going to.
eleanor selfridge field: Then i'm going to share my screen.
eleanor selfridge field: Oh, but did I share it, so the sound works that's different.
Craig Sapp: made it.
eleanor selfridge field: Okay, good.
eleanor selfridge field: yeah sorry.
eleanor selfridge field: yeah okay so.
eleanor selfridge field: Does everybody see my presentation, yes.
eleanor selfridge field: Good okay so we're talking about some preliminary things to both sound and notation but we're veering now towards the sound side of things and we're starting Mitty soon and mini all this ancient history we're going over.
eleanor selfridge field: should put you in the right frame of mind for me so.
eleanor selfridge field: I was sort of interested this illustration on the left here.
eleanor selfridge field: is a curious one from the first edition of groves dictionary of music and musician now known as Oxford music one line.
eleanor selfridge field: In its cloud.
instance situation.
eleanor selfridge field: This is supposed to be from 1747 it was published in the late 19th century and you see a man sitting in front of what appears to be a piano keyboard.
eleanor selfridge field: And he's.
eleanor selfridge field: Like doing something with both hands and then there's a lady behind this collection device.
eleanor selfridge field: who may be weaving clock i'm not really sure.
eleanor selfridge field: There is an interesting overlap between.
eleanor selfridge field: You know in in in the beginning of the industrial revolution, which I think of more in the 19th century as.
eleanor selfridge field: The gestation of many, many mechanical devices, there was a great interest in figuring out how to systematized and regularize a lot of functions that are all done by hand and so weaving machines got.
eleanor selfridge field: very involved in some of this and form part of the backdrop for the.
For computers, as we know them So these are some jump card.
eleanor selfridge field: readings that are, I think, in most cases pillow Hello tops or it might be blood clot to making James and your recognize that there's there's something fundamental in this that doesn't have to do with music doesn't have to be necessarily with meeting it's all about X, Y coordinates and.
eleanor selfridge field: In the early days of computers in the 1960s people used to send each other greetings that said Happy Birthday or a Merry Christmas on on just about three yards of fan fold paper from a dot matrix printer they had carefully without all of these letters, because there was no asking.
eleanor selfridge field: I threw this in for dominic because dominic is very involved with the marching band at Stanford.
eleanor selfridge field: I don't see a lot of difference between any of that and these these maps or band formations, although of course what's happening in all these cases, if there's a dynamic process going on, and so, if you can see, I have the zoom sort of squatting in my territory here.
eleanor selfridge field: If you can see the cards over here on the right.
eleanor selfridge field: you'll notice that.
eleanor selfridge field: it's not it's one step up graph and use your pad these are patterns for making some of those tips.
eleanor selfridge field: When we look at the sound side of things so that's that's partly on the path of to location, but when we look on the sound side of things.
eleanor selfridge field: We begin to see some very different devices over here on the left, I think it's in Oregon role.
eleanor selfridge field: But it might be the inner workings of an orchestra on which we'll see in a video in a little while and i'm not going to explain the super website, which has to do with piano roles, but Craig is going to talk about that in a week or two.
eleanor selfridge field: I will, in a few minutes, let you hear an example of the class harmonica and i'll leave the welty menial piano roles to Craig.
eleanor selfridge field: I think most of you have run across a player piano in your lifetime, but if you haven't when we're finally free to go back into the music Center if you go downstairs.
eleanor selfridge field: During regular working hours and go to the archive of recorded Sam you can see a player piano it's probably missing it's keyboard that's the state, it was in the last time I saw it.
eleanor selfridge field: And where a lot of the technology when, in the early 20th century was towards.
eleanor selfridge field: The development of sound reproduction So these are some examples from the Edison side of that there were other efforts there was RCA Victor a little later and there were people in Europe with sound recording and.
eleanor selfridge field: We have an archive of record of Sam there's a lot of equipment.
eleanor selfridge field: have very fine grained equipment, where you can see devices like these, and if you're very good, you can hear them we used to take a field trip to the archive we're not taking a field trip this year because of uncertainty as to all of them.
eleanor selfridge field: Are regulations concerning, but they are there and they're well worth you are spending half an hour down there to learn something before.
eleanor selfridge field: There was this enormous enormous.
eleanor selfridge field: sort of upsurge and activity for adapting to the digital environment, things that had previously were.
eleanor selfridge field: entirely by mechanical means and so.
eleanor selfridge field: The self playing too, but i've never actually seen but it probably would be fun to hear.
eleanor selfridge field: The wurlitzer band or your hines came to visit us today, and he probably could tell you a good bit more about that.
eleanor selfridge field: than I can but these were used in St Louis and still are, in key places and what we're going to meet up with enmity when we get there very soon.
eleanor selfridge field: Is eight pit architecture input and output switches ones and zeros or the most basic basic basic stuff you can imagine, and that is still the Foundation admitted, so you will have an opportunity to.
See.
eleanor selfridge field: How having calendars with many of these things, I have a couple of videos I want to play for you and I am going to bail out of the share in order to do that.
eleanor selfridge field: Because I have to share something different.
ish.
let's say I don't want this to turn on but let's see if I can see in here and then go back to this.
eleanor selfridge field: Now let's cross our fingers for the sound here yeah I have it turned out pretty Nice.
eleanor selfridge field: If you can't hear, please let us know, so this is an orchestra on.
eleanor selfridge field: it's not quite the same as a wurlitzer Oregon which are these giant giant things with all sorts of sound making.
eleanor selfridge field: mechanical things on top of them.
eleanor selfridge field: But you see that there are some robust them here and you'll get the idea if I start to play this.
eleanor selfridge field: Okay, so hold your questions because we're going to look at a couple of other things here.
eleanor selfridge field: This is something completely different, this is Oscars Allah who did.
eleanor selfridge field: Created the names and performed on means of making sound effects for.
eleanor selfridge field: For films, especially a lot of Alfred hitchcock homes.
eleanor selfridge field: And this is fun have recorded from a live performance that he gave in 1991 and others in the group and let's hear a little bit of boost.
eleanor selfridge field: So I think you get the idea of that I have two more things there are quite different.
eleanor selfridge field: This is from the movie days not know if.
eleanor selfridge field: This is more musical in Paris it's in the northeast it's pretty far out from the Center of Paris it's a wonderful museum.
eleanor selfridge field: And they have set up everything you know, so that if you have the right earphones and the right program in your portable device, as you walk past instruments they will start to play for you.
eleanor selfridge field: But I just want to select out a few things because I want to remind you what.
eleanor selfridge field: The original sound sound like when we work with Committee, he will not hear anything that sounds remotely like any of this.
