|Instruction manual - Pizzicato 3.6.2||EN829 - Revision of 2013/05/29|
Composition tools - The music vectors
What is a music vector? [Professional] [Composition Light] [Composition Pro]
The music vector is an experimental tool to help you to create melodies and multiple melodic parts in a very intuitive way. You do not even need to be able to read music notation to use these vectors.
You can add one or several music vectors in the measures of a score and they will act like music generators. They will generate notes and rhythms that you can see in the measures and hear when Pizzicato plays the score.
A music vector contains in itself the potential of creating notes and rhythms according to several specifications that you decide.
The music vectors must be combined with chords and scales progressions. Scales and chords have been described in a previous lesson. You could say that the raw melodic structure is created by the vectors and that it is then arranged according to the chords and scales.
A music vector gives the global direction and shape of a melodic part. It is then refined by Pizzicato to fit the scales and chords progression of your choice. The result is a powerful way to experiment with music composition.
These vectors can be used as they are or you can create new original vectors and use them. The Pizzicato libraries contain thousands of these vectors and you can start using them without even knowing what their structure are in details. Using them is very simple. Creating them is a bit more complex but so much powerful for music experimentation and intuitive composition. So let us start with practical examples explaining how to use them.
Practical examples [Professional] [Composition Light] [Composition Pro]
To create music with vectors, you need the following:
- A set of vectors (Pizzicato has thousands of them ready for use)
- A chord progression (Pizzicato has lots of them as well and also tools like the harmonic space to create chords progressions intuitively)
- A set of staves and measures with instruments ready to play
Let us start with a very simple case, to illustrate the principle.
- Open a template, in the File menu, selecting respectively Open template... >> Soloists >> Woodwinds >> Flute - 1 page and open the Conductor view in the Windows menu. Open the score view and move it so that you can see the score and the libraries.
- In configuration 3, open the Music libraries folder, then Music vectors >> Melodic structures 1 - Soloists >> Melodic structures 2 and 4 measures >> 2 measures >> Sinuso´d. The tree displays:
The music vectors are displayed with icons like this: .
- Drag and drop the vector named 001 into the first measure of the score. The score becomes:
This vector contains a melodic shape that is similar to a full cycle of a sinuso´dal wave (up, top, down, bottom, up again). This is a raw shape and it does not fit with any chord or scale. It has not been refined with harmonic materials.
You will notice that the vector icon is now associated to that measure.
- Drag and drop the vector named 007 in the third measure. The score becomes:
Most sets of vectors are grouped by 50 different rhythmic patterns, numbered from 001 to 050. You will notice that the general shape of the two vectors are quite similar but the rhythmic content is quite different. We will now add a chord progression so that the melody will follow a more harmonious path.
- In the library tree, open the Chord progressions folder in the Music libraries folder, then open Measure 4-4 >> C Major - 3 notes chords >> 4 measures - 1 chord/measure >> C Major.
- Drag and drop the sixth item of that list, "6", on the first mesure of the staff. In the Edit menu, select the item named Compute parametered measures (or CTRL + R as a shortcut or Cmd+R on the Mac). The score becomes:
The shortcut CTRL (or Cmd) + R is needed to force Pizzicato to recompute the vectors so that they are adapted to the chords. Using this shortcut recomputes all the vectors of a score.
The melody has been adapted to the closest notes of the chords and scales. This is the basic principle of vectors combined with chords and scales. Remember that you can assign scales to the chords, as explained in the lesson on scales and chords.
Here is another example.
- Open a template, in the File menu, selecting respectively Open template... >> Orchestra >> Symphony 2 - Beethoven - 1 page and open the Conductor view in the Windows menu. Open the score view and move it so that you can see the score and the libraries.
- Add the following chord progression in the first measure of the score: Music libraries >> Chord progressions >> Measure 4-4 >> Major tonalities - 3 notes chords >> 4 measures - 2 chords/measure >> G Major (1 #) >> 1 - 100 >> 43/3. Activate the reference marks tool (shortcut ":") to see the scales associated with the chords.
- Drag and drop the following vector in the first measure of the first instrument (Flute): Music libraries >> Music vectors >> Melodic structures 4 - Quartet >> Intervals of 8 semitones >> 4 measures >> Up+Down 1 octave >> 020. As the chords have been placed before adding a vector, the vector will be computed directly with the chords, so you do not need to force Pizzicato to recompute the measures as in the previous example. The score becomes:
- You can drag and drop a vector by clicking it directly from the score to duplicate it. Try it by dragging vector 020 from measure 1 of the flute to measure 2 of the Violins I staff. Listen to the result.
