Jniz V2 - HowTo. Most of the graphical components have tool tips, just move your mouse on components and you will get their actions.

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1 Jniz V2 - HowTo 1. Items creation and update... 2 Dot value edition Staves... 5 Solo mode Time Signature How to play the song Song navigation How to change the MIDI instrument How to add a percussion layer Keys and modulations Tempo setting Intervals panel Harmonic correction tool...18 Free style Summary of rules Rules about chords Rules about intervals Rules about non harmonic tones Chords analysis and visualization...37 By this way you can deny the Jniz chord notation.14. Non harmonic tones Non harmonic tones Minor melodic keys Solver Cadences Lilypond options Midi input by keyboard Midi input by audio / sound (experimental)...61 Sound-to-midi converter settings Default settings persistence Solver: advanced settings...67 Examples...68 Most of the graphical components have tool tips, just move your mouse on components and you will get their actions. 1

2 1. Items creation and update A right or left-click on the note at the left top corner: Opens the menu for editing items: You can also launch this menu thanks to a right-click on the editing area of items: The default value in the top left corner immediately changes: 2

3 Rules to know in using the accidents symbols Jniz is now completely tonal; it does not accept any notes which are not included in the current Key (except for the passing tones). A temporary modulation will be required if you wish to include a tone or a chord which is not in the current Key. An accident (including natural) for an item will be stored. For instance C5 # in C Major will stay C5 # even if you change the Key into Cbm. Rules to know in using dot and tie symbols The dotted item duration must already exist on the stave (see one example in Appendix). For instance, if you wish to add a C5 dot quarter, the selected stave location must exactly contain a quarter duration and an eighth duration. The tie option is only possible with adjacent notes. Notice that you have often the possibility to replace a tie by a (dotted or not) note with same duration. Shortcuts keys are also available: 0 to 4: Sixteenth to Whole note. 5 to 9: Sixteenth rest to Whole rest. s : sharp. f : flat. n : Natural. d : dot. t : tie. Space key: standard item without accident, dot and tie. Dot value edition How to create the following items? You can follow this way: first, create a quarter: 3

4 Change the default duration in half and click on the quarter: Change the default duration in 16 th and click on the rest: Change the default duration in half dotted and click on the first item: And you will get this result: 4

5 2. Staves A left or right-click on one key opens the voices menu: Solo mode You can affect a Solo mode to a specific To do this right click in the blank area on the left of Key: The area becomes gray meaning that the voice is in Solo mode. This mode turns off some specific rules (section 12): - Dissonances doubling - Specific doubling to the triad chords - Successive octaves - Successive unisons. These rules will not be checked by the solver for the voices with a Solo mode enabled. 5

6 3. Time Signature It is possible to change the time signature only at the start up (empty staves). A left or right-click to the time signature area opens the time signatures menu: The default value in the top left corner immediately changes depending on the time signature you choose: 6

7 4. How to play the song With the buttons in the left top corner: Play Pause Stop It is also possible to hear a single voice through the staves menu (cf. 2. Play Stave ). You can change the tempo before playing the song, in the right top corner of the screen: 7

8 5. Song navigation Ticks / Items scrolling: The scroll wheel of the mouse (middle button) applied on the editing area of notes allows you to move left (scroll wheel up) / right (scroll wheel down) in the song. - Shortcuts keys are also available: Left arrow : move in the left. Right arrow : move in the right. Staves / Voices scrolling: The mouse wheel (middle button) applied to the left of the editing area of notes allows you to move up (scroll wheel up) / down (scroll wheel down) in the voices. - Shortcuts keys are also available: Up arrow : move up. Down arrow : move down. You can play only a column (tick) with a right click on the measure area: You can erase the content (and only the content) of one column (tick) with a left click on the measure area and click 'Erase': You can also copy/paste a column (same duration & same key/tonality required). 8

9 6. How to change the MIDI instrument You can easily change the midi instrument for each stave by left or right-click on one key: Just click on the first line (which is the Instrument used in this stave). A new window appears: Just click on the Instrument you wish, the window will be closed and the instrument of the stave immediately updated: 9

10 7. How to add a percussion layer A left or right-click on one key allows you to bring up the voices menu: Click on New Percu Stave : A new Percussion stave will appear. You can change the percussion instrument as explained in the last paragraph 5: 10

