eleanor selfridge field: Okay input methods for music so as you can see, by looking at me i've been around for quite a few years.
eleanor selfridge field: doesn't want to go anywhere, here we go and i'm not quite as old as some of this stuff here.
eleanor selfridge field: But it's a reminder that.
eleanor selfridge field: Thinking about computers in general bracket our.
Music for a few minutes.
eleanor selfridge field: goes back to an age where people had leavers and police and switches and and mechanical devices have a wide variety of sorts, and we know in the 19th century that a lot of things became more elaborate all the time and we got to a sort of pinnacle of.
eleanor selfridge field: Maybe not the pinnacle maybe we haven't seen the pinnacle yet, but we've accumulated a lot of strength and all sorts of mechanical things.
eleanor selfridge field: And some of the earliest computing gear that existed was much more dependent on mechanical processes, then what we do today, the reason I like to emphasize the history of some of these things, the near term the recent history.
eleanor selfridge field: Is that so much of what went on in these different eras is embedded in what we see today, but in the digital era we see next to nothing.
eleanor selfridge field: And so you have to you have to almost imagine the complexity that lies behind the scenes, and since we also have assignments that delve into some of that complexity.
eleanor selfridge field: We want it to be as tangible as possible, so those of us who live here.
eleanor selfridge field: we're lucky that more than 10 years ago the computer history Museum in mountain view had a long term loan for babbage difference engine from London.
eleanor selfridge field: And it looked like this thing you see on the left here and there's a YouTube video probably 100 YouTube videos that you can watch that are on the second slide here, if you want to go into that we won't explain how it works, but there was a lot of.
eleanor selfridge field: Put in hours like an adding machine if you ever seen a mechanical adding machine with these registers for ones and 10s and so forth.
eleanor selfridge field: And this is a another viewer the same thing.
eleanor selfridge field: After that era.
eleanor selfridge field: There were all sorts of steps in the process, but punch cards now I am not old enough to remember anything that looks like this thing on the left these punch cards with the holes in them and we'll see the sort that I remember.
eleanor selfridge field: Before along, but you needed a set of instructions to make the mechanical part work and then you needed.
eleanor selfridge field: Some way of representing the data, and that was like basically ones and zeros as nearly old you know.
eleanor selfridge field: represented by the whole list there or the whole isn't there.
eleanor selfridge field: was one stage, and of course it went on from there now put that aside for a minute and think about music and the difference in the fundamental nature of music and the fundamental nature of calculation.
eleanor selfridge field: That so.
eleanor selfridge field: In the sort of pre history of what's around today, I would say that there is what we concentrate on in this class is primarily symbolic data entry but.
eleanor selfridge field: We also look at sound in so far as media as a symbolic format that represent sound up to a certain point.
eleanor selfridge field: But there are all sorts of other things that have contributed or are relevant to different pieces of software that we look at so their graphics construction sets which is mostly early MAC stuff on optical recognition, which is still very much in progress under development.
eleanor selfridge field: Go slowly it's sort of like voice recognition went very, very slowly for 30 years and then all of a sudden, it took off and all sorts of hybridize systems and so.
eleanor selfridge field: Here are the punch cards that I remember from the first computing class I ever took and it had 80 columns and it had a certain number of rows was it eight rows Craig I really don't I don't think you remember the slider but.
Craig Sapp: At columns for the Blue Card.
eleanor selfridge field: yeah at columns but how many rows.
eleanor selfridge field: i'm not sure they're all equal well, it says they're eight so let's suppose there eight there's a there's a gratuitous one on the bottom, but.
eleanor selfridge field: i'm not sure you could store data in it might have been just switches or something so anyway, the things were on or they were all they were punching where they weren't functioning and from those ones and zeros that you could accumulate that.
eleanor selfridge field: that's where all these colossal structures that are going to study that's what they depended on the beginning.
eleanor selfridge field: So there were many other efforts to.
eleanor selfridge field: Make.
eleanor selfridge field: To get sound into the computer, most of which we don't even consider in this class.
eleanor selfridge field: But this, this is a sonogram from the research of Carl seashore a very famous psychologist it's almost from 100 years ago, he was trying to figure out how to get a graphical image of music a piece of specific pieces of music.
eleanor selfridge field: And I don't know what material, he was working with, but he accumulated quite a few of these, and they are interesting as a historical artifact because.
eleanor selfridge field: there's work that goes on today in ethnomusicology that doesn't necessarily look too different from this on so it's an effort to Nixon tangible, of course, there are many other ways to.
eleanor selfridge field: One of the things that was.
eleanor selfridge field: attracted a lot of interest at at Karma on our campus in the late 70s, was something called the Samson box, and this is the inventor of the Samson box standing next to us sampson box, there was one at Karma for a long time, and it specifically worked with.
eleanor selfridge field: These big mainframe computers PDP six and PDP 10.
eleanor selfridge field: And then you had to store things on a disk note the size that the Samson box and.
eleanor selfridge field: And that's only the beginning, and then there were words collections of fits a various links, and so there was one format for writing data and one for reading it.
eleanor selfridge field: And then there were commands so just keep those general categories don't worry about the details there's no test on this there's a very good article by Gareth lawyer who was at Karma back in the 70s in.
eleanor selfridge field: In the.
eleanor selfridge field: Computer music Journal and from 2013 and there's another very good one, at an Italian state called musica informatica and I think they're I think they're both very good.
eleanor selfridge field: So when we get involved with symbolic codes for music.
eleanor selfridge field: One of the ones that we sort of breeze past few days ago in our class was dorms da rm s the digital alternate representation of musical scores, which is better known for the fact that it existed and it recruited so many people to.
eleanor selfridge field: to learn the code and there was a lot more learning and discussion and and collecting information, then there was actual encoding ever done it, but it had a it was.
eleanor selfridge field: It had all those people and attracted all those interest because it had a lot of funding, there were some very thing government grants for computer based research in the 1960s, in the 1970s.
eleanor selfridge field: In the mainframe urine when memory was very limited processing was very slow and everything was very difficult but.
eleanor selfridge field: When people had to think very hard about the interrelationships of different parts of what they could do with different parts of the problems they were trying to address, and so this is actually.
eleanor selfridge field: it's I still have fun going back and looking at some of these things, last week we looked at different ways of.
eleanor selfridge field: Representing music in a fairly cursory way from just all over the place from different.
eleanor selfridge field: Reflecting different objectives and and different periods of history and so forth.
eleanor selfridge field: And this is the dorms way of doing things so i'm sad to competitors news TRAN and I am El mar their arms was in at Columbia University in princeton university.
eleanor selfridge field: News TRAN was it indiana and I am El mar was at princeton there was no West Coast participation in the in the very earliest stage at this, so this is in the 1960s.
eleanor selfridge field: And they wanted to enable they wanted to take advantage of the government grants scheme to put people with relatively limited education's to work doing things that could benefit society that was anyway, the slogan, and so this is.
eleanor selfridge field: free of any useful semantic information, all together, every note on a staff five line staff has an integer to represent it and the lowest.
eleanor selfridge field: The lowest space is zero, and if you go below the lowest space with your nose head then it's a minus one minus two minus three as you get lower and lower.
eleanor selfridge field: And so that's just a very fundamental thing about dorms there's a lot more involved in it, it was designed for mainframes it was intended for card readers on there there weren't many ways to print anything at the time.
eleanor selfridge field: But the New York Philharmonic was very interested in it and they had this glorious vision of the days when they would punch a button and out would come the score so that was that was.
eleanor selfridge field: 55 years ago and we can sometimes do that today, but there are a lot of.