- To delete a vector from the measure, move the mouse over its icon above the measure and use the delete key (or the backward key that deletes the last character). The vector and its notes disappear. By doing the same operation while holding down the SHIFT key, the vector is deleted but the generated notes stay in the measures.
- When you add a vector in a measure that already has a vector in it, the old vector is removed before adding the new one. You can avoid this by holding down the CTRL key while you drop the vector in the measure. In that case, the second vector is added in the measure with the first one.
Using the vectors is just a question of dragging and dropping icons in the score. It is very simple. There are numerous possibilities, even when you do not create your own vectors. You should now experiment this by yourself using the various chords progressions, vectors and instruments templates that you can find in the libraries.
The structure of a music vector [Professional] [Composition Pro]
A music vector is made out of one or more melodic parts. A melodic part corresponds usually to a melody. A vector may contain several melodies that are assigned to a series of staves, as in the example shown above for the orchestral score.
A melodic part consists of:
- One rhythmic part. It will determine the rhythmic values of the notes generated by the melodic part.
- One or several melodic waves. Their combination will determine the shape of the melodic part.
- One or more optional velocity waves. A velocity wave will influence the sound volume of each note.
A rhythmic part may contain one or more Rhythmic harmonics.
We can represent a general music vector as follows:
- Music vector
- Melodic part 1
- Rhythmic part
- Rhythmic harmonic 1
- Rhythmic harmonic 2
- Melodic wave 1
- Melodic wave 2
- Velocity wave 1
- Velocity wave 2
- Melodic part 2
- Rhythmic part
- Rhythmic harmonic 1
- Rhythmic harmonic 2
- Melodic wave 1
- Melodic wave 2
- Velocity wave 1
- Velocity wave 2
We will now explain each one of these elements in details. To do that, we will first create a new, empty vector.
- Right-click on the My Library folder and select New document... You can name it Vector. Right-click that document and select New vector. Then double-click the Musical vector icon. The following dialog appears:
The left part represents the tree of the structure of the vector. This vector is presently empty, there are no melodic parts in it. The only icon shown displays the vector itself. This node of the tree is selected in blue.
The right part of the dialog displays the parameters of the selected node, which are here the parameters of the vector itself. Here is a description of each element.
- The Update button may be used if you edit directly a vector that is inside a measure of the score. You can indeed double-click a vector icon associated to a measure. When you modify the vector and click the update button, the measures are recomputed to show the resulting notes.
- The Paste button is a very useful feature. You can copy the content of one or several measures and staves from an existing score (to do that, just select the measures and use the Copy item of the Edit menu). Then you can use this Paste button and Pizzicato will automatically build this vector in such a way that this vector will generate the content of the original measures. You can for instance copy a few measures of a Mozart piece of music and create a vector from of it. You can then apply this vector to a new score in which you have designed a custom chord/scale progression and see what the Mozart measures sound like when applied to that progression. A lot of interesting manipulations of music can be done with that feature. You can extract the structure of an arrangement and apply it with different chords and instruments, in a few clicks.
- The Auto check box is checked by default, which means that any modification of the vector will directly be applied to the measure associated to the vector (only if you edit the vector directly from a measure). Any modification you do will automatically activate theUpdate button.
- With the Name textbox, you can change the name of the vector.
- The Basic note item gives you the note on which the vector is based. All pitch references that will appear in the melodic waves of the vector will be expressed relative to this basic note. The Select... button displays a piano keyboard on which you can select another basic note. By changing this note, all melodies will be transposed accordingly.
- The popup menu just below the basic note contains three choices. The first one is Always use that note. It means that the basic note will always be used as the reference note for the vector. The next choice is Root of the chord which means that the reference note will be the root notes of the chords present in the measures where the vector will be developed. The last choice is Root note of the scale which is the same but with reference to the root notes of the scales present in the measures. In the last two choices, it means that if a vector is applied for instance on 8 measures, each one having a different chord, the reference note will be changed for each measure. If the vector is a smooth curve going up accross 8 measures, there will be a discontinuity between each measures, as the root notes of each measure will be different.
- The Amplitude value may be changed by a textbox or with the horizontal scroll bar just below it. The default value is 100 (%). By changing this value, you will increase the pitch range of the melodic waves included in that vector.
