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<A NAME="CHILD_LINKS"><STRONG>Subsections</STRONG></A>

<UL CLASS="ChildLinks">
<LI><A NAME="tex2html620"
  HREF="node10.html#SECTION001010000000000000000">Note Data Format</A>
<UL>
<LI><A NAME="tex2html621"
  HREF="node10.html#SECTION001011000000000000000">Chord Extensions</A>
<LI><A NAME="tex2html622"
  HREF="node10.html#SECTION001012000000000000000">Accents</A>
<LI><A NAME="tex2html623"
  HREF="node10.html#SECTION001013000000000000000">Long Notes</A>
<LI><A NAME="tex2html624"
  HREF="node10.html#SECTION001014000000000000000">Using Defaults</A>
<LI><A NAME="tex2html625"
  HREF="node10.html#SECTION001015000000000000000">Stretch</A>
<LI><A NAME="tex2html626"
  HREF="node10.html#SECTION001016000000000000000">Other Commands</A>
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<LI><A NAME="tex2html627"
  HREF="node10.html#SECTION001020000000000000000">AutoSoloTracks</A>
<LI><A NAME="tex2html628"
  HREF="node10.html#SECTION001030000000000000000">Drum Solo Tracks</A>
<LI><A NAME="tex2html629"
  HREF="node10.html#SECTION001040000000000000000">Arpeggiation</A>
<LI><A NAME="tex2html630"
  HREF="node10.html#SECTION001050000000000000000">Sequence</A>
<LI><A NAME="tex2html631"
  HREF="node10.html#SECTION001060000000000000000">Voicing</A>
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<HR>

<H1><A NAME="SECTION001000000000000000000"></A>
<A NAME="chap-solo"></A>
<BR>
Solo and Melody Tracks
</H1>

<P>
So far the creation of accompaniment tracks using drum and chord
patterns has been discussed. However, there are times when chording
(and chord variations such as arpeggios) are not sufficient. Sometimes
you might want a real melody line!

<P>
While reading this chapter, don't forget that you can easily add
H<SMALL>ARMONY</SMALL> to your S<SMALL>OLO</SMALL> tracks (see
<A HREF="node15.html#sec-harmony">here</A> for details). You can even
import (see M<SMALL>IDI</SMALL>I<SMALL>NC</SMALL> <A HREF="node24.html#midi-inc">here</A>)
an existing MIDI track (maybe a melody you've plunked out on a
keyboard) and have 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  insert that into your song as a S<SMALL>OLO</SMALL>
and apply A<SMALL>RTICULATION</SMALL> and H<SMALL>ARMONY</SMALL> to it ... imagine
how good you may sound!

<P>

<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  has two internal track types reserved for melodic lines. They
are the S<SMALL>OLO</SMALL> and M<SMALL>ELODY</SMALL> tracks. These two track types
are identical with two major exceptions:

<P>

<UL>
<LI>S<SMALL>OLO</SMALL> tracks are only initialized once, at start up.
  Commands like S<SMALL>EQ</SMALL>C<SMALL>LEAR</SMALL> are ignored by S<SMALL>OLO</SMALL> tracks.

<P>
</LI>
<LI>No settings in S<SMALL>OLO</SMALL> tracks are saved or restored with
  G<SMALL>ROOVE</SMALL> commands.

<P>
</LI>
</UL>

<P>
These differences mean that you can set parameters for a S<SMALL>OLO</SMALL>
track in a preamble in your music file and have those settings valid
for the entire song. For example, you may want to set an instrument at
the top of a song:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Solo Voice TenorSax  </B> 
   
	    </td></tr>
      </Table>

<P>
On the other hand, M<SMALL>ELODY</SMALL> tracks save and restore grooves just
like all the other available tracks. If you have the following
sequence in a song file:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Melody Voice TenorSax
<BR>
Groove Blues
<BR>  ...musical data  </B> 
   
	    </td></tr>
      </Table>

<P>
no one will be surprised to find that the M<SMALL>ELODY</SMALL> track playing
with the default voice (Piano).

<P>
As a general rule, M<SMALL>ELODY</SMALL> tracks have been designed as a
``voice'' to accompany a predefined form defined in a
G<SMALL>ROOVE</SMALL>--it is a good idea to define M<SMALL>ELODY</SMALL> parameters
as part of a G<SMALL>ROOVE</SMALL>. S<SMALL>OLO</SMALL> tracks are thought to be
specific to a certain song file, with their parameters defined in the
song file.

<P>
Apart from the exceptions noted above, S<SMALL>OLO</SMALL> and M<SMALL>ELODY</SMALL>
tracks are identical.

<P>
Before you create any S<SMALL>OLO</SMALL> or M<SMALL>ELODY</SMALL> tracks you should
set the key signature. See
<A HREF="node29.html#keysignature">here</A> for details on this
important setting.

