14:

Ref

eren

ce

202

Bro

wse S

tyle

s w

ith

in

fo…

Op

ens

the

Sty

leP

ick

er w

indow

wit

h c

om

ple

te s

tyle

in

form

atio

n.

Sele

ct

Fa

vorit

e S

tyle

s…

Op

ens

the

Favorit

e S

tyle

s d

ialo

g,

whic

h c

onta

ins

a li

st o

f th

e m

ost

rec

ent

15

0 s

tyle

s u

sed

. S

ince

th

ese

are

ord

ered

bas

ed u

pon

how

oft

en t

hey

are

use

d, w

e ca

ll t

his

th

e “f

avori

te s

tyle

s” l

ist.

S

ince

you c

an a

lso

sto

re u

ser-

def

inab

le

favo

rite

lis

ts, w

e al

so r

efer

to

th

em a

s S

et L

ists

.

Lo

ad

Prev

iou

s S

tyle

, L

oa

d N

ext

Sty

le.

Th

is f

un

ctio

n,

lik

e th

e L

oad

Nex

t S

ong

fu

nct

ion,

load

s in

th

e pre

vio

us

(or

nex

t) s

tyle

in a

lph

abet

ical

ord

er o

f th

e fi

le

nam

e.

Th

ese

fun

ctio

ns

are

in t

he

Sty

les

men

u,

and

acc

essi

ble

wit

h t

he

ho

t k

eys

Ctr

l+A

lt+

Sh

ift+

F8 (

or

Alt

+S

hif

t+F

8).

Sty

le A

lia

ses

You

can

cre

ate

an a

lias

so

th

at w

hen

Ban

d-i

n-a

-Box

lo

ok

s fo

r a

style

, it

wil

l lo

ad i

ts a

lias

in

stea

d,

so w

hen

you

hav

e

foun

d a

new

fav

ori

te s

tyle

just

ch

ang

e th

e al

ias

and

yo

u d

on’t

hav

e to

ch

ang

e al

l of

yo

ur

song

s.

-T

o c

reat

e a

new

ali

as,

clic

k o

n a

n e

mp

ty s

pot

in t

he

Ali

as l

ist,

or

clic

k o

n t

he

alia

s you

wis

h t

o e

dit

if

you

wis

h

to c

han

ge

an e

xis

tin

g a

lias

.

-P

ress

the

[Choose

] butt

on b

elow

the

Ori

gin

al S

tyle

box a

nd s

elec

t th

e st

yle

yo

u w

ish

to

be

rep

lace

d.

-P

ress

th

e [C

hoo

se]

bu

tton

bel

ow

th

e S

ub

stit

uti

on b

ox

an

d s

elec

t th

e re

pla

cem

ent

style

(al

ias)

.

-If

yo

u w

ant

to t

yp

e in

a s

tyle

nam

e u

se t

he

[Cu

sto

m]

bu

tton

.

When

yo

u h

ave

succ

essf

ull

y m

ade

an a

lias

, you w

ill

noti

ce t

hat

ther

e w

ill

be

a sm

all

arro

w i

n t

he

Sty

les

box o

n t

he

mai

n s

cree

n i

nd

icat

ing

th

at y

ou h

ave

an a

lias

lo

aded

.

Tip

: Y

ou

ca

n t

em

po

rari

ly t

ota

lly d

isa

ble

th

e A

lias fe

atu

re b

y d

isa

blin

g t

he

Allo

w A

ny S

tyle

Alia

se

s c

he

ckb

ox f

ou

nd

in

th

e

dia

log

. Y

ou

ca

n a

lso

ha

ve

co

nfirm

atio

n o

f a

lias s

ub

stitu

tio

ns b

y e

na

blin

g t

he

Co

nfirm

Su

bstitu

tio

n c

he

ckb

ox.

Ch

oo

se f

ro

m 2

4 “

Bu

ilt-

in”

Sty

les

Use

th

is l

ist

as a

con

ven

ien

t w

ay t

o m

ake

a qu

ick

pic

k f

rom

th

e li

st o

f 24

ori

gin

al B

and-i

n-a

-Box

sty

les.

O

nce

you

load

a s

tyle

, th

e so

ng

wil

l b

e p

layed

bac

k u

sin

g y

our

cho

sen

sty

le, an

d y

ou

can

ch

ang

e th

e st

yle

an

y t

ime.

Chap

ter

14:

Ref

eren

ce

203

Op

t. M

en

u

MID

I D

riv

er s

etu

p…

Sel

ect

MID

I In

pu

t an

d M

IDI

Ou

tpu

t dri

ver

s an

d c

hoo

se a

Syn

thes

izer

/ S

ou

nd

Car

d p

atch

map

. S

elec

t th

e [R

un

Dri

ver

Wiz

ard

] bu

tto

n f

or

hel

p w

ith

your

sele

ctio

n. T

his

top

ic i

s d

iscu

ssed

in d

etai

l in

the

setu

p i

nst

ruct

ion

s.

Use/S

et

AL

TE

RN

AT

E M

ID

I o

utp

ut

driv

er f

or s

essio

n

Use

/Set

Alt

ernat

e M

IDI

Dri

ver

for

sess

ion, al

low

s yo

u t

o s

et a

tem

po

rary

MID

I D

riv

er f

or

a se

ssio

n, u

sefu

l w

hen

yo

ur

mai

n M

IDI

Dri

ver

is

“in

-use

” b

y a

no

ther

app

lica

tio

n.

Retu

rn

to F

acto

ry

Sett

ing

s

Ch

oo

sing

th

is c

om

man

d w

ill

rese

t al

l se

ttin

gs

to t

he

def

ault

at

the

tim

e o

f sh

ipp

ing

.

Wh

at

ad

d-o

ns d

o I

hav

e?…

An i

nte

llig

ent

dia

log,

also

acc

essi

ble

fro

m t

he

Hel

p m

enu

that

wil

l se

arch

yo

ur

dir

ecto

ry t

o t

ell

yo

u w

hic

h a

dd-o

ns

yo

u h

ave

and w

hic

h y

ou

do

n’t

.

Uti

liti

es

Ed

it C

ho

rd

Sh

ortc

uts

fil

e (

sh

ortc

ut.

txt)

… /

Refr

esh

Ch

ord

Sh

ortc

uts

…

If y

ou h

ave

foun

d a

ch

ord

th

at B

and

-in-a

-Box

do

esn

't re

cogn

ize,

you

can

ad

d y

ou

r ow

n s

hort

cuts

in

a t

ext

file

th

at

yo

u m

ake

you

rsel

f ca

lled

c:\

bb

\sho

rtcu

t.tx

t an

d B

and

-in

-a-B

ox w

ill

allo

w y

ou t

o t

yp

e in

th

at c

ho

rd i

n t

he

futu

re.

Cli

ck o

n t

his

men

u c

om

man

d t

o o

pen

or

crea

te y

our

ow

n c

ho

rd s

ho

rtcu

ts f

ile.

M

ake

sure

to

sav

e th

e fi

le a

fter

edit

ing

. C

han

ges

won

’t t

ake

effe

ct u

nti

l you

ch

oo

se E

dit

| R

efre

sh C

ho

rd S

hort

cuts

…

Th

e te

xt

file

\bb

\sho

rtcu

t.tx

t al

low

s yo

u t

o a

dd

new

chord

sho

rtcu

ts.

If

you

fin

d a

cho

rd t

hat

Ban

d-i

n-a

-Bo

x w

on

't

acce

pt,

lik

e C

sus2

wh

en i

t ex

pec

ts C

2 i

nst

ead,

yo

u c

an e

nte

r th

is o

n a

sin

gle

lin

e (w

ithout

the

quote

s) “

Csu

s2@

C2

.”

Th

en B

and-i

n-a

-Box

wil

l en

ter

the

cho

rd C

2 w

hen

ever

you

typ

e in

Csu

s 2

. Y

ou

can

als

o u

se i

t fo

r sh

ort

cuts

. F

or

exam

ple

, if

you

en

tere

d j

@m

aj7 B

and

-in

-a-B

ox w

ou

ld l

et y

ou

typ

e C

j fo

r C

Maj

7.

See

th

e fi

le c

:\b

b\p

gsh

ort

c.tx

t fo

r

exam

ple

s o

f sh

ort

cuts

.

No

te:

Th

e s

ho

rtcu

t.tx

t file

do

esn

't s

hip

with

Ba

nd

-in

-a-B

ox o

r it w

ou

ld o

ve

rwrite

yo

ur

file

! T

he

file

c:\

bb

\pg

sh

ort

c.t

xt

sh

ou

ld

be

use

d o

nly

by P

G M

usic

In

c.

for

sh

ort

cu

ts s

up

plie

d w

ith

Ba

nd

-in

-a-B

ox.

Save D

efa

ult

Con

figu

rati

on

(M

ysetu

p.D

K f

ile)

Th

is w

ill

rew

rite

th

e B

and

-in

-a-B

ox

co

nfi

gu

rati

on

fil

e m

yse

tup

.dk

wit

h y

ou

r cu

rren

t se

ttin

gs.

T

his

fil

e co

nta

ins:

-M

IDI

Chan

nel

s/P

atch

es/V

olu

mes

/Rev

erb/C

horu

s/B

ank

Chap

ter

14:

Ref

eren

ce

204

-P

atch

Map

-F

avo

rite

Pat

ches

, F

avo

rite

Com

bo

s se

ttin

gs

-D

rum

Kit

Sav

e /

Lo

ad

alt

ern

ate

Dru

m/P

atc

h F

ile .D

K

All

ow

s you

to

sav

e d

iffe

ren

t cu

sto

m d

rum

kit

s o

r lo

ad p

rese

t o

r cu

sto

m k

its.

Dis

pla

y G

en

era

l M

ID

I P

atc

h N

um

bers

Th

is o

pen

s th

e G

ener

al M

IDI

Pat

ch L

ist

for

refe

ren

ce.

Sen

d a

Sy

sE

x f

ile (

*.S

YX

) is

a c

om

man

d t

hat

sen

ds

SysE

x i

nfo

rmat

ion

to y

our

MID

I d

evic

e.

Ch

oose P

atc

h f

ro

m G

en

era

l M

ID

I P

atc

hes..

. al

low

s you t

o s

elec

t a

pat

ch f

or

the

curr

entl

y s

elec

ted i

nst

rum

ent

fro

m a

n o

rgan

ized

lis

t of

GM

pat

ches

.

Ch

oo

se P

atc

h f

ro

m H

igh

er B

an

k..

. al

low

s yo

u t

o s

elec

t a

pat

ch u

sin

g t

he

adv

ance

d s

earc

h a

nd h

igh

er b

ank

/pat

ch

sup

po

rt c

apab

ilit

ies.

Mak

e a

n A

dvan

ced

Pa

tch

map

Pat

ch m

aps

con

tain

info

rmat

ion f

or

map

pin

g t

he

pat

ches

an

d d

rum

no

tes

to y

ou

r sy

nth

esiz

er a

s w

ell

as V

elo

city

off

set,

Oct

ave

off

set,

ban

k C

on

tro

ller

0 s

etti

ng

, b

ank C

on

troll

er 3

2 s

etti

ng

, et

c.

Th

ere

are

also

ad

van

ced

op

tion

s li

ke

send

ing

a S

ysE

x f

ile

by l

oad

ing

th

e .D

K f

ile.

Th

ese

op

tio

ns

are

use

ful

eith

er i

f yo

u h

ave

a n

ewer

syn

thes

izer

th

at s

up

port

s b

ank c

han

ges

and

has

nic

e p

atch

es i

n

hig

her

ban

ks

or

if y

ou

hav

e an

old

er s

yn

th t

hat

req

uir

es c

ust

om

map

pin

g o

f so

un

ds.

T

o a

cces

s th

ese

feat

ure

s ti

ck t

he

En

able

Adv

ance

d S

etti

ng

s ch

eck

box

. T

hen

, ty

pe

in t

he

val

ues

you

wou

ld l

ike

to c

han

ge.

S

ay, fo

r ex

amp

le, yo

u

hav

e so

me

gre

at s

trin

g s

ounds

on

your

syn

th o

n B

ank 4

, C

on

tro

ller

32

. W

ith

th

is f

eatu

re y

ou

can

sav

e th

em a

s p

art

of

you

r B

and

-in

-a-B

ox

set

up b

y c

lick

ing

th

e [S

ave]

bu

tton

. T

his

wil

l ap

pen

d y

ou

r M

YS

ET

UP

.DK

fil

e to

in

clud

e al

l

of

the

pat

ches

yo

u l

ike

to u

se, re

gar

dle

ss o

f w

her

e th

ey a

re o

n y

ou

r sy

nth

.

La

ng

ua

ge S

ele

cti

on

Th

is a

llow

s you

to c

han

ge

lang

uag

e fr

om

Eng

lish

to

an

oth

er l

angu

age

for

dis

pla

y. I

f th

ere

are

oth

er l

ang

uag

es

sup

po

rted

by y

our

ver

sion

of

Ban

d-i

n-a

-Bo

x, th

en t

hey

wil

l b

e d

isp

layed

in

th

is d

ialo

g b

ox. I

nte

rnat

ional

lan

gu

age

sup

po

rt f

iles

are

av

aila

ble

for

dow

nlo

ad f

rom

ww

w.p

gm

usi

c.co

m.

Prefe

ren

ces…

Th

is d

ialo

g b

ox

all

ow

s yo

u t

o s

et v

ario

us

sett

ing

s th

at a

re s

aved

in

th

e B

and-i

n-a

-Bo

x f

or

Win

dow

s co

nfi

gu

rati

on

file

cal

led

IN

TR

FA

CE

.BB

W.

En

vir

on

men

t O

pti

on

s

OK

to S

av

e/L

oad

Rev

erb

, V

ol

etc

. w

/Son

gs

Chap

ter

14:

Ref

eren

ce

205

Sel

ect

this

ch

eck

box

if

you

wis

h t

o e

mb

ed R

ever

b, V

olu

me,

Pan

, C

ho

rus,

an

d B

ank

in

form

atio

n w

ith s

on

gs

for

late

r

reca

ll, or

if y

ou

wis

h t

o e

nab

le a

ny s

uch

em

bed

ded

info

rmat

ion

wit

h s

on

gs

that

are

lo

aded

. T

he

last

set

tin

gs

that

are

in e

ffec

t on

th

e m

ain

scr

een

inst

rum

ent

pan

el w

hen

you

sav

e th

e so

ng w

ill

be

reco

rded

. I

nd

ivid

ual

set

tin

gs

can

be

enab

led

/dis

able

d i

n t

he

Fil

e |

Sa

ve S

on

g w

/Pa

tch

es a

nd

Harm

on

y m

enu i

tem

.

OK

to P

rom

pt

to R

ed

uce/E

xp

an

d S

on

g

If a

sty

le i

s ch

ang

ed w

ith

a d

iffe

ren

t fe

el (

16

th n

ote

s in

stea

d o

f 8

th n

ote

s), B

and-i

n-a

-Bo

x w

ill

auto

mat

ical

ly o

ffer

to

exp

and

or

red

uce

th

e d

ura

tion o

f th

e ch

ord

s, a

nd c

han

ge

the

tem

po

to a

ccom

mo

dat

e th

e new

sty

le.

Sty

leP

ick

er d

efa

ult

s t

o c

urren

t sty

le

Sin

ce t

he

Sty

leP

ick

er c

an n

ow

def

ault

to

the

curr

ent

style

, th

is o

pti

on

is

avai

lab

le. I

f you

wan

t th

e S

tyle

Pic

ker

to

stay

at

the

style

that

you l

eft

it,

de-

sele

ct t

his

ite

m

Use c

usto

m f

ilen

am

e d

ialo

g

Wh

en s

elec

ted

, th

e [O

pen

] bu

tto

n, or

the

men

u c

om

man

d F

ile

| O

pen

, or

the

F3 k

ey w

ill

lau

nch

th

e cu

sto

m O

pen

Fil

e d

ialo

g.

Th

e cu

sto

m O

pen

Fil

e d

ialo

g h

as s

ever

al a

dv

anta

ges

ov

er t

he

trad

itio

nal

Win

dow

s d

ialo

gs:

-T

he

win

do

w i

s m

uch

big

ger

th

an t

he

trad

itio

nal

on

e, a

llow

ing m

ore

ro

om

.

-T

her

e is

a s

elec

tab

le f

on

t si

ze a

nd

ty

pef

ace.

-Y

ou

can

adju

st t

he

wid

ths

of

the

var

iou

s co

lum

ns.

-T

he

Win

do

w r

emem

ber

s yo

ur

sett

ings.

-T

her

e ar

e ta

bs

at t

he

top t

hat

all

ow

so

rtin

g b

y n

ame,

dat

e et

c.

OK

to

“b

eep

” w

ith

messa

ges

Now

th

at p

eople

hav

e th

eir

sou

nd

car

ds

hooked

up t

o b

ig s

pea

ker

syst

ems,

a s

imp

le “

bee

p”

issu

ed b

y W

indow

s

wh

en a

n i

nco

rrec

t k

ey i

s p

ress

ed c

an s

eem

lo

ud e

nou

gh

to

“w

ake

you

r n

eig

hbo

rs.”

S

etti

ng t

he

“sil

ent

bee

p”

op

tion

allo

ws

Ban

d-i

n-a

-Bo

x t

o v

isual

ly f

lash

th

e w

indo

w t

itle

bar

to

get

yo

ur

atte

nti

on, in

stea

d o

f g

ener

atin

g a

n a

ud

ible

“bee

p.”

Alw

ay

s s

av

e s

on

gs w

ith

“U

” e

xte

nsio

n

At

prog

ra

m b

ootu

p…

On s

essi

on s

tart

, you c

an e

lect

to h

ave

the

last

son

g o

r st

yle

th

at w

as u

sed

lo

aded

in

au

tom

atic

ally

. O

r n

ot.

Bo

otu

p i

n d

irecto

ry

of

the l

ast

sessio

n

On p

rogra

m b

oo

t up

, th

e cu

rren

t d

irec

tory

wil

l g

et s

et t

o t

he

last

dir

ecto

ry u

sed

in

th

e pre

vio

us

sess

ion.

Key

str

ok

e O

pti

on

s

En

ter K

ey

Ad

van

ces H

igh

lig

ht

Ba

r

Th

eE

nte

r k

ey a

dv

ance

s th

e hig

hli

gh

t b

ar o

n t

he

chord

sh

eet.

T

his

sp

eed

s u

p t

he

entr

y o

f so

ng

s fo

r p

eople

who

pre

fer

to u

se t

he

En

ter

key

. W

hen

yo

u e

nte

r a

cho

rd o

n t

he

cho

rd w

ork

shee

t, p

ress

th

e E

nte

r k

ey t

o p

lace

your

chord

in t

he

hig

hli

gh

ted c

ell.

T

he

hig

hli

gh

ted

reg

ion w

ill

then

mo

ve

auto

mat

ical

ly t

o t

he

nex

t ce

ll. T

he

righ

t ar

row

key

can

als

o b

e u

sed

to

mo

ve

the

hig

hli

gh

t ce

ll.

SP

AC

EB

AR

Key

Ther

e ar

e th

ree

opti

ons

for

spac

ebar

oper

atio

n.

-E

nte

rs n

o c

hord

(del

etes

cu

rren

t ch

ord

)

-P

lays

from

curr

ent

posi

tion (C

trl

– S

pac

e fr

om

sta

rt)

-P

lays

from

sta

rt (

Ctr

l – S

pac

e fr

om

cu

rren

t p

os.

)

Sim

ula

te N

UM

PA

D k

ey

s (

for n

ote

bo

ok

users)

No

teb

ook

use

rs o

ften

do

n't

hav

e a

nu

mb

er p

ad s

o t

hey

can

't u

se t

he

Ban

d-i

n-a

-Box

lo

op

ing

fea

ture

s

(Ctr

l+N

UM

PA

D 1

-6 k

eys)

. W

ith

th

is o

pti

on

th

e re

gu

lar

nu

mb

ers

can b

e u

sed

to t

rigg

er t

he

loo

pin

g f

eatu

re. F

or

exam

ple

, p

ress

ing

Ctr

l+2

wil

l st

art

pla

yb

ack o

f lo

op

ed c

ho

ruse

s.

Pau

se P

lay u

nti

l M

ID

I o

r K

ey r

eceiv

ed

This

all

ow

s pla

ybac

k t

o b

e st

arte

d b

y a

MID

I note

rec

eived

at

the

MID

I In

port

, or

by p

ress

ing a

key

on t

he

com

pu

ter

key

bo

ard

. B

and-i

n-a

-Box

gen

erat

es i

ts a

rran

gem

ent,

an

d t

hen

“st

ands

by”

for

yo

ur

star

t co

mm

and.

Tex

t H

ints

Ch

oo

se t

o e

nab

le o

r d

isab

le t

he

fly-b

y t

ext

hin

ts,

the

com

pre

hen

siv

e p

rog

ram

hin

ts,

and

/or

the

dia

log

box

hin

ts. S

et

the

tim

e d

elay

in

ms

bef

ore

the

hin

t po

ps

up, an

d t

he

len

gth

of

tim

e it

wil

l d

isp

lay.

Prefe

ren

ces B

utt

on

s

Mo

st p

rogra

m s

etti

ng

s an

d o

pti

on

s ca

n b

e ac

cess

ed f

rom

th

e ro

ws

of

bu

tton

s at

th

e to

p o

f th

e P

refe

ren

ces

dia

log

.

Dis

pla

y O

pti

on

s

T

he

[Dis

pla

y]

bu

tto

n o

pen

s th

e D

isp

lay

Op

tio

ns d

ialo

g.

Chap

ter

14:

Ref

eren

ce

206

To

olb

ars

To

olb

ar m

od

e s

etti

ng

s ar

e fo

r th

e m

ain

to

olb

ar. T

he

No

rmal

mo

de

show

s to

olb

ar i

con

s w

ith

tex

t la

bel

s. O

pti

on

s

are

Tex

t on

ly, Ic

on

s on

ly, or

No t

oo

lbar

.

Sh

ow

on

-screen

pia

no s

how

s or

hid

es t

he

on

-scr

een

pia

no

.

Flo

ati

ng T

oo

lba

rs A

lway

s S

ho

w T

ext

toggle

s fl

oat

ing

to

olb

ar t

ext

off

or

on.

So

ng

Tit

le a

rea

fo

nt

allo

ws

the

sele

ctio

n o

f an

y i

nst

alle

d f

on

t th

e so

ng t

itle

.

Ch

ord

sh

eet

En

ab

le d

isp

lay

of

Rep

ea

ts/E

nd

ing

s a

llow

s re

pea

ts s

igns

and 1

st/2

nd e

nd

ing m

ark

ers

to b

e sh

ow

n o

n t

he

cho

rdsh

eet.

Dis

pla

y b

ars h

igh

er t

ha

n e

nd

of

son

g i

n g

ray

wil

l “g

ray o

ut”

th

e b

ars

on t

he

cho

rdsh

eet

afte

r th

e en

d o

f th

e so

ng.

Sh

ow

ch

ord

s w

ith

pu

sh

/rest

ch

ara

cte

rs

Th

e p

ush

ch

arac

ter

is t

he

care

t sy

mb

ol

(^).

S

o a

C c

ho

rd w

ith

a p

ush

is

dis

pla

yed

as

^C

. T

he

rest

ch

arac

ter

is a

per

iod (

.) s

o a

C c

ho

rd w

ith

a r

est

is d

isp

layed

as

C. (C

per

iod).

If

you

pre

fer

to n

ot

see

thes

e ch

arac

ters

dis

pla

yed

,

then

set

th

is t

o f

alse

. T

hes

e ch

arac

ters

won’t

show

up o

n t

he

pri

nto

ut

regar

dle

ss o

f th

is s

etti

ng

.

Sh

ow

ch

ord

s w

ith

pu

sh

es/r

ests

in

co

lor

If s

et t

o Y

ES

, p

ush

es a

re d

ispla

yed

in

GR

EE

N a

nd r

ests

are

dis

pla

yed

in R

ED

. T

his

on

ly a

pp

lies

to

th

e C

hord

shee

t,

no

t th

e n

ota

tion

.

Ch

ord

dis

pla

y

Use

th

is s

etti

ng

to c

han

ge

the

cho

rd d

isp

lay f

rom

no

rmal

to

Ro

man

Nu

mer

al, N

ashv

ille

, o

r S

olf

egg

io.

For R

om

an

Nu

merals

of

Ch

ord

s i

n m

inor k

eys,

use r

ela

tive m

ajo

r

Fo

r m

ino

r k

eys,

bas

e ro

man

nu

mer

als

on

th

e re

lati

ve

maj

or.