eleanor selfridge field: pieces of music that have never been encoded and there was never any big experiment for lots of people who knew nothing about music.
eleanor selfridge field: To be able to encode music was never demonstrated that this approach could work from that point of view, it was used However, for some scholarly projects, and it was the basis of one of the earliest location systems for personal computer so.
eleanor selfridge field: So this dorm system, the first music that it produced is down here on the left, this was produced by Jeff raskin when he was a young student at penn state in the in this era in 1960 something and.
eleanor selfridge field: Jeff ended up being apple employee number four and together with Brian Howard another early employee both of them musicians.
eleanor selfridge field: They developed what apple called graphics and sound, which was the forerunner of quick time quick times of porn in our sides because apple deprecating it several years ago, and when we get to the point where we may need it Craig has some workarounds for that.
eleanor selfridge field: But it is, it is pretty much dead way of doing things now for most people i'm Jeff claimed he developed the first MAC interface, and of course Steve Jobs didn't agree with that, but.
eleanor selfridge field: But anyway, he was the first person as far as I can see didn't times, and so the music that came out pay attention to now the middle picture, this is a drafting table, because the notes came out from a plotter and I suppose the clip signs came out.
eleanor selfridge field: I think this slurs had to be put in manually but the staff lines that to be put in manually and I think ledger lines had to be put in manually and that's why this is on a drafting table it's on the drafting table to finish finished the composition of the score.
eleanor selfridge field: And beings so so these things that were an automatic in the 60s are still things that require a lot of specification in in encoding music and.
eleanor selfridge field: The lady sitting over here on the right is encoding music on my very early I didn't know what she was using to tell you the truth, but it was pretty way back there when that happened.
eleanor selfridge field: And now graphics assembly kits.
eleanor selfridge field: For scores, this was part of the early MAC your and I know about this because I experimented with this thing I live near apple's original site and also.
eleanor selfridge field: Apples other 50 sites nearby and so i've run across a lot of people who work for the company, but when it was still a very small company somebody said to me.
eleanor selfridge field: You know, we have this new computer, you can do everything graphically but you could create music with it.
eleanor selfridge field: And I went over to have a look at it and I have to tell you, I was not very good at drawing with this thing at all.
eleanor selfridge field: It was you were supposed to click and drag and click and drag and assemble pictures, but there was a free hand drawing element.
eleanor selfridge field: Against this grid, and so you could you could make a note what first thing you'll discover if you try to draw notes on the screen is.
eleanor selfridge field: They aren't exactly round it's hard enough to draw a circle on the screen if you don't have a template of some sort but it's it's even harder to draw any lips, and very hard to get notation that anybody would want to read, but the thing is that every single thing you put on here.
eleanor selfridge field: After you constructed it.
eleanor selfridge field: was a graphical object, with nothing underneath the bit there was nothing to tie it to any other graphical objects, so when you think about even a bar music as a whole, there are so many different little bitty objects in there and there wasn't there wasn't any any way of saving any.
eleanor selfridge field: semantic sense to go with any of this, it was just whatever's on the screen, you can take a picture of this, you can print it.
eleanor selfridge field: You can save the whole construction, but how you connected with anything else was a complete mystery, and this was in 1984 so you know, then this is an I think this is a MAC too, and that is what floppy disk but like once.
eleanor selfridge field: And you see that this is the keyboard this is this is this keyboard and the screen but.
eleanor selfridge field: The data is in there and so and there's more that you're noticing that's behind the scenes there so that there were it, but in the 1980s.
eleanor selfridge field: When we got into this transition between mainframes and personal computers, by the end of the 80s, there were a lot of personal computers at the start of the 80s, that was not involved, because the only thing.
eleanor selfridge field: But some of these people are still around they're still doing very productive work they'd probably love to talk to you if you want to listen to them.
eleanor selfridge field: about what went on in these early days Ray erickson is retired from Queens university, as it says, right here very dynamic so harpsichord just, among other things.
eleanor selfridge field: On but he he's been always a very good organizer and he didn't spearhead dimes but he knew the people who started it when he was a student and he organized a lot of their activities and their conferences and their collections of documentation don bird.
eleanor selfridge field: Was bamboozled this is Doug hofstetter over in the right corner and Doug was on cognitive scientist at indiana when.
eleanor selfridge field: When dawn was.
eleanor selfridge field: Just starting out there.
eleanor selfridge field: And Doug was writing the book turtle usher box, this is an usher construction here, I think you could say and recruited dawn to figure out some way to use the computer to make musical examples for that book and, of course.
eleanor selfridge field: doing something up to publishing format.
eleanor selfridge field: No matter how limited the task seems pretty much involves doing a massive amount of other work because this won't work unless you have a superstructure.
eleanor selfridge field: For that sort of object and another superstructure here and so forth, so don's been very heavily involved in a lot of the.
eleanor selfridge field: cation developments burgess own program Nightingale which was never a big commercial success but he's been a key.
eleanor selfridge field: figure Tom Hall, is a very reclusive figure who was at princeton in the 70s and did a lot of important things there, but he became attached to a are additions just does scholarly additions of usually obscure repertory.
eleanor selfridge field: And nobody's ever met him he's just always somewhere else and Michael kasler who, although in American was involved heavily involved at princeton.
eleanor selfridge field: But got involved in aerospace stuff in Australia and less than most of the rest of the time there but he's still published this important.
eleanor selfridge field: scholarly things and he still knows a lot about all these systems another stress that fares on a lot of the subjects we study comes from the computer music.
eleanor selfridge field: Experiments I would say, of the 1950s and the 1960s, particularly this is the Columbia Columbia princeton take music collaboration group.
Which.
eleanor selfridge field: Even when I went to school, we used to be talking about, even though all the people were still living.
eleanor selfridge field: auto learning and Vladimir who's a Chelsea I think they're the main people, but there are lots of other lots of other figures here i'm experimenting with sound with big mainframe computers, you see how much equipment is assisting the basement of Columbia.
eleanor selfridge field: University of the music building dodge Hall, I think it's still there and.
eleanor selfridge field: That was the east coast is all this activity on the east coast and then there was the west coast books.
eleanor selfridge field: And some of the most important things from the West Coast came from very close to us this is leland Smith when he had first come to.
eleanor selfridge field: Karma and he was interested in printing music from the MID 60s and he kept at the the artificial the first artificial intelligence lab at Stanford which was on a building that no longer exists on the other side of the freeway to eating.
eleanor selfridge field: john McCarthy was the head of that Ai lab and he put up with music people there weren't a lot of them, but leland was one and Chris jake was eventually another one.
eleanor selfridge field: And this, I think, in the right hand corner at the bottom is the slaughter that leland first music came out of so leland just died a few years ago and was very active into this last days and so you'll hear more about him and other.
eleanor selfridge field: classes so printing options on there was a big transition from this era of these huge constructions.
eleanor selfridge field: These huge pieces of equipment to the desktop era and people wanted to shoehorn all these complicated spacious devices and and do the same work with much smaller equipment.
eleanor selfridge field: So I want also to just briefly look at.
eleanor selfridge field: Some efforts it sounds input because, again, there are ideas around today that aren't that different from what they were more than 100 years ago and will save me how can that be well I look at this Thomas Edison recording violin.
eleanor selfridge field: As it was called it's in his lab at menlo park New Jersey.
eleanor selfridge field: And this is the out what I call the output corn, so you know somebody blows over the strings and sound supposed to come out.
eleanor selfridge field: He he invented several more than 1000 things and i'd say maybe 50 of them have something to do with music or sound.
eleanor selfridge field: But he did an awful lot of other things, it was just one thing after the other, they never stuck with anything and seem to quite get it up to speed, but Chris chase done a lot on.
eleanor selfridge field: On also what I would call artificial violence and synthesize violence and so forth around here and with other people from many other places and Edison was interested in transcription graphics and he, of course, was involved with the amber all.