11 8. Keys and modulations How to change the root key A left or right-click close to the Time Signature (on the right) opens the keys menu: Click on the Key you want, the accidents area will be automatically filled up: How to insert or change a key during the song A left or right-click on the key panel above the staves area opens the keys menu: 11

12 Click on the Key you want, the accidents will be automatically added: The new key takes effect until the next different Key. Keys explorer To hear the rest of the song in another Key can be very useful. To begin, rightclick on the Key area (blue rectangle CM): A list of the compatible keys will be showed. These Keys include necessary the tones of the column with the same number of chromatic semitones. The roman number following the Key label gives the chord notation in this Key: I or tonic chord in F minor for instance. A left click on the Key will change the column tonality (here CM to FM): 12

13 If you just wish to test a Key right click on the Key you desire to play. Jniz will continue your song with a few chords in the new Key. Basically Jniz creates a cadence (section 17) depending on the number of chords defined in the following list: By default, Jniz likes the good degrees and will play the following famous cadences: One chord: I (tonic) Two chords: V and I (dominant next tonic) Three chords: IV, V next I Four chords: II, IV, V next I Of course you can modify the cadences by clicking on the following symbol: This will open the solvers panel: 13

14 Thanks to this panel you can easily configure your own sequences (see the sections 15 & 16). Warning, if you add too many solvers the search time could drastically increase. During the search you can always stop the solvers by clicking on the 'Stop' button. You can also explore the nearby and distant Keys. In this example the both lists at the top left corner are associated to the two voices: The lists match to the voices and are sorted by level: root, third, fifth etc... Just add a flat to the third for instance (-1), Jniz will show the complete list of compatible keys with this new chord: 14

15 Choose the Eb major: 15

16 9. Tempo setting Just left/right click on the tempo at the right top corner of the window to change the tempo: 16

17 10. Intervals panel To show / hide the intervals panel just click on the Settings menu and Show the intervals panel. Move your mouse on an item will show you the intervals panel of this item: The first column gives the melodic intervals with the items of the previous Tick. The second column gives the harmonic intervals with the other items of the current Tick. The third column gives the melodic intervals with the items of the next Tick. This panel is automatically updated if you the change any value of the selected item. 17

18 11. Harmonic correction tool To show / hide the errors panel just click on the Settings menu and Show the errors settings panel. You can enable / disable the rules of your choice; the result will take effect immediately on the staves. Successive perfect fifths are forbidden: Just move your mouse on the error panel and you will see the items involved in that specific error. The other errors will be temporarily hidden. Continue to move your mouse to the right info panel: 18

19 Current and previous intervals: could be regular or crossed. The involved voices are between brackets (here voices number 0 and 1). The red messages give to you a few clues to solve the error. You have the possibility to deactivate these errors. Indeed, you can disagree with the Jniz decisions. Just left-click on the error message which will be bluecoloured: You can also add a personal comment so as to explain your decision. Just right click on the error message, add your comment and click Ok: Visually, the error will be only visible thanks two small red points on the left top corner of the note area: 19

20 These deactivations and comments are persistent and so saved on hard disk with your jnz file. Free style It is possible to completely deactivate the harmonic control tool of Jniz. So far, you will have the possibility to insert any note or accident you wish, without restriction. You need to start from an empty song and right-click to the duration panel at the left top corner: A green border will appear which means the free style has been enabled. You cannot use the keys / tonalities, neither chord notations nor solvers. You can now insert any tone or accident you want, there is no control at all: You can save / store / open these songs but it will not be possible to go back ie it will not be possible to use the keys / tonalities, neither chord notations and solvers for this kind of songs. 20

21 12. Summary of rules Here is the list of rules implemented into Jniz. A rule which is not satisfied will automatically generate an error message. Jniz does not replace the treaties of Harmony which are certainly more complete. However Jniz includes the main rules so as to spare you the most important mistakes. If you wish to get satisfaction in your work we encourage you to follow the Harmony courses in the schools and academies of music. Indeed it will give you the essential qualities in composition such as method, anticipation, rigour and speed for the work to do. Even if the power of Jniz gives you the possibility to explore a lot of combinations, Jniz is only a checking and correction tool. It will never compose for you it is not the initial goal of the project Rules about chords Doubling in the triad chords (no inversion) Concerning the VII chord (on the seventh degree of key) Jniz does not accept the third doubling. Only the root doubling will be allowed in the II minor degree. Concerning the other chords (I, III, IV, V, VI) all doublings are accepted. Except for the third and fifth which must be imperatively the good classified degrees (I, IV, V) of the used key. Doubling in the sixth-chord (first inversion 6) No ban except for the bass doubling: only the super tonic chord followed by the dominant chord (II6 and V) has permission to double the bass. The fourth-sixth-chord 6/4 This powerful chord needs a lot of complex rules which are not easy to code. Its use is mainly common in the cadence formulas. Doubling: - Concerning the VII chord Major and minor (on the seventh degree of key) Jniz accepts only the sixth doubling (here the D): - 21

