perm filename SM[SCR,LCS] blob
sn#336542 filedate 1978-02-20 generic text, type T, neo UTF8
1) SCORE.LCS[SCR,LCS] and 2) SCORE.LCS[UP,DOC] 2-20-78 17:23 pages 1,1
**** File 1) SCORE.LCS[SCR,LCS], Page 1 line 13
1) note letters, etc. The file 'NOTES' has the necessary material.
1) (MUSIC, on the system, already has NOTES in it.)
1) You must create the input file for SCORE with the ET or SOS editor.
**** File 2) SCORE.LCS[UP,DOC], Page 1 line 13
2) note letters, etc. The file 'INIT.LCS' has the necessary material.
2) (MUSIC, on the system, already has INIT.LCS in it.)
2) You must create the input file for SCORE with the ET or SOS editor.
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 1 line 22
1) typed after the sign < . lines under 'EDIT' or 'INSERT' do not need a
1) semicolon. 'RUN;' will end the note list. Entries under 'TAP' are
1) best left without the semicolon. In general, lines should include no
1) more than 72 characters before comments.
1) All lines must begin in column one. All blank lines will be ignored.
**** File 2) SCORE.LCS[UP,DOC], Page 1 line 22
2) typed after the sign < . Lines under 'EDIT', PRECEDE or 'INSERT' do
2) not need a semicolon. 'RUN;' will end the note list. In general,
2) lines should include no more than 72 characters before comments.
2) All lines must begin in column one. All blank lines will be ignored.
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 1 line 32
1) its begin time and duration. An instrument name cannot use more
1) than 5 characters.
1) The first begin time is always given in seconds. If no duration is
1) given, a 'FINE' must appear at the end of one of the lists of items
1) for that instrument. (see Sec. 5.) The duration may be set either in
1) seconds or number of notes - see following.
1) SECONDS: If only 2 numbers are typed, the 2nd will set the end
1) time, in seconds, for that instrument.
1) NUMBER OF NOTES: If the duration is to be set in terms of the
1) total number of notes, type the begin time, a dummy number
1) and the total number of notes for that instrument.
1) Example:
1) BUZZ 0,32; Inst1 is BUZZ, BG time=0", duration=32".
1) (data for 'BUZZ' follows.)
**** File 2) SCORE.LCS[UP,DOC], Page 1 line 31
2) its begin time and end time. An instrument name cannot use more
2) than 5 characters.
2) The first begin time is always given in seconds. If no end time is
2) given, a 'FINE' (the musical term for 'end') must appear at the end
2) of one of the lists of items for that instrument. (see Sec. 5.) The
2) end time may be set either in seconds or number of notes.
2) SECONDS: If only 2 numbers are typed, the 2nd will set the end
1) SCORE.LCS[SCR,LCS] and 2) SCORE.LCS[UP,DOC] 2-20-78 17:23 pages 1,1
2) time, in seconds, for that instrument.
2) NUMBER OF NOTES: If the end time is to be set in terms of the
2) total number of notes, type the begin time, a dummy number
2) and the total number of notes for that instrument.
2) Examples:
2) BUZZ 0,32; Inst1 is BUZZ, BG time=0", end time=32".
2) (data for 'BUZZ' follows.)
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 1 line 55
1) ZAP2 0 0 42; Inst3 is ZAP2, BG time=0", duration=42 notes.
1) (data for 'ZAP2' follows.)
**** File 2) SCORE.LCS[UP,DOC], Page 1 line 54
2) ZAP2 0 0 42; Inst3 is ZAP2, BG time=0", end time=42 notes.
2) (data for 'ZAP2' follows.)
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 1 line 62
1) Note that when the duration is given in seconds it means only that
1) the last note to be played by that instrument will begin no later
1) than the indicated duration. It can often happen that the duration
1) of the last note can extend beyond the given total duration. This is
1) almost certain to happen when random note durations are used. If the
1) precise ending time is crucial it must be carefully checked.
1) Later changes in parameter data for an instrument must be preceded by
**** File 2) SCORE.LCS[UP,DOC], Page 1 line 61
2) Note that when the end time is given in seconds it means only that
2) the last note to be played by that instrument will begin no later
2) than the indicated end time. It can often happen that the duration
2) of the last note can extend beyond the given total end time. This is
2) almost certain to happen when random note durations are used. If the
2) precise ending time is crucial it must be carefully checked. See
2) Section 9 re. 'CUTOFF'.
2) Later changes in parameter data for an instrument must be preceded by
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 1 line 99
1) ---- SOME CONVENTIONS REGARDING PARAMETER NUMBERS ----
1) In specifying the parameters for your instruments, P3 is best
1) reserved for center frequency and P4 for amplitude. (See sect. 12)
1) RESTART:
1) Sometimes is may be desireable to restart an instrument after an
1) extended rest. If the exact duration of the rest is known it is best
**** File 2) SCORE.LCS[UP,DOC], Page 1 line 98
2) ****---- SOME CONVENTIONS REGARDING PARAMETER NUMBERS ----****
1) SCORE.LCS[SCR,LCS] and 2) SCORE.LCS[UP,DOC] 2-20-78 17:23 pages 1,1
2) In specifying the parameters for your instruments, P3 is best
2) reserved for center frequency and P4 for amplitude.
2) (See 'AMPFAC', sect. 12)
2) RESTART:
2) Sometimes it may be desireable to restart an instrument after an
2) extended rest. If the exact duration of the rest is known it is best
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 1 line 117
1) establish this new begin time and duration, as noted above.
1) When this feature is used this instrument name will be given the next
**** File 2) SCORE.LCS[UP,DOC], Page 1 line 131
2) establish this new begin time and end time, as noted above.
2) When this feature is used this instrument name will be given the next
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 2 line 8
1) P6 100.2;
1) P3 CS5; P3, C# of the 5th octave.(notes of the
1) tempered scale used are from C1(=lowest C on
1) piano keyboard)to B7(=highest B). S=#, F=b
1) P7 "10*P5"; Any string surrounded by quotes will be
1) literally reproduced in the score.
1) P9 P6; P9 will always have the same data as P6. No
1) quotes needed. (See also "reserved number"
1) below.)
1) P8 F14; F14 remains until changed. (F1 through F15
1) be used. For higher function numbers use
1) quotes: ("F19")
1) ****Note that any F that appears in this context will be
1) taken as a function number. The pitch class F may
**** File 2) SCORE.LCS[UP,DOC], Page 2 line 7
2) P6 100.2; Note that only 2 places beyond the decimal
2) point will print in this manner. If for some
2) reason more places are desired make use of
2) quotes as described below.