F

or

exam

ple

in

key

of

Am

, A

m i

s ei

ther

the

Im c

ho

rd

or

the

VIm

ch

ord

.

Ch

ord

sh

eet

Fo

nt/

Nu

mb

er o

f row

s

You

can

cho

ose

th

e F

on

t to

use

, an

d t

he

# o

f ro

ws

per

scr

een

. I

f you

cho

ose

a C

ust

om

fon

t, y

ou

can

choo

se t

he

size

as w

ell.

If

you c

ho

ose

on

e of

the

pre

set

fon

ts, th

e si

ze i

s se

t au

tom

atic

ally

to

fit

in

to t

he

hei

gh

t o

f th

e ch

ord

shee

t

row

.

If y

ou w

ant

to r

ever

t to

th

e cl

assi

c st

yle

that

use

d a

sm

all

Syst

em f

on

t an

d l

ots

of

row

s, y

ou c

an c

hoose

that

as

the

typ

e of

fon

t “S

mal

l fo

nt

(syst

em).

”

Chap

ter

14:

Ref

eren

ce

207

Arra

ng

em

en

t O

pti

on

s

T

he

[Arr

ang

e] b

utt

on

op

ens

the

Arr

ang

emen

t O

pti

on

s d

ialo

g.

Boost

Velo

cit

y o

f p

ush

es b

y

Th

e pu

shes

in B

and-i

n-a

-Bo

x a

re t

he

chord

s th

at g

et p

layed

bef

ore

th

e b

eat.

T

yp

ical

ly p

ush

es a

re p

layed

a l

ittl

e

loud

er t

han

oth

er p

atte

rns.

Y

ou c

an l

eav

e th

is s

etti

ng

at

0, o

r se

t it

to

bet

wee

n 0

and

10

.

Bo

ost

sh

ots

by

Sh

ots

can

be

acce

nte

d w

ith

th

is s

etti

ng

.

Bo

ost

‘Ho

lds’

by

Use

th

is s

etti

ng

to b

oo

st t

he

vel

oci

ty o

f h

eld

ch

ord

s.

All

ow

An

y R

ests

You

can

dis

able

th

e re

sts

feat

ure

. Y

ou m

igh

t w

ant

to d

o t

his

if

you’v

e go

t a

song

wit

h a

lo

t of

rest

s in

it,

and

are

then

hav

ing

dif

ficu

lty r

eco

rdin

g a

mel

od

y b

ecau

se y

ou d

on

’t h

ear

the

dru

ms

pro

vid

ing t

he

bea

t (d

ue

to t

he

dru

ms

rest

ing).

If

so

, yo

u c

an t

emp

ora

rily

dis

able

th

e re

sts

so t

hat

yo

u c

an r

eco

rd a

nd l

iste

n t

o t

he

dru

ms.

All

ow

An

y P

ush

es

If f

or

som

e re

aso

n y

ou

do

n't

wan

t a

style

or

a so

ng

to h

ave

pu

shes

, you

can

set

th

is t

o n

o.

All

ow

Sty

le P

ush

es

If f

or

som

e re

aso

n y

ou

do

n't

wan

t a

style

to

hav

e pu

shes

, yo

u c

an s

et t

his

to

no

.

OK

To

Loa

d S

tyle

Wit

h S

on

gs

Th

is l

oad

s th

e st

yle

th

at i

s sa

ved

wit

h t

he

Ban

d-i

n-a

-Bo

x s

on

g. S

et i

t to

NO

if

you

don

’t w

ant

the

sav

ed s

tyle

s to

load

, p

erh

aps

to a

ud

itio

n a

new

sty

le w

ith s

ever

al d

iffe

ren

t so

ng

s.

Con

cert

Pit

ch

Ad

just

Th

is i

s u

sefu

l fo

r non

-co

nce

rt i

nst

rum

ents

such

as

Sax

oph

on

e o

r T

rum

pet

. T

he

ou

tpu

t is

tra

nsp

ose

d s

o t

hat

you

see

the

mu

sic

in o

ne

key

, an

d i

t p

lays

in a

no

ther

.

Tru

mp

et p

layer

s an

d o

ther

Bb i

nst

rum

ents

sho

uld

set

Co

nce

rt P

itch

Ad

just

to

–2

.

Alt

o S

ax a

nd

oth

er E

b i

nst

rum

ents

sho

uld

set

Co

nce

rt P

itch

ad

just

to

+3

.

Chap

ter

14:

Ref

eren

ce

208N

ote

: T

his

co

nce

rt p

itch

ad

just

se

ttin

g is a

n o

ld o

ne

. I

t is

pre

fera

ble

th

at

yo

u u

se

th

e N

ota

tio

n-T

ran

sp

ose

Op

tio

n in

ste

ad

.

All

ow

An

y E

nd

ing

s

You

can

dis

able

th

e en

din

gs

fro

m a

ll t

he

song

s b

y u

sing

th

is s

etti

ng

.

Lo

west

Ba

ss N

ote

Sty

les

wil

l n

orm

ally

pla

y b

ass

no

tes

(dow

n t

o t

he

low

E)

if t

he

pat

tern

won

't g

o b

elow

a l

ow

E n

ote

. T

his

hap

pen

s

wit

h a

ll s

tyle

s au

tom

atic

ally

, b

ut

ther

e is

als

o a

n o

pti

on

to

set

th

e lo

wes

t n

ote

th

at t

he

bas

s ca

n g

o r

eal

low

(so

yo

u

can g

et a

lo

w C

if

you w

ant

to!)

.

Prev

en

t “

too

lo

w”

gu

ita

r n

ote

s

All

ow

late

no

tes i

n p

att

ern

, ju

st

befo

re c

ho

rd

ch

an

ge

Sty

les

wil

l n

orm

ally

pla

y n

ote

s n

ear

the

end o

f a

pat

tern

, bef

ore

a c

ho

rd c

han

ge.

S

om

etim

es t

his

mak

es t

he

style

sound

“to

o b

usy

.”

If y

ou

set

th

is t

o,

say 7

0%

, th

en 3

0%

of

the

tim

e, t

he

note

at

the

end o

f th

e p

atte

rn w

ill

pla

y

qu

iete

r, t

yp

ical

ly a

t h

alf

the

vo

lum

e.

Dru

m B

ru

sh

es

Mo

st G

M m

odu

les

hav

e bru

shes

av

aila

ble

on

pat

ch 4

1 o

n t

he

dru

ms.

O

n s

om

e S

ound

Bla

ster

s you

nee

d t

o l

oad

a

GS

sou

nd

fo

nt

for

this

to

occ

ur,

and

you

nee

d t

o u

se t

he

Sou

nd

Bla

ster

soft

war

e to

do t

his

(A

WE

Con

tro

l P

anel

). O

n

the

Yam

aha

XG

, yo

u l

ikel

y n

eed

to s

end a

“G

S m

od

e on

” m

essa

ge

fro

m t

he

GM

men

u i

n B

and-i

n-a

-Bo

x.

Bu

t if

yo

ur

mo

du

le j

ust

do

esn

't h

ave

bru

shes

av

aila

ble

, th

en y

ou

can

set

th

is o

pti

on,

and t

he

style

wil

l re

map

the

note

s to

dif

fere

nt

dru

m i

nst

rum

ents

th

at d

on

't h

ave

bru

shes

.

Cou

nt-

in a

nd

Metr

on

om

e O

pti

on

s

T

his

op

ens

the

Cou

nt-

in a

nd M

etro

no

me

Op

tio

ns

dia

log.

Chap

ter

14:

Ref

eren

ce

209

Dru

m L

ea

d-i

n o

pti

on

s

All

ow

Lead

-In

Ba

rs

Peo

ple

who

use

Ban

d-i

n-a

-Bo

x f

or

solo

ing

pra

ctic

e w

ill

lik

ely t

urn

th

e le

ad-i

n o

ff t

o a

llo

w e

nd

less

lo

op

ing

un

inte

rrup

ted b

y t

he

lead

-in

co

un

t. T

o e

lim

inat

e th

e le

ad-i

n c

oun

t, s

elec

t A

llo

w L

ead

-In B

ars

to =

NO

, th

is w

ill

star

t

the

song

fro

m b

ar 1

wit

h n

o l

ead

in.

Pla

y L

ead

-In

Even

If

In

tro P

resen

t

If a

so

ng

has

an

in

tro,

it’s

usu

ally

no

t n

eces

sary

to

pla

y t

he

2 b

ar l

ead

-in

co

un

t. T

her

e's

a n

ew o

pti

on

to

alw

ays

OM

IT t

he

lead

-in

if

an i

ntr

o i

s pre

sen

t.

Lea

d-i

n t

yp

e

Th

is c

an b

e d

rum

pat

tern

s in

stea

d o

f “1

-2-1

23

4.”

Y

ou c

an s

pec

ify t

o p

lay t

wo

bar

s o

f dru

m p

atte

rns

inst

ead

of

the

coun

t-in

. Y

ou

may

pre

fer

hea

ring

th

e dru

m b

eat

to a

sim

ple

cou

nt-

in, si

nce

it

pro

vid

es m

ore

in

form

atio

n a

bou

t th

e

up

com

ing

gro

ov

e. If

you’r

e pla

yin

g w

ith B

and-i

n-a

-Bo

x l

ive

on a

“d

ance

flo

or,

” th

is s

etti

ng

wil

l av

oid

“d

ead a

ir”

bet

wee

n s

on

gs,

and

kee

p t

he

dru

mb

eat

go

ing

. I

ncl

ud

es o

pti

on

s to

hav

e “a

” or

“b”

dru

m f

ills

or

pat

tern

s p

lay f

or

the

two

bar

s.

Au

dib

le L

ead

-In

/Volu

me

En

able

s au

dib

le c

ou

nt-

in. If

yo

u w

ou

ld l

ike

the

lead

-in b

ars

to b

e p

layed

, bu

t ju

st w

ant

the

dru

m l

ead

-in q

uie

ter

(or

sile

nt)

set

th

e D

rum

Vo

lum

e to

= 0

(fo

r si

len

t).

In

str

um

en

t/ P

att

ern

You

can

sel

ect

any d

rum

in

stru

men

t fo

r th

e co

un

t in

. Y

ou c

an c

hoo

se d

iffe

ren

t co

un

t-in

rh

yth

ms,

e.g

., t

ap o

n 2

and

4 i

nst

ead

of

1-2

-3-4

. T

her

e's

a n

ew “

smar

t le

ad-i

n”

op

tion

to

sil

ence

th

e dru

m c

oun

t-in

if

a m

elo

dy l

ead-i

n h

as

beg

un

.

Sm

art

Lea

d-i

n

A s

mar

t le

ad-i

n a

vo

ids

pla

yin

g t

he

coun

t-in

dru

m s

oun

d d

uri

ng

a M

elod

y p

icku

p.

Lea

d-i

n d

ru

m c

ou

nt

if d

ru

ms m

ute

d/d

isa

ble

d

Pre

vio

usl

y, w

hen

th

e dru

m t

rack

was

mu

ted

(o

r d

isab

led

in

a s

on

g),

th

e co

un

t-in

dru

m c

lick

wou

ldn

't p

lay. T

his

op

tion

can

pla

y t

he

dru

m c

oun

t-in

in

all

cir

cum

stan

ces.

D

rum

mer

s w

ho p

lay a

lon

g w

ith

BB

by m

uti

ng

th

e dru

m

trac

k s

ho

uld

fin

d t

his

fea

ture

use

ful.

T

o s

et t

his

op

tion

, ch

oo

se O

pt.

| P

refe

rence

s an

d s

et “

Lea

d-i

n d

rum

co

un

t if

dru

ms

mu

ted

or

dis

able

d”

to t

rue

(def

ault

is

tru

e).

Metr

on

om

e O

pti

on

s

Vis

ible

Metr

on

om

e

You

can

dis

pla

y a

vis

ible

met

rono

me

on

-scr

een

duri

ng

th

e en

tire

so

ng

(o

r ju

st t

he

lead

-in

). C

ho

ose

th

e sc

reen

po

siti

on

(to

p-r

igh

t or

cen

ter)

, an

d t

he

size

(up

to n

ear

full

scr

een s

ize)

. A

lso

cho

ose

th

e vis

ual

met

ron

om

e p

atte

rn

(123

4, 1

-3, 1--

-, o

r –2-4

). S

eein

g a

met

ron

om

e o

n-s

cree

n i

s a

gre

at w

ay f

or

a st

ud

ent

to l

earn

to

kee

p o

n t

he

bea

t,

and

wit

h a

set

tab

le s

ize,

stu

den

ts c

an v

iew

this

fro

m a

cro

ss t

he

roo

m.

Au

dib

le M

etr

on

om

e

Th

e th

ree

sett

ing

s fo

r th

e au

dib

le m

etro

no

me

are

No

ne,

Duri

ng

Rec

ord

, o

r D

uri

ng R

ecord

an

d P

lay.

Chap

ter

14:

Ref

eren

ce

210

MID

I F

ile O

pti

on

s

T

he

[MID

I F

ile]

bu

tton

op

ens

the

MID

I fi

le o

pti

ons

dia

log.

In

clu

de P

atc

h C

ha

ng

es i

n M

ID

I f

iles w

ill

incl

ud

e th

e p

atch

(in

stru

men

t) c

han

ges

.

In

clu

de 2

ba

r l

ea

d-i

n i

n M

ID

I f

ile

If y

ou d

on

't w

ant

to c

reat

e a

MID

I fi

le c

on

tain

ing t

he

firs

t 2

bar

s of

the

1—

2—

1-2

-3-4

co

un

t-in

you

can

sel

ect

this

op

tion

. I

f th

ere

is a

Mel

od

y p

icku

p,

then

the

2 b

ar l

ead-i

n w

ill

rem

ain

in

th

e fi

le.

Writ

e L

yric

s i

n G

en

era

l M

ID

I o

r P

G M

usic

form

at

Th

e G

M s

pec

ific

atio

n h

as a

gre

ed u

po

n s

pec

ific

req

uir

emen

ts f

or

wri

tin

g l

yri

cs i

n M

IDI

file

s, w

hic

h a

re n

ow

suppo

rted

, so

th

at l

yri

cs t

hat

yo

u s

ave

in B

and-i

n-a

-Bo

x s

ho

uld

sho

w u

p i

den

tica

lly i

n o

ther

MID

I p

rogra

ms.

T

o s

et

this

op

tion

, ch

oo

se e

ith

er G

ener

al M

IDI

form

at o

r P

G M

usi

c fo

rmat

. W

e re

com

men

d t

he

GM

form

at.

Writ

e S

ecti

on

Tex

t a

s T

ext

Ev

en

ts

Your

sect

ion t

ext

can b

e in

cluded

in

th

e M

IDI

file

as

tex

t ev

ents

.

In

clu

de V

olu

me/R

everb

/Ch

oru

s/P

an

nin

g

Th

is w

ill

incl

ud

e th

e vo

lum

e, r

ever

b, ch

oru

s, a

nd

pan

nin

g s

etti

ng

s th

at y

ou

hav

e m

ade

in t

he

Ban

d-i

n-a

-Bo

x s

yn

th

win

dow

in

your

MID

I fi

le.

In

clu

de F

orced

Ch

an

nel

Meta

Ev

en

t

Th

is w

ill

incl

ud

e th

e fo

rced

ch

ann

el M

ET

A e

ven

t. It

is

reco

gn

ized

by P

ow

erT

rack

s P

ro A

ud

io a

nd

oth

er P

G M

usi

c

Inc.

pro

gra

ms

on

ly.

In

clu

de G

uit

ar P

osit

ion

Con

tro

ller

Th

is w

ill

inse

rt a

con

tro

ller

84 w

hic

h P

G M

usi

c u

ses

to i

nd

icat

e th

e fr

et p

osi

tio

n. S

ince

so

me

syn

ths

also

use

th

is f

or

Po

rtam

ento

Con

tro

l, y

ou

sho

uld

use

th

is s

etti

ng w

ith c

auti

on

.

Writ

e S

olo

ist

Pa

rt

On

Ch

an

nel

5

Norm

ally

th

e pro

gra

m w

rite

s th

e S

olo

ist

par

t o

n c

han

nel

8.

Sin

ce t

hat

could

als

o m

ean t

he

left

han

d o

f a

pia

no

tra

ck

usi

ng

th

e co

nven

tio

n o

f ch

ann

el 8

/9 f

or

pia

no

, th

is o

pti

on

all

ow

s yo

u t

o w

rite

it

on c

han

nel

5 i

nst

ead

.

Writ

e H

arm

on

y T

o M

ID

I F

ile

If s

et t

o Y

ES

, th

e h

arm

on

y w

ill

be

wri

tten

to t

he

MID

I fi

le. If

no

t, j

ust

th

e m

elo

dy w

ill

be

wri

tten

to

th

e M

IDI

file

.

Chap

ter

14:

Ref

eren

ce

211

MID

I F

ile H

arm

on

y o

n s

ep

arate

tra

ck

s

If s

et t

o Y

ES

, th

e h

arm

on

y w

ill

be

wri

tten

to t

he

MID

I fi

le o

n s

epar

ate

trac

ks

for

each

vo

ice.

Y

ou

cou

ld u

se t

his

to

pri

nt

ou

t in

div

idu

al p

arts

to

yo

ur

pri

nte

r fo

r ex

amp

le.

Writ

e G

uit

ar p

art

on

6 c

han

nels

If s

et t

o Y

ES

, th

e st

yle

s th

at a

re I

nte

llig

ent

Gu

itar

Sty

les

wil

l re

sult

in a

MID

I fi

le t

hat

has

th

e G

uit

ar p

art

wri

tten

on

6 c

han

nel

s (1

1-1

6).

T

hen

, w

hen

you

rea

d i

t in

Pow

erT

rack

s, o

r an

oth

er s

equ

ence

r th

at u

ses

the

con

ven

tio

n o

f 1

1-1

6

for

gu

itar

str

ing

s, t

he

gu

itar

par

t w

ill

dis

pla

y c

orr

ectl

y.

MID

I D

riv

er S

etu

p

T

he

[MID

I D

riv

er]

bu

tto

n l

aun

ches

th

e M

IDI

Dri

ver

Set

up

.

MID

I I

np

ut

Driv

er

Sel

ect

the

Dri

ver

th

at y

ou w

ou

ld l

ike

to u

se f

or

inpu

t fr

om

a M

IDI

key

bo

ard. If

yo

u d

on

't h

ave

a M

IDI

key

bo

ard,

yo

u c

an s

elec

t <

No M

IDI/

Sou

nd

In

pu

t>.

MID

I O

utp

ut

Driv

er

Sel

ect

a D

river

For

MID

I O

utp

ut.

Th

is a

lso i

ncl

ud

es S

oun

d C

ard

ou

tpu

t (l

ike

Sou

nd

Bla

ster

).

Per

hap

s th

e ea

sies

t w

ay t

o c

onfi

gure

Ban

d-i

n-a

-Box

is

to p

ress

th

e [R

un

Dri

ver

Wiz

ard

..]

bu

tton

. T

he

MID

I O

utp

ut

Driv

er W

iza

rd

dia

log w

ill

tak

e you

ste

p-b

y-

step

thro

ug

h t

he

pro

cess

of

aud

itio

nin

g a

nd

sel

ecti

ng

an

ap

pro

pri

ate

dri

ver

. T

his

ass

um

es t

hat

the

appro

pri

ate

Win

dow

s so

und

dri

ver

s ar

e in

stal

led

and

co

rrec

tly c

onfi

gu

red

.

Syn

thesiz

er /

Sou

nd

Card

Sel

ecti

ng

th

e ty

pe

of

syn

th a

llo

ws

Ban

d-i

n-a

-Box

to a

uto

mat

ical

ly l

oad

in t

he

appro

pri

ate

Dru

m/P

atch

kit

fil

e (*

.DK

). It

is

no

t es

sen

tial

to

set

th

is -

if

yo

u d

on't

then

lea

ve

it a

s <

synth

car

d n

ot

list

ed >

.

Chap

ter

14:

Ref

eren

ce

212

Driv

er L

ate

ncy

So

ftw

are

syn

ths

(lik

e th

e R

ola

nd

VS

C)

hav

e a

spec

ific

tim

ing i

ssue

asso

ciat

ed w

ith t

hem

; “l

aten

cy.”

T

his

mea

ns

that

it

tak

es a

bo

ut

43

0m

s fr

om

th

e ti

me

Ban

d-i

n-a

-Box

sen

ds

the

MID

I in

form

atio

n t

o t

he

Vir

tual

Syn

thes

izer

to

gen

erat

e an

d h

ear

the

soun

d. T

o k

eep

ev

eryth

ing

(i.

e. t

he

no

tati

on

dis

pla

y, et

c.)

"in

syn

c,"

yo

u s

hou

ld s

et t

his

late

ncy

op

tio

n.

In

mo

st c

ases

, B

and

-in-a

-Box

wil

l p

rom

pt

yo

u t

o d

o t

his

. I

f you

are

usi

ng

a r

egu

lar

soun

d c

ard

or

MID

I m

od

ule

yo

u s

ho

uld

no

t en

cou

nte

r an

y l

aten

cy,

so y

ou s

hould

set

th

e la

tency

opti

on t

o z

ero (

0)

if i

t's

not

alre

ady s

et t

his

way

.

Use D

Xi

Syn

th

Chec

k t

he

Use

DX

i S

ynth

chec

kbox t

o e

nab

le D

Xi

pla

ybac

k.

To

use

th

is o

pti

on

, you

mu

st h

ave

a p

oly

phon

ic D

Xi

syn

thes

izer

in

stal

led

on y

ou

r co

mp

ute

r, s

uch

as

the

Ro

land

/Ed

iro

l V

SC

DX

i. It

wil

l al

so b

e m

ost

con

ven

ien

t if

you

r D

Xi

synth

esiz

er c

an u

se G

ener

al M

IDI

or

GM

2

pat

ches

.

DX

i S

yn

th S

ett

ings

To

sel

ect

the

DX

i sy

nth

esiz

er, cl

ick

th

e [D

Xi

Syn

th S

etti

ngs]

bu

tton

, w

hic

h w

ill

op

en t

he

Dir

ectX

Plu

gin

s w

indow

.

Sel

ect

yo

ur

DX

i sy

nth

an

d a

pp

ly r

eal

tim

e D

irec

tX e

ffec

ts.

See

the

tuto

rial

in C

hap

ter 3

: B

an

d-i

n-a

-Bo

x 2

00

4.

GM

2 s

up

po

rt

Th

e ty

pe

of

GM

2 s

uppo

rt i

s se

t h

ere.

T

he

cho

ices

are

:

-G

ener

al M

IDI

2 s

uppo

rt:

If

yo

u'r

e u

sing

th

e R

ola

nd

VS

C3, o

r a

new

er S

oun

d C

anv

as (

i.e.

new

er t

han

199

9, o

r

new

er t

han

th

e R

ola

nd

SC

88),

th

en c

hoo

se t

his

GM

2 s

upp

ort

.

-R

ola

nd

GS

(o

lder

Mod

ule

s):

“O

lder

” S

ou

nd C

anv

ases

(S

C5

5/S

C88

) su

ppo

rt G

S, bu

t no

t G

M2. T

he

goo

d

new

s is

th

at t

hey

hav

e th

e sa

me

pat

ches

av

aila

ble

, ju

st a

t dif

fere

nt

loca

tion

s. S

o i

f you

ch

oo

se t

his

op

tio

n,

Ban

d-i

n-a

-Bo

x w

ill

find

th

e pat

ches

at

the

“GS

” lo

cati

ons

inst

ead o

f th

e “G

M2

” lo

cati

ons.

If

yo

u h

ave

a n

ewer

GS

mo

du

le l

ike

the

SC

88

20

, it

su

ppo

rts

bo

th G

M2

and

GS

- y

ou s

hou

ld l

ikel

y c

ho

ose

GM

2.

-N

o G

M2

sup

po

rt:

Mo

st s

ound

car

ds

(Soun

d B

last

ers

etc.

) d

on

't h

ave

GM

2 s

uppo

rt y

et, so

just

supp

ort

th

e 1

28

sound

s.

Ban

d-i

n-a

-Box

wil

l use

th

e cl

ose

st i

nst

rum

ent

in t

hes

e ca

ses.

MID

I O

pti

on

s

Th

is b

utt

on

op

ens

the

MID

I O

pti

on

s d

ialo

g.