<P>
In other available tracks you normally would define a S<SMALL>EQUENCE</SMALL>
to play throughout the song. You <SPAN  CLASS="textit">can</SPAN> do this (see below), but
in most cases you specify a series of notes as a R<SMALL>IFF</SMALL> pattern.
For example, consider the first two bars of ``Bill Bailey'' (the
details of melody notation will be covered later in this chapter):

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Solo Riff 4c;2d;4f; 
<BR>
F  
<BR>
Solo Riff 4.a;8g#;4a;4c+;  
<BR>
F  </B> 
   
	    </td></tr>
      </Table>

<P>
In the above example the melody has been inserted into the song with a
series of R<SMALL>IFF</SMALL> lines. Specifying a R<SMALL>IFF</SMALL> for each bar of
your song can get tedious, so there is a shortcut ... any data
surrounded by curly brackets ``{ }'' is interpreted as a R<SMALL>IFF</SMALL>
for a S<SMALL>OLO</SMALL> or M<SMALL>ELODY</SMALL> track. This means that the above
example could be rewritten as:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>F {4c;2d;4f;} 
<BR>
F {4.a;8g#;4a;4c+;}   </B> 
   
	    </td></tr>
      </Table>

<P>
By default the note data is inserted into the S<SMALL>OLO</SMALL> track. If
more than one set of note data is present, it will be inserted into
the next track set by the A<SMALL>UTO</SMALL>S<SMALL>OLO</SMALL>T<SMALL>RACKS</SMALL> command
(<A HREF="#autosolotracks">here</A>).

<P>
Another method is to use a number of R<SMALL>IFF</SMALL> commands inside a
B<SMALL>EGIN</SMALL>/E<SMALL>ND</SMALL> section. For example:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Begin Solo Riff 
<BR>&nbsp;&nbsp;&nbsp;4c;2d;4f; 
<BR>&nbsp;&nbsp;&nbsp;4.a;8g#;4a;4c+ 
<BR>
End 
<BR>
F 
<BR>
F 
<BR></B> 
   
	    </td></tr>
      </Table>

<P>
If you look at the sample songs from our website
<TT><A NAME="tex2html46"
  HREF="http://www.mellowood.ca/mma/examples.html">http://www.mellowood.ca/mma/examples.html</A></TT> you will see this used
in many songs to create short introductions.

<P>

<H1><A NAME="SECTION001010000000000000000">
Note Data Format</A>
</H1>

<P>
The notes in a S<SMALL>OLO</SMALL> or M<SMALL>ELODY</SMALL> track are specified as a
series of ``chords''. Each chord can be a single note, or several
notes (all with the same duration). Each chord in the bar is delimited
with a single semicolon.<A NAME="tex2html47"
  HREF="#foot5372"><SUP><SPAN CLASS="arabic">10</SPAN>.<SPAN CLASS="arabic">1</SPAN></SUP></A> Please note
the terminology used here! When we refer to a ``chord'' we are
referring to the data a one point in the bar. It might be a single
note, a number of notes, or a rest.

<P>
Each chord can have several parts. All missing parts will default to
the value in the previous chord. The order of the items is important:
follow the order below.

<P>
<DL>
<DT><STRONG>Duration</STRONG></DT>
<DD>The duration of the note. This is specified in the
  same manner as chord patterns; see <A HREF="node4.html#notelength">here</A> for details on how to specify a note duration. By
  default, a quarter note duration is used.

<P>
The duration can also be set in MIDI ticks (192 ticks equals a
  quarter note) by appending a ``t'' or ``T'' to an integer value. As
  an example, you could set a quarter note ``c'' as ``4c'' or
  ``192tc''. You'll probably never use this option directly, but other
  parts of 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  can use it to generate solo note data.

<P>
<A NAME="solo-pitch"></A>
<P>
</DD>
<DT><STRONG>Pitch</STRONG></DT>
<DD>Each note or pitch in the chord can be specified in a
  number of ways:

<P>
Firstly, you can use standard musical notation: the
  lowercase letters ``a'' to ``g'' are recognized, as well as ``r'' to
  specify a rest.

<P>
Secondly, you can specify a note via its MIDI value. A MIDI value of
  60 is the same as a ``middle c''. Important: if you specify a note
  using a MIDI value that note will <SPAN  CLASS="textit">not</SPAN> be adjusted for the
  O<SMALL>CTAVE</SMALL> setting in the track or the key signature; however,
  T<SMALL>RANSPOSE</SMALL> will be applied.

<P>
Thirdly, in the case of <SPAN  CLASS="textit">Drum Solo Tracks</SPAN>,
  <A HREF="#drumtype">here</A>, you can use MIDI values or
  mnemonic values like ``SnareDrum1''.

<P>
For notes in standard notation (``a'' to ``g'') the following
  modifiers are permitted directly after the pitch:

<P>
<DL>
<DT><STRONG>Accidental</STRONG></DT>
<DD>A pitch modifier consisting of a single ``#''
    (sharp), ``&amp;'' (flat) or ``n'' (natural). Please note that an
    accidental will override the current K<SMALL>EYSIG</SMALL> for the current
    bar (just like in real musical notation). Unlike standard musical
    notation the accidental <SPAN  CLASS="textit">will</SPAN> apply to similarly named notes
    in different octaves.

<P>
Please note that when you specify a chord in 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  you can use
    either a ``b'' or a ``&amp;'' to represent a flat sign; however,
    when specifying notes for a S<SMALL>OLO</SMALL> you can only use the
    ``&amp;'' character.

<P>
Double sharps and flats are not supported.

<P>
</DD>
<DT><STRONG>Octave</STRONG></DT>
<DD>Without an octave modifier, the current octave
    specified by the O<SMALL>CTAVE</SMALL> directive is used for the
    pitch(es). Any number of ``-'' or ``+'' signs can be appended to a
    note. Each ``-'' drops the note by an octave and each ``+'' will
    increase it. The base octave begins with ``c'' below the treble
    clef staff. The underlying track O<SMALL>CTAVE</SMALL> setting is applied
    to the modified pitch.