22 - Concerning the II minor (supertonic) Jniz accepts the sixth and fourth doubling. - For other chords Jniz accepts the bass and fourth doubling Preparation: The perfect fourth interval is a little bit hard to hear. That is why it is necessary to prepare this interval by the fourth or by the bass. So it is common to hear the bass or the fourth before, in the previous chord and the same voice (here the G in alto voice): It is not necessary to prepare the tonic chord (I) and the diminished chords (VII Maj and min and the minor supertonic chord II m). However the direct fourth of the tonic chord (I) between extreme voices will be reported in error (some authorisations exist, not checked by Jniz): Resolution: The resolution of the fourth interval is mandatory, either the fourth or the bass must be heard in the next chord and voice (here the G bass): 22

23 Seventh to tonic The seventh degree of the used key is not a stable tone. It must respect an obliged motion. So the seventh must go up to the tonic in the following chord. However, there is no obligation if this following chord does not include the tonic. Jniz will check this rule including the previous exception. False relation The false relation is the successive chromatic friction between two different voices (here B - Bb) which sounds uncomfortably: This relation can be accepted if one of the involved voices (here the soprano) proceeds itself to a chromatic motion: 23

24 Tritone relation This false relation happens when two successive notes of different voices form an augmented-fourth interval. Jniz does not accept this relation in the V-IV triad chords sequence between extreme voices (Soprano - bass): Dissonances doubling Jniz does not accept the doubling of dissonances (7 th, 9th etc.). 24

25 Dissonances preparation Apart from the dominant chord (V) the dissonances must be prepared. So it is common to hear the dissonances before, in the previous chord (here the C has not been prepared): The dissonance is a tension it is better to prepare and to play the same tone before with a tie or not. Dissonances resolution In the same way, the dissonances must be well resolved. So the dissonance must proceed by descending motion of one tone or one half tone. But the dissonance can also keep in place (no motion) or can proceed by ascending motion of one half tone. Other motions will generate an error message from Jniz. Jniz checks also the resolution doubling and does not accept the direct motion of the resolution: 25

26 12.2 Rules about intervals The harmonic and melodic intervals must also satisfy a set of rules more or less strict. Forbidden melodic Intervals By default the following melodic intervals are outlawed: the diminished, augmented intervals, the tritone, the minor and major sevenths and the intervals greater than the octave. On the contrary the following intervals are allowed: The perfect unison, chromatic interval, second and third, minor and major sixth, perfect fourth, fifth and octave. Voices crossing To cross the voices is forbidden (here the C in alto voice which is greater than the G of Soprano): Clearly, the Jniz engine does not guarantee reliable solution with crossed voices. If you wish to cross some voices you must check yourself the integrity of the complete set of rules. Direct fifth The direct fifth (direct motion of the voices) must check some precise rules (here F-C with error): 26

27 They are allowed between extreme voices (soprano bass): With the I, IV, V chords if: The soprano (or higher voice) proceeds by step: With the other chords if: - The soprano proceeds by descending motion of one half tone: - For the voices different of extreme voices if: The higher voice proceeds by step (ascending, descending): 27

28 One of the two tones of the fifth is already in the previous chord (here the G alto with the previous G bass): or the lower voice proceeds by step (ascending, descending) only for the good degrees (I, IV, V): Direct octave The direct octaves are also checked by Jniz. They are allowed between extreme voices (soprano bass): With the I, IV, V chords if: Soprano proceeds by half tone (descending, ascending): 28

29 Or the soprano proceeds by descending major second: For the voices different of extreme voices if: The higher voice proceeds by step (descending, ascending): The lower voice proceeds by ascending step only: 29

30 Or the two chords have a common note (here A of the both F keys): Direct unison The direct unison is strictly forbidden: Successive fifths, octaves or unisons Greatly prized by hard rock musicians (smoke on the water, Deep Purple) these sequences are unfortunately forbidden in the classical studies : 30