- The Full period defines the global duration of a vector period. It is defined in terms of quarter notes and units (one quarter note is 480 units). The scroll bar below it helps you to change it with standard values but you can define the exact value with the two textboxes. This period defines the default period for all melodic waves.
- The Number of periods specifies how many times the full period will be covered by the vector. A vector may be 200 measures long if needed, there is no specific limit to the size of the melody produced by a vector.
- You can fix a Maximal duration to the total duration generated by this vector. By default, it is set to zero, which means that there is no limit. The value is defined in quarter notes and units.
- The Random root value is set by default to 0. This means that when a melodic wave uses a random wave, the resulting vector will always be different, each time you recompute it. You can change this number to a non zero value, and the resulting vector will always be the same, even if apparently randomized. This helps you to keep the vector constant, but it can be used for experimental music as the score will change whenever you recompute it.
The selected line contains the name of the vector, the basic note and a summary of the main parameters.
The melodic part [Professional] [Composition Pro]
A vector may have one or more melodic part. A melodic part is like a melody. It produces one melodic voice, one note at a time, with specific rhythmic values. You can add melodic parts to a vector.
- Right-click the main node in the left part of the dialog and select the New melodic part item. The dialog displays:
- Select the second node (with the icon), starting with Melody 100%... The right part of the dialog now displays the parameters of that melodic part:
Here is a description of these parameters.
- The Transposition value is used to transpose this melodic voice up or down, relative to the basic note of the vector as defined in the vector parameters. You can then transpose each melodic voice with a different interval and produce a set of melodies playing together.
- The Amplitude value is by default set to 100 (%) and influences the range of that specific melodic voice.
- The Staff value gives the staff number, relative to the staff on which the music vector has been placed. A value of "1" means that this melodic part will be developed on the staff containing the vector. A value of "2" will place the melodic part on the next staff, and so on.
- The melodic part may start at any moment inside the measure. By default this Measure start parameter is set to 0. It is defined in quarter notes and units. By setting this offset value for instance to 2 quarter notes, the melodic part will start in the middle of a 4/4 measure. With this parameter, you can shift the various melodic parts of a vector.
- The Melodic reference is a more subtil parameter. The melodic waves of a melodic part combine themselves into a continuous curve. The resulting notes are computed on this curve. If the rhythmic part specifies for instance 4 quarter notes for the rhythms, Pizzicato must select four notes, each of a quarter note duration. Each quarter note duration must generate one note, but the continuous melodic curve may take various values during a quarter note (it may for instance start low and increase progressively higher at the end of the quarter note duration). So the question is: what is the reference point on which the pitch of the note will be computed? This menu gives three possible choices: Start of the curve, End of the curve or Mean curve value. So Pizzicato takes either the beginning value of the curve, the end value or the mean value computed over the duration of the note. Here is an example of a sinuso´dal wave and the resulting notes, in each case (start, end and mean values):
- The next three choices are External notes, Scale notes and Chord notes. Each one has in fact two values that define a range of duration, expressed in units (480 units make a quarter note). A rhythmic part (which will be described in the next section) is always included in a melodic part and defines a series of durations for the notes that must be generated. If the duration of the note is included in the range defined by the Chord notes, the pitch of the note will be selected to be the closest pitch to the continuous curve but that is also part the the current chord (the chord that is present in the score at that point in time). If the duration of the note is included in the range defined by the Scale notes, the pitch of the note will be selected to be the closest pitch to the continuous curve but that is also part of the current scale. If the duration of the note is included in the range defined by the External notes, the pitch of the note will be selected to be the closest pitch to the continuous curve with no attention to the scale or the chord. The basic idea behind this is that the longer the duration is, the best the note must sound (relative to the context of the other melodic parts). The best is to be part of the chord. The next best is to be part of the scale. So we find that long duration notes will be taken from the current chord, shorter notes will be taken from the current scale and very short notes may be used as they are. These values may be adjusted according to the context of the music you write.
- The last menu entitled If no possible note, specifies what must be done if the note duration does not fit one of the three duration ranges. The default choice is Use original note, which uses the note closest to the curve and the other is Place a rest, which means that Pizzicato just skips that note and add a rest in the melody.
The melodic wave [Professional] [Composition Pro]
A melodic part may contain one or more melodic waves. A melodic wave is a simple wave form. It gives a specific shape to the melodic line. All melodic waves combine themselves to create the melodic part curve.
