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<!--Table of Child-Links-->
<A NAME="CHILD_LINKS"><STRONG>Subsections</STRONG></A>

<UL CLASS="ChildLinks">
<LI><A NAME="tex2html936"
  HREF="node29.html#SECTION002910000000000000000">AllTracks</A>
<LI><A NAME="tex2html937"
  HREF="node29.html#SECTION002920000000000000000">Articulate</A>
<LI><A NAME="tex2html938"
  HREF="node29.html#SECTION002930000000000000000">CmdLine</A>
<LI><A NAME="tex2html939"
  HREF="node29.html#SECTION002940000000000000000">Copy</A>
<LI><A NAME="tex2html940"
  HREF="node29.html#SECTION002950000000000000000">Comment</A>
<LI><A NAME="tex2html941"
  HREF="node29.html#SECTION002960000000000000000">Debug</A>
<LI><A NAME="tex2html942"
  HREF="node29.html#SECTION002970000000000000000">Delay</A>
<LI><A NAME="tex2html943"
  HREF="node29.html#SECTION002980000000000000000">Delete</A>
<LI><A NAME="tex2html944"
  HREF="node29.html#SECTION002990000000000000000">Direction</A>
<LI><A NAME="tex2html945"
  HREF="node29.html#SECTION0029100000000000000000">KeySig</A>
<LI><A NAME="tex2html946"
  HREF="node29.html#SECTION0029110000000000000000">Mallet</A>
<UL>
<LI><A NAME="tex2html947"
  HREF="node29.html#SECTION0029111000000000000000">Rate</A>
<LI><A NAME="tex2html948"
  HREF="node29.html#SECTION0029112000000000000000">Decay</A>
</UL>
<BR>
<LI><A NAME="tex2html949"
  HREF="node29.html#SECTION0029120000000000000000">Octave</A>
<LI><A NAME="tex2html950"
  HREF="node29.html#SECTION0029130000000000000000">MOctave</A>
<LI><A NAME="tex2html951"
  HREF="node29.html#SECTION0029140000000000000000">Off</A>
<LI><A NAME="tex2html952"
  HREF="node29.html#SECTION0029150000000000000000">On</A>
<LI><A NAME="tex2html953"
  HREF="node29.html#SECTION0029160000000000000000">Print</A>
<LI><A NAME="tex2html954"
  HREF="node29.html#SECTION0029170000000000000000">PrintActive</A>
<LI><A NAME="tex2html955"
  HREF="node29.html#SECTION0029180000000000000000">Restart</A>
<LI><A NAME="tex2html956"
  HREF="node29.html#SECTION0029190000000000000000">ScaleType</A>
<LI><A NAME="tex2html957"
  HREF="node29.html#SECTION0029200000000000000000">Seq</A>
<LI><A NAME="tex2html958"
  HREF="node29.html#SECTION0029210000000000000000">Strum</A>
<LI><A NAME="tex2html959"
  HREF="node29.html#SECTION0029220000000000000000">StrumAdd</A>
<LI><A NAME="tex2html960"
  HREF="node29.html#SECTION0029230000000000000000">Synchronize</A>
<LI><A NAME="tex2html961"
  HREF="node29.html#SECTION0029240000000000000000">SetSyncTone</A>
<LI><A NAME="tex2html962"
  HREF="node29.html#SECTION0029250000000000000000">Transpose</A>
<LI><A NAME="tex2html963"
  HREF="node29.html#SECTION0029260000000000000000">Unify</A>
</UL>
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<HR>

<H1><A NAME="SECTION002900000000000000000"></A>
<A NAME="sec-directives"></A>
<BR>
Other Commands and Directives
</H1>

<P>
In addition to the ``Pattern'', ``Sequence'', ``Groove'' and
``Repeat'' and other directives discussed earlier, and chord data,

<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  supports a number of directives which affect the flavor of your
music.

<P>
The subjects presented in this chapter are ordered alphabetically.

<P>

<H1><A NAME="SECTION002910000000000000000"></A> <A NAME="alltracks"></A>
<BR>
AllTracks
</H1> 

<P>
Sometimes you want to apply the same command to all the currently
defined tracks; for example, you might want to ensure that <SPAN  CLASS="textit">no</SPAN>
tracks have S<SMALL>EQ</SMALL>R<SMALL>ND</SMALL> set. Yes, you could go though each track
(and hope you don't miss any) and explicitly issue the command:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Bass SeqRnd Off
  ...
<BR>
Chord SeqRnd Off  </B> 
   
	    </td></tr>
      </Table>

<P>
But,

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>AllTracks SeqRnd Off  </B> 
   
	    </td></tr>
      </Table>

<P>
is much simpler. Similarly, you can set the articulation for all
tracks with:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>AllTracks Articulate 80  </B> 
   
	    </td></tr>
      </Table>
 You can even combine this with a
B<SMALL>EGIN</SMALL>/E<SMALL>ND</SMALL> like:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Begin AllTracks 
<BR>&nbsp;&nbsp;Articulate 80 
<BR>&nbsp;&nbsp;SeqRnd Off 
<BR>&nbsp;&nbsp;Rskip 0 
<BR>
End  </B> 
   
	    </td></tr>
      </Table>

<P>
This command is handy when you are changing an existing G<SMALL>ROOVE</SMALL>.

<P>
There are two forms of the A<SMALL>LL</SMALL>T<SMALL>RACKS</SMALL> command. The first, as
discussed above, applies to all tracks that are currently
defined. Please note that S<SMALL>OLO</SMALL>, M<SMALL>ELODY</SMALL> and A<SMALL>RIA</SMALL>
tracks are <SPAN  CLASS="textit">not</SPAN> modified.

<P>
The second form of the command lets you specify one or more track
types. For example, you may want to increase the volume of all the
D<SMALL>RUM</SMALL> tracks:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>AllTracks Drum Volume +20  </B> 
   
	    </td></tr>
      </Table>

<P>
Or to set the articulation on B<SMALL>ASS</SMALL> and W<SMALL>ALK</SMALL> tracks:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>AllTracks Bass Walk Articulate 55  </B> 
   
	    </td></tr>
      </Table>

<P>
If you specify track types you can use any of B<SMALL>ASS</SMALL>,
C<SMALL>HORD</SMALL>, A<SMALL>RPEGGIO</SMALL>, S<SMALL>CALE</SMALL>, D<SMALL>RUM</SMALL>, W<SMALL>ALK</SMALL>,
M<SMALL>ELODY</SMALL>, S<SMALL>OLO</SMALL> and A<SMALL>RIA</SMALL> tracks.

<P>

<H1><A NAME="SECTION002920000000000000000"></A> <A NAME="articulate"></A>
<BR>
Articulate
</H1> 

<P>
When 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  processes a music file, all the note lengths specified in a
pattern are converted to MIDI lengths.

<P>
For example in:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Bass Define BB 1 4 1 100; 2 4 5 90; 3 4 1 80; 4 4 5 90   </B> 
   
	    </td></tr>
      </Table>

<P>
bass notes on beats 1, 2, 3 and 4 are defined. All are quarter notes.

<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT> , being quite literal about things, should make each note exactly
192 MIDI ticks long--which means that the note on beat 2 will start
at the same time as the note on beat 1 ends.

<P>
However, that's not the way things work!

<P>

<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  has an A<SMALL>RTICULATE</SMALL> setting for each voice. This value is applied
to shorten or lengthen the note length. By default, the setting is 90.
Each generated note duration is taken to be a percentage of this
setting, So, a quarter note with a MIDI tick duration of 192 will
become 172 ticks long.