<P>
</DD>
</DL>

<P>
<A NAME="pitch-velocity"></A></DD>
<DT><STRONG>Velocity</STRONG></DT>
<DD>You can override the default MIDI velocity (
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  uses
  a value of 90) by appending a ``/'' and a value between ``0'' and
  ``127'' after a pitch. This includes pitches in standard notation,
  drum mnemonics and MIDI values. The velocity setting is applied to
  one note only. If you have a grouping of notes like ``abc/50'' the
  changed velocity will apply to the entire group; however, for groups
  with space or comma delimiters the modifier will apply to only one
  note ... in the case of ``a,b,c/40'' or ``a b c/40'' only the
  ``c'' will have a modified velocity.

<P>
</DD>
<DT><STRONG>Tilde</STRONG></DT>
<DD>The tilde character, ~, can appear as the
  first or last item in a note sequence. As the last character it
  signals that the final note duration extend past the end of the bar
  (note, when we say ``last'' we mean just that ... if you have a
  &lt; &gt; modifier in the last chord of a bar
  place the tilde after that). As the first character it signals to
  use the duration extending past the end of the previous bar as an
  initial offset. For details, see below.

<P>
</DD>
</DL>

<P>
To make your note data more readable, you can include any number of
space and tab characters (which are ignored by 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT> ). Individual
notes in a chord can be separated by spaces or commas.

<P>

		<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="#efefef" Border=3>
		   <tr><td Align="CENTER" BGColor="White">
	      <SPAN  CLASS="textbf"><BIG CLASS="XLARGE">Solo Notation</BIG></SPAN>  <A NAME="eg:solo"></A>	
	 	   </tr> </td>
           <tr> <td >
		     
    <IMG WIDTH="90%"  SRC="mupex/soloeg.png" ALT="Lost Image">

<P>
<BR>
<BR>

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>KeySig 1b 
<BR>
F { 4c a-; 2d a-; 4f d; } 
<BR>
F { 4.a , f; 8g#f; 4a,f; c+f; }
<BR>
F { 4c , a-; 2d,a-; 4fc; } 
<BR>
F { 1af; }   </B> 
   
	    </td></tr>
      </Table>

<P>

	
	       </td> </tr>
        </Table>

<P>

<P>
<A HREF="#eg:solo">This example</A> shows a few bars of
``Bill Bailey'' with the 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  equivalent. We've put in commas and
spaces to show where they can be, optionally, used.

<P>

<H2><A NAME="SECTION001011000000000000000">
Chord Extensions</A>
</H2>

<P>
In order to make S<SMALL>OLO</SMALL>s more versatile, you may extend the
notation with options in &lt; &gt; delimiters.
Only one set of &lt; &gt;s is permitted for each
chord; however, it can be anywhere in the chord (we suggest you place
it at the end). If you have more than one pair of commands, separate
them with a single comma.

<P>
<DL>
<DT><STRONG>Null</STRONG></DT>
<DD>You can set a ``ignore'' or ``do nothing'' chord with the
  simple notation &lt;&gt; (no spaces are
  permitted here). If this is the only item in the chord then that
  chord will be ignored This means that no tones will be generated,
  and the offset into the bar will not be changed. The use of the
  notation is mainly for tilde notation with notes held over multiple
  bars.

<P>
</DD>
<DT><STRONG>Grace[=offset]</STRONG></DT>
<DD>The keyword G<SMALL>RACE</SMALL> indicates that the
  following note or chord is to be treated as a grace note. This has
  several effects:

<P>

<OL>
<LI>by default, the note's start time (offset) is moved forward by
    half the duration of the note. This means that with a default
    A<SMALL>RTICULATION</SMALL> of 70 the note will, slightly, overlap the
    following note.

<P>
</LI>
<LI>H<SMALL>ARMONY</SMALL> is not applied to the grace note (but you are
    free to specify multiple notes and create your own).

<P>
</LI>
<LI>the offset of the note following the grace note(s) is not
    effected by the duration of the grace note (the grace note
    duration is completely ignored).
  
</LI>
</OL>

<P>
In most cases a short duration is useful for grace notes (16 and 32
  seem to work nicely). You can specify a chord or a single note.

<P>
The G<SMALL>RACE</SMALL> extension can, optionally, have a ``offset
  modifier''. In most cases you can ignore this (the default is 2).
  This value is used to calculate the number of MIDI ticks to move the
  grace note; the duration of the note is divided by the modifier. So,
  a 16th grace note would be played 24 MIDI ticks
  early.<A NAME="tex2html49"
  HREF="#foot5378"><SUP><SPAN CLASS="arabic">10</SPAN>.<SPAN CLASS="arabic">2</SPAN></SUP></A> If
  you have multiple grace notes you can use increasing offset
  modifiers to stretch out the grace notes. For example, to sound
  three grace notes you could do:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Solo Riff &lt;grace&gt;16f;&lt;grace=3&gt;f#;&lt;grace=4&gt;g;4g#;   </B> 
   
	    </td></tr>
      </Table>

<P>
In this example the first grace note uses a default modifier of 2.
  Adjusting the durations of the grace notes will have an effect on the
  offset as well.

<P>
Modifiers must be greater than 0.

<P>
For a nice example, see the introduction in the sample song
  <TT><SPAN  CLASS="textbf">dreamsville.mma</SPAN></TT>.