- Click on the melodic wave so that it is selected, in blue:
On the right part, the dialog displays the parameters of the melodic wave:
Here is a description of these parameters.
- The Wave form popup menu contains several shapes that can be used to form the melodic wave:
- Constant: The curve is just an horizontal line, always the same note:
- Sine wave:
- Free: you can draw a custom curve manually, freely (see below).
- Random: the curve is just random noise and notes are picked up randomly.
- The Pulse width value expresses in % (20 by default) the relative width of the pulse (see the Pulse shape above).
- The Free curve has two buttons. With the Paste button, you can paste an existing melody so that Pizzicato will extract the shape of the existing melody and store it into the free curve memory. To do that, you must first select one or more measures in an existing score and copy these measures (Edit menu, Copy item) then use this Paste button. The Edit... button opens a free curve editor:
The Update button forces Pizzicato to compute the measure, so that you can see the notes generated by your free curve. For instance, it could be:
The pen icon is used to freely draw into that window and create a free curve. The next icon is used to draw a line (click, drag the line and release the mouse).
- The Transposition value is used to shift that curve up (positive) or down (negative). The effect is that the notes are transposed in the final curve. Notice that the transposition of all melodic waves are combined (added) to create a global transposition for that curve.
- The Upper range and Lower range values are used to limit the curve in both directions (up and down). The value is expressed in semitones and the default range is 12, which means one octave. So by default, a wave will go up or down by one octave. Notice that this range may be modified by the Amplitude factors defined in the Melodic part and in the vector parameters.
- The Wave phase is a number ranging from 0 to 360 degrees. It will shift the cycle of the wave so that its starting point is moved in time. Here is for example a sine wave with a phase of 90 degrees:
- The following three values (Full period, Number of periods and Maximal duration) have exactly the same meaning as the equivalent values explained in the vector parameters. By default, they are set to zero, which means that this melodic wave will use the default parameters defined in the vector. By specifiying non-zero values here, this specific melodic wave will use them and ignore the vector parameters. In this case, changing the vector parameters later will no more influence the period and duration of this wave.
The rhythmic aspect [Professional] [Composition Pro]
A melodic part has always one rhythmic part. The rhythmic part determines what rhythmic values will be assigned to the notes generated by that melodic part.
- Click on the rhythmic part to select it:
The right part of the dialog now displays the rhythmic part parameters:
Here is a description of these parameters.
- The Rhythm construction mode menu gives three ways to build the rhythm. The first one is entitled Harmonics and is based on rhythmic harmonics. A rhythm is assembled by a series of single rhythmic values. Each value is defined by a rhythmic harmonic node that can be added to the rhythmic part.
- Click on the Harmonic(1) node to select it:
The right part of the dialog now displays the parameter of that rhythmic harmonic:
Here is a description of these parameters, which define a single rhythmic harmonic. The final rhythm is the combination of all rhythmic harmonics. By harmonic, we mean something that is periodic and has a cycle, a duration, after which the rhythm is there again.
- The Frequency parameter defines how many rhythmic values will be included in one rhythmic cycle. If the period is one 4/4 measure and the frequency is "1", this rhythmic harmonic will generate one note per measure.
- The Velocity parameter will determine the MIDI note velocity of this harmonic, between 1 and 127. It influences the sound amplitude of that note in the resulting melody.
- The Delay value is the duration after which the note will be played, relative to the beginning of the cycle. It is defined in quarter notes and units. In a 4/4 period, with a frequency "1" (one note per period), if the Delay is set to 2 quarter notes, the note will be played on the third beat of the 4/4 measure.
- The Duration value determines the duration of the generated note, in quarter notes and units. In a 4/4 period, with a frequency "1" (one note per period), a duration value of 3 quarter notes would create a dotted half note every 4/4 period.
There can be several rhytmic harmonics that combine to make any kind of rhythm. To add a new rhythmic harmonic, right-click on the Rhythmic part and select the New rhythmic harmonic item.
If you have an existing rhythm pattern, written in one or more measures, there is an easy way to translate it into a rhythmic part. Select these measures and copy them (Edit menu, Copy item). Then click the Paste button that is located just above the Rhythm construction mode menu, in the Rhythmic part parameters. Pizzicato remove the existing rhythmic harmonics and creates a set of new hamonics that will generate the same rhythm when applied as a vector.