eleanor selfridge field: But it's good to be aware of the difference between what many producers even know that that there are add ons committee and overlays that make it a lot harder than it used to be it's still a long way from the real things very carefully recorded by Google arts and culture.
eleanor selfridge field: So there is a link in the clock more let's see.
eleanor selfridge field: So the way this thing works is.
eleanor selfridge field: Benjamin Franklin invented the glass or surface.
eleanor selfridge field: diameter.
eleanor selfridge field: But it is a soft sound in the best of times and you won't hear much there, and when I hear it, I always think of the thurman and electronic instrument from the early 20th century.
eleanor selfridge field: I don't know whether it would strike anyone else that way i'm skipping most of these there's a whole lot here, but there were a few things I thought.
eleanor selfridge field: Part of the inventiveness of a slightly earlier era.
eleanor selfridge field: and
eleanor selfridge field: Stradivarius.
eleanor selfridge field: So i'm sorry.
eleanor selfridge field: You, the last one too, because this gets a little closer to where we're going to be with mini, and this is a video that was made at keio University in Japan in 1987, and this was the culmination of.
eleanor selfridge field: A robotics.
eleanor selfridge field: project that started several years before.
eleanor selfridge field: So this is slow to load, but it should work.
CINCO CINCO CINCO.
CCD come in and dominate in Houston.
North and logic Familia de de de de xiang always.
sunny in a new town when he asked a bunch also the.
Second, you doing tonight i'm Catholic Nina Nina.
schema.
eleanor selfridge field: And that's that's the end of that one so.
eleanor selfridge field: Out of the sharing there i'm not going to say more than that, I think Craig we should have maybe just a few minutes for questions, and let me see what's in the chat here.
eleanor selfridge field: yeah right well, I of course he's not a singer but it's a demonstration, this is craig's comment in the chat.
eleanor selfridge field: he's demonstrating the ability of the robot to transpose on the spur of the moment and.
eleanor selfridge field: dominic wants to know what the what the song is, and I have no idea, but the rhythm is.
eleanor selfridge field: it's a little bit foreign to me I don't know exactly how it.
Dominic DeMarco: sounds like one of the songs like.
Dominic DeMarco: I can American song.
eleanor selfridge field: through all the questions here we have.
um.
eleanor selfridge field: yeah um.
eleanor selfridge field: There is a camera on the head of robot which is leading the musical score that's it yeah that's exactly the point, this was a very elaborate project and it probably also in a.
eleanor selfridge field: In a very general way typifies other work that was going on in the 1980s, because before it existed, we can make fun of many lots and lots and you'll probably grown when we get involved next week with many bits and Bytes but.
eleanor selfridge field: before admitting every setup that involve some sort of instrument that was able to communicate with a computer.
eleanor selfridge field: It was a one of a kind setup and so somebody would do something wonderful and elaborate in their own studio and nobody could replicate it, because everything was sort of plan tool to that one point so that's the hump that many goddess over but let's see.
eleanor selfridge field: Would anybody else like to comment because i'm oh Sammy i'm sorry.
Craig Sapp: sandy could hear it.
eleanor selfridge field: Now why Is that correct.
Sammy Park (he/they): Oh, those just for a second while you're.
Sammy Park (he/they): playing the show can video like you're talking in like the.
Sammy Park (he/they): Chopin audio was like covering up your voice, but.
eleanor selfridge field: Oh yeah okay sorry about that.
yeah.
eleanor selfridge field: yeah.
eleanor selfridge field: So Craig and I are trying hard to stay on schedule and i'm just trying to get a sense of who's here, we have one visitor but he'll be he'll be with us, I suspect, other times times Roman camper who was an auditor last year with us, but he is giving a talk a week from today about some.
eleanor selfridge field: New software tools i'll be sending out a message about it, but I just wanted to Oh, I see the JET that's nice um yeah, I just wanted to make sure that.
eleanor selfridge field: Everybody was accounted for, and we have one student who still in Thailand, but he's coming back to stamp into speaking, and so, by the time he finishes his one week warranty.
eleanor selfridge field: And he will be ready to reconvening with a full class in person behind, so I think will will in any event people talk remote because.
eleanor selfridge field: we're teaching an fairly small room and i'm hopeful that by the end of the quarter, we might not have as many restrictions, as we do now that we put it on.
eleanor selfridge field: On down with them now so Craig why don't you take over.
Craig Sapp: will do so that's the class we kind of do a half an hour.
Craig Sapp: About on the rest of the homework, so we just talked about the different features like designing that you came up with designing your formats and then.
Craig Sapp: we're talking about this beginning of the class is we're not going to do a real lab what i'm gonna do is i'm going to do the lab and just show you how to do like Midi input of music into music or.
Craig Sapp: And so you don't have to do any homework for today's class like finish up anything so it's only thing for this week was do the keyboard entry and muse score which we did.
Craig Sapp: On Tuesday, so that's, the only thing for this week so you're lucky, if you want to get out of homework, because you don't have to do it, but.
Craig Sapp: Maybe, by the end of next week or so i'll give out some door codes, so you can come into the lab if you want to do the keyboard stuff or when we're doing other.
Craig Sapp: Other music Apps will be software here are the Midi keyboards as well, so that's the rest of the class so so Victor can't be here today, so i'll have him, maybe do it next Tuesday so she see what to talk about how present your location.
Shi Yi Liang: yeah so basically the.
Shi Yi Liang: idea in which I approached designing the system was I wanted something that like an absolute beginner with zero knowledge of musical theory or no background, will be able to.
Shi Yi Liang: pick up employee because, like from personal experience being someone without much former miss Katrina you know when I first started picking up music.
Shi Yi Liang: learning how to read music was one of the biggest blocks, I had to overcome, and I think it's a pity that you know if people don't give music.
Shi Yi Liang: Instruments a try because simply because you know they have this hurdle that they need to overcome, and they don't know how to do it.
Shi Yi Liang: So I wanted something that was so easy to read, as possible, so I decided to go with more visual representation.
Shi Yi Liang: So, making use of both geometries and colors to represent information, a musical information, so what I did was the pitch of the notes I represented with colors so.
Shi Yi Liang: Each I use like the colors of the Rainbow to represent it just so, for example, written correspond to see an orange request Mundo de so on and so forth, and then.
Shi Yi Liang: With the middle update in which middle C is in sticking to the octave zero so anything above that would be.
Shi Yi Liang: You know that by like a plus number in the middle of the circle so plus one would mean the octave higher than the one middle seats in and so forth.
Shi Yi Liang: And then for rests I make use of lack to distinguish it from the other notes and it's also like a little bar in the Center and then the duration of the note is given by like.