<P>
If A<SMALL>RTICULATE</SMALL> is applied to a short note, you are guaranteed that the
note will never be less than 1 MIDI tick in length.

<P>
To set the value, use a line like:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Chord-1 Articulate 96   </B> 
   
	    </td></tr>
      </Table>

<P>
A<SMALL>RTICULATE</SMALL> values must be greater than 0 and less than or equal to
200. Values over 100 will lengthen the note. Settings greater than 200
will generate a warning.

<P>
You can specify a different A<SMALL>RTICULATE</SMALL> for each bar in a
sequence. Repeated values can be represented with a ``/'':

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Chord Articulate 50 60 / 30   </B> 
   
	    </td></tr>
      </Table>

<P>
Notes: The full values for the notes are saved with the pattern
definition. The articulation adjustment is applied at run time. The
A<SMALL>RTICULATE</SMALL> setting is saved with a G<SMALL>ROOVE</SMALL>.

<P>
Articulate settings can easily be modified by prefacing the values with a
``+'' or ``-'' which will increment or decrement the existing
values. For example:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Chord Articulate 80 85 90 95 
<BR>
Chord Articulate  +10 -10   </B> 
   
	    </td></tr>
      </Table>

<P>
results in the C<SMALL>HORD </SMALL>A<SMALL>RTICULATE</SMALL> setting of: ``90 75 100 85''. Having fewer values
that the current sequence size is fine. The inc/dec values get
expanded to the sequence size and are applied to the existing settings.

<P>
A<SMALL>RTICULATE</SMALL> works differently for P<SMALL>LECTRUM</SMALL> tracks. Please
refer to the documentation <A HREF="node11.html#sec-plectrum-articulate">here</A>.

<P>

<H1><A NAME="SECTION002930000000000000000"></A> <A NAME="sect-cmdline"></A>
<BR>
CmdLine
</H1> 

<P>
This command permits the setting of options normally set on the
command line inside a 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  script. For example:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>CmdLine -b 5-9  </B> 
   
	    </td></tr>
      </Table>

<P>
sets the bars to generate in the exact same manner as the command line
option  (<A HREF="node2.html#b-option">here</A>). A number of the
commands you can enter on a command line are <SPAN  CLASS="textit">not</SPAN> available.
Examples include -G/g and all the documentation commands.

<P>

<H1><A NAME="SECTION002940000000000000000"></A> <A NAME="copy"></A>
<BR>
Copy
</H1> 

<P>
Sometimes it is useful to duplicate the settings from one voice to
another. The C<SMALL>OPY</SMALL> command does just that:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Bass-1 Copy Bass  </B> 
   
	    </td></tr>
      </Table>

<P>
will copy the settings from the <SPAN  CLASS="textit">Bass</SPAN> track to the <SPAN  CLASS="textit">Bass-1</SPAN>
track.

<P>
The C<SMALL>OPY</SMALL> command only works between tracks of the same type.

<P>
The same settings which are saved/restored in a G<SMALL>ROOVE</SMALL> are copied
with this command; for details see the discussion <A HREF="node6.html#sec-grooves">here</A>.

<P>
It is also possible to copy a track from another <SMALL>GROOVE</SMALL>, even
if it has not been loaded or read into memory using extended groove
name notation (again, see the groove discussion):

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Chord-New  Copy  stdlib/rhumba:rhumbasus::chord-sus  </B> 
   
	    </td></tr>
      </Table>

<P>
In the above example, the ``::'' is used to separate the track name
(chord-sus) from the groove name. What happens internally is:

<OL>
<LI>The current state is saved,
</LI>
<LI>The file containing the ``RhumbaSus'' groove is located and
  loaded,
</LI>
<LI>The ``Chord-Sus'' track data is copied into the current
  ``Chord-New'' track,
</LI>
<LI>The state is restored.
</LI>
</OL>

<P>
With C<SMALL>OPY</SMALL> you can do mind-blasting things like:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>bass copy ballad::bass 
<BR>
chord copy rhumbasus::chord-sus 
<BR>
C 
<BR>
Am 
<BR>
Dm 
<BR>
G7   </B> 
   
	    </td></tr>
      </Table>

<P>
which generates a song file with 2 tracks: a bass line from ``Ballad''
and sustained chords from ``RhumbaSus''.

<P>
A few caveats:

<UL>
<LI>Data in R<SMALL>IFFS</SMALL> is <SPAN  CLASS="textit">not</SPAN> copied.
</LI>
<LI>You cannot copy a S<SMALL>OLO</SMALL> track when using a groove name;
  copying a solo track is fine if that track already in memory (e.g.,
  Solo-2 Copy Solo-1).
</LI>
<LI>You cannot copy a track which has a different T<SMALL>IME</SMALL> setting.
</LI>
</UL>

<P>
The O<SMALL>VERLAY </SMALL>G<SMALL>ROOVE</SMALL> construct (<A HREF="node6.html#track-groove">here</A>) is quite similar, but this command is more
powerful.

<P>

<H1><A NAME="SECTION002950000000000000000"></A><A NAME="comment"></A>
<BR>
Comment
</H1>

<P>
As previously discussed, a comment in 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  is anything following a
``//'' in a line or enclosed in a ``/* */'' section. An alternate way of
marking a comment is with the C<SMALL>OMMENT</SMALL> directive. This is quite
useful in combination the B<SMALL>EGIN</SMALL> and E<SMALL>ND</SMALL> directives. For
example:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Begin Comment 
<BR>&nbsp;&nbsp;&nbsp;&nbsp;This is a description spanning 
<BR>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;several lines which will be
<BR>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;ignored by MMA. 
<BR>
End   </B> 
   
	    </td></tr>
      </Table>

<P>
You could achieve the same with:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>// This is a description spanning 
<BR>  // several lines which will be
<BR>  // ignored by MMA.   </B> 
   
	    </td></tr>
      </Table>

<P>
or:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>/* This is a description spanning 
<BR>&nbsp;&nbsp;&nbsp;&nbsp;several lines which will be
<BR>&nbsp;&nbsp;&nbsp;&nbsp;ignored by MMA. */   </B> 
   
	    </td></tr>
      </Table>

<P>
or even:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Comment This is a description spanning 
<BR>
Comment several lines which will be
<BR>
Comment ignored by MMA.   </B> 
   
	    </td></tr>
      </Table>

<P>
One minor difference between <SPAN  CLASS="textbf">//</SPAN> or <SPAN  CLASS="textbf">/* */</SPAN> and C<SMALL>OMMENT</SMALL> is that
the first two are discarded when the input stream is read; the more verbose
version is discarded during line processing. One possible upside of
C<SMALL>OMMENT</SMALL> is that it is displayed when processing a file with the
<SPAN  CLASS="textbf">-e</SPAN> command line option.

<P>
Quite often it is handy to delete large sections of a song with a
B<SMALL>EGIN </SMALL>C<SMALL>OMMENT/</SMALL>E<SMALL>ND</SMALL> on a temporary basis.

<P>

<H1><A NAME="SECTION002960000000000000000"></A> <A NAME="debug"></A> 
<A NAME="debugging"></A>
<BR>
Debug
</H1>

<P>
To enable you to find problems in your song files (and, perhaps, even
find problems with 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  itself) various debugging messages can be
displayed. These are normally set from the command line
<A HREF="node2.html#sec-running">command line</A>.

