ÉÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ» º PIANOMAN GOES BAROQUE º ÇÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄĶ º NOTES ON THE INSTRUMENT º ÈÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍͼ ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿ ³ IT DOESN'T JUST BEEP ON ERROR ³ ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ As primitive as it might appear, the personal computer is in fact a musical instrument of great range and diversity. Not only does its speaker have an effective range of six octaves or more (and an actual range well beyond that), but the body of the CPU is as much a resonating (and amplifying) chamber as the body of a cello. Upon specification and direction by software, sound waves can be generated by the speaker and then blended and amplified by the CPU. What the ear perceives is a composite of many elements, many below the threshold of human perception. The "music" induced by these files through the speaker and CPU of the PC relies on only three software-controllable elements: pitch, duration and silence, delivered to the speaker linearly (like Morse code) and not as chords. However and for example, the files in "Pianoman Goes Baroque" deliver pitch codes to the speaker in groups of anywhere from one to six, duration of pitch is varied anywhere from 14 to 540 msec, and silence appears as rests, almost imperceptible interruptions or "corrugation" of note clusters. There is a great deal more artistry in playing the PC than superficial appearance indicates. Throwing a stone into a calm pond demonstrates wave generation in a roughly two-dimensional system. The wave form created by the stone can be amplified and its frequency altered by throwing in a second stone. Throwing in the second stone just at the nadir or crest of the wave from the first stone can create a "harmonic" pattern where the two waveforms are complemen- tary. Tossing in stones with the right size and shape at the right points at the right time intervals can produce "symphonic" wave formations over the surface of the pond. The CPU, its motherboard and add-on cards, and expansion slots are in actuality a three-dimensional model of the two-dimensional pond. The mother- board and add-on cards serve in the same "musical" capacity as the struts in any of the stringed instruments. The speaker itself functions much like the reed on a clarinet or oboe. The speaker emanates tones at a particular frequency for a preset duration, which thereafter fill the CPU with waveforms which resonate inside the box and are thus amplified by resonating prior to escaping through slots to the exterior. In the case of computer-assisted music-making by manipulation of speaker output, it is possible to specify extremely minute patterns of pitches and durations of pitches which collectively reinforce each other (by natural overtone series) and/or which "pile up" prior to exit from the CPU such that "harmony" is created. In that the actual lengths of the soundwaves corres- ponding to the pitches (frequencies) equal or are integer multiples of the PIANOMAN GOES BAROQUE - 2 - NOTES ON THE INSTRUMENT dimensions of the CPU, a certain amount of dynamic (loudness/softness) and/or textural influence can be exerted by exploiting physical occurrences outside direct software control. For example, "silence" in the form of rests or staccato can yield tiny eddies or interruptions much like tongue stops on a wind instrument or plucking as opposed to bowing a string instrument. As with any musical instrument of any sophistication, the PC is not easily learned; it does require a great deal of practice and preparatory learning. Further, much skill is demanded for proper and satisfying execu- tion. However, at this point in its development, I think you will agree that as a solo, multivoice instrument, the PC has come into its own. Compare the "ordinary" PC for a moment with such "classic" instruments as French horn, oboe, bass viol, and even xylophone, harpsichord and clavichord. How many of these are currently "installed" worldwide? Which of these can stand on its own as a multivoice instrument? Now for a moment consider taking music for any one of those to the office sandwiched in a book, or transmitting it at 1200 or 2400 baud over phone lines to the next continent. In terms of potential richness of repertoire, convenience and accessi- bility by the greatest number of people, the personal computer -- no supple- mental hardware -- is the new musical instrument of the decade. ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿ ³ THE SOFTWARE ³ ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ The name "Pianoman" itself applies to a copyrighted triad of executable files: one is for installation, another is to convert (or deconvert) your creations (or anyone's creations) into either executable or text form, and/or merge melody lines into harmonies. The third and main executable file has two distinct functions: it converts the PC keyboard into a keyboard instrument for note recording by assigning pitches rather than characters to the letter and number keys; in its other aspect, it is a highly sophisticated "text" editor of musical notes and "blocks" of notes. Notes entered on the keyboard appear in text-editable form at the flip of a screen. Notes can be played back by the block or from any