Shi Yi Liang: fractional circle, so a full circle is a quarter note and then like it would be a half circle and so on and so forth, so you could tell duration of not simply by how long the circle was and then each bar of the music is one light of the representation.
Shi Yi Liang: mean you had like a little line, a little line below the plus.
Shi Yi Liang: X indicates like that not display and then, if it's sharp they'll get later.
Craig Sapp: yep.
Craig Sapp: yep so pretty pretty straightforward to read.
Craig Sapp: You will still have to map.
Craig Sapp: So if if you're using this like for beginning education you'd probably what you do is you put maybe like on a Midi keyboard you put colors for each of the notes, because then they could see the color on the notation and the color on the keyboard.
Craig Sapp: and
Craig Sapp: I have seen.
Craig Sapp: So there is, I have seen someone who has like a learning system which is kind of a hybrid between notation in this so they have colored notes, I think the notations called colored notes.
Craig Sapp: So there's like a big patent about 20 years ago that they filed about it was very strange, but then they had is basically they patented so they could sell their system and basically prevent people from.
Craig Sapp: Using it selling their own equivalent systems, but I don't I don't think it was a very popular and now the patents right now and I don't think he's.
Craig Sapp: been ever ever been using it after that, but there is somewhere on YouTube off look and i'll email you there's like you can find all of the lessons that were that went with it.
Craig Sapp: So yeah so using like like multiple modes of so it's kind of.
Craig Sapp: So it's basically a type of tablets or like a symbolic tablet sure I would say.
Craig Sapp: And usually tablet teachers are very easy to learn and so that's that's one big problem, as you mentioned, like like there's a big hurdle for entry of people because they're put off by how much time it takes to learn music notation.
Craig Sapp: But there is a problem, like some people like I was mentioning the first class there's.
Craig Sapp: There was the club are scribble, which is a tablet or for piano.
Craig Sapp: And the person who wrote it wrote it basically because he wanted to make it much simpler to read music.
Craig Sapp: But the problem is people who already know how to read music don't want to use a tablet like a pianist it's like I can read like i've been doing it, since I was maybe since May 3 grade when I started violin so.
Craig Sapp: I learned, I had to struggle learning it moving third and fourth grade fifth grade, maybe, but like now, I can read it.
Craig Sapp: So I don't have any problems so like I don't want to glow learn a temperature for piano because it's so one one problem with tablets yours, so this one is pretty good is.
Craig Sapp: With regular music notation you can see more music at once, because you have a graphical shape and.
Craig Sapp: So music notation or this Western music notation designed to be very efficient at conveying music and so.
Craig Sapp: The faster people can kind of input it into their minds, the faster, they can play it, and so this one is pretty good just taking looking at it as at a glance, but.
Craig Sapp: Sometimes, if they have like these training systems they're not very efficient, so you would never be able to like expand it to experts.
Craig Sapp: But in so that would be so you can get people to start and then, but sometimes to get them to continue on it's kind of hard, because then they have to shift once they learn the system, they have to shift over to modern.
Craig Sapp: common Western music notation so they basically have to learn it twice, which I can manage irritating because I don't want to do it the other way myself.
Dominic DeMarco: Something and I was wondering here is, can you convey a more have written the Kent to the performer by not having that like fraction of a circle always start at 12 o'clock but maybe start at the place in the beat where it is like, for example, like those seconds.
Dominic DeMarco: Every second, notes could start up.
Dominic DeMarco: At night nine o'clock in at 1030 that's making sense.
nicholas seay: or combine them.
Shi Yi Liang: yeah definitely.
Shi Yi Liang: or I didn't.
Craig Sapp: Go to combine them.
Dominic DeMarco: You have to put a separator some visual and see the note differences.
Craig Sapp: You could put like a.
Craig Sapp: You could always started at 12 o'clock and then put like line from the Center splits notes, perhaps.
Dominic DeMarco: Like a radio.
Craig Sapp: yeah so you could have a radio line this helps split the notes and then, then you could group them so that would help.
Dominic DeMarco: In turn, help density and.
Dominic DeMarco: make it easier to see.
Dominic DeMarco: Each of the beats.
Craig Sapp: yeah well yeah but yeah so this one.
Craig Sapp: So this one, the way it's set up is there's two beats per line, but you could always do things like draw boxes around it so that's what's done like in like the code of scores, and like things like that.
Dominic DeMarco: yeah.
Dominic DeMarco: I already have the unit as a certain like the circles already unit of your D.
Craig Sapp: yeah.
Dominic DeMarco: You probably don't want to have to split it like have another symbol.
Craig Sapp: that's the only the only complication for this current representation is the octave if it changes in the circle you'd have to move it somewhere else.
Dominic DeMarco: that's true yeah.
vidya rangasayee: Also, how would we represent, like all know and so on, what it means to concentrate circles.
Craig Sapp: yeah you could you could represent one measure is a circle, then have different consensual concentric circles for each beat.
Craig Sapp: If you want to have very dense.
vidya rangasayee: But if you're having a container goes.
Dominic DeMarco: Over like tiny over.
vidya rangasayee: Timing is a full circle.
vidya rangasayee: What would a half not be so.
Craig Sapp: It gives you have two circles that are touching, for example.
Craig Sapp: yeah or you could have to concentric circles, if you mentioned.
nicholas seay: To her always where you can always define the largest notice the circle.
Craig Sapp: yeah.
Dominic DeMarco: Maybe like a spiral notation to even be nice here like it like a measure is a spiral, and every book nation 360 degrees, is one of the beads I think that that's like even denser but thank you all again the octave displacements, the tricky part there but.
Craig Sapp: But so one trick is if you're designing it for beginners like the goal of this particular notation you don't want to make it to deaths.
Craig Sapp: So, usually you want to have like redundancies, so that people can latch on to the feature that they like, of course, in this case, if you have a color blind person, it may be it's not going to work so well, so you have to be careful about that sort of situation as well.
Craig Sapp: So.
Craig Sapp: Most I think like 10% of males are colorblind I think.
eleanor selfridge field: Better keep moving, because we have several more to do.
Craig Sapp: yeah okay.
eleanor selfridge field: Right it's very interesting, as you can see.
Craig Sapp: These comments the others, so we have some similar properties with jennifer's will have her go next.
Jennifer Xiong: yeah hi everyone so yeah I think like Craig mentioned mine is kind of similar to she's where utilizes the colors for the notes.
Jennifer Xiong: And it's based so every circle, you see, is like a single rhythmic unit and the rhythmic unit is based on the shortest note in the piece, and in the case of this exit that would be the 32nd note.
Jennifer Xiong: And to indicate duration, you would underline the number of 30 seconds or so it'd be the equivalent of whatever notice you're seeing so, for example, for the dotted eighth note underlines the six circles just indicating that you would sustain a note for 630 second notes.