<P>
However, it is possible to enable various debugging messages
dynamically in a song file using the D<SMALL>EBUG</SMALL> directive. In a
debug statement you can enable or disable any of a variety of
messages. A typical directive is:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Debug Debug=On Expand=Off Patterns=On  </B> 
   
	    </td></tr>
      </Table>

<P>
Each section of the debug directive consists of a <SPAN  CLASS="textit">mode</SPAN> and the
command word ON or O<SMALL>FF</SMALL>. The two parts must be joined by
a single ``<SPAN  CLASS="textit"><SPAN CLASS="MATH">=</SPAN></SPAN>''. You may use the values ``0'' for ``Off'' and
``1'' for ``On'' if desired.

<P>
The available modes with the equivalent command line switches are:

<P>
<BLOCKQUOTE>
<TABLE CELLPADDING=3 BORDER="1">
<TR><TD ALIGN="LEFT"><SPAN  CLASS="textit">Mode</SPAN></TD>
<TD ALIGN="LEFT" COLSPAN=2><SPAN><SPAN  CLASS="textit">Command Line Equivalent</SPAN></SPAN></TD>
</TR>
<TR><TD ALIGN="LEFT">Debug</TD>
<TD ALIGN="LEFT">-d</TD>
<TD ALIGN="LEFT">debugging messages</TD>
</TR>
<TR><TD ALIGN="LEFT">Filenames</TD>
<TD ALIGN="LEFT">-o</TD>
<TD ALIGN="LEFT">display file names</TD>
</TR>
<TR><TD ALIGN="LEFT">Patterns</TD>
<TD ALIGN="LEFT">-p</TD>
<TD ALIGN="LEFT">pattern creation</TD>
</TR>
<TR><TD ALIGN="LEFT">Sequence</TD>
<TD ALIGN="LEFT">-s</TD>
<TD ALIGN="LEFT">sequence creation</TD>
</TR>
<TR><TD ALIGN="LEFT">Runtime</TD>
<TD ALIGN="LEFT">-r</TD>
<TD ALIGN="LEFT">running progress</TD>
</TR>
<TR><TD ALIGN="LEFT">Warnings</TD>
<TD ALIGN="LEFT">-w</TD>
<TD ALIGN="LEFT">warning messages</TD>
</TR>
<TR><TD ALIGN="LEFT">Expand</TD>
<TD ALIGN="LEFT">-e</TD>
<TD ALIGN="LEFT">display expanded lines</TD>
</TR>
<TR><TD ALIGN="LEFT">Plectrum</TD>
<TD ALIGN="LEFT">&nbsp;</TD>
<TD ALIGN="LEFT">display Plectrum chord shapes</TD>
</TR>
<TR><TD ALIGN="LEFT">Roman</TD>
<TD ALIGN="LEFT">&nbsp;</TD>
<TD ALIGN="LEFT">display Roman numeral chord conversions</TD>
</TR>
<TR><TD ALIGN="LEFT">Groove</TD>
<TD ALIGN="LEFT">&nbsp;</TD>
<TD ALIGN="LEFT">issue a warning when a Groove is redefined</TD>
</TR>
</TABLE>
</BLOCKQUOTE>

<P>
The modes and command are case-insensitive (although the command line
switches are not). The options for P<SMALL>LECTRUM</SMALL>, G<SMALL>ROOVE</SMALL> and R<SMALL>OMAN</SMALL>
are not accessible from the command line.

<P>
The current state of the debug flags is saved in the variable
$_Debug and the state prior to a change is saved in $_LastDebug.

<P>

<H1><A NAME="SECTION002970000000000000000"></A> <A NAME="delay"></A>
<BR>
Delay
</H1>  

<P>
The D<SMALL>ELAY</SMALL> setting permits you to delay each note in a sequence.
This can create interesting and, sometimes, beautiful effects. In most
cases you should use this in a duplicate track with a lesser volume
... the effect is not meant to duplicate offsets defined in
S<SMALL>EQUENCE</SMALL> definitions.

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Solo Delay 8t -18t 8 -16  </B> 
   
	    </td></tr>
      </Table>

<P>
Assuming a 4 bar sequence, the above command would apply the following
delays to each note:

<P>

<OL>
<LI>8 MIDI ticks,
</LI>
<LI>a negative 18 MIDI ticks (a ``pushed'' note).
</LI>
<LI>a delay equal to a eighth note,
</LI>
<LI>a negative sixteenth note.
</LI>
</OL>

<P>
The D<SMALL>ELAY</SMALL> setting can be negative (in this case the note is
sounded in advance).<A NAME="tex2html116"
  HREF="#foot17116"><SUP><SPAN CLASS="arabic">29</SPAN>.<SPAN CLASS="arabic">1</SPAN></SUP></A> You can have different
delays for each bar in a sequence. The values for the delay are given
in standard 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  note durations (see <A HREF="node4.html#notelength">here</A> for details). D<SMALL>ELAY</SMALL> is saved in G<SMALL>ROOVES</SMALL>.

<P>
See <TT><SPAN  CLASS="textbf">egs/delay</SPAN></TT> for some sample files.<A NAME="tex2html117"
  HREF="#foot17416"><SUP><SPAN CLASS="arabic">29</SPAN>.<SPAN CLASS="arabic">2</SPAN></SUP></A>
<P>

<H1><A NAME="SECTION002980000000000000000"></A> <A NAME="sec-delete"></A>
<BR>
Delete
</H1> 

<P>
If you are using a track in only one part of your song, especially if
it is at the start, it may be wise to free that track's resources when
you are done with it. The D<SMALL>ELETE</SMALL> command does just that:

<P>

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

<P>
If a MIDI channel has been assigned to that track, it is marked as
``available'' and the track is deleted. Any data already saved in the
MIDI track will be written when 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  is finished processing the song
file.

<P>

<H1><A NAME="SECTION002990000000000000000"></A> <A NAME="scale-direction"></A>
<BR>
Direction
</H1> 

<P>
In tracks using chords or scales you can change the direction in which
they are applied:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Scale Direction UP  </B> 
   
	    </td></tr>
      </Table>

<P>
The effects differ in different track types. For S<SMALL>CALE</SMALL> and
A<SMALL>RPEGGIO</SMALL> tracks:

<P>
<BLOCKQUOTE>
<TABLE CELLPADDING=3>
<TR><TD ALIGN="RIGHT">UP</TD>
<TD ALIGN="LEFT">Plays in upward direction only</TD>
</TR>
<TR><TD ALIGN="RIGHT">DOWN</TD>
<TD ALIGN="LEFT">Plays in downward direction only</TD>
</TR>
<TR><TD ALIGN="RIGHT">BOTH</TD>
<TD ALIGN="LEFT">Plays  upward and downward (<SPAN  CLASS="textit">default</SPAN>)</TD>
</TR>
<TR><TD ALIGN="RIGHT">RANDOM</TD>
<TD ALIGN="LEFT">Plays notes from the chord or scale randomly</TD>
</TR>
</TABLE>
</BLOCKQUOTE>
<P>
<BLOCKQUOTE>When this command is encountered in a S<SMALL>CALE</SMALL> track the start
  point of the scale is reset.
</BLOCKQUOTE>
<P>

<P>
A W<SMALL>ALK</SMALL> track recognizes the following option settings:

<P>
<BLOCKQUOTE>
<TABLE CELLPADDING=3>
<TR><TD ALIGN="RIGHT">BOTH</TD>
<TD ALIGN="LEFT">The default. The bass pattern
      will go  up and down a partial scale. Some notes may be repeated.</TD>
</TR>
<TR><TD ALIGN="RIGHT">UP</TD>
<TD ALIGN="LEFT">Notes will be chosen sequentially from an ascending, partial scale.</TD>
</TR>
<TR><TD ALIGN="RIGHT">DOWN</TD>
<TD ALIGN="LEFT">Notes will be chosen sequentially from a descending, partial scale.</TD>
</TR>
<TR><TD ALIGN="RIGHT">RANDOM</TD>
<TD ALIGN="LEFT">Notes will be chosen in a random direction from a partial scale.</TD>
</TR>
</TABLE>
</BLOCKQUOTE>
<P>
<BLOCKQUOTE>All four patterns are useful and create quite different effects.