Chap

ter

14:

Ref

eren

ce

213

Sen

d G

M M

od

e O

n a

t sta

rtu

p /

Sen

d X

G M

od

e O

n a

t sta

rtu

p

Yo

u c

an e

lect

to

hav

e B

and

-in

-a-B

ox

au

tom

atic

ally

sen

d a

GM

or

XG

Mod

e O

n c

om

man

d e

ver

y t

ime

the

pro

gra

m i

s

star

ted

. T

ogg

le t

his

op

tion

ON

if

you

hav

e a

GM

or

XG

un

it t

o e

nsu

re t

hat

it

is a

lway

s se

t to

th

e ap

pro

pri

ate

mo

de.

Lo

ca

l O

N (

Ext.

Keyb

oa

rd

): If

you

are

hea

rin

g t

he

info

rmat

ion

pla

yed

on

your

key

bo

ard

pla

yed

tw

ice

(an e

cho

effe

ct)

then

set

Loca

l O

N t

o “

No.”

If

you c

an't

hea

r w

hat

you a

re p

layin

g a

t al

l, s

et L

oca

l O

N t

o “

Yes

.”

Tu

rn

Exte

rn

al

Keyb

oard

’s L

ocal

On

at

en

d o

f sessio

n

If y

ou h

ave

set

the

Key

bo

ard

Lo

cal

to O

ff (

usu

ally

to

eli

min

ate

MID

I ec

ho

) th

is s

etti

ng

tu

rns

it b

ack o

n a

t th

e en

d o

f

yo

ur

Ban

d-i

n-a

-Box

ses

sion

.

MID

I T

hru

: S

et t

o “

No

” if

yo

u d

on

't w

ant

the

info

rmat

ion

pla

yed

on

your

MID

I k

eyb

oar

d t

o b

e se

nt

thro

ugh

Ban

d-

in-a

-Box

to t

he

ou

tpu

t dri

ver

.

Co

ntr

oll

ers T

hru

: G

uit

ar s

ynth

esiz

ers

and w

ind c

ontr

oll

ers

conta

in l

arge

amounts

of

addit

ional

MID

I dat

a w

hic

h

may

no

t b

e re

qu

ired

for

Ban

d-i

n-a

-Box

and

may

on

ly s

erv

e to

hin

der

th

e sy

stem

per

form

ance

of

you

r co

mp

ute

r. T

o

pre

ven

t th

is i

nfo

rmat

ion

fro

m b

eing

sen

t T

hru

, se

t th

is o

pti

on

to “

No

.”

Use T

hru

Ch

an

nel:

B

and-i

n-a

-Bo

x u

ses

the

Thru

chan

nel

as

a par

t, j

ust

lik

e th

e B

ass/

Dru

ms/

Pia

no

, et

c.

Th

e T

hru

Ch

ann

el i

s re

-ch

ann

eled

to

th

e T

hru

ch

ann

el a

s as

sign

ed i

n t

he

MID

I se

ttin

gs

dia

log

. I

f yo

u w

ou

ld p

refe

r to

set

th

e

Th

ru c

han

nel

yo

urs

elf

fro

m y

our

MID

I co

ntr

oll

er,

set

this

to

“N

o.”

Bo

ost

TH

RU

Velo

cit

y b

y

Wh

en p

layin

g a

long

on a

key

bo

ard

to t

he

Ban

d-i

n-a

-Bo

x “

ban

d,”

if

the

soun

d o

f yo

ur

key

bo

ard

is

too

quie

t an

d

incr

easi

ng

th

e T

HR

U V

olu

me

do

esn

't h

elp

en

oug

h, u

se t

his

op

tion

to b

oost

th

e T

HR

U v

elo

city

an

d m

ake

your

TH

RU

pla

yin

g l

oud

er.

Ou

tpu

t S

yn

c/S

tart

info

: S

yn

cs B

and-i

n-a

-Bo

x w

ith a

n e

xte

rnal

seq

uen

cer.

Sen

d E

xtr

a N

ote

Off

s:

Lea

ve

this

op

tion

set

to

“N

o”

un

less

you

are

hav

ing t

roub

le w

ith “

Stu

ck N

ote

s” w

hen

you

pre

ss [

Sto

p].

If

you

set

th

is o

pti

on t

o “

Yes

” th

e pro

gra

m w

ill

sen

d a

“g

lobal

sw

eep

” o

f al

l n

ote

s off

in

ad

dit

ion

to

the

sele

cted

note

s off

th

at a

re p

layin

g w

hen

yo

u p

ress

th

e [S

top

] bu

tto

n.

All

ow

An

y P

atc

h C

ha

ng

es:

Set

to

“N

o”

to d

isab

le A

ll P

atch

ch

ang

es.

So

ng

Patc

h C

ha

ng

es:

Songs

can b

e sa

ved

wit

h p

atch

ch

ang

es.

If y

ou

wan

t to

pre

ven

t sp

ecif

ic i

nst

rum

ents

lo

adin

g

for

a g

iven

song

, se

t th

is o

pti

on

to “

No

.”

Sty

le P

atc

h C

ha

ng

es:

Sty

les

con

tain

pat

ch c

han

ge

info

rmat

ion

for

the

inst

rum

ents

th

at w

ere

use

d w

hen

th

e S

tyle

was

cre

ated

. T

o u

se y

our

ow

n i

nst

rum

ent

sele

ctio

n, no

t th

e o

rig

inal

in

stru

men

ts, ch

ang

e th

is s

etti

ng

to

“N

o.”

Dru

m P

atc

h C

ha

ng

es:

To

dis

able

pat

ch c

han

ges

in

Dru

ms,

set

to

NO

.

All

ow

Vo

lum

e C

ha

ng

es:

To

pre

ven

t an

y v

olu

me

chan

ges

set

to “

No.”

Sty

le V

olu

me C

ha

ng

es:

To

sto

p e

mb

edd

ed s

tyle

vo

lum

e ch

ang

es s

et t

o “

No.”

MID

I S

ett

ing

s

T

he

[Ch

ann

els]

bu

tton

op

ens

the

MID

I S

etti

ng

s d

ialo

g.

Chap

ter

14:

Ref

eren

ce

214

MID

I C

ha

nn

els

: R

ang

e 0 t

o 1

6.

If

set

to 0

th

e p

art

wil

l b

e O

ff/D

isab

led

, w

hic

h i

s no

t th

e sa

me

as m

ute

d.

Octa

ve:

Adju

sts

the

oct

ave

of

the

par

t.

Ran

ge

(-2

to

+2

). U

sual

ly s

et t

o 0

.(B

ass

is u

sual

ly s

et t

o -

1 f

or

mo

st

Gen

eral

MID

I (G

M)

inst

rum

ents

.)

Pa

tch

: R

ang

e 0

to

12

8. T

hes

e ar

e G

ener

al M

IDI

pat

ch n

um

ber

s.

Vo

lum

e:

Ran

ge

0 t

o 1

27

. A

ver

age

vo

lum

e se

ttin

g i

s =

90

. T

his

can

als

o b

e se

t fr

om

th

e m

ain

scr

een.

Pa

nn

ing:

Pan

nin

g r

efer

s to

the

ster

eo p

lace

men

t (i

.e. L

eft

to R

igh

t) o

f a

giv

en p

art's

so

un

d.

Th

e ra

ng

e o

f th

is

par

amet

er i

s -6

3 t

o +

63

. A

set

tin

g o

f 0

is

cen

tere

d i

n t

he

mid

dle

of

the

ster

eo f

ield

.

No

te:

On

ly G

en

era

l M

IDI,

XG

, a

nd

GS

in

str

um

en

ts r

esp

on

d t

o R

eve

rb,

Ch

oru

s,

an

d B

an

k c

ha

ng

es.

Rev

erb

: R

ange

0 t

o 1

27

. D

efau

lt s

etti

ng

= 4

0.

Ch

oru

s:

Ran

ge

of

0 t

o 1

27

. D

efau

lt s

etti

ng =

0.

Ba

nk

0 a

nd

LS

B(3

2):

Man

y G

ener

al M

IDI

inst

rum

ents

hav

e ex

tra

inst

rum

ents

av

aila

ble

on

hig

her

ban

ks.

U

sual

ly

set

to 0

. O

ther

set

tin

gs

are

mu

ltip

les

of

8 (

0,8

,16 e

tc.)

.

Th

ese

can

use

eit

her

Con

tro

ller

0 (

Ban

k 0

), w

hic

h i

s al

so k

now

as

MS

B f

or

Mo

st S

ign

ific

ant

Byte

, or

Co

ntr

oll

er 3

2,

also

cal

led

LS

B f

or

Lea

st S

ign

ific

ant

Byte

, o

r co

mb

inat

ions

of

the

two

con

tro

ller

s.

Ha

rm

on

y C

ha

nn

els

an

d S

ett

ing

s

Th

e [H

arm

on

y]

bu

tton

op

ens

the

Ha

rm

on

y C

ha

nn

els

an

d

Sett

ing

s d

ialo

g w

her

e se

ttin

gs

for

the

har

mo

nie

s ar

e m

ade.

Ha

rm

on

y S

ett

ing

s

OK

to L

oa

d H

arm

on

ies W

ith

So

ng

s

If s

et t

o Y

ES

, th

e h

arm

on

y s

etti

ng

s fo

r ea

ch s

ong

wil

l b

e lo

aded

and

sav

ed w

ith

eac

h s

on

g.

If

set

to N

O, th

e

har

mo

ny s

etti

ng

won

’t b

e sa

ved

or

lead

ed w

ith

th

e so

ng

s. If

you

are

usi

ng a

cer

tain

har

mo

ny, you

sho

uld

set

th

is

sett

ing

to N

O, o

ther

wis

e yo

u’l

l h

ave

to k

eep

re-

sele

ctin

g t

he

har

mo

ny w

hen

you

lo

ad i

n n

ew s

ong

s.

Chap

ter

14:

Ref

eren

ce

215

Ch

an

ge H

arm

on

y W

ith

New

Ch

ord

s

Ex

amp

le:

If a

har

mo

ny i

s p

layed

on

bar

1 o

n a

C c

ho

rd, an

d t

hen

th

e n

ote

is

hel

d a

s th

e ch

ord

ch

ang

es t

o a

Fm

7

chord

, (i

f th

is s

etti

ng

is

set

to Y

ES

) th

e h

arm

on

y n

ote

s w

ill

chan

ge

so t

hat

th

ey w

ill

be

stil

l b

e p

layin

g c

hord

ton

es.

If t

hey

don

’t t

he

har

mo

ny s

oun

ds

dis

son

ant.

L

eav

e th

is s

etti

ng

to

YE

S, u

nle

ss y

ou h

ave

a sp

ecif

ic r

easo

n t

o d

isab

le

it.

Th

e h

arm

on

y i

s ch

ang

ed b

y m

ov

ing t

he

vo

ices

to

th

e nea

rest

chord

ton

e.

Ov

era

ll H

arm

on

y V

olu

me A

dju

st

Set

s a

lev

el f

or

the

ov

eral

l h

arm

on

y i

n a

ran

ge

of

-12

8 t

o 1

28

, w

ith

0 l

eav

ing t

he

sett

ing

s as

pro

gra

mm

ed i

n t

he

Har

mo

ny f

ile.

Ha

rm

on

y C

han

nels

Ban

d-i

n-a

-Bo

x a

lrea

dy u

ses

7 c

han

nel

s (B

ass,

Dru

ms,

Pia

no

, G

uit

ar, S

trin

gs,

Mel

od

y a

nd

Th

ru c

han

nel

s). A

dd

ing

thes

e 4

har

mo

ny c

han

nel

s p

rod

uce

s p

ote

nti

ally

11

ch

ann

els

of

info

rmat

ion

.

More S

olo

ist

& M

ore M

elo

dis

t S

ett

ings

Th

e [S

olo

ist]

bu

tto

n l

aun

ches

th

e M

ore S

olo

ist

& M

elo

dis

t S

ett

ings d

ialo

g.

Chap

ter

14:

Ref

eren

ce

216

Set

“U

se M

ID

I V

olu

me f

or S

olo

ing W

iza

rd

” t

o t

rue

if y

ou

wan

t M

IDI

vel

oci

ty i

nfo

rmat

ion

sen

t to

th

e S

olo

ing

Wiz

ard

. I

f you h

ave

a v

elo

city

sen

siti

ve

MID

I d

evic

e at

tach

ed t

o y

our

com

pu

ter

and

you

wan

t to

co

ntr

ol

the

dyn

amic

s o

f th

e S

olo

ist,

you

sh

ou

ld e

nab

le t

his

fea

ture

.

Set

th

e “T

rig

ger P

layb

ack

Ea

rly

” t

o t

rue

to e

nab

le s

ong

pla

yb

ack

to

sta

rt b

efo

re t

he

So

lois

t h

as a

ctu

ally

com

ple

ted

co

mp

osi

ng

a s

olo

. O

ther

wis

e, B

and-i

n-a

-Bo

x w

ill

com

ple

tely

co

mp

ose

a s

olo

bef

ore

so

ng

pla

yb

ack

beg

ins.

So

lois

t –

Prefe

r L

on

g P

hrases

Set

th

is c

hec

kbo

x t

o “

Tru

e” (

enab

led

) if

you

wou

ld l

ike

the

So

lois

t to

use

th

e lo

ng

est

mu

sica

l p

hra

ses

it “

know

s.”

Th

is s

etti

ng

is

norm

ally

use

d i

n c

onju

nct

ion

wit

h t

he

Use

Lar

ge

So

lois

t fi

les

sett

ing

.

No

te:

Th

is o

ptio

n m

ay a

lso

in

cre

ase

So

lois

t cre

atio

n t

ime

s.

Dis

ab

le t

his

fe

atu

re if

yo

u a

re u

sin

g a

slo

we

r o

r lo

w-m

em

ory

e

qu

ipp

ed

co

mp

ute

r.

So

lois

t/M

elo

dy

Velo

cit

y A

dju

st

Th

is b

ox

all

ow

s you

to q

uic

kly

boo

st o

r re

duce

th

e v

olu

me

of

the

So

lois

t par

t re

lati

ve

to t

he

oth

er i

nst

rum

ent

par

ts.

For

a re

alis

tic

mix

th

e so

lois

t in

stru

men

t is

set

sli

gh

tly l

ouder

th

an t

he

oth

er i

nst

rum

ents

/par

ts i

n a

song

. T

he

def

ault

is 5

.

Co

lor S

ele

cti

on

T

he

[Co

lors

] b

utt

on

op

ens

the

Co

lor

Sel

ecti

on

dia

log.

Chap

ter

14:

Ref

eren

ce

217

You

can

cho

ose

fro

m s

ever

al c

olo

r se

ts u

sing

th

e 256

-co

lor

pal

ette

in

Win

dow

s.

Ch

oo

se f

rom

pre

-mad

e co

lor

sch

emes

or

mak

e your

ow

n. T

his

is

lik

e ch

ang

ing t

he

Win

dow

s co

lor

schem

e in

th

e co

ntr

ol

pan

el.

To

sel

ect

a pre

-mad

e co

lor

sch

eme,

pre

ss t

he

[Im

port

..]

bu

tto

n a

nd

ch

oo

se f

rom

th

e li

st o

f sc

hem

es.

Sel

ect

[OK

] to

mak

e th

e ch

ang

es p

erm

anen

t.

Use

th

e [E

xpo

rt..]

bu

tto

n t

o s

ave

and

sh

are

yo

ur

cust

om

ized

co

lor

sch

emes

.

To

mak

e you

r o

wn

co

lor

sch

eme,

cli

ck o

n t

he

nam

e o

f th

e el

emen

t yo

u w

ish

to c

han

ge

(Ch

ord

Are

a, L

ist

Box

, et

c.),

then

cli

ck o

n t

he

[Cho

ose

…]

bu

tton

to

bri

ng u

p t

he

Win

dow

s C

olo

r p

alet

te a

nd c

lick

on

th

e co

lor

you

des

ire.

O

r

yo

u c

an e

nte

r th

e ap

pro

pri

ate

Red

, G

reen

, an

d B

lue

val

ues

in

th

e box

es p

rov

ided

.

Chap

ter

14:

Ref

eren

ce

218

Gen

era

l M

ID

I P

atc

h E

dit

Th

is o

pen

s th

e G

en

era

l M

ID

I P

atc

h E

dit

dia

log

, w

her

e you

can

mak

e a

cust

om

ized

Gen

eral

MID

I p

atch

map

.

Ty

pe

in t

he

pat

ch n

um

ber

th

at y

ou

r sy

nth

use

s fo

r ea

ch i

nst

rum

ent

list

ed.

Fo

r ex

amp

le,

if y

ou

r so

un

d s

ou

rce

has

its

Aco

ust

ic P

ian

o a

t p

atch

lo

cati

on 4

1se

lect

th

e bo

x t

o t

he

left

of

Aco

ust

ic P

ian

o a

nd

typ

e 41

. D

o t

he

sam

e fo

r al

l o

f

the

inst

rum

ents

in

th

e G

ener

al M

IDI

pat

ch l

ist.

If

your

syn

th d

oes

n't

hav

e an

ex

act

mat

ch,

use

a c

lose

sou

nd

ing

pat

ch t

hat

it

does

hav

e. O

nce

yo

u h

ave

mad

e a

pat

ch m

ap i

n t

his

way

, w

hen

ever

Ban

d-i

n-a

-Box

en

coun

ters

Aco

ust

ic P

ian

o (

whic

h i

s G

ener

al M

IDI

inst

rum

ent

#1),

it

wil

l lo

ok u

p t

his

Pat

ch M

ap L

oca

tion a

nd t

hen

sen

d o

ut

Pat

ch 4

1 t

o y

ou

r sy

nth

/sou

nd m

od

ule

.

Chap

ter

14:

Ref

eren

ce

219

Dru

m K

it

If y

ou h

ave

bee

n u

nab

le t

o f

ind a

pre

set

dru

m m

ap t

hat

mat

ches

you

r sy

nth

's d

rum

no

tes,

th

en y

ou

may

nee

d t

o t

yp

e

in t

he

dru

m n

ote

s th

at y

ou

r so

und

sou

rce

use

s.

To

do

th

is, yo

u n

eed

to h

oo

k y

ou

r M

IDI

con

tro

ller

up

to

pla

y t

he

Dru

m s

oun

ds

fro

m t

he

key

boar

d.

Pla

y u

p a

nd d

ow

n t

he

key

bo

ard t

o h

ear

all

the

dru

m s

ou

nd

s.

Lo

cate

no

te 3

6 a

s a

star

tin

g p

oin

t; o

n t

he

Ban

d-i

n-a

-Bo

x o

nsc

reen

pia

no

it

is t

he

C d

irec

tly a

bo

ve

the

[Pla

y]

bu

tton

.

Typ

e th

e M

IDI

no

te n

um

ber

s fo

r th

e v

ario

us

inst

rum

ents

as

yo

u f

ind

th

em o

n y

ou

r dru

m m

ach

ine

or

key

bo

ard.

Pre

ss t

he

[Sav

e] b

utt

on

to

sav

e th

e k

it a

s M

YS

ET

UP

.DK

. I

f you

are

mak

ing

a k

it t

o s

ave

un

der

a d

iffe

ren

t n

ame

then

sav

e th

e kit

und

er O

pt.

| U

tili

ties

| S

ave

Alt

ern

ate

Pa

tch

/Dru

m K

it.

Chap

ter

14:

Ref

eren

ce

220

Fav

orit

e I

nstr

um

en

ts

Th

e [F

av.P

atch

] b

utt

on

op

ens

the

Fa

vo

rit

e I

nstr

um

en

ts

dia

log.

Fo

r ea

ch o

f th

e 8

par

ts (

Bas

s/P

ian

o/D

rum

s/G

uit

ar/S

trin

gs/

Mel

od

y/S

olo

ist/

Th

ru)

yo

u c

an a

ssig

n u

p t

o 1

0 “

favo

rite

”

inst

rum

ents

usi

ng G

ener

al M

IDI

inst

rum

ent

nu

mb

ers .

No

te:

If

yo

u u

se

a c

usto

m p

atc

h m

ap

it

will

co

nve

rt y

ou

r syn

th’s

no

n-G

M p

atc

h n

um

be

rs,

alw

ays e

nte

r G

M p

atc

h n

um

be

rs

for

the

fa

vo

rite

in

str

um

en

ts.

Chap

ter

14:

Ref

eren

ce

221

The

[Pat

ch L

ist]

butt

on d

ispla

ys

the

Gen

era

l M

ID

I P

atc

h

Lis

t of

inst

rum

ent

nam

es a

nd

pat

ch n

um

ber

s.

Th

e [C

om

bo

s] b

utt

on

op

ens

the

Fav

orit

e C

om

bo

s d

ialo

g.

Th

eF

av

orit

e C

om

bo

s d

ialo

g b

ox

all

ow

s yo

u t

o s

ave

up

to

10 o

f yo

ur

fav

ori

te i

nst

rum

ent

com

bo

s. F

or

exam

ple

,

yo

u c

ou

ld s

etu

p C

om

bo

#1

to b

e an

Aco

ust

ic J

azz

com

bo

wh

ich

wo

uld

sen

d o

ut

pat

ches

lik

e A

cou

stic

Bas

s,

Aco

ust

ic P

ian

o,

Aco

ust

ic G

uit

ar, F

lute

, et

c. A

fter

you

hav

e fi

nis

hed

typ

ing

in t

he

inst

rum

ent

pat

ch n

um

ber

s se

lect

the

[Sav

e]b

utt

on.

Chap

ter

14:

Ref

eren

ce

222

Ou

tpu

t C

ho

rd

s o

n C

ha

nn

el

Th

e [O

utp

utC

h.]

bu

tto

n o

pen

s th

e O

utp

ut

Ch

ord

s o

n C

han

nel

dia

log

.

So

me

exte

rnal

mu

sic

har

dw

are

dev

ices

req

uir

e ch

ord

s p

layed

in r

oo

t po

siti

on t

o d

riv

e th

em i

n r

eal

tim

e.

An

exam

ple

of

this

is

the

TC

-Hel

ico

n Q

uin

tet,

wh

ich

let

s you

sin

g i

nto

a m

icro

ph

on

e an

d h

arm

on

ize

yo

ur

vo

ice

acco

rdin

g t

o t

he

chord

s th

at a

re i

nput

to t

he

dev

ice.

Ban

d-i

n-a

-Bo

x h

as t

he

cap

abil

ity o

f ou

tpu

ttin

g a

sep

arat

e ch

ann

el w

ith

the

cho

rds

in r

oot

posi

tio

n t

o s

up

port

su

ch

exte

rnal

dev

ices

au

tom

atic

ally

.

Chap

ter

14:

Ref

eren

ce

223

Tra

nsp

ose T

HR

U P

art

Th

e [T

ran

spo

se]

bu

tton

op

ens

the

Tra

nsp

ose

TH

RU

Par

t (l

ive

pla

yin

g o

n M

IDI

key

bo

ard

) d

ialo

g.

Wh

en p

layin

g a

long

on y

ou

r M

IDI

key

bo

ard

, yo

u c

an s

et t

he

Th

ru t

ran

spo

se t

o t

ran

spo

se s

emit

on

es o

r o

ctav

es.

Yo

u

can

def

ine

a “f

avori

te k

ey”

and

Ban

d-i

n-a

-Bo

x w

ill

op

tion

ally

tra

nsp

ose

an

y a

nd

all

lo

aded

son

gs

to t

hat

key

. T

his

is a

gre

at f

eatu

re f

or

pra

ctic

ing i

n a

cer

tain

key

.

You

can

als

o s

et t

he

TH

RU

tra

nsp

ose

to

th

e fa

vo

rite

key

to t

ransp

ose

the

TH

RU

par

t so

that

you c

an a

lway

s pla

y

alo

ng

in y

ou

r fa

vori

te k

ey (

reg

ard

less

of

the

actu

al k

ey o

f th

e so

ng).

T

o A

ctiv

ate,

pre

ss C

trl+

Sh

ift+

K o

r se

lect

the

men

u i

tem

Op

tio

ns

| T

hru

tra

nsp

ose

set

tin

gs.

Th

is i

s u

sefu

l fo

r p

eop

le w

ho

pre

fer

to p

lay i

n o

nly

on

e k

ey,

or

for

tho

se w

ho a

re p

ract

icin

g s

pec

ific

key

s.

Reco

rd

Fil

ter T

he

[Rec

. F

ilte

r] b

utt

on o

pen

s th

e R

eco

rd F

ilte

r d

ialo

g.

Chap

ter

14:

Ref

eren

ce

224

Rec

ord

Fil

ter

suppo

rts

all

MID

I co

ntr

oll

ers

and s

ust

ain

ped

al.

Yo

u c

an r

eco

rd a

ny t

yp

e o

f M

IDI

info

rmat

ion

to

th

e

mel

od

y o

r so

lois

t tr

ack

s b

y u

sin

g t

he

Rec

ord

Fil

ter

feat

ure

to

sel

ect

wh

ich

typ

es t

o i

ncl

ude.