Jennifer Xiong: and
Jennifer Xiong: part of my thinking behind doing it this way, was to think about practicing subdivision just because I know, for me, one of my weaker skills and.
Jennifer Xiong: performance is keeping rhythm and subdividing, so I think that'd be beneficial for new layers of music, especially in keeping or i'm thinking about the subdivisions and music and especially when they're approaching more complicated rhythms.
Jennifer Xiong: And yeah and.
Jennifer Xiong: I think kind of Craig you mentioned the colorblind aspect.
Jennifer Xiong: One part that I was thinking about using the colors that you would have different colors represent the every half step, which is beneficial, because then you're not if you are taking so much, for example, you wouldn't have to adjust the syllabus you would be thinking visually and colors.
Jennifer Xiong: And another fun part about that is that it's kind of if you think about the color wheel, you can kind of see the courts in a relationship, similar to the way that you would see them on a color wheel, for example.
Jennifer Xiong: See is red F is green on the color wheel, those are opposite of each other, so you would know that that's like a fifth part.
Jennifer Xiong: But, of course, if you are colorblind it would be a little bit more difficult to work with.
Jennifer Xiong: In that sense.
eleanor selfridge field: yeah, and I say one thing about color blindness I happened at a conference, two years ago to run across.
eleanor selfridge field: somebody who really is an expert on how to accommodate color blindness in computer visualization.
eleanor selfridge field: She is the she's the color expert for tablo and if you if you're familiar with tab those graphs and charts and so forth.
eleanor selfridge field: They highly emphasize certain moves and oranges and she said rule number one is to avoid red and green so if this is not our objective here, but if your objective were to be friendly to color blind people.
eleanor selfridge field: which you know it's a whole spectrum of different things it's not always red and green but, but there are.
eleanor selfridge field: That that's that's the most frequent variety, then you really want to avoid those colors, but if you do that in music.
eleanor selfridge field: Then you get involved with much smaller gradations of color and I, I think it would be extremely challenging to develop the presentation system we avoided threads so I just throw it out for what it's worth.
Craig Sapp: And, once again, just like shake notes we're showing the first class is so you could kind of do a dual system for pitch, so you could give it color and shape.
Craig Sapp: And then color blind people could just look at the shape and then people can see both can decide if they want to see shapes or if they want to use color as how they're reading the music.
Jennifer Xiong: For sure.
Craig Sapp: And then related to the performance aspect yeah so I had a piano teacher who taught me a very good way of like figuring out how to do the rhythm correctly like not chopping things short.
Craig Sapp: But basically, like choosing the minimum time unit and then putting vertical lines in the written notation whenever there's a gap.
Craig Sapp: In that continuous so basically it's a little bit inconvenient for this, because we have 30 seconds, but, like all of the all of these.
Craig Sapp: Anything that's has an underline under it after the first one would have a vertical line in the notation.
Craig Sapp: And then you kind of you kind of think of the rhythm, you mentioned the taps maybe as you're playing it to make sure you don't drop it out.
Craig Sapp: And I found that very useful to make sure that you don't like you don't play dotted eighth 16th says triplets because you're kind of kind of fuzzy about how long the gap is.
Jennifer Xiong: mm hmm for sure for sure, and I think going back to the past, but even if you weren't colorblind I think something interesting that I was thinking about was.
Jennifer Xiong: Just how everyone perceives color differently so, for example, if you like, I don't know if you could, if you go to the next slide you'll see like all the colors I assigned for every half step, like the F sharp the F macro F sharp slash Jason flat and G, for example.
Jennifer Xiong: I think that's kind of like somewhere where the F sharp would kind of be in a Gray area between either blue or Gray or blue or green sorry depending on I guess how every individual perceives the colors that might be a little bit more confusing there too.
Craig Sapp: Why do I use color for showing harmony structures which you probably saw a little bit of first class and the problem that I noticed is when you have colors next to each other, have different types.
Craig Sapp: Like the perception of the color changes so it becomes very hard, even with just this list of colors like distinguish between F and F sharp.
Craig Sapp: If you have different colors next time because you can't sell well if you put an F and F and G next to each other versus an Ian and F kind of maybe the F and G look like F sharp dingy or something so it's very.
Dominic DeMarco: You can also see that illusion happening right here like doesn't add up the Bible differently than the APP what is the circles, I mean, obviously.
Dominic DeMarco: it's an interesting because.
Craig Sapp: I have to concentrate to tell that they're different.
Dominic DeMarco: Well, I think, like in terms of the way the written information is quantified like seeing the similarities between what you, and she just said is really interesting and like.
Dominic DeMarco: One of the things I wonder is when it comes to counting is like how easy, is it for a performer to see the duration of notes and i've, especially the subdivisions install this 32nd note.
Dominic DeMarco: And you have to have you know 32 of those dots per bar that.
Dominic DeMarco: For is that right yeah or 16 in this case 16 of those of those dots per bar, it can be almost look and be a little hard to see how long your notice supposed to be ahead of time, but you have to keep on counting the whole way through.
Dominic DeMarco: Which is maybe.
Craig Sapp: Like the circle represents about five units he wouldn't be able to accurately do it, so you.
Dominic DeMarco: yeah.
Craig Sapp: So there's a limit to the sort of rhythmic complexity, you can show in this notation.
Dominic DeMarco: Because Also, how does it handle like triplets and.
Craig Sapp: Well, this word we're not designing up like a perfect complete system so.
Dominic DeMarco: Well yeah This is like the circle system before it's it's easier to something about a circle in the.
Dominic DeMarco: spectrum.
Craig Sapp: yeah you wouldn't want to want to expand this to templates in the system, you could but there's no point that is just like a homework so we're not gonna.
Dominic DeMarco: yeah I don't know.
Dominic DeMarco: intended similar concepts, they have a different application.
Craig Sapp: yeah we.
eleanor selfridge field: need to do, though, is move on, because.
Otherwise.
Craig Sapp: yeah let's let's Duke and.
Craig Sapp: So Ken is obviously a computer based system.
Ken Hong: hi can you hear me yes.
Ken Hong: hi so um yeah, this is a computer based system, mostly designed for playback um I think my kind of goal when I was creating the system was to make something that's very.
Ken Hong: Low resource and kind of maybe use as few bits as possible and, like still have some kind of acceptable playback i'm obviously this isn't.
Ken Hong: designed for like complex maybe like polyphonic music, but maybe rather more for like single note melodies that you could find like say on like a cell phone or like a doorbell or something like that.
Ken Hong: So yeah the representation for each notice split into two parts there's the frequency and also the start time since the beginning of the.
