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TERMS USED IN MIDI-COMPUTING Introduction This reference provides a listing of terms important to the activity of MIDI-computing. In its simplest usage, computing involves the use of computers (programmable electronic devices) to process data. For example, storing, editing, and retrieving information. MIDI-computing is distinguished by the application of a device known as a MIDI, which stands for: Musical Instrument Digital Interface By means of a MIDI electronic circuit, musical instruments--like keyboard synthesizers--can be connected to computers, or connected to other synthesizers. The result? Messages can be sent back and forth-- messages that produce melodies, harmonies, changes of pitch and volume... To illustrate: One musical message, like a piano melody played on a keyboard, can be "recorded," (that is, encoded) on a track in computer memory, then another message can be layered-- superimposed--on the melody line. The other message might be, for instance, the sounds of an orchestral string ensemble. Captured by this process are the elements of a digital recording, like that of a compact disc. Gone are the scratches and other noises of the traditional phonograph record. Gone is the wow and flutter often associated with tape recording. This musical arrangement (melody, harmony, tempo, pitch, etc.) can then be edited on the computer screen. Errors can be corrected, specific notes deleted, chord changes introduced. Then, the ultimate product--a performance, a musical score--can be printed by the computer, using standard musical notation. That's what MIDI can do. This document is designed to explain and define many of the terms currently used in MIDI-computing. Version 2.0, May 1992 Introduction to Version 2.1 Like the previous version (2.0), this compilation of terms used in MIDI computing is designed for the novice, who is not sure what MIDI is all about. Dan McKee helped immeasurably with Version 2.0, but he is not responsible for my stumbles, like referring to Pitch "Blend" or to Compact "Disks." Frank Marousek recommended an expansion of the Glossary, which has become Version 2.1. As always, suggestions for additions or corrections are welcome. Version 2.1, September 1992 Eugene A. Confrey, Ph.D. 70732,301 A ACCENT: Stress given to a musical tone. ACCIDENTALS: In music, these are sharps, flats, or naturals that are not indicated in the key signature. MIDI software programs tend to represent accidentals as sharps (F-sharp, rather than G-flat). ACCESS: In computing, the verb is more often encountered than the noun. Synonomous phrase: To communicate with. Illustration: A sequencer that lets one directly access hardware. AFTERTOUCH: The change in pressure on a key after the initial attack. Determines vibrato and other characteristics. ALGORITHM: A step-by-step procedure for problem- solving. APPLE MACINTOSH: Apple computers were among the earliest computers to offer MIDI-computing capacity. Others now in the field include IBM-compatible PC's, Atari, and Amiga. ARTICULATION: The percentage of a note's duration that actually plays. This could represent the difference between a staccato and a legato effect. ATTACK: When the musical note begins. Antonym: Release. AUDIO: Sound, or its transmission and reproduction. AUTO ACCOMPANIMENT: (Sometimes called "Orchestration" or "Auto Chord.") The rhythmic styles that sound when a fingered or one-finger mode is selected. Auto Accompaniment usually comprises a drum pattern, a bass line, and other enhancing sounds, like a piano arpeggio or a strummed guitar. B BAR: A synonym for measure--musical time, a grouping of beats. BEAT: Literally, a single stroke or pulsation. Tempo is expressed in beats per minute. The beat value affects the metronome. [See also: TEMPO.] BUFFER: A temporary storage area in memory. BULK DUMP: Denotes a series of system-exclusive messages. Sometimes, this involves transferring a mass of data, like several choruses of a song that have been stored in memory from the keyboard to the sequencer or vice versa. Settings at both ends must be coordinated. A keyboard "bulk dumps" to a sequencer as a system exclusive message (Syex). Conversely, a keyboard can receive such data as a system exclusive message. C CANCEL: An often-misunderstood command. It does not mean delete (e.g., the file) or "send it to the moon." It usually means, simply, turn off the display now on the screen. CHANNEL: In ordinary language, a channel is a path for passing data. In MIDI, channels are used to separate different sections of a song that are going to play together. Each channel is assigned to a single instrument in any particular instant of time. One channel is usually reserved for a percussion voice. To channelize means to move to another channel. CHOKING: What happens when the sequencer receives