</BLOCKQUOTE>

<P>
The C<SMALL>HORD</SMALL> tracks D<SMALL>IRECTION</SMALL> only has an effect when the
S<SMALL>TRUM</SMALL> setting has a non-zero value. In this case the following
applies:

<P>
<BLOCKQUOTE>
<TABLE CELLPADDING=3>
<TR><TD ALIGN="RIGHT">UP</TD>
<TD ALIGN="LEFT">The default. Notes are sounded from the lowest tone to the highest.</TD>
</TR>
<TR><TD ALIGN="RIGHT">DOWN</TD>
<TD ALIGN="LEFT">Notes are sounded from the highest to the lowest.</TD>
</TR>
<TR><TD ALIGN="RIGHT">BOTH</TD>
<TD ALIGN="LEFT">The UP and DOWN values are alternated for each successive chord.</TD>
</TR>
<TR><TD ALIGN="RIGHT">RANDOM</TD>
<TD ALIGN="LEFT">A random direction is selected for each chord.</TD>
</TR>
</TABLE>
</BLOCKQUOTE>

<P>
You can specify a different D<SMALL>IRECTION</SMALL> for each bar in a
sequence. Repeated values can be represented with a ``/'':

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Arpeggio Direction Up Down / Both  </B> 
   
	    </td></tr>
      </Table>

<P>
The setting is ignored by B<SMALL>ASS</SMALL>, D<SMALL>RUM</SMALL> and S<SMALL>OLO</SMALL>
tracks.

<P>

<H1><A NAME="SECTION0029100000000000000000"></A> <A NAME="keysig"></A> 
<A NAME="keysignature"></A>
<BR>
KeySig
</H1>

<P>
The key signature is an underlining concept in all modern music. In

<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  it will effect the notes used in S<SMALL>OLO</SMALL> or
M<SMALL>ELODY</SMALL> tracks, is a basic requirement for R<SMALL>OMAN</SMALL> numeral
chords, and sets a MIDI Key Signature event.<A NAME="tex2html118"
  HREF="#foot17417"><SUP><SPAN CLASS="arabic">29</SPAN>.<SPAN CLASS="arabic">3</SPAN></SUP></A> In most cases you <SPAN  CLASS="textit">should set the key
signature</SPAN> in all your songs.

<P>
In addition, the C<SMALL>HORD</SMALL> track V<SMALL>OICING </SMALL>M<SMALL>ODE=</SMALL>K<SMALL>EY</SMALL> option
depends on the key being properly set via this command.

<P>
Setting the key signature is simple to do:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>KeySig 2b   </B> 
   
	    </td></tr>
      </Table>

<P>
The argument consists of a single digit ``0'' to ``7'' followed by a
``b'' or ``&amp;'' for flat keys or a ``#'' for sharp keys.

<P>
As a more musical alternate, you can use a pitch name like ``F'' or ``G#''.

<P>
The optional keywords ``Major'' or ``Minor'' (these can be abbreviated
to ``Maj'' or ``Min'' ... and case doesn't count) can be added to
this command. This will accomplish two things:

<P>

<OL>
<LI>The MIDI track Key Signature event will be set to reflect minor
  or major.

<P>
</LI>
<LI>If you are using a musical name the proper key (number of flats
  or sharps) will be used.

<P>
</LI>
</OL>

<P>
To summarize, the following are all valid K<SMALL>EY</SMALL>S<SMALL>IG</SMALL> directives:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>KeySig 2# Major 
<BR>
KeySig 1b 
<BR>
KeySig 0b Min 
<BR>
KeySig F Min 
<BR>
KeySig A Major   </B> 
   
	    </td></tr>
      </Table>

<P>

<H1><A NAME="SECTION0029110000000000000000">
Mallet</A>
</H1>

<P>
Some instruments (Steel-drums, banjos, marimbas, etc.) are normally
played with rapidly repeating notes. Instead of painfully inserting
long lists of these notes, you can use the M<SMALL>ALLET</SMALL> directive.
The M<SMALL>ALLET</SMALL> directive accepts a number of options, each an
OPTION=VALUE pair. For example:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Solo-Marimba Mallet Rate=16 Decay=-5  </B> 
   
	    </td></tr>
      </Table>

<P>
This command is also useful in creating drum rolls. For example:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Begin Drum-Snare2 
<BR>&nbsp;&nbsp;Tone      SnareDrum1 
<BR>&nbsp;&nbsp;Volume    F 
<BR>&nbsp;&nbsp;Mallet    Rate=32 Decay=-3 
<BR>&nbsp;&nbsp;Rvolume   3 
<BR>&nbsp;&nbsp;Sequence  z  z  z 1 1 100 
<BR>
End   </B> 
   
	    </td></tr>
      </Table>

<P>
The following options are supported:

<P>

<H2><A NAME="SECTION0029111000000000000000">
Rate</A>
</H2>

<P>
The R<SMALL>ATE</SMALL> must be a valid note length (i.e., 8, 16, or even
16.+8).

<P>
For example:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Solo-Marimba Mallet Rate=16  </B> 
   
	    </td></tr>
      </Table>

<P>
will set all the notes in the ``Solo-Marimba'' track to be sounded a
series of 16th notes.

<P>

<UL>
<LI>Note duration modifiers such as articulate are applied to each
  resultant note,

<P>
</LI>
<LI>It is guaranteed that the note will sound at least once,

<P>
</LI>
<LI>The use of note lengths assures a consistent sound independent
  of the song tempo.

<P>
</LI>
<LI>M<SMALL>ALLET</SMALL> can be used in tracks except P<SMALL>LECTRUM</SMALL>.

<P>
</LI>
</UL>

<P>
To disable this setting use a value of ``0''.

<P>

<H2><A NAME="SECTION0029112000000000000000">
Decay</A>
</H2>

<P>
You can adjust the volume (velocity) of the notes being repeated when
M<SMALL>ALLET</SMALL> is enabled:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Drum-Snare Mallet Decay=-15  </B> 
   
	    </td></tr>
      </Table>

<P>
The argument is a percentage of the current value to add to the note
each time it is struck. In this example, assuming that the note length
calls for 4 ``strikes'' and the initial velocity is 100, the note will
be struck with a velocity of 100, 85, 73 and 63.

<P>
Important: a positive value will cause the notes to get louder,
negative values cause the notes to get softer.

<P>
Note velocities will never go below 1 or above 255. Note, however,
that notes with a velocity of 1 will most likely be inaudible.

<P>
The decay option value must be in the range -50 to 50; however, be
cautious using any values outside the range -5 to 5 since the volume
(velocity) of the notes will change quite quickly. The default value
is 0 (no decay).

<P>

<H1><A NAME="SECTION0029120000000000000000"></A> <A NAME="octave"></A>
<BR>
Octave
</H1> 

<P>
When 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  initializes and after the S<SMALL>EQ</SMALL>C<SMALL>LEAR</SMALL> command all track
octaves are set to ``4''. This will place most chord and bass notes in
the region of middle C.