2) P3 CS5; P3, C# of the 5th octave. (notes of the
2) tempered scale used are from C1(=lowest C on
2) piano keyboard)to B7(=highest B). S=#, F=flat
2) P7 "10*P5"; Any string surrounded by quotes will be
2) P8 "1.0207"; literally reproduced in the score.
2) P9 P6; P9 will always have the same data as P6. No
2) quotes needed. (See also LISTS OF NUMBERS
2) in Section 5.)
2) P8 F14; F14 remains until changed. (F1 through F15
2) can be used. For higher function numbers use
1) SCORE.LCS[SCR,LCS] and 2) SCORE.LCS[UP,DOC] 2-20-78 17:23 pages 2,2
2) quotes: ("F19")
2) ****Note that any F which appears in this context will be
2) taken as a function number. The pitch class F may
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 2 line 38
1) ****Reserved number!! 9999.PN (PN=parameter number) If you wish to
1) repeat data found in any previously set parameter, you may type P and
1) the parameter number or 9999 plus the parameter number in hundredths.
1) Example: P13 9999.04; Whatever is found in P4 will appear
1) in P13. ('P13 P4;' is the same.)
1) P14 9999.10; or P14 P10; repeats P10
1) Because of this you may not type in any numbers greater than 9998 and
1) have them reproduced as such. (Except with 'LITERAL'. see below.)
1) (Also see 'REP' on Sec. 6.)
1) ******* Following is an example of a complete page of input. ******
**** File 2) SCORE.LCS[UP,DOC], Page 2 line 40
2) ** Possible range of numbers. ---- Because of internal peculiarities
2) in SCORE no numbers less than -9998 or greater than 999998 may be
2) used. However smaller or larger numbers may appear in quotes.
2) ******* Following is an example of a complete page of input. ******
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 2 line 78
1) of 'RHY', 'NOTES', etc.
1) P3 NOTES/C4/D/E/F/G/A/B/C5; < Scale goes up from middle C.
1) P4 500; P5 F1; END;< Ampl(P4)=500, envelope is sostenuto (F1).
1) CLAR 0 2 5; P2 RHY/4 X 4/2; < 4 quarters and 1 half.
1) P3 NOTES/C3/A/F/G/C;<Bass notes
1) P4 450; P5 F2; END;< F2 will give semi-staccato.
1) TEMPO/ 96 ; < MM=96
**** File 2) SCORE.LCS[UP,DOC], Page 2 line 72
2) of 'RHY', 'NOTES', etc.
2) P3 NOTES/C4/D/E/F/G/A/B/C5; < Scale goes up from middle C.
2) P4 500; P5 F2; END;< Ampl(P4)=500, envelope is sostenuto (F2).
2) CLAR 0 2 5; P2 RHY/4 X 4/2; < 4 quarters and 1 half.
2) P3 NOTES/C3/A/F/G/C;<Bass notes
2) P4 450; P5 F3; END;< F3 will give semi-staccato.
2) TEMPO/ 96 ; < MM=96
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 3 line 13
1) →→→→→only two lines of 72 characters each may be used.←←←←←
1) If a second line is needed, the first one must not end with ;
**** File 2) SCORE.LCS[UP,DOC], Page 3 line 13
1) SCORE.LCS[SCR,LCS] and 2) SCORE.LCS[UP,DOC] 2-20-78 17:23 pages 3,3
2) %%%% only two lines of 72 characters each may be used. %%%%
2) If a second line is needed, the first one must not end with ;
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 3 line 41
1) P7 .2 "P3*100" .3 "440" .5 "P3+P6**2";
1) p5 .6 "F1" .4 "F2" ; <60%:40% random choice of functions.
1) The strings are surrounded by quotes and may have any number of
**** File 2) SCORE.LCS[UP,DOC], Page 3 line 41
2) P7 .2 "P3*100" .3 "440" .5 "P3+POWER(P6,2)";
2) <POWER is a function in the MUSIC program, =n1 to the power of n2.
2) P5 .6 "F1" .4 "F2" ; <60%:40% random choice of functions.
2) The strings are surrounded by quotes and may have any number of
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 4 line 18
1) TAP; (T)
1) RTAP; (RT)
1) SUBN;
1) SUBL;
1) QUAD;
1) QUADX;
1) QUADF;
1) QUADFX;
1) Most non-random aspects of musical input will be made in terms of
**** File 2) SCORE.LCS[UP,DOC], Page 4 line 18
2) SUBN;
2) SUBL;
2) Most non-random aspects of musical input will be made in terms of
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 5 line 61
1) ************* LIT (do not use with P2) *************
**** File 2) SCORE.LCS[UP,DOC], Page 5 line 46
2) ******************** CHORDS *************************
2) Under special circumstances chords may be entered in 'NOTES'. It must
2) be remembered that in its current form 'MUSIC' does not allow a single
2) instrument to play more than one note at a time. With the 'SCORE'
2) program it is possible to get around this restriction because each
2) time an "overlap" is sensed the name of the instrument involved is
2) altered by raising the last letter in the name one step up the
2) alphabet. Thus if your instrument name were ZIPA and an overlap were
2) detected the next appearence of that instrument would be under the
2) name ZIPB, etc. There is a special program (DUPINS) for the purpose
2) of making duplicate instrument definitions with an alphabetical change
1) SCORE.LCS[SCR,LCS] and 2) SCORE.LCS[UP,DOC] 2-20-78 17:23 pages 5,5
2) on the last letter of each name. For the use of 'DUPINS' see below.
2) To indicate chords the note names should be separated by colons
2) instead of slashes. The slashes then will still indicate the bounds
2) of each rhythmic unit. The various repeat features work with chords
2) as if they were individual notes. Chords may be included in 'MOTIVES'
2) (see Sec. 7.)
2) Example: The note sequence desired is C sharp, a chord of D, F, A,
2) and then the chord is repeated.
2) CLARA ;
2) P3 NOTES/ CS4/ D:F:A//
2) P2 RHY/8//4/
2) . . . .
2) . . . .
2) . . . .
2) END;
2) The 'SCORE' printout will appear as follows:
2) CLARA 0 .5 CS . . . . . . ;
2) CLARB .5 .5 D . . . . . . ;
2) CLARC .5 .5 F . . . . . . ;
2) CLARA .5 .5 A . . . . . . ;
2) CLARB 1 1 D . . . . . . ;
2) CLARC 1 1 F . . . . . . ;
2) CLARA 1 1 A . . . . . . ;
2) A separate program, 'DUPINS', exists to facilitate the duplication of
2) instrument definitions in edit files. DUPINS expects that the
2) word INSTRUMENT appears at the beginning of a line and the word END also
2) comes at the beginning of a line. (Be careful that if the word END is
2) used anywhere else inside of an instrument that it does not appear at
2) the start of a line.)