W

ith

th

is w

indow

you

can

ch

oo

se w

hat

typ

es o

f M

IDI

info

rmat

ion B

and

-in-a

-Box

wil

l re

cord

.

Nota

tion

Win

do

w O

pti

on

s

Th

e [N

ota

tion

] bu

tto

n o

pen

s th

e N

ota

tion

Win

do

w O

pti

on

s.

If t

he

No

tati

on

win

dow

is

no

t o

pen

the

pro

gra

m w

ill

lau

nch

it.

Chap

ter

14:

Ref

eren

ce

225

Th

ese

sett

ing

s ar

e d

escr

ibed

in

th

e N

ota

tio

n c

hap

ter

and

in t

he

on

lin

e H

elp

.

Lea

d S

heet

Op

tio

ns

Th

e [L

ead

sh

eet]

bu

tton

op

ens

the

Lea

d S

heet

Op

tio

ns d

ialo

g.

If t

he

Lea

d S

hee

t w

ind

ow

is

no

t

op

en t

he

pro

gra

m w

ill

op

en i

t.

Chap

ter

14:

Ref

eren

ce

226

Th

ese

sett

ing

s ar

e d

escr

ibed

in

th

e N

ota

tio

n c

hap

ter

and

in t

he

on

lin

e H

elp

.

Au

dio

Sett

ings

Th

e [A

ud

io]

bu

tto

n o

pen

s th

e A

ud

io S

etti

ngs

dia

log

.

Chap

ter

14:

Ref

eren

ce

227

Th

e D

MA

and

Off

set

sett

ings

are

set

auto

mat

ical

ly b

y t

he

auto

-tes

tin

g o

f th

e so

un

d c

ard

. T

his

tes

t ca

n b

e re

pea

ted

by p

ress

ing t

he

[Get

fro

m s

oun

d c

ard

…]

bu

tto

n.

Th

e d

efau

lt v

alu

e fo

r al

l of

thes

e se

ttin

gs

is 0

(ze

ro).

Y

ou c

an

ov

erri

de

thes

e se

ttin

gs

if r

equir

ed,

bu

t it

is

usu

ally

no

t n

eces

sary

.

Th

eO

ffset

in m

S i

s n

ot

a se

ttin

g t

hat

get

s se

t au

tom

atic

ally

. I

t d

efau

lts

to z

ero. T

his

all

ow

s yo

u t

o a

dju

st t

he

tim

ing

that

th

e so

und

car

d p

lays

aud

io i

n r

elat

ion

to M

IDI.

N

orm

ally

you'd

lea

ve

this

at

zero

, but

if y

ou

nee

d t

o f

ine

tun

e

the

syn

chro

niz

atio

n o

f au

dio

to

MID

I you

cou

ld t

ry c

han

gin

g t

his

set

tin

g.

Au

dio

La

ten

cy

in

mS

Dir

ectX

aud

io p

lug

-in

s an

d D

Xi

syn

thes

izer

plu

g-i

ns

can

hav

e p

layb

ack l

aten

cy (

the

del

ay b

etw

een

wh

en a

no

te i

s

pla

yed

, an

d w

hen

it

is h

eard

). A

dju

st “

Au

dio

Lat

ency

in m

S”

to f

ine-

tune

for

you

r co

mp

ute

r. If

you

hav

e a

fast

com

pu

ter

and e

xce

llen

t so

und

car

d,

the

audio

lat

ency

can

be

adju

sted

rat

her

low

. H

ow

ever

, if

yo

u h

ear

aud

io

dro

pou

ts,

yo

u c

an s

et t

he

late

ncy

as

hig

h a

s 2

000

mil

lise

con

ds.

Wh

en

op

en

ing

so

ng

s, sh

ow

messag

e i

f W

AV

fil

e n

ot

fou

nd

A B

and-i

n-a

-Bo

x s

ong

cal

led "

My S

ong

.MG

U"

wil

l h

ave

the

asso

ciat

ed w

ave

file

cal

led

"M

y S

ong

.wav

".

If B

and

-

in-a

-Box

lo

ads

this

so

ng

fil

e an

d i

t ca

n't

find

its

ass

oci

ated

fil

e, i

t w

ill

pu

t up

a m

essa

ge

to t

hat

eff

ect.

If

th

e w

arn

ing

mes

sag

e is

dis

trac

tin

g, an

d f

or

som

e re

ason

yo

u d

on

't h

ave

the

wav

e fi

les

that

wer

e re

cord

ed w

ith

th

e so

ng

s th

en y

ou

can

dis

able

th

at m

essa

ge

wit

h t

his

op

tion

box

(d

isab

le).

Use R

ealt

ime D

X A

ud

io P

lugin

s

The

advan

tag

e of

real

tim

e pro

cess

ing i

s th

at y

ou c

an s

et e

ffec

ts t

oday

, an

d i

f you d

ecid

e you d

on’t

lik

e th

e ef

fect

s

tom

orr

ow

, th

e se

ttin

gs

can b

e ea

sily

chan

ged

, si

nce

the

real

tim

e ef

fect

s d

id n

ot

per

man

entl

y a

ffec

t yo

ur

aud

io t

rack

on t

he

har

d d

isk

. C

hec

k t

his

to

en

able

rea

l ti

me

Dir

ectX

audio

plu

g-i

ns.

Chap

ter

14:

Ref

eren

ce

228

Gu

ita

r S

ett

ings T

he

[Gu

itar

] bu

tto

n o

pen

s th

e G

uit

ar S

etti

ngs

dia

log

.

Th

eG

uit

ar S

ett

ing

s d

ialo

g a

llo

ws

yo

u t

he

abil

ity t

o a

dju

st v

ario

us

par

amet

ers

on

th

e v

irtu

al g

uit

ar f

retb

oar

d s

o t

hat

mu

sic

can

be

dis

pla

yed

eff

ecti

vel

y (

and e

asil

y)

on

th

is w

indo

w,

reg

ard

less

of

the

ori

gin

al i

nst

rum

ent

inte

nd

ed f

or

the

trac

k d

ata.

It

als

o o

ffer

s th

e ab

ilit

y t

o e

nte

r no

tati

on

usi

ng t

he

vir

tual

gu

itar

an

d p

lay b

ack t

rack

dat

a in

sp

ecif

ic

fret

bo

ard p

osi

tio

ns

for

edu

cati

on

al a

nd

sig

ht-

read

ing p

urp

ose

s.

C

lick

on t

he

[Hel

p]

bu

tton

fo

r d

etai

led

on

lin

e d

escr

ipti

on

s.

Chap

ter

14:

Ref

eren

ce

229

Big

Pia

no

Sett

ing

s

T

his

bu

tton

op

ens

the

Big

Pia

no S

etti

ngs

dia

log

.

Th

is d

ialo

g a

llo

ws

you

to

set

var

iou

s op

tion

s on

th

e B

ig P

ian

o.

-Y

ou

can

set

a s

pec

ific

ran

ge

for

the

Big

Pia

no

, a

star

ting

note

an

d a

nu

mb

er o

f o

ctav

es, by o

ver

-rid

ing t

he

“au

to”

sett

ing

s.

-“S

ho

w o

ut-

of-

ran

ge

no

tes”

ensu

res

that

all

no

tes

wil

l b

e d

isp

layed

.

-If

th

e “S

end

No

tes

to N

ota

tion

Win

dow

” ch

eck

box

is

enab

led

, cl

ick

ing a

vir

tual

key

on t

he

big

pia

no

wil

l in

sert

a no

te t

o t

he

no

tati

on

tra

ck. (

No

te:

the

no

tati

on

win

do

w m

ust

be

op

ened

an

d s

et t

o e

dit

able

no

tati

on

mo

de.

)

-If

“N

ote

Gu

ides

” is

sel

ecte

d g

uid

e no

tes

wil

l b

e sh

ow

n o

n t

he

key

bo

ard. T

he

gu

ide

no

tes

can

be

scal

e to

nes

,

chord

ton

es, or

roo

ts o

nly

.

-N

ote

Nam

es a

nd N

ote

Co

lors

can

be

use

d a

s in

th

e N

ota

tion

set

ting

s.

-T

her

e is

an

op

tio

n t

o S

ho

w O

ut-

of-

Sca

le n

ote

s in

Yel

low

.

-T

he

size

of

the

pia

no

key

bo

ard

can

be

ente

red

in p

ixel

s, o

r se

t w

ith

th

e p

rese

t b

utt

on

s, o

r se

t b

y d

rag

gin

g t

he

bo

tto

m b

ord

er o

f th

e w

indo

w.

Chap

ter

14:

Ref

eren

ce

230

Lyric

Win

dow

Op

tion

s

T

he

[Big

Lyri

cs]

bu

tton

op

ens

the

Lyri

c W

indo

w O

pti

on

s.

\

Ind

ivid

ual

co

lor

elem

ents

can

be

pic

ked

, or

choo

se o

ne

of

the

pre

sets

.

Dis

pla

y C

ho

rd

Sy

mb

ols

wil

l in

terl

eav

e th

e ch

ord

sym

bo

ls w

ith

th

e ly

rics

.

Wit

h t

he

Scro

ll l

yric

s a

page a

t a t

ime o

pti

on s

elec

ted t

he

Big

Lyri

cs s

croll

a p

age

at a

tim

e. W

hen

th

e ly

ric

curs

or

reac

hes

the

nex

t-to

-las

t li

ne

of

the

lyri

cs i

t w

ill

scro

ll t

o t

he

top o

f th

e pag

e, a

llo

win

g u

nin

terr

up

ted r

ead

ing o

f ly

rics

.

Au

to-o

pen

ly

ric

s w

ind

ow

for s

on

gs w

ith

ly

ric

s a

uto

mat

ical

ly o

pen

s th

e B

ig L

yri

cs w

indow

wh

en a

so

ng

wit

h

lyri

cs i

s op

ened

in B

and

-in

-a-B

ox.

Chap

ter

14:

Ref

eren

ce

231

Prin

t O

pti

on

s T

he

[Pri

nt]

bu

tto

n o

pen

s th

e P

rin

t O

pti

on

s d

ialo

g.

T

hes

e o

pti

on

s ar

e d

escr

ibed

in

th

e N

ota

tio

n c

hap

ter

and

in t

he

on

lin

e H

elp

.

Pla

y M

en

u

Chap

ter

14:

Ref

eren

ce

232N

ote

: M

ost

co

mm

an

ds in

th

e P

lay m

en

u a

re p

erf

orm

ed

by o

nscre

en

bu

tto

ns,

or

by t

he

ke

ystr

oke

s lis

ted

to

th

e r

igh

t o

f th

e

me

nu

co

mm

an

d.

Pla

y

-G

ener

ates

a n

ew a

rran

gem

ent

and

pla

ys

the

son

g.

Sto

p P

layb

ack

-

Sto

ps

pla

ybac

k.

To

res

um

e ei

ther

use

th

e P

lay

Fro

m C

urr

ent

Po

siti

on c

om

man

d o

r th

e

[Fro

m]

bu

tto

n t

he

pla

y f

rom

th

e st

art

of

the

curr

ent

bar

, or

use

th

e [P

lay]

or

Rep

lay [

+]

bu

tton

s to

pla

y f

rom

th

e st

art

of

the

son

g.

Ho

ld (

pa

use)

-P

ause

s th

e so

ng

. R

epea

ting

th

is c

om

man

d r

esu

mes

pla

y f

rom

th

e ex

act

loca

tio

n w

her

e

the

song

was

pau

sed

.

Rep

lay

-

Pla

ys

the

curr

ent

arra

ng

emen

t fr

om

th

e st

art

wit

hou

t re

gen

erat

ing t

he

par

ts. E

dit

s to

acco

mp

anim

ent

par

ts a

re k

ept.

Pla

y F

rom

Bar…

-

Ch

oo

se a

choru

s an

d b

ar t

o p

lay f

rom

in

th

e cu

rren

t ar

rangem

ent.

P

arts

are

no

t

reg

ener

ated

. U

se t

his

co

mm

and d

uri

ng

pla

yb

ack t

o j

um

p t

o a

ny b

ar i

n t

he

song

.

Pla

y F

rom

Cu

rren

t

Po

sit

ion

-W

hen

th

e so

ng i

s st

op

ped

th

is c

om

man

d s

tart

s p

layb

ack

agai

n a

t th

e b

ar w

ith

th

e

hig

hli

gh

t ce

ll.

Go

(O

pen

an

d P

lay

) -

Lau

nch

es a

n O

pen

Fil

e d

ialo

g f

or

sele

ctio

n o

f an

y s

on

g i

n a

ny d

irec

tory

. T

he

sele

cted

son

g l

oad

s an

d p

lays

auto

mat

ical

ly i

n B

and-i

n-a

-Box

.

Ste

p A

dv

an

ce

su

bm

en

u

-W

hen

a s

ong

is

pau

sed

th

ese

com

man

ds

can

be

use

d t

o n

avig

ate

step

-by-s

tep

thro

ugh

the

curr

entl

y s

elec

ted t

rack

. F

or

exam

ple

, if

th

e cu

rren

t tr

ack

is

set

to t

he

Mel

od

y t

rack

usi

ng

th

e ro

w o

f bu

tton

s o

n t

he

No

tati

on

Win

do

w,

Lea

d S

hee

t W

indow

, o

r G

uit

ar

Win

dow

; p

ress

ing

th

e ad

van

ce b

utt

ons

wil

l d

isp

lay t

he

nex

t n

ote

or

chord

of

the

mel

od

y o

n t

he

pia

no

dis

pla

y, g

uit

ar d

isp

lay, le

ad s

hee

t an

d n

ota

tion

win

dow

. T

his

is

a

gre

at w

ay t

o s

tud

y t

he

no

tes

bei

ng

pla

yed

, an

d t

o n

avig

ate

aroun

d t

he

trac

k.

Sli

de T

ra

ck

s

-T

his

all

ow

s you

to m

ov

e an

y o

f th

e B

ass,

Dru

ms,

Pia

no, G

uit

ar, S

trin

gs

or

Mel

od

y

trac

k a

hea

d o

r b

ehin

d b

y a

cer

tain

am

ou

nt.

Y

ou

cou

ld, fo

r ex

amp

le,

slid

e th

e B

ass

trac

k s

o i

t p

lays

a li

ttle

ah

ead

of

the

rest

of

the

ban

d.

Th

is h

as t

he

effe

ct o

f m

akin

g t

he

bas

s pla

yer

“d

rive

the

ban

d,”

and i

s use

ful

in J

azz

style

s to

mak

e th

e m

usi

c so

und m

ore

exci

tin

g.

Lo

op

ing

-Y

ou

can

lo

op

an

y s

ecti

on

of

the

son

g.

Th

e pro

gra

m w

ill

then

sta

rt p

layb

ack

at

the

firs

t

loop

po

int

and

pla

y t

he

loop

ed s

ecti

on

un

til

sto

p i

s pre

ssed

or

loo

pin

g i

s tu

rned

off

.

-L

oo

pin

g o

f a

sect

ion

of

the

son

g i

s en

able

d b

y t

he

“LoopS

ec”

chec

kbox

, w

ith

th

e L

oop

sect

ion

Ena

ble

d c

om

man

d, or

wit

h t

he

key

stro

ke

NU

MP

AD

1.

-O

pen

up

th

e L

oop

Secti

on

Sett

ing

s d

ialo

g w

ith

th

e m

enu

co

mm

and

, b

y c

lick

ing

th

e

Loo

p b

utt

on

in t

he

too

lbar

, or

pre

ssin

g N

UM

PA

D 2

. T

he

Lo

op

set

tin

gs

dia

log

wil

l

then

dis

pla

y;

see

its

on

lin

e H

elp

fo

r d

etai

led i

nst

ruct

ions.

Th

e re

mai

nin

g c

om

man

ds

in t

his

su

bm

enu

are

als

o f

oun

d i

n t

he

Lo

op

Secti

on

Sett

ing

s

dia

log.

Chap

ter

14:

Ref

eren

ce

233

Tem

po

-Y

ou

can

qu

ick

ly e

nte

r a

spec

ific

tem

po

fo

r a

song

wit

h t

he

Set

Tem

po

… c

om

man

d (

ho

t

key

is

Ctr

l+A

lt+

T),

or

by c

lick

ing

on t

he

tem

po

. A

dia

log o

pen

s up w

her

e you c

an

typ

e in

a t

emp

o.

-Y

ou

can

qu

ick

ly c

han

ge

to d

iffe

ren

t sp

eed

s w

ith

th

e m

enu

co

mm

and

s o

r h

ot

key

s.

Fo

r

exam

ple

, ch

oosi

ng H

alf

Sp

eed

(or

the

ho

t k

eys

Ctr

l -)

wil

l ch

ang

e th

e p

layb

ack

sp

eed

to h

alf,

and

Norm

al

Sp

eed (

Ctr

l =

) w

ill

rev

ert

to n

orm

al s

pee

d.

Ju

ke B

ox

Pla

y

-O

pen

s th

e O

pti

on

s f

or J

uk

e B

ox d

ialo

g t

o s

elec

t an

d p

lay a

jukeb

ox l

ist.

Prev

iou

s J

uk

e B

ox

So

ng

/ N

ex

t

Ju

keB

ox

so

ng

-N

avig

ate

bac

k a

nd f

ort

h i

n a

ju

ke

box

set

lis

t.

Wiz

ard

Pla

ya

lon

g

featu

re

-T

he

Wiz

ard i

s a

pla

y a

long f

eatu

re t

hat

all

ow

s yo

u t

o u

se t

he

QW

ER

TY

Key

boar

d t

o

pla

y a

long

wit

h B

and-i

n-a

-Bo

x.

Th

e W

izar

d i

s o

nly

act

ive

du

rin

g p

lay

bac

k.

Wiz

ard

uses

“S

ma

rt”

note

s

-T

og

gle

th

is o

n s

o t

he

Wiz

ard w

ill

on

ly p

lay n

ote

s b

ased

on

th

e ch

ord

/key

of

the

son

g.

Tog

gle

“S

mar

t” n

ote

s O

FF

(un

chec

ked

) to

hav

e th

e W

izar

d p

rov

ide

you

acc

ess

to t

he

chro

mat

ic s

cale

.

Pa

nic

!-

Sel

ect

this

if

yo

ur

MID

I n

ote

s ar

e st

uck

ON

and

it’

s dri

vin

g y

ou

cra

zy!

Ly

ric

s M

en

u

En

ter L

yric

s a

t cu

rren

t b

ar

-O

pen

s th

e L

yri

c en

try b

ox a

t th

e cu

rren

t lo

cati

on

of

the

tim

elin

e or

hig

hli

gh

t ce

ll.

Big

Ly

ric

s W

ind

ow

-

Op

ens

the

Big

Lyri

cs w

indow

fo

r v

iew

ing l

yri

cs a

nd

, op

tion

ally

, ch

ord

sym

bo

ls.

Lyric

Docu

men

t W

ind

ow

-

dis

pla

ys

a fu

ll s

cree

n o

f fo

rmat

ted

lyri

cs.

Eas

ily c

op

y a

nd p

aste

lyri

cs t

o

and f

rom

yo

ur

favo

rite

word

pro

cess

or.

Cop

y L

yric

s t

o C

lip

board

-

Th

is f

un

ctio

n a

llo

ws

yo

u t

o c

op

y a

son

g's

lyri

cs (

and

/or

the

chord

s) t

o t

he

Sta

nd

ard

Win

do

ws

Cli

pbo

ard. B

y p

asti

ng

th

is d

ata

into

a w

ord

pro

cess

or,

Chap

ter

14:

Ref

eren

ce

234

yo

u c

an p

rin

t ou

t th

e ly

rics

in

th

e fo

nt

of

your

cho

ice.

T

he

dia

log h

as

op

tion

s to

all

ow

co

pyin

g o

f no

te-b

ased

and

/or

lin

e-b

ased

lyri

cs.

Wit

h

eith

er o

pti

on

yo

u c

an c

hoo

se t

o i

ncl

ud

e th

e ch

ord

sym

bo

ls, h

ave

dou

ble

or

sin

gle

lin

e sp

acin

g, an

d m

ake

mar

gin

set

tin

gs.

Cop

y 1

st c

ho

ru

s L

yric

s t

o

wh

ole

son

g

-C

op

ies

the

no

te-b

ased

lyri

cs f

or

the

firs

t ch

oru

s to

th

e re

st o

f th

e so

ng.

Erase a

ll L

yric

s

-E

rase

s n

ote

-bas

ed a

nd

lin

e-b

ased

Lyri

cs.

Era

se N

ote

Lyric

s o

nly

-

Era

ses

only

the

no

te-b

ased

lyri

cs.

Kil

l L

yric

s C

ho

ru

ses

-S

elec

t to

kil

l ly

rics

in

th

e F

irst

Cho

rus,

Mid

dle

Cho

ruse

s, o

r L

ast

Cho

rus

fro

m a

lis

t b

ox.

Move L

yric

ah

ead

to t

ime l

ine

Move L

yric

back

to t

ime l

ine

-If

yo

u h

ave

a no

te-b

ased

lyri

c th

at y

ou

wan

t to

tim

e sh

ift

ahea

d o

r b

ack

,

yo

u c

an c

lick

on

th

e ti

me

lin

e at

th

e d

esti

nat

ion t

hat

you

wan

t, a

nd t

hen

choo

se t

his

ite

m.

Yo

u c

an a

lso

sh

ift

lyri

c ti

mes

usi

ng

th

e L

yri

c E

ven

t li

st.

Tim

esh

ift

Ly

ric

s (

tick

s)

In

sert

Bea

t(s)

in L

yric

s

Dele

te B

ea

t(s)

fro

m L

yric

s

-T

hes

e ar

e fu

nct

ion

s th

at a

pp

ly t

o t

he

enti

re l

yri

c tr

ack.

Th

ey a

re u

sefu

l

wh

en y

ou

're

inse

rtin

g b

ars

or

bea

ts i

nto

th

e so

ng

and

nee

d t

o m

ov

e th

e

lyri

cs a

round t

o k

eep t

hem

in s

ync.

Ed

it L

yric

s a

s E

ven

t L

ist

-O

pen

s th

e E

dit

Ly

ric

s d

ialo

g w

ith

Ed

it,

Inse

rt, A

pp

end,

and

Del

ete

fun

ctio

ns.

Lin

e-b

ased

Lyric

s o

pen

s a

sub

-men

u w

ith

ad

dit

ion

al f

eatu

res.

Cop

y L

ine L

yric

s t

o N

ote

Ly

ric

s c

onv

erts

lin

e-b

ased

lyri

cs t

o n

ote

bas

ed l

yri

cs. I

t is

im

pre

cise

, b

ecau

se t

he

lin

e-

bas

ed l

yri

cs d

on

't co

rres

pon

d t

o i

nd

ivid

ual

no

tes.

B

ut

you

can

ed

it t

he

posi

tio

ns

of

the

no

te-b

ased

lyri

cs u

sin

g t

he

even

t li

st o

r th

e M

ove

Lyri

c bac

k/a

hea

d t

o t

ime

lin

e fu

nct

ion

s d

iscu

ssed

ab

ov

e.

Mov

e L

ine l

yric

s t

o N

ote

Lyric

s w

ork

s li

ke

the

Co

py L

ine

lyri

cs t

o N

ote

Lyri

cs f

un

ctio

n,

exce

pt

it e

rase

s th

e L

ine-

bas

ed l

yri

cs.

Au

to-U

pd

ate

all

son

gs i

n f

old

er t

o N

ote

-based

Ly

ric

s w

ill

upd

ate

an e

nti

re f

old

er w

ort

h o

f so

ng

s, c

opyin

g t

he

Lin

e L

yri

cs t

o N

ote

Lyri

cs. O

nly

No

te-b

ased

Lyri

cs g

et d

isp

layed

in t

he

Big

Lyri

cs D

ialo

g, so

th

is f

eatu

re w

ill

allo

w y

ou t

o s

ee t

hes

e ly

rics

in

the

Big

Lyri

cs W

indow

.

Move L

yric

s U

p o

r d

ow

n r

ow

(s)…

mo

ves

a l

ine

of

lin

e-bas

ed l

yri

cs u

p/d

ow

n a

nu

mb

er o

f ro

ws.

Erase L

ine-b

ased

Lyric

s o

nly

era

ses

on

ly t

he

lin

e-b

ased

lyri

cs, p

rese

rvin

g t

he

no

te-b

ased

ly

rics

.