<P>
</DD>
<DT><STRONG>Volume</STRONG></DT>
<DD>A volume can be specified. The volume is set as a
  command=value pair. For example: ``Volume=ff'' would set the volume
  of a chord to ``very loud''. See the permitted volumes
  (<A HREF="node19.html#sec-volume">here</A>). It is probably
  easier to set accented beats with the A<SMALL>CCENT</SMALL> directive
  (<A HREF="node19.html#accent">here</A>) or directly modify the MIDI
  velocity by appending it to the end of the pitch with a ``/''
  (<A HREF="#pitch-velocity">here</A>). The keyword
  ``Volume'' is optional: &lt; V<SMALL>OLUME=FF </SMALL>&gt;
  and &lt; <SMALL>FF </SMALL>&gt; will generate identical
  results. This optional setting is in addition to the current
  V<SMALL>OLUME</SMALL> track setting and is in effect for the duration of the
  current bar. It is not possible to set different volumes for
  individual notes in the chord with this option.

<P>
</DD>
<DT><STRONG>Articulate</STRONG></DT>
<DD>In addition to the A<SMALL>RTICULATE</SMALL> setting for the
  track and the note duration (see above), you can set an articulation
  value for each chord. This can be useful in creating staccato or
  tenuto notes without resorting to complicated note/rest values. By
  default the articulation is set to 100%. It can be changed with an
  integer value from 1 (creating a very short note) to 200 (a long
  note). This option is set with the A<SMALL>RTICULATE=</SMALL> command. For
  example, to set the articulation of a chord to ``staccato'', you
  could use the string &lt; A<SMALL>RTICULATE=50 </SMALL>&gt;
  in the chord specification. This value is in effect for the duration
  of the current bar.

<P>
For those who ``need to know'', here's how the note duration is
  determined:
  
<OL>
<LI>The note duration (ie, 4, 8, 16) is parsed and converted to
    MIDI ticks. A quarter note will receive 192 MIDI ticks, a half
    note 384, etc.

<P>
</LI>
<LI>The duration is adjusted by the articulation setting. Assuming
    the articulation is 80% the quarter note will be converted from
    192 MIDI ticks to 154.

<P>
</LI>
<LI>Finally, the duration is adjusted again by the track
    A<SMALL>RTICULATE</SMALL> setting. Assuming the default setting of 90(%)
    this will result in the 154 ticks adjusting to 138.

<P>
</LI>
<LI>In addition, a RD<SMALL>URATION</SMALL> setting can add or subtract
    additional ticks to the note.
  
</LI>
</OL>

<P>
</DD>
<DT></DT>
<DD>The following example

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>F {4c; d&lt;ff&gt;; e&lt;Volume=mp,Articulate=80&gt;; f&lt;Articulate=120&gt;;}
    </B> 
   
	    </td></tr>
      </Table>

<P>
will create a solo line (using an F chord) with the following notes,
  volumes and articulations:

<P>
<TABLE CELLPADDING=3 BORDER="1">
<TR><TD ALIGN="LEFT"><SPAN  CLASS="textit">Note</SPAN></TD>
<TD ALIGN="LEFT"><SPAN  CLASS="textit">Volume</SPAN></TD>
<TD ALIGN="LEFT"><SPAN  CLASS="textit">Articulation</SPAN></TD>
</TR>
<TR><TD ALIGN="LEFT">c</TD>
<TD ALIGN="LEFT">default ``mf''</TD>
<TD ALIGN="LEFT">default ``100''</TD>
</TR>
<TR><TD ALIGN="LEFT">d</TD>
<TD ALIGN="LEFT">set to ``ff''</TD>
<TD ALIGN="LEFT">continues as ``100''</TD>
</TR>
<TR><TD ALIGN="LEFT">e</TD>
<TD ALIGN="LEFT">set to ``mp''</TD>
<TD ALIGN="LEFT">set to ``80''</TD>
</TR>
<TR><TD ALIGN="LEFT">f</TD>
<TD ALIGN="LEFT">continues ``mp''</TD>
<TD ALIGN="LEFT">set to ``120''</TD>
</TR>
</TABLE>

<P>
</DD>
<DT><STRONG>Offset</STRONG></DT>
<DD>When a S<SMALL>OLO</SMALL> line is parsed the notes and rests
  are placed into the bar at the logical sequence derived from their
  durations. So, if you have two half note chords the first would be
  placed at the start of the bar (offset 0) and the second in the
  middle (offset 384). You can override this with the O<SMALL>FFSET=</SMALL>
  option. The value used adjusts the pointer, overriding logical
  placement. You can use this feature to place a note anywhere in a
  bar, or even to overlap notes. The value used must be within the
  bar; values less than 0 or past the end of the bar (in the case of 4
  beats to the bar this would be 768). As an example:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>1 F {2f; 2c &lt;offset=198&gt;; }   </B> 
   
	    </td></tr>
      </Table>

<P>
would place a half note at beats 1 and 2 of the bar. The second note
  would overlap the first.

<P>
</DD>
</DL>

<P>

<H2><A NAME="SECTION001012000000000000000">
Accents</A>
</H2>

<P>
Individual notes or chords can have accents. Unfortunately, in

<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT> 's text format, we can't use a notation which places the accent
over the note, like sheet music does ... so we need a slightly
different method. In a S<SMALL>OLO</SMALL> or M<SMALL>ELODY</SMALL> line you can have
any of the characters ``!'', ``-'', ``ˆ'' or ``&amp;'' between the
duration and pitch. All the accents much be in one chunk, without
additional characters or spaces.

<P>
The following table shows the supported single character accents and
their effect:

<P>
<DL COMPACT>
<DT></DT>
<DD><DL>
<DT><STRONG>!</STRONG></DT>
<DD>Staccato: Make the following note's duration shorter.
  