- The second value of the Rhythm construction mode menu is Fragmentation. When you select this choice, four sliders called Levels of fragmentation appear below the other parameters:
The principle of rhythmic fragmentation is to divide the main cycle (by default it is a 4/4 measure) into four sections and to create all possible combinations of these sections. In the default case where the cycle is a 4/4 measure, no fragmentation would be a whole note. This is fragmentation number "0". A total fragmentation would be four quarter notes. The first slider specifies the fragmentation you want. "0" means no fragmentation (one whole note) and "32" means total fragmentation (four quarter notes). Intermediate values explore all possible fragmentations of a whole note. This is the first level of fragmentation.
The second level of fragmentation takes each duration generated by the first level of fragmentation and does exactly the same with that duration. For instance, if you define 32 for both first and second levels, the first level gives you four quarter notes and the second level divides each quarter note into four sections, so that we get a measure with sixteen 16th notes.
The levels three and four apply the same principle and the note durations are less and less. Usually, with a one measure cycle, we can use the first two levels. When the cycle is longer, you can use more then two levels. However, you may do as you want if you want to experiment various special melodies.
- The last value of the Rhythm construction mode menu is Original rhythm. This means that Pizzicato will use the rhythm already present in the destination measure where the vector will be applied. You can for instance apply the vector on an existing melody and the rhythm of the melody will be used as it is. If no original rhythm is present inside the destination measure of the vector, quarter notes are used.
- The Total duration value is expressed in quarter notes and units. The default value is zero, which means that the vector period duration is used. Otherwise, the specified value is used for the period duration of this rhythmic harmonic.
- The Duration value specifies the duration of the note in %. When a quarter note should be generated, a value of 50 % would produce an eighth note.
- The Use of rhythm menu has three values. The default one is Repeated, which means that the harmonic is repeated every cycle. The One time only value produces the rhythm only once. The Stretched value produces the rhythm only once, but will stretch the full rhythm over the total number of periods. It will just fit the timing of the rhythm to the duration of the vector.
- The Monodic check box, when checked, will avoid several rhythmic harmonics to play at the same time (it is possible indeed that several harmonic be defined and generate rhythms crossing each others). So it makes the resulting rhythm monodic (one voice at a time).
The velocity wave [Professional] [Composition Pro]
One or more Velocity waves may be added to a melodic part. These waves will in fact influence the MIDI velocity of the generated notes.
- To add a new velocity wave, right-click on the melodic part and select the New velocity wave item. A new icon appears. If you select this velocity wave, the right part of the dialog displays the corresponding parameters:
These parameters are exactly the same as the melodic wave, but the result here is to influence the MIDI velocity (sound amplitude) of the notes and not their pitches.
As you can add several velocity waves, their combination (addition) will produce a curve that will determine the velocity of each note in the melodic part.
Additional examples [Professional] [Composition Pro]
The above descriptive theory may seem a bit abstract, so we will give a practical example of how you can experiment with music vectors.
- Create an new document in Pizzicato and open its conductor view. Right-click on the document (green icon, configuration 1) and select New vector...
- In configuration 3, expand the Basic instruments node and select one instrument of your choice. We will take for instance the flute (in the Woodwind folder, Flutes subfolder). Drag the Flute icon to the right part of the window and double-click it to see the score.
- With the measure tool (double-click the measure), add three measures.
- In the Windows menu, open the Graphic editor... window.
- Drag the Musical vector icon from the document into the first measure of the score.
- Double-click the Musical vector icon that is now visible on the first measure.
- Reorganize your screen so that you have the following layout:
The purpose is to see the score that will display the resulting notes as you construct the vector structure. The graphic editor window will also display the notes visually and you will notice that the raw curve of the vector will also be displayed, which is interesting to watch as you design a melodic curve.
- Right-click on the selected vector node in the vector dialog and select New melodic part.
- In the vector parameters, change the Amplitude to 50 %, the Full period to 8 quarter notes and the Number of periods to 2.
The graphic view should now display (you may need to scroll or adjust the scale of that view):
- Click on the Rhythmic harmonic and set its Frequency to 16 and its Duration to 0 quarter notes and 240 units (which is an eighth note). The score now displays:
The melodic curve follows an up and down shape and the rhythm is 16 notes per period (the period being 2 measures). There are two periods. The amplitude being set to 50 %, we get approximately half an octave up and down from the central point. The central point is C3 by default.
- Select the vector parameters, change the Basic note to G3 and watch the transposition of the melody.
