The Original Shareware 1.1/The Original Shareware (WeMake CDs)(Volume 1.1)(CDs, Inc)(1993).iso/21/bethoven.zip/LVB.TXT

Text File | 1989-06-07 | 26KB | 483 lines

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             ║         PIANOMAN DOES BEETHOVEN         ║
             ╟─────────────────────────────────────────╢
             ║       NOTES ON ADVANCED TECHNIQUE       ║
             ╚═════════════════════════════════════════╝

     The music you hear on this and other of my disks was entered one line at
a time and merged to create harmonies and polyphony with the aid of software
known as Pianoman.  Pianoman assigns pitches from the 12-tone Western chro-
matic scale to the keys of the standard IBM-compatible PC keyboard for user
input and recording in the form of PC readable and executable text.  It also
provides means by which notes, their pitches, durations and interruptions,
may be manipulated globally and/or in user-defined blocks.  As you can hear
from the files elsewhere on this disk, the program has reached a stage of
development such that substantially lengthy and complex tunes may be esta-
blished and interwoven for playback on ordinary IBM-compatible personal
computer systems without supplemental hardware.


════════════
 IN GENERAL
════════════
     More on theory and an introduction to the software can be found on the
disk "Pianoman Goes Baroque".  Technical aspects on the use of Pianoman
software already detailed in its User's Manual and are not discussed here.

     As with any executable file produced by Pianoman software, the five
"Pianoman Does Beethoven" files can be converted to text-file format with the
Pianoman utility designed for that purpose for further study or experiment.


═════════════
 DEFINITIONS
═════════════
     Note is the term applied to a unit quantity of audible signal to be
communicated via software to the PC speaker.  "Note" itself has the para-
meters of duration (expressed in msec), pitch (expressed as a letter value in
the Western 12-tone scale), octave (a whole number from 1 through 8 with
middle C expressed as C4), and "staccato" (an integer from 1 through 9)
wherein duration of the note is silenced 10% for each staccato unit.

     String is, literally, a chain of notes, but is generally used to denote
one line or one voice of a composition or segment of a composition (for
example, the alto line).  Strings are raw materials for later "merging";
strings to be merged together must equal each other in duration.

     String set is a set of two to four strings matched in duration so as to
be merged (combined) to produce a harmonized and/or polyphonic secondary
file.
PIANOMAN DOES BEETHOVEN            - 2 -         NOTES ON ADVANCED TECHNIQUE



     Merge is the process by which strings (for example, soprano, alto,
tenor, bass; or -1, -2, -3, -4; or -A, -B, -C, -D) are processed by the
software such that each string is divided into much smaller and equal
subunits, then a new file comprised alternately of the subunits from the
divided strings is created.  A user selected merge divisor determines the
size and number of subunits in a given duration (for example, a quarter
note).

     Merge file is the file produced by the merge process.  It is in itself a
gigantic though complex string of notes (such as when four strings consisting
of 200 quarter notes each are split into quarter notes of 8 subunits - two
clusters comprised of a subunit from each of the four strings).  A merge file
can be retrieved, saved, combined with other files and otherwise manipulated
like any text file in editing mode.

     Note cluster is the smallest unit of a merge file wherein one and only
one subunit from each original string is represented.

     Text file can be a string or a merge file, but the term is used herein
to denote a file formatted for retrieval, manipulation and playback by
Pianoman software in text editing mode.  Text files must always have the
extension MUZ to be used by the program.

     Block is a user-defined segment of a text file.  A block may consist of
a single note or the entire file.  Blocks in Pianoman are much the same as in
word processing.  They can be copied, moved or deleted, and they can be
edited in terms of many and several musical parameters.

     File or, more properly, executable file, consists of a text file,
usually in final or polished form, which has been converted to executable,
standalone form and cannot be edited in Pianoman text editing mode.  As
denoted herein, "files" always have the extension EXE, and do not require the
presence of auxiliary software to induce a PC speaker and CPU to generate
music.  A "file" may be copied, moved, deleted, hidden, or renamed just like
any other DOS file.

     "Staccato" is the name of a Pianoman function apart from its customary
musical meaning and is an extremely important tool in PC music.  Because the
merge process obliterates differences between notes of the same pitch
occurring consecutively and for many other reasons, it is crucial to "tag"
notes at the string stage.  The "staccato" numbers then appear strewn
throughout the merged file and easily identify note clusters requiring
further manipulation.  No traces of these "markers" appear in the final
product, though they are vital to placing actual note shortening in the final
work.