</DD>
<DT><STRONG>- or _</STRONG></DT>
<DD>Tenuto: Lengthen the following note's duration. This
    can be an ``-'' (minus) or a ``_'' (underscore). If you use a
    minus sign it must be separated from any preceding duration value
    by a space character (ie: use ``8 -f'' or ``8_f''.)

<P>
</DD>
<DT><STRONG>ˆ</STRONG></DT>
<DD>Accent: Make the following note louder.
  
</DD>
<DT><STRONG>&amp;</STRONG></DT>
<DD>Soft: Make the following note softer.

<P>
</DD>
</DL>
</DD>
</DL>

<P>
You can use any number of these accents in a set (however, more than 5
becomes useless). Their effects are cummulative.<A NAME="tex2html50"
  HREF="#foot5207"><SUP><SPAN CLASS="arabic">10</SPAN>.<SPAN CLASS="arabic">3</SPAN></SUP></A>
<P>
And example of the usage might be:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Solo Riff 4a; !ˆ c; !!d; e;   </B> 
   
	    </td></tr>
      </Table>

<P>
In this example the second note will have a shorter duration and be
louder; the third note will have normal volume, but be quite a bit
shorter.

<P>
An accent effects only the current note/chord.

<P>

<H2><A NAME="SECTION001013000000000000000">
Long Notes</A>
</H2>

<P>
Notes tied across bar lines can be easily handled in 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  scores.
Consider the following:

<P>
<DIV ALIGN="CENTER">
  <IMG WIDTH="90%"  SRC="mupex/tilde.png" ALT="Lost Image">

</DIV>

<P>
It can be handled in three different ways in your score:

<P>

<UL>
<LI>
      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>F {4c;d;e;4+1+2f;}
<BR>
F {2r;2c;}  </B> 
   
	    </td></tr>
      </Table>

<P>
In this case you 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  will generate a warning message since the
  last note of the first bar ends past the end of that bar. The rest
  in the second bar is used to position the half note correctly.

<P>
</LI>
<LI>
      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>F {4c;d;e;4+2f~};
<BR>
F {2r;2c;}  </B> 
   
	    </td></tr>
      </Table>

<P>
This time a ~ character has been added to the end of
  the first line. In this case it just signals that you ``know'' that
  the note is too long, so no warning is printed.

<P>
</LI>
<LI>
      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>F {4c;d;e;4+2f~;}
<BR>
F {~2c;}  </B> 
   
	    </td></tr>
      </Table>

<P>
The cleanest method is shown here. The ~forces the
  insertion of the extra 2 beats from the previous bar into the start
  of the bar.

<P>
</LI>
</UL>

<P>
If you have a very long note, as in this example:

<P>
<DIV ALIGN="CENTER">
  <IMG WIDTH="80%"  SRC="mupex/tilde2.png" ALT="Lost Image">

</DIV>

<P>
you can have both leading and ending tildes in the same chord;
however, to force 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  to ignore the chord you need to include an
empty chord marker:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>C {4c;d;e;4+2f~;}
<BR>
C {~&lt;&gt;~;} 
<BR>
C {~2c;}  </B> 
   
	    </td></tr>
      </Table>

<P>

<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  has some built-in error detection which will signal problems if
you use a tilde at the end of a line which doesn't have a note held
past the end of the current bar or if you use a tilde to start a bar
which doesn't have one at the end of the previous bar.

<P>

<H2><A NAME="SECTION001014000000000000000">
Using Defaults</A>
</H2>
The use of default values can be a great time-saver, and lead to
confusion! For example, the following all generate four quarter note
``f''s:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Solo Riff 4f; 4f; 4f; 4f; 
<BR>
Solo Riff 4f; f; f; f; 
<BR>
Solo Riff 4f; 4; 4; 4; 
<BR>
Solo Riff f; ; ; ; 
<BR>
Solo Riff 4f; ; ; ;   </B> 
   
	    </td></tr>
      </Table>

<P>
One problem which can turn around and bite you when least expected is
the use of a default duration with notes specified as MIDI pitch
values. This will <SPAN  CLASS="textit">not</SPAN> work:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Solo Riff 4 100; 110&nbsp; <IMG
 WIDTH="21" HEIGHT="21" ALIGN="BOTTOM" BORDER="0"
 SRC="img2.png"
 ALT="\includegraphics[height=2.5ex]{/home/bob/src/bv/mma/docs/images/stop.eps}">  </B> 
   
	    </td></tr>
      </Table>

<P>
The problem is that for the second chord 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  assumes the value 110
to be a duration. Simple fix is to insert a comma before the second
pitch:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Solo Riff 4 100; ,110  </B> 
   
	    </td></tr>
      </Table>

<P>

<H2><A NAME="SECTION001015000000000000000"></A>
<A NAME="solo-stretch"></A>
<BR>
Stretch
</H2>

<P>
If you are copying sheet music notation into a 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  song which uses a
T<SMALL>IME</SMALL> setting which is different from the time signature of the
sheet music you may find yourself needing to change note values. For
example, if you have a march written in <SPAN  CLASS="textbf">6/8</SPAN> you will have
six eight notes (or combination) per bar; however, if the 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT> 
G<SMALL>ROOVE</SMALL> is written with a T<SMALL>IME</SMALL> of 6 beats per measure you
would need to convert the sheet music eights to quarters.

<P>
The S<SMALL>TRETCH</SMALL> option lets you use 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  to do the conversion. In
the above example, just use a command like:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Solo-Trumpet Stretch 200  </B> 
   
	    </td></tr>
      </Table>

<P>
and enter the note values directly from the sheet music. 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  will
double the duration of each note.

