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Mup MIDI output
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&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<A HREF="index.html">Table of Contents</A>                                                                                   
<H1>
MIDI OUTPUT
</H1>
<P>
Mup will optionally produce MIDI output
<A HREF="cmdargs.html#moption">(using the -m command line argument).</A>
Mup is first and foremost a music publication program,
so its MIDI capabilities have a few limitations.
However, the MIDI output is quite useful for &quot;proofreading&quot;
(or perhaps we should say &quot;proof-listening&quot;).
It is often easier to spot a typo in Mup input by
listening to it than to look at the output. Mup provides enough MIDI
control to do virtually all of what MIDI supports, and will be adequate
for many people. Others however, may find they want a separate MIDI editor
for really serious MIDI work.
</P>
<P>
The following section assumes a general knowledge of MIDI. If you are not
familiar with MIDI, there are many books available on the subject
at most music stores or computer book stores.
</P>
<P>
Each
<A HREF="param.html#vscheme">voice</A>
is put on a separate MIDI track. The first track contains
general information such as key and time signature. The next track will be for
staff 1, voice 1. If staff 1 has a second voice, that will be the next
track, otherwise it will be voice 1 of staff 2, if any, and so forth,
one track for each voice, top to bottom.
</P>
<P>
Output is in MIDI file format 1, with a default of 120 quarter notes
per minute, 192 ticks per quarter note. MIDI channel 1 is used by default for
all voices. If you want to use different instrument sounds for different
voices, you will need to specify a different channel for each voice, then
specify the MIDI &quot;program&quot; for that voice. This is demonstrated in some
of the examples later in this section.
</P>
<P>
Mup MIDI output will handle
<A HREF="bars.html">repeats</A>
and
<A HREF="bars.html#endings">first and second endings,</A>
but it does not know anything about &quot;D.S. al coda&quot; or anything of that sort. 
It is possible to work around this limitation to some extent using
<A HREF="macros.html">macros.</A>
For example, a section between a &quot;sign&quot; and a &quot;jump to coda&quot; symbol could
be put inside a macro definition, then the macro can be called. Then later
in the piece, where the &quot;D. S.&quot; occurs the macro can be called again if MIDI
is defined. For example:
<BR><PRE>
// an introductory section, ends with a sign
1: c;d;e;f;
mussym above all: 5 &quot;sign&quot;;
bar

// define macro for section between sign and
// symbol to &quot;jump to coda&quot;
define SECTION
1: g;a;g;;
mussym above all: 5 &quot;coda&quot;;
bar
@

// print/play the section just defined by
// the macro
SECTION

// now do the music up to the D.S.
1: e;f;2g;
ital above 1: 1 &quot;D. S. al Coda&quot;;
dblbar

// human player would now flip back to
// the sign, so do the MIDI equivalent:
// play that section again.
ifdef MIDI
	SECTION
endif