As there is no scale or chord associated with the measure, the notes are selected as close as possible to the melody shape but they do not sound quite melodic.
- By going into the Scales folder, then the Others (7 notes), drag for instance the Oriental scale on the first measure and the Hongarian major in the third measure. Click the Update button of the vector dialog and the notes become:
At any time you can listen to the score. You may even set the loop to 4 measures and hear it in loop. You can then have a direct feedback of the parameters modifications.
- Click on the melodic wave (called here Sine wave by default) and test all possible values of the Wave form menu. Watch the result and listen to it also. When you reach the Free choice, click on the Edit... button and draw an arbitrary curve, then click OK. Watch and listen to the resulting melody. While doing that, you can of course pick up other scales in the library and drag and drop them into the measures. Here is what we got for instance with a free curve:
- Click on the Harmonic part and select the Fragmentation in the Rhythm construction mode. Set a fragmentation of 32 for the first level (first slider), but you may try other values to watch the influence. Try now several values of the second fragmentation level. Try also to modify the first level again. You will be able to make numerous rhythmic patterns. You can listen to them in loop to hear the sound result. Using the level three and four will give some peculiar results, but you can try and experiment them. Try also with other instruments, just by dragging an instrument from the library into the first measure.
You can also combine more curves together. For instance, let us make a vector that has a period of two beats but that goes slightly up on a four measure duration.
- To remove this melodic part, right-click on it (in the vector dialog) and select the Remove this melodic part. Then add a new melodic part to this vector (right-click and select New melodic part).
- In the vector parameters, set the Full period to two quarter notes and the Number of periods to 8.
- Click on the Rhythmic harmonic and set its Frequency to 8 and its Duration to 0 quarter notes and 120 units (a sixteenth note).
- Click on the Melody 100% node and drag the scroll bar completely to the left for the External notes. This forces notes shorter than the 32nd to be free but longer notes will always be adapted to fit the current scale.
- Click on the Sine wave and set the Upper range and the Lower range to 4.
- Right-click on the Melody 100% and select the New melodic wave item. The melody suddenly changes. Another sine wave has been added and contributes to the melodic shape. We will transform this melodic wave into a slowly rising curve over the 4 measures. While doing the following modifications, please notice all the various intermediate resulting melodies. You can experiment a lot by changing a few parameters.
- Click on the new Sine wave node and change its Wave form to an Up curve and set its Full period to 16 quarter notes. To increase the range, you can set its Upper range for instance to 24. The curves and notes become:
There are numerous possibilities to create music vectors and combine them together and with scales and chords. Just try for yourself. Take each parameter and change it just to see and hear the effect.
You can also use and edit the existing vector library that goes with Pizzicato. You can explore them to see how they have been constructed and copy them to modify them. You can do that on a multi-instrument score and place different vectors in various instruments and measures and create music composition just like this.
Here are a few tips that you can use while working with vectors:
- You can drag and drop a vector from one measure to another. The vector is copied and becomes independant (if you edit the original, the copy does not change).
- If you hold down the CTRL key while dragging and dropping a vector from one measure to another, you create an Alias of the vector. It is then displayed in italic green. An alias is a copy that changes with the original vector. The copy keeps a link to the original so that any modification of the original will affect all alias copies of that vector. You can use this if you work on a multipart score and if you want to experiment changes to a vector that must appear in several measures and instruments.
- You can open two or more different vector dialog windows and you can drag and drop the various nodes (Rhythmic parts, melodic waves,...) between them. This can be useful when you have created a rhythmic part or a melodic part that you would like to use in another vector.
The music vectors library [Professional] [Composition Light] [Composition Pro]
The music composition libraries of Pizzicato contains thousands of predefined music vectors. They are available in the Music vectors folder. Remember that to use a vector, the only thing to do is to drag and drop it to a measure in any score. It will then generate the notes in that score, according to its specifications. The library is classified as follows:
- Arpeggios - Soloist: A series of arpeggio sequences by 1, 2 or 4 measures, with various note durations and ranges, with numerous curves.
- Melodic structures 1 to 5: they contain melodic patterns for 1, 2, 3, 4 and 5 instruments, with various intervals between instruments, various ranges and rhythms, with a duration of 2 and 4 measures.
- Miscellaneous: some examples of how one or more existing measures may be translated into a vector. You can then apply it to a score with chords and scales as an experiment. Notice that a full piece of music can be translated into a vector, with the Paste button as explained in this lesson.