This was a what a recording look like.
eleanor selfridge field: In a certain era actually before my parents were born so it's way back there and.
eleanor selfridge field: This was a recording studio in 19 five.
eleanor selfridge field: That Edison setup, why is the piano player sitting up on a high school and the piano is up when some sort of bench well it's to allow enough space in the back for for.
eleanor selfridge field: Receiving Horn big enough to funnel all that sound into some much smaller device over here, the thing super this is Mr Edison right here, and this was a setup for a band some sort of.
eleanor selfridge field: What today, we might think of its robotic band identity right.
eleanor selfridge field: So there was all of that, and he even involved themselves a lot with.
eleanor selfridge field: Film and he he takes the credit his his museum takes the credit for having made the first films that were narrated by live music.
eleanor selfridge field: And this was the studio that they use for making the films this studio.
eleanor selfridge field: was on it still is on a turntable that's, just like the turnaround for the cable cars in San Francisco so the problem was they they didn't have any electricity in it.
eleanor selfridge field: And so to get daylight optimize so there would always be enough light in interior scenes inside, they would rotate this structure on the turntable.
eleanor selfridge field: So that the so that they would have adequate light to represent the time day they were talking about and there's a lot about that it's called the kinetic scope or the thing that that it worked with.
eleanor selfridge field: At this wiki.
eleanor selfridge field: Article on the CONNECT scope, and this is sits behind an empty parking lot of New Jersey state.
eleanor selfridge field: supermarket and it's it's it's you know it's surrounded by much bigger buildings you can't quite get the same sense of it but it's a lot of fun and the last thing I would say about him, and also from my point of this session is that this thing over in the lower right here.
eleanor selfridge field: Was the thing that got Edison involved with trying to capture sound in the first place, and it was supposed to be a tool for stenographers.
eleanor selfridge field: So a stenographer was a person who we used to say took dictation the boss would draft a business letter and the Secretary would sit there writing down, but the boss seven shorthand but edison's idea was that.
eleanor selfridge field: If you could capture what the boss was saying automatically by an elaborate system of you know, sound inputs and funneling and.
eleanor selfridge field: Connecting and so forth, then that would save the secretary, a lot of problems this of course never panned out, they may not have stuck with it long enough.
eleanor selfridge field: um, but I find that an interesting sidelight because it was the quill on the pen for this stenography setup that became the needle in the record player.
eleanor selfridge field: That the record players that came along in the 1910s in the 1920s so that's a pretty long way from computers, but you'll you'll see you'll see remnants of a lot of these things as we go along and i'm going to stop so that we can now have some of these presentations.
eleanor selfridge field: From our students.
So Craig you're doing this.
Dominic DeMarco: Creative muted.
eleanor selfridge field: yeah let's do a sound check we can't hear you Greg.
Craig Sapp: Okay Now you can yeah.
Craig Sapp: yeah hey I just had to find the mute button.
Craig Sapp: Okay, so.
Craig Sapp: yeah.
Craig Sapp: So many button okay.
Craig Sapp: Here we go.
Craig Sapp: So ideas will present present for like one or two minutes and hopefully not too long, and then we can maybe have a little bit of comments, if someone has his comments afterwards.
Craig Sapp: So we maybe give like one or two minutes of discussion, if anything, what if anyone wants to talk about it or ask questions so Charles.
Craig Sapp: yeah Kristen list.
Charles Tsao: yeah okay so um I designed a saxophone live tablets or is basically like Cynthia if you guys familiar that for the piano or like guitar hero, I guess, if you're familiar with more video game.
Charles Tsao: But it also can be read just static Lee and is essentially just tablets or just shows the finger rings for each note and the width of each note is on the duration that you play it for the color scheme indicates what volume, you would like to play the know at and then.
Charles Tsao: You can use dotted lines to indicate like short staccato notes or then slurs a line on top or bottom connecting notes that indicates 38th notes.
Charles Tsao: So this is primarily used well, I envisioned it primarily to be used for people who either can't read music or would like to play a little fun game, I guess, or beginners essentially so that they can understand what the theories are for each particular note.
Charles Tsao: And then, in order to dictate octaves for either the first or second octave that's available on the saxophone there's a zero or one for the okta key and that's highlighted in green yeah that's pretty much the whole representation.
Dominic DeMarco: of question.
Charles Tsao: yeah.
Dominic DeMarco: How do you handle their like the graphical representation for the non like circular keys.
Charles Tsao: yeah so essentially while I was envisioning is um every time the keys themselves strike the Center of their corresponding like key on the left side.
Charles Tsao: that's when you would play, but I now realize that, because of the placement of some of the keys, for example.
Charles Tsao: Let me see if I can add it to I cannot um if we look at, for example, the G sharp key, which is the right side of the third circle down on, that is to the right a little bit so at the very end, I added this really like soft.
Charles Tsao: Playing of G sharp yeah exactly so that grey circle actually should be to the right a little bit, to be honest um and then that would align when it matches up but yeah.
Dominic DeMarco: it's that would be displacing in the time access.
Charles Tsao: yeah that's that's also a problem, so another way to resolve this actually is to have a hold.
Charles Tsao: On once it hits this area, and then, once these three circles lineup, then you can play the note, but yeah that's something that is a little tough for me to encode because of the positioning of some of the keys so yeah it would interfere in the time axis.
Craig Sapp: You just make the side keys like a third of the regular size so there's any qualifiers on the main.
Charles Tsao: yeah that would help a lot.
Craig Sapp: It would probably got play clarinet not i'd probably understand that.
Craig Sapp: And it's Nice that you added dynamics to the notation so that's that's always tricky to add dynamics, because it saw.
Craig Sapp: Usually they're just the symbols, but you can see here can visually the dynamics so usually it's harder to an amex so you could do more interesting interpretations, perhaps as a performer.
Craig Sapp: and often like students often like they pay attention to dynamics last So if you put the color and then that probably forces them to have less of a can't speak boring it.
yeah.
Craig Sapp: So.
Craig Sapp: But, so this is Leon right.
Leon Bi: yeah so it seems like Charles and I converge, to the car, you know I did the same idea, but for trombone so I did like trombone here oh.
Leon Bi: yeah, so this is a good example of like a C major scale on the trombone so For those of you who are unfamiliar like the trombone it's just like a slide and you have seven positions and based on what position you're in you play different note.
Leon Bi: So one thing to note here is that the trauma has different octaves that you'll change based on your armature.
Leon Bi: And I imagine that the color of the know depend on like which partial you're playing, which is like basically like which octave it's kind of like I didn't do the color correctly here actually So if you notice the first two first position ones in here in the symmetry is.
Leon Bi: Well, actually, I did this wrong sorry.
Leon Bi: This is completely wrong I supposed to be seven actually my bad.
Leon Bi: anyways are so anyways This is my fault but i'll I can fix it later, but let's pretend we're.
Craig Sapp: really only components probably yeah.
Leon Bi: i'm looking at this, I did it right do this in a rush because I wanted a different example other.
Leon Bi: than you know, given what.
melodies.
Leon Bi: And we're really starting to.
Dominic DeMarco: My class seven in our C major.
Dominic DeMarco: No, no.
Leon Bi: yeah yeah no worries uh huh that's pretty funny I just do this in a super Russian that's my fault anyways um yeah so that's an example of C major.
Leon Bi: let's see here, what else is going to do.
Oh yeah.