// now do the coda
1: e;d;2c;
rom above 1: 0 &quot;Coda&quot;;
endbar
</PRE><BR>
</P>
<P>
Mup mainly just outputs the note information.
Mup will recognize
<A HREF="octave.html">octave marks,</A>
and move notes up or down appropriately.
It recognizes
<A HREF="pedal.html">piano pedal marks.</A>
It does not attempt to interpret tempo or dynamics marks
specified by
<A HREF="textmark.html">"rom," "boldital," etc. or ornaments in</A>
<A HREF="mussym.html">"mussym" statement.</A>
It does interpret
<A HREF="bars.html#reh">rehearsal marks</A>
as cue points.
It handles
<A HREF="chrdattr.html#chstyle">grace notes,</A>
<A HREF="roll.html">rolls,</A>
<A HREF="chrdattr.html#slashes">slashes,</A>
and
<A HREF="ichdattr.html#alt">alternation groups.</A>
You can control how legato the music is by using
<A HREF="param.html#release">the Mup "release" parameter.</A>
</P>
<P>
Some styles of music are often
written in &quot;swing time,&quot; meaning the
players are expected to play pairs of notes with the first twice
as long as the second, even though they are written as if they were the
same duration, or as if the first were three times as long as the second.
The most common example would be where the written notation shows
two eighth notes like 8;; or a dotted rhythm like 8.;16;
but the musician &quot;knows&quot; that the composer really intended it
to be played as if it were a triplet {4;8;}3;
The
<A HREF="param.html#swing">swingunit</A>
parameter can be used to get Mup MIDI output to automatically follow
that performance convention.
</P>
<P>
A MIDI editing program will probably be necessary to add some effects.
However, it is possible to specify certain directives for MIDI.
They are of the form:
<BR><PRE>
<B>midi</B> <I>S V</I><B>:</B> <I>begintime &quot;keyword=value&quot;;</I>
</PRE><BR>
The <I>S</I> and <I>V</I> specify the staff and voice for which the directive is
to apply. As elsewhere in Mup, an omitted voice will default to voice 1,
and both staff and voice can be given as a list.
Certain keywords apply to the entire score. In that case the form
<BR><PRE>
<B>midi all:</B> <I>begintime &quot;keyword=value&quot;;</I>
</PRE><BR>
is used instead.
The items specified using &quot;all&quot; are placed on the first track, the track
containing score-wide information. They are not applied to the
voices on the other tracks.
</P>
<P>
The <I>begintime</I>, as elsewhere in Mup,
gives the beat into the measure where the MIDI output is to be placed.
If notes are to be turned on or off at the same instant in time as the
<I>begintime</I>, first all &quot;note off&quot; commands are generated, then the &quot;midi&quot;
command events, then &quot;note on&quot; commands.
</P>
<P>
The <I>keyword=value</I> gives specific information of
what MIDI output to generate. The following keywords are currently supported:
<TABLE BORDER=4>
<TR>
<TD><B>keyword</B></TD>	<TD><B>values</B></TD>	<TD><B>meaning</B></TD>	<TD><B>midi S V</B></TD>	<TD><B>midi all</B></TD>
</TR>
<TR>
<TD>program</TD>	<TD>0-127</TD>	<TD>program change (new instrument)</TD>	<TD>yes</TD>	<TD>no</TD>
</TR>
<TR>
<TD>parameter</TD>	<TD>0-127,0-127</TD>	<TD>parameter</TD>	<TD>yes</TD>	<TD>yes</TD>
</TR>
<TR>
<TD>channel</TD>	<TD>1-16</TD>	<TD>channel</TD>	<TD>yes</TD>	<TD>no</TD>
</TR>
<TR>
<TD>chanpressure</TD>	<TD>0-127</TD>	<TD>channel pressure (after touch)</TD>	<TD>yes</TD>	<TD>yes</TD>
</TR>
<TR>
<TD>tempo</TD>	<TD>10-1000</TD>	<TD>tempo, quarter notes per minute</TD>	<TD>no</TD>	<TD>yes</TD>
</TR>
<TR>
<TD>seqnum</TD>	<TD>0-65535</TD>	<TD>sequence number</TD>	<TD>yes</TD>	<TD>yes</TD>
</TR>
<TR>
<TD>text</TD>	<TD>text</TD>	<TD>text meta event</TD>	<TD>yes</TD>	<TD>yes</TD>
</TR>
<TR>
<TD>copyright</TD>	<TD>text</TD>	<TD>copyright notice</TD>	<TD>yes</TD>	<TD>yes</TD>
</TR>
<TR>
<TD>name</TD>	<TD>text</TD>	<TD>sequence/track name</TD>	<TD>yes</TD>	<TD>yes</TD>
</TR>
<TR>
<TD>instrument</TD>	<TD>text</TD>	<TD>instrument name</TD>	<TD>yes</TD>	<TD>yes</TD>
</TR>
<TR>
<TD>marker</TD>	<TD>text</TD>	<TD>marker meta event</TD>	<TD>yes</TD>	<TD>yes</TD>
</TR>
<TR>
<TD>cue</TD>	<TD>text</TD>	<TD>cue point</TD>	<TD>yes</TD>	<TD>yes</TD>
</TR>
<TR>
<TD>port</TD>	<TD>0-127</TD>	<TD>MIDI port</TD>	<TD>yes</TD>	<TD>yes</TD>
</TR>
<TR>
<TD>onvelocity</TD>	<TD>1-127</TD>	<TD>note on velocity</TD>	<TD>yes</TD>	<TD>no</TD>
</TR>
<TR>
<TD>offvelocity</TD>	<TD>0-127</TD>	<TD>note off velocity</TD>	<TD>yes</TD>	<TD>no</TD>
</TR>
<TR>
<TD>hex</TD>	<TD>hex data</TD>	<TD>arbitrary MIDI data</TD>	<TD>yes</TD>	<TD>yes</TD>
</TR>
</TABLE>