<P>
You can change the octave for any voice with O<SMALL>CTAVE</SMALL>
command. For example:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Bass-1 Octave 3  </B> 
   
	    </td></tr>
      </Table>

<P>
Sets the notes used in the ``Bass-1'' track one octave lower than
normal.

<P>
The octave specification can be any value from 0 to 10. Various
combinations of I<SMALL>NVERT</SMALL>, T<SMALL>RANSPOSE</SMALL> and O<SMALL>CTAVE</SMALL> can
force notes to be out of the valid MIDI range. In this case the lowest
or highest available note will be used.

<P>
You can specify a different O<SMALL>CTAVE</SMALL> for each bar in a sequence.
Repeated values can be represented with a ``/'':

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Chord Octave 4 5 / 4  </B> 
   
	    </td></tr>
      </Table>

<P>
Octave settings can easily be modified by prefacing the values with a
``+'' or ``-'' which will increment or decrement the existing
values. For example:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Bass Octave 2 3 4 5 
<BR>
Bass Octave +1 +2 -1 -3   </B> 
   
	    </td></tr>
      </Table>

<P>
results in the B<SMALL>ASS </SMALL>O<SMALL>CTAVE</SMALL> setting of: ``3 5 3 2''. Having fewer values
that the current sequence size is fine. The inc/dec values get
expanded to the sequence size and are applied to the existing settings.

<P>

<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT> 's octave numbering and schemes used to denote octaves on a
piano keyboard or staff do not correspond. 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  is capable of
generating a compete set of MIDI notes in the range 0 to 127--for
this we need the first octave to be ``0''. If this is a problem, see
the MO<SMALL>CTAVE</SMALL> command discussed in the next section.

<P>

<H1><A NAME="SECTION0029130000000000000000"></A> <A NAME="moctave"></A>
<BR>
MOctave
</H1> 

<P>
Rather than using 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT> 's octave numbering from 0 to 10 you might
want to match the standard MIDI implementation of -1 to 9. The
operation of the command is identical to that of the O<SMALL>CTAVE</SMALL>,
discussed above ... with the exception of the range.

<P>
The result of ``Octave 4'' and ``MOctave 5'' are identical.

<P>
Also, you cannot use the auto increment/decrement options that
O<SMALL>CTAVE</SMALL> has (the problem is deciding what ``-1'' should mean).

<P>
Mixing of O<SMALL>CTAVE</SMALL> and MO<SMALL>CTAVE</SMALL> commands is fine. They both
effect the same internal variables.

<P>

<H1><A NAME="SECTION0029140000000000000000"></A> <A NAME="set-off"></A>
<BR>
Off
</H1> 

<P>
To disable the generation of MIDI output on a specific track:

<P>

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

<P>
This can be used anywhere in a file. Use it to override the effect of
a predefined groove, if you wish. This is simpler than resetting a
voice in a groove. The only way to reset this command is with a
O<SMALL>N</SMALL> directive.

<P>

<H1><A NAME="SECTION0029150000000000000000"></A> <A NAME="set-on"></A>
<BR>
On
</H1> 

<P>
To enable the generation of MIDI output on a specific track which has
been disabled with an O<SMALL>FF</SMALL> directive:

<P>

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

<P>
Attempts to enable tracks disabled with the -T command line option
generate a warning (the command is ignored).

<P>

<H1><A NAME="SECTION0029160000000000000000">
Print</A>
</H1>

<P>
The P<SMALL>RINT</SMALL> directive will display its argument to the screen
when it is encountered. For example, if you want to print the file
name of the input file while processing, you could insert:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Print Making beautiful music for MY SONG  </B> 
   
	    </td></tr>
      </Table>

<P>
No control characters are supported.

<P>
This can be useful in debugging input files, especially when combined
with different system variables:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Print The volume for the bass is: $_Bass_Volume  </B> 
   
	    </td></tr>
      </Table>

<P>
The available system variables are detailed <A HREF="node21.html#sec-sysvariables">here</A>.

<P>

<H1><A NAME="SECTION0029170000000000000000">
PrintActive</A>
</H1>

<P>
The P<SMALL>RINT</SMALL>A<SMALL>CTIVE</SMALL> directive will the currently active
G<SMALL>ROOVE</SMALL> and the active tracks. This can be quite useful when
writing groove files and you want to modify and existing groove.

<P>
Any parameters given are printed as single comment at the end of the
header line.

<P>
In addition to the track names, the listing included the currently
assigned MIDI channel and the total number of MIDI events created.

<P>
This is strictly a debugging tool. No P<SMALL>RINT</SMALL>A<SMALL>CTIVE</SMALL> statements
should appear in finalized grooves or song files.

<P>

<H1><A NAME="SECTION0029180000000000000000">
Restart</A>
</H1>

<P>
This command will reset a track (or all tracks) to a default
state. You may find this particularly handy in S<SMALL>CALE</SMALL> and
A<SMALL>RPEGGIO</SMALL> tracks when you want note selection to start in a
particular place, not left over from previous bars.

<P>
Usage is simple:

<P>

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

<P>
or to do the whole lot:

<P>

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

<P>
You will find very few cases where the use of this command is
necessary.

<P>

<H1><A NAME="SECTION0029190000000000000000"></A> <A NAME="scale-type"></A>
<BR>
ScaleType
</H1> 

<P>
This option is only used by S<SMALL>CALE</SMALL> and A<SMALL>RIA</SMALL> tracks. A
warning is generated if you attempt to use this command in other tracks.

<P>
By default, the S<SMALL>CALE</SMALL>T<SMALL>YPE</SMALL> is set to A<SMALL>UTO</SMALL>. The 
permissible settings are:

<P>
<BLOCKQUOTE>
<TABLE CELLPADDING=3>
<TR><TD ALIGN="RIGHT">CHROMATIC</TD>
<TD ALIGN="LEFT">Forces use of a chromatic scale</TD>
</TR>
<TR><TD ALIGN="RIGHT">AUTO</TD>
<TD ALIGN="LEFT">Uses scale based on the current chord (default)</TD>
</TR>
<TR><TD ALIGN="RIGHT">SCALE</TD>
<TD ALIGN="LEFT">Same as ``Auto''</TD>
</TR>
<TR><TD ALIGN="RIGHT">CHORD</TD>
<TD ALIGN="LEFT">Uses the individual notes of the current chord (similar to
    A<SMALL>RPEGGIO</SMALL> tracks).</TD>
</TR>
</TABLE>
</BLOCKQUOTE>

<P>
For more details on usage in A<SMALL>RIA</SMALL> tracks
see <A HREF="node12.html#chap-aria">here</A>.

<P>
When this command is encountered in a S<SMALL>CALE</SMALL> track the start
point of the scale is reset.

<P>

<H1><A NAME="SECTION0029200000000000000000"></A>
 <A NAME="seqnumber"></A>
<BR>
Seq
</H1>

<P>
If your sequence, or groove, has more than one pattern (i.e., you have
set SeqSize to a value other than 1), you can use this directive to
force a particular pattern point to be used. The directive:

<P>

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

<P>
resets the <SPAN  CLASS="textit">sequence counter</SPAN> to 1. This means that the next bar
will use the first pattern in the current sequence. You can force a
specific pattern point by using an optional value after the directive.
For example:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Seq 8  </B> 
   
	    </td></tr>
      </Table>

<P>
forces the use of pattern point 8 for the next bar. This can be quite
useful if you have a multi-bar sequence and, perhaps, the eight bar is
variation which you want used every eight bars, but also for a
transition bar, or the final bar. Just put a <SMALL>SEQ 8</SMALL> at those
points. You might also want to put a <SMALL>SEQ</SMALL> at the start of
sections to force the restart of the count.