Melo

dy

Men

u

Chap

ter

14:

Ref

eren

ce

235

Tra

ck

Ty

pe

Norm

ally

yo

u'd

lea

ve

the

trac

k t

yp

e se

t to

Sin

gle

. B

ut

you

can

set

it

to:

-M

ult

i (1

6)

-Chan

nel

– A

ll c

han

nel

s g

et p

rese

rved

, an

d o

utp

utt

ed o

n t

he

chan

nel

s, t

his

wou

ld b

e u

sefu

l fo

r

imp

ort

ing

an

en

tire

MID

I fi

le, an

d p

layin

g i

t fr

om

th

e M

elod

y c

han

nel

(u

sin

g a

sil

ent

style

).

-G

uit

ar –

Ch

ann

els

11 t

o 1

6 w

ill

dis

pla

y o

n t

he

gu

itar

as

stri

ng

s 11

to

16

, T

AB

wil

l sh

ow

, th

e no

tati

on

wil

l b

e up

an o

ctav

e, a

nd t

he

MID

I fi

le w

ill

con

tain

the

chan

nel

s pre

serv

ed.

-P

ian

o –

In

th

is m

od

e, c

han

nel

s 8

and

9 a

re t

reat

ed a

s th

e le

ft a

nd r

igh

t h

and

of

a p

iano

par

t.

-S

elec

tin

g a

ny o

ne

of

Bas

s, U

ku

lele

, M

and

oli

n, B

anjo

, or

Vio

lin

wil

l d

isp

lay t

he

corr

ect

tab

latu

re i

n t

he

Nota

tion w

indow

and t

he

corr

ect

fret

bo

ard

in

th

e G

uit

ar w

indow

.

Melo

dis

t –

Gen

erate

Melo

dy

an

d C

ho

rd

s l

aun

ches

th

e M

elo

dis

t.

Melo

dy

Ma

ker m

enu

ite

ms

allo

w y

ou

to

ed

it M

elo

dis

t fi

les

usi

ng t

he

Mel

od

y M

aker

.

Em

bell

ish

Melo

dy d

urin

g p

layb

ack

lau

nch

es t

he

Em

bel

lish

er d

ialo

g. T

his

op

tio

nal

ly e

mb

elli

shes

th

e M

elo

dy

duri

ng

pla

yb

ack

.

Em

bell

ish

Melo

dy D

ialo

g a

llo

ws

you

to

cu

sto

miz

e th

e se

ttin

gs

of

the

Em

bel

lish

er,

choo

se a

n e

mb

elli

sher

typ

e fr

om

pre

sets

, an

d m

ake

a p

arti

cula

r E

mb

elli

shm

ent

per

man

ent.

Chap

ter

14:

Ref

eren

ce

236

Ed

it M

elo

dy

su

bm

en

u

Im

po

rt

Melo

dy

fro

m M

ID

I F

ile a

llo

ws

you

to i

mp

ort

MID

I d

ata

fro

m a

fil

e (*

.MID

) in

to t

he

Mel

od

y t

rack

.

Im

po

rt

Melo

dy

fro

m C

lip

boa

rd

all

ow

s you t

o i

mp

ort

MID

I d

ata

that

has

bee

n p

aste

d i

nto

th

e cl

ipbo

ard (

e.g

., f

rom

a se

quen

cer

such

as

Pow

erT

rack

s).

Record

Melo

dy

lau

nch

es t

he

Rec

ord

Mel

ody d

ialo

g t

o r

eco

rd a

MID

I m

elo

dy.

Reco

rd

melo

dy

Fro

m a

ny

ba

r s

tart

s re

cord

ing

at

the

curr

ent

loca

tion

of

the

hig

hli

gh

t ce

ll a

fter

pla

yin

g a

tw

o b

ar

lead

-in.

Ste

p E

dit

Melo

dy

all

ow

s you

to e

nte

r/ed

it a

mel

od

y i

n s

tep

tim

e fr

om

th

e N

ota

tio

n w

ind

ow

. T

his

use

s an

ev

ent

list

.

Qu

an

tize M

elo

dy

op

ens

the

Qu

an

tize M

elo

dy

Op

tio

ns d

ialo

g. T

he

Hum

an

ize

Mel

od

y… f

eatu

re i

s an

ad

van

ced

ver

sio

n o

f th

is f

un

ctio

n.

Chap

ter

14:

Ref

eren

ce

237

-R

eso

luti

on

. C

hoo

se t

he

div

isio

n y

ou w

ou

ld l

ike

the

trac

k q

uan

tize

d t

o. C

hoo

sin

g 1

6 w

ill

Quan

tize

to 1

6th

no

tes.

-S

tarti

ng

at

Bar#

an

d C

ho

ru

s #

. Q

uan

tiza

tio

n w

ill

beg

in a

t th

e pla

ce y

ou s

elec

t an

d a

ppli

ed f

or

the

nu

mb

er o

f b

ars.

-%

str

en

gth

. C

hoo

se 1

00%

if

you

wan

t th

e n

ote

s

qu

anti

zed

ex

actl

y t

o t

he

div

isio

n.

Oth

erw

ise,

th

e

no

tes

wil

l b

e m

ov

ed t

he

% t

ow

ard

th

e ta

rget

qu

anti

zati

on.

-Q

uan

tize S

tart

Tim

es. B

y d

efau

lt, th

is o

pti

on i

s se

t to

“Y

es.”

If

you

don

't w

ant

the

beg

inn

ing

s o

f th

e no

tes

quan

tize

d,

set

it t

o “

No.”

-Q

uan

tize D

ura

tio

ns. T

his

qu

anti

zes

the

EN

D o

f th

e n

ote

s.

By d

efau

lt,

this

is

set

to “

Off

.”

Hu

ma

niz

e w

ith

Str

aig

ht

Feel

/ H

um

an

ize w

ith

Sw

ing

Feel

Ban

d-i

n-a

-Bo

x u

ses

inte

llig

ent

hu

man

izat

ion r

ou

tin

es, w

hic

h c

an h

um

aniz

e a

mel

od

y f

rom

on

e fe

el t

o a

no

ther

, fr

om

on

e te

mp

o t

o a

no

ther

, an

d v

ary t

he

amo

un

t of

swin

g i

n 8

th n

ote

s (b

ut

no

t ra

ndo

mly

).

Th

e re

sult

s ar

e v

ery m

usi

cal

wit

h n

atura

l so

und

ing

MID

I m

elo

die

s.

Hu

ma

niz

e M

elo

dy

Op

ens

the

Melo

dy

: Q

ua

nti

ze t

o N

ew

Tem

po

or F

eel

dia

log

. T

he

hu

man

ize

effe

ct i

s bro

ken

dow

n i

nto

5 m

ain

cate

gori

es:

Tem

po

, L

aten

ess,

8th

No

te S

pac

ing

, L

egat

o, an

d F

eel.

Tra

nsp

ose M

elo

dy o

nly

… a

llo

ws

yo

u t

o t

ran

spo

se t

he

mel

od

y t

rack

wit

ho

ut

affe

ctin

g t

he

oth

er t

rack

s in

th

e so

ng

.

Cop

y 1

st

ch

oru

s t

o w

ho

le s

on

g s

tret

ches

the

mel

od

y t

rack

ou

t ov

er t

he

enti

re s

ong

(i.

e. f

irst

, la

st, an

d m

idd

le

choru

ses)

.

Kil

l en

tire m

elo

dy e

rase

s th

e m

elo

dy

tra

ck a

nd

an

y d

ata

that

was

con

tain

ed t

her

ein

.

Kil

l M

elo

dy

Ch

oru

ses e

lim

inat

es t

he

Mel

ody f

rom

th

e F

irst

Ch

oru

s, M

iddle

Ch

oru

ses,

or

Las

t C

ho

rus

as s

elec

ted

fro

m a

lis

t b

ox.

Ad

just

Lev

el

of

melo

dy

all

ow

s y

ou

to

in

crea

se o

r d

ecre

ase

the

vo

lum

e (v

elo

city

) o

f th

e M

elo

dy t

rack

wit

hou

t

affe

ctin

g t

he

oth

er t

rack

s.

Tim

esh

ift

Melo

dy

(ti

ck

s)

allo

ws

you

to

mo

ve

the

Mel

od

y f

orw

ard

s o

r b

ack

war

ds

in s

mal

l in

crem

ents

rel

ativ

e to

th

e

rest

of

the

song t

rack

s. (M

easu

red

in

tic

ks

or

par

ts p

er q

uar

ter,

PP

Q).

In

sert

Beat(

s)

in M

elo

dy a

llow

s you

to

in

sert

a b

lank

bea

t or

bea

ts i

nto

th

e so

ng r

elat

ive

to t

he

curr

ent

tim

e

sig

nat

ure

.

Dele

te B

ea

t(s)

fro

m M

elo

dy

all

ow

s yo

u t

o d

elet

e a

bea

t o

r b

eats

fro

m t

he

song

rel

ativ

e to

th

e cu

rren

t ti

me

sig

nat

ure

.

Cop

y t

o S

olo

ist

Tra

ck

co

pie

s th

e en

tire

co

nte

nts

of

the

Mel

od

y t

rack

to t

he

Solo

ist

Tra

ck.

Use

ful

for

a te

mpora

ry

ho

ldin

g a

rea

for

you

r M

elod

y o

r bou

nci

ng t

rack

s.

Mov

e t

o S

olo

ist

Tra

ck

cop

ies

the

enti

re c

onte

nts

of

the

Mel

od

y t

rack

and

era

ses

the

ori

gin

al d

ata

fro

m t

he

Mel

od

y

trac

k, pre

par

ing

it

for

a n

ew t

rack

or

dat

a.

Sw

ap

Melo

dy a

nd

So

lois

t T

ra

ck

per

form

s a

“do

ub

le c

op

y/m

ov

e” s

o t

hat

th

e d

ata

that

was

in

th

e M

elody t

rack

get

s

tran

sfer

red t

o t

he

So

lois

t tr

ack

an

d v

isa

ver

sa. T

his

is

also

know

n a

s tr

ack b

oun

cing

.

Map

Melo

dy

tra

ck

to

C7 c

ho

rd

is

a u

sefu

l to

ol

wh

en m

akin

g s

tyle

s.

Chap

ter

14:

Ref

eren

ce

238

Con

vert

Ha

rm

on

y t

o M

elo

dy

Tra

ck

… c

on

ver

ts a

sin

gle

lin

e M

elo

dy t

rack

to i

ncl

ud

e th

e cu

rren

t h

arm

on

y

sele

ctio

n.

Rem

ov

e H

arm

on

y (

or g

uit

ar s

olo

) fr

om

Melo

dy

Tra

ck

rem

ov

es a

har

mo

ny

fro

m a

tra

ck, p

rov

idin

g t

hat

th

e

har

mo

ny

was

pu

t th

ere

by

Ban

d-i

n-a

-Box i

n t

he

firs

t pla

ce u

sing t

he

Conve

rt H

arm

ony

to M

elody

Tra

ck c

om

man

d.

Gen

era

te G

uit

ar C

ho

rd

So

lo o

pen

s th

e G

uit

ar f

eatu

re d

ialo

g f

or

gen

erat

ing

a g

uit

ar c

hord

so

lo.

Rech

an

nel

to G

uit

ar D

isp

lay

co

nv

erts

ch

ann

els

on

a t

rack

to c

han

nel

s 11 t

o 1

6. C

han

nel

s 11

to 1

6 a

re u

sed

by

Ban

d-i

n-a

-Bo

x t

o i

nd

icat

e st

rin

gs

1 t

o 6

of

a g

uit

ar. I

t use

s th

e cu

rren

t p

osi

tio

n m

ark

er o

n t

he

gu

itar

fo

r th

is

com

man

d.

Uti

liti

es

Th

ere

is a

Uti

liti

es s

ub-m

enu

th

at h

as u

tili

ty f

un

ctio

ns

to c

onver

t th

e p

itch

ben

d r

ang

e o

f a

trac

k, in

sert

pit

ch b

end

no

te e

ven

ts,

tran

spo

se a

nd

tra

nsf

orm

mel

od

ies.

Eli

min

ate

Note

Overla

p –

Preserve D

ou

ble

Sto

ps /

Eli

min

ate

Note

Ov

erla

p –

Rem

ove D

ou

ble

Sto

ps o

pen

s a

Ch

oo

se R

an

ge d

ialo

g t

o s

elec

t th

e ra

ng

e o

f bar

s w

her

e no

te o

ver

lap w

ill

be

elim

inat

ed w

hil

e d

ou

ble

sto

ps

are

eith

er

pre

serv

ed o

r el

imin

ated

.

Ch

an

ge P

itch

Ben

d R

an

ge…

let

s you

set

th

e ra

ng

e in

sem

ito

nes

.

In

sert

Gu

itar B

en

d e

ven

ts w

hen

pit

ch

ben

d f

ou

nd

… w

ill

inse

rt c

on

tro

ller

s so

th

e g

uit

ar w

ill

dis

pla

y b

ends.

Tra

nsp

ose O

ne O

cta

ve D

OW

N /

Tra

nsp

ose O

ne O

cta

ve U

Ptr

ansp

ose

s th

e M

elod

y p

art

on

e o

ctav

e in

eit

her

dir

ecti

on

. T

his

is

oft

en u

sefu

l if

th

e M

elo

dy i

nst

rum

ent

has

bee

n c

han

ged

. T

ran

spo

sin

g c

an b

e d

on

e w

hil

e th

e so

ng

pla

ys.

Tra

nsfo

rm

Wa

ltz M

elo

dy &

So

lois

t to

4/4

If y

ou h

ave

a so

ng

wit

h a

3/4

tim

e si

gn

atu

re, yo

u c

an i

nst

antl

y h

ear

it a

s a

4/4

fee

l. S

imp

ly l

oad

th

e W

altz

son

g a

nd

then

ch

ang

e th

e st

yle

to

a 4

/4 s

tyle

. B

and-i

n-a

-Bo

x u

ses

inte

llig

ent

algo

rith

ms

to t

ran

sform

th

e m

elo

dy t

o t

he

new

tim

e si

gn

atu

re.

Tra

nsfo

rm

4/4

Melo

dy

& S

olo

ist

to W

alt

z

You

can

au

tom

atic

ally

tra

nsf

orm

an

y 4

/4 s

ong

/mel

od

y t

o a

Wal

tz 3

/4 f

eel.

S

imp

ly l

oad

in

an

y 4

/4 s

on

g a

nd c

han

ge

the

style

to

a W

altz

sty

le.

Th

e p

rog

ram

wil

l o

ffer

to

tra

nsf

orm

th

e m

elo

dy s

o t

hat

it

wo

rks

as a

Wal

tz.

It’

s fu

n a

nd

educa

tional

to

hea

r an

d p

lay f

amil

iar

songs

in a

Wal

tz f

eel.

So

lois

t M

en

u

Tra

ck

Ty

pe

Norm

ally

yo

u'd

lea

ve

the

trac

k t

yp

e se

t to

Sin

gle

. B

ut

you

can

set

it

to:

-M

ult

i (1

6)

-Chan

nel

– A

ll c

han

nel

s g

et p

rese

rved

, an

d o

utp

utt

ed o

n t

he

chan

nel

s, t

his

wou

ld b

e u

sefu

l fo

r

imp

ort

ing

an

en

tire

MID

I fi

le, an

d p

layin

g i

t fr

om

th

e M

elod

y c

han

nel

(u

sin

g a

sil

ent

style

).

-G

uit

ar –

Ch

ann

els

11 t

o 1

6 w

ill

dis

pla

y o

n t

he

gu

itar

as

stri

ng

s 11

to

16

, T

AB

wil

l sh

ow

, th

e no

tati

on

wil

l b

e up

an o

ctav

e, a

nd t

he

MID

I fi

le w

ill

con

tain

the

chan

nel

s pre

serv

ed.

Chap

ter

14:

Ref

eren

ce

239

-P

ian

o –

In

th

is m

od

e, c

han

nel

s 8

and

9 a

re t

reat

ed a

s th

e le

ft a

nd r

igh

t h

and

of

a p

iano

par

t.

-S

elec

tin

g a

ny o

ne

of

Bas

s, U

ku

lele

, M

and

oli

n, B

anjo

, or

Vio

lin

wil

l d

isp

lay t

he

corr

ect

tab

latu

re i

n t

he

Nota

tion w

indow

and t

he

corr

ect

fret

bo

ard

in

th

e G

uit

ar w

indow

.

Gen

era

te a

nd

pla

y a

So

lo...

Op

ens

the

Sele

ct

So

lois

t dia

log w

her

e a

pre

set

Solo

ist

style

can

be

sele

cted

or

your

ow

n S

olo

ist

can b

e def

ined

.

So

lois

t M

ak

er s

ub

men

u

Sta

rt

a S

olo

ists

Fil

e a

llo

ws

yo

u t

o m

ake

and e

dit

So

lois

t st

yle

s sa

ved

under

th

e fi

len

ame

of

you

r ch

oic

e.

See

So

lois

t E

dit

dia

log

fo

r ad

dit

ion

al d

etai

ls o

n i

mp

ort

ing

/expo

rtin

g/s

avin

g S

olo

ists

.

Ed

it a

So

lois

ts f

ile o

pen

s an

Op

en

Fil

e d

ialo

g w

her

e you

can

sel

ect

any S

olo

ist

file

(*.S

OL

) to

ed

it.

If

yo

u h

ave

no

t

crea

ted

an

y o

f yo

ur

ow

n S

olo

ist

file

s o

r if

you

wan

t to

ed

it t

he

on

e you

are

usi

ng

, u

se t

he

Ed

it C

urr

ent

So

lois

t F

ile

com

man

d.

If y

ou w

ant

to m

ake

yo

ur

ow

n s

olo

ists

or

mo

dif

y a

n e

xis

tin

g S

olo

ist,

use

th

e S

olo

ist

Mak

er (

edit

) m

odu

le. T

he

So

lois

t M

aker

all

ow

s yo

u t

o d

efin

e th

e p

aram

eter

s es

sen

tial

to a

so

lois

t's p

layin

g, su

ch a

s in

stru

men

t ra

ng

e (i

.e. te

no

r

saxo

pho

ne)

, ex

tra

leg

ato p

layin

g, p

layin

g m

ore

on t

op

of

the

bea

t, p

layin

g s

trai

gh

ter

8th

no

tes

than

usu

al s

win

g 8

th

note

s. In

addit

ion,

you c

an s

et p

hra

sing o

pti

ons,

su

ch a

s how

long t

he

phra

se s

hould

be,

and h

ow

mu

ch “

spac

e” t

o

leav

e bet

wee

n p

hra

ses.

Y

ou c

an a

lso

set

how

“o

uts

ide”

the

pla

yin

g s

hou

ld b

e.

Ed

it C

urren

t S

olo

ists

Fil

e o

pen

s th

e S

ele

ct

Solo

ist

dia

log

wit

h t

he

curr

entl

y i

nst

alle

d S

olo

ists

fil

e.

Refr

esh

So

lois

t al

low

s th

e S

olo

ist

full

acc

ess

to a

ll s

olo

id

eas

conta

ined

in

its

dat

abas

e. U

se t

o r

efre

sh a

fter

sev

eral

So

lois

ts h

ave

bee

n m

ade.

OK

to L

oa

d S

olo

ists

w/S

on

gs

En

able

th

is o

pti

on i

f yo

u w

ant

So

lois

ts t

o b

e au

tom

atic

ally

lo

aded

wit

h a

so

ng

th

at

was

sav

ed w

ith S

olo

ist

info

rmat

ion

.

All

ow

So

lois

t H

arm

on

y (

on

TH

RU

Ha

rm

on

y)

En

able

th

is o

pti

on

to

per

mit

th

e S

olo

ist

to u

tili

ze t

he

Har

mo

ny

feat

ure

s. T

his

wil

l al

low

th

e S

olo

ist

to m

ake

a h

arm

on

ized

so

lo w

ith

th

e h

arm

on

y o

f you

r ch

oic

e. S

ee t

he

Sel

ect

So

lois

t d

ialo

g f

or

add

itio

nal

det

ails

.

Chap

ter

14:

Ref

eren

ce

240

Ed

it S

olo

ist

Tra

ck

is

a su

b-m

enu

of

edit

ing

op

tion

s.

Im

po

rt

to S

olo

ist

Pa

rt

fro

m M

ID

I F

ile a

llo

ws

yo

u t

o i

mp

ort

MID

I d

ata

fro

m a

fil

e (*

.MID

) in

to t

he

So

lois

t tr

ack

.

Im

po

rt

to S

olo

ist

Pa

rt

fro

m C

lip

bo

ard

all

ow

s you

to

im

port

MID

I d

ata

that

has

bee

n p

aste

d i

nto

th

e cl

ipb

oar

d

(e.g

., f

rom

a s

equ

ence

r su

ch a

s P

ow

erT

rack

s).

Reco

rd

To

So

lois

tP

art

reco

rds

a M

IDI

par

t to

th

e S

olo

ist

trac

k i

nst

ead o

f re

cord

ing t

o t

he

Mel

ody t

rack

.

Reco

rd

to S

olo

ist

Pa

rt

From

… s

tart

s re

cord

ing

at

the

curr

ent

loca

tion

of

the

hig

hli

ght

cell

aft

er p

layin

g a

tw

o b

ar

lead

-in.

Ste

p E

dit

So

lois

t al

low

s you

to

en

ter/

edit

a s

olo

ist

in s

tep

tim

e fr

om

th

e N

ota

tio

n w

indow

. T

his

use

s an

ev

ent

list

.

Qu

an

tize S

olo

ist

op

ens

the

Qu

an

tize S

olo

ist

Op

tion

s d

ialo

g.

Th

e H

um

an

ize

So

lois

t P

art

… f

eatu

re i

s an

ad

van

ced

ver

sio

n o

f th

is f

un

ctio

n.

Hu

ma

niz

e S

olo

ist

Pa

rt

w/S

tra

igh

t F

eel

/ …

/Sw

ing

Feel.

B

and-i

n-a

-Bo

x u

ses

inte

llig

ent

hu

man

izat

ion r

ou

tin

es,

wh

ich

can

hu

man

ize

a S

olo

ist

fro

m o

ne

feel

to

an

oth

er,

from

on

e te

mp

o t

o a

no

ther

, an

d v

ary t

he

amo

un

t of

swin

g i

n

8th

no

tes

(bu

t n

ot

ran

do

mly

).

Th

e re

sult

s ar

e v

ery m

usi

cal,

wit

h n

atura

l so

und

ing

MID

I so

los.

Hu

ma

niz

e S

olo

ist

Pa

rt…

open

s th

e S

olo

ist:

Qu

an

tize t

o N

ew

Tem

po o

r F

eel

dia

log.

The

hum

aniz

e ef

fect

is

bro

ken

dow

n i

nto

5 m

ain

cat

egori

es:

Tem

po

, L

aten

ess,

8th

No

te S

pac

ing, L

egat

o,

and F

eel.

Tra

nsp

ose S

olo

ist

Pa

rt

allo

ws

yo

u t

o t

ransp

ose

th

e S

olo

ist

trac

k w

itho

ut

affe

ctin

g t

he

oth

er t

rack

s in

th

e so

ng.

Cop

y 1

st

ch

oru

s t

o w

ho

le s

on

g s

tret

ches

the

So

lois

t tr

ack

ou

t ov

er t

he

enti

re s

on

g (

i.e.

fir

st,

last

, an

d m

idd

le

choru

ses)

.

Kil

l en

tire S

olo

ist

Pa

rt

eras

es t

he

Solo

ist

trac

k a

nd a

ny d

ata

that

was

con

tain

ed t

her

ein.

Chap

ter

14:

Ref

eren

ce

241

Kil

l S

olo

ist

Ch

oru

ses e

lim

inat

es t

he

So

lois

t fr

om

th

e F

irst

Ch

oru

s, M

iddle

Choru

ses,

or

Las

t C

horu

s as

sel

ecte

d

fro

m a

lis

t b

ox.

Ad

just

Lev

el

of

So

lois

tP

art

allo

ws

you t

o i

ncr

ease

or

dec

reas

e th

e volu

me

(vel

oci

ty)

of

the

So

lois

t tr

ack

wit

hou

t

affe

ctin

g t

he

oth

er t

rack

s.

Tim

esh

ift

So

lois

t P

art

(tic

ks)

allo

ws

yo

u t

o m

ov

e th

e S

olo

ist

forw

ard

or

bac

kw

ard

s in

sm

all

incr

emen

ts r

elat

ive

to

the

rest

of

the

song

tra

cks.

(M

easu

red

in

tic

ks

or

par

ts p

er q

uar

ter,

PP

Q.)

In

sert

Beat(

s)

in S

olo

ist

Pa

rt

allo

ws

you

to i

nse

rt a

bla

nk b

eat

or

bea

ts i

nto

th

e so

ng

rel

ativ

e to

th

e cu

rren

t ti

me

sig

nat

ure

.