</P>
<P>
The keywords can be abbreviated to their first three or more letters,
except &quot;chanpressure&quot; which requires at least five letters to differentiate
it from &quot;channel&quot; (&quot;cha&quot; or &quot;chan&quot; will be interpreted as channel).
In most cases, the &quot;=&quot; is followed by either a number or some text. Exceptions
to this are discussed in the next few paragraphs.
</P>
<P>
The &quot;parameter&quot; keyword is followed by 2 numbers, separated by a comma.
The first is the parameter number, the second is the parameter value.
Thus to set parameter 7 (which is the volume parameter) to 90 for voice
2 of staff 3, starting at the beginning of the measure, you can use:
<BR><PRE>
midi 3 2: 0 &quot;parameter=7,90&quot;;
</PRE><BR>
</P>
<P>
The &quot;onvelocity&quot; and &quot;offvelocity&quot; keywords can have one or more values,
separated by commas. If there is only one value, it applies to all notes
in each chord. If there is more than one value, the first value applies
to the top note of the chord, the second value to the second-from-the-top
note, and so forth. If there are more notes in a chord than there are
values specified, the last value specified applies to all of the remaining
notes. So, for example, if you want to emphasize the top note of each
chord because it is the melody, you can specify two values, as in
<BR><PRE>
midi 1: 1 &quot;onvelocity=76, 60&quot;;
</PRE><BR>
which would cause the top note to have a velocity of 76 and all other
notes to have a velocity of 60.
</P>
<P>
The &quot;hex&quot; form can be used to insert any arbitrary MIDI data into
the MIDI file. The value consists of any even number of hexadecimal digits.
Spaces and tabs can be included in the value field for readability.
</P>
<P>
Note that Mup uses the MIDI standard,
which numbers instruments from 0 through 127,
but some MIDI playback programs follow a convention of numbering them
from 1 through 128.
</P>
<P>
Here are some examples:
<BR><PRE>
midi all: 0 &quot;tempo=72&quot;;
midi 1-2 1-2: 0 &quot;channel=2&quot;; 0 &quot;program=14&quot;; 3.5 &quot;program=76&quot;;
midi all: 3 &quot;hex= ff 00 02 00 01&quot;;   // sequence number 1
midi 3,6: 0 &quot;channel=5&quot;; 0 &quot;prog=15&quot;; 0 &quot;instr=dulcimer&quot;;
// set parameter 7 (usually volume) to 100
midi 2: &quot;par = 7, 100&quot;;
</PRE><BR>
</P>
<P>
Here is a more extensive example of how midi commands might be used
in a song:
<BR><PRE>
score
	staffs=2
	vscheme=2o

staff 2
	clef=bass

voice 2 2
	// Make the bottom voice more staccato
	release=50

music

// Set the tempo.
// Start out at 108 quarter notes per minute,
// but on count 4, slow down to 96 per minute.
midi all: 0 &quot;tempo=108&quot;; 4 &quot;tempo=96&quot;;