Ken Hong: section of music and the reason I used frequency instead of like a number is because.
Ken Hong: Presumably and hardware.
Ken Hong: If you were to use note numbers, there needs to be additional like some kind of mapping between the note numbers and the frequency, so this kind of takes that away.
Ken Hong: And for the time.
Ken Hong: I assumed that like whatever device that's going to be using this hustle just constantly running clock and they can just use this time as kind of like an offset from the starting time to gauge where the next node should be played.
Ken Hong: So some benefits of the system there's because we're using frequency instead of kind of note numbers they actually represent like.
Ken Hong: quarter tones and other like micro tonal pitches if we really wanted to um there's also really no restriction on kind of rhythm um if you have things like no triplets or grace notes they're all kind of handled by.
Ken Hong: The time, rather than the note value.
Ken Hong: We can't have chords and we can have multiple voices and.
Craig Sapp: So you.
Craig Sapp: Can you can't have courts, because your timeline is absolute.
Ken Hong: Oh yeah and.
Craig Sapp: They don't even have to be sorted.
Craig Sapp: Because it's absolute.
Craig Sapp: So you could put them in random order even.
Ken Hong: mm hmm.
Craig Sapp: good deed disorder they.
Dominic DeMarco: need to know when to stop each note though it seems like implicitly stop you know, the next time he said.
Craig Sapp: yeah so this system is mana phonic if you wanted to have it polyphonic you just maybe add another column.
Craig Sapp: which would give the easiest would be to give the duration so you're gradually getting more and more towards Midi.
Craig Sapp: Except your system is different from videos that you can give any pitch, so the problem with Mitty.
Craig Sapp: Is you can only give integer numbers for the pitch she can't give like a half number like 60.5 to mean like a quarter.
Ken Hong: Which.
Craig Sapp: it'd be nice if it were possible, but it's not possible ways of like, why do you need that you have 12 minutes and the keys, so they never allowed it was never designed to be expanded.
Ken Hong: mm hmm.
Craig Sapp: But this this system, you could basically do any tuning because we'll get to sammies representation and he would want this sort of such a.
Ken Hong: system for computer.
Craig Sapp: So.
Ken Hong: Oh yeah that's my system.
Craig Sapp: And it's has very similar structure to.
Craig Sapp: To.
Craig Sapp: This one we have with.
Dominic DeMarco: of mine from last time.
Craig Sapp: Already, to go dominic.
Dominic DeMarco: yeah except, I think the big big differences that 10s is an absolute been tie, which means that you're not relying on the ordering of these notes to.
Craig Sapp: yeah so in Canada.
Craig Sapp: know the order doesn't matter but, but he does put them in right order, it depends, because you have to get them on a phonic you have to get the note off from the Jason.
Craig Sapp: And then, this one it's just the Jason time to the next note so Both of these are monotonic representations but.
Craig Sapp: So, this one is easier to cut cut and paste if you want to copy and paste repeated material, because you just have what are called delta times and many.
Craig Sapp: So many uses delta time so it's very easy to copy and paste repeated sections, if you have absolute times you can't do the copying and pasting you just have to like reset the timing.
Craig Sapp: So more or less it just depends on what you want your data format to do, or how you want to manipulate it, and if you have a computer program you can always have the computer program manipulate it so ultimately doesn't matter if it's absolute or.
Dominic DeMarco: yeah I mean I imagine that, like no human would be writing in my my format for 10s format for an extended period of time that's what a computer can do it.
Craig Sapp: Well it's a bit tedious to type it in but, but before like 2030 years ago that's how they were tech stuff in.
Craig Sapp: and
Craig Sapp: let's go to video and you just want to talk about the gaps one video or you want to do this one, because I remember this one.
vidya rangasayee: I yeah this one was from last year, when I had.
vidya rangasayee: started over this past, so I just wanted to know.
vidya rangasayee: A little bit, but mostly let's just talk about like the dance.
Craig Sapp: So it'll be more interesting.
vidya rangasayee: yeah, so this is a dancer presentation, not necessarily music one arm, this is also based on yeah, that is, Dr dominic that is yeah.
vidya rangasayee: So the doctor presentation, you know in this is specifically and trying to do this for South Indian classical dance, which is called about McMahon and they're very specific movements and in this representation and one day we can for the.
vidya rangasayee: positions of the extremities like the hands and the lakes and that's like there are other.
vidya rangasayee: Changes other of very defined moments of you know, the head shadow Vega the River or the mcclain changes on the shoulder, and you know elbows and so on, but i'm very specifically, looking at the extremities.
vidya rangasayee: they're kind of in a five positions on you that your hand can actually begin um it's not it's not random it's either.
vidya rangasayee: One and we'll try and turn off my.
vidya rangasayee: background, so you can choose.
vidya rangasayee: Normally bad.
vidya rangasayee: situation so that are wondering like.
vidya rangasayee: So one is straight about and then there's one across one on the horizontal again down and then and the last one is towards the Center you know so those are the positions that you could be and there's a set of 28 on a sunny pastors or the position.
vidya rangasayee: Things that you can do with your hands, so you can either go like this, like this, you know different.
vidya rangasayee: gestures that you can do so, the top circle and the Center kind of represents your arm your hands and the bottom again is your legs legs can want to go in like three positions you know either all.
vidya rangasayee: The answers, but all the way to decide, you know kind of applause or stamina So those are the only three like positions that it can go to.
vidya rangasayee: And also.
vidya rangasayee: What I want to do is like maybe use numbers to indicate what the fans are actually doing with an additional letter notation on left or right, and this is, this is something that I thought of.
vidya rangasayee: You know, last night, when I was going through this because sometimes you could go, you know, in the opposite direction, like your hand could go.
vidya rangasayee: On, especially in the Center it could be crossed you same thing with the lead it could be crossed that you could you could go either the same or you could go back so, and this would be more of a visual representation of a graphical representation of how the extremities.
Craig Sapp: In in the in the depths tradition, how much of it is pre compose versus improvised.
vidya rangasayee: All almost hundred percent of it is influence.
Craig Sapp: And so there's like.
vidya rangasayee: A basic syntax there's basic grammar and rules around like what people do, but it seems pretty much like like occlusion.
Craig Sapp: Because like a rock.
Craig Sapp: usually have like a the opening section that's kind of pre composed very simple, then you gradually get towards the end where it's purely improvised.
vidya rangasayee: Well, in dance the improvisation, is a little less because your body has to get used to it, so you have to practice it, let alone kind of similar in music as well, so some of the improvisation that practice enough time before we actually going to perform, but you know.