<P>
The argument to S<SMALL>TRETCH</SMALL> is a percentage value. So, ``200'' will
double the duration of each note; ``50'' will halve them.

<P>
S<SMALL>TRETCH</SMALL> permits arguments in the range ``1'' to ``500''. The
value is <SPAN  CLASS="textit">not</SPAN> saved in G<SMALL>ROOVES</SMALL> since it's really just
intended as something to be used in a short section of song code.

<P>

<H2><A NAME="SECTION001016000000000000000">
Other Commands</A>
</H2>

<P>
Most of the timing and volume commands available in other tracks also
apply to S<SMALL>OLO</SMALL> and M<SMALL>ELODY</SMALL> tracks. Important commands to
consider include A<SMALL>RTICULATE</SMALL>, V<SMALL>OICE</SMALL> and O<SMALL>CTAVE</SMALL>.
Also note that T<SMALL>RANSPOSE</SMALL> is applied to your note data.

<P>

<H1><A NAME="SECTION001020000000000000000"></A> <A NAME="autosolotracks"></A>
<BR>
AutoSoloTracks
</H1>

<P>
When a ``{ }'' expression is found in a chord line, it is assumed to
be note data and is treated as a R<SMALL>IFF</SMALL>. You can have any number
of ``{ }'' expressions in a chord line. They will be assigned to the
tracks specified in the A<SMALL>UTO</SMALL>S<SMALL>OLO</SMALL>T<SMALL>RACKS</SMALL> directive.

<P>
By default, four tracks are assigned: <SPAN  CLASS="textit">Solo</SPAN>, <SPAN  CLASS="textit">Solo-1</SPAN>,
<SPAN  CLASS="textit">Solo-2</SPAN>, and <SPAN  CLASS="textit">Solo-3</SPAN>. This order can be changed:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>AutoSoloTracks Melody-Oboe Melody-Trumpet Melody-Horn  </B> 
   
	    </td></tr>
      </Table>

<P>
Any number of tracks can be specified in this command, but they must
all be S<SMALL>OLO</SMALL> or M<SMALL>ELODY</SMALL> tracks. You can reissue this
command at any time to change the assignments.

<P>
The list set in this command is also used to ``fill out'' melody lines
for tracks set as H<SMALL>ARMONY</SMALL>O<SMALL>NLY</SMALL>. Again, an example:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>AutoSoloTracks  Solo-1 Solo-2 Solo-3 Solo-4 
<BR>
Solo-2 HarmonyOnly 3Above 
<BR>
Solo-3 HarmonyOnly 8Above   </B> 
   
	    </td></tr>
      </Table>

<P>
Of course, some voicing is also set ... and a chord line:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>C {4a;b;c;d;}   </B> 
   
	    </td></tr>
      </Table>

<P>
The note data <SPAN  CLASS="textit">{4a;b;c;d;} </SPAN> will be set to the <SPAN  CLASS="textit">Solo-1</SPAN>
track. But, if you've not set any other note data by way of
R<SMALL>IFF</SMALL> commands to <SPAN  CLASS="textit">Solo-2</SPAN> and <SPAN  CLASS="textit">Solo-3</SPAN>, the note data
will also be copied to these two tracks. Note that the track
<SPAN  CLASS="textit">Solo-4</SPAN> is unaffected since it is <SPAN  CLASS="textit">not</SPAN> a
H<SMALL>ARMONY</SMALL>O<SMALL>NLY</SMALL> track. This feature can be very useful in creating
harmony lines with the harmonies going to different instruments. The
supplied file <TT><SPAN  CLASS="textbf">egs/harmony.mma</SPAN></TT> shows an example.

<P>
To save some typing, you can have empty sets of {} as placeholders.
For example, assume you have three S<SMALL>OLO</SMALL> tracks:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>AutoSoloTracks Solo-Violin Solo-Viola Solo-Cello  </B> 
   
	    </td></tr>
      </Table>

<P>
and you don't use the Viola in a section. Doing something like:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>C  {4a;b;c;d;} {} {1+1g&nbsp;}  
<BR>
G {4g;b;} {} {}   </B> 
   
	    </td></tr>
      </Table>

<P>
is fine. Note how the Cello has a long note over two bars and the
Viola has no notes at all.

<P>

<H1><A NAME="SECTION001030000000000000000"></A> <A NAME="drumtype"></A>
<BR>
Drum Solo Tracks
</H1> 

<P>
A solo or melody track can also be used to create drum solos. The
first thing to do is to set a track as a drum solo type:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Solo-MyDrums DrumType  </B> 
   
	    </td></tr>
      </Table>

<P>
This will create a new S<SMALL>OLO</SMALL> track with the name
<SPAN  CLASS="textit">Solo-MyDrums</SPAN> and set its ``Drum'' flag. If the track already
exists and has data in it, the command will fail. The MIDI channel 10
is automatically assigned to all tracks created in this manner. You
cannot change a ``drum'' track back to a normal track.

<P>
These is no limit to the number of S<SMALL>OLO</SMALL> or M<SMALL>ELODY</SMALL> tracks
you can create ... and it probably makes sense to have several
different tracks if you are creating anything beyond a simple drum
pattern.

<P>
Tracks with the ``drum'' setting ignore T<SMALL>RANSPOSE</SMALL> and
H<SMALL>ARMONY</SMALL> settings.