Leon Bi: I had another one on the symbol of the other one oh yeah this one was just a little bit of the exit that we were given.
Leon Bi: I liked how Charles have the the dynamics of stuff which I didn't think of but I haven't mentioned like mainly having the.
Leon Bi: positions on because another thing that's interesting for trombone is, you can have alternate positions so let's say sometimes you put a window in first position, but like.
Leon Bi: D, for example, can also be played in fourth position and sometimes when you're playing fast music, you want to like use alternate positions and is good practice.
Leon Bi: So this is mainly used for both beginning of students who want to learn positions also advanced students who want to practice using alternative positions it's like a fellow game.
yeah.
Dominic DeMarco: A couple questions.
Dominic DeMarco: yeah for some positions you're not actually playing directly on the line, so if you're playing a high G you'll be like sharp too.
Dominic DeMarco: yeah something like that would that just be displaced from the lines or.
Leon Bi: yeah I use the lines, mainly as a just because not allow people to hear play trauma and dominic I knew, you would have this question.
Leon Bi: yeah.
Leon Bi: um but yeah so I imagine that if you.
Leon Bi: were really advanced like this trumbo and actually be you.
Leon Bi: line up.
Leon Bi: These positions be at every turn, one is different so like not every second position of the same as soon as someone else i'm assuming so you calibrate your own trauma to be were on the the cartoon trombone itself.
Leon Bi: And then the Gallic G would be like a sharp second and then you calibrate where that would be, and then it would go exactly where the image was wanting to be supposedly theoretically right that's all in theory.
Dominic DeMarco: yeah I guess the only other thing is.
Dominic DeMarco: there's like more clues for the performer as to where like the bar lines are like I imagined that could be like a horizontal line or some way to keep adding because it's hard to see this metric.
Leon Bi: I had the same idea yeah I agree definitely good idea.
Craig Sapp: On guitar here I don't they don't have our lines.
Leon Bi: I don't think so either yet.
Craig Sapp: This is just you just read the bottom bottom note.
Dominic DeMarco: Or is it just.
Dominic DeMarco: A constant stream like you don't you don't even see those.
Leon Bi: yeah.
Dominic DeMarco: It just comes down to your video.
Craig Sapp: you're using it for more academic car teaching purposes, you have the bar lines.
Craig Sapp: Probably for guitar guitar hero us focusing on what's at the very bottom of the screen and you're kind of looking at a little bit.
nicholas seay: i'm hopefully this doesn't the real things too much, but I was kind of curious why that position is not the same for every instrument.
Leon Bi: yeah it's it depends on like a lot of things dominic feel free to chime in whenever it sounds like temperature of the room.
Leon Bi: Every instruments made differently, like the metal is like obviously different like there's so many things that play into that the tuning slide the.
Leon Bi: size of the trombone there's like so many factors like no it's the same for i'm sure, like every instrument, but I think it's just a little bit more.
Leon Bi: Extreme it's like you're playing a tuning slide at all times, are you playing the trombone so like half a millimeter of inch of a millimeter of a difference in the slight changes, like a couple of like sense, I think, like so it's like really sensitive actually.
Craig Sapp: Do you have a problem, switching to a different trombone.
Leon Bi: Oh yeah all the time, I mean I think if anyone's a brass player, they would understand that yeah that that's.
Craig Sapp: that's why they're always out of tune in orchestra.
Leon Bi: yeah yeah that's, why not not any other reason.
Craig Sapp: Why, I taught it peabody conservatory in baltimore when here and I went to like the top student orchestra.
Craig Sapp: I think was rite of spring next aid.
Leon Bi: So so.
Craig Sapp: there's a lot of solos for the French Horn, like every single solo she cracked the first know.
Craig Sapp: it's like, how can you do that you're like professional conservatory.
Leon Bi: yeah oh man.
Leon Bi: let's see here right.
Leon Bi: So Maryland that's so exciting.
Dominic DeMarco: That you're I mean trombones are just all these rascals I feel like that's just.
Craig Sapp: A tumbling and given.
Craig Sapp: it's kind of like a violin.
Dominic DeMarco: board it's a little more.
Craig Sapp: yeah well the first one has to play the very high harmonics that's why it's hard to get it right.
Craig Sapp: So, but we don't want to talk too much about trombones.
eleanor selfridge field: yeah, we have to keep keep pressing on.
Craig Sapp: So yeah.
Dominic DeMarco: So I would have three different direction um so I guess like Oh, please give it like a little review the file format.
Dominic DeMarco: It is, it is really simple to parse and playback data like first you specified number of instruments and then you specify some of the qualities of the instrument, and this was like this kind of a rough sketch for like.
Dominic DeMarco: If i'm just going to click this and chuck like her life, like that, like you have some like frequency that all either low pass filter panning across your your headset.
Dominic DeMarco: From your base game to the instrument oscillator type and this week multiplier is kind of shaping the dynamic on for have a note like from the start, when it sounds again.
Dominic DeMarco: After you specify the instrument you give the number of nodes that insurance going to play that includes breasts and then for every note, you get its pitch in many values at 60 s llc negative one, is a rest.
Dominic DeMarco: And then, like it's duration milliseconds and then offload type and like a natural extension of this would be to specify like a like additional game factor.
Dominic DeMarco: To you know cover dynamics and this has a lot of use for and apply playback makes it really easy it's also functions really well as like an intermediate representation.
Dominic DeMarco: it's because it's really independent of any rotational like graphic motivational system so like it is easy for a program to generate this as output and then another program to read this data and play it back.
Dominic DeMarco: And so, this is the template including melody I almost wonder, is it possible bikes or ice cream and just give a demonstration of the playback capabilities, I don't know if you can.
briefly.
Dominic DeMarco: awesome system.
Dominic DeMarco: So i'm here is the same father, we saw earlier smelting voted, you can kind of see the comfort and only by looking at this leftmost column, and if I just pulled up on chuck here he's another service, by the way.
Dominic DeMarco: And like this is like a pretty simple example but it's really easy to extend to multiple instruments.
Dominic DeMarco: So, like this is an example of an encoding of fresh off like just a really short round and it gets big fast it's it's not very useful for manual entry um but it's like just really flexible for playback.
Craig Sapp: Different score for each part, are you doing a cannon with one part.
Dominic DeMarco: This is awesome so every instrument is called apart so like this first long line here is specifies the problem is first instrument.
Dominic DeMarco: It has like 30 minutes, including the rest, then you go to the second instrument down here.
Dominic DeMarco: you'll notice that the very first note it has is negative one, and rest for 4800 milliseconds so that's the duration, it takes for the first instrument is we, the first time, we can.
Dominic DeMarco: So what actually is happening here is, I actually didn't write this all myself right, I put in the melody and then wrote another program that generates the canon in this file format.
Dominic DeMarco: So again, like that's kind of this format as an interview representation like it can be easily generate from like another computer program.
Dominic DeMarco: And then interpreted so that's what's going on here and then same for like the third instrument like here it's twice as long three times as long as the last year 14,400 miles and.
Then just.
Craig Sapp: When chuck you could probably just have one one score and then you just trigger it at the right time, like manual if you're doing like a live performance.
Dominic DeMarco: yeah I mean.
Dominic DeMarco: there's no reason that yeah This is like the olive tree program essentially it's a single stream of notes, but I mean with chuck it's really flexible like.
Dominic DeMarco: The program here is a couple hundred lines to interpret you know, a parson interpret this which, all things considered, isn't a huge amount, because it supports well as many instruments of workshop destroys itself.
Craig Sapp: Is this is this an impromptu score system, or is it already exist in chuck.