Craig Sapp: Like jazz jazz music where when you listen to the sound like they're improvising but they're probably pre composing a lot of it in their heads.
vidya rangasayee: yeah exactly so so there's I mean, I would say, roughly about 75 to 80% i'm a lot more person page is composed in dance like the on the flight improvisation doesn't happen as much on their specific.
vidya rangasayee: portions of the dance, but the implementation happens, a lot more, which is not have the.
vidya rangasayee: Good or the.
vidya rangasayee: or with your dance portion of it, there is a there's a dramatization in which it's completely improvised like it doesn't go meter it doesn't go.
vidya rangasayee: So it doesn't have it like the accompaniments is just kind of on the side, so you kind of go in invoice for you want, whether it's called dance form, I would say 80 to 90% of companies but.
vidya rangasayee: Unless unless you believe it before dancing somebody challenges, you and be like okay i'm going to play some music dancing yeah and you can get stuff up on the fly but mostly you know.
eleanor selfridge field: Video I have a question just about what music are people dancing to is it is it in your context is it live music is it recorded who what.
vidya rangasayee: i'm all of them all of them, so it could be like it could be recorded, you know i've gone to both the part of music, as well as like.
vidya rangasayee: Music and usually, when it is live music, you know the dance like and i'm the dancer like i'm the main office, so I need the accompanying musicians like I didn't choose as to when i'm going to change things so that they can follow along and give the accompaniment.
eleanor selfridge field: Okay, at a later point it might be good to see a video or something that would cheer did a demonstration, but yeah very interesting and I know I know.
eleanor selfridge field: I never thought about the grammar of all the hand gestures, but I know I know that they're very graceful and they're probably a lot of them and i've been told in the rare instances when i've seen something along those lines that they are regional differences.
eleanor selfridge field: So they're all interesting.
Craig Sapp: yeah Thank you okay it's not will do probably last one for today so maybe Catherine you're going to do it on Tuesday, perhaps.
Catherine Huang: yeah i'll do it on Tuesday.
Okay.
Craig Sapp: Sammy.
Sammy Park (he/they): Alright, so um oh gosh where to start I did mine to capture like Ottoman traditional music and if you can go to the site below it.
Craig Sapp: So next slide okay.
yeah.
Sammy Park (he/they): yeah so as you can see i'm Ottoman classical music uses a lot more than 12 notes per octave, as you can tell by these funky thoughts and sharps.
Sammy Park (he/they): And there's like a, so this is just one theoretical system those designed I think in the 13th century.
Sammy Park (he/they): And what this 13th century era mathematician did during the opposite caliphate was he designed like a system with like the traditional like.
Sammy Park (he/they): Arabic numbering system like before the Arabs imported the Hindu like or like.
Sammy Park (he/they): or in new i'm not sure anyways the before they imported like the current number system from South Asia, they use the traditional numbering system that.
Sammy Park (he/they): If you're like familiar with like like Judaism and like like a set assigning certain numbers to like meetings to certain names and stuff like it's a very similar system but yeah so they use this.
Sammy Park (he/they): System of assigning like numbers two letters and then he applied this to like the scale and so, if you go back to the one above it.
Sammy Park (he/they): I basically like I put these on a grid so like each grade is like the smallest note division and when you go to the.
Sammy Park (he/they): And, like the actual score is like the top part, like the things with this little vision, like the separated, let us, let us just for to so that y'all can see what I did I just basically connected up all these letters.
Sammy Park (he/they): Until you get to rest.
Sammy Park (he/they): And so yeah that's that's basically what I did yeah yes.
Craig Sapp: So that's.
Sammy Park (he/they): that's what is the actual score yeah.
Craig Sapp: This is the meaning.
yeah.
eleanor selfridge field: So Sammy assists system written.
Sammy Park (he/they): Right to left or left, yes, yes right to left yeah and so that will make it a really convenient if you're like if there's like lyrics that go along with the text.
Sammy Park (he/they): Because like currently like when you're reading like left to right like music, if you put lyrics to it, then like like the text is going backwards and then like the music's going forwards it's a whole whole mess, but yeah.
eleanor selfridge field: We ran into that exact problem with researcher in another actually enjoy working in Germany number of years ago, and she was working on 16th century repertory.
eleanor selfridge field: him read the Calvinist hymns as used in Turkey in the 17th century.
Sammy Park (he/they): Oh wow.
eleanor selfridge field: and complications how the music was simple, but when you tried to add the text because it was vocal music.
eleanor selfridge field: You know you did run into this, you know music from the Left text from the right and how do you ever synchronized and.
eleanor selfridge field: And so yeah I think you have the same problem, I just wanted to comment, when I first started to read your your write up.
eleanor selfridge field: About odd jobs because Craig and I are familiar with the odd job in a different context, but I didn't realize it had such a mere historical reference point, do you know about your current job.
Craig Sapp: Well i'm God is the name of the Arabic alphabet, so there is a music notation composition system for computers, called the object which.
Craig Sapp: which, basically, is a compile it's written in Python so it's basically a library for Python that is used for algorithmic composition and it compiles into.
Craig Sapp: lily Python code, which is a music notation system which we don't discuss it's kind of like Guido so it kind of developed at the same time.
Craig Sapp: But it's it's it's more popular, especially with computer scientists and so some of you may know it already but it's basically it's basically a computer package his name upshot in that case, so in this case, it means the Arabic alphabet.
Sammy Park (he/they): Yes, I didn't even know there is a package called object, but yeah.
Craig Sapp: unrelated oh yeah there's no direct meaning to how you're using the word but it both it it gets its name from the Arabic alphabet and I don't know why he chose it exactly.
Craig Sapp: Because it doesn't really doesn't really have any direct connection to the Arabic off that he just like the name of it, I think.
Sammy Park (he/they): I guess the yeah that makes sense.
eleanor selfridge field: And i'll remember your example from what you showed the octave you showed with 17 positions will be calling that sort of thing page 17.
eleanor selfridge field: that's.
Craig Sapp: not really based 17 it's it's kind of like a circle of fifths where you keep like C sharp and D flat separate in it so it's like an incomplete second cycle on the circle offense.
eleanor selfridge field: yeah but it depends on the tuning system.
eleanor selfridge field: If C sharp and D flat or separate.
eleanor selfridge field: never know from a mini system.
Craig Sapp: yeah so in Arabic music, they are separate there's 17 notes, because you have basically five double notes.
Craig Sapp: And so, this gets I have some show and tell related to sammies representation.
Craig Sapp: So, two years ago we had a DMA composer students a doctor or a musical arts PhD student basically in competition at Stanford who took the class.
Craig Sapp: And she was interested in tuning systems and, specifically, in ratios so in 70s, right up he didn't show it but there he has a figure which shows the ratios for each of the notes and.