// Put each voice on a different channel
// using a different instrument sound.
// The program numbers correspond to the
// General MIDI sounds as noted.
midi 1 1: 0 &quot;channel=1&quot;; 0 &quot;program=68&quot;;  //oboe
midi 1 2: 0 &quot;channel=2&quot;; 0 &quot;program=11&quot;;  //vibraphone
midi 2 1: 0 &quot;channel=6&quot;; 0 &quot;program=60&quot;;  //french horn
midi 2 2: 0 &quot;channel=4&quot;; 0 &quot;program=35&quot;;  //fretless bass

// Make the top voice louder, and put an
// accent on the third beat
midi 1 1: 0 &quot;onvelocity=86&quot;; 3 &quot;onvelocity=100&quot;; 4 &quot;onvel=86&quot;;

// Set maximum reverb on french horn part,
// starting at the second beat.
// (Reverb is parameter 91)
midi 2 1: 2 &quot;parameter=91, 127&quot;;

// Set chorus on oboe to 75, from the beginning.
// (Chorus is parameter 93)
midi 1 1: 0 &quot;param=93, 75&quot;;

// Pan the bass part to middle of left side.
// (Pan is parameter 10, with a value of 0 being hard left,
// 64 in the center, and 127 being hard right, so 32 is
// half way to the left.)
midi 2 2: 0 &quot;parameter=10, 32&quot;;