point in the composition. One does not have to be an accomplished keyboard musician to generate high quality music files on a PC. During note entry, you can raise the octave, turn on recording, flip screens and mark your place in a tune in six keystrokes, all with the same finger. What you do have to know to use Pianoman effectively are, for example, the difference between G and G-sharp, a quarter from a half, how many beats are in the measure you are working on and which note cluster is "right": D-F#-A-C or D#-G#-A-C#? PIANOMAN GOES BAROQUE - 3 - NOTES ON THE INSTRUMENT The user can record and edit notes with a single finger (though more are certainly helpful). In text editing, notes are like letters on a word processor, harmony groups like words, and blocks of various duration, sentences and paragraphs. Almost all functions are mnemonic for English speaking people (for example, "eighth note" is "E") so that the several help screens are almost superfluous after an hour of practice. ÚÄÄÄÄÄÄÄ¿ Pianoman pitches are denominated in A-B-C form (with no flats: ³ PITCH ³ B-flat is denoted as A# and so forth) and octaves by integers 1 ÀÄÄÄÄÄÄÄÙ through 8. Since only one line is entered at a time, only one clef has to be followed at a time -- octave can be adjusted globally later in two keystrokes. Pitch changes of several steps can be easily done across large blocks. Pitch changes to single notes can be done in half-steps one keystroke at a time and are audible as they are made. ÚÄÄÄÄÄÄÄÄÄÄ¿ Pianoman utilizes a user-set "quarter" note as a standard by ³ DURATION ³ which later defaults, inserted rests and relative durations ÀÄÄÄÄÄÄÄÄÄÄÙ are set with single or very few keystrokes. Durations are expressed in milliseconds and may be set note by note, equally across a block, as percentage increases or decreases of existing durations, or rounded to a user-selected value. The "quarter" note can be reset at will at any time. ÚÄÄÄÄÄÄÄÄÄ¿ Silence occurs in Pianoman music by two methods: by insertion ³ SILENCE ³ of "rests" defined in msec lengths (in relation to the pre- ÀÄÄÄÄÄÄÄÄÄÙ defined "quarter" note), or by cutting short the duration of a given note with the staccato function. As text, the staccato note appears as a single note with the staccato number noted in the lower left corner, making it easy to identify. Increasing or decreasing staccato can also be done by the note or globally. ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿ ³ THE MERGE FILE ³ ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ Once two to four melodic lines ("strings") are recorded and matched as to duration, a utility program will "merge" the two lines into another file consisting of much smaller, identically sized slices of the original lines alternated and interwoven so as to create "harmony" and/or "polyphony". Merging will increase the total number of notes eightfold or more depending on number of strings and size of slices, though duration of the file will be identical. PIANOMAN GOES BAROQUE - 4 - NOTES ON THE INSTRUMENT The decision as to how tightly the notes will be sliced is made at the merge stage when the software requests a divisor value. A single four-tone chord of 360 msec may be split into 4 units of 90 (more like arpeggiation), 2 four-tone units of 45 (suitable at faster tempos), 3 four-tone units of 30, 4 four-tone units of 22 (automatically rounded), and so forth. Combinations can be added later to the same composition, depending on tempo and textural effect desired. Since "string" sets are not destroyed by a merge, different merges using different divisors can be tested. The software offers a variety of tools to edit and otherwise polish a merge file. "Staccato" inserted at the string stage can be used to mark notes and groups of notes for easier manipulation after the strings are broken into small subunits. "ZAP" eliminates rests and adds their duration to the immediately preceeding note. "Join" combines adjacent notes of the same pitch into one note of their combined duration. All pitch, duration, and silence functions as outlined above are also fully available. There is a great deal of versatility in the performance of embellishments such as trills, mordents and turns. Including a delicate turn or trill in a pre-merged string may result in a steadily "buzzing" merge file of negligibly small subunits, but by halving or otherwise diminishing the unit length of a trill or turn after a merge, one may create a "chirping" effect. An embel- lishment is also best done after a merge when the composer intended the first note or two to occur prior to a downbeat or otherwise outside the tempo. Accelerando, ritardando and other gradual tempo variations may be executed as percentage variances over lengths of notes or by specifying changes in duration with exact numbers. To achieve an increasing rate of acceleration over a given stretch of notes, for example, one could block small portions and specify a 6%, then 8%, then 10% increase. Also, combining tempo change with blocking, it is possible to execute tempo changes to occur over, say, consecutive 16th notes, or in broader gradations over several measures. Merge files can be combined together, for example, such that the first section of a file has its quarter-note divided into eight subunits, and the second, by twelve, depending on circumstance. The