<P>
The specification for pitches is different in these tracks. Instead of
standard notation pitches, you must specify a series of drum tone
names or MIDI values. If you want more than one tone to be sounded
simultaneously, create a list of tones separated by commas.

<P>
Some examples:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Solo-MyDrums Riff 4 SnareDrum1; ; r ; SnareDrum1;   </B> 
   
	    </td></tr>
      </Table>

<P>
would create a snare hit on beats 1, 2 and 4 of a bar. Note how the
second hit uses the default tone set in the first beat.

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Solo-MyDrums Riff 8,38;;;;   </B> 
   
	    </td></tr>
      </Table>

<P>
creates 4 hits, starting on beat 1. Instead of ``names'' MIDI values
have been used (``38'' and ``SnareDrum1'' are identical). Note how
``,'' is used to separate the initial length from the first tone.

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Solo-MyDrums Riff 4 SnareDrum1,53,81; r; 4 SideKick ;   </B> 
   
	    </td></tr>
      </Table>

<P>
creates a ``chord'' of 3 tones on beat 1, a rest on beat 2, and a
``SideKick'' on beat 3.

<P>
Using MIDI values instead of names lets you use the full range of note
values from 0 to 127. Not all will produce valid tones on all synths.

<P>
<A NAME="solo-default-tone"></A>To make the use of solo drum tracks a bit easier, you can use the the
T<SMALL>ONE</SMALL> command to set the default drum tone to use (by default
this is MIDI value 38 or SnareDrum1). If you do not specify a tone to
use in a solo the default will be used.

<P>
You can access the default tone by using the special Tone ``*''. In
the following example:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Begin Solo-Block 
<BR>&nbsp;&nbsp;DrumType 
<BR>&nbsp;&nbsp;Tone LowWoodBlock 
<BR>
End 
<BR>&nbsp;&nbsp; ...
<BR>
Solo-Block Riff 4r; SnareDrum; * ; ; 
<BR>&nbsp;&nbsp; ...
<BR>
Solo-Block Riff 4;;;;   </B> 
   
	    </td></tr>
      </Table>

<P>
The first solo created will have a rest on beat 1, a SnareDrum on beat
2 and LowWoodBlock on beats 3 and 4. The second will have LowWoodBlock
on each beat.

<P>

<H1><A NAME="SECTION001040000000000000000"></A> <A NAME="solo-arpeggiate"></A>
<BR>
Arpeggiation
</H1> 

<P>
It is fun and simple to arpeggiate notes in a S<SMALL>OLO</SMALL> or
M<SMALL>ELODY</SMALL> track. For example:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Solo-Guitar Arpeggiate Direction=Up Rate=32 Decay=-4  </B> 
   
	    </td></tr>
      </Table>

<P>
will take the notes in the S<SMALL>OLO-</SMALL>G<SMALL>UITAR</SMALL> track and arpeggiate
them as a series of 32nd notes. Each successive note's velocity will
be decremented by 4
Enabling a H<SMALL>ARMONY</SMALL> (or the entry of multiple notes by the user)
is needed for meaningful effects ... arpeggiating over a single
note isn't the nicest sound (but it works). For this to sound musical,
you will have to experiment with the various options and the track
A<SMALL>RTICULATE</SMALL> setting. For an interesting (weird) effect try a
long R<SMALL>ATE</SMALL> combined with M<SMALL>ALLET</SMALL>.

<P>
Each option for this command must be entered in the OPTION=VALUE
format.

<P>
<DL>
<DT><STRONG>Rate</STRONG></DT>
<DD>The duration of each generated note. For example, ``16''
  will use 16th notes; ``20t'' will use 20 MIDI ticks. If R<SMALL>ATE</SMALL>
  is set to ``0'' or ``None'' the arpeggiator will be disabled.

<P>
</DD>
<DT><STRONG>Decay</STRONG></DT>
<DD>A value to decrement each successive note. This is a
  percentage. To reduce (ie, make quieter) use negative values;
  positive values will increase the volume. Default is ``0''.

<P>
</DD>
<DT><STRONG>Direction</STRONG></DT>
<DD>The direction of the ``strum''. Valid values are
  ``Up'', ``Down'', ``Both'' and ``Random''. Default is ``Up''.

<P>
</DD>
</DL>

<P>
This command generates an error if the D<SMALL>RUM</SMALL>T<SMALL>YPE</SMALL> option has been
set.

<P>

<H1><A NAME="SECTION001050000000000000000">
Sequence</A>
</H1>

<P>
You can set a S<SMALL>EQUENCE</SMALL> in a M<SMALL>ELODY</SMALL> or S<SMALL>OLO</SMALL> track.
Sequences work just like they do in other tracks. There are some
advantages to this: you can use the mnemonic notation outlined above;
and you can easily import existing MIDI tracks to use as sequences
(see <A HREF="node24.html#midi-inc">here</A>). Some examples are
included in the directory <TT><SPAN  CLASS="textbf">egs/midi-inc/mid2seq</SPAN></TT> in the
distribution.

<P>
To set a sequence use the note name format described above. Anything
valid in a R<SMALL>IFF</SMALL> is valid in a sequence. For example:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Begin Melody-AltoSax
<BR>&nbsp;&nbsp;Voice AltoSax
<BR>&nbsp;&nbsp;Voicing FollowChord=On FollowKey=Off Root=C
<BR>&nbsp;&nbsp;Articulate 60
<BR>&nbsp;&nbsp;Harmony OpenAbove
<BR>&nbsp;&nbsp;Sequence  4.c;8;4g;; 2c;g; 4c;;g;; 8c;;;;d;e;4d;
<BR>&nbsp;&nbsp;Octave 5
<BR>
End  </B> 
   
	    </td></tr>
      </Table>

<P>
will create a simple bass line.