PIANOMAN DOES BEETHOVEN            - 3 -         NOTES ON ADVANCED TECHNIQUE



══════════════════════════════════════════════════════
 PHYSICAL CHARACTERISTICS AND LIMITATIONS OF PC MUSIC
══════════════════════════════════════════════════════
     The PC speaker outputs neither round (flute-like) nor square (brassy)
waves, however, PC tones are in fact complex waves rich in overtone series
which vary with the context in which they are played.  At times, the PC may
sound like a woodwind;  at other times, a zither or hurdy gurdy.  Due to
variations in equipment specifications and configurations, every PC has a
sound of its own.  The PC is a new instrument -- part keyboard, part elec-
tronic, part wind -- and unique in itself.

     Part of the richness of overtones produced by the PC (despite the fact
that tone signals emanate from the speaker one at a time) comes from the
layering of notes sharing overtone series (such as a major chord).  If tone
series are imparted and alternated from the speaker at rates faster than tone
decay in the CPU, what actually leaves the CPU and reaches the ear is in fact
true harmony.  This alternating emphasis in overtone blends via arpeggiation
at extremely rapid rates is what produces the vibrato or tremolo charac-
teristic of PC music.

     Vibrato can be both friend and enemy of PC music.  At its extremes and
especially at lower registers, it can be perceived as tremolo.  Vibrato can
be exploited to provide contrast in texture but on a very limited basis.  One
must guard against creating a vibrato contrary to the overall rhythm within a
composition or radically unlike the vibrato preceding or succeeding a given
block of notes.

     As a general rule, it is better to "stack" note clusters from highest to
lowest in pitch to both take advantage of vibrato or to counteract it.  For
example, it is better to order note clusters soprano-alto-tenor-bass (C5-G4-
E4-C4) than soprano-tenor-alto-bass (C5-E4-G4-C4) to avoid confusing the
natural vibrato that occur when the third note of a cluster is higher in
pitch than the second.

     Vibrato is most likely problematic in contrapuntal passages combining
only two or three lines and with relatively large note subunits (45-72 msec);
the "topheaviness" of note clusters may compete with the rhythm as intended
by the composer and become uncomfortably apparent to the listener.  On the
other hand, for a more dramatic ritardando, it may be desirable to deliber-
ately lengthen the tempo of certain note clusters rather than add more note
clusters at the same tempo so that the change in apparent vibrato enhances
the effect of diminishing rhythm.

     In practice, tone coloring and vibrato may not be consistent from PC to
PC, nor even within a single composition on the same PC.  This is due to
variants in speaker construction, add-on cards and CPU size.  Given an
identical music file, the personal computer is indeed "personal" to every
user.
PIANOMAN DOES BEETHOVEN            - 4 -         NOTES ON ADVANCED TECHNIQUE



     Although the PC was designed to be able to produce ranges in pitch
rivalling the most elaborate church organ, the PC as an instrument is notably
deficient in ability to create contrasts in loudness or softness ("dynamics",
"dynamic range").  This factor is the single most limiting in appropriate
choice of composition for transcription.  The most suitable works are those
originating with instruments with similar limitations (e.g., clavichord,
harpsichord).  Also suitable, however, are works so well written that dynamic
range is virtually built in;  that is to say, compositions that create
dynamic vitality despite the instrument and despite the performer.

     On the PC, dynamic changes occur within a file for the most part when
the number of voices in a note cluster increases or decreases (and note
subunit lengths decrease or increase accordingly).  If the change is too bold
or too brassy, the dynamic level may have to be tempered by subtle use of the
staccato function or sleight of hand with tempo.

     Very high notes (two octaves above middle C) lose loudness, especially
if combined with two or more other voices.  These very often must be empha-
sized by adding duration to individual notes in these registers, but not so
much as to drag the line or create unwanted stress in the melody.  A good
rule of thumb is a 10% increase;  the timing can always be adjusted later.

     The PC is also not very precise in "attacking" the first note, espe-
cially if it is in a lower register, probably because of the split second
delay for a sound wave to cross and then resonate within the CPU.  The
problem of "attacca" cannot be totally overcome, but it can be ameliorated by
altering duration across the initial note cluster(s) or moderating an initial
long, low tone with extra staccato shortening.

     The most difficult technical problem usually encountered is that of
voice crossover, in other words, when two or more of the original "strings"
occupy the same pitch.  This not only causes abrupt increases in loudness,
but sudden discontinuity in polyphony.  Depending on circumstance, a part can
be rewritten, the note(s) can be joined and then separated with staccato;  if
all else fails, the aberration must be left in the piece.  Voice crossover is
usually not a problem with music written specifically for keyboard instru-
ments, but with music written for two or more contrasting instruments (e.g.,
violin/oboe/trumpet).