2) DUPINS will ask you how many duplicates of a given instrument you may
2) want. The duplicates will have names wherein the last letter advances
2) alphabetically. Thus the limit is 25 duplicates of an instrument whose
2) name ends with the letter A. Example: INSTRUMENT BLURB duplicated
2) three times would produce BLURC, BLURD and BLURE in addition to BLURB.
2) ************* LIT (do not use with P2) *************
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 5 line 68
1) desired and ? must be used where a ; is desired.
1) If literal data is surrounded by quotes no special characters are
**** File 2) SCORE.LCS[UP,DOC], Page 5 line 111
2) desired, ? must be used where a ; is desired and & must replace ".
2) Clearly it is simpler to use the quotes with these various characters
2) unless the quote sigh itself is required in a string of characters.
2) % = / ! = , ? = ; & = " # = <
2) If literal data is surrounded by quotes no special characters are
***************
1) SCORE.LCS[SCR,LCS] and 2) SCORE.LCS[UP,DOC] 2-20-78 17:23 pages 5,5
**** File 1) SCORE.LCS[SCR,LCS], Page 5 line 84
1) P12 LIT/P4*2///P4*3/p5%3/P11+5/!-52;
1) (/"A"// or /"A"/; will cause the 'A' to appear twice.)
**** File 2) SCORE.LCS[UP,DOC], Page 5 line 131
2) P12 LIT/P4*2///P4*3/P5%3/P11+5/!-52;
2) (/"A"// or /"A"/; will cause the 'A' to appear twice.)
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 5 line 93
1) or amplitudes without regard to musical terminology. (9999.PN may be
1) used here. see page 2.)
1) Example: P5 NUM/100/200//300 X 10/
1) 452/9999.04//500; < 9999.04 repeats whatever is in P4
1) ';' ends the list.
1)
**** File 2) SCORE.LCS[UP,DOC], Page 5 line 140
2) or amplitudes without regard to musical terminology. Lists of numbers
2) may also include calls on other parameters by entering Pn in the
2) list.
2) Example: P5 NUM/100/200//300 X 10/452; ';' ends the list.
2) P12 NUM/1000/P7//2000/P5 X 6;
2) In the above example, P12 will print the contents
2) of P7 for the 2nd and 3rd notes. The last 6 notes
2) will print the contents of P5.
2)
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 6 line 4
1) ***** NAMES (LIST OF INSTRUMENT NAMES) *****
1) With NAMES a sequential list of instrument names for a single voice
1) may be given. This is useful when it is desired to have an instrument
1) overlap itself by means of some duty factor setting.
1) (DF, see section 10)
1) EXAMPLE: P12 NAMES/TOOT1/TOOT2/TOOT3/TOOT4;
1) This assumes that you have available four identical instruments with
1) the above given names. When the score prints out, the instrument name
1) for this part will change with each successive note, using only the
1) names in this list, thus allowing overlaps within a part conceived as a
1) single melodic line.
1) The various repeat features do not apply to NAMES.
1) A separate program, DUPINS, exists to facilitate the duplication of
1) instrument definitions in edit files. DUPINS expects that the
1) word INSTRUMENT appears at the beginning of a line and the word END also
1) comes at the beginning of a line. (Be careful that if the word END is
1) SCORE.LCS[SCR,LCS] and 2) SCORE.LCS[UP,DOC] 2-20-78 17:23 pages 6,6
1) used anywhere alse inside of an instrument that it does not appear at
1) the start of a line.)
1) DUPINS will ask you how many duplicates of a given instrument you may
1) want. The duplicates will have names wherein the last letter advances
1) alphabetically. Thus the limit is 25 duplicates of an instrument whose
1) name ends with the letter A. Example: INSTRUMENT BLURB duplicated
1) thress timee would produce BLURC, BLURD and BLURE.
1) ***** RLIST (RANDOM LIST OF NUMBERS) *****
**** File 2) SCORE.LCS[UP,DOC], Page 6 line 4
2) ***** RLIST (RANDOM LIST OF NUMBERS) *****
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 6 line 79
1) →→→→→→ N.B. Use REP with MOVE data only if the begin times of the
1) instruments involved are the same. See Sec. 10 for other
**** File 2) SCORE.LCS[UP,DOC], Page 6 line 47
2) >>>>>> N.B. Use REP with MOVE data only if the begin times of the
2) instruments involved are the same. See Sec. 10 for other
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 6 line 93
1) To repeat the choices themselves use '9999.PN' (See Sec. 2).
1) Example: P4 1 10,100; < P4 chooses a number between 10 and 100.
1) P12 9999.04; <The choice of P4 will also appear in P12.
1) (or P12 P4; does the same as above)
1) ********** SECTION 7 **********
**** File 2) SCORE.LCS[UP,DOC], Page 6 line 61
2) To repeat the choices themselves use '-9999.PN' (See Sec. 2).
2) Example: P4 1 10,100; < P4 chooses a number between 10 and 100.
2) P12 P4; <The choice of P4 will also appear in P12.
2) ********** SECTION 7 **********
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 7 line 31
1) →→→→→→→→ N.B. In this case the octave (5) number of the last item of
1) the Q motive will never carry over into the next note. Rather, the
**** File 2) SCORE.LCS[UP,DOC], Page 7 line 31
2) >>>>>>>> N.B. In this case the octave (5) number of the last item of
2) the Q motive will never carry over into the next note. Rather, the
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 7 line 84
1) Transposition may be done at the same time! /@$-Q -6/ means that Q
**** File 2) SCORE.LCS[UP,DOC], Page 7 line 83
1) SCORE.LCS[SCR,LCS] and 2) SCORE.LCS[UP,DOC] 2-20-78 17:23 pages 7,7
2) Note that the intervals of chords will invert just as melodic lines.
2) A C - E - G chord will invert to C - A flat - F.
2) Transposition may be done at the same time! /@$-Q -6/ means that Q
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 8 line 3
1) **************** MOVE, MOVX *******************
1) MOVE may be used for gradual changes from one number (or note) to
**** File 2) SCORE.LCS[UP,DOC], Page 8 line 3
2) **************** MOVE, MOVX, MOVP *******************
2) MOVE may be used for gradual changes from one number (or note) to
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 8 line 68
1) ******* WARNING !!!! ********
**** File 2) SCORE.LCS[UP,DOC], Page 8 line 67
2) ***** MOVP **********
2) This is a rather special form of MOVE which allows for a gradual shift
2) from the selection of one parameter, or one group of parameters, to
2) another parameter or group.
2) P12 MOVP/20 7,8.9 8,10.9;
2) This will cause a moving random selection within the given
2) limits over a period of 20 seconds. At the beginning P12
2) will use whatever is in P7 or P8. As time progresses the
2) possibility of choosing P7 becomes less and less until at
2) time 20 only P8, P9 or P10 will be chosen.
