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<LI><A NAME="tex2html298"
HREF="node3.html#SECTION00310000000000000000"><I><B>MMA</B></I> Tracks</A>
<LI><A NAME="tex2html299"
HREF="node3.html#SECTION00320000000000000000">Track Channels</A>
<LI><A NAME="tex2html300"
HREF="node3.html#SECTION00330000000000000000">Track Descriptions</A>
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<LI><A NAME="tex2html301"
HREF="node3.html#SECTION00331000000000000000">Drum</A>
<LI><A NAME="tex2html302"
HREF="node3.html#SECTION00332000000000000000">Chord</A>
<LI><A NAME="tex2html303"
HREF="node3.html#SECTION00333000000000000000">Arpeggio</A>
<LI><A NAME="tex2html304"
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<LI><A NAME="tex2html305"
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<LI><A NAME="tex2html306"
HREF="node3.html#SECTION00336000000000000000">Walk</A>
<LI><A NAME="tex2html307"
HREF="node3.html#SECTION00337000000000000000">Solo and Melody</A>
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<LI><A NAME="tex2html308"
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<H1><A NAME="SECTION00300000000000000000"></A>
<A NAME="sec-tracks"></A>
<BR>
Tracks and Channels
</H1>
<P>
This chapter discusses <I><B>MMA</B></I> tracks and MIDI channels. If you are reading this manual for the first time you might find some parts confusing. If you do just skip ahead--you can run <I><B>MMA</B></I> without knowing many of these details.
<P>
<H1><A NAME="SECTION00310000000000000000">
<I><B>MMA</B></I> Tracks</A>
</H1>
<P>
To create your accompaniment tracks, <I><B>MMA</B></I> divides output into several internal tracks. There are a total of 8 different types of tracks, and an unlimited number of sub-tracks.
<P>
When <I><B>MMA</B></I> is initialized there are no tracks assigned; however, as your library and song files are processed various tracks will be created Each created a unique name. The track types are discussed later in this chapter, but for now they are <I>Bass</I>, <I>Chord</I>, <I>Walk</I>, <I>Drum</I>, <I>Arpeggio</I>, <I>Scale</I>, <I>Melody</I> and <I>Solo</I>.
<P>
All tracks are named by appending a ``-'' and``name'' to the type-name. This makes it very easy to remember the names, without any complicated rules. So, drum tracks can have names ``Drum-1'', ``Drum-Loud'' or even ``Drum-a-long-name''. The other tracks follow the same rule.
<P>
In addition to the hyphenated names described above, you can also name a track using the type-name. So, ``DRUM'' is a valid drum track name. In our library files we usually use the type-name to describe patterns.
<P>
All track names are case insensitive. This means that the names ``Chord-Sus'', ``CHORD-SUS'' and ``CHORD-sus'' all refer to the same track.
<P>
If you want to see the names defined in a song, just run <I><B>MMA</B></I> on the file with the ``-c'' command line option.
<P>
<H1><A NAME="SECTION00320000000000000000">
Track Channels</A>
</H1>
<P>
MIDI defines 16 distinct channels numbered 1 to 16.<A NAME="tex2html11"
HREF="#foot707"><SUP>3.1</SUP></A> There is nothing which says that ``chording'' should be sent to a specific channel, but the drum channel should always be channel 10.<A NAME="tex2html12"
HREF="#foot708"><SUP>3.2</SUP></A>
<P>
For <I><B>MMA</B></I> to produce any output, a MIDI channel must be assigned to a track.
During initialization all of the DRUM tracks are assigned to special MIDI channel 10. As musical data is created other MIDI channels are assigned to various tracks as needed.
<P>
Channels are assigned from 16 down to 1. This means that the lower numbered channels will most likely not be used, and will be available for other programs or as a ``keyboard'' track on your synth.
<P>
In most cases this will work out just fine. However, there are a number of methods you can use to set the channels ``manually.'' You might want to read the sections on <I>Channel</I> (<A HREF="node16.html#set-channel"><IMG ALIGN="BOTTOM" BORDER="1" ALT="[*]"
SRC="file:/usr/lib/latex2html/icons/crossref.png"></A>), <I>ChShare</I> (<A HREF="node16.html#set-chshare"><IMG ALIGN="BOTTOM" BORDER="1" ALT="[*]"
SRC="file:/usr/lib/latex2html/icons/crossref.png"></A>), <I>On</I> (<A HREF="node17.html#set-on"><IMG ALIGN="BOTTOM" BORDER="1" ALT="[*]"
SRC="file:/usr/lib/latex2html/icons/crossref.png"></A>), and <I>Off</I> (<A HREF="node17.html#set-off"><IMG ALIGN="BOTTOM" BORDER="1" ALT="[*]"
SRC="file:/usr/lib/latex2html/icons/crossref.png"></A>).