// Now the music to be played...
1 1: e;d;2c;
1 2: c;b-;2g-;
2 1: g;f;2e;
2 2: c;g-;2c;
bar
</PRE><BR>
</P>
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Commit	Line	Data
69695f33 MW	1	<HTML>
	2	<HEAD><TITLE>
	3	Mup MIDI output
	4	</TITLE></HEAD>
	5	<BODY>
	6	<P>
	7	<A HREF="pstools.html"><-- previous page</A>
	8
	9	<A HREF="index.html">Table of Contents</A>
	10	<H1>
	11	MIDI OUTPUT
	12	</H1>
	13	<P>
	14	Mup will optionally produce MIDI output
	15	<A HREF="cmdargs.html#moption">(using the -m command line argument).</A>
	16	Mup is first and foremost a music publication program,
	17	so its MIDI capabilities have a few limitations.
	18	However, the MIDI output is quite useful for "proofreading"
	19	(or perhaps we should say "proof-listening").
	20	It is often easier to spot a typo in Mup input by
	21	listening to it than to look at the output. Mup provides enough MIDI
	22	control to do virtually all of what MIDI supports, and will be adequate
	23	for many people. Others however, may find they want a separate MIDI editor
	24	for really serious MIDI work.
	25	</P>
	26	<P>
	27	The following section assumes a general knowledge of MIDI. If you are not
	28	familiar with MIDI, there are many books available on the subject
	29	at most music stores or computer book stores.
	30	</P>
	31	<P>
	32	Each
	33	<A HREF="param.html#vscheme">voice</A>
	34	is put on a separate MIDI track. The first track contains
	35	general information such as key and time signature. The next track will be for
	36	staff 1, voice 1. If staff 1 has a second voice, that will be the next
	37	track, otherwise it will be voice 1 of staff 2, if any, and so forth,
	38	one track for each voice, top to bottom.
	39	</P>
	40	<P>
	41	Output is in MIDI file format 1, with a default of 120 quarter notes
	42	per minute, 192 ticks per quarter note. MIDI channel 1 is used by default for
	43	all voices. If you want to use different instrument sounds for different
	44	voices, you will need to specify a different channel for each voice, then
	45	specify the MIDI "program" for that voice. This is demonstrated in some
	46	of the examples later in this section.
	47	</P>
	48	<P>
	49	Mup MIDI output will handle
	50	<A HREF="bars.html">repeats</A>
	51	and
	52	<A HREF="bars.html#endings">first and second endings,</A>
	53	but it does not know anything about "D.S. al coda" or anything of that sort.
	54	It is possible to work around this limitation to some extent using
	55	<A HREF="macros.html">macros.</A>
	56	For example, a section between a "sign" and a "jump to coda" symbol could
	57	be put inside a macro definition, then the macro can be called. Then later
	58	in the piece, where the "D. S." occurs the macro can be called again if MIDI
	59	is defined. For example:
	60	<BR><PRE>
	61	// an introductory section, ends with a sign
	62	1: c;d;e;f;
	63	mussym above all: 5 "sign";
	64	bar
65
66	// define macro for section between sign and
67	// symbol to "jump to coda"
68	define SECTION
69	1: g;a;g;;
70	mussym above all: 5 "coda";
71	bar
72	@
73
74	// print/play the section just defined by
75	// the macro
76	SECTION
77
78	// now do the music up to the D.S.
79	1: e;f;2g;
80	ital above 1: 1 "D. S. al Coda";
81	dblbar
82
83	// human player would now flip back to
84	// the sign, so do the MIDI equivalent:
85	// play that section again.
86	ifdef MIDI
87	SECTION
88	endif
89
90	// now do the coda
91	1: e;d;2c;
92	rom above 1: 0 "Coda";
93	endbar
94	</PRE><BR>
95	</P>
96	<P>
97	Mup mainly just outputs the note information.
98	Mup will recognize
99	<A HREF="octave.html">octave marks,</A>
100	and move notes up or down appropriately.
101	It recognizes
102	<A HREF="pedal.html">piano pedal marks.</A>
103	It does not attempt to interpret tempo or dynamics marks
104	specified by
105	<A HREF="textmark.html">"rom," "boldital," etc. or ornaments in</A>
106	<A HREF="mussym.html">"mussym" statement.</A>
107	It does interpret
108	<A HREF="bars.html#reh">rehearsal marks</A>
109	as cue points.
110	It handles
111	<A HREF="chrdattr.html#chstyle">grace notes,</A>
112	<A HREF="roll.html">rolls,</A>
113	<A HREF="chrdattr.html#slashes">slashes,</A>