2) ******* WARNING !!!! ********
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 9 line 3
1) ***** SUBL,(Subroutine,Letters), SUBN(Subroutine,Numbers) *****
1) A subroutine may be added to the 'SCORE' program to set values for P2
1) through P30. This subroutine may be called from several different
1) parameters. The codes 'SUBL', 'SUBN' determine the form of the
1) output for the calling parameter. The heading for the subroutine
1) must be exactly as follows:
**** File 2) SCORE.LCS[UP,DOC], Page 9 line 3
2) ********************* FUNCTIONS AND SCORE SUBROUTINES ****************
2) There are two ways to add special program routines to SCORE note lists.
2) The first way is to write functions in the ALGOL-like language which is
2) built into the MUSIC program. The second way is to add a user-written
2) FORTRAN subroutine to the SCORE program.
2) *********** MUSIC PROGRAM FUNCTION ROUTINES ********************
2) Some other examples of music program functions appear in
2) USEMUS.DOC[DOC,LCS] and MUSIC.DOC[DOC,LCS]. The rules involved are
1) SCORE.LCS[SCR,LCS] and 2) SCORE.LCS[UP,DOC] 2-20-78 17:23 pages 9,9
2) those of the simpler applications of the 'SAIL' language. These
2) functions can be written in separate files, independant of the SCORE
2) program.
2) For the following purposes be sure that the function appears in each
2) parameter list AFTER! all parameters involved have been established.
2) The word "PRECEDE;" causes all text following, up to the appearance
2) of the * in column one, to be found before the word "PLAY;" in the
2) score. (See section 11.)
2) PRECEDE;
2) VARIABLE W,Y,Q; <***** SETS UP NEEDED VARIABLES
2) Q←W←Y←0; <***** INITIALIZE VARIABLES
2) FUNCTION RMBR;
2) BEGIN
2) ARRAY Z(200); <** INTERNAL STORAGE ARRAY [1ST LOC. IS Z(0)]
2) IF P1< 3 THEN BEGIN <DO NEXT LINES ONLY DURING FIRST 3"
2) IF Q=P3 THEN P3←P3*2; <IF SAME NOTE TWICE, SHIFT 1 OCTAVE UP
2) Z(W)←P3; W=W+1; Q←P3; <STORE THE PITCH, UPDATE COUNTER
2) RETURN; <GO BACK TO MAIN PROGRAM
2) END;
2) P3←Z(Y)/3; <NOW IN INST.2 PUT STORED PITCH INTO P3
2) Y=Y+1; <UPDATE INST.2'S COUNTER
2) END;
2) *
2) TOOT 0 2;
2) P2 .15;
2) P3 1 C4 B7; <TOOT WILL HAVE 2" OF RANDOM NOTES
2) P4 1000;
2) P5 F1;
2) P6 F3;
2) P7 "RMBR"; <THE PITCHES WILL BE STORED BY FUNCTION RMBR
2) END;
2) CLAR 3 5;
2) DUPL 1; <CLAR BEGINS AT TIME 3"
2) P6 "RMBR"; <RMBR PUTS BACK PITCHES INTO P3
2) P7 F4;
2) END;
2) The following example sets up a function which can be used to generate
2) any form of equal tempered scale. The 3 arguments to the function, BF,
2) SN and OD can be given as fixed numbers or as parameter numbers.
2) PRECEDE;
2) COMMENT: FUNCTION MICRO(BASE_FREQ, STEP_NUM, OCT_DIV)
2) OCT_DIV = NUMBER OF EQUAL DIVISIONS OF THE OCTAVE.;
2)
2) FUNCTION MICRO(BF, SN, OD);
2) BEGIN
2) BF ← BF*EXP(SN/OD * ALOG(2.));
2) COMMENT: the above gives BF times 2 to the power of (SN/OD);
2) PRINT BF; COMMENT: this prints the frequency in Hertz.
1) SCORE.LCS[SCR,LCS] and 2) SCORE.LCS[UP,DOC] 2-20-78 17:23 pages 9,9
2) END;
2) * This ends the insert. The * will not appear in the score.
2) TOOT ;
2) P2 RH/15X15/4; <using 15th note rhythms.
2) P3 C4; <microtone scale will start on middle C.
2) P4 1000;
2) P5 F1;
2) P6 F3; <next parameter gives the steps of the scale.
2) P7 NUM/0/1/2/3/4/5/6/7/8/9/10/11/12/13/14/15/FINE;
2) P8 15; < the octave is divided into 15 equal-tempered parts.
2) P9 "MICRO(P3,P7,P8)";
2) END;
2) ***** SUBL,(Subroutine,Letters), SUBN,SUBR(Subroutine,Numbers) *****
2) The second way to add special features to SCORE is to add FORTRAN
2) subroutines to the main body of the 'SCORE' program to set values for
2) P2 through P30. A subroutine may be called from several different
2) parameters. The codes 'SUBL', 'SUBN'(or SUBR) determine the form of
2) the output for the calling parameter. The heading for the subroutine
2) must be exactly as follows:
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 9 line 78
1) The following subroutine is included in SCORE.DMP (which you get when
1) you type R SCORE.) In order to use this routine P11 and P12 must not
**** File 2) SCORE.LCS[UP,DOC], Page 9 line 154
2) ************** LOADING THE SUBROUTINE ************************
2) After you have written your FORTRAN subroutine you must load it in
2) the following manner. Type:
2) LOAD SUBR,SCORE[SCR,LCS]
2) If you have made any programming errors the normal FORTRAN messages
2) will appear. If the program compiles and loads successfully you
2) should 'save' it immediately. To do this type:
2) SAVE SCORE
2) This will save SCORE with your subroutine on your disk area. To run
2) it then type:
2) RUN SCORE
2) (R SCORE gets the system SCORE, RUN SCORE gets your copy.)
2) The following subroutine is included in SCORE.SAV (which you get when
2) you type R SCORE.) In order to use this routine P11 and P12 must not
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 9 line 120
1) a specific time. Two numbers chould follow the code word. The 1st
1) number is the cutoff time (in BASIC TIME) and the 2nd number affects
**** File 2) SCORE.LCS[UP,DOC], Page 9 line 220
2) a specific time. Two numbers should follow the code word. The 1st
1) SCORE.LCS[SCR,LCS] and 2) SCORE.LCS[UP,DOC] 2-20-78 17:23 pages 9,9
2) number is the cutoff time (in BASIC TIME) and the 2nd number affects
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 9 line 133
1) ****** QUADRAPHONIC FEATURES (WORK IN PROGRESS 6/74) *****
1) QUAD is for circles or arcs. QUADX is for straight lines using X, Y
1) coordinates.