<P>
If you have enable sequence randomization with the S<SMALL>EQ</SMALL>R<SMALL>ND </SMALL>O<SMALL>N</SMALL>
command, the randomization will be disabled by a S<SMALL>EQ</SMALL>
command.<A NAME="tex2html119"
  HREF="#foot17286"><SUP><SPAN CLASS="arabic">29</SPAN>.<SPAN CLASS="arabic">4</SPAN></SUP></A>  However,
settings of track S<SMALL>EQ</SMALL>R<SMALL>ND</SMALL> will not be effected. One difference
between S<SMALL>EQ</SMALL>R<SMALL>ND </SMALL>O<SMALL>FF</SMALL> and S<SMALL>EQ</SMALL> is that the current sequence
point is set with the latter; with S<SMALL>EQ</SMALL>R<SMALL>ND </SMALL>O<SMALL>FF</SMALL> it is left at a
random point.

<P>
Note: Using a value greater than the current S<SMALL>EQ</SMALL>S<SMALL>IZE</SMALL> is not
permitted.

<P>
This is a very useful command! For example, look at the four bar
introduction of the song ``Exactly Like You'':

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Groove BossanovaEnd 
<BR>
seq 3 
<BR>
1       C     
<BR>
seq 2 
<BR>
2       Am7  
<BR>
seq 1 
<BR>
3       Dm7  
<BR>
seq 3 
<BR>
4 G7 / G7#5   </B> 
   
	    </td></tr>
      </Table>

<P>
In this example the four bar ``ending groove'' has been used to create
an interesting introduction.

<P>

<H1><A NAME="SECTION0029210000000000000000"></A> <A NAME="strum"></A>
<BR>
Strum
</H1> 

<P>
When 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  generates a chord,<A NAME="tex2html120"
  HREF="#foot17297"><SUP><SPAN CLASS="arabic">29</SPAN>.<SPAN CLASS="arabic">5</SPAN></SUP></A> all the
notes are played at the same time.<A NAME="tex2html121"
  HREF="#foot17419"><SUP><SPAN CLASS="arabic">29</SPAN>.<SPAN CLASS="arabic">6</SPAN></SUP></A>
<P>
To make the notes in a chord sound like something a guitar or banjo
might play, use the S<SMALL>TRUM</SMALL> directive. For example:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Chord-1 Strum 5  </B> 
   
	    </td></tr>
      </Table>

<P>
sets the strumming factor to 5 for track Chord-1. The strum factor is
specified in MIDI ticks. Usually values around 10 to 15 work just
fine. The valid range for S<SMALL>TRUM</SMALL> is -300 to 300 (just under the
duration of a quarter note).

<P>
In the previous example the first note in the chord will be played on
the beat indicated by the pattern definition, the second note will be
played 5 ticks later, etc.

<P>
You can specify a different S<SMALL>TRUM</SMALL> for each bar in a sequence.
Repeated values can be represented with a ``/''. Assuming that there
are four bars in the current sequence:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Chord Strum 20 5 / 10  </B> 
   
	    </td></tr>
      </Table>

<P>
To make the effect of S<SMALL>TRUM</SMALL> more random (and human) you can set
a range for the delay. For example:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Chord Strum 20,25  </B> 
   
	    </td></tr>
      </Table>

<P>
will cause 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  to select a value between 20 and 25 ticks for each
successive note. You can have a different range for each bar in your
sequence. In most cases a small range is adequate. Large values can
create ``odd'' effects. Note that the syntax calls for exactly two
values and a comma, no spaces are permitted.

<P>
S<SMALL>TRUM</SMALL> can be used in all tracks except for D<SMALL>RUM</SMALL>. Since
tracks other than C<SMALL>HORD</SMALL> only generate single notes, the command
will only effect notes added via a H<SMALL>ARMONY</SMALL> or
H<SMALL>ARMONY</SMALL>O<SMALL>NLY</SMALL> directive. Judicious use of S<SMALL>TRUM</SMALL> can add
depth and a ``cascading'' effect.

<P>
S<SMALL>TRUM</SMALL> can be applied to a P<SMALL>LECTRUM</SMALL> track. See
 <A HREF="node11.html#plectrum-strum">P<SMALL>LECTRUM </SMALL>S<SMALL>TRUM</SMALL></A>

<P>
Notes: 
<UL>
<LI>When notes in a C<SMALL>HORD</SMALL> track have both a <SMALL>STRUM</SMALL> and
  <SMALL>INVERT</SMALL> applied, the order of the notes played will not
  necessarily be root, third, etc. The notes are sorted into ascending
  order, so for a C major scale with and <SMALL>INVERT</SMALL> of 1 the notes
  played would be ``E G C''.

<P>
</LI>
<LI>The strumming direction of notes in a C<SMALL>HORD</SMALL> track can be
  changed with the <A HREF="#scale-direction">D<SMALL>IRECTION</SMALL></A> command.

<P>
</LI>
<LI>The D<SMALL>IRECTION</SMALL> directive only effects S<SMALL>TRUM</SMALL> timing
  in C<SMALL>HORD</SMALL> tracks.

<P>
</LI>
<LI>In tracks other than C<SMALL>HORD</SMALL> the strum delays apply to
  notes after the initial note. In the case of H<SMALL>ARMONY</SMALL>O<SMALL>NLY</SMALL>
  tracks the delay will apply to the first generated note.

<P>
</LI>
</UL>

<P>

<H1><A NAME="SECTION0029220000000000000000"></A> <A NAME="strumadd"></A>
<BR>
StrumAdd
</H1> 

<P>
When a chord is strummed using the S<SMALL>TRUM</SMALL> setting discussed
above, the space between the various notes in constant. However, you
can modify that with the S<SMALL>TRUM</SMALL>A<SMALL>DD</SMALL> command:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Chord Strum 10 
<BR>
Chord StrumAdd 5  </B> 
   
	    </td></tr>
      </Table>

<P>
The value specified is added to each successive offset. Without the
S<SMALL>TRUM</SMALL>A<SMALL>DD</SMALL> directive the notes would be generated at offsets
0, 10, 20, etc. However, with this option, the notes will now be
placed at 0, 15, 35, 60, 90, etc.<A NAME="tex2html122"
  HREF="#foot17424"><SUP><SPAN CLASS="arabic">29</SPAN>.<SPAN CLASS="arabic">7</SPAN></SUP></A>
<P>
The easy way to imagine this is to picture a guitar player strumming a
chord. Without the S<SMALL>TRUM</SMALL>A<SMALL>DD</SMALL> option his hand moves at a steady
speed; with it his hand can slow down (positive values) or speed up
(negative values).

<P>
The effects of A<SMALL>DD</SMALL> are cumulative and can add up rather
quickly. Experiment with small values; large values can easily move
notes into the next measure.

<P>
This is something you probably don't want to use all the time, but it
is handy for dramatic chords on an opening, etc.

<P>
Note: you can use negative values in which case the distance between
notes will reduce.

<P>

<H1><A NAME="SECTION0029230000000000000000"></A> <A NAME="synchronize"></A>
<BR>
Synchronize
</H1> 

<P>
The MIDI tracks generated by 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  are perfectly ``legit'' and should
be playable in any MIDI file player. However, there are a few programs
and/or situations in which you might need to use the
<SMALL>SYNCHRONIZE</SMALL> options.