114	and
115	<A HREF="ichdattr.html#alt">alternation groups.</A>
116	You can control how legato the music is by using
117	<A HREF="param.html#release">the Mup "release" parameter.</A>
118	</P>
119	<P>
120	Some styles of music are often
121	written in "swing time," meaning the
122	players are expected to play pairs of notes with the first twice
123	as long as the second, even though they are written as if they were the
124	same duration, or as if the first were three times as long as the second.
125	The most common example would be where the written notation shows
126	two eighth notes like 8;; or a dotted rhythm like 8.;16;
127	but the musician "knows" that the composer really intended it
128	to be played as if it were a triplet {4;8;}3;
129	The
130	<A HREF="param.html#swing">swingunit</A>
131	parameter can be used to get Mup MIDI output to automatically follow
132	that performance convention.
133	</P>
134	<P>
135	A MIDI editing program will probably be necessary to add some effects.
136	However, it is possible to specify certain directives for MIDI.
137	They are of the form:
138	<BR><PRE>
139	<B>midi</B> <I>S V</I><B>:</B> <I>begintime "keyword=value";</I>
140	</PRE><BR>
141	The <I>S</I> and <I>V</I> specify the staff and voice for which the directive is
142	to apply. As elsewhere in Mup, an omitted voice will default to voice 1,
143	and both staff and voice can be given as a list.
144	Certain keywords apply to the entire score. In that case the form
145	<BR><PRE>
146	<B>midi all:</B> <I>begintime "keyword=value";</I>
147	</PRE><BR>
148	is used instead.
149	The items specified using "all" are placed on the first track, the track
150	containing score-wide information. They are not applied to the
151	voices on the other tracks.
152	</P>
153	<P>
154	The <I>begintime</I>, as elsewhere in Mup,
155	gives the beat into the measure where the MIDI output is to be placed.
156	If notes are to be turned on or off at the same instant in time as the
157	<I>begintime</I>, first all "note off" commands are generated, then the "midi"
158	command events, then "note on" commands.
159	</P>
160	<P>
161	The <I>keyword=value</I> gives specific information of
162	what MIDI output to generate. The following keywords are currently supported:
163	<TABLE BORDER=4>
164	<TR>
165	<TD><B>keyword</B></TD> <TD><B>values</B></TD> <TD><B>meaning</B></TD> <TD><B>midi S V</B></TD> <TD><B>midi all</B></TD>
166	</TR>
167	<TR>
168	<TD>program</TD> <TD>0-127</TD> <TD>program change (new instrument)</TD> <TD>yes</TD> <TD>no</TD>
169	</TR>
170	<TR>
171	<TD>parameter</TD> <TD>0-127,0-127</TD> <TD>parameter</TD> <TD>yes</TD> <TD>yes</TD>
172	</TR>
173	<TR>
174	<TD>channel</TD> <TD>1-16</TD> <TD>channel</TD> <TD>yes</TD> <TD>no</TD>
175	</TR>
176	<TR>
177	<TD>chanpressure</TD> <TD>0-127</TD> <TD>channel pressure (after touch)</TD> <TD>yes</TD> <TD>yes</TD>
178	</TR>
179	<TR>
180	<TD>tempo</TD> <TD>10-1000</TD> <TD>tempo, quarter notes per minute</TD> <TD>no</TD> <TD>yes</TD>
181	</TR>
182	<TR>
183	<TD>seqnum</TD> <TD>0-65535</TD> <TD>sequence number</TD> <TD>yes</TD> <TD>yes</TD>
184	</TR>
185	<TR>
186	<TD>text</TD> <TD>text</TD> <TD>text meta event</TD> <TD>yes</TD> <TD>yes</TD>
187	</TR>
188	<TR>
189	<TD>copyright</TD> <TD>text</TD> <TD>copyright notice</TD> <TD>yes</TD> <TD>yes</TD>
190	</TR>
191	<TR>
192	<TD>name</TD> <TD>text</TD> <TD>sequence/track name</TD> <TD>yes</TD> <TD>yes</TD>
193	</TR>
194	<TR>
195	<TD>instrument</TD> <TD>text</TD> <TD>instrument name</TD> <TD>yes</TD> <TD>yes</TD>
196	</TR>
197	<TR>
198	<TD>marker</TD> <TD>text</TD> <TD>marker meta event</TD> <TD>yes</TD> <TD>yes</TD>
199	</TR>
200	<TR>
201	<TD>cue</TD> <TD>text</TD> <TD>cue point</TD> <TD>yes</TD> <TD>yes</TD>
202	</TR>
203	<TR>
204	<TD>port</TD> <TD>0-127</TD> <TD>MIDI port</TD> <TD>yes</TD> <TD>yes</TD>
205	</TR>
206	<TR>
207	<TD>onvelocity</TD> <TD>1-127</TD> <TD>note on velocity</TD> <TD>yes</TD> <TD>no</TD>
208	</TR>
209	<TR>
210	<TD>offvelocity</TD> <TD>0-127</TD> <TD>note off velocity</TD> <TD>yes</TD> <TD>no</TD>
211	</TR>
212	<TR>
213	<TD>hex</TD> <TD>hex data</TD> <TD>arbitrary MIDI data</TD> <TD>yes</TD> <TD>yes</TD>
