This is issue #31 of the Pizzicato musical newsletter. It is intended to help you to better know and use Pizzicato. You will find in it various articles about Pizzicato, its use and aspects, but also references to the music course and links to other music related sites.
You may send us any information to publish about music (performances, festivals, exhibitions, CD publications, music training sessions, Internet links,...). You may also tell us any difficulty you have with Pizzicato so that we can explain the solutions in the next issue. This letter is for you.
We hope you will enjoy reading it.
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To contribute so that people make more music. That is the goal of ARPEGE in term of cultural contribution. I deeply believe in the aesthetic power of music and what it can bring. To create is to live. To compose is to express oneself. Each one should be able to do it in one way or another.
Let us continue our discussion about composition. We had seen last month that music creation could be broken up into three phases, which one could also regard as abilities to acquire to express oneself creatively in music:
- The methodical location of sound effects
- The possibility of selectively reproducing them according to what you want to express
- The coherent construction of musical work
One can also consider the time dimension, the duration of the musical impression. One will find in particular in the articles of Michel
Philippot on composition, three levels of approach and appreciation of music, which I would express as:
- The sound effect for itself (instantaneous effect)
- The melody, the rhythm, the chords forming a structured musical sentence (sound effect covering up to several tens of seconds)
- The structured development of a complete musical work (sound effect covering a full piece of music)
With regard to the first point, by using a synthetizer, you can spend some very pleasant moments discovering the various sounds. These sounds can generate by themselves pleasant and aesthetic musical impressions. A chord of strings with a good reverberation. Some notes of such or such instrument. Some sound effects of a synthetic type. All that can contribute to express simple but effective impressions. You can also combine several sounds and the possibilities multiply, the atmospheres are built and grown rich. However, we are yet only at the first stage: considering the sound effects for themselves, apart from a more elaborate structure.
You can make a systematic exercise out of it. Discover the various sounds of your synthetizer or sound card. With a musical keyboard, have fun
selecting each sound, then listen to them in the lower, middle and higher ranges of the keyboard. Locate the effects they can create, the atmospheres they release, the thought they generate. Try to play several notes one after the other, slowly or quickly. Try to play several notes of the keyboard at the same time. If you do not know about chords, test and try. See while groping whether by playing two close notes, far notes, intermediate notes, you can get a sound effect you like. write it down. Again search, combine, play, test... Do it again the next day, two days later... the repetitive side will lead you to discover elements which you did not hear the first time.
Do not neglect this simple exercise. By practising it regularly, it will help you to approach the next phase, because the various musical effects will be added to your musical "memory" and this as much as you practise it. Don't forget that this musical "memory" will be the data base in which your inspiration will try to find elements to express your music. Fill in your data base!
An important point is to be noted as of this moment. To get an interesting and enriching effect, you need a sufficient and well balanced volume level. And this independently to the quality of the synthetizer or sound card you have. You must be able to feel the low notes make you vibrate, the sound must really go through your room. This is related to the distribution of sounds in your surrounding space. Your balance should of course be found, the level which is appropriate to you. But with little experiment, you will note that a minimal volume is required, without which the created effect is lost. The nuance is of the same level as the difference there is to listen to an orchestra during a concert or to listen to it as a background music while waiting at the post office... If post offices were equipped with a good sound system with a sufficient volume, it could become a pleasure waiting at the post office!
If you only have a simple sound card, see that you to get a cable to connect it to your hi-fi system with a sufficient volume. The generated effect will be definitely more expressive than with a 10 centimeters table loudspeaker. You will gain in motivation and musical pleasure. Of course, if you have the possibility, a good quality sound card, or even a good synthetizer will motivate you even more by considerably increasing sound quality. It is a question of balance and means.
By working this exercise regularly, without forcing yourself, at one moment or another, by search and groping, you will find some notes forming a melody, something which you like and which you would like to be able to reproduce, memorize and develop. It will be the beginning of the next phase: building a structured cell, i.e. a time sequence of several notes and sound effects. The use of a musical software will be highly advised at this step. You will be able to record this small melody on a staff, then while listening to it, you will be able to continue the preceding exercise by changing instrument and by seeking which other sound effect could reinforce or supplement the first.
Once the main melody is established and reinforced by some other instruments (start with 1 or 2), you can then develop this element. Developing is simply taking again the same element by modifying it in various ways, by adding new effects to it, while keeping a sufficient similarity so that the link remains present with the original element. These modifications can be of various natures: change of rhythm, the pitches of the notes, transformation of the melody by various formulas, time inversion, rhythmic division, change of chords, sonorities, sound effects which accompany it... Complementary themes can also be added, developed, as long as a link of some nature can connect the whole as being part of the same coordinated structure.
One could in some way compare this method to a writer. Before writing a book, he must initially know enough words and their exact and various significances. He must be able to build complete sentences and to connect them. Then, with practice he can build a whole story. He keeps an overall picture, a common link which enables him to design each chapter and in each one of those he can align the sentences so that the chapter expresses what it must express to contribute to the full work. It is with this global idea of his book that he can then align word after word to build his work.