1) QUAD is a special set of subroutines which must be loaded
1) with SCORE. The routines to be loaded are QUAD, QUADO, and SAVB.
1) A QUAD call must be made in the first of any set of 5
1) parameters. The word QUAD (or QUADX, etc.) must be followed by a
1) space, slash (/). Other code words, such as MOVE, NUM, etc. can
1) appear anywhere before the / but if ALL is used it must come before!
1) QUAD. **** The 5th parameter must not! be used in your input.
1) QUAD will produce circles. The first parameter used will
1) contain the position along the arc in degrees. (Usually a MOVE will
1) also appear in this parameter.) The second parameter will contain the
1) size of the radius. All distances used with QUAD will be in terms of
1) an X, Y coordinate system where speaker A is at position -10,10,
1) speaker B is at 10,10, speaker C is at 10,-10 and speaker D is at
1) -10,-10. The third and fourth parameters will have the X and Y
1) values for the location of the center of the circle. Hence if you
1) wish a circle to go exactly through all four speakers, you should set
1) the second parameter at 14.14 (the distance from the center to 10,10,
1) etc.) and the third and fourth parameters to 0.
1) When using QUADX only the first two parameters are
1) significant, the first being the X and the second the Y of the X, Y
1) coordinate system. (The fifth parameter will always be wasted.)
1) If no F is included with QUAD or QUADX the numbers printed
1) out by SCORE for the first through fifth parameter will be the
1) multipliers for the amplitude in channels A, B, C and D and the
1) multiplier to be applied to pitch input to produce the required
1) Doppler shift. ***** In its present state, this form of QUAD can be
1) used with only one! instrument at a time.***** This will be expanded
1) eventually.
1) QUADF or QUADFX will cause SCORE to produce a file with 5
1) functions that can be read directly into the MUSIC program. These
1) functions should be used to control the amplitude of speakers A
1) through D and the Doppler shift . This is currently the best way to
1) use QUAD.
1) Some examples:
1) To move in a straight line from directly to the left of the listener to
1) directly to the right.
1) DUMMY 0 512;
1) P2 1; < WILL PRODUCE 512 DUMMY NOTES.
1) P10 QUADFX MOVE/512 -20 20; <The function for spkr A will be F10
1) P11 0; < The Y pos. will not change. Spkr B will use F11
1) SCORE.LCS[SCR,LCS] and 2) SCORE.LCS[UP,DOC] 2-20-78 17:23 pages 9,10
1) END;
1) RUN;
1) The following will produce a circle with the center directly
1) between speakers A and B and the arc passing through the listener.
1) (These routines have not! been fully tested so don't expect full
1) success with dramatic effects.)
1) DUMMY 0 512;
1) P2 1;
1) P7 QUADF MOV/512 0 360; < Will move through a circle in a
1) clock-wise direction starting and finishing directly
1) above the center. F7 will be function for spkr. A.
1) P8 15; < Radius will be 15 units. F8 will be for spkr B.
1) P9 0; < X coord. of center. F9 is for spkr C.
1) P10 15; < Y coord. P10 is for spkr D, P11 for Doppler.
1) RUN;
1) Note that the center of the circle and the radius may also be MOVEd.
1) **THIS IS NOT CURRENTLY IN SCORE- this info is not complete!!! 6/75
1) ********** SECTION 10 **********
**** File 2) SCORE.LCS[UP,DOC], Page 10 line 1
2) ********** SECTION 10 **********
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 10 line 60
1) P6 DF 1000.3; < all notes have .3" added
1) overlap will occur
**** File 2) SCORE.LCS[UP,DOC], Page 10 line 60
2) P6 DF 1000.3; < all notes have .3" added.
2) overlap will occur
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 10 line 68
1) See section 6 re. NAMES to automatically change instrument names
1) when producing overlaps as a result of the use of DF.
1) *************** INVISIBLE *********************
**** File 2) SCORE.LCS[UP,DOC], Page 10 line 68
2) instrument to play more than one note at a time. With the 'SCORE'
2) program it is possible to get around this restriction because each
2) If DF causes an instrument to overlap with itself the name of the
2) instrument involved wiil be altered by raising the last letter in the
2) name one step up the alphabet. Thus if your instrument name were ZIPA
2) and an overlap were detected the next appearence of that instrument
2) would be under the name ZIPB, etc. There is a special program
2) (DUPINS) for the purpose of making duplicate instrument definitions
2) with an alphabetical change on the last letter of each name. For the
2) use of 'DUPINS' see Sec.5.
2) *************** INVISIBLE *********************
1) SCORE.LCS[SCR,LCS] and 2) SCORE.LCS[UP,DOC] 2-20-78 17:23 pages 10,10
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 10 line 94
1) %%% IE %%%%%
1) IE (Invisible End) used in the same way as IN makes the end of a note's
1) printout become invisible instead of the beginning. Thus if you use
1) IE in one instrument and then IN in a dummy instrument immediately
1) following it is possible to deal with instruments which have more than
1) 30 parameters. The first 30 parameters will be in the first instrument's
1) list but IE will suppress the final semicolon. Then the dummy instrument
1) will have an IN which will cause its name and first 2 parameters to be
1) invisible. Thus parameter 31 for your large instrument will be in the
1) P3 slot of the dummy, etc. (Note that the end of your IE instrument will
1) print out on the CRT but it does not print in the .SCR file which will be
1) read by the MUSIC program.
1) ************* TAP (for real time RHYTHM) **************
**** File 2) SCORE.LCS[UP,DOC], Page 10 line 102
2) %%%%%%%%%%%% IE %%%%%%%%%%%%
2) IE (Invisible End) used in the same way as IN makes the end of a
2) note's printout become invisible instead of the beginning. Thus if
2) you use IE in one instrument and then IN in a dummy instrument
2) immediately following it is possible to deal with instruments which
2) have more than 30 parameters. The first 30 parameters will be in the
2) first instrument's list but IE will suppress the final semicolon.
2) Then the dummy instrument will have an IN which will cause its name
2) and first 2 parameters to be invisible. Thus parameter 31 for your
2) large instrument will be in the P3 slot of the dummy, etc. (Note that
2) the end of your IE instrument will print out on the CRT but it does
2) not print in the .SCR file which will be read by the MUSIC program.
2) ************* TAP (for real time RHYTHM) **************
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 10 line 172
1) BUZZ 10; P3 G4; P4 500; END; P4 of ZAP will go to 500, P3 of ZAP will
1) not change.
1) 'DUPL' will not duplicate 'TAP' input. (In some cases '9999.02' could
1) be used.)