<P>
Why bother with all these channels? It would be much easier to put all the information onto one channel, but this would not permit you to set special effects (like <I>Portamento</I> or <I>Pan</I>) for a specific track. It would also mean that all your tracks would need to use the same instrumentation.
<P>
<H1><A NAME="SECTION00330000000000000000">
Track Descriptions</A>
</H1>
<P>
You might want to come back to this section after reading more of the manual. But, somewhere we need to describe the different track types, and why they exist.
<P>
Musical accompaniment comes in a combination of the following:
<P>
<UL>
<LI>Chords played in a rhythmic or sustained manner,
<P>
</LI>
<LI>Single notes from chords played in a sustained manner,
<P>
</LI>
<LI>Bass notes. Usually played one at a time in a rhythmic manner,
<P>
</LI>
<LI>Scales, or parts of scales. Usually as an embellishment,
<P>
</LI>
<LI>Single notes from chords played one at time: arpeggios.
<P>
</LI>
<LI>Drums and other percussive instruments played rhythmically.
<P>
</LI>
</UL>
<P>
Of course, this leaves the melody ... but that is up to you, not <I><B>MMA</B></I>...
but, if you suspect that some power is missing here, read the brief description of <I>Solo</I> and <I>Melody</I> tracks (<A HREF="node3.html#sec-solo"><IMG ALIGN="BOTTOM" BORDER="1" ALT="[*]"
SRC="file:/usr/lib/latex2html/icons/crossref.png"></A>) and the complete ``Solo and Melody Tracks'' chapter (<A HREF="node10.html#chap-solo"><IMG ALIGN="BOTTOM" BORDER="1" ALT="[*]"
SRC="file:/usr/lib/latex2html/icons/crossref.png"></A>).
<P>
<I><B>MMA</B></I> comes with several types of tracks, each designed to fill different accompaniment roles. However, it's quite possible to use a track for different roles than originally envisioned. For example, the bass track can be used to generate a single, sustained treble note--or, by enabling <I>Harmony</I> multiple notes.
<P>
The following
sections describe the tracks and give a few suggestions on their uses.
<P>
<H2><A NAME="SECTION00331000000000000000">
Drum</A>
</H2>
<P>
Drums are the first thing we usually think about when we hear the word ``accompaniment''. All <I><B>MMA</B></I> drum tracks share MIDI channel 10, which is a GM MIDI convention. Drum tracks play single notes determined by the <I>Tone</I> setting for a particular sequence.
<P>
<H2><A NAME="SECTION00332000000000000000">
Chord</A>
</H2>
<P>
If you are familiar with the sound of guitar strumming, then you're familiar with the sound of a chord. <I><B>MMA</B></I> chord tracks play a number of notes, all at the same time. The volume of the notes (and the number of notes) and the rhythm is determined by pattern definitions. The instrument used for the chord is determined by the <I>Voice</I> setting for a sequence.
<P>
<H2><A NAME="SECTION00333000000000000000">
Arpeggio</A>
</H2>
<P>
In musical terms an <B>arpeggio</B><A NAME="tex2html13"
HREF="#foot733"><SUP>3.3</SUP></A> is the notes of a chord played one at a time. <I><B>MMA</B></I> arpeggio tracks take the current chord and, in accordance to the current pattern, play single notes from the chord. The choice of which note to play is mostly decided by <I><B>MMA</B></I>. You can help it along with the <I>Direction</I> modifier.
<P>
We use <I>Arpeggio</I> tracks quite often to highlight rhythms. Using the <I>RSkip</I> directive produces broken arpeggios.
<P>
Using different note length values in patterns helps to make interesting accompaniments.
<P>
<H2><A NAME="SECTION00334000000000000000">
Scale</A>
</H2>
<P>
Another embellishment. When <I><B>MMA</B></I> plays a scale, it first determines the current chord. Its scales are started on the first note of the chord (if the chord is a C7, the scale will be a C scale). Currently, three types of scales are supported: major, natural minor and chromatic.