Dominic DeMarco: What do you mean.
Craig Sapp: Did you make this data format this week or did you make it before this week.
Dominic DeMarco: Yes, I was this is actually this kind of came out of like another project that was doing in shock and I think that it's kind of a great example of the kind of utility of the.
Dominic DeMarco: encoding system and apply to this class right, so this is like so if the original idea stems from like an issue of Okay, I have this project, where I wanted to do some other the composition, how do I get it in an intermediate forms, so that I can actually play back and demonstrate on top.
Dominic DeMarco: And so the kind of first iteration of that came out of here and what it's like when you're revisiting kind of old.
Dominic DeMarco: sketches that you made in the past it and then think about like how could it be better in the future, like what are the parameters that are missing, but dynamics would be great as we mentioned before, or this instrument specification is like.
Dominic DeMarco: Really specific to chuck it doesn't need to be that way.
Dominic DeMarco: So that regards there's a lot of flexibility to this basic idea.
Craig Sapp: yep so well this one's interesting because I just wonder how much you know about the history of this format, so this is basically how see sound does things so if you can let me share.
screen yeah.
Craig Sapp: Nice see so there's, so this is kind of equivalent to so it was developed, first by Max Matthews and then late 1950s.
Craig Sapp: And then, it was taken over by very vertical MIT where he changed the name to see sound, and so the score system for see sound is very close to what you're doing with.
Craig Sapp: slightly different they have little qualifier on which estimate, so you can have basically multiple instruments in one score and then you have a list of numbers exactly how you're doing and how you're describing how you use it.
Craig Sapp: So the interesting thing about this is we're going to cover score.
Craig Sapp: Like a graphical music notation program in a month.
Craig Sapp: And the person who created it, he was a Stanford come composition professor and he started score around 1970 or so, and he was looking around at data formats and he looked at music five it was called, which is a precursor to see sound.
Craig Sapp: And I had this exact same data format, so the data format will look at for score is the same one that you just created for your for chuck so it's a very compact system yeah and you can always add extra parameter so it's expandable.
Craig Sapp: You have to be careful, because if you have a lot of unused parameters and you have a lot of like empty spots.
Dominic DeMarco: where you have to like write a partner and just like I can imagine if you want to keep it really simple to interpret it could get bulky but, if you like, write a purse or something like that can.
Craig Sapp: Well, so.
Dominic DeMarco: Now, information, you can get the same thing and see sound there's a score parts are called.
Craig Sapp: Scott, which I don't think I don't know if it's really used that much, but that was created by Michael good.
Craig Sapp: who created the music xml format that will be looking at to later in the course well starting this week, a little bit so, so there is a score processor or C sound that's basically kind of doing that sort of thing.
Dominic DeMarco: Okay yeah.
Craig Sapp: So that's just interesting.
Craig Sapp: So, and then also ken's kins data format that has kind of a similar properties.
Craig Sapp: little bit different parameters, but we'll go on to Julia now.
Julia Mills: yeah so um I play the violin and guitar, and so I have like a weird system of of writing down tabs on my phone when I played the guitar.
Julia Mills: And so I was trying to think of like How would I make tabs for the violin because I think like fret list instruments can be really stressful for people who learn threaded instruments first.
Julia Mills: and especially like polyphony being represented in like traditional Western notation I think it like can look a lot more intimidating than.
Julia Mills: tabs or or like you know thinking about guitar hand shapes and so yeah you can use it for mana phonics stuff and like you see in the in the bottom line.
Julia Mills: i'd say trombone is definitely as fret list as it gets.
Julia Mills: yeah so I, I think the top example it gives a little bit better impression of like what I was going for So you can see, the first note.
Julia Mills: Is it's on the lowest three strings of violence, so seven means.
Julia Mills: That it is the like seventh note if we're if we're working in half steps and not you know quarter tones or something terrifying.
Julia Mills: So it's the seventh like you know half step up on the G string and then the third on the D string and then open a string.
Julia Mills: And the little hyphens basically i've been calling them segments, and it indicates basically a handshake So if you were thinking on the guitar you can have like my see handshake.
Julia Mills: hyphen my E handshakes something like that, but for the violin it's basically saying you know we're playing three notes.
Julia Mills: And then the axes are silent and so then open a string again and there's two streams of information.
Julia Mills: So each line is a rhythm stream and a pitch stream of data so yeah rhythm Stream is enclosed in the curly brackets and it's kind of like.
Julia Mills: How, you would think I tried to make it pretty intuitive with like four would be quarter two and behalf eight for eighth and dots.
Julia Mills: For for dots and and the most important thing just being that the number of segments macha.
Julia Mills: So that can actually tell you a lot about how to play the chords and so, for instance, the first note of the Bach is.
Julia Mills: On a dotted quarter, and so, then, if you see the three pitches and one rhythm, you know that you're going to play that as a double stop you're going to hit all three notes at once, whereas like if it was like three eighth notes and.
Julia Mills: Then, that would indicate that you're going to arpeggio over and play them each one, at a time, and so, as long as you have the same number of segments for each bar between the rhythm and the pitch streams, then it should be pretty pretty much lined up and and yeah the other things are.
Julia Mills: sort of with the idea that this is for guitar players to learn classical instruments i've adopted the terminology of pull offs and hammer ons and the way that those are represented in tabs with just a P amp h.
Julia Mills: So pull offs being when you're descending on the same string and hammer ons be when you're sending on the same string and then.
Julia Mills: yeah.
Craig Sapp: or hammer on in here.
Julia Mills: um yeah at the end of the box and so you can see.
Craig Sapp: yeah yeah.
Julia Mills: yeah you can see that.
Julia Mills: there's that seven at the front is that D and then.
Julia Mills: there's the four 16th notes the which are 5230.
Julia Mills: On the on the D string so yeah and I think it also.
Julia Mills: ties in interestingly, what was being said about like alternative positions on the trombone like.
Julia Mills: I think on on like classical instruments that's another thing to think about is that you can play.
Julia Mills: And the same note on multiple strings and it might not be clear when you're first learning to look at a chord and know what string you're supposed to play the notes on so this it's very like delineated.
Craig Sapp: And there's this for humans street or for computer to process to make graphics like tabs system.
Julia Mills: i'm my thought was that this was like is sort of from its origin of like this is how I write guitar tabs on my phone it's my my thought is that, like instead of.
Julia Mills: Having to carry around a PDF of you know, an entire box score you could just or if you're composing something yourself, you can just jot down your notes super quickly so yeah definitely not not for data interpretation definitely just like humans jotting down jotting down shorthand.
Craig Sapp: yeah, because one thing is, in this case the rhythms aren't aligned with the tab underneath so when you get to the end of the slide it's kind of hard, but you could always just space it up so they're aligned.
Julia Mills: yeah I definitely think i'm.
Julia Mills: I adding the rhythms it was sort of like like the pitches the pitch system came first and then I like was thinking about the rhythms separately and I think yeah like in terms of how we're used to reading music like not having them lined up is yeah I think definitely needs to be adjusted.
Craig Sapp: One one interesting things, this is also somewhat related to the score data entry will work on in a month or so.
Craig Sapp: So in score you you put different musical features in there's like a five path system, so the first is you put pitches in, then you put the rhythms, then you put the beams and then the articulation.
Craig Sapp: So you have like a separate so it, I find it pretty fast if you're typing in like complete notation because you focus on one aspect at a time.
Craig Sapp: So if you have to do it like we're going to work with muse score today, and you have to kind of deal with everything all what time or you can deal with everything at one time or you can do things in different orders.
Craig Sapp: But if you get complicated music it's easy to like miss something, because you have too many things you're keeping track of.