1) ***** ALL *****
**** File 2) SCORE.LCS[UP,DOC], Page 10 line 182
2) BUZZ 10; P3 G4; P4 500; END; P4 of ZAP will go to 500, P3 of ZAP
2) will not change.
2) 'DUPL' will not duplicate 'TAP' input. (In some cases '-9999.02'
2) could be used.)
2) ***** ALL *****
***************
1) SCORE.LCS[SCR,LCS] and 2) SCORE.LCS[UP,DOC] 2-20-78 17:23 pages 10,10
**** File 1) SCORE.LCS[SCR,LCS], Page 11 line 20
1) P4 1; The first semicolon in the line above is part of
1) the data.
1) P5 MOVE/20 .66,0;
**** File 2) SCORE.LCS[UP,DOC], Page 11 line 20
2) P4 1; The first semicolon in the line above is part
2) of the data.
2) P5 MOVE/20 .66,0;
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 11 line 49
1) EDIT
1) TEMPO
1) CONDUCT
1) xxxxx INSERT N1(,N2,N3); xxxxx (Be sure to leave a space before N1.)
1) This is useful for adding single notes or comments. A total of 19
**** File 2) SCORE.LCS[UP,DOC], Page 11 line 49
2) PRECEDE
2) EDIT
2) TEMPO
2) xxxxx INSERT N1,(N2,N3); xxxxx (Be sure to leave a space before N1.)
2) This is useful for adding single notes or comments. A total of 19
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 11 line 68
1) 'INSERT -99;' Will cause the insert to appear before! the 'PLAY;'
1) statement. This is useful if the output "flags", RCDFLG or BIGBIT,
1) are to be reset in your score. (RCDFLG is normally set to 0.)
1) An entry time in seconds will be in 'basic time', i.e. not affected
**** File 2) SCORE.LCS[UP,DOC], Page 11 line 68
2) An entry time in seconds will be in 'basic time', i.e. not affected
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 11 line 94
1) xxxxx EDIT N1,N2(,N3) xxxxx
**** File 2) SCORE.LCS[UP,DOC], Page 11 line 90
2) xxxxx PRECEDE; xxxxxxxxx
2) 'PRECEDE;' Will cause an insert to appear before the 'PLAY;'
2) statement. This is useful for setting up parameters, MUSIC program
2) functions, or anything which must appear before the PLAY list.
2) Any number of lines may be typed. The PRECEDE section is
2) terminated by the presence of a * in column one. See section 9
2) for an example of the use of PRECEDE.
2) xxxxx EDIT N1,N2(,N3) xxxxx
1) SCORE.LCS[SCR,LCS] and 2) SCORE.LCS[UP,DOC] 2-20-78 17:23 pages 11,11
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 12 line 62
1) xxxxx OMIT xxxxx
**** File 2) SCORE.LCS[UP,DOC], Page 12 line 59
2) ******* note that if you are using 18-bit samples in the MUSIC
2) program you should set the amplitude factor to some
2) number between 32 and 64 in order produce sound within
2) a practical amplitude range.
2) xxxxx OMIT xxxxx
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 12 line 131
1) FOR21.DAT which may be later edited like any other file. If this
1) data is to be kept it is advisable to rename the file as any later
1) use of the 'TYPE' feature will create a new FOR21.DAT file.
1) xxxxx EDIT --- Editing SCORE input as it is read in. xxxxx
**** File 2) SCORE.LCS[UP,DOC], Page 12 line 135
2) 'TYPED' which may be later edited like any other file. If this
2) data is to be kept it is advisable to rename the file as any later
2) use of the 'TYPE' feature will create a new 'TYPED' file.
2) xxxxx EDIT --- Editing SCORE input as it is read in. xxxxx
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 14 line 3
1) ********* MIXSCR ***********
1) The SCORE program has several size limitations. For example
1) only 27 instruments may be used and the main storage array has only
1) 2000 words. Also only 30 parameters are available for each
1) instrument. By careful use of the 'LIT' feature the parameter list
1) may be made to exceed 30. Or the INVISIBLE and IE features may be
1) used. The program MIXSCR allows you to combine any 2 SCORE
1) output files. Thus if you have work which requires for example 30
1) instruments or more than 2000 words of storage you could make up 2
1) separate files involving 15 instruments each. Then, after running
1) them through SCORE, run MIXSCR to combine them into one SCORE file
1) for the MUSIC program. The MIXSCR program is self-explanatory.
1) ∞∞∞∞∞∞ How to play more than a couple of seconds of sound. ∞∞∞∞∞∞∞∞∞
1) **********IGNORE THE NEXT SECTION (DOWN TO REVERB).
1) *************** IT HAS BEEN CHANGED.**********************
1) In the sound generating program when '*' appears type: 'RCDFLG←1;'
1) Type 'BIGBIT←1' if maximum amplitudes are in doubt. This will cause
1) the computed sound samples to be written out on the disk in a series
1) of files beginning with the name MUSAA.DMD. If BIGBIT←-1; samples go
1) to MTA0. Be sure that RCDFLG and/or BIGBIT are set to zero when these
1) SCORE.LCS[SCR,LCS] and 2) SCORE.LCS[UP,DOC] 2-20-78 17:23 pages 14,14
1) features are not being used.*****
1) For operation with RCDFLG or BIGBIT it is best if 'LSBUF' is between
1) 1000 and 2000. With RCDFLG you may also type 'DOPLAY←1;' if you wish
1) each buffer full of sound to play over the speakers while the
1) computation is proceeding.
1) When your music has finished computing make a note of the last name
1) that appears on the TTY. (e.g. MUSAQ)
1) When in this mode the program writes a 'SAVE' file on the disk after
1) every 33000 words of omputing. This file bears the name of whatever
1) you last typed as input to the program plus the extension '.SAV'. If
1) the computer dies while the program is running, after it is restarted
1) simply type 'RUN NAME.SAV CORE' where 'NAME' is what you had last
1) entered and 'CORE' is the proper core size of the job. The job will
1) take up where it last saved itself.
1) (If you were writing on MAGTAPE the tape must also be
1) repositioned with the TAPNEW program.)
1) To play long pieces you must first convert all your '.DMD' files to
1) one long file called 'MUSIC.MUS'. This is done by the 'CONNEW'
1) program. Type 'EX CONNEW[MUS,LCS]'. (EX=execute) For name #1 type
1) 'MUSAA' if that is the first name. (<CR>=MUSAA) Then type the last
1) name noted earlier. (e.g. MUSAQ)
1) The TTY will type the file names as the conversion takes place.
1) Next type 'EX sOUND[MUS,LCS]'. SOUND is self-instructional. If the
1) UDP (user disk pack) is used it must! be assigned. To play from the
1) UDP use 'UDPNEW[MUS,LCS]' instead of SOUND.