31 The unison followed by one octave is also forbidden: 12.3 Rules about non harmonic tones Jniz checks the rules associated to this kind of tones (definition in section 14). The non harmonic tones are not involved in the chord notation. Broderies or auxiliaries The ½ tone friction with a real note of the chord must be checked: It is under your responsibility to justify these frictions because Jniz does not check the exceptions. So the ½ tone friction between an inferior auxiliary of one tone with a real note ½ is always bad. In another hand, the ½ tone friction with auxiliaries by superior tone or inferior half tone is good. The auxiliary of unison is always forbidden: 31

32 It is not possible to double the auxiliary resolution by direct motion: Passing tones The 1/2 tone friction between a real note of the chord and a passing tone will be checked by Jniz. It is not fair to finish with the unison: And also to finish with the octave : 32

33 Some exceptions exist but are not checked by Jniz. Suspension The tied note is characteristic of the suspension which cannot be heard with it delayed note especially when the suspension is below the delayed note: In another hand, Jniz does not generate any error if the suspension is above the real note. But a harmonic interval of ninth at least must exist between the suspension and the delayed note: 33

34 Jniz bans the 1/2 tone friction between the inferior suspension and other notes of the chord (here the C with B): It is not possible to double the suspension resolution by direct motion: Appoggiature Only the strong appoggiature will be checked by Jniz. So you must verify yourself the double and weak appoggiatures. They are very similar to the suspensions and so respect the same rules. The appoggiature cannot be heard simultaneously with it resolution especially if the appoggiature is below: 34

35 But Jniz does not generate any error if the appoggiature is above the real note. And a harmonic interval of ninth at least must exist between the appoggiature and the real note: Jniz will return the chromatic frictions between one appoggiature and the real notes of the chord. You must check and hear if the result is satisfying. Finally, here are the freedoms you can use when arriving to the appoggiatures (not checked by Jniz): - The melodic augmented intervals - The fifths and dissonant intervals by direct motion - The successive fifths - The false chromatic relations You will remain the last judge. 35

36 Pedal A pedal sustains a note from any voice and is not included in the chord notation. Nevertheless, it could be fine to check that the pedal does not finish with the unison by half tone. 36

37 13. Chords analysis and visualization The chord notation is present at the bottom of the screen: Move the mouse on the chord symbol will show you the specific features of the chord: A missing third will be indicated with a red exclamation mark close to the root note: 37

38 And an unstable chord will be completely red (more than one missing harmonic note): Any chord inversion will be indicated in the title: 38

39 And also a small number close to the chord notation (here the 1 st inversion): To show the chords in roman notation just click on the Settings menu and general settings. Click and enable the following checkbox: Additional comments You have the option to add comments at the bottom of the screen in the chord notation areas. To do this right-click on the chord notation: Write your comment and do not forget to click on Ok: By this way you can deny the Jniz chord notation. 39

40 14. Non harmonic tones It is very important to recognize the non harmonic tones because the chord notation does not include this kind of notes. Many rules concerning this type of tones have been added into the Jniz engine (documentation in development). Jniz will detect automatically the non harmonic tones which will be orange coloured: But you must confirm these tones so as to change their colours. Just click closely and on the left of the tone and a confirmation panel will appear: 40

41 Jniz suggests an appoggiature but you keep the possibility to choose another one. Basically Jniz lets you the responsibility to decide because Jniz cannot recognize the complete set of non harmonic tones (double appoggiature for ex). The important thing to remember is that Jniz does not include this kind of tones during the chord notation analysis. You can easily change the colour of these non harmonic tones by clicking on the settings menu and general settings: 41

42 Non harmonic tones recognition To correctly analyse the chords notations, Jniz must ignore the non harmonic tones (confirmed or not). Anticipation The tone must be on a weak beat or a weak part of a beat; it is a kind of advance sounding of a tone. It is rhythmically like an up-beat to the tone anticipated. The tone must have an oblique motion with the next tone which is on a strong beat or a strong part of beat. The anticipation does not share the same chord root with it next tone: 42

43 Appoggiature 1. If the tone is on a strong beat or a strong part of beat (strong appoggiature) and without preparation (no tie with the previous tone): The motion must be by step with the next tone which must be on a weak beat or a weak part of a beat. The appoggiature and it next tone must share the same chord root: 43