Dele

te B

ea

t(s)

fro

m S

olo

ist

Part

allo

ws

you

to d

elet

e a

bea

t o

r b

eats

fro

m t

he

song

rel

ativ

e to

the

curr

ent

tim

e

sig

nat

ure

.

Cop

y t

o M

elo

dy T

rack

cop

ies

the

enti

re c

on

ten

ts o

f th

e S

olo

ist

trac

k t

o t

he

Mel

od

y T

rack

. U

sefu

l fo

r a

tem

po

rary

ho

ldin

g a

rea

for

you

r so

lois

t or

for

boun

cing

tra

cks.

Mov

e t

o M

elo

dy

Tra

ck

cop

ies

the

enti

re c

on

ten

ts o

f th

e S

olo

ist

trac

k a

nd

era

ses

the

ori

gin

al d

ata

fro

m t

he

So

lois

t

trac

k, pre

par

ing

it

for

a n

ew t

rack

or

dat

a.

Sw

ap

Melo

dy a

nd

So

lois

t T

ra

ck

per

form

s a

“do

ub

le c

op

y/m

ov

e” s

o t

hat

th

e d

ata

that

was

in

th

e S

olo

ist

trac

k g

ets

tran

sfer

red t

o t

he

Mel

ody t

rack

an

d v

ice

ver

sa. T

his

is

also

know

n a

s tr

ack b

oun

cing

.

Con

vert

Ha

rm

on

y t

o S

olo

ist

Tra

ck

… c

on

ver

ts a

sin

gle

lin

e S

olo

ist

trac

k t

o i

ncl

ud

e th

e cu

rren

t h

arm

on

y s

elec

tio

n.

Rem

ov

e H

arm

on

y (

or g

uit

ar s

olo

) fr

om

So

lois

t T

ra

ck

rem

ov

es a

har

mo

ny f

rom

a t

rack

, pro

vid

ing t

hat

th

e

har

mo

ny

was

pu

t th

ere

by

Ban

d-i

n-a

-Box i

n t

he

firs

t pla

ce u

sing t

he

Co

nve

rt H

arm

on

y to

So

lois

t T

rack

co

mm

and

.

Gen

era

te G

uit

ar C

ho

rd

So

lo o

pen

s th

e G

uit

ar f

eatu

re d

ialo

g f

or

gen

erat

ing

a g

uit

ar c

hord

so

lo.

Rech

an

nel

to G

uit

ar D

isp

lay

co

nv

erts

ch

ann

els

on

a t

rack

to c

han

nel

s 11 t

o 1

6. C

han

nel

s 11

to 1

6 a

re u

sed

by

Ban

d-i

n-a

-Bo

x t

o i

nd

icat

e st

rin

gs

1 t

o 6

of

a g

uit

ar. I

t use

s th

e cu

rren

t p

osi

tio

n m

ark

er o

n t

he

gu

itar

fo

r th

is

com

man

d.

Uti

liti

es

Th

ere

is a

Uti

liti

es s

ub-m

enu

th

at h

as u

tili

ty f

un

ctio

ns

to c

onver

t th

e p

itch

ben

d r

ang

e o

f a

trac

k, or

to i

nse

rt p

itch

ben

d n

ote

ev

ents

.

Eli

min

ate

Note

Overla

p –

Preserve D

ou

ble

Sto

ps /

Eli

min

ate

Note

Ov

erla

p –

Rem

ove D

ou

ble

Sto

ps o

pen

s a

Ch

oo

se R

an

ge d

ialo

g t

o s

elec

t th

e ra

ng

e o

f bar

s w

her

e no

te o

ver

lap w

ill

be

elim

inat

ed w

hil

e d

ou

ble

sto

ps

are

eith

er

pre

serv

ed o

r el

imin

ated

.

Tra

nsp

ose O

ne O

cta

ve D

OW

N /

Tra

nsp

ose O

ne O

cta

ve U

Ptr

ansp

ose

s th

e S

olo

ist

par

t o

ne

oct

ave

in e

ith

er

dir

ecti

on

. T

his

is

oft

en u

sefu

l if

th

e S

olo

ist

inst

rum

ent

has

bee

n c

han

ged

. T

ran

spo

sin

g c

an b

e d

on

e w

hil

e th

e so

ng

pla

ys.

Chap

ter

14:

Ref

eren

ce

242

Au

dio

Men

u

Th

eR

eco

rd

Au

dio

fun

ctio

n i

s u

sed

to

Rec

ord

Aud

io u

sing

a m

icro

pho

ne

plu

gg

ed i

nto

yo

ur

sou

nd

car

d o

r a

gu

itar

(or

mix

er)

plu

gg

ed i

nto

th

e li

ne-

in o

n y

ou

r so

und

car

d. T

his

lau

nch

es t

he

Reco

rd

Au

dio

Dia

log

an

d t

he

Reco

rd

Au

dio

– K

eep

Ta

ke d

ialo

g.

Th

e n

ext

two

ite

ms,

Reco

rd

Au

dio

an

d M

ID

I (

Melo

dy

) an

d R

eco

rd

Au

dio

an

d M

ID

I (

So

lois

t) r

efer

to

th

e

situ

atio

n w

her

e yo

u w

ant

to s

imu

ltan

eousl

y r

ecord

an

audio

tra

ck (

voca

ls e

tc.)

as

wel

l as

a M

IDI

pia

no

par

t. Y

ou

can

rec

ord

th

e M

IDI

to t

he

Mel

od

y o

r S

olo

ist

trac

k.

Th

eP

lug

in m

enu c

om

man

d r

efer

s to

runn

ing

a p

lug-i

n a

udio

eff

ect.

T

his

ap

pli

es

an a

ud

io e

ffec

t su

ch a

s R

ever

b o

r C

ho

rus

to t

he

alre

ady r

eco

rded

au

dio

par

t.

Ban

d-

in-a

-Box

co

mes

wit

h a

lar

ge

sele

ctio

n o

f h

igh

qu

alit

y a

ud

io e

ffec

ts b

uil

t-in

.

Th

e p

lug

-in

s ar

e fu

lly d

ocu

men

ted

in

th

e o

nli

ne

Hel

p.

Chap

ter

14:

Ref

eren

ce

243

Ed

it A

ud

io s

ub

men

u

Cop

y 1

st c

ho

ru

s t

o w

ho

le s

on

g c

op

ies

the

firs

t ch

oru

s of

aud

io t

o t

he

rest

of

the

song

.

Th

eK

ill

en

tire A

ud

io m

enu

ite

m i

s u

sed

to

era

se t

he

Au

dio

Tra

ck.

Era

se A

ud

io C

ho

ru

ses w

ill

eras

e th

e F

irst

Ch

oru

s, M

idd

le C

ho

ruse

s, o

r th

e L

ast

Ch

oru

s as

ch

ose

n f

rom

a l

ist

box

.

Era

se R

eg

ion

of

Au

dio

wil

l er

ase

a sp

ecif

ied

reg

ion o

f b

ars/

bea

ts o

f au

dio

.

Ad

just

Ou

tpu

t L

ev

el

of

Au

dio

(Q

uic

k)

use

s th

e W

indo

ws

mix

er t

o a

dju

st t

he

ou

tpu

t le

vel

of

the

aud

io t

rack

. Y

ou

can a

lso

use

the

Win

dow

s m

ixer

dir

ectl

y b

y p

ress

ing

th

e yel

low

sp

eak

er i

con.

Ad

just

lev

el

of

reg

ion

of

.WA

V f

ile (

perm

an

en

t)…

ch

anges

th

e volu

me

of

the

audio

tra

ck i

tsel

f. It

use

s a

soph

isti

cate

d p

eak

-lim

itin

g a

lgori

thm

to

en

sure

th

at i

ncr

ease

s in

th

e v

olu

me

do

no

t re

sult

in

cli

pp

ing o

f th

e so

und

,

whic

h w

ould

be

hea

rd a

s a

loud d

isto

rtio

n. I

t ac

cepts

unit

s of

dec

ibel

s (d

B).

Z

ero m

ean

s n

o c

han

ge

in t

he

lev

el,

wh

erea

s +

6 w

ou

ld b

e a

dou

bli

ng o

f th

e so

und

, an

d –

6 h

alv

es t

he

sou

nd

lev

el.

Tim

esh

ift

Au

dio

(m

s)…

is

use

d t

o t

ime

shif

t th

e w

ho

le a

udio

tra

ck a

cer

tain

nu

mb

er o

f m

illi

seco

nds.

N

orm

ally

yo

u

wou

ldn

't h

ave

to t

ime

shif

t a

trac

k a

t al

l. T

her

e ar

e se

ttin

gs

in t

he

Aud

io-O

pti

ons

Dia

log (

see

bel

ow

) th

at c

an a

dju

st

for

synch

ron

izat

ion

dif

fere

nce

s b

etw

een y

ou

r so

un

d c

ard

an

d M

IDI

dev

ices

(fo

r ex

amp

le, th

e V

SC

-88

has

a 4

30

ms

late

ncy

).

Bu

t th

e ti

me

shif

t au

dio

co

mm

and c

an b

e use

ful

in s

pec

ial

case

s.

Tip

: 1

00

0m

s =

1 s

eco

nd

. P

ositiv

e v

alu

es m

ove

th

e a

ud

io t

rack a

he

ad

, n

eg

ative

va

lue

s m

ove

it

ba

ck.

In

sert

Beat(

s)

in A

ud

io a

nd

Dele

te B

ea

t(s)

fro

m A

ud

io a

re u

sed t

o i

nse

rt,

sile

nce

, o

r re

mo

ve

par

ts o

f th

e au

dio

trac

k.

You c

an s

pec

ify t

he

regio

n t

o u

se.

For

exam

ple

, if

you d

ecid

e to

add a

n e

xtr

a 2 b

ars

to t

he

intr

o i

n B

and-i

n-a

-

Box,

and y

ou'v

e al

read

y r

eco

rded

an a

udio

tra

ck, yo

u s

hou

ld i

nse

rt 2

bar

s (8

bea

ts i

n a

4/4

tim

e si

gn

atu

re)

into

th

e

aud

io t

rack

as

wel

l.

Mu

te A

ud

io i

s a

tog

gle

sw

itch

to m

ute

an

d u

nm

ute

th

e au

dio

tra

ck.

Ren

der M

ID

I t

o S

tereo

.W

AV

fil

e e

tc…

T

his

co

mm

and

lau

nch

es t

he

dia

log

th

at a

llow

s yo

u t

o R

end

er (

con

ver

t)

the

Ban

d-i

n-a

-Bo

x s

ong

(w

ith

or

wit

hou

t an

audio

tra

ck)

to a

ste

reo

.W

AV

fil

e.

Bu

rn

an

Au

dio

CD

(u

sin

g C

D-R

, C

DR

W D

riv

e)

tak

es y

ou t

o t

he

Ren

der t

o A

ud

io F

ile d

ialo

g w

her

e you c

an

lau

nch

th

e bu

ilt-

in M

iniB

urn

pro

gra

m w

ith

th

e [‘

Bu

rn’

to A

ud

io C

D]

bu

tton

.

Pla

yb

ack

Mix

er /

Pla

yb

ack

VU

Mete

r t

akes

you

dir

ectl

y t

o t

he

Win

do

ws

Pla

yb

ack

con

tro

l to

adju

st v

olu

mes

on

yo

ur

sound

car

d. N

ote

th

at n

ot

all

soun

d d

evic

es h

ave

VU

met

ers.

Reco

rd

ing

Mix

er /

Reco

rd

ing

VU

Mete

r t

akes

yo

u d

irec

tly t

o t

he

Win

dow

s R

ecord

ing

con

tro

l to

ad

just

vo

lum

es

on y

ou

r so

un

d c

ard.

No

te t

hat

no

t al

l so

und

dev

ices

hav

e V

U m

eter

s.

Ex

po

rt

Au

dio

to

Seq

uen

cer…

giv

es i

nst

ruct

ion

s on

how

eas

y i

t is

to

use

yo

ur

Ban

d-i

n-a

-Box

wav

e fi

le i

n a

ny

aud

io s

equ

ence

r, i

ncl

ud

ing

Pow

erT

rack

s P

ro A

ud

io.

Au

dio

Win

do

w l

aun

ches

th

e au

dio

ed

it w

ind

ow

wh

ere

the

wav

e fi

le c

an b

e v

iew

ed a

nd

ed

ited

.

Chap

ter

14:

Ref

eren

ce

244

Au

dio

Ha

rm

on

ies &

Pit

ch

Tra

ck

ing o

pen

s th

e G

en

erate

Au

dio

Ha

rm

on

ies d

ialo

g.

Th

ere

are

thre

e use

s of

the

Aud

io H

arm

onie

s in

Ban

d-i

n-a

-Box

, n

amel

y:

-P

itch

tra

ckin

g (

fix

ing)

of

the

mel

od

y.

-H

arm

on

izin

g y

our

vo

ice

usi

ng

Ban

d-i

n-a

-Bo

x h

arm

on

ies

(wh

en a

MID

I m

elo

dy i

s pre

sen

t)

-H

arm

on

izin

g y

our

vo

ice

to t

he

cho

rds

of

the

son

g (

wh

en n

o M

IDI

mel

od

y i

s p

rese

nt)

See

the

tuto

rial

in C

ha

pte

r 3

: B

an

d-i

n-a

-Box

2004

.

DX

i S

yn

th S

ett

ings o

pen

s th

e D

irectX

Plu

gin

s d

ialo

g t

o t

he

Sy

nth

Tra

ck

wher

e you c

an s

elec

t a

DX

i sy

nth

an

d

app

ly r

eal

tim

e ef

fect

s to

its

au

dio

ou

tpu

t.

Rea

ltim

e D

X A

ud

io S

ett

ings o

pen

s th

e D

irectX

Plu

gin

s d

ialo

g t

o t

he

Au

dio

Tra

ck

wher

e you c

an a

pply

rea

l ti

me

effe

cts

to t

he

Ban

d-i

n-a

-Bo

x a

ud

io t

rack

.

GM

Men

u

-T

he

GM

fun

ctio

ns

work

on

MID

I so

und

dev

ices

th

at s

upport

the

GM

(G

ener

al M

IDI)

sta

nd

ard

, w

hic

h i

ncl

ud

es

mo

st n

ewer

MID

I K

eybo

ards

and s

ound

car

ds.

-T

he

GS

fu

nct

ion

s w

ork

on

inst

rum

ents

th

at s

uppo

rt t

he

Rola

nd G

S s

pec

ific

atio

n.

This

incl

udes

th

e R

ola

nd

Sou

nd

Can

vas

, S

CC

1, an

d J

V-3

0.

-T

he

XG

fun

ctio

ns

work

on

inst

rum

ents

th

at s

uppo

rt t

he

Yam

aha

XG

sp

ecif

icat

ion

, fo

r ex

amp

le,

the

Yam

aha

Wav

efo

rce

DB

50X

G.

Ro

lan

d G

S s

ub

men

u

Reset

Rola

nd

GS

(Q

uic

k)

and

Reset

GS

(a

ll I

D’s

) re

set

the

module

to f

acto

ry s

etti

ngs.

Set

Rev

erb

Typ

e o

r S

et

Ch

oru

s T

yp

e(G

S M

od

ule

):

Ro

lan

d G

S i

nst

rum

ents

all

ow

dif

fere

nt

typ

e of

rev

erb a

nd

choru

s se

ttin

gs.

T

hes

e se

ttin

gs

bo

xes

all

ow

yo

u t

o s

elec

t th

em.

Chap

ter

14:

Ref

eren

ce

245

Assig

n P

art/

Ch

an

nel

etc

. fo

r G

S M

od

ule

T

he

GS

Par

t se

ttin

gs

are

for

GS

co

mp

atib

le s

yn

thes

izer

s o

nly

. T

hes

e

syn

thes

izer

s h

ave

16 p

arts

. T

he

def

ault

is

for

par

t 1

to b

e ch

ann

el 1

, p

art

2 c

han

nel

2 e

tc.,

bu

t yo

u c

an c

han

ge

a p

art

to a

no

ther

ch

ann

el. T

his

all

ow

s you

to

use

th

e sa

me

chan

nel

for

2 p

arts

, so

th

at y

ou h

ear

a la

yer

of

2 i

nst

rum

ents

pla

yin

g t

he

sam

e p

art.

Sen

d M

ID

I M

essa

ge s

ub

men

u

Sen

d G

en

era

l M

ID

I m

od

e O

N,

& B

B P

atc

hes s

end

s a

Gen

eral

MID

I m

od

e O

N m

essa

ge

to t

he

exte

rnal

MID

I

dev

ice

and

th

e se

nd

s th

e st

artu

p B

and

-in

-a-B

ox p

atch

ch

ang

es.

Sen

d G

en

era

l M

ID

I m

od

e O

N (

no p

atc

hes)

sets

th

e ex

tern

al m

odule

to

Gen

eral

MID

I m

ode.

T

his

com

man

d w

ill

ensu

re t

hat

th

e m

od

ule

is

read

y t

o a

ccep

t G

M-s

pec

ific

MID

I d

ata

such

as

Ban

k,

Co

ntr

oll

er,

and

Pat

ch i

nfo

rmat

ion

.

Sen

d G

S M

od

e O

n M

essa

ge (

Ro

lan

d)

/ S

en

d X

G M

od

e O

n M

essag

e (

Ya

ma

ha):

S

ince

th

e in

cep

tion

of

the

GM

(Gen

eral

MID

I) s

tand

ard,

ther

e h

ave

bee

n t

wo

maj

or

sub

sets

/ex

ten

sion

s of

this

sta

nd

ard

; G

S (

Ro

lan

d)

and X

G

(Yam

aha)

. T

her

efo

re,

in a

dd

itio

n t

o t

he

GM

Mo

de-

on

men

u i

tem

fea

ture

th

ere

are

add

itio

nal

co

mm

and

s to

sen

d a

GS

mo

de

ON

or

a X

G m

od

e O

N m

essa

ge

at a

ny t

ime

by a

cces

sing t

he

GM

men

u.

Au

to-S

en

d G

M M

od

e O

n a

t sta

rtu

p s

ends

a “G

ener

al M

IDI

mo

de

on

” m

essa

ge

wh

en t

he

pro

gra

m b

oo

ts u

p.

Au

to-S

en

d G

S M

od

e O

n a

t sta

rtu

p s

end

s a

Ro

land

GS

syst

em o

n m

essa

ge

wh

en t

he

Ban

d-i

n-a

-Bo

x p

rogra

m

boo

ts u

p.

Au

to-S

en

d X

G M

od

e O

n a

t sta

rtu

p s

end

s a

Yam

aha

XG

sy

stem

on

mes

sag

e w

hen

th

e B

and-i

n-a

-Bo

x p

rog

ram

boo

ts u

p.

Tu

rn

Lo

ca

l O

FF

/ O

N (

exte

rn

al

MID

I k

ey

bo

ard

)

“Lo

cal”

ref

ers

to m

usi

c p

layin

g o

n a

n e

xte

rnal

MID

I k

eybo

ard

. I

f se

t to

“O

ff,”

Ban

d-i

n-a

-Bo

x w

ill

pla

y t

he

key

bo

ard

via

th

e T

HR

U p

art.

If

set

to

“O

n,”

bo

th B

and

-in-a

-Bo

x a

nd

th

e k

eybo

ard m

igh

t b

e p

layin

g t

he

sam

e T

hru

par

t.

Wh

en

program

qu

its, tu

rn

Local

ON

au

tom

atic

ally

tu

rns

the

exte

rnal

MID

I key

boar

d b

ack o

n a

t th

e en

d o

f th

e

Ban

d-i

n-a

-Bo

x s

essi

on

.

Maste

r T

un

ing…

all

ow

s y

ou

to

mas

ter

tun

e y

ou

r so

un

d c

ard

or

sound m

odu

le.

Th

is i

s use

ful

if y

ou'r

e pla

yin

g

alo

ng

wit

h a

n i

nst

rum

ent

or

reco

rdin

g t

hat

can

't ea

sily

be

re-t

un

ed l

ike

an a

coust

ic p

iano

. A

set

ting

of

0 i

s th

e

def

ault

A =

440

.

No

te:

No

t a

ll so

un

d c

ard

s/

mo

du

les s

up

po

rt M

aste

r T

un

ing

. T

o s

ee

if

yo

ur

so

un

d c

ard

su

pp

ort

s M

aste

r T

un

ing

, p

ress t

he

[T

est.

.] b

utt

on

.

Chap

ter

14:

Ref

eren

ce

246

Maste

r (

Com

bo)

Volu

me A

dju

st

su

bm

en

u

Maste

r V

olu

me u

ses M

ID

I m

essages i

nste

ad

of

GS

/GM

Sysex s

ho

uld

be

set

by a

ll u

sers

ex

cep

t if

yo

u h

ave

a

Ro

land

GS

synth

, R

ola

nd

Soun

d C

anv

as, or

Ro

land

VS

C.

If

set,

th

e C

om

bo s

etti

ng

s w

ill

allo

w M

aste

r V

olu

me

and

oth

er M

IDI

sett

ing

s to

work

. T

his

sub

men

u a

llo

ws

yo

u t

o s

et w

het

her

to

use

Ro

lan

d -

GS

or

Gen

era

l M

ID

I f

or

Mas

ter

Volu

me

mes

sages

. U

nle

ss y

ou h

ave

a R

ola

nd

yo

u s

hou

ld s

elec

t G

ener

al M

IDI.

If y

ou w

ant

to “

turn

it

all

up

or

dow

n,”

th

is c

an b

e d

on

e qu

ick

ly w

ith

men

u c

om

man

ds

or

ho

t k

eys

to s

et t

he

Mas

ter

Volu

me.

T

her

e ar

e al

so h

ot

key

s th

at c

on

trol

the

ov

eral

l volu

me

by r

edu

cin

g (

or

incr

easi

ng)

vo

lum

es o

n a

ll p

arts

by

5 t

o s

imu

late

a M

aste

r V

olu

me

effe

ct (

esp

ecia

lly u

sefu

l fo

r so

und

car

ds

that

don

't su

ppo

rt M

aste

r V

olu

me

chan

ges

).

Th

ese

item

s al

so h

ave

ho

t k

eys

as l

iste

d o

n t

he

men

u (

Ctr

l+A

lt+

Sh

ift

Q, W

, an

d E

).

Com

man

ds

and

ho

t k

eys

are

also

pro

vid

ed t

o c

han

ge

the

vo

lum

e o

f th

e cu

rren

t p

art

on

ly.

Set

Pa

nn

ing t

o M

ON

O s

ets

the

pan

nin

g o

f yo

ur

Ban

d-i

n-a

-Box

par

ts (

Bas

s, D

rum

s, P

ian

o, et

c.)

to m

on

o.

Set

Pa

nn

ing M

od

e t

o S

tereo s

ets

the

pan

nin

g o

f you

r B

and-i

n-a

-Bo

x p

arts

(B

ass,

Dru

ms,

Pia

no,

etc.

) to

a t

ypic

al

ster

eo s

etup

, w

hic

h i

s sa

ved

wit

h t

he

pre

fere

nce

s.

Ru

n O

ther P

ro

gra

m s

ub

men

u

Sou

nd

ca

rd

Volu

me /

Pla

yb

ack

VU

Mete

r l

aun

ches

th

e W

ind

ow

s m

ixer

to a

dju

st v

olu

mes

on y

ou

r so

und

car

d

wit

h t

he

Pla

ybac

k p

anel

.

Sou

nd

ca

rd

Record

ing /

Reco

rd

ing

VU

Mete

r l

aun

ches

th

e W

ind

ow

s M

ixer

to a

dju

st v

olu

mes

on y

ou

r so

un

d c

ard

wit

h t

he

Rec

ord

ing

pan

el.

No

te:

Th

is u

se

s t

he

c:\

win

do

ws\s

nd

vo

l32

.exe

Mix

er

pro

gra

m.

Yo

u m

ay n

ee

d t

o h

ave

th

e W

ind

ow

s 9

8 v

ers

ion

of

this

p

rog

ram

fo

r th

e R

eco

rdin

g P

an

el to

op

en

pro

pe

rly.

If

yo

u d

on

't,

yo

u'd

se

e t

he

“V

olu

me

Co

ntr

ol”

pa

ne

l a

nd

will

ha

ve

to

m

an

ua

lly s

et

it t

o t

he

Re

co

rdin

g P

an

el (b

y c

ho

osin

g O

ptio

ns | P

rop

ert

ies | R

eco

rdin

g).