<P>
First, when a program is expecting all tracks to start at the same
location, or is intolerant of ``emptiness'' at the start of a track,
you can add a ``tick note'' at the start of each
track.<A NAME="tex2html123"
  HREF="#foot17359"><SUP><SPAN CLASS="arabic">29</SPAN>.<SPAN CLASS="arabic">8</SPAN></SUP></A>
<P>

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

<P>
will insert a one tick note on/off event at MIDI offset 1. You can
also generate this with the ``-0'' command line option.

<P>
You can set the tone and velocity used for this using the
S<SMALL>ET</SMALL>S<SMALL>YNC</SMALL>T<SMALL>ONE</SMALL> command (below).

<P>
Second, some programs think (wrongly) that all tracks should end at
the same point.<A NAME="tex2html124"
  HREF="#foot17362"><SUP><SPAN CLASS="arabic">29</SPAN>.<SPAN CLASS="arabic">9</SPAN></SUP></A> Adding the command:

<P>

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

<P>
will delete all MIDI data past the end of the last bar in your input
file and insert MIDI ``all notes off'' events at that point. You can
also generate this effect with the ``-1'' command line option.

<P>
The commands can be combined in any order:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Synchronize End Start  </B> 
   
	    </td></tr>
      </Table>

<P>
is perfectly valid.

<P>

<H1><A NAME="SECTION0029240000000000000000">
SetSyncTone</A>
</H1>  

<P>
The tone used for the synchronization tone is, by default, a MIDI
``80'' with a velocity of ``90''. You can change this to any desired
combination:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>SetSyncTone  Tone=88 Velocity=1  </B> 
   
	    </td></tr>
      </Table>

<P>
The tone must be in the range 0 to 127; the velocity must be 1 to 127
(a velocity of 0 is treated as note off event and not permitted). A
velocity of ``1'' will be inaudible on most systems and is useful to
pad the start of a composition (use a bar with a ``z!'' chord).

<P>
The command V<SMALL>OLUME</SMALL> is an alias for V<SMALL>ELOCITY</SMALL>.

<P>

<H1><A NAME="SECTION0029250000000000000000"></A>

<A NAME="sec-transpose"></A>
<BR>
Transpose
</H1>

<P>
You can change the key of a piece with the ``Transpose'' command. For
example, if you have a piece notated in the key of ``C'' and you want
it played back in the key of ``D'':

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Transpose 2  </B> 
   
	    </td></tr>
      </Table>

<P>
or

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Transpose Up Major 2  </B> 
   
	    </td></tr>
      </Table>

<P>
will raise the playback by 2 semi-tones. Since 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT> 's author plays
tenor saxophone

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Transpose -2  </B> 
   
	    </td></tr>
      </Table>

<P>
which puts the MIDI keyboard into the same key as the horn, is not an
uncommon directive

<P>
You can use any value between -12 and 12. All tracks (with the logical
exception of the drum tracks) are effected by this command.

<P>
As an alternative, you can set T<SMALL>RANSPOSE</SMALL> using interval
notation. This consists of three parts: the direction, quality and
number. The direction must be ``up'' or ``down''. Quality must be
``Perfect'', ``Major'', etc. as detailed in the table below. Number
must be the single digits ``0'' to ``8'' or the expanded names
``Unison'', ``Second'', ``Third'', ``Fourth'', ``Fifth'', ``Sixth'',
``Seventh'', and ``Octave''. All names can be any mixture of upper and
lower case letters.

<P>
The following table lists the permitted intervals and the equivalent
semi-tone adjustments.

<P>

		<Table CellSpacing=0 Width="80%" Align="Center" CellPadding=10 BGColor="#dddddd" Border=3>
           <tr> <td>
	       <TABLE CELLPADDING=3 BORDER="1">
<TR><TD ALIGN="LEFT"><SPAN  CLASS="textit">Quality Number</SPAN></TD>
<TD ALIGN="CENTER"><SPAN  CLASS="textit">Semitones</SPAN></TD>
</TR>
<TR><TD ALIGN="LEFT">Perfect Unison</TD>
<TD ALIGN="CENTER">0</TD>
</TR>
<TR><TD ALIGN="LEFT">Diminished Second</TD>
<TD ALIGN="CENTER">0</TD>
</TR>
<TR><TD ALIGN="LEFT">Augmented Unison</TD>
<TD ALIGN="CENTER">1</TD>
</TR>
<TR><TD ALIGN="LEFT">Minor Second</TD>
<TD ALIGN="CENTER">1</TD>
</TR>
<TR><TD ALIGN="LEFT">Major Second</TD>
<TD ALIGN="CENTER">2</TD>
</TR>
<TR><TD ALIGN="LEFT">Diminished Third</TD>
<TD ALIGN="CENTER">2</TD>
</TR>
<TR><TD ALIGN="LEFT">Augmented Second</TD>
<TD ALIGN="CENTER">3</TD>
</TR>
<TR><TD ALIGN="LEFT">Minor Third</TD>
<TD ALIGN="CENTER">3</TD>
</TR>
<TR><TD ALIGN="LEFT">Major Third</TD>
<TD ALIGN="CENTER">4</TD>
</TR>
<TR><TD ALIGN="LEFT">Diminished Fourth</TD>
<TD ALIGN="CENTER">4</TD>
</TR>
<TR><TD ALIGN="LEFT">Augmented Third</TD>
<TD ALIGN="CENTER">5</TD>
</TR>
<TR><TD ALIGN="LEFT">Perfect Fourth</TD>
<TD ALIGN="CENTER">5</TD>
</TR>
<TR><TD ALIGN="LEFT">Augmented Fourth</TD>
<TD ALIGN="CENTER">6</TD>
</TR>
<TR><TD ALIGN="LEFT">Diminished Fifth</TD>
<TD ALIGN="CENTER">6</TD>
</TR>
<TR><TD ALIGN="LEFT">Perfect Fifth</TD>
<TD ALIGN="CENTER">7</TD>
</TR>
<TR><TD ALIGN="LEFT">Diminished Sixth</TD>
<TD ALIGN="CENTER">7</TD>
</TR>
<TR><TD ALIGN="LEFT">Augmented Fifth</TD>
<TD ALIGN="CENTER">8</TD>
</TR>
<TR><TD ALIGN="LEFT">Minor Sixth</TD>
<TD ALIGN="CENTER">8</TD>
</TR>
<TR><TD ALIGN="LEFT">Major Sixth</TD>
<TD ALIGN="CENTER">9</TD>
</TR>
<TR><TD ALIGN="LEFT">Diminished Seventh</TD>
<TD ALIGN="CENTER">9</TD>
</TR>
<TR><TD ALIGN="LEFT">Augmented Sixth</TD>
<TD ALIGN="CENTER">10</TD>
</TR>
<TR><TD ALIGN="LEFT">Minor Seventh</TD>
<TD ALIGN="CENTER">10</TD>
</TR>
<TR><TD ALIGN="LEFT">Major Seventh</TD>
<TD ALIGN="CENTER">11</TD>
</TR>
<TR><TD ALIGN="LEFT">Diminished Octave</TD>
<TD ALIGN="CENTER">11</TD>
</TR>
<TR><TD ALIGN="LEFT">Perfect Octave</TD>
<TD ALIGN="CENTER">12</TD>
</TR>
</TABLE> 
	
           </td></tr>
        </Table>

<P>

<UL>
<LI>The various parts of the interval name can be abbreviated to any
non-ambiguous characters. So, ``Up Major Sixth'' could be set, minimally, as ``u
ma si'' (we recommend using more recognizable terms!).