<P>
The major scale is selected for all chords which are not of a minor flavor, or if the <I>ScaleType</I> is set to <I>Major</I>.
<P>
The natural minor scale is selected for all ``minor'' chords. This includes chords such as ``Cm7'', ``G#m13'', etc. If the <I>ScaleType</I> is set to <I>Minor</I> this scale is always used.
<P>
If the <I>ScaleType</I> is set to <I>Chromatic</I>, then a chromatic scale is used.
<P>
<I><B>MMA</B></I> plays successive notes of a scale. The timing and length of the notes is determined by the current pattern. Depending on the <I>Direction</I> setting, the notes are played up, down or up and down the scale.
<P>
<H2><A NAME="SECTION00335000000000000000">
Bass</A>
</H2>
<P>
<I>Bass</I> tracks are designed to play single notes for a chord for standard bass patterns. The note to be played, as well as its timing, is determined by the pattern definition. The pattern defines which note from the current chord to play. For example, a standard bass pattern might alternate the playing of the root and fifth notes of a scale or chord. You could also use <I>Bass</I> tracks to play single, sustained treble notes.
<P>
<H2><A NAME="SECTION00336000000000000000">
Walk</A>
</H2>
<P>
The <I>Walk</I> tracks are designed to imitate ``walking bass'' lines. Traditionally, they are played on bass instruments like the upright bass, bass guitar or tuba.
<P>
A <I>Walk</I> track uses a pattern to define the note timing and volume. Which
note is played is determined from the current chord and a simplistic algorithm. There is no user control over the note selection.
<P>
<H2><A NAME="SECTION00337000000000000000"></A>
<A NAME="sec-solo"></A>
<BR>
Solo and Melody
</H2>
<P>
<I>Solo</I> and <I>Melody</I> tracks are used for arbitary note data. Most likely, this is a melody or counter-melody ...but these tracks can also be used to create interesting ending, introductions or transitions.
<P>
<H1><A NAME="SECTION00340000000000000000">
Silencing a Track</A>
</H1>
<P>
There a number of ways to silence a track:
<P>
<UL>
<LI>Use the <I>Off</I> (page <A HREF="node17.html#set-off"><IMG ALIGN="BOTTOM" BORDER="1" ALT="[*]"
SRC="file:/usr/lib/latex2html/icons/crossref.png"></A>) command to stop the generation of MIDI data,
<P>
</LI>
<LI>Disable the sequence for the bar with an empty sequence (page <A HREF="node5.html#sequence-clear"><IMG ALIGN="BOTTOM" BORDER="1" ALT="[*]"
SRC="file:/usr/lib/latex2html/icons/crossref.png"></A>).
<P>
</LI>
<LI>Delete the entire sequence with <I>SeqClear</I> (page <A HREF="node5.html#sec-seqclear"><IMG ALIGN="BOTTOM" BORDER="1" ALT="[*]"
SRC="file:/usr/lib/latex2html/icons/crossref.png"></A>).
<P>
</LI>
<LI>Disable the MIDI channel with a ``Channel 0'' (page <A HREF="node16.html#channel0"><IMG ALIGN="BOTTOM" BORDER="1" ALT="[*]"
SRC="file:/usr/lib/latex2html/icons/crossref.png"></A>).
<P>
</LI>
</UL>
<P>
Please refer to the appropiate sections on this manual for further details.
<P>
<P>
<BR><HR><H4>Footnotes</H4>
<DL>
<DT><A NAME="foot707">... 16.</A><A
HREF="node3.html#tex2html11"><SUP>3.1</SUP></A></DT>
<DD>We use the values 1 to 16 in this document. Internally they are stored as values 0 to 15.
</DD>
<DT><A NAME="foot708">... 10.</A><A
HREF="node3.html#tex2html12"><SUP>3.2</SUP></A></DT>
<DD>This is not a MIDI rule, but a convention established in the GM (General MIDI) standard. If you want to find out more about this, there are lots of books on MIDI available.
</DD>
<DT><A NAME="foot733">...arpeggio</A><A
HREF="node3.html#tex2html13"><SUP>3.3</SUP></A></DT>
<DD>The term is derived from the Italian ``to play like a harp''.
</DD>
</DL><HR>
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Bob
2004-12-02
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