══════════════════════════════════
 OPPORTUNITIES FOR INTERPRETATION
══════════════════════════════════
     The PC should not be taken lightly or as an instrument of mere tran-
scription.  There are numerous opportunities for interpretation and indivi-
dual character.  The software developer has provided a wide range of tools
not only to facilitate editing, but to allow for those elements which
separate a piano player from an accomplished musician.
PIANOMAN DOES BEETHOVEN            - 5 -         NOTES ON ADVANCED TECHNIQUE



     Phrasing, even if well provided for in the melody, is an important
element of performance on the PC.  It is not very difficult, though it is
tedious, to sculpture lines up to and over a crest towards a cadence.  Doing
such is very much within the judgment and foresight of the performer.  This
is most often done by emphasizing one or more subunits of a note cluster to
bring out a melody or to suppress a line of secondary importance.  Breaks in
phrase are introduced with very minute rests, the presence and duration of
which are also at the discretion of the performer (e.g., 6, 13 or 20 msec).
At times, it may be preferable for a note cluster or clusters to linger prior
to the next phrase;  this is done by slowing tempo across the cluster(s) at
the conclusion of the phrase.

     Interruptions and discontinuities which are introduced using the soft-
ware's "staccato" function (which diminishes note duration 10% for each unit
of staccato, an integer 1 through 9) may be transparent to the listener but
are important to diction and definition in many ways.  They may signal the
start or the end of a phrase, tone down the brassiness in a one-voice line,
create a rhythmic pulsing in any part, even impart a "plucking" sound to
fragment a line.  Proper usage of staccato oftentimes requires the greatest
amount of discretion and is heavily influenced by context, tempo, subunit
size, separation of parts as to pitch, mood, and ascending/descending motion
of the prevailing melody.

     Tempo changes can be done globally, in large blocks, or even by the
note.  They can signal the onset of a cadence or stress a transition between
themes.  On a concluding chord, broadening time values of the note clusters
can create a broadened tenuto in preference to simply adding clusters.
Shortening tempo allows adding additional harmonic parts and can be used to
create sforzando.  Combining tempo shifts with added note clusters is vital
to proper embellishments as well as other facets of a piece.

     Certain pieces require internal tempo shifts which may or may not be
appreciated by the listener, but are vital to the execution of the work.  For
example, an acceleration may be noted when a series of four-part note
clusters shifts to one part harmony, more so in the EXE file than in the
corresponding MUZ.  Judgment must also enter into tempo decisions as faster
machines (286, 386) tend to add speed to executable files.  As demonstrated
by the files on this disk, the PC is quite capable of a range of tempos and
is not compelled to play its files prestissimo (or at high pitch), but the
PC's own nature may have to be dealt with.

     Key signature, as indicated by the composer, is often not within the
effective range of a PC or otherwise does not translate well from the written
instrument to the PC.  It is a very easy matter to shift key or octave at
will.  [Key shifting is also valuable in creating a second "string" from one
already recorded (for example, bringing the alto "string" down a minor third
rather than record a tenor "string" from scratch).]  With Beethoven and
earlier composers, the composer's choice of key signature is usually the
optimum in that their instruments approximate the PC in effective range.
PIANOMAN DOES BEETHOVEN            - 6 -         NOTES ON ADVANCED TECHNIQUE



════════════════════════════
   THE WORKS ON THIS DISK
════════════════════════════


                       ≡≡≡≡≡ Minuet in G-Major ≡≡≡≡≡
                       *******   MINUET-G    *******

     "Minuet in G" is in typical classical AA A'A' BB B'B' AA' form (where B
and B' represent the parts of the trio and A and A', the minuet).  With
Pianoman software, it was necessary to record only the four voices (strings)
for each of the parts A, A', B and B' (i.e., 16 initial text files, not 40),
merge the sets, and use block copying at the text editing stage for the
repeats.  A slight tenuto was added at the end of the second B' and final A'
using the software's copy and then tempo function across one or two note
clusters.

     There is a textural and dynamic contrast between the minuet portion and
Trio because the minuet is in four part harmony whereas the Trio is in two
parts.  For this reason, the divisor (applied during the merge process) for
the Trio created much larger initial subunits (before adjusting for tempo).
This enabled the Trio to be at a much faster final tempo with far greater
clarity of melody and harmony than the minuet.