too much continuous data. Result: Tempos slow down and speed up randomly. CHORD: Three or more tones sounded simultaneously- -preferably harmonious. CLASSICAL MUSIC: A broad umbrella term, usually contrasted with jazz, folk music, pop-music. The "classical" tradition is best illustrated by examples: symphony, opera, chamber music. [See also: JAZZ, ROCK.] CLEF: It's that sign at the beginning of a staff- -the one that determines pitch. CLOCK: A clock is used to synchronize two devices. In MIDI, the term clock is used to denote a single time source, which everything plays along with. MIDI clocks are actually special messages that are sent 24 times (normally) per beat, and are used to synchronize two sequencers, or a sequencer and a drum machine. Normally, the sequencer's clock is the important one. Other clock sources are rarely used, and, typically, only when doing a final recording. CODES: In MIDI, as in general computing, a code refers to program instruction. One type is a source code (human readable). Another is a machine code (executable). COMPOSE-ARRANGE: Two activities that can be facilitated by MIDI-computing. The composer creates music. The arranger enhances it--by scoring for other voices or instruments. COMPRESSION: In MIDI-computing, the process of compression and expansion refers to changing the range of a song. Compression makes the loud parts softer, the soft parts louder. CONTINUOUS DATA: Controllers, pitch bend, aftertouch... CONTROLLER: (1) Most often, it means the instrument: keyboard, guitar, drums... (As in Master Controller.) (2) A second meaning, in sequencing, refers to a setting, a parameter, such as Controller 7 = Volume. In this sense, a controller is a MIDI event. CONTROLLER CHANGE: This event will be displayed in the Event List editor. It refers to a change in the synthesizer setting. There are 128 controllers. Example: the loudness of notes. [See also: PROGRAM CHANGE.] COUNT IN: A command in a sequencer that plays a metronome for several measures until you are ready to record. CRESCENDO: A gradual increase in volume. Antonym: Decrescendo. CUT-AND-PASTE: In word-processing, this function means moving text from one place in a document to another. In MIDI, one can copy a section of a musical passage and paste it elsewhere. D DAMPER: Traditionally, the damper pedal of an acoustical piano functioned to stop vibration of a piano string. (In contrast, the SUSTAIN pedal held or prolonged the note.) Unfortunately, sustain pedals on electronic pianos are often called "damper" pedals-- thus blurring the distinction. [See also: SUSTAIN.] DATA BYTES: These follow the status byte in a MIDI message, e.g., what note has been struck, how hard... [See also: STATUS BYTE.] DEFAULT SETTING: In MIDI, as in general computing, this is a choice made by the program (when the user does not specify an alternative). DESIGN, PROGRAM: Two distinct functions. The designer of a sequencing piece of software, for example, conceives and plans the product and all its functions. The programmer addresses the issues of programming languages, data structures, how data is stored and manipulated, etc. DIGITAL: In MIDI, the phrase digital recording is contrasted with analog recording. Long-playing phonograph records are analog recordings. That is, they capture information in a continuously-variable form. A fluctuating waveform. Telephone lines work on the same principle. Digital, in contrast, involves binary numbers--1's and 0's. MIDI-computing represents digital encoding. DLL: A file extension standing for "Dynamic link libraries." A DLL is part of an application's executable files, and is often used to link the application to the hardware. DOWNBEAT: The maestro's downward stroke, indicating the first beat of a measure. In contrast, the upbeat is unaccented. DUBBING: Making a new recording of sound already recorded. Sometimes used to describe the process of mixing sounds from several sources into one recording. DURATION: The length of time (number of beats) of a note or chord. DYNAMICS: Variation in the intensity of musical notes. E EDIT: Editing, in MIDI, involves altering, deleting, revising the musical passages that have been captured in a digital recording, and are now displayed on the monitor screen. This display will offer two options: (1) The notes are listed by track and number, by event (like "Note on"), by the specific note G4, the beat, the channel, etc. (2) The second option for editing is to use a musical notation display. Here, the notes are arrayed in clefs, (a) like a piano-roll. or (b) in conventional musical notations. Editing options include changes in notes, measures, transpose, volume... (The piano-roll display is sometimes referred to as "graphic notation.") ENABLE-DISABLE: Antonyms, meaning to turn on or turn off. Synthesizers and sequencers have many controls requiring such