1) *** RCDFLG←-1; ***
1) Use this when running from 5 to 30 seconds of sound. This causes one
1) long file (MUSAA.DMD) to be written on the disk which can be played
1) directly by SOUND without any conversion. Be sure to delete
1) MUSAA.DMD before leaving! With RCDFLG←-1; there are no save
1) features.
1) Use the 'TAPNEW[MUS,LCS]' program for storing .DMD files on tape for
1) later use. To add to files already on tape, type 'END' as name #1.
1) To move to end of a particular file name, type 'NAME END'. The files
1) may be converted directly from the tape or, by typing 'RESTORE' as
1) name #1, they will be written back on the DSK. <CR> as the final name
1) restores the entire tape.
1) **** HOW TO SET FILE NAMES ****
1) THE FIRST OF ANY SERIES OF FILE NAMES MAY BE SET TO SPECIAL NAMES BY
1) USING OTHER NUMBERS FOR RCDFLG OR BIGBIT.
1) ANY MINUS NUMBER WITH RCDFLG WILL WRITE A SINGLE LONG FILE.
1) RCDFLG=-2 WILL WRITE MUSAB, =-3 WILL WRITE MUSAC, =-26 WILL WRITE
1) MUSAZ, =-27 WILL WRITE MUSBA, ETC.
1) ANY PLUS NUMBER FOR RCDFLG WILL WRITE A SERIES OF 33K FILES. IF
1) RCDFLG=4 THE SERIES WILL START WITH MUSAD AND CONTINUE WITH MUSAE,
1) MUSAF, ETC. =27 WILL START WITH MUSBA AND CONTINUE WITH MUSBB, ETC.
1) THESE SAME GENERAL RULES WILL APPLY FOR BIGBIT.
1) XXXXXXXX REVERB XXXXXXXXX
1) SCORE.LCS[SCR,LCS] and 2) SCORE.LCS[UP,DOC] 2-20-78 17:23 pages 14,14
1) If you are using reverberation and are computing your music in
1) several sections it is necessary to set P2 for the 'RV' instruments
1) in a special way.
1) In place of P2 the following must appear: 'DUR(N1,N2,N3)'. N1=P2
1) N2=SPEED(as set by you someplace earlier) N3=NCHNS(num. of channels).
1) This is all necessary to avoid having some blank samples (which might
1) cause clicks) at the ends of sections.
1) Example: INPUT? TTY:
1) *REVINIT←1;R←0; (assuming 'R' is in the reverb insts.)
1) *PLAY;RV1 0 DUR(11.3451,4,2);RV2;
1) *<CNTRL Z>
1) INPUT? DSK:NAME.SCR
1) 0 0 1 3 5 5.3 7 7.2 9 . . . . ETC.
1) (the numbers are P1 for each note.)
1) [******* this section is not up to date. 11/76 **********]
1) If a new section is to be begun with a continuation of the
1) reverberation, the next call on the reverb instruments must be
1) preceded by:
1) REVINIT←0;
1) ********** SECTION 15 **********
1) The following contains examples of most features of 'SCORE'.
**** File 2) SCORE.LCS[UP,DOC], Page 14 line 4
2) The following contains examples of most features of 'SCORE'.
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 15 line 35
1) 50/X 3/9999.02/ The sequence 300,300,50 will play twice.
1) REP 12,3; The entire string of numbers entered will play 3
1) times. 9999.02 will cause the data of P2 to appear at
1) that point.
1) P5 FUNC/ A list of functions. (Use only F1 through F15 in a
**** File 2) SCORE.LCS[UP,DOC], Page 14 line 35
2) 50/X 3/P2/ The sequence 300,300,50 will play twice.
2) REP 12,3; The entire string of numbers entered will play 3
2) times, including the current data for P2.
2) P5 FUNC/ A list of functions. (Use only F1 through F15 in a
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 15 line 89
1) P17 9999.02; END; This repeats data of P2.
1) Ends entries for BUZZ at time 7.5"
**** File 2) SCORE.LCS[UP,DOC], Page 14 line 88
2) P17 P2; END; This repeats data of P2.
2) Ends entries for BUZZ at time 7.5"
***************
1) SCORE.LCS[SCR,LCS] and 2) SCORE.LCS[UP,DOC] 2-20-78 17:23 pages 15,14
**** File 1) SCORE.LCS[SCR,LCS], Page 15 line 131
1) P2 TAP; For rhythm entered with telegraph keys.
1) NAME2 ; 1st five spaces=name of rhythm data file.
1) P7 REP 4,3; Data of P4, inst 3 will be repeated.
**** File 2) SCORE.LCS[UP,DOC], Page 14 line 131
2) P2 .2;
2) P7 REP 4,3; Data of P4, inst 3 will be repeated.
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 16 line 1
1) ********** SECTION 16 **********
1) *********** Some Supplemental Programs ************
1) ****** CONNEW ********
1) **** IGNORE THIS SECTION------ TO BE CHANGED *****
1) |This program reads the .DMD files which are created by MUS10 when
1) |BIGBIT or RCDFLG are set to any non-zero value. A single long file
1) |named MUSIC.MUS is created which is used for the real-time play.
1) |
1) |If the IBM 'User Disk Pack' is to be used the UDP must be assigned in
1) |advance. ALWAYS!! BE SURE THAT THE CORRECT UDP IS MOUNTED!!!!!!!!
1) |
1) |If CONNEW is asked to read from MAGTAPE it will ask you to type
1) |'MAXAMP'. MAXAMP is the amplitude number that appears at your TTY
1) |when the last .DMD file of your computation is completed. (Just
1) |before INPUT ? appears again.)
1) |
1) |When all the .DMD files have been converted CONNEW will ask 'MORE ?'
1) |To add another set of files type YES, otherwise NO or <CR>.
1) ******* PLAY ***********
1) This program is used for real-time play.
1) PLAY reads a single sound file (TEST.SND is default name) from the disk
1) at speeds 0-5.
1) The 'SPEED' numbers are as follows:
1) 6400 SRATE = SPEED 0
1) 12800 " = SPEED 1 (or 6400 SRATE in stereo.)
1) 25600 " = SPEED 2 (or 12800 SRATE in stereo.)
1) 51200 " = SPEED 3 (or 25600 SRATE in stereo.)
1) 128000 " = SPEED 4 (or 25600 SRATE in quadraphonic.)
1) 256000 " = SPEED 5 (or 51200 SRATE in quadraphonic.)
1) ****** IGNORE NEXT ***************
1) ************ TAPNEW ************
1) |This program is for putting .DMD files onto MAGTAPE. Ordinarily the
1) |program will copy the .DMD files from the disk onto MTA0 in such a
1) |form that they may be converted directly by CONNEW.