Craig Sapp: So the person I was working with so we kind of I worked on some software, for her because she's not a real programmer and then we did a conference paper last year at tenor.
Craig Sapp: So as a tenor Conference which is somewhat related to Graham I mentioned to dominic which is kind of related to remain so indirectly so.
Craig Sapp: he's never run it but someone upsets Graham runs it or started it, and so we did a paper on this that's off at that Center or conference and then she also wrote a piece some.
Craig Sapp: Maybe maybe next quarter wall, maybe play the piece, but if you want to go see it, you can go to ratio scored a humdrum.org you can see in the URL here.
Craig Sapp: And so, this is the website where you can basically type in humdrum scores are humdrum store yeah humdrum format scores which we'll get to towards the end of the quarter.
Craig Sapp: And, but it's it's basically set up, so you can basically play notes, based on ratios so and it compiles into Mitty admit he doesn't have a very convenient way of doing any arbitrary tuning.
Craig Sapp: But there is sneaky ways of getting around it with pitch Ben messages so basically have a compiler that calculates a pitch Ben and sticks it in front of every note, so we get the right pitch.
Craig Sapp: So here's here's the score, which is basically integer ratios, to give you the pitches, and these are the 17 notes of the scale.
Craig Sapp: So you'll notice that some of them some very similar because it's kind of like equivalent of C sharp and D flat and it's separated by a comma, which is one fourth of a semi Tom so very tiny amount, but it is audible, especially if you play to simultaneously.
Craig Sapp: So whenever you see it here it's probably sounding like it's repeating the same note those notes are not exactly the same pitch one is slightly higher.
Craig Sapp: And so, if you want to like listen to the sort of music, you can use this software that I created for the last year.
Craig Sapp: And then also I have it set up, so you can show it kind of the mathematical background behind the ratios.
Craig Sapp: So this is a pythagorean system that the person who's using it, so you don't necessarily have to use the current system with 17 notes.
Craig Sapp: But basically pathak and system is just the ratios of twos and threes two different powers and with all those and get any notes.
Craig Sapp: there'll be most of them will be out of tune in terms of just intonation, but you can also do the same it's basically just the same music, where you can see, the underlying math in it my compiler also compiled the mathematics, mathematics and use that for the ratio.
Craig Sapp: And then, a fun thing is, you can give symbolic value so like Ken was saying well yeah we don't want to have symbolic data, because you have to have a lookup table somewhere.
Craig Sapp: To give the actual pitch, so what I do here is, I have a symbol and then I put lookup table into the same score so here's the score just one long stream of data in the.
Craig Sapp: On the website where you can compile it into Midi and audio like MP3 so what I did is I just took each of the letters for the scale degree or the chromatic scale 17 notes.
Craig Sapp: And then I give the definition definition here is all messed up because mixing left to right and right to left characters cause the.
Craig Sapp: cause these numbers to be in the random order more or less well the two got stuck on the end and the five got stuck on the beginning.
Craig Sapp: So when you put these characters in you can't read the numbers anymore, but it's the same numbers, I had here is that they just get mixed up visually here, so when you can just play this and it's the exact same thing because.
Craig Sapp: So you could actually give timings so there's a way of adding another column for timings and so you could actually write to it and hear it immediately using the system.
Craig Sapp: So you could use this as a way of compiling your representation into an intermediate computer form and like taking that computer for maybe maybe like having a program right your notation because it's not too much different steps to get there.
Craig Sapp: And then just for fun, if you like, Turkish music, I found a set of 2000 Turkish songs online.
Craig Sapp: And with digitally encoded and I have a converter that converted it into the format that I use so here's the notation generated from their internal format which is different.
Craig Sapp: And then, this is my format, where you can see the column for the the timings and then this is a column for the pitch and i'm using what they're using their notation based.
Craig Sapp: octave where you have gaps and so there's basically like you can have up to four like types of sharps like like basically like a quarter sharps.
Craig Sapp: And quarter flaps and you can say basically which quarter flat or quarter sharp do you want to go on and give that.
Craig Sapp: So here's just as a very ending thing listening some of that music, which is not in equal temperaments you're using this based 53 system but it's only choosing.
Craig Sapp: 17 of the notes and, in this case it's not all 17 so you wouldn't use all 17 in pieces just that's your kind of chromatic palette to start with.
eleanor selfridge field: it's hard to hear.
Craig Sapp: I don't think that's as loud, as I get.
Dominic DeMarco: Are you sharing your sound so just telling them from speaker.
Craig Sapp: Oh, maybe it's coming from the speaker yeah so maybe that's me.
Craig Sapp: See So where do I.
Craig Sapp: Where do I set that test with.
Craig Sapp: Would you share.
Dominic DeMarco: audio when you click the share.
Dominic DeMarco: screen button share screen.
Dominic DeMarco: Share sound at the very bottom.
Dominic DeMarco: But also, when you're in the middle of sharing the options drop down again.
Craig Sapp: Okay Okay, I thought it.
Craig Sapp: is trying to get oh.
Craig Sapp: I have to put in my password.
Craig Sapp: To allow audio sharing see.
Craig Sapp: hey.
Craig Sapp: So let's see, I think.
Craig Sapp: Well, now I don't hear you here.
eleanor selfridge field: Let.
Craig Sapp: Anyone hear anything I don't hear anyone now.
Dominic DeMarco: Oh, oh no did you hear any of you.
Craig Sapp: it's not giving me the audio so.
Dominic DeMarco: You heard a little bit of it we heard it do you hear us now.
Craig Sapp: I can't hear interview still messed up my.
eleanor selfridge field: SOS.
Craig Sapp: Well now, my audio is all messed up and I see.
Craig Sapp: Okay yeah so i'll turn off of disconnect and reconnect again see if that fixes it.
Dominic DeMarco: acid soon.
Dominic DeMarco: It wouldn't be dealing with the audio engine doesn't screw up whenever anything changes.
Dominic DeMarco: I remember like whenever whenever we did the lab yesterday, we have to open up new score yeah I opened up new score and then zoom audio this was done.
Dominic DeMarco: Is that any better, can you hear us now.
Dominic DeMarco: you're muted.
Sammy Park (he/they): Oh, I think it was up there, we go, can you.
Dominic DeMarco: See can hear us.
yay.
Sammy Park (he/they): yay.
Craig Sapp: You maybe you've heard a little bit of it chapter share, but I didn't hear anything after I shared.
Dominic DeMarco: We can hear everything.
Dominic DeMarco: For us.
nicholas seay: Basically, heard the whole phone.
Sammy Park (he/they): yeah I did want to clarify, though in.