Craig Sapp: Where do you can kind of simplified to like one dimensional streams that can help you focus on that aspect on me.
Craig Sapp: So there is there is there would be good aspects to having the notation like different features and musical notation separated.
Craig Sapp: And so, this one would be easy to fix if you just align it with the pitch that starts on underneath if you were to use it as if you're using it for live performance or reading it.
Craig Sapp: And I have seen people like in like especially high school students in the Stanford guys summer workshops and they're using like little little like iphones to read their.
Craig Sapp: tabs and are probably just like melodies and chords or something so they have graphical notation in the court, but they have this like little little cell phone they're reading it from.
Julia Mills: yeah and like if if someone was learning, for instance, and they like you knew how to read the rhythms but.
Julia Mills: The actual like hand position aspects of double stops on the violin was the scary part than like yeah you can just totally not read the rhythm line and and just sort of get like the fingering information.
Dominic DeMarco: yeah so.
Dominic DeMarco: The Australia, I think it's great about this is like.
Dominic DeMarco: Like the rhythm is totally dependent on the instrument you're playing.
Dominic DeMarco: I guess like you could in theory come up with like this the tabular tried like what we've seen with like the saxophone or the trombone type pitcher and if you have a.
Dominic DeMarco: Like data encoding of that like your system would function perfectly fine, I guess, like the polyphony have a violin you play double stops is extra dimensions that this is especially good at handling, but it seems like it's.
Dominic DeMarco: A public will be on just the violin.
Craig Sapp: yeah.
Julia Mills: yeah I think I think, basically, I mean again like yeah I I actively use at least this pitch system like for the guitar so like the number of strings, for instance, does not matter like you want to play like a 12 string dulcimer be My guess like you would just need.
Julia Mills: Like to to do that, and these like x's in the square brackets at the bottom that's actually.
Julia Mills: shorthand for like if you don't run because, on the guitar imagine if you're playing on the highest string you don't want to write out five x's in a row.
Julia Mills: So that's just like shorthand for your accounting back you're counting now from highest to lowest.
Julia Mills: And just so that you don't have to it's basically like everything until the first note is silence so yeah if you are playing a 12 string instrument.
Julia Mills: And you had the the square bracket X and then two notes you just know that that's two notes on the highest two strings and it actually is not any longer.
eleanor selfridge field: yeah.
Craig Sapp: Okay, so let's let's do one more person today.
Craig Sapp: So.
Craig Sapp: it's another related.
nicholas seay: yeah so we'll be kind of continuing on the theme with tabs so basically I kind of wanted to.
nicholas seay: play with the idea of like aggregating information so more of like a summarized view instead of like a real time performance.
nicholas seay: representation so.
nicholas seay: um yeah, but I wanted to do that without completely like mangling the temporal information completely, so I started with tabs as a base and then us kind of colors either like shade to show you're still in the same measure but you've kind of repeated a note.
nicholas seay: or changing the color for a different measure.
nicholas seay: And so, again with the the whole tabs idea it's like a lot of it is reflecting kind of your personal choices as to like maybe where you think the best place is to play certain music, so this would also kind of reflect those choices.
nicholas seay: So if we go on to the next slide here that's kind of what this piece would look like.
nicholas seay: So you can see, with the red it's kind of starting on this G string kind of moving back and forth between those two frets and then it ends in the yellow.
nicholas seay: outer circle there and then moves into the next string so you can kind of still see the movement within it, while.
nicholas seay: quarter sort of compiling information to see Okay, and generally i'm playing in this area on the guitar so.
nicholas seay: The I guess drop or drawback is that this mainly works for either like sections of music or very short pieces, or if you know, particularly you're like.
nicholas seay: Mostly in one spot and mostly in another spot I mean it would still be clear, but eventually you might start having to get rid of, like the shading idea or.
nicholas seay: kind of like lining it up on like a rainbow spectrum or something to kind of handle like a lot larger pieces.
nicholas seay: So I kind of see this being useful for like if you're going between like different sections of music and maybe deciding between a few different options, if you can quickly kind of compare these like hotspots to see.
nicholas seay: Like what's most convenient to move between those spots now it'd be good or also just comparing you know different pieces completely and seeing like generally if they're in the same or similar keys things like that, but yeah that's the basic idea that so.
Craig Sapp: The other.
Julia Mills: Different size circles me.
nicholas seay: Oh sorry so each.
nicholas seay: Time each time the note appears in a given measure it'll like expand, but the color doesn't change it just gets darker essentially So you can see kind of like no.
Craig Sapp: Sugar no his first note in the metro is small and the last one is big.
nicholas seay: Right right so it's getting bigger and darker until like a measure actually changes so you can see, the strength of the note in the whole piece, as well as in a particular measure.
nicholas seay: And by strength frequency more than like density I guess.
Dominic DeMarco: yeah you were talking about this oh sorry go ahead yeah.
eleanor selfridge field: yeah I think you know, one of the things I really like about this assignment is that collectively the class.
eleanor selfridge field: comes up with most of the different encoding systems we actually study so.
eleanor selfridge field: you'll see certain amount of carry over I don't know anything that that looks like this, I can tell you, though, that in some analytical work that sound based analytical work.
eleanor selfridge field: The idea of a queue and not having all the strike all the time and a sounded or G chord is sounded or whatever not not.
eleanor selfridge field: counting the strikes and accumulating them but accumulating the total duration of the sound.
eleanor selfridge field: across the whole piece as a way of profiling.
eleanor selfridge field: sifting and sorting basically for different purposes, I think.
eleanor selfridge field: has been used quite a bit, but not consistently by any one person, and this reminds me a little bit of that um, but it is, it is a very interesting for look at so.
Craig Sapp: If you did a long piece like this, you could start to see like the structure of the music by seeing different patterns repeat.
Craig Sapp: So it could be used as a memory aid if you kind of know the piece, we want to kind of help you memorize it or or remember it or like yeah and now analysis purposes, like looking at structure.
Craig Sapp: kind of visualizing the music might be a good application for this sort of notation so, especially if you're looking kind of at harmonic content.
Craig Sapp: So it's a little bit like Stephen malinowski music animation machine except this one has more of the time element removed.
Craig Sapp: But you can kind of see different patterns that you wouldn't see like if music notation but you could kind of look at the music, maybe in a different way and kind of focus on like an interesting aspect that maybe you wouldn't have paid attention to before.
nicholas seay: Right and I guess I didn't explicitly mentioned, but the like vertical lines are not measures anymore like they would be in tabs they're like the actual frets.
nicholas seay: So again, you could potentially see like when like in specific parts of the music where it might deviate from the actual key like those little chromatic notes in there things like that.
nicholas seay: yeah.
Craig Sapp: Well, you could have like a series of snapshots like for a few measures.
nicholas seay: And you can just see how to look at those as you're going along the song and like that's maybe enough to remember what you're supposed to be doing, perhaps.
Craig Sapp: yeah if you practice it enough.
nicholas seay: yeah but I guess if you're practicing enough eventually kind of emerged anyway.
nicholas seay: yeah.
Craig Sapp: But it could help you like, with a proposition, because you could kind of see a pattern and then kind of remember that's kind of the pattern one improvise on or something.
Craig Sapp: where you can kind of see all of the notes all at once, and they say okay on may use something improvisation that uses these notes.
Craig Sapp: You can kind of see the frequency of how often they're used a how much how many circles, there are so you can focus on.
Craig Sapp: One have it might be harmonic or consonant sounding just focus on the big circles are the ones with larger circles on it, and if you can stick in a few of the little tiny circles into your pitches for improvisation.