<P>
</LI>
<LI>In the place of interval names such as ``Fourth'', ``Seventh'',
  etc. you can use the values ``1'' to ``8''. But, please note the
  significant difference between ``Transpose 2'' and ``Transpose Up
  Major 2''.

<P>
</LI>
<LI>The parts of the interval name can be joined with hyphens. So,
  ``Up Major Second'' can be spelled as ``Up-Maj-Sec''. This is mainly
  for compatibility with the L<SMALL>YRICS </SMALL>T<SMALL>RANSPOSE</SMALL> option.

<P>
</LI>
<LI>Please note that this command has no effect on the chord names used in
lyrics when using the chord name setting. The two functions/settings
are completely independent from each other.

<P>
</LI>
</UL>

<P>
Finally, T<SMALL>RANSPOSE</SMALL> has a modifier A<SMALL>DD</SMALL> which forces the
current value to be incremented or decremented instead of being
replaced. To force this, simply place the single word A<SMALL>DD</SMALL>
(upper or lowercase is fine) as the first word on the command line. So,

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Transpose  Add 4  </B> 
   
	    </td></tr>
      </Table>

<P>
will increment the current transposition setting by 4 semi-tones. And,

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Transpose Add Down Perfect Fourth  </B> 
   
	    </td></tr>
      </Table>

<P>
will decrement the current setting by 5 semi-tones.

<P>
The result for this option must be in the range -12 to 12.

<P>

<H1><A NAME="SECTION0029260000000000000000">
Unify</A>
</H1>

<P>
The U<SMALL>NIFY</SMALL> command is used to force multiple notes of the same
voice and pitch to be combined into a single, long, tone. This is very
useful when creating a sustained voice track. For example, consider
the following which might be used in real groove file:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Begin Bass-Sus 
<BR>
Sequence  1 1 1 90 &sstarf#star; 4  
<BR>
Articulate 100 
<BR>
Unify On 
<BR>
Voice TremoloStrings 
<BR>
End   </B> 
   
	    </td></tr>
      </Table>

<P>
Without the U<SMALL>NIFY </SMALL>O<SMALL>N</SMALL> command the strings would be sounded (or
hit) four times during each bar; with it enabled the four hits are
combined into one long tone. This tone can span several bars if the
note(s) remain the same.

<P>
The use of this command depends on a number of items:

<P>

<UL>
<LI>The V<SMALL>OICE</SMALL> being used. It makes sense to use enable the
  setting if using a sustained tone like ``Strings"; it probably
  doesn't make sense if using a tone like ``Piano1''.

<P>
</LI>
<LI>For tones to be combined you will need to have A<SMALL>RTICULATE</SMALL>
  set to a value of 100. Otherwise the on/off events will have small
  gaps in them which will cancel the effects of U<SMALL>NIFY</SMALL>.

<P>
</LI>
<LI>Ensure that R<SMALL>TIME</SMALL> or R<SMALL>DURATION</SMALL> are not set for
  U<SMALL>NIFY</SMALL> tracks. Both can cause gaps in where the notes are
  placed and this will confuse U<SMALL>NIFY</SMALL> and lead to things not
  sounding as you expect them to.

<P>
</LI>
<LI>If your pattern or sequence has different volumes in different
  beats (or bars) the effect of a U<SMALL>NIFY</SMALL> will be to ignore
  volumes other than the first. Only the first N<SMALL>OTE </SMALL>O<SMALL>N</SMALL> and the
  last N<SMALL>OTE </SMALL>O<SMALL>FF</SMALL> events will appear in the MIDI file.

<P>
</LI>
</UL>

<P>
You can specify a different U<SMALL>NIFY</SMALL> for each bar in a sequence.
Repeated values can be represented with a ``/'':

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Chord Unify On / / Off  </B> 
   
	    </td></tr>
      </Table>

<P>
But, you probably don't want to use this particular feature.

<P>
Valid arguments are ``On'' or ``1'' to enable; ``Off'' or ``0'' to
disable.

<P>
Note: Notes generated with the U<SMALL>NIFY</SMALL> setting on may be lost if
you use the <SPAN  CLASS="textit">-b</SPAN> or <SPAN  CLASS="textit">-B</SPAN> command line options. 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  doesn't
``keep'' notes which were turned on before the specified range.
<BR><HR><H4>Footnotes</H4>
<DL>
<DT><A NAME="foot17116">... advance).</A><A
 HREF="node29.html#tex2html116"><SUP><SPAN CLASS="arabic">29</SPAN>.<SPAN CLASS="arabic">1</SPAN></SUP></A></DT>
<DD>A single leading ``-'' and ``+'' sign is
  striped from the specified note duration.

</DD>
<DT><A NAME="foot17416">... files.</A><A
 HREF="node29.html#tex2html117"><SUP><SPAN CLASS="arabic">29</SPAN>.<SPAN CLASS="arabic">2</SPAN></SUP></A></DT>
<DD>This command was
  conceived to be used in S<SMALL>OLO</SMALL> tracks. If you find a good use
  for it in other tracks, please let the author know.

</DD>
<DT><A NAME="foot17417">... event.</A><A
 HREF="node29.html#tex2html118"><SUP><SPAN CLASS="arabic">29</SPAN>.<SPAN CLASS="arabic">3</SPAN></SUP></A></DT>
<DD>For
  the most part, MIDI Key Signature events are ignored by playback
  programs. However, they <SPAN  CLASS="textit">may</SPAN> be used in other MIDI programs
  which handle notation.

</DD>
<DT><A NAME="foot17286">...
command.</A><A
 HREF="node29.html#tex2html119"><SUP><SPAN CLASS="arabic">29</SPAN>.<SPAN CLASS="arabic">4</SPAN></SUP></A></DT>
<DD>A warning message will also be displayed.

</DD>
<DT><A NAME="foot17297">... chord,</A><A
 HREF="node29.html#tex2html120"><SUP><SPAN CLASS="arabic">29</SPAN>.<SPAN CLASS="arabic">5</SPAN></SUP></A></DT>
<DD>In this case we define
  ``chord'' as two or more notes played at the same time.

</DD>
<DT><A NAME="foot17419">... time.</A><A
 HREF="node29.html#tex2html121"><SUP><SPAN CLASS="arabic">29</SPAN>.<SPAN CLASS="arabic">6</SPAN></SUP></A></DT>
<DD>An exception to this are
  notes generated if R<SMALL>TIME</SMALL> <A HREF="node13.html#rtime">13.3</A> and/or  RD<SMALL>URATION</SMALL> <A HREF="node13.html#rduration">13.4</A> are set.

</DD>
<DT><A NAME="foot17424">... etc.</A><A
 HREF="node29.html#tex2html122"><SUP><SPAN CLASS="arabic">29</SPAN>.<SPAN CLASS="arabic">7</SPAN></SUP></A></DT>
<DD>These values are MIDI ticks
  from the current pointer position. Other settings such as
  R<SMALL>TIME</SMALL> will change the exact location.

</DD>
<DT><A NAME="foot17359">...
track.</A><A
 HREF="node29.html#tex2html123"><SUP><SPAN CLASS="arabic">29</SPAN>.<SPAN CLASS="arabic">8</SPAN></SUP></A></DT>
<DD>Timidity truncates the start of tracks up to the first
  MIDI event when playing a file or splitting out single tracks.

</DD>
<DT><A NAME="foot17362">... point.</A><A
 HREF="node29.html#tex2html124"><SUP><SPAN CLASS="arabic">29</SPAN>.<SPAN CLASS="arabic">9</SPAN></SUP></A></DT>
<DD>Seq24 does strange looping if all tracks
  don't end identically.

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