44 2. If the tone is on a weak beat or a weak part of a beat (weak appoggiature) and without preparation (no tie with the previous tone): The motion must proceed by step with the next tone which must be on a strong beat or a strong part of beat. The previous tone, the appoggiature and it next tone must share the same chord root. The motion between the appoggiature and it previous tone must proceed by leap. Auxiliary (Broderie) It is approached by either a half or a whole step from the tone it ornaments and it returns to that tone. The auxiliary tone is on a weak beat or a weak part of a beat. It must be prepared by a step motion and also continued with a step motion but opposite. These three involved tones must share the same chord root: Cambiata The Cambiata is the result of having gone too far so that it is necessary to turn back by step to the note of destination. This tone is on a weak beat or a weak part of a beat and continued with a motion by step to a strong beat or a strong part of beat. The Cambiata does not share the same chord root with it next tone: 44

45 Echappee The Echappee is like a note escaping from the direction of the melodic movement and having to return by skip, that is, by an interval larger than a second This tone is on a weak beat or a weak part of a beat, prepared by a motion by step and continued with a motion by leap to a strong beat or a strong part of beat. The Echappee does not share the same chord root with it next tone: 45

46 Passing tone A melodic skip may be filled in with tones on all intervening steps, either diatonic or chromatic. These are called passing tones which are the most frequently used non harmonic tones. This tone is on a weak beat or a weak part of a beat. The previous and next movements proceed by step in the same way. Previous and next tones could be either passing tones or harmonic tones: You can alter the passing tones (add a sharp, flat etc...). Right click on the passing tone so as to open the edit panel (section 1) and choose a flat for instance: 46

47 The suspension The suspension is on a strong beat or a strong part of beat and tied with the previous note. It is resolved with a step motion on a weak beat or a weak part of a beat. The suspension shares the same chord root with it next tone: Pedal A pedal sustains a note from any voice even the bass is the most frequently used voice. The pedal is not involved in the chord notation except for the first and last notes. To create a pedal is quite simple: insert a note identical to the previous note, left click in front of the second note, and choose Pedal: 47

48 It is necessary to repeat the same action for each note you want to transform into pedal. 48

49 15. Minor melodic keys You can insert the altered degrees specific to the minor melodic key. Like the non harmonic tones, Jniz will ignore this kind of notes which will not be included in the chord notation analysis. Let's take an example in A minor: insert an altered sixth degree of the ascending melodic key. Jniz will return an error because of a forbidden melodic interval: Just add a sharp to the sixth degree: And the error will disappear: In the same way you can alter the seventh degree of the descending minor key : 49

50 16. Solver To launch the solver left-click on the chord notation at the bottom of the screen: The solver screen will appear: Note that the number of possible combinations is displayed depending on the default settings (here combinations). Check or uncheck the options you desire: Authorized chord roots: the solver will return solutions with chords including only the checked roots. With the 'Inv' button you can reverse the selection. Chords complexity: the solver will return chords with a particular complexity. For instance, if Third and Fifth are checked the returned chords must only and absolutely contain a third and a fifth. If you wish chords with third, seventh and ninth just check theses three items. Take care to have enough voices to get complex chords: it doesn t make sense to find complete ninth chords with only 4 voices. A drop-down list allows you to select a specific complexity: 50

51 Jniz will return solutions with complete or not complete chords but with a fifth. In selecting one item of this list Jniz will ignore the other checkboxes of the Chords complexity panel. Inversions: the solver returns only chords with checked inversions (0: no inversion). Voice(s) to ignore: the solver will ignore the disabled voices. It is a good way to reduce drastically the number of combinations. It is usual to keep the Soprano and Bass voices for instance. With the 'Inv' button you can reverse the selection. Empty voices (rests) can be automatically filled up by Jniz in according to the pre-defined rules of harmony (section 11). Let's take the following example: 51

52 Open the solver screen and invert the voices to ignore: In this way, Jniz will keep the first voice (0 is the Soprano) and it will fill up the other voices. Run the solver and show the first solution: With the cadences (section 16) you can serialize the solvers so as to get some solutions with filled voices. For instance you can complete a single Soprano voice with the chords of your choice in according to the pre-defined rules of harmony. The Repeated Tones drop down List forces the Solver to repeat some previous tone(s). The both lists define the number of previous notes which can or must be repeated: The first list defines the comparison operator which uses the selected item of the second list: <= Jniz must repeat the number of notes defined in the second list at the most. == Jniz must exactly repeat the number of notes defined in the second list. >= Jniz can repeat the number of notes defined in the second list at least. For instance >= 0 means that Jniz can repeat 0, 1, 2 etc... Notes of the previous chord. It is the most permissive option (by default). 52