Dominic DeMarco: Everything correctly like your encoding time based on this you essentially.
nicholas seay: Have yeah he innocence so like yeah the hue, I guess, his time, like the measure it, but the shade, I guess, of the color for up yeah of the colors just.
nicholas seay: I guess more for fun I guess it technically doesn't have to be that, but it definitely makes it clear that, like in this first bit there are 1234 of those see notes.
nicholas seay: And the first measure, instead of it just being kind of like a block of indiscriminate size or thickness ring.
Craig Sapp: yeah this.
Dominic DeMarco: is just a lot of information packed here that's I think taking me a little bit to me, but I feel like once you're used to this format, it seems really useful for.
Dominic DeMarco: Being able to see patterns, not just in the short snippets but also as an aggregation of everything.
nicholas seay: yeah yeah it's definitely it's definitely an analysis, rather than like performance toy think, because if you try to read this in any sort of way live I think it'd be pretty rough.
eleanor selfridge field: yeah Well, this is good, I think we have to cut off the discussion because Craig is.
Craig Sapp: Talking about.
eleanor selfridge field: US for and we're all going to do the exercise, I just wanted to interject because there's no time to discuss it.
eleanor selfridge field: That we are keeping a close eye on the code situation, and although the university keeps telling us we shouldn't be going back next week I look at the rapid escalation of the numbers in Santa Clara county where we're located and just wonder.
eleanor selfridge field: How many disagreements about all this are really going on Craig and I are considering just not starting until the week after that, in other words to go back to the classroom not next week, but the following week.
eleanor selfridge field: it's supposed to be a face recovery if everybody goes back on the same day, etc, but the one thing that has I think most concerned is that our room is not very big and i'm looking around for.
eleanor selfridge field: yeah okay Victor can't present on Thursday so.
Craig Sapp: that'll make you do, that the following Tuesday.
eleanor selfridge field: yeah we'll catch up with you, Victor thanks for letting us know no, I think that.
eleanor selfridge field: We need to make sure that the hybrid if people are sick, they need to be able to have the same quality of access.
eleanor selfridge field: As people on campus, but what we really don't know is we don't know who's on campus and who isn't.
eleanor selfridge field: and on campus means on campus or a graduate student living somewhere within commuting range and it would be very good if all of you could send us an email telling us, first of all, where you are physically located in space and whether you will be physically available.
eleanor selfridge field: To come to class in person, two weeks from today, and whether you have any specific and this remains private information specific health considerations that we should know about being planning going forward, and if you can do those three things that will.
eleanor selfridge field: Try to integrate that with the great flow of news and.
Dominic DeMarco: update those three things again.
eleanor selfridge field: We won't have any discussion about this right now, because we're out we're really short on time and Craig needs to go so Craig go ahead, but you'll hear from us about this.
Craig Sapp: But he will you want to know what 20 things so one is, are you located in the Bay area or not.
Craig Sapp: And what were the other things.
eleanor selfridge field: Are you within 30 minutes of Stanford I mean if you're you know, we have one student who is.
Craig Sapp: there's two more things that what is it.
eleanor selfridge field: Thailand, so you know.
Craig Sapp: It was, are you close to Stanford you have any health concerns, and then there was something that's.
eleanor selfridge field: got an email about it, you don't have to write it.
Okay you're thinking about it.
Craig Sapp: So.
Craig Sapp: that's me.
Craig Sapp: So today we kind of have a lab so i'll just demonstrate it to you and.
Craig Sapp: And we can you can start it in class i'll just do a demonstration and we can do start a little bit in class and then you can finish it so this will be the only homework.
Craig Sapp: For this week is just to finish the lab so it's just a type set for different pieces and a graphical music notation editor So if you go to week to January 11 class and you click on computer keyboard input methods in new score.
Craig Sapp: Then you'll get to the lab and I set this up so it's very easy, just to be self directed because we did it online last year, so I made it very easy, so you didn't have to need me to ask too many questions So the first thing is you go who you score.org.
Craig Sapp: and
Craig Sapp: You download your score for your operating system so it's for MAC windows and Linux so it's for any any operating system any common one, so you can be downloading that installing it so it's pretty easy, while I kind of go over and do a DEMO of the system.
Craig Sapp: So i'll probably.
Craig Sapp: The best thing is i'll just demonstrate the first first exercise, so you can see, the basic steps and then I can highlight some of the features and the other ones that you can look at so.
Craig Sapp: Let me.
Craig Sapp: scroll down so here's so here's the first exercise just put in Mary had a little lamb so there's a PDF which you can look at so so now what you would do.
Craig Sapp: Is i'll go i'll go over to me score just to show you and so i've already inputted all these just to make sure they they're all working reasonably so, but when you create a new score.
Craig Sapp: there'll be a little like a setup wizard so it's very similar to Microsoft word, for example, if you've used that so i'm going to use i'm going to just like trouble class.
Craig Sapp: And then it's going to be in C major.
Craig Sapp: And then it's going to be in for for with no pickup measure, and it will be to measure your song.
Craig Sapp: So now you have basically an eight major empty score which you can start typing music so in in the handout that I have, in line with the PDF.
Craig Sapp: I go through every step very carefully about summarize it here, so there is, if you type the letter in that starting note entry mode So if you notice when i'm typing in toggles note entry so in is this little.
Craig Sapp: end with a note head on the side of it, so you can also click on this icon but it's better if you learn if you're going to view that a lot, you would learn the keyboard shortcuts.
Craig Sapp: So we're not going to really use it too much, but it's a good basis, you should just kinda like basic computer music literacy if you're working with meditation is to be familiar with a graphical location program So this is the free one there's also the most common.
Craig Sapp: Commercial ones are in America, our finale and Sibelius.
Craig Sapp: So, but muse scores pretty close in the terms of its features so it's maybe a little bit less features, but I think they're they've been adding last 10 years is noticeably better every year, so it's getting more and more like a commercial quality.
Craig Sapp: program it was bought about five years ago by a Russian company that does the I think the ultimate guitar.
Craig Sapp: website, and it was developed in Germany well three three main people, so one in Germany.
Craig Sapp: Who was a software engineer, maybe for SAP perhaps and then.
Craig Sapp: A guy in Belgium and another one in France, and they they sold it off about five years ago, and now there's a lot of developers in Russia who are kind of working on it and adding features.
Craig Sapp: there's also an interesting tie into the score notation program which will look at more detail related to the fox.
Craig Sapp: So.
Craig Sapp: Now what you do is you can type a number on the on the keyboard to choose a rhythm So if you notice some typing like 5432.
Craig Sapp: So you see each one of them is related to a rhythm like so like two through seven So if you press five just remember that's a quarter note and then, if you want to go to a shorter note you divide or just go down one so half of five is for the eighth note half of that again is threes.
eleanor selfridge field: The 16th note.
Craig Sapp: So it's if you're going to do data entry it's much better to learn how to use the keyboard, so this is kind of an expert or exercise and using the keyboard type in the music.
Craig Sapp: So I can't I can't watch you to make sure you don't do it, but don't be clicking all over the place, with a mouse to enter notes and like rhythms.
Craig Sapp: So the idea is to use the computer keyboard so it's kind of like a digital representation you don't really see the representation, but you kind of use it on the fly so i've seen there's one one.
Craig Sapp: Like instrumental instructor at Stanford who inputs music very unusual way and in finale is she uses.
Craig Sapp: She uses the keyboard but he uses up and down arrow to go up and down a pitch so she played play note type in a note.
Craig Sapp: And if it's up steps you press the up arrow once if you stop like the fifth seat press the up arrow four times and then press the enter key to get the next step so very creative way of doing it, I don't see how it's faster.