214	</TR>
215	</TABLE>
216
217	</P>
218	<P>
219	The keywords can be abbreviated to their first three or more letters,
220	except "chanpressure" which requires at least five letters to differentiate
221	it from "channel" ("cha" or "chan" will be interpreted as channel).
222	In most cases, the "=" is followed by either a number or some text. Exceptions
223	to this are discussed in the next few paragraphs.
224	</P>
225	<P>
226	The "parameter" keyword is followed by 2 numbers, separated by a comma.
227	The first is the parameter number, the second is the parameter value.
228	Thus to set parameter 7 (which is the volume parameter) to 90 for voice
229	2 of staff 3, starting at the beginning of the measure, you can use:
230	<BR><PRE>
231	midi 3 2: 0 "parameter=7,90";
232	</PRE><BR>
233	</P>
234	<P>
235	The "onvelocity" and "offvelocity" keywords can have one or more values,
236	separated by commas. If there is only one value, it applies to all notes
237	in each chord. If there is more than one value, the first value applies
238	to the top note of the chord, the second value to the second-from-the-top
239	note, and so forth. If there are more notes in a chord than there are
240	values specified, the last value specified applies to all of the remaining
241	notes. So, for example, if you want to emphasize the top note of each
242	chord because it is the melody, you can specify two values, as in
243	<BR><PRE>
244	midi 1: 1 "onvelocity=76, 60";
245	</PRE><BR>
246	which would cause the top note to have a velocity of 76 and all other
247	notes to have a velocity of 60.
248	</P>
249	<P>
250	The "hex" form can be used to insert any arbitrary MIDI data into
251	the MIDI file. The value consists of any even number of hexadecimal digits.
252	Spaces and tabs can be included in the value field for readability.
253	</P>
254	<P>
255	Note that Mup uses the MIDI standard,
256	which numbers instruments from 0 through 127,
257	but some MIDI playback programs follow a convention of numbering them
258	from 1 through 128.
259	</P>
260	<P>
261	Here are some examples:
262	<BR><PRE>
263	midi all: 0 "tempo=72";
264	midi 1-2 1-2: 0 "channel=2"; 0 "program=14"; 3.5 "program=76";
265	midi all: 3 "hex= ff 00 02 00 01"; // sequence number 1
266	midi 3,6: 0 "channel=5"; 0 "prog=15"; 0 "instr=dulcimer";
267	// set parameter 7 (usually volume) to 100
268	midi 2: "par = 7, 100";
269	</PRE><BR>
270	</P>
271	<P>
272	Here is a more extensive example of how midi commands might be used
273	in a song:
274	<BR><PRE>
275	score
276	staffs=2
277	vscheme=2o
278
279	staff 2
280	clef=bass
281
282	voice 2 2
283	// Make the bottom voice more staccato
284	release=50
285
286	music
287
288	// Set the tempo.
289	// Start out at 108 quarter notes per minute,
290	// but on count 4, slow down to 96 per minute.
291	midi all: 0 "tempo=108"; 4 "tempo=96";
292
293	// Put each voice on a different channel
294	// using a different instrument sound.
295	// The program numbers correspond to the
296	// General MIDI sounds as noted.
297	midi 1 1: 0 "channel=1"; 0 "program=68"; //oboe
298	midi 1 2: 0 "channel=2"; 0 "program=11"; //vibraphone
299	midi 2 1: 0 "channel=6"; 0 "program=60"; //french horn
300	midi 2 2: 0 "channel=4"; 0 "program=35"; //fretless bass
301
302	// Make the top voice louder, and put an
303	// accent on the third beat
304	midi 1 1: 0 "onvelocity=86"; 3 "onvelocity=100"; 4 "onvel=86";
305
306	// Set maximum reverb on french horn part,
307	// starting at the second beat.
308	// (Reverb is parameter 91)
309	midi 2 1: 2 "parameter=91, 127";
310
311	// Set chorus on oboe to 75, from the beginning.
312	// (Chorus is parameter 93)
313	midi 1 1: 0 "param=93, 75";
314
315	// Pan the bass part to middle of left side.
316	// (Pan is parameter 10, with a value of 0 being hard left,
317	// 64 in the center, and 127 being hard right, so 32 is
318	// half way to the left.)
319	midi 2 2: 0 "parameter=10, 32";
320
321	// Now the music to be played...
322	1 1: e;d;2c;
323	1 2: c;b-;2g-;
324	2 1: g;f;2e;
325	2 2: c;g-;2c;
326	bar
327	</PRE><BR>
328	</P>
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