Sou

nd

Bla

ste

r A

WE

Con

tro

l P

an

el

app

lies

on

ly t

o u

sers

wit

h a

So

und

Bla

ster

. T

his

fu

nct

ion

lau

nch

es t

he

“AW

E

Co

ntr

ol”

ap

pli

cati

on

.

So

un

dB

laste

r M

ixer i

s al

so f

or

Soun

d B

last

er u

sers

on

ly,

and l

aun

ches

the

mix

er f

or

vo

lum

es.

Ru

n W

ind

ow

s C

on

tro

l P

an

el…

ru

ns

the

Win

do

ws

Con

trol

Pan

el, w

hic

h l

ets

yo

u e

xam

ine

MID

I an

d A

ud

io

sett

ing

s in

th

e M

ult

imed

ia, A

dd N

ew H

ardw

are,

and

Syst

em p

anel

s.

Chap

ter

14:

Ref

eren

ce

247

Ru

n O

ther A

pp

licati

on

… a

nd C

hoo

se

[Oth

er A

pp

licati

on

…]

allo

ws

you

to s

pec

ify a

nd

run

an

y o

ther

app

lica

tio

n

(mix

er a

pp

lica

tio

n,

Po

wer

Tra

cks

etc.

).

Ru

n D

LL

or &

EX

E p

lug

in…

an

d C

ho

ose D

LL

or E

XE

Plu

gIn

… a

llow

s you

to

run

a p

lug-i

n t

hat

has

bee

n m

ade

spec

ific

ally

for

a P

G M

usi

c pro

duct

.

Ha

rm

on

y M

en

u

Melo

dy H

arm

on

y (

sele

ct)

…

Th

is o

pti

on

bri

ng

s up

th

e co

mp

lete

Har

mo

ny s

tyle

s li

st,

and a

llo

ws

you

to c

hoo

se o

ne

for

the

curr

ent

Mel

od

y t

rack

.

Th

ru

Harm

on

y (

sele

ct)

…

Th

is o

pti

on

bri

ng

s up

th

e co

mp

lete

Har

mo

ny s

tyle

s li

st,

and a

llo

ws

you

to c

hoo

se o

ne

for

the

curr

ent

Thru

tra

ck.

Fav

orit

e M

elo

dy

Ha

rm

on

ies

Th

is o

pti

on

bri

ng

s up

you

r fa

vori

te 5

0 H

arm

on

y s

tyle

s (b

ased

on r

ecen

t u

sag

e) a

nd

all

ow

s yo

u t

o c

hoo

se o

ne

to u

se

on t

he

Mel

od

y t

rack

.

Fav

orit

e T

hru

Ha

rm

on

ies

Th

is o

pti

on

bri

ng

s up

you

r fa

vori

te 5

0 H

arm

on

y s

tyle

s (b

ased

on r

ecen

t u

sag

e) a

nd

all

ow

s yo

u t

o c

hoo

se o

ne

to u

se

on t

he

Thru

tra

ck.

Sta

rt

a N

ew

Ha

rm

on

ies F

ile

All

ow

s you

to

mak

e an

d e

dit

Har

mo

ny s

tyle

s sa

ved

un

der

th

e fi

len

ame

of

yo

ur

cho

ice.

Ed

it a

Ha

rm

on

ies F

ile

All

ow

s you

to

ed

it a

Har

mo

ny f

ile

that

is

in y

our

\bb

dir

ecto

ry.

Ed

it C

urren

t H

arm

on

ies F

ile

All

ow

s you

to

ed

it t

he

Har

mo

ny f

ile

that

is

curr

entl

y l

oad

ed o

n y

our

syst

em.

OK

to L

oa

d H

arm

on

ies W

ith

So

ng

s

Tog

gle

th

is o

pti

on

“O

n”

if y

ou

wan

t to

lo

ad a

ny h

arm

on

y s

etti

ng

s th

at w

ere

sav

ed/e

mb

edd

ed i

n a

giv

en s

on

g.

Sav

e H

arm

on

y w

ith

th

is s

on

g

Tog

gle

th

is o

pti

on

“O

n”

to a

llo

w B

and

-in

-a-B

ox t

o e

mb

ed t

he

har

mo

ny s

etti

ng

s fo

r th

e cu

rren

tly o

pen

son

g s

o t

hat

they

may

be

reca

lled

au

tom

atic

ally

at

a la

ter

tim

e.

Chap

ter

14:

Ref

eren

ce

248

Ch

an

ge H

arm

on

y w

ith

new

ch

ord

Tog

gle

th

is o

pti

on

“O

n”

to a

llo

w t

he

pro

gra

m t

o v

ary t

he

har

mo

ny

ch

arac

teri

stic

s (i

.e.

inv

ersi

on

s) e

ach

tim

e a

new

chord

is

enco

un

tere

d i

n t

he

son

g.

All

ow

Melo

dy H

arm

on

y

Tog

gle

th

is o

pti

on

“O

n”

to a

llo

w t

he

Mel

od

y M

IDI

chan

nel

s to

uti

lize

th

e h

arm

on

y f

eatu

res.

All

ow

Th

ru

Harm

on

y

Tog

gle

th

is o

pti

on

“O

n”

to a

llo

w t

he

Thru

MID

I ch

ann

els

to u

tili

ze t

he

har

mo

ny f

eatu

res.

All

ow

So

lois

t H

arm

on

y (

on

TH

RU

Ha

rm

on

y)

Tog

gle

th

is o

pti

on

“O

n”

to a

llo

w t

he

Thru

MID

I ch

ann

els

to u

tili

ze t

he

har

mo

ny f

eatu

res

for

the

So

lois

t tr

ack.

Con

vert

Ha

rm

on

y t

o M

elo

dy

Tra

ck

…

Th

is c

onv

erts

a s

ing

le l

ine

Mel

od

y t

rack

to

incl

ud

e th

e cu

rren

t h

arm

on

y s

elec

tio

n.

Con

vert

Ha

rm

on

y t

o S

olo

ist

Tra

ck

…

Th

is c

onv

erts

a s

ing

le l

ine

So

lois

t tr

ack t

o i

ncl

ud

e th

e cu

rren

t h

arm

on

y s

elec

tio

n (

On

th

e T

hru

har

mo

ny).

Use P

assin

g H

arm

on

ies f

or T

HR

U

Wh

en y

ou p

lay a

long

on

a M

IDI

key

bo

ard (

or

the

wiz

ard),

an

d u

se a

Thru

har

mo

ny,

yo

u c

an u

se p

assi

ng

har

mo

nie

s.

Fo

r ex

amp

le,

on

a C

7 c

ho

rd, w

ith

an

Ab n

ote

, th

e h

arm

on

y m

igh

t b

e a

B d

imin

ish

ed c

hord

, w

hic

h i

s a

pas

sin

g

har

mo

ny.

On

ly T

HR

U H

arm

on

ize i

f n

ote

held

do

wn

= 3

6 (

C3

)

In p

rev

ious

ver

sio

ns,

ev

ery n

ote

th

at y

ou p

layed

on

th

e T

hru

har

mo

ny w

ou

ld g

et h

arm

oniz

ed.

By s

etti

ng

th

is n

ew

op

tion

yo

u c

an s

pec

ify t

o o

nly

har

mo

niz

e th

e no

te i

f a

cert

ain

no

te i

s h

eld d

ow

n.

(T

he

def

ault

no

te i

s a

C t

wo

oct

aves

bel

ow

mid

dle

C.)

Real

Tim

e H

arm

on

ies

Th

is f

eatu

re a

llo

ws

you

to

pla

y h

arm

on

ies

in r

eal-

tim

e.

Use

th

is w

ith

your

MID

I k

eyb

oar

d (

wh

ile

Ban

d-i

n-a

-Box

is

sto

pp

ed).

H

old

a c

ho

rd d

ow

n w

ith

th

e le

ft h

and

and

pla

y n

ote

s w

ith t

he

righ

t h

and

. T

he

no

tes

wil

l b

e h

arm

on

ized

acco

rdin

g t

o t

he

chord

th

at y

ou're

pla

yin

g i

n t

he

left

han

d.

Au

dio

Ha

rm

on

ies &

Pit

ch

Tra

ck

ing

You

can

app

ly a

har

mo

ny t

o t

he

aud

io p

art

– a

llo

win

g y

ou t

o a

uto

mat

ical

ly c

reat

e up

to

4 p

art

vo

cal

har

mo

nie

s fr

om

yo

ur

sing

ing

. B

and-i

n-a

-Bo

x g

ener

ates

th

e h

arm

on

ies

usi

ng

th

e w

orl

d-l

ead

ing

TC

-Hel

ico

n V

oca

l T

echn

olo

gie

s

eng

ine.

O

nce

yo

u h

ave

reco

rded

a v

oca

l p

art

into

Ban

d-i

n-a

-Box

, yo

u c

an u

se t

his

fea

ture

in

man

y w

ays,

in

clu

din

g:

-P

itch

tra

ckin

g (

fix

ing)

of

the

mel

od

y.

-H

arm

on

izin

g y

our

vo

ice

usi

ng

Ban

d-i

n-a

-Bo

x h

arm

on

ies

(wh

en a

MID

I m

elo

dy i

s pre

sen

t)

-H

arm

on

izin

g y

our

vo

ice

to t

he

cho

rds

of

the

son

g (

wh

en n

o M

IDI

mel

od

y i

s p

rese

nt)

See

the

tuto

rial

in C

ha

pte

r 3

: B

an

d-i

n-a

-Bo

x 2

00

4.

No

t’n

Men

u

Nota

tion

/ed

it/n

ote

ro

ll m

od

e m

ov

es t

he

nota

tio

n w

indow

th

rough

its

var

iou

s en

try m

od

es.

Prin

t...

bri

ng

s u

p t

he

pri

nt

dia

log

bo

x.

Note

In

sert

mo

de

Tog

gli

ng

th

is t

o “

On

” al

low

s yo

u t

o i

nse

rt n

ote

s g

rap

hic

ally

wit

h y

our

mo

use

or

key

bo

ard

on t

he

no

tati

on w

indow

.

Mon

o E

ntr

y M

od

e

Tog

gle

th

is “

On

” if

you

are

inse

rtin

g s

ing

le n

ote

s (n

ot

chord

s) o

n t

he

no

tati

on w

indow

.

Chap

ter

14:

Ref

eren

ce

249

Cle

an

Dis

pla

y M

od

e

Tog

gle

th

is “

On

” if

you

wan

t n

ote

s d

isp

layed

on y

ou

r no

tati

on

win

do

w i

n a

qu

anti

zed

vie

w (

do

es n

ot

affe

ct s

on

g

pla

ybac

k).

Ev

en

t L

ist

Ed

ito

r

Th

is o

pen

s th

e E

ven

t L

ist

win

dow

. Y

ou

can

ed

it e

ven

ts i

ncl

ud

ing a

ll M

IDI

even

ts a

nd l

yri

c ev

ents

usi

ng

th

e E

ven

t

Lis

t E

dit

or.

Y

ou c

an e

dit

th

e M

elo

dy, S

olo

ist,

Lyri

cs, o

r S

tyle

Mak

er p

atte

rns

usi

ng t

his

ev

ent

list

.

Th

e ev

ent

list

can

als

o b

e la

un

ched

fro

m t

he

No

tati

on

win

do

w b

y p

ress

ing t

he

even

t li

st b

utt

on (

#).

Pla

y P

revio

us S

creen

Bac

ks

the

song u

p f

ou

r b

ars.

Pla

y N

ex

t S

creen

Mo

ves

th

e so

ng

to t

he

nex

t fo

ur

bar

s.

In

str

um

en

t D

isp

layed

Sin

ce t

her

e is

no

t en

ou

gh

ro

om

on

th

e sc

reen

to d

isp

lay t

he

no

tati

on

fo

r al

l in

stru

men

ts, o

nly

on

e is

dis

pla

yed

at

a

tim

e.

You

can

ch

oo

se w

hic

h o

ne

you

wan

t to

dis

pla

y f

rom

th

is m

enu

op

tio

n o

r th

e in

stru

men

t b

utt

on

s on

th

e

no

tati

on

win

dow

.

Sw

itch

to N

ext

Track

/ S

wit

ch

to P

rev

iou

s T

rack

Sel

ect

par

ts f

rom

lef

t to

rig

ht

in t

he

Inst

rum

ent

row

bu

tton

s.

Win

do

w M

en

u

Nota

tion

(o

r c

ho

rd

s)

Win

dow

to

gg

les

bet

wee

n t

he

no

tati

on

an

d t

he

cho

rdsh

eet

vie

ws.

Mo

va

ble

No

tati

on

Win

do

w o

pen

s a

mo

vab

le a

nd r

esiz

able

no

tati

on

win

dow

.

Lead

Sh

eet

Win

dow

lau

nch

es t

he

lead

sh

eet

no

tati

on

.

Big

Ly

ric

s W

ind

ow

lau

nch

es a

win

do

w t

hat

dis

pla

ys

lyri

cs i

n a

Kar

aok

e fo

rmat

.

Lyric

Docu

men

t W

ind

ow

dis

pla

ys

a fu

ll s

cree

n o

f fo

rmat

ted

lyri

cs. E

asil

y c

op

y a

nd p

aste

lyri

cs t

o a

nd

fro

m y

ou

r

favo

rite

word

pro

cess

or.

Big

Pia

no

Win

do

w l

aun

ches

a w

indow

th

at d

isp

lays

a B

ig P

iano

.

Dru

m K

it W

ind

ow

lau

nch

es t

he

anim

ated

Dru

m K

it.

Once

lau

nch

ed, pre

ss [

Hel

p]

to g

et m

ore

info

rmat

ion

ab

ou

t

the

Dru

m K

it.

Gu

itar W

ind

ow

lau

nch

es a

n o

n-s

cree

n G

uit

ar.

Chap

ter

14:

Ref

eren

ce

250

Th

eA

ud

io E

dit

Win

do

w a

llo

ws

you

to

ed

it a

ud

io d

ata,

usi

ng c

op

y,

cut

and

pas

te. Y

ou

can

zo

om

th

e au

dio

in

to t

he

sam

ple

lev

el s

o t

hat

yo

u c

an s

ee t

he

actu

al s

ine

wav

es p

rese

nt.

Mov

ea

ble

Au

dio

Ed

it W

ind

ow

op

ens

the

reg

ula

r A

ud

io E

dit

Win

do

w b

ut

lets

yo

u r

epo

siti

on

it

on

th

e sc

reen

.

Pu

t N

ota

tio

n/C

ho

rd

s o

n T

op

mo

ves

th

e nota

tio

n w

indow

to

th

e to

p o

f th

e m

ain

scr

een

an

d m

ov

es t

he

pia

no

ro

ll a

t

the

bo

tto

m o

f th

e m

ain

scr

een.

Th

e M

ID

I M

on

ito

r,

Gu

ita

r T

un

er, an

d A

WE

Ed

ito

r i

tem

sla

un

ch t

he

sele

cted

mo

du

le.

Eac

h o

ne

has

ex

ten

siv

e

hel

p a

vai

lable

in

side

the

mo

dule

. T

her

e ar

e al

so b

utt

ons

avai

lable

for

thes

e it

ems.

Ch

ord

Su

bsti

tuti

on

Dia

log

(ch

oo

se y

ou

r o

wn

)

This

all

ow

s you t

o s

ee a

lis

t of

poss

ible

ch

ord

subst

ituti

ons

for

the

curr

ent

cho

rd p

rog

ress

ion.

You c

an a

lso a

cces

s it

fro

m a

rig

ht

mo

use

cli

ck o

n t

he

chord

shee

t, a

nd b

y p

ress

ing

th

e C

ho

rd S

ub

stit

uti

on b

utt

on

.

Au

to-G

en

erate

Ch

ord

Su

bsti

tuti

on

s…

Th

is w

ill

auto

mat

ical

ly p

ick

ch

ord

su

bst

itu

tio

ns

for

all

or

par

t o

f th

e so

ng

.

Ear T

rain

ing

Win

dow

You

can

pra

ctic

e yo

ur

ear

trai

nin

g w

ith

hel

p f

rom

Ban

d-i

n-a

-Box

. I

n a

dd

itio

n t

o t

he

com

mo

n i

nte

rval

ex

erci

ses

(per

fect

4th

, m

inor

2nd

, et

c.),

lea

rnin

g t

o p

lay-b

y-e

ar f

or

jazz

and

pop

mu

sic

is f

urt

her

en

han

ced

by e

ar t

rain

ing

exer

cise

s to

rec

ogniz

e co

mm

on c

hord

typ

es (

e.g

., M

ajo

r, M

inor,

Do

min

ant,

etc

.).

Ch

ord

Bu

ild

er s

ub

men

u

Ch

ord

Bu

ild

er…

All

ow

s you

to

bu

ild u

p c

ho

rds

usi

ng m

ou

se c

lick

s.

Pla

y C

urren

t C

hord

sh

eet

Ch

ord

This

funct

ion p

lays

the

curr

ent

chord

on t

he

chord

shee

t. It

is

mo

st c

om

mo

nly

acc

esse

d b

y p

ress

ing S

hif

t+E

nte

r o

n

the

chord

shee

t.

MID

I C

ho

rd

Dete

cti

on

You

can

en

ter

chord

s u

sing

the

MID

I k

eybo

ard. C

hoo

sin

g t

his

co

mm

and

wil

l b

rin

g u

p t

he

foll

ow

ing

su

bm

enu

.

Sel

ect

MID

I C

hord

Det

ecti

on…

and

pla

y a

ny c

hord

on y

our

MID

I k

eyb

oar

d. B

and-i

n-a

-Bo

x w

ill

then

pro

vid

e yo

u

wit

h u

p t

o 4

in

terp

reta

tio

ns

of

the

chord

you

pla

yed

, w

ith

its

bes

t su

gg

esti

on

at

the

top

and

alt

ern

ates

bel

ow

.

Ch

oo

se t

he

cho

rd y

ou w

ant

to h

ave

pas

ted

in

to y

our

son

g b

y c

lick

ing

th

e ap

pro

pri

ate

[En

ter]

bu

tton

bes

ide

the

cho

rd

nam

e.

You

can

inse

rt u

p t

o t

wo c

hord

s p

er b

ar i

n t

his

fas

hio

n, an

d m

ov

e b

ackw

ard

s an

d f

orw

ard

s in

a s

on

g w

ith t

he

[<]

[>]

bu

tton

s in

th

e to

p r

ight

sect

ion

of

the

dia

log

.

Tip

: Y

ou

ca

n a

lso

in

se

rt c

ho

rds t

his

wa

y w

ith

ou

t o

pe

nin

g u

p t

his

dia

log

. J

ust

pre

ss C

trl+

En

ter

ke

ys a

t a

ny t

ime

to

in

se

rt t

he

la

st

ch

ord

th

at

yo

u'v

e p

laye

d o

n y

ou

r M

IDI

ke

yb

oa

rd o

nto

th

e w

ork

sh

ee

t.

Chap

ter

14:

Ref

eren

ce

251

Help

Men

u

In

dex

Lis

ts a

ll o

f th

e H

elp

to

pic

s.

Typ

e in

a k

eyw

ord

und

er t

he

“In

dex

” ta

b t

o g

o t

o t

he

top

ic y

ou

wan

t.

Top

ic S

earch

O

pen

s th

e H

elp

fil

e w

her

e you

can

sea

rch

th

e T

able

of

Conte

nts

or

the

Index

, or

use

the

Sea

rch

feat

ure

to

fin

d y

our

top

ic.

Usin

g h

elp

H

as W

indo

ws

tip

s fo

r u

sin

g H

elp

fil

es.

How

to…

O

pen

s a

cate

gori

zed l

ist

of

topic

s.

It’s

a f

ast

way

to

fin

d o

ut

abo

ut

a p

arti

cula

r fe

ature

or

op

erat

ion

.

Ba

sic

s

Go

es d

irec

tly t

o t

he

“Bas

ics”

in

trodu

ctio

n t

o B

and

-in-a

-Box

.

Tu

toria

ls

Pro

vid

e d

etai

led

, st

ep-b

y-s

tep

in

stru

ctio

ns

for

Ban

d-i

n-a

-Box

.

Sh

ow

help

hin

ts

Ban

d-i

n-a

-Bo

x h

as c

om

pre

hen

siv

e fl

y-b

y h

ints

th

at a

pp

ear

wh

en y

ou m

ov

e ov

er a

n i

tem

. T

hes

e in

clud

e h

ints

fo

r th

e

dia

log b

ox

es a

nd v

ario

us

win

dow

s. Y

ou

can

set

th

e h

ints

to

dis

pla

y n

on

e, b

asic

, or

det

aile

d i

nfo

rmat

ion

. C

ust

om

ize

the

hin

t se

ttin

gs

in t

he

Prefs

2 d

ialo

g.

Up

da

te, A

dd

/On

an

d o

ther P

ro

du

ct

info

Oth

er B

and-i

n-a

-Box

ad

d-o

ns,

PG

Mu

sic

Inc.

pro

du

cts,

an

d c

on

tact

in

form

atio

n.

Read

Me (

for L

ate

st

info

not

in m

an

ua

l) d

ocu

men

ts t

he

late

st f

eatu

res,

plu

s an

arc

hiv

e of

earl

ier

updat

es.

New

est

Featu

res d

escr

ibes

th

e n

ew f

eatu

res

in t

he

curr

ent

ver

sion

.

Tip

of

the D

ay

Pow

er u

ser

tips,

th

is f

eatu

re c

an b

e se

t to

run a

uto

mat

ical

ly w

hen

Ban

d-i

n-a

-Box

op

ens.

If

you

wan

t to

ad

d y

ou

r

ow

n t

ips,

yo

u c

an e

dit

th

e B

BW

.TIP

fil

e.

Just

pu

t a

tip

on

a s

ing

le l

ine

(no c

arri

age

retu

rn t

ill

the

end

of

the

tip).

Tip

s ar

e li

mit

ed t

o 2

55

ch

arac

ters

per

tip

. B

and-i

n-a

-Bo

x a

uto

mat

ical

ly c

om

pil

es t

he

BB

W.T

IP f

ile

at s

tart

up o

f th

e

pro

gra

m t

o a

bin

ary f

ile

call

ed B

BW

.TP

B.

Wh

at

ad

d-o

ns d

o I

hav

e?…

On

e of

the

gre

ates

t st

reng

ths

of

Ban

d-i

n-a

-Bo

x i

s th

e ab

ilit

y t

o a

dd-o

n a

nd

en

han

ce t

he

pro

gra

m t

hro

ug

h a

dd-o

n

Sty

les,

So

lois

t, a

nd

Mel

od

ist

dis

ks.

T

he

“Wh

at A

dd

-on

s” f

eatu

re s

can

s you

r co

mp

ute

r's

Ban

d-i

n-a

-Bo

x d

irec

tory

Chap

ter

14:

Ref

eren

ce

252

and d

isp

lays

wh

at a

dd-o

ns

are

and

are

n't

foun

d. T

o s

ee t

he

late

st a

dd

-on

s cl

ick

on

the

[ ww

w.p

gm

usi

c.co

m/a

dd

on

s.h

tm]

bu

tto

n t

o g

o d

irec

tly t

o t

he

add

-on

s p

age

on

th

e P

G M

usi

c In

c. w

eb s

ite.

Web

ww

w.p

gm

usi

c.co

m

Lin

ks

to s

om

e im

po

rtan

t p

ages

on

th

e P

G M

usi

c In

c. w

eb s

ite.

S

elec

tin

g o

ne

of

thes

e to

pic

s w

ill

auto

mat

ical

ly

lau

nch

your

Web

Bro

wse

r, a

nd

dir

ect

you

to

th

e P

G M

usi

c w

eb s

ite.

Ab

ou

t B

an

d-i

n-a

-Box

lau

nch

es a

dia

log

wit

h k

ey i

nfo

rmat

ion

su

ch a

s th

e v

ersi

on

nu

mb

er y

ou

are

runn

ing

an

d

com

pu

ter

syst

em i

nfo

rmat

ion

.

Key

str

ok

e C

om

ma

nd

s -

Ho

t K

ey

s

It’s

oft

en f

aste

r to

use

key

stro

kes

in

stea

d o

f u

sing

th

e m

ou

se.

Fo

r ex

amp

le,

ther

e ar

e k

eyst

rok

e “h

ot

key

s” t

o m

ute

inst

rum

ents

or

to a

dju

st v

olu

me,

pan

nin

g, re

ver

b, ch

oru

s, o

r b

ank

of

inst

rum

ents

.