action (like MIDI THRU). ENGRAVER-QUALITY: A complimentary descriptive term, meaning a professional-looking job of printing music. ENTRY-LEVEL: Beginners (trying to learn MIDI, for instance). They may be devoid of experience in computer engineering or in electronic music. ENVELOPE: The changes of a tone, e.g., attack, sustain, decay, release. ERROR MESSAGES: The message says "Something's wrong!" In MIDI, you might be told that "Memory is full." Or you've committed a "Track Error." Or you have made a "Protect Error" (attempted to write to a protected disk). EVENT: In ordinary language, an occurrence, a happening. In MIDI, the signal that is transmittted-- like note on, note off, program change, control change... [See also: PROGRAM CHANGE, CONTROL CHANGE.] EVENT-CHASING: Scans data in a sequence before the start-point of the recording. Looks for patch changes, for example. EVENT LIST: An alphanumeric display of all MIDI events on a single track. Examples: notes, time signature, tempo, program changes, control changes... F FADERS: Controls for changing effects gradually, like decreasing loudness. FIELD: Traditional computing defines this as a location in a record. Examples: name, address, zip code, etc. Illustrative fields in MIDI: Song title, Track name, Instrument, Channel... FILE TYPES: A MIDI File Type 0 is a single (multiple-channel) track. A MIDI File Type 1 contains one or more simultaneous tracks. FILTER: The noun and the verb, in MIDI, are used primarily in connection with events (note on, program change, tempo change...) and with channel changes. Each event is either filtered (deleted), transformed, or passed through. FINGERED MODE: Provides automatic rhythm, bass, and orchestral accompaniment. The bass and orchestral accompaniment reflect the notes in the chord of the left hand. [See also: AUTO ACCOMPANIMENT.] FSK: Frequency-shift keying. Modulation involving two different frequencies. G GANGED: When tracks are "ganged," they will move simultaneously. (Analogy: A variable capacitor in an early radio receiver.) GATE TIME: The length of a produced sound (e.g., legato, staccato). GENERAL MIDI MODE: A convention specifying how a sequence (a song) should be constructed, so that it will play on a variety of hardware. GLIDE: This effect plays the sound of a semitone below the pitch, then slides up to normal pitch. GLOBAL EDITING: Affecting an entire file or program. Transpose is illustrative. The contrasting function is local editing, like changing one event. GUI: Graphical user interface. A display that permits a user to select commands, menu items--by pointing at an icon (with a mouse) and clicking. H HARDWARE SEQUENCER: Sequencing can be performed by software programs or by hardware. Hardware sequencers also work with synthesizers, controllers, sound modules--creating and editing songs. A hardware sequencer is--as the name implies--hardware, containing a single-purpose program, one designed to provide sequencing. HUMANIZE: A term that is used in the sense of introducing random irregularities in note-timing and velocities, in order to reduce the mechanical character of a performance. [See also: QUANTIZATION.] I IMPLEMENTATION CHART: Look for the MIDI Implementation Chart in the manual of your Master Controller (e.g., the keyboard). This will tell you what is transmitted (or recognized) for the various functions, like note number, the velocity (pressure on a key), aftertouch (change in pressure), pitch bender, control change, program change, system exclusive message, etc. IMPORT: To bring data from one program into another. Antonym: Export, meaning to transfer to another program. (Some sequencer manuals use the term "Export" to mean: Convert and save--as a MIDI file-- preparatory to transferring elsewhere.) INITIALIZATION: Initial means the beginning. To initialize is to set a program to a starting position-- to prepare the program for use. INSTRUMENTATION: The selection of instruments in a MIDI arrangement. INTROS AND FILLS: The Jazz Man's vamp--a couple of measures repeated before a solo. INVERSE VIDEO: The reversal of light and dark on a screen character. Example: An indication of whether Automatic Rewind is on (enabled) or off (disabled). J JAZZ: Another umbrella term, often (erroneously) defined in terms of volume and tempo. Its basic ingredient is improvisation--accomplished melodically, harmonically, or with rhythm changes. [See also: ROCK.] K KEYBOARD: Reminder: In MIDI-computing, one has to remember which one is involved in a documentation reference--the computer's or the controller's. KEY SIGNATURE: Musical notation shows this in terms of sharps and flats after the clef. Software sequencers sometimes show a song key as "F Major/D minor," and indicate the number of sharps or flats. B- flat Major/G Minor has two flats, for example. [See also: ACCIDENTALS.] L LOOPING: Used to