<P>
You can create multi-bar sequences using {}s just like in other
tracks:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Melody-Bass Sequence {4c;g;c;g;}{2c;}  </B> 
   
	    </td></tr>
      </Table>

<P>
Note the use of various V<SMALL>OICING</SMALL> options in the above example.

<P>

<H1><A NAME="SECTION001060000000000000000">
Voicing</A>
</H1>

<P>
These V<SMALL>OICING</SMALL> commands only apply to M<SMALL>ELODY</SMALL> and
S<SMALL>OLO</SMALL> tracks.<A NAME="tex2html51"
  HREF="#foot5387"><SUP><SPAN CLASS="arabic">10</SPAN>.<SPAN CLASS="arabic">4</SPAN></SUP></A> Each option is set
as an OPTION=VALUE pair.

<P>
<DL>
<DT><STRONG>FollowChord</STRONG></DT>
<DD>On or Off (default OFF). When this is set each note
  pitch will be adjusted in accordance with the current chord. For
  example, the note pitch ``c'' would be changed to a ``f'' when an F
  chord is active, etc.

<P>
This option should be enabled when using a sequence pattern. It
  should be disabled (default) when using a solo riff.

<P>
</DD>
<DT><STRONG>FollowKey</STRONG></DT>
<DD>On or Off (default ON). When 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  interprets a
  string containing solo/melody note data it converts pitches
  according to the current key signature (see the Note Data Pitch
  section, above). However, this can be a problem when using a
  solo/melody line in a sequence.

<P>
In most, if not all, cases you should set this to OFF when using
  S<SMALL>EQUENCE</SMALL> patterns in a S<SMALL>OLO</SMALL> or M<SMALL>ELODY</SMALL> track;
  set it to ON (the default) when using a solo R<SMALL>IFF</SMALL>.

<P>
Regardless of the setting, explicit accidentals in the pattern are
  honoured as detailed above. You should specify explicit accidentals
  in a pattern used as a sequence in a S<SMALL>OLO</SMALL> or M<SMALL>ELODY</SMALL>
  track. Again, as mentioned above, pitches specified as MIDI values
  are unaffected by the key signature.

<P>
</DD>
<DT><STRONG>Root</STRONG></DT>
<DD>Sets the root chord your sequence is based on. Valid
  settings are letters ``a'' to ``g'' and ``A'' to ``G'' optionally
  followed by a single ``#'' or ``b''. This option adjusts the
  individual pitches in a S<SMALL>EQUENCE</SMALL> or R<SMALL>IFF</SMALL> to the
  specified root chord. This is done in addition to the
  F<SMALL>OLLOW</SMALL>C<SMALL>HORD</SMALL> setting, above. The assumption is that you'll probably
  create your sequence in the key of ``C'' ... but, with this
  option, you can create in any key you want.

<P>
</DD>
<DT><STRONG>*</STRONG></DT>
<DD>Please note that all the V<SMALL>OICING</SMALL> options apply equally
  to a pattern set as a R<SMALL>IFF</SMALL> or a S<SMALL>EQUENCE</SMALL>.

<P>
</DD>
</DL>

<P>
S<SMALL>OLO</SMALL> tracks are <SPAN  CLASS="textit">not</SPAN> saved
as part of a G<SMALL>ROOVE</SMALL>. For this reason S<SMALL>EQUENCE</SMALL> is mostly
used in a M<SMALL>ELODY</SMALL> track; using it in a S<SMALL>OLO</SMALL> track will
generate a warning.

<P>
<BR><HR><H4>Footnotes</H4>
<DL>
<DT><A NAME="foot5372">... semicolon.</A><A
 HREF="node10.html#tex2html47"><SUP><SPAN CLASS="arabic">10</SPAN>.<SPAN CLASS="arabic">1</SPAN></SUP></A></DT>
<DD>I have borrowed heavily from the
  notation program MUP for the syntax used here. For notation I highly
  recommend MUP and use it for most of my notation tasks, including
  the creation of the score snippets in this manual. MUP is available
  from Arkkra Enterprises, <TT><A NAME="tex2html48"
  HREF="http://www.Arkkra.com/">http://www.Arkkra.com/</A></TT>.

</DD>
<DT><A NAME="foot5378">... early.</A><A
 HREF="node10.html#tex2html49"><SUP><SPAN CLASS="arabic">10</SPAN>.<SPAN CLASS="arabic">2</SPAN></SUP></A></DT>
<DD>Using 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT> 's 192 ticks for a quarter note, a 16th
    note gets 48 ticks. Divide that by the modifier (default is 2.

</DD>
<DT><A NAME="foot5207">... cummulative.</A><A
 HREF="node10.html#tex2html50"><SUP><SPAN CLASS="arabic">10</SPAN>.<SPAN CLASS="arabic">3</SPAN></SUP></A></DT>
<DD>Each accent
  character changes the note articulation or volume by 20%.

</DD>
<DT><A NAME="foot5387">... tracks.</A><A
 HREF="node10.html#tex2html51"><SUP><SPAN CLASS="arabic">10</SPAN>.<SPAN CLASS="arabic">4</SPAN></SUP></A></DT>
<DD>For other voicing options, please see
  <A HREF="node14.html#chord-voicing">here</A>.

</DD>
</DL>
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<ADDRESS>
Bob van der Poel
2016-06-11
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