Sammy Park (he/they): Turkish classical music they actually use a subset of 24 out of 53 pitches instead of 1717 system and it's very antiquated.
yeah.
Sammy Park (he/they): yeah the the sharps and flats are defined, to be the same pitch, but the flat is defined us five nines of a whole tone and a sharp is defined as for nine civil volta so they meet like not in the Center of.
Sammy Park (he/they): The whole time we.
eleanor selfridge field: will have a use for that later on, and so.
eleanor selfridge field: Maybe we can look at them example if that would be very interesting.
eleanor selfridge field: Because there.
eleanor selfridge field: we'll get there in a couple of weeks Craig i'm concerned about the time that we only have 10 minutes left so.
Craig Sapp: yeah so I can do it very fast.
Craig Sapp: let's see so.
Craig Sapp: So i'm going to do is i'm going to show you kind of live life keyboard performance input for score and you score.
Craig Sapp: So here's my keyboard you can you can Double Click on if you want to see but there won't be too much to see so now what i'll do is i'll share.
Craig Sapp: We share the.
Craig Sapp: The full i'll share the.
Craig Sapp: So what we're doing is i'm just going to go over the.
Craig Sapp: The week to the Midi keyboard input methods for me score So if you go here, you can kind of see, I have instructions, so if you want to do it if you have a keyboard.
Craig Sapp: You can try this out, but you don't have to do any of this for homework or turn anything in and then, when you have access to lab you could try it in the lab if you want, but I won't make you do it this year so i'm going to do, let me share the full screen.
Craig Sapp: If I can.
Craig Sapp: i'm.
Craig Sapp: Sharing the full screen okay.
Craig Sapp: So this is the music that all input into music score.
Craig Sapp: So there's three.
Craig Sapp: three different ways of kind of doing keyboard Midi keyboard inputs are three basic ways.
Craig Sapp: So the first one is very similar to the original.
Craig Sapp: input, except instead of typing the letter of the new notes into the computer keyboard you typed the pitch on the keyboard, but you have to choose the rhythm that you want, so this case.
Craig Sapp: I am using.
Craig Sapp: So let me make it.
Craig Sapp: wider.
Craig Sapp: hide.
Craig Sapp: The zoom windows.
Craig Sapp: Like see both cake.
Craig Sapp: So you do is you choose the quarter note, which is the one happening here, and then you start playing notes after you turned off, so you have to type in to start note entry and you see each note, will be a quarter note from the menu at the top, and so I type of see.
Craig Sapp: And nothing happens.
Craig Sapp: So.
Craig Sapp: Let me.
Craig Sapp: reese dart.
Craig Sapp: and
Craig Sapp: pull up the nitty gritty get stuck.
Craig Sapp: Let me start with mini restarted.
Craig Sapp: OK, so now.
Craig Sapp: And then press a note there we go, so I put in the two seas now I need to input he knows what to do is I go to the keyboard or the computer keyboard and type of for you can actually assign notes on the Midi keyboard so you can type me keyboard notes to choose for them as well.
Craig Sapp: And just don't click with the mask that takes more time, want to get used to how to do this, so now just type four g's.
Craig Sapp: And then go back to quarters.
Craig Sapp: And then you have to type zero to get that rest or you can assign a note on the Midi keyboard for rest also.
Craig Sapp: Now we have a dotted note, so if you press a.on the keyboard it should give you a dot but.
Craig Sapp: Not doing it for me so i'll just cheat and click the mouse but it's not giving it there either.
Craig Sapp: Well, I have to do it before I cut the, no, no.
Craig Sapp: misbehaving for me.
Craig Sapp: So we'll just assume it's quarter note for now.
Craig Sapp: and
Craig Sapp: It was having problem before may have to hold it no.
Craig Sapp: So i'm not going to give their all.
Craig Sapp: And you have to type it before.
Craig Sapp: So that's good enough for that.
Craig Sapp: So.
Craig Sapp: Let me instead go on to.
Craig Sapp: The.
Craig Sapp: The live kind of real time there's two types of real time.
Craig Sapp: So there's automatic.
Craig Sapp: Which what you do is you give a few tell which what you want to click to click to eighth notes so.
Craig Sapp: Let me.
Craig Sapp: see some should be all set so there should be a click maybe it'll be kind of hard for you to hear unless it's sharing the video or the audio will see.
Craig Sapp: That, then you have to advance we haven't set up to next note.
Craig Sapp: With rests with by typing zero, and then we continue.
eleanor selfridge field: Your sound cut out.
Craig Sapp: So.
Craig Sapp: So there's a little problem I was having I can't figure it out when I added the rest of the end of the measure it's not collapsing, the ties as it's so it's generating ties, as it goes along because it doesn't know what the note is duration is.
Craig Sapp: until later so there's a little problem there, so I don't usually use this input method too much, so I don't know why.
Craig Sapp: So I was reading documentation there's a way of having rests, just when you're just have a continuing to play without the rests needing to be stopped, putting my hand.
Craig Sapp: I couldn't get that working and the newest version I downloaded this week.
Craig Sapp: But that's that's a pretty fast way of doing it when you have to change rhythm as a lot, as long as you have like a fairly consistent rhythm.
Craig Sapp: As your baseline and you don't have to complex of a rhythm to deal with, so let me do the last one real quick, which is called the manual real time.
Craig Sapp: So what you do is you provide the click track, so what i'm going to do is just type a note on the Midi keyboard and it should be set up, have it set up to the bottom note, so please still there.
Craig Sapp: And I will use it looks as my click so it's kind of easier to use the smallest time in it is less less mistakes when you perform it.
Craig Sapp: let's see how how it'll work.
Craig Sapp: I was looking have to look where was going to see.
Craig Sapp: I made one one no mistake, he got off a little bit, but you can see how you can play slowly or quickly at this this system and also it handles the rest, a little bit nicer.
Craig Sapp: So one thing you have to be careful yeah one thing you have to be careful about is.
Craig Sapp: When I started playing fast, I had to lift up my finger to play the same note again.
Craig Sapp: and computers are very literal and said well you played a rest on that second eighth notes i'm going to stick in a restaurant instead of a quarter note.
Craig Sapp: So that's why there's if you have to repeat notes in this format, you have to slow down, but if you don't have to repeat notes, you can see, like this measure, I was playing fast there's no problem.
Craig Sapp: And then whenever I had repeated notes, I had to lift up my finger, so it said well you played a rest there because you're playing so fast, you had to like lift it up in time to get the press to on the next note.
Craig Sapp: But you can see, when I when I played slowly or a little bit slower with not not repeating a note I could input, the music pretty fast by just clicking on the smallest time unit.
Craig Sapp: So that's that's all for today, so you guys can come in, maybe end of next week.