repeat a section of a recording. M MARKER: Something used to record a position. MIDI markers indentify, for example, musical cues. They work like tab stops in a word-processor. MAPPING: The process of identifying patches and keys, so that sound files can be played properly. A key map will translate values for MIDI messages, so that the correct keys will be played. A patch map functions to identify the correct patches (sounds, instruments). MCI: Media Control Interface MEASURE DELETE: This command removes specified measures (like measures 4, 5, and 6). [See also: MEASURE ERASE.] MEASURE ERASE: The contents of specified measures are erased, but the length of the song is unchanged. [See also: MEASURE DELETE.] MEDIA PLAYER: Microsoft's term for the Windows application that will control the playing of sound cards, CD-ROM drives, and videodisc players. It will also play MIDI sequencer files. MELODY: One of the elements of music (the others being harmony and rhythm). Melody is a succession of tones--hopefully pleasing. MERGE: To combine or blend into one. Example: Merging two tracks. MESSAGES: The net effect of MIDI-computing is sound: melodies, harmonies, rhythms... But the MIDI message (the MIDI event) itself is not a sound. Transmitted are digital commands--about 1,000 events per second. META EVENTS: In ordinary language, the prefix META often means above or beyond. In computing, a METAcharacter conveys information about other characters. In MIDI, a meta event would be illustrated by such things as track name, patch name, tempo, time signature, etc. Meta events are contrasted with data streams. METER: The basic pattern of note values, e.g., beats per measure. [See also: TIME SIGNATURE.] METRONOME: A device to mark time by producing a repeated tick. The older type--a triangular box with a vibrating arm--was succeeded by an electrical unit. In MIDI, the ticks are computer-generated. MIDI: A protocol. The musical instrument digital interface comprises a MIDI card and cables connecting the computer to an electronic instrument, such as a keyboard. The MIDI card (a printed circuit board) is normally mounted in an expandable slot inside the computer. Keyboard synthesizers can also communicate with other synthesizers by means of a MIDI connection. MIDIEX FILE: Created by saving the current contents of the buffer. MIDIEX is a standard format containing raw MIDI data without a header (a line identifying the program). MIDI MAPPER: Microsoft's utility program, which can help in remapping patch, channel, etc. during playback. MIDI PITCH WHEEL SWITCH: Determines whether continuous controller information (e.g., note on, key pressure, control change, program change...) will be recorded. MIDI SOUND GENERATOR: For authentic reproduction of acoustical instruments. It uses samples--instrument sounds stored as digitized audio. This is actually another term for synthesizer--converting MIDI events into real audio sound. MIDI THRU: One of three ports (connections): MIDI In, MIDI Out, and MIDI Thru. MIDI In receives information from other equipment. MIDI Out sends information to other equipment. MIDI Thru duplicates the information, and sends it to other equipment. By means of the latter, a synthesizer can echo messages to other synthesizers. MODULATION: In music, one usually thinks of modulating as passing from one key to another--by means of intermediate chords. In MIDI, modulation usually means applying a vibrato effect to a sound. MPU-401 COMPATIBLE: The reference is to a standard interface. (It derives from Roland's initial design.) Importance: MS DOS MIDI software often supports this user base, but not always. MULTI-TIMBRAL: In sequencing, a multi- timbral sound module can play several parts on different channels simultaneously. A multi-timbral device is one that is prepared to sound like more than one instrument at a time. MULTI-TRACK RECORDING: Normally, one records on a single track ("Normal Mode" recording). Multi-track recording is feasible, however. Example: From a guitar, with each string on a different channel. MULTI-VOICE MODE: A setting on a multi-timbral tone generator (such as a keyboard) for receiving multiple MIDI channels, each channel having a different voice (instrument). MUSICAL SCORE: Most often, the written copy of a musical composition. Compose in MIDI, print the notation, and (voila!) there it is. MUTE: A sequencer command to turn off specified tracks. Reason: So you can listen exclusively to one track. [See also: SOLO.] N NOISE: That disturbance of a signal that might occur if your MIDI cables are too long--exceeding 15 meters in length, for example. NORMAL MODE: When a (controller) keyboard has this setting (as contrasted with split, or fingered modes), the sounds are all of one voice--from the lowest note to the highest. In this mode, the resemblance is to an acoustical instrument. [See