53 The checkbox close to the both lists allows Jniz to return inconsistent chords. For instance a ninth chord without fifth and seventh. After that, you can run the solver by clicking the Search button. Depending on the number of combinations, it could take a long time... You can stop the search process with the 'Stop' button. Indeed, even with the multi-cores option, the search time may take a long time and your processor could warm up, take care! You can navigate in the solutions list thanks to the Next and Previous buttons. You have also the possibility to test and play the solutions applied to the song by checking the Sound checkbox then 'Play'. The following items are always ignored by the solver: - Non harmonic tones - Tied tones - Rests 53

54 17. Cadences It is now possible to define some cadences with Jniz. A cadence is simply a sequence of chords which serializes some solvers. The solvers are linked together in respecting a temporal order. Jniz will return some solutions in compliance with the solvers settings. Let's take a very simple example to harmonize: Click on the third chord notation (B), run the solver then click on the + sign in the cadences panel (the sign remove the last inserted solver): A second solver appears which is associated to the second column (A): 54

55 Click again on the + sign so as to add a third solver (B). Invert the voices to ignore so as to keep the soprano voice. So in this manner, the other empty voices will be automatically filled up by the solver: Change the chord roots so as to build the famous I IV V cadence: Finally, modify the chord complexities so as to keep the consonant chords: Click on the Search button: 55

56 And 'next' to show the first solution: So Jniz can fill up the empty voices following the chords sequence of your choice, the possibilities are absolutely unlimited. Warning, the number of combinations and so the time search increases drastically with the number of solvers and voices. For instance, a four chords sequence with a soprano voice to keep and four voices to fill up could take a long time even with a fast processor (here an Intel Core i7-4850hq 2.3GHz, 8 virtual cores): Because of the large set of pre-defined rules of harmony and also the dizzy number of combinations (see the huge number after the /). During the search the 'stop' button can immediately kill the solvers processes. Jniz takes advantage of the multi-cores architecture: Jniz break down the solvers into several agents of recursive searches and these agents are performed as parallel tasks. Conclusion: 100 % used, the speed processor and it number of cores are essential for the speed analysis of Jniz. With the following buttons you can save/delete your cadences: 56

57 With the drop down list on the left you can select a cadence from the saved cadences list. Warning, the list returns only the cadences with a number of voices (4 by default) and chords corresponding to the number of used voices and showed solvers. The cadences are persistent and stored on hard disk. The next button restores the cadences by default: Warning, this irreversible action deletes all your pre-recorded cadences. To link the solvers can be useful if Jniz cannot find any solution which is finally a common case! Because of the previous chord which imposes restrictive rules on the next chord for instance. In this case, you can add some solvers on the previous chords / ticks so as to enlarge the scope. Jniz will modify the previous chord(s) depending on the solver settings defined by the user. With the increase of combinations, you will be probably luckier to get more solutions. 57

58 18. Lilypond options You can easily merge your voices in your Midi, Pdf or Lilypond files. Click on the Settings menu and Lilypond export options. If you wish to merge the G keys on a same stave and F keys on another stave, you can proceed like this: And the generated Pdf will be: The Export midi checkbox will also generate a midi file (Lilypond and pdf export). 58

59 19. Midi input by keyboard Midi input proceeds here by step. The default duration at the left top corner of the screen will be chosen by default. So do not forget to change the rhythm you wish before. You can also choose rests instead of tones. You have to plug your midi keyboard BEFORE running Jniz. You will recognize your keyboard in the keyboards list: You must assign here your keyboard Warning, before to input any note you must absolutely assign a REAL keyboard in the previous list. Jniz would risk crashing otherwise. In second step, click on the left area of one stave to initialize the midi input. A vertical red bar will appear: After that, click on the stave where you wish to input some tone or rest. The cell s background will change into gray colour: Type on your keyboard, the tones or rests will be displayed on the stave: 59

60 Important: to be displayed, the tone must be in the chosen key. For instance and because Jniz is deeply tonal, it will be impossible to insert a B flat in C Major with the keyboard. 60