But she can do it pretty fast.
Craig Sapp: So now what i'm gonna do is i'm going to type.
Craig Sapp: So now, let me know that you're modeling a pet the letter E.
Craig Sapp: So it's the wrong octave so I don't mention this in the the instructions, so you kind of have like I said yeah I do do it.
Craig Sapp: So if you if you type in a note in it's in the wrong octave you can do command down arrow to transpose it down an octave or if you're on MAC it would be, I mean if you're on a PC have the control down arrow.
Craig Sapp: So, now that I have basically the right octave I can just type in the notes until I get to a new rhythm so.
Craig Sapp: Now I have a rest song and pepper zero.
Craig Sapp: And then.
Craig Sapp: So now, I have a new rhythm, which is a half note so quarter notes or five so now I have six to select half notes and then technology again, and then I type five to get back to coordinates.
Craig Sapp: And then, a whole note.
Craig Sapp: So if all the rhythms are pretty consistent then it's very easy and fast typing because you just type in the pitches.
Craig Sapp: And as long as it's like not too much octave leaps because then you have to don't you don't have to worry about the transposition up and down an octave.
Craig Sapp: So now what i'm going to do is you'd press either anarchic key to get out a note entry i'm going to type.
Craig Sapp: click on the first note and do control l on windows or command l on Max to enter direct mode and then you just type in the lyrics and if you add a dash or space it'll automatically advanced next note, so if I type ma and then dash it.
Craig Sapp: automatically goes second note.
Craig Sapp: And then you can do control control Z or command Z to undo things.
Craig Sapp: But now I have to do.
Craig Sapp: After the Second.
Craig Sapp: see good luck getting I got to have to click on that note or less.
Craig Sapp: And so on so forth.
Craig Sapp: So.
Craig Sapp: that's that's pretty much all you need to know about the very basics.
Craig Sapp: So there is.
Craig Sapp: A complication on the last one that I want to maybe demonstrate.
Craig Sapp: So let me just clear out all of this music.
Craig Sapp: And then we do a line of the last piece.
Craig Sapp: Let me pull it up.
So here's.
Craig Sapp: If I can, so this is what the last piece look like So if you see there's like two notes, at the same time, with different stems which are these vertical lines if you're not.
Craig Sapp: Good at reading music, so you basically have two voices on the same stuff sharing it so in order to do that sort of thing in.
Craig Sapp: In the notation editor there's these little numbers, right here, which tells you which voice are entering so you basically enter one voice.
Craig Sapp: And you can choose whichever one you want, but one is usually the voice and then two is the lower voice, and then we won't get into three or four forces so if I just choose top voice and then.
Craig Sapp: Type in six and then so type g.
Craig Sapp: And then.
Craig Sapp: So that would be the first voice, and then I would click on to and then go back and enter music on the second layer which starts on e.
Dominic DeMarco: Commerce one.
Craig Sapp: On two okay there we go and then i'll let you click like the first note that's kind of kind of convenient.
Craig Sapp: So so so it's not very nice and telling you actually when you want to see which voice after you're done so in finale you'll see different colors but in the system they're both black see it's kind of hard to see which voice you put it into.
Craig Sapp: So if you enter it wrong it's a little bit hard to see what's going on.
Craig Sapp: there's also things like so I want to add an x or for Mata to this voice, I want to put on the top in this case so there's these little tool bars account So if you press F nine.
Craig Sapp: Let me hide it probably is hidden, by default, but if it's hidden, then you can press F nine or you can go to the tools it's called pallets I think isn't tools, I just press F nine.
Craig Sapp: To get shipped so in this case, I want to put in and I in it that should be articulation yet so it's this ramada so the easiest thing is just click on the note, where you want to put it, and then you Double Click on the.
Craig Sapp: You should.
Craig Sapp: Why not adding it to me click again maybe not selected we'll see yeah do you have to select notes I just had a kind of general cursor and.
Craig Sapp: So so there's a little bit more like with chords in the third example.
Craig Sapp: And there's not too much new stuff in the second example with just chill out so.
Craig Sapp: Maybe we'll have you guys so almost the end of the class, so we can talk and ask like do questions or you guys can start working on it and I can hang around so it shouldn't take maximum of one hour, so I can I can do it in half an hour, but i've done it before so.
Craig Sapp: If you've used another notation program then.
Craig Sapp: it'd be interesting for you to have like a comment on how easy it is to do it in this versus in the program you know because there's one problem is once you know one graphical notation program General People don't like to learn a new one.
Craig Sapp: So be interesting to see if you can switch over to a different system and have it not be too much of a pain.
Craig Sapp: And if you've never done it before it's a good exercise, especially if you can't.
Craig Sapp: Read music very well it's a good way of practicing reading it, because.
Craig Sapp: You type in a letter and get the wrong symbol on the screen, you know you don't have the right name for the pitch.
Craig Sapp: So, so you guys can start it now, or you can, or you can leave if you want take a break, because we didn't take a break today.
Craig Sapp: And, but i'll hang around until everyone gets up, if you so if you want to do it all now and get it over with So if you so for the homework there's so you have to do these four examples and then you have to put one of them into note flight.
Craig Sapp: And I see a lot of questions or comments in the chat which I haven't I can't see it.
Craig Sapp: Looking at.
eleanor selfridge field: That and if it's.
eleanor selfridge field: If they're not how to questions or comments on people's feelings about different locations.
Craig Sapp: yeah gallery.
eleanor selfridge field: After three o'clock we're going to meet the cat.
Craig Sapp: A little while.
Craig Sapp: So so next next week we're going to do a little bit of looking at music xml, which is a data format to transfer musical data between programs.
Craig Sapp: So.
Craig Sapp: Basically, as a little preliminary exercises you're supposed to save these files in PDF format and in music xml format in email them to Eleanor and I.
Craig Sapp: And then load one of them into look select and then either share publish it and share it with us, or just take a screenshot if you don't want to.
Craig Sapp: bother figuring out how to share it, so this is a system is basically an online graphical notations system so it's.
Craig Sapp: Similar to muse score it's a little bit simpler because it's only on the web says licensing is only on the web so it's very easy to just use anywhere you don't have to install any software.
Craig Sapp: it's you can't do as many things so it's kind of geared towards very fairly simple music.
Craig Sapp: But see it's it's a good practice for if, like you want to put something online real quick problem is, you can only put five scores online for free and then you have to pay a subscription if you want to have more scores.
Craig Sapp: But that'll be good good exercise for like looking at usefulness of transferring data between programs, in this case, using news xml, which is the most common way of transferring musical data between programs.
Craig Sapp: And then also mention if you're interested in music score or if you've used it a lot there's also kind of an extension of how.
Craig Sapp: kind of a demonstration of different things different other examples, you can do in your score So these are all done by one of our students from two years ago.
Craig Sapp: So she did a whole bunch of examples and kind of goes through different examples here so for extra credit, you could look in code one of these scores right don't tell you like, step by step, how to do things.
Craig Sapp: Okay, and then I can also log in here want to see it.
Craig Sapp: If I can remember my password.
Craig Sapp: Now I changed it and I don't remember out there, do the have to do the reminder.
Craig Sapp: So.
Craig Sapp: yep yes, you guys can get working and then we can just talk with people otherwise.
eleanor selfridge field: yeah and you're welcome this this session doesn't close in a specific our you you're welcome to stay and work.
Craig Sapp: On classes lessons now, but you can stay or not.
eleanor selfridge field: If you don't have another constraint your world.
Craig Sapp: We will have office hours after class unless you have a class after class and we could always arrange things like in the future if you need more time.