also: SPLIT MODE, FINGERED MODE.] O OCTAVE NOTATION: MIDI software and electronic keyboards use notations like F4 to represent the specific note (F) located in the 4th octave of an acoustical piano. OPEN COMMAND: Loads an existing disk file. P PADS: (Sometimes "Multi-pads"). On keyboards-- where you store percussive sounds. PAN: To pan is to move the sound between full left and full right in a stereo sound field. It resembles the "balance" function of a stereo receiver- amplifier. PARAMETER: A tough word to define. In mathematics, it's a variable or an arbitrary constant. In MIDI, it's a value assigned at the beginning of an operation. Examples: pitch bend, sustain, voice number, volume, reverb... PATCH: In some early keyboard synthesizers, one selected "instruments" to play (e.g., vibraphone, clarinet...) Later, the term "voice" emerged, in part, because some of the sounds went beyond instruments (police whistles, human voices, etc.). In contemporary MIDI-computing, the word "patch" is prominent--one reason being that a single keyboard setting, like 99, may encompass a large range of percussive sounds. In any event, to a sequencer, the patch setting will determine the nature of the sounds. PATCH LAYOUT: A potential source of trouble for MIDI users. Manufacturers of synthesizers have not standardized the correspondence between patches and numbers. On a Roland keyboard, the celesta patch number might be 24; on a Yamaha 09. Microsoft's MIDI Mapper is designed to help rectify this. [See also: MIDI MAPPER.] PATTERN-RECORDING: Establishing a pattern, e.g., a bass drum beat, then embellishing it. PCM: Pulse code modulation--a process of digital recording. PERCUSSION: A percussive instrument is sounded by striking or shaking. Examples: Bass drum, snare, bongo, cymbal, high-hat... By extension, the term also encompasses so-called "background sounds," like wind chimes, thunder, voices... PIANO ROLL EDITOR: A common notation used for editing by many sequencers. The notes of each track are shown as horizontal bars--the vertical position representing pitch; the horizontal length representing duration of the note (or chord). [See also: EDIT; EVENT LIST EDITOR.] PITCH: The property of a musical tone--determined by frequency. PITCH BEND WHEEL: A wheel on the keyboard that allows notes to be bent up or down. (Example: a sliding trombone sound.) "Pitch bend" is a MIDI message. PLATFORMS: Computer hardware. Some MIDI software will run on one platform (e.g., IBM PC's) but not on another (e.g., Macintosh). PLAYER: In the realm of MIDI-computing, the sequencer is still the Virtuoso. But MIDI players are prominent too. They play the sound files. They compile Play Lists of songs, and sometimes group them into albums. PLAY LIST: A list of tunes to be performed in succession. The sequence is pre-programmed. POLYPHONY: From the Greek, meaning variety of tones. In MIDI, the question is: "How many notes can be played simultaneously?" Maximum polyphony cannot be exceeded. PORT: It's a location in hardware where data is passed in and out. In setting up MIDI, one must make port assignments, so that channels can be correctly addressed. PORT ADDRESS AND INTERRUPT SETTINGS: Addresses are locations within the computer. These addresses are used by devices (such as a MIDI keyboard) to communicate with the software. An interrupt setting signals when the device is ready to send or receive data. Addresses and interrupts must be unique for each device. PPQN: Pulses per quarter-note. A measurement of time resolution. PROGRAM CHANGE: Like controller change, this event will be displayed in the Event List Editor. An illustrative program change would be the introduction of a new voice (instrument). [See also: CONTROLLER CHANGE.] PULSE: The tick of a computer clock is sometimes referred to as a "pulse." Example: One clock pulse might be defined as 1/240th of a quarter-note. PUNCH-RECORDING: A feature that allows automatic on-off recording at specified points. Q QUANTIZATION: To quantize is to force all notes played to fall on the nearest beat specified. It shifts events (like note-on) to an exact rhythmic position. R RADIO BUTTON: A small circle in a menu display. When it is pressed (clicked), it will activate an option. REAL-TIME: In MIDI, there are two types of recording procedures: (1) real-time; (2) step-time. The former resembles traditional recording--as with a tape recorder. Step-time recording is really sequential: note-by-note, chord-by-chord. RECORD: In the world of sound, to register something reproducible on a disk, like a phonograph record, or on magnetic tape. Traditional recording captures the amplitude (height) and frequency (number) of wave forms. MIDI-computing does not really "record." It encodes messages, digitally--by means of numbers. Because of established usage, however, the words "record" and "recording" often