Mu

tin

g P

arts

Alt

+3

M

ute

s th

e B

ass

Alt

+4

M

ute

s th

e P

iano

Alt

+5

M

ute

s th

e D

rum

s

Alt

+6

M

ute

s th

e G

uit

ar

Alt

+7

M

ute

s th

e S

olo

ist

Alt

+8

M

ute

s th

e S

trin

gs

Alt

+9

M

ute

s th

e M

elo

dy

Sele

cti

ng

Pa

rts

Ctr

l+3

S

elec

ts t

he

Bas

s

Ctr

l+4

S

elec

ts t

he

Pia

no

Ctr

l+5

S

elec

ts t

he

Dru

ms

Ctr

l+6

S

elec

ts t

he

Gu

itar

Ctr

l+7

S

elec

ts t

he

So

lois

t

Ctr

l+8

S

elec

ts t

he

Str

ing

s

Ctr

l+9

S

elec

ts t

he

Mel

ody

In

str

um

en

t P

art

Sett

ing

s

Ho

ld d

ow

n C

trl+

Sh

ift

and

the

lett

er t

o c

han

ge

thes

e in

stru

men

t se

ttin

gs.

Q,W

Dec

reas

e/In

crea

se V

olu

me

E,R

Dec

reas

e/In

crea

se P

ann

ing

T,Y

Dec

reas

e/In

crea

se R

ever

b

U,I

Dec

reas

e/In

crea

se C

ho

rus

O,P

Dec

reas

e/In

crea

se B

ank

Chap

ter

14:

Ref

eren

ce

253

Use

Ctr

l+S

hif

t to

get

her

wit

h t

he

1-9

an

d 0

key

s on

th

e k

eyb

oar

d t

o s

elec

t F

avo

rite

In

stru

men

ts.

Fo

r ex

amp

le,

let’

s

chan

ge

the

Pia

no p

art

to R

hodes

Pia

no.

1.

Pre

ssC

trl+

4 t

o s

elec

t th

e P

ian

o p

art.

2.

Pre

ssC

trl+

Sh

ift+

2 t

o s

elec

t th

e F

avo

rite

#2. T

hat

is

Rhod

es P

iano

.

Use

Ctr

l+S

hif

t an

d t

he

[-]

and [

=]

key

s to

dec

reas

e/in

crea

se t

he

pat

ch b

y 1

.

Vo

lum

e S

ett

ing

s

Ctr

l+A

lt+

Sh

ift+

RS

et c

urr

ent

par

t’s

vo

lum

e.

Ctr

l+A

lt+

AD

ecre

ase

mas

ter

vo

lum

e b

y 5

.

Ctr

l+A

lt+

SIn

crea

se m

aste

r v

olu

me

by

5.

Ctr

l+A

lt+

DS

et m

aste

r v

olu

me.

Ctr

l+A

lt+

Sh

ift

Q

Red

uce

all

par

t vo

lum

es b

y 5

.

Ctr

l+A

lt+

Sh

ift

W

Incr

ease

all

par

t v

olu

mes

by 5

.

Ctr

l+A

lt+

Sh

ift

E

Set

all

par

t vo

lum

es.

Lo

op

ing

/ S

on

g N

av

iga

tio

n K

ey

str

ok

es

NU

MP

AD

1

Tog

gle

lo

op

ing o

n/o

ff.

NU

MP

AD

2

Op

en L

oop

Sec

tio

n S

etti

ng

s d

ialo

g.

Ctr

l+N

UM

PA

D 1

P

lay

wit

h l

ast

choru

s lo

op

ed.

Ctr

l+N

UM

PA

D 2

P

lay w

ith m

iddle

choru

ses

looped

.

Ctr

l+N

UM

PA

D 3

P

lay

wit

h m

iddle

an

d l

ast

choru

ses

loop

ed.

Ctr

l+N

UM

PA

D 4

Ju

mp

to

las

t ch

oru

s.

Ctr

l+N

UM

PA

D 5

Ju

mp

to

en

din

g.

Ctr

l+N

UM

PA

D 7

L

oo

p N

ota

tio

n s

cree

n.

NU

MP

AD

[D

EL

]A

dv

ance

s th

e n

ota

tion

, le

ad s

hee

t, a

nd g

uit

ar w

ind

ow

by o

ne

chord

(gro

up

of

no

tes)

.

NU

MP

AD

[IN

S]

Bac

ks

up t

he

nota

tion,

lead

shee

t, a

nd

gu

itar

win

dow

by o

ne

cho

rd.

Tra

nsp

ose S

ett

ing

s

Ctr

l+A

lt+

1

Tra

nsp

ose

Mel

od

y d

ow

n o

ne

oct

ave

Ctr

l+A

lt+

2

Tra

nsp

ose

Mel

od

y u

p o

ne

oct

ave

Ctr

l+A

lt+

3

Tra

nsp

ose

So

lois

t dow

n o

ne

oct

ave

Ctr

l+A

lt+

4

Tra

nsp

ose

Solo

ist

up o

ne

oct

ave

Ctr

l+A

lt+

5

Tra

nsp

ose

do

wn

1 s

emit

on

e.

Ctr

l+A

lt+

6

Tra

nsp

ose

up

1 s

emit

on

e.

Ctr

l+A

lt+

7T

ransp

ose

set

tin

g d

ialo

g.

Cu

sto

m F

ile O

pen

Dia

log

Ctr

l+S

hif

t+F

3L

oad

so

ng

wit

h c

ust

om

fil

e dia

log

.

Alt

+F

In c

ust

om

fil

e d

ialo

g -

Fav

ori

te F

old

ers.

Alt

+N

In

cu

sto

m f

ile

dia

log -

Fo

nt

sele

ctio

n.

Alt

+S

In c

ust

om

fil

e d

ialo

g -

Sea

rch d

ialo

g.

Win

dow

s

Ctr

l+W

Tog

gle

No

tati

on

an

d C

ho

rdsh

eet

win

dow

s.

Ctr

l+O

Mo

vab

le N

ota

tio

n w

indo

w.

Alt

+W

Lea

d S

hee

t w

ind

ow

.

Chap

ter

14:

Ref

eren

ce

254

Ctr

l+T

Pu

t N

ota

tion

/Ch

ord

s at

top

of

scre

en.

Ctr

l+S

hif

t+A

A

ud

io E

dit

win

dow

.

Ctr

l+S

hif

t+D

Dru

m K

it w

indo

w.

Ctr

l+S

hif

t+G

Gu

itar

win

dow

.

Ctr

l+S

hif

t+J

E

ar t

rain

ing

win

dow

.

Ctr

l+S

hif

t+L

B

ig L

yri

cs w

ind

ow

.

Ctr

l+S

hif

t+N

B

ig P

iano

win

dow

.

Sty

leM

ak

er H

ot

Key

s

F1,

Sh

ift+

F1, C

trl+

F1

Hel

p

F2

Sav

e st

yle

Alt

+F

2

Sav

e st

yle

as

...

Ro

r F

3

Rec

ord

pat

tern

<S

pa

ceb

ar>

or

F4

P

lay p

atte

rn

F8

Pla

y p

atte

rn o

n c

ho

rd

F1

0E

dit

pat

tern

opti

on

s

F6

or

Sh

ift+

F6

C

han

ge

inst

rum

ent

Cu

rso

r K

ey

s

Mo

ve

aro

un

d s

cree

n

Alt

+F

4

Quit

the

Sty

leM

aker

Sty

leM

ak

er D

ru

m S

creen

Ho

t K

eys

F5

Dru

m a

lter

nat

e note

s

Bo

tto

m r

ow

(Z

XC

VB

NM

,. /

) D

rum

no

te e

ntr

y

F6

Tim

e b

ase

F1

0o

r A

lt+

F4

Ex

it

Ad

dit

ion

al

Keystr

ok

es

Th

ere

are

add

itio

nal

key

stro

kes

av

aila

ble

, li

sted

on t

he

pull

dow

n m

enus

bes

ide

the

funct

ion.

Hot

key

s m

ay a

cces

s

any f

un

ctio

n o

n t

he

pu

ll-d

ow

n m

enu

by p

ress

ing t

he

Alt

key

an

d t

he

firs

t le

tter

of

the

Men

u f

oll

ow

ed b

y t

he

und

erli

ned

let

ter

of

the

com

man

d.

For

exam

ple

, A

lt+

F+

O w

ould

acc

ess

Fil

e |

Op

en.

No

te:

It

is n

ece

ssa

ry t

o t

ap

th

e s

pa

ce

ba

r tw

ice

on

th

e m

ain

scre

en

to

sta

rt p

layb

ack b

eca

use

en

teri

ng

ch

ord

s c

an

in

clu

de

a

sin

gle

sp

ace

ba

r.

In t

he

Sty

leM

ake

r, y

ou

sta

rt s

on

gs b

y h

ittin

g t

he

sp

ace

ba

r o

nce

. I

n t

he

Op

t. | P

refe

ren

ce

s m

en

us,

the

re

are

oth

er

wa

ys t

ha

t th

e S

PA

CE

BA

R c

an

be

se

t to

wo

rk.

Pla

yin

g s

on

gs.

S

pa

ceb

ar t

wic

e or

F4

Sto

pp

ing

song

s.

Sp

aceb

ar o

r E

sc

Hel

p.

F1,

Sh

ift+

F1, C

trl+

F1

Rec

ord

(m

elo

dy o

r p

atte

rn).

R

Rec

ord

fro

m a

ny b

ar.

R

Jukeb

ox

sta

rt/s

top

. F

8

Sav

e so

ng

. F

2

Sav

e so

ng

wit

h p

atch

es.

Alt

+F

2

Lo

ad s

on

g.

F3

Lo

ad s

ong

usi

ng

fav

ori

te s

on

g l

ist.

S

hif

t+F

3

Lo

ad s

ong

usi

ng

tit

les

win

dow

. C

trl+

F3

Lo

ad s

ong

s w

ith

mel

od

ies.

A

lt+

F3

Chap

ter

14:

Ref

eren

ce

255

Lo

ad s

ong

wit

h s

tan

dar

d l

ong

fil

e d

ialo

g.

Alt

+S

hif

t+F

3

Lo

ad n

ext

file

(al

ph

abet

ical

by f

ile

nam

e).

Sh

ift+

F8

Lo

ad p

rev

iou

s (a

lph

abet

ical

by f

ile

nam

e).

Ctr

l+S

hif

t+F

8

Lo

ad n

ext

style

. (

in a

lph

abet

ical

ord

er).

A

lt+

Sh

ift+

F8

Lo

ad p

rev

iou

s st

yle

. (

in a

lphab

etic

al o

rder

).

Ctr

l+A

lt+

Sh

ift+

F8

En

able

/dis

able

sty

le.

Alt

+S

th

en E

Lau

nch

MID

I F

ile

to S

tyle

Wiz

ard.

Alt

+S

th

en W

Lo

ad s

ong

s in

curr

ent

style

. F

7

Ch

oo

se a

use

r st

yle

. F

9

Op

en S

tyle

Pic

ker

. C

trl+

F9

Sel

ect

favori

te s

tyle

s.

Sh

ift+

F9

Ed

it u

ser

style

. A

lt+

F9

Edit

curr

ent

style

. C

trl+

Sh

ift+

F9

Tu

rn s

ong

Em

bel

lish

er o

n/o

ff.

Ctr

l+A

lt+

E

Imp

ort

chord

s fr

om

MID

I fi

le.

Ctr

l+A

lt+

I

Sen

d G

M m

ode

on

mes

sag

e.

Ctr

l+A

lt+

Q

Set

tem

po

. C

trl+

Alt

+T

Open

th

e P

refe

rence

s dia

log.

Ctr

l+E

Op

en t

he

Son

g S

etti

ng

s d

ialo

g.

Ctr

l+N

Lau

nch

Cho

rd B

uil

der

. C

trl+

Sh

ift+

B

Ed

it c

urr

ent

bar

op

tion

s.

F5

Sav

e M

IDI

file

. F

6

Qu

it t

he

pro

gra

m.

Alt

+F

4

Ch

ord

Lis

t

Co

mm

on

ly u

sed

ch

ord

s a

re d

isp

lay

ed

here i

n b

old

typ

e.

Th

ese

cho

rds

are

dis

pla

yed

in

a l

ist

in t

he

Cho

rd B

uil

der

Dia

log

, ac

cess

ible

fro

m t

he

Use

r M

enu o

r by r

ight

clic

kin

g

on t

he

cho

rdsh

eet.

Majo

r C

ho

rd

s

C,

Cm

aj,

C6

, C

ma

j7, C

ma

j9,

Cm

aj1

3, C

69

, C

maj

7#

5,

C5

b,

Cau

g,

C+

, C

maj

9#11

, C

maj

13#

11

Min

or C

ho

rd

s

Cm

, C

m6

, C

m7

, C

m9

, C

m1

1, C

m1

3,

Cm

aug

, C

m#

5,

Cm

Maj

7

(hal

f d

imin

ish

ed)

Cm

7b

5,

Dim

inis

hed

Cd

im

Do

min

an

t 7

th C

ho

rd

s

C7, 7

+,

C9

+, C

13

+, C

13

, C

7b

13

, C

7#1

1, C

13#1

1, C

7#11b

13

, C

9,

C9

b13

, C

9#11

, C

13

#11

, C

9#11

b13

, C

7b

9, C

13b9

, C

7b

9b13

, C

7b

9#1

1,

C1

3b9

#11

, C

7b

9#1

1b1

3, C

7#

9, C

13#9

, C

7#

9b1

3, C

9#11

, C

13

#9#

11

, C

7#

9#1

1b1

3

C7

b5

, C

13

b5

, C

7b5b

13

, C

9b5

, C

9b

5b1

3, C

7b5b

9, C

13b5b

9, C

7b5b

9b13

,

Chap

ter

14:

Ref

eren

ce

256

C7

b5#

9, C

13b5

#9

, C

7b5

#9b1

3, C

7#5

, C

13#

5, C

7#5#

11

, C

13#5

#11

, C

9#

5,

C9

#5#

11

, C

7#5

b9

, C

13#

5b9

, C

7#

5b9

#11

, C

13#5

b9#

11

, C

7#5#

9, C

13#5#

9#1

1,

C7

#5#

9#1

1, C

13#5

#9#

11

Su

sta

ined

4 C

hord

s

Csu

s,C

7su

s, C

9su

s,

C1

3su

s, C

7su

sb13

, C

7su

s#1

1,

C13

sus#

11

, C

7su

s#11

b13

, C

9su

sb13

, C

9su

s#1

1,

C13

sus#

11,

C9

sus#

11

b1

3,

C7

susb

9,

C1

3su

sb9

, C

7su

sb9b1

3, C

7su

sb9

#11

,

C1

3su

sb9

#11

, C

7su

sb9#

11b

13

, C

7su

s#9, C

13

sus#

9, C

7su

s#9b1

3, C

9su

s#1

1, C

13

sus#

9#1

1, C

7su

s#9#

11

b13

,

C7

susb

5, C

13

susb

5, C

7su

sb5b

13

, C

9su

sb5

, C

9su

sb5b

13

, C

7su

sb5b

9,

C1

3su

sb5

b9

, C

7su

sb5b

9b1

3, C

7su

sb5#

9, C

13

susb

5#

9, C

7su

sb5#9

b13

,

C7

sus#

5, C

13

sus#

5, C

7su

s#5#

11

, C

13

sus#

5#

11

, C

9su

s#5

, C

9su

s#5#

11

, C

7su

s#5b

9, C

13su

s#5b9

, C

7su

s#5

b9#

11

,

C1

3su

s#5

b9#

11

, C

7su

s#5#9

, C

13

sus#

5#9#

11

, C

7su

s#5#9

#1

1, C

13

sus#

5#9

#11

,

No

tes:

- It

is n

ot

ne

ce

ssa

ry t

o t

yp

e u

pp

er

or

low

er

ca

se

. T

he

pro

gra

m w

ill s

ort

th

is o

ut

for

yo

u.

- A

ny c

ho

rd m

ay b

e e

nte

red

with

an

alte

rna

te r

oo

t (“

Sla

sh

Ch

ord

”) e

.g.:

C7

/E

= C

7 w

ith

E b

ass.

- S

ep

ara

te c

ho

rds w

ith

co

mm

as t

o e

nte

r 2

ch

ord

s in

a 2

be

at

ce

ll, e

.g.,

Dm

,G7

Tric

ky

Ch

ord

s:

C

5b

Th

is i

s “C

fla

t 5

.” It

is

spel

led

th

is w

ay t

o a

vo

id c

onfu

sion

.

C

2,

C5

, C

4, C

69,

C7

alt,

Cm

7#

5

Y

ou

can

typ

e C

-7 f

or

Cm

7

(i.e

. use

th

e m

inu

s si

gn)

or

C7-9

for

C7

b9

.

Sh

ortc

ut

Ch

ord

s:

If y

ou e

nte

r a

lot

of

songs,

you'll

appre

ciat

e th

ese

short

cut

key

s.

J =

Maj

7

H =

m7

b5

(H s

tand

s fo

r H

alf

dim

inis

hed

)

D =

dim

S =

Su

s

Ex

amp

le:

To

typ

e C

Maj

7 ,

just

typ

e C

J (i

t w

ill

be

ente

red

as

CM

aj7

)

Ad

d y

ou

r o

wn

ch

ord

sh

ortc

uts

.

Hav

e you

found

a c

ho

rd t

hat

Ban

d-i

n-a

-Bo

x d

oes

n't

reco

gniz

e? If

so

, ad

d i

t to

yo

ur

cho

rd s

ho

rtcu

ts f

ile,

and

Ban

d-

in-a

-Box

wil

l al

low

you

to

type

in t

hat

cho

rd i

n t

he

futu

re.

Th

is a

lso

let

s yo

u d

efin

e ch

ord

“sh

ort

cuts

,” o

ne-

lett

er

abbre

via

tions

for

longer

ch

ord

nam

es (

“J”

for

“Maj

7”

etc.

). If

yo

u f

ind

a c

ho

rd t

hat

Ban

d-i

n-a

-Bo

x w

on

't ac

cep

t li

ke

Csu

s2, w

hen

it

expec

ts C

2 i

nst

ead y

ou c

an e

nte

r th

is o

n a

sin

gle

lin

e (w

itho

ut

the

quo

tes)

“C

sus2

@C

2.”

T

hen

Ban

d-i

n-a

-Bo

x w

ill

ente

r th

e ch

ord

C2 i

f you

typ

e in

Csu

s 2

.

Th

e te

xt

file

c:\

bb

\Sho

rtcu

t.tx

t al

low

s yo

u t

o a

dd n

ew c

ho

rd s

ho

rtcu

ts.

No

te t

hat

th

is f

ile

do

esn

't s

hip

wit

h B

and

-in

-

a-B

ox

(or

it w

ou

ld o

ver

wri

te y

our

file

!).

Th

e fi

le \

bb

\pg

short

c.tx

t fo

r sh

ort

cuts

su

pp

lied

by P

G M

usi

c. Y

ou c

an a

dd

yo

ur

ow

n s

ho

rtcu

ts i

n a

tex

t fi

le y

ou

mak

e you

rsel

f an

d n

ame

\bb

\sho

rtcu

t.tx

t.

Ba

nd

-in

-a-B

ox

fil

es

Essen

tia

l P

ro

gra

m F

iles

Ban

d-i

n-a

-Bo

x f

or

Win

do

ws

req

uir

es t

he

foll

ow

ing f

iles

to o

per

ate.

BB

W.E

XE

Ex

ecu

tab

le f

ile.

Chap

ter

14:

Ref

eren

ce

257

BB

WD

LL

4.D

LL

D

LL

han

dli

ng

pla

yb

ack.

CP

AL

ET

TE

.DL

L

Req

uir

ed D

LL

.

ZZ

*.S

TY

B

and-i

n-a

-Bo

x n

eed

s S

tyle

Fil

es f

or

the

bu

ilt-

in S

tyle

s.

ZZ

DE

FA

UL

T.H

AR

T

hes

e ar

e th

e d

efau

lt h

arm

on

ies.

BB

W.L

ST

Th

is i

s th

e te

xt

file

fo

r th

e S

tyle

Lis

t In

form

atio

n.

CT

L3

DV

2.D

LL

Th

is i

s th

e re

qu

ired

DL

L f

or

3D

dia

log

s an

d c

on

tro

ls.

PG

MU

S.T

TF

P

G M

usi

c n

ota

tio

n f

on

t.

PG

TE

XT

.TT

F

P

G M

usi

c te

xt

fon

t.

Tran

sfe

rrin

g F

iles A

mon

g C

om

pu

ter P

latf

orm

s (

IB

M t

o M

ac)

Man

y o

f th

e B

and-i

n-a

-Bo

x s

ong

/sty

le a

nd

pat

ch m

ap f

iles

are

dir

ectl

y c

om

pat

ible

. A

ny M

acin

tosh

fil

e

auto

mat

ical

ly g

ets

a 12

8-b

yte

hea

der

add

ed o

n t

o i

t b

y t

he

Mac

into

sh s

yst

em.

If t

ran

sfer

ring

th

e fi

les

by m

od

em,

mak

e su

re t

he

Mac

into

sh m

od

em s

oft

war

e st

rip

s off

th

e h

ead

er o

ff t

he

file

s.

Oth

er t

han

th

at,

the

file

s ar

e id

enti

cal.

No

te:

Ata

ri f

iles a

re t

he

sa

me

fo

rma

t a

s I

BM

file

s; n

o c

on

ve

rsio

n is n

ee

de

d.

PG

Mu

sic

Inc.

2

58

PG

Mu

sic

In

c.

Ba

nd

-in

-a-B

ox

®

is p

rote

cted

by c

opyri

ght

and i

s th

e p

rop

erty

of

PG

Mu

sic

Inc.

Copyri

ght

© 1

989-2

004 P

G M

usi

c In

c.

All

rig

hts

res

erv

ed.

PG

MU

SIC

IN

C.

29

Cad

illa

c A

ven

ue

Vic

tori

a, B

C V

8Z

1T

3

Can

ada

Con

tacts

:

E-m

ail

:in

fo@

pg

mu

sic.

com

Ph

on

e:

toll

fre

e in

th

e U

nit

ed S

tate

s an

d C

anad

a

1-8

00

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27

2, 1

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8-P

G-M

US

IC (

746

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42)

Or

1-2

50

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874

Un

iversa

l In

tern

ati

on

al

Freep

hon

e S

erv

ice:

Outs

ide

of

the

Unit

ed S

tate

s an

d C

anad

a (w

her

e av

aila

ble

).

+ 8

00-4

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MU

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(80

0-4

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Fa

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toll

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e in

th

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anad

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1-8

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,

or

1-2

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Tech

nic

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Su

pp

ort:

Ph

on

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toll

fre

e in

th

e U

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tate

s an

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anad

a

1-8

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HP

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866

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1-2

50

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708

E-m

ail

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pp

ort

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mu

sic.

com

Liv

e I

nte

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at:

ww

w.p

gm

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c.co

m

Be

su

re t

o v

isit t

he

FA

Q p

ag

es a

t w

ww

.pg

mu

sic

.co

m f

or

info

rma

tio

n a

bo

ut

kn

ow

n t

rou

ble

sh

oo

tin

g issu

es a

s w

ell

as t

he

la

test

tech

nic

al su

pp

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bu

lletin

s.

<copyright>

VARIATION 5(Computer Music) LIANA ALEXANDRAALLEGRO

&44d = 100

S

ddd-

ddd

dd ddd dd

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v ddd dddd dd d

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ddd

d-d-dd-d

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dd.dd ddd

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dddd- dd

dd.d d-d

d

d

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d d-dd- dd

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u didddd dddd-ddd

ddddvdddddd

u ddddd dddd dd ddd-dd-d

dd d vdddd ddd ddddd d d d-dd-d

dddddd

ddddddddd

ddddd dd ddd-dd-d

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ddddd ddd ddd-dd-d

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ddddd dddd-dd- dd

dddddddddd

v

dd

d u dddddv

d-d. ddd dd-d

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v t v did v u `djdju ` t v d- d

ddd

vd dju ` v

did

v t u `djdju ` s u `

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djdju ` s s t v d- d

d%44 r r r r r r r

& ddddd-

ddddd

ddddddd dddd

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d-ddd

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d dddddd

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d

dddddd

d dddddddd

ddd dd

dddddd

dddddd

dddd-

dddddd dC

dd ddd

Cd.d

dd-d

d-

dvd d

d

dd.d

d-d dC d

dd

dd.dd d-d

ddd+

d

ddd

d

ddd ddd

d

ddd d-dd

dv

d.d+ d. dd+ ddd+ ddd

d d `d `d `d `C dd

ddd+ddd-

ddd+dd.dddddd

ddd+ ddddddd

ddd+dd.ddd

dddd

v dd.d ddd

d dd

d.d+ ddd+dd

dd+ dddd. dd

d-

d

d-d-d

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d

d dd

d

d dd

d

d- dd+

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d d. d

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