61 20. Midi input by audio / sound (experimental) The notes / tones can be also inserted on the stave from any audio monophonic signal. Jniz includes an audio-to-midi converter which works in real-time. You just have to whistle, sing or play one instrument and to send the sound to Jniz thanks to an input line such as a microphone. Jniz will transform your audio signal into note on the stave. To proceed click on the Sound-to-Midi menu and choose a peripheral: Choose a valid input device; unfortunately the list above could contain no compatible devices. If your device is valid a red icon will appear in the left bottom corner of the screen: If you wish to check the recording, click on 'Settings' in the Sound-to-Midi menu. The trace windows will be opened: 61

62 In the bottom of the windows you will see the converter working and the signals detected in real time. Try to whistle or sing a note in the current key and after a few tenths of a second you will see a recognized note (here one note of 85 1/2 tones): In second step you can now transform the signal into note / tone on the stave. For this, you just have to follow the used method in the previous section (ref 19): Click on the left area of one stave to initialize the midi input. A vertical red bar will appear: After that, click on the stave where you wish to input some tone or rest. The cell s background will change into gray colour: Sing, whistle or play an instrument but attention to the Key because Jniz checks the keys. You must send a note which must be included in the current key. For instance Jniz cannot insert a B flat if the used key is C major (no accident). In this way Jniz can help you to learn, discover the keys and improve your ear for music. You can also disable the key checking by using the Freestyle mode (ref 11.1). The recording can be stopped by clicking on the red icon in the left bottom corner of the screen. 62

63 Sound-to-midi converter settings The first field sets the threshold for frequencies. A same frequency must be repeated a number of times to be accepted by the converter. The converter performs its analysis regularly (every 0.02s on average). For example the value 10 means that the frequency must be heard 10 times by the converter to be accepted. The second field defines the latency between two notes. The converter is somehow in sleep before resuming its detection. The third field defines the RMS threshold that is the rms value of the signal. This eliminates ambient noise, too weak signals. The fourth field defines the probability of the signal, higher is the value more precise must be the frequency. The fifth field defines the lower limit of the number of semitones. Below this threshold, the lower notes will not be accepted. The sixth field defines the higher limit of the number of semitones. Above this threshold, the higher notes will not be accepted. 63

64 21. Default settings persistence The default settings are persistent and saved on hard disk. In starting up Jniz will use these settings. It avoids rebuilding your preferred settings. You can easily change the default settings by clicking on the settings menu and general settings: From the left top corner here is the default settings list: - The number of G keys by default. - The number of F keys by default. - The number of percussion keys by default. - The number of extra lines above and below the stave (here 3) : - The key by default (here C major) - The number of undo / redo actions - The language by default - The scale by default - The sequencer by default - The tempo by default - The multi-cores option - The roman notation (I, II, etc.) 64

65 And the associated colours to the non harmonic tones. This button restores the settings by default: You can also hide the error messages generated by the rules checking process. Just enable the following check box: And the red error messages will disappear. You can avoid the chord notation repetitions by checking this box: Otherwise each chord will be displayed even if it is the same as the previous chord. You can display the first letter of the non harmonic tones by checking this box: You can identify more easily this kind of notes, in addition to the colours: The last list field adjusts the visual progression speed during the song playing: A visual progression will be showed thanks to a blue border on the measure panels: This setting adjusts a positive or negative latency so as to synchronize the visual progression to the playing speed. This latency depends on your processor and your operating system, it will be necessary to adjust it if you note some issue of synchronisation. 65

66 Usually the following values are assigned: OS X: -5 Linux: 0 Windows: 0 66

67 22. Solver: advanced settings Open the solver window: Click on this symbol to get the solver settings: The first MC Field enables the multi-core mode. Jniz automatically enables this setting depending on the capacity of your processor. Note that this option is not available if your processor is not multi-core. The second field is the maximum number of solvers that can be used in serialization. Attention, the number of combinations is depending on the number of solvers. The exploration time solutions can increase considerably. The default value is 5 which can be considered as reasonable. The third field defines the maximum number of processes that can run in parallel mode in searching for solutions. This number is based on the power of your processor; adjust it to observe potential gains in terms of speed. The following fields are used to set the chord complexities from the third to the 13th. By default, the launch of the solver window automatically activates the third and fifth but you can change these options to obtain other combinations. The last field (inv.) reverses the selection of voices to ignore. If this field is not enabled Jniz will ignore the voices containing rest. Otherwise, Jniz will ignore the voices containing notes / tones and therefore seek to fill empty voices (with rests). 67

68 Examples Some Jniz samples are available here Download the jnz files of your choice (right-click the link and download as) then open it in Jniz. 68

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