appear in MIDI- computing, along with "play," "rewind," "fast forward," etc. In MIDI-computing, these words are really metaphors. A typical sequencer will "record" all of the MIDI events received, along with the time they were received. RESET: Keyboards, like computers, sometimes "lock up." To restore normal operation, the System Reset is used. There is another meaning in MIDI software: Reset means to return to the first measure. REST: In music, a rhythmic silence. Examples: a 2-beat rest, a quarter-note rest. RITARD: To gradually slacken tempo. Sometimes used at the ending of a song. (Antonym of the noun: accelerando.) ROCK: Like "jazz," a broad umbrella term. Rock is a form of popular music, usually played on electronically-amplified instruments, with a heavily accented beat. S SAMPLING: Emulating the sound of an acoustical instrument by digitizing (converting to digital sound) the waveforms produced by the instrument. SAVE AS... If no filename has yet been assigned, this is the command to use. If your MIDI file has already been christened, and you have edited it, the appropriate command is Save. SELECT: Do you want to edit (insert, delete, copy, cut...)? You must first "select," i.e., highlight, block... SERIAL: Appearing in succession--one at a time. MIDI messages, for instance, as displayed in an Event List. SEQUENCER: So called because such a program arranges melodic and harmonic patterns in successive positions. Strictly speaking, one should define a sequencer has something that stores note-on and note- off events in memory, then plays them back. SEQUENCER MEMORY: It is in RAM (Random Access Memory). It is measured in the number of events that can be accommodated. SLIDER: An input-device to increase or decrease volume. Also refers to an on-screen image (like a button control) that one can move with a mouse. SNAP-TO-GRID: A grid consists of two sets of lines that crisscross. A snap-to-grid feature facilitates step-entry of notes. SMPTE: Usually indicates a standardized time code developed by the Society of Motion Picture and Television Engineers. The time code is used in the MIDI world as a way of synchronizing MIDI to external events. SOLO: If you want to listen exclusively to one track, you can mute all other tracks. Alternative: Select a track to "solo" (a feature that some sequencing programs offer). [See also: MUTE.] SONG CLEAR: To erase the contents of all tracks. [See also: TRACK CLEAR.] SOUND DEVICE: Any device is part of the system's hardware. Examples: a printer, mouse, modem, etc. A sound device might be, for instance, a MIDI synthesizer, a CD-ROM drive, a videodisc player. SOUND DRIVER: Device drivers are software that control communication between devices (a mouse, printer, modem...) and the computer. A sound-driver controls the sound card or the sound device, such as a MIDI-compatible synthesizer. The sound driver must be correctly configured for your computer. SOUND MODULE: The component in a device (such as a keyboard) that produces the sound (e.g., a violin melody, a drum rhythm). This is another term for MIDI sound generator. SOUND RECORDER: Microsoft's Windows accessory that can play, record, and edit sound files in the WAVE (non-MIDI) format. SPEED; PITCH: Perhaps the most important capacity of a sequencer. Tempo can be changed without affecting pitch. Thus, a difficult passage can be recorded slowly, then played at a faster tempo--with no change in pitch. SPLIT MODE: Divides a keyboard into two sections, each of which can play a different instrument. Example: From the split-point (like C#3), the left hand can be producing the sounds of an organ, while the right hand plays a flute melody line. [See also: NORMAL MODE.] SPLIT-POINT: In a split mode, the location on a keyboard where one voice (instrument) is diffferentiated from another. G2, for example, might be set to allow one voice (say, choir) in the left hand, another voice (say, violin) in the right hand. [See also: NORMAL MODE.] STANDARD MIDI FILE: Identified by its extension (.MID, sometimes .MFF or .SMF), this is a file that can store MIDI messages, such as songs. The data in a MIDI file can be played, manipulated, edited... A MIDI file comprises actions performed on an instrument (keys pressed, how hard...) There is a standard MIDI file format. A principal advantage of a MIDI file: It uses comparitively little disk space, but, more importantly, it is a standard across platforms and sequencers. STATUS BYTE: In a MIDI message, this announces what kind of message is being sent, e.g., "note-on." [See also: DATA BYTES.] STAVES: Plural of staff--those horizontal lines and spaces. STOMP BOXES: Floor pedals for enhancing tones, used principally by guitarists. SUSTAIN: To sustain is to hold a note (or a chord). The musical tones fade out gradually. [See also: DAMPER.] SYNCHRONIZE: To make synchronous