ARPEGE currently develops software modules making it possible to apply this working method. They will be integrated in the future versions of Pizzicato.
Designer of Pizzicato.
and applications of Pizzicato...
Discover the various aspects and applications of Pizzicato
Measures to count
When an instrument does not play during several measures, it is common to write only one measure with a rest sign and a number of measures to count. Here is for example how to create 10 measures to count:
- Select the measure
- Call the measure parameter dialog box (Edit menu)
- Check the Duration of measure box
- Just below, select Measures to count and fill in "10" to the right
- Click OK.
- In the Graphic symbols palette, select the tool
- Click in the measure, the score becomes for example:
Figure 10 indicates the number of measures to count and measure numbers go from 2 to 12 automatically in this example.
advices for Pizzicato...
Frequently asked questions about Pizzicato
Problems while deleting a note or a symbol?
The procedure to delete a symbol, a note, a rest... is simply to place the mouse cursor on the element (the symbol, the note...) and then, without clicking, to use the delete key (backspace) and the symbol disappears.
Thanks to the remark of an attentive user, we discovered a systematic crash of Pizzicato if you click at the same time with the mouse button and while holding down the mouse button you then use the delete key. It is not the correct way to proceed, because it is useless to click. But it is better to know this so as to avoid an unexpected crash. We will of course correct this problem for the following version of Pizzicato.
Access help using Pizzicato on Windows
In certain rare circumstances (still mysterious for us...), it happens that by using the help menu of Pizzicato, the help window does not appear, no matter what you do. You can correct that by directly launching help from its location on the hard disk. Here is how to do it: in the Windows explorer, open the file C:\Program Files\Pizzicato\Misc\HelpEN and double click the "Help" or "Help.chm" file. The help window opens in an independent window. You may for example create a shortcut to this file from the desktop of Windows.
Musical basics and access to the Pizzicato music course
The idea is to modify a melody or a whole passage of a musical work in order to play it higher or lower in the sound scale. In the lesson on key signatures, we had listened to a melody starting with C and then to the same melody starting with E. It is an example of transposition. The melody was transposed two notes higher.
It is frequent to use transposition when composing a musical work. You can transpose a whole melody or some notes. It is a current composition tool because you can express several times the same thing while adding a change to it.
The simplest transposition is an octave change. For example, all notes are played one octave higher. They keep the same name. Open Ex027.piz. The first two measures contain a small melody which is transposed one octave higher in the next two measures:
Listen to the sound difference. The second melody is easily recognized as being the same one as the first, but it is played higher.
To specify a transposition, intervals are defined. The example above is a transposition of one octave, because there are 8 notes on the patch from the original melody to the transposed melody (C, D, E, F, G, A, B, C). Here are the names of intervals with the number of notes contained in each:
Unisson 1 note Second 2 notes Third 3 notes Fourth 4 notes Fifth 5 notes Sixth 6 notes Seventh 7 notes Octave 8 notes Ninth 9 notes Tenth 10 notes Eleventh 11 notes … …
Speaking about a third for example, one counts the note names contained in the interval, without taking into account the number of half tones. C and E form a third, because there are three notes in the interval: C, D and E. By counting the black and white keys, there are 4 half tones...
...To read the full lesson, see the lesson about transposition on our site...
Links related to music
The commercial page...
You have Pizzicato Light...
To discover music in an interactive way, Pizzicato Light is quite enough. With it, you can write exercises and little scores. The main limit of the program is the way you can structure the score and also the number of measures and staves you can use.
If you want to create and print custom scores, you may update to the Beginner and/or Professional versions. Consult the 5 pages which describe the possibilities added by those versions: www.arpegemusic.com/partition1.htm
You will also find a table with the differences between the various versions of Pizzicato, on page www.arpegemusic.com/differences.htm
Have a look at our new order page, with updates at low prices. Click here to find out...
You have Pizzicato Beginner...
The professional version could bring you the following advantages:
- Printing may be done in all sizes (page layout zoom)
- Symbols (nuances, tempo, trills, effects,...) are performed through the sound card or synthesizer
- You may easily extract the parts of an orchestral conductor score. The page layout of parts, including multimeasure rests, is much easier.
- Tools to write and hear percussion instruments
- The possibility to modify and create new graphic and MIDI symbols
- Chord analysis and chord finding on a melody
- Tools to help you compose music
- C and percussion clefs
Consult the 5 pages which describe the possibilities added by this version: www.arpegemusic.com/partition1.htm
There is also an electronic upgrade for a very interesting price. Click here to find out...
You have Pizzicato Professional...
You just need to wait for the next version... In the meantime, a lot of things are still to be discovered in this version and this letter will help you to do so. Ask us any question so we can answer in the next issue of this letter. You may also suggest us new functions to add in the next release of Pizzicato. We listen to the users as best as we can.
We are at your disposal.
Our purpose is to place music in everybody's hands
and to bring people to more musical creativity
Use Pizzicato and make music!