same technique may be applied from phrase to phrase, and as discussed above, within embellishment. Merge file development is further discussed in the documentation for the disk, "Pianoman Does Beethoven". PIANOMAN GOES BAROQUE - 5 - NOTES ON THE INSTRUMENT ÚÄÄÄÄÄÄÄÄÄÄÄ¿ ³ EQUIPMENT ³ ÀÄÄÄÄÄÄÄÄÄÄÄÙ All files on this disk and others in the Pianoman series were done on a home computer, a clone 8088 (4.77 Hz), under (variously) IBM PC DOS 3.1, 3.2 and 3.3. Although my machine has 640K RAM, I hardly needed 256K of it (if that), for any file in this collection. I have a standard AT keyboard with the function buttons down the side, and my monitor is, by choice, monochrome. I do have (and need) a hard drive to contain a now extensive music collection (among other applications), but my actual working music directory rarely occupies more disk space than that of a standard floppy disk (360K). The bottom line is that it is possible to generate files like these even on an inexpensive, one disk, 256K, monochrome system so long as you are running IBM PC-DOS and not generic MS-DOS (the latter required by the software). My machine is upended on its narrow side, floppy slot up, speaker slots down, firmly wedged. It's in an ordinary, off the rack PC box, no extras. It does not have a 15+ lb. monitor with shock (vibration, sound wave) absorbing feet on top of it. (POWER DOWN AND/OR PARK YOUR HARD DRIVE BEFORE MOVING YOUR CPU IN ANY WAY, SHAPE OR FORM!) I also use the machine for word processing, database, spreadsheet and many other applications, and have been playing music on it for well over a year. (Once I let it play for 4 hours non-stop.) Never at any time has harm come to my machine or any other application as a result of running music files. The software used to produce this disk (Pianoman) is shareware, meaning you may get it from your local bulletin board or other shareware vendor for free or a very small price and try it without paying the author in advance. The introductory screens are produced by a utility included in the Pianoman program, but the ones here have been subjected to DEBUG and Norton Utilities. ÚÄÄÄÄÄÄÄÄÄÄ¿ ³ PERSONAL ³ ÀÄÄÄÄÄÄÄÄÄÄÙ I can play the piano at a talented amateur level; I can't play the organ; I've never touched a harpsichord. I've heard of Neopolitan Sixths, but I don't know what they are: I have no academic credentials in music or computers. I think what is more important for the PC is an extensive back- ground in choral music, mostly alto (but I've been a soprano for Beethoven's Ninth and tenor for Handel's Messiah). The significant skill is being able to read your own one line well while having an awareness of the parts around you. PIANOMAN GOES BAROQUE - 6 - NOTES ON THE INSTRUMENT Most files in the Baroque series took no more time than a Sunday cross- word puzzle. (But Baroque music tends to be more easily transferred to the PC than music from later periods probably because Baroque composers were dealing with similarly nascent hardware.) I no longer use photocopies of scores. After enough practice, files are easily enough done right from the book with no marks on the page. (Pianoman version 4.0 eliminated some of the reason for marking scores.) Needless to say, I have been a registered user of Pianoman for well over a year. The program has a shareware price of $25, less than a subscription to most magazines, and a worthwhile investment if you run into bugs, have questions or want the supplemental tunes disk. ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿ ³ TRADEMARK/COPYRIGHT INFORMATION ³ ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ "Pianoman" is the trade name for the music transcription/composition/- keyboard software program and ancillary utilities for IBM compatible personal computers of the same name and is used herein and in the title of this disk with prior written consent of the owner, Neil J. Rubenking. The files individually comprising Pianoman Goes Baroque, Pianoman Does Beethoven, 1-2-3 BACH! and Christmas Concerts, vol. 1 and 2, the disks in themselves, and ancillary files are all copyrighted under my name, and may not be repackaged or resold without my prior written permission. The titles of each disk are trade names and may not be used in conjunction with products in related lines of commerce without prior agreement. IBM is the registered trademark of International Business Machines Corporation, the company that abandoned the PC, PC-XT and PC-AT (bad speakers and all), in favor of PS/2 and Display Write 4. The sheet music transcribed especially for the Pianoman Goes Baroque disk, came from the series, "Keyboard Music of the Baroque and Rococo" (Georgii, Arno Volk Verlag K”ln), bought at G. Schirmer's in New York City about 20 years ago. It was then and is now in the public domain since all composers "expired" more than 200 years ago, and all text came directly from original manuscripts. These files are not piano reductions by latter-day editors; they are just as K.P.E. Bach, Scarlatti, Telemann and Wagenseil inscribed them. PIANOMAN GOES BAROQUE - 7 - NOTES ON THE INSTRUMENT ðððððð * Nancy Moran ðððððð ðððððð 607 Park Avenue ðððððð ðððððð Baltimore, Maryland 21201 ðððððð ðððððð U.S.A. ðððððð * Author of: Christmas Concerts, vols. 1 and 2 Pianoman Goes Bach Pianoman Does Beethoven Comments and inquiries welcome 2/89