or simultaneous. Example: to synchronize a drum pattern to play with melodies and chords on a synthesizer. MIDI synchronization is a coordinating function--involving a sync signal. SYNCOPATION: Changing a regular metrical accent, e.g., by coming in early or late on a beat. It is a form of rhythmic improvisation. [See also: JAZZ.] SYNTHESIZER: (Often shortened to synth.) A device driven by a microprocessor, which contains a programmable chip. Examples of instruments that can contol synthesizers: Guitar, keyboard, wind, string, drum controllers. The keyboard itself does not produce musical sound. A synthesizer circuit, built into the keyboard, accomplishes this function. Originally, a synthesizer was so called because it synthesized acoustic instruments. Nowdays, the term refers to the sound-generating circuitry of any MIDI gear. Another term is sound module. SYSEX: Short for a System Exclusive Message. Illustrative data: voices, drum patterns... T TEMPO: In music, the rate of speed (like allegretto). Electronic keyboards provide controls to set or change tempo. A quarter-note setting may range from 40 to 240 beats per minute. Software sequencers also set and change tempo. Examples of tempo settings: Viennese waltz 190 bpm; disco-rock 104 bpm; swing 166 bpm. Sequencers display the exact beat (e.g., beat number 29) of the music being recorded or played. [See also: BEAT.] TIME BASE: The number of clock ticks per beat. Illustrative range: 120-768. TIME SIGNATURE: In traditional musical notations, this is expressed as a fractional sign, like 3/4. The denominator indicates the unit for the beat; the numerator shows the number of notes per measure. [See also: METER.] TONE GENERATOR: Essentially, a synthesizer without a keyboard. TOUCH RESPONSE: A feature of some electronic keyboards, enabling one to control loudness according to how hard the keys are pressed. TRACK: In MIDI, the term "track" designates a location where one records or plays back a musical message---usually a portion of the total arrangement. To illustrate, one might record an oboe melody line on Track Two, then record a bowed bass line on Track Three. When played, the sounds can be simultaneous. Most MIDI software now accommodates 64 tracks of music, enough for a rich orchestral sound. Important: Tracks are purely for convenience; channels are required. [See also: CHANNEL.] TRACK CLEAR: To erase the contents of a specific track. [See also: SONG CLEAR.] TRACK MERGE: To merge the contents of two tracks and store in a third track. TRACK NAMES: Names like "melody line," "bass line," "left hand," etc. are assigned to tracks to help determine the instrumentation of a sequence. TRANSCRIPTION: The word has been used extensively in music. Example: arranging for some instrument or voice other than the original. In MIDI, a common usage refers to converting a MIDI file into musical notation for printing. This is accomplished by notation software. TRANSPOSE: To perform a musical composition in a different key. Both synthesizers and sequencers can carry out this function. TUNING: 440 Hertz is the normal tuning value. However, the pitch of a synthesizer can be altered-- raised or lowered. Changes in the tune value are expressed as plus or minus cents. TUPLET: A triplet always designated three notes over two beats. The word "tuplet" is a generic term-- in fancy language "non-integral duration values." Think of quintuplets (5) or sextuplets (6). (Notes, not offspring from a single birth.) U UNDO: This command could be a life-saver. It reverses your last mistake, such as inadvertently recording or inserting MIDI data. "REDO" undoes an "UNDO." USER-FRIENDLY: A popular "buzzword" in computing. Synonym: Intuitive. It means directly comprehended. For many users, a method of pointing at icons and clicking is more "user-friendly" than entering many keystrokes to select menu-items, like commands. Intuitive programs are more quickly grasped by the "computer-naive" (another buzzword). V VELOCITY: Velocity is the MIDI way of determining how hard a note is pressed on the keyboard controller. W WAVEFORM: A representation of a wave's amplitude over time. Z ZOOM: To magnify the image on a monitor screen-- especially useful when editing notes in Standard MIDI files. MIDI REFERENCES Books Eiche, Jon F. What's MIDI? Hal Leonard Publishing Corp. 1990. Starr, Greg R. What's a Sequencer? Hal Leonard Publishing Corp. 1990. Microsoft Press. Dictionary of Computer Terms. 1991. Articles Petzold, Charles. An Introduction to the Musical Instrument Digital Interface. PC Magazine, March 17, 1992. Kendall, Robert. MIDI Goes Mainstream. PC Magazine, March 31, 1992. Wilkinson, Scott. Sequencing Made Easy, Parts 1 and 2. Electronic Musician, March and April 1992. Petzold, Charles. MCI, MIDI, and The Nature of Time. PC Magazine, September 29, 1992. (A more advanced discussion.)