1) |
1) |TAPNEW may also be used to restore .DMD files to the disk or copy
1) SCORE.LCS[SCR,LCS] and 2) SCORE.LCS[UP,DOC] 2-20-78 17:23 pages 16,15
1) |them from MTA1 to MTA0.
1) |
1) |To restore to disk, type RESTORE when the program asks for NAME #1.
1) |To copy to MTA1, type COPY " " " " " " ".
1) |To add more to tape, type END " " " " " " ".
1) |
1) |Other commands that may also be given are BACKSPACE and RESET. If the
1) |system dies while you are computing with BIGBIT←-1 you must! use
1) |BACKSPACE to get back to the proper position on the tape before you
1) |run the appropriate .SAV file.
1) |
1) |RESET is used to set the tape in proper position to continue writing
1) |with BIGBIT←-1 after CONNEW has been used.
1) ********** INDEX **********
1) SECTION NUMBER
1) ALL . . . 10
1) AMPLITUDE FACTOR . . 12
1) BASIC TIME . . . 9,11 RHYTHM . . . 4,10
1) BEGIN TIME . . . 1 RTAP . . . 10,11
1) BIGBIT . . . 14 RUN . . . 2,12
1) BLANK LINES . . . 1,5 SECTIONS . . . 13
1) CODE WORDS . . . 4 SEG . . . 11
1) COMMA . . . 9 SEMICOLON . . . 1,8,12
1) COMMENTS . . . 1
1) CONDUCT . . . 11 SPEED . . . 16
1) CONNEW . . . 16 STAR . . . 4
1) COUNT . . . 9 SUBROUTINES(SUBN,SUBL) . 9
1) CUTOFF . . . 9
1) DOPLAY . . . 14 SYNTH . . . 11
1) DUPINS . . . 6
1) DUPLICATE . . . 10 TAP . . . 10,11
1) DURATION . . . 1,9,12,14,16 TELEGRAPH KEYS . . . 10
1) DUTY FACTOR . . . 10 TEMPO . . . 4,10,11
**** File 2) SCORE.LCS[UP,DOC], Page 15 line 1
2) ********** SECTION 15 **********
2) *********** Some Supplemental Programs ************
2) ********* MIXSCR ***********
2) The SCORE program has several size limitations. For example
2) only 27 instruments may be used and the main storage array has only
2) 2000 words. Also only 30 parameters are available for each
2) instrument. By careful use of the 'LIT' feature the parameter list
2) may be made to exceed 30. Or the INVISIBLE and IE features may be
2) used. The program MIXSCR allows you to combine any 2 SCORE
2) output files. Thus if you have work which requires for example 30
2) instruments or more than 2000 words of storage you could make up 2
2) separate files involving 15 instruments each. Then, after running
2) them through SCORE, run MIXSCR to combine them into one SCORE file
2) for the MUSIC program. The MIXSCR program is self-explanatory.
1) SCORE.LCS[SCR,LCS] and 2) SCORE.LCS[UP,DOC] 2-20-78 17:23 pages 16,15
2) ******************** DUPINS ************************
2) See Section 5 under CHORDS.
2) ******* PLAY ***********
2) This program is used for real-time play.
2) PLAY reads a single sound file (TEST.SND is default name) from the
2) disk.
2) The play-back sampling rate is established by the 'header' that is put
2) on every sound file.
2) *********************************************************************
2) *********************************************************************
2) ************ For general information on the MUSIC program ***********
2) ************ see USEMUS.LCS[UP,DOC]. For details on ***********
2) ************ the MUS10 program see MUS10.DOC[MUS,LCS]. ***********
2) *********************************************************************
2) *********************************************************************
2) ********** INDEX **********
2) SECTION NUMBER
2) ALL . . . 10 RHYTHM . . . 4,10
2) AMPLITUDE FACTOR . . 12
2) BASIC TIME . . . 9,11 RTAP . . . 10,11
2) BEGIN TIME . . . 1 RUN . . . 2,12
2) BLANK LINES . . . 1,5 SECTIONS . . . 13
2) CHORDS . . . 5
2) CODE WORDS . . . 4 SEG . . . 11
2) COMMA . . . 9 SEMICOLON . . . 1,8,12
2) COMMENTS . . . 1,11 SPEEDS . . . 15
2) CONDUCT . . . 11 STAR . . . 11
2) COUNT . . . 9 SUBROUTINES(SUBN,SUBL) . 9
2) CUTOFF . . . 9 SYNTH . . . 11
2) DUPINS . . . 5
2) DUPLICATE . . . 10
2) DURATION . . . 1,9,12 TAP . . . 10,11
2) DUTY FACTOR . . . 10 TEMPO . . . 4,10,11
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 17 line 25
1) FUNCTIONS . . . 2,5 ZERO . . . 2
1) INSERT . . . 11
**** File 2) SCORE.LCS[UP,DOC], Page 16 line 23
2) FUNCTIONS . . . 2,5,9 ZERO . . . 2
2) IE (INVISIBLE END). . 10
2) INSERT . . . 11
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 17 line 31
1) LSBUF . . . 14
1) SCORE.LCS[SCR,LCS] and 2) SCORE.LCS[UP,DOC] 2-20-78 17:23 pages 17,16
1) METRONOME . . . 4
1) MIXSCR . . . 14
1) MOTIVES . . . 7
1) MOVE,MOVX . . . 8
1) NAMES . . . 6
**** File 2) SCORE.LCS[UP,DOC], Page 16 line 32
2) METRONOME . . . 4
2) MIXSCR . . . 15
2) MOTIVES . . . 7
2) MOVE,MOVX,MOVP . . . 8
2) NAMES . . . 6
***************
**** File 1) SCORE.LCS[SCR,LCS], Page 17 line 41
1) P2 . . . 4,5,8,9,10,12,14
1) PLAY . . . 16
1) PRINT . . . 11
1) PROXIMITY MODE . . . 5
1) QUAD . . . . . . . . 9
1) RANDOM LISTS . . . 6
1) RANDOM SELECTION . . 3,8
1) RCDFLG . . . 14,16
1) REP,REPEAT . . . 2,4,6,10
1) RESERVED NUMBER(9999.) . . . 2,6
1) RESTART . . . 1
**** File 2) SCORE.LCS[UP,DOC], Page 16 line 42
2) P2 . . . 4,5,8,9,10,12
2) PLAY . . . 15
2) PRECEDE . . . 11
2) PRINT . . . 11
2) PROXIMITY MODE . . . 5
2) RANDOM LISTS . . . 6
2) RANDOM SELECTION . . 3,8
2) REP,REPEAT . . . 2,4,6,10
2) RESTART . . . 1
***************