       ≡≡≡≡≡ Six Variations on a Duet from the Opera Molinara ≡≡≡≡≡
       ********************     MOLINARA     **********************

     These six variations on an opera aria by the composer Paisiello are the
most representative of "classical" Beethoven among the files on this disk.
They were done in seven different merge files, the number of strings in each
and the divisor of the notes varying with each section.

     Added after the merge process were several embellishments (certain of
which "begin" and take time from the immediately preceding note, not on the
downbeat), phrasing such as minute breaks in a line, "broadening" up to and
over the crest of a phrase by altering the duration given the melodic com-
ponent of a note cluster, and the slight weight given to the completion of a
phrase by increasing time value of the note cluster slightly.

     Specific features to note are the delicate phrasing of the opening theme
(not done with tempo, but staccato at very precise intervals), different
kinds of ritards taken at several different points (straight line, geometric
decay, shelving), shaping of phrase lines (altering balance in note
clusters), 6/8 rhythms even between clusters of the same pitch (staccato
corrugation across specific clusters), diction in descending and ascending
melody (by combinations of tempo broadening, staccato interruption and
insertion of the briefest of rests).

PIANOMAN DOES BEETHOVEN            - 7 -         NOTES ON ADVANCED TECHNIQUE



     At many instances, the physics of the PC was at odds with the intent of
the composer.  This is especially prevalent where two-, three-, or four-part
harmony gives way to a one-part continuo in the bass;  the machine's natural
inclination is a sudden shift to mezzo forte after several measures of mezzo
piano, when a diminuendo is actually desired.  Overcoming this tendency very
artful manipulations, sometimes by the cluster, sometimes by the note.


             ≡≡≡≡≡ Seven Variations on the National Song ≡≡≡≡≡
             *******************   7-VAR   *******************

     [When Beethoven adopted this theme and wrote the Seven Variations upon
it, he was thinking of Great Britain's "God Save the King", and not the
American "My Country 'Tis of Thee".  Our own U.S.A. at that time was still
very much in the back woods.]

     7-VAR is illustrative of the range of textures and rhythms that can
emanate from a personal computer even in a single file.  From the march like
passages of the theme and sixth variation, to the contrapuntal second varia-
tion, to the triplet and seemingly accelerating coda, 7-VAR is a showpiece
not only of Beethoven's prowess for keyboard composition, but of the PC's
strengths and range as a keyboard instrument.

     7-VAR is an example of an "assembled" piece - a composite of ten or more
separate merge files, each originating from its own cluster of strings, each
with its own merge divisor - then the parts fit together, evened for tempo
and linked with an appropriate rest in between.  At one time 7-VAR existed as
eight separate files, however, delays between them as they "booted" could not
be controlled from PC to PC or from drive to drive and were far too large for
satisfying downbeats or smooth transitions in any event.

     Advanced editing of 7-VAR was aided significantly by the development of
"markers" in Pianoman software.  With the marker function, one can specify,
for example, Marker #1, to be placed at the beginning of, say, Variation 1.
Later on, no matter how many notes were added or deleted elsewhere, one could
"goto" Marker #1, wherever it appeared in the text file.  The software allows
up to 10 markers, uniquely identified by integers 1 through 9, and permits
locating the cursor by marker number, by previous or next marker (even if not
consecutively placed), by relative distance (as measured in absolute number
of notes) and/or by exact grid location.



             ≡≡≡≡≡ Sonata Pathètique:  Adagio cantabile ≡≡≡≡≡
             *****************   SPADAGIO   *****************

     This movement, denoted "Adagio cantabile" by the composer, is performed
at a moderate andante here.  As a keyboard composition, SPADAGIO is at the
cutting edge of what the PC is and is not able to do competently without
PIANOMAN DOES BEETHOVEN            - 8 -         NOTES ON ADVANCED TECHNIQUE



auxiliary hardware.  The physics of the instrument created indefatigable
tremolo in the primary theme at any slower tempo, and there was a great deal
of difficulty unifying the main theme portion (which was cut in 8) and the
secondary theme (which was cut in 12) without inordinate textural conflict.
Most of all, the PC's lack of dynamic control seriously undermines the range
of expression and interpretation available from the acoustic piano.

     The opening theme was merged such that 8 smaller notes occupied the
duration of an eighth note;  the second them was merged such that twelve
smaller notes occupied the duration of an eighth note.  This was necessary to
establish triplet pulsing in the lower parts.  The pulsing of the lower lines
is accomplished by alternate "corrugation" with staccato markings in the
final work (liberally marked and indicated in the pre-merged strings);  it
does not naturally occur in the composition.  Elsewhere in the composition,
rhythm and pulse occur naturally by movement of inner parts.

     Of all the works on this and perhaps that I have transcribed for PC,
SPADAGIO is most heavily reliant on the staccato function and in ways too
numerous to describe here.  As an exercise, one might globally cancel all
staccato throughout a SPADAGIO textfile to find the piece has lost all
substance -- no melody, no rhythm, uncontrolled vibrato, little difference
between main and secondary theme, and more.  Not to mention, degree of
staccato is just as important as location in a series of notes, and can make
or break the performance.

     In many sections of SPADAGIO, fifth and sixth harmonic parts were added
after merging, primarily to generate fullness in harmony, but at major
cadences, to create the illusion of thickness or and/or to create sforzando.
At some cadences, the number of note clusters was increased while the time
value per subunit was decreased for added emphasis and to mask vibrato
changes caused by the addition of fifth or sixth harmonic parts.

     The tempo of this movement very much relates to whether it immediately
follows the Allegro molto e con brio of the 1st movement and introduces the
Allegro of the 3rd.  To my mind, played apart from its companion movements,
the "adagio" cantabile does require a faster tempo, whether on piano or PC;
in this version, the limits of the PC were a major factor in determining
tempo, but admittedly, not the only one.


            ≡≡≡≡≡ The Moonlight Sonata: Adagio sostenuto ≡≡≡≡≡
            *****************   MOONLEIT    ******************

     MOONLEIT represents Beethoven the "romanticist".  It was composed well
into his adult life after hearing loss began to be obvious and intractable.
MOONLEIT utilizes pitches beyond the ability of the "sound chamber" or CPU to
generate effectively -- notes more than two octaves below middle C on the
piano.  In this case, however, they are only used to "double" the next
PIANOMAN DOES BEETHOVEN            - 9 -         NOTES ON ADVANCED TECHNIQUE



adjacent line and reinforce the low overtones produced by that line.  (The
fourth string was easily generated by dropping the third string an octave and
saving under a new filename.)  Beethoven may have relied on this "doubling"
on his instruments as well:  the equipment of his day (pianoforte) had not
yet acquired the iron-enforced soundboards necessary to transmit pitches in
those registers capably.

     The sixteenth notes against quarter triplets would have destroyed the
melody had they been accounted for prior to the merge stage.  (The subunit
sizes for the entire file would have been impossibly tiny.)  The illusion of
16th notes against quarter triplets was added later by prolonging note
clusters and wedging in 64th and 128th note rests as needed.

     Also added after the merge were the fifth harmonic parts (which
Beethoven himself specified) to accentuate triplet motion which, variously,
created rhythm syncopation, emphasized modulation, drew attention briefly
from the main melody and/or signalled the beginning of a new triplet pattern.
Details such as these in the original composition and added in the merge file
help to offset the PC's inability for dynamic expression.

     Beyond compositional aspects, MOONLEIT is effectively transferred to the
PC because its long, sweeping lines and phrases are conducive to a smoothly
flowing continuum of note clusters.  There is little or no "buzzing" or tone
conflicts such as created by faster moving or more intricate compositions;
the vibrato so unnatural in other settings is a striking asset, making
MOONLEIT among the most beautiful works in the PC's repertoire.



              ≡≡≡≡≡≡    * Nancy Moran                   ≡≡≡≡≡≡
              ≡≡≡≡≡≡      607 Park Avenue               ≡≡≡≡≡≡
              ≡≡≡≡≡≡      Baltimore, Maryland  21201    ≡≡≡≡≡≡
              ≡≡≡≡≡≡      U.S.A.                        ≡≡≡≡≡≡


               * Author of:  Christmas Concerts, vols. 1 and 2
                             1-2-3 BACH!
                             Pianoman Goes Baroque


               Comments or questions welcome.
PIANOMAN DOES BEETHOVEN           - 10 -         NOTES ON ADVANCED TECHNIQUE



════════════════════════════
 REFERENCES/FURTHER READING
════════════════════════════

Fleming, William:  Arts & Ideas: New and Brief Edition;  Holt, Rinehart and
      Winston, Inc., 1974

Harvard Dictionary of Music (2nd edition), ed. by Willi Apel, The Belknap
      Press of Harvard University Press, Cambridge, Massachusetts, 1969

Károlyi, Ottó:  Introducing Music;  Penguin Books, 1965

Stuckenschmidt, H.H.:  Twentieth Century Music;   World University Library,
      McGraw-Hill Book Company, 1969

Watts, Edith:  A History of Musical Instruments (pamphlet);  The
      Metropolitan Museum of Art (School Picture Set series), undated