The PDF versions of the user manuals of Pizzicato 3.5 are now available for download on page:
www.arpegemusic.com/manupdf.htm
+++++++++++++
Here is some additional information about Pizzicato Composition Light and Pizzicato Composition Pro.
These versions were developed to give you the intuitive composition tools, i.e. to help you compose music more intuitively. For instance, there are tools to analyze and find chords on a given melody, to explore harmony, to combine rhythmic and melodic phrases, to create secondary voices, to add rhythmic accompaniments, etc.
Even if these two Composition versions use the standard music notation symbols, they will not let you layout the music on a sheet of paper nor print it.
The result of the composition is a MIDI file, a WAV file (that you can use to burn a CD) or a musicXML file.
A musicXML file is used to export the score to a music notation program like Finale, Sibelius, Notion, that you can use to layout and print the score.
You can also combine one of the Composition versions with Pizzicato Beginner or with one of the specific versions (Keyboard, Choir,...) so as to work the page layout and print the score according to the specific version.
The full solution, offering all notation and printing features and all the intuitive composition tools, is only available in Pizzicato Professional.
+++++++++++++
A corrective update of Pizzicato 3.5.1 is now available for download on page:
www.arpegemusic.com/clients3.htm
If you already have Pizzicato 3.5, you can download the fast upgrade 3.5.1 in the second part of the above page.
You will find in it an improved version of the music font. The font has been reviewed by our Italian partner, Marco Aragona. The shape of the notes as well as a few other symbols have been improved graphically.
As the music font is already installed on your computer, it will not be updated automatically. If you want to install the new font, you can find it in the folder Programs / Pizzicato 3.5 / PI_____.ttf (Windows) or Applications / Pizzicato 3.5 / Pizzicato.ttf (Mac). Install it by replacing the old one.
+++++++++++++
Last time, we examined how to add musical interest to a melody with the use of rhythmic harmonics. But what about using them in the structure of an accompaniment, a quatuor, a rock band or a symphonic orchestra?
If all instruments in a band would always play the same rhythm, polyphonic music would be rather monotonous.
The introduction of one or more instruments (or voices) to accompany a melody may be done in various ways, but the common point is to diversify and add interest to the existing melody.
You can vary the instrument sound, act on the melodic diversity or on the rhythmic diversity and of course the three may be combined.
1 - The sound of the instruments
A simple melody can be made much more expressive just by changing the sound of the instrument that plays it. Here is an example, first with a simple sound, then a more real instrument, then a ensemble.
Singing a melody with lyrics will of course make the sound more rich and the melody more interesting, as well as some effects like reverberation. Listen to this Plain-chant example:
You can always increase the expression of a melody by combining several instruments to play it.
2 - Melodic diversity
The other instruments will play different notes than the main melody. The fact that more than one note is played at the same time introduces the concept of chords, as experience shows that only a limited number of note combinations have a nice effect together. The study of the nice combinations of notes, their context and sequencing is the subject of a full development since the beginning of polyphonic music. It is called harmony.
The simple fact of playing different melodies, even with the same rhythm for all instruments, adds inevitably a new dimension to music. Here is an example of the above simple melody for several instruments, with the same rhythm:
3 - Rhythmic diversity
If we add also new rhythmic content, another dimension is created. By listening, we perceive that various elements happen together in the time dimension. Here is an example, still with the above small melody:
So that rhythmic diversity gives a coherent accompaniment, the voices must have a rhythmic relationship with the main melody and also between themselves.
This is verified when the voices have simple harmonic relations between themselves. In the above example, the main melody is based on quarter notes and slightly varies around the quarter note, using occasionally eighth notes and half notes. If we take the measure duration as a reference (4 quarter notes), the quarter note is harmonic 4 of the measure duration.
The second voice is base on the half note, which is harmonic 2 of the measure.
Voices 3 and 4 are based on the full measure, the whole note, which is harmonic 1 of the measure. Harmonic 2 is also used occasionally (two half notes).
Voice 5 uses eighth notes, which are harmonic 8 of the measure or harmonic 2 of the main melody.
Rhythmic layers
A rhythmic layer is made out of one or more instruments that seem to form a unit to the ear.
In the above example, the instruments are all present at the same time. A way to make an atmosphere evolve is by sequencing various rhythmic layers at different points in time. The auditor's attention is then each time renewed and the interest for the music is continued.
At any time, something happens in the music and the auditor may follow the various rhythmic layers. Listen for instance to the following example:
Transformers Score -The Final Battle - http://www.youtube.com/watch?v=pciJxbhEeDw&feature=related
This is typical to film music, as it must follow the corresponding atmospheres of the film. Listen to it by noticing when the various elements of rhythmic layers appear, how they evolve and when they disappear. A the most intense moments, you will find many rhythmic layers, often based on fast rhythmic elements, with higher rhythmic harmonics.
The tension is often added by using faster rhythmic elements but also simultaneous rhythmic layers where harmonics combine themselves or oppose against each other. The calm moments are created by slower harmonics and more regular relationships between the harmonics used.
You will find several rhythmic layers in most music. For example, in piano music, the left and right hands are often responsible for two different rhythmic layers. In other styles than above, listen to the following examples and try to notice the various rhythmic layers used by the composers.
- Beethoven, Moonlight Sonata http://www.youtube.com/watch?v=zKl72bR0D4I
- Chopin, Fantaisie Impromptu, Op 66 http://www.youtube.com/watch?v=tvm2ZsRv3C8
Practical application
As simple as they may look to you, the above observations apply directly to music composing. I suggest to you a practical application as follows.
- Start Pizzicato (in shareware or evaluation version if you do not have a license)
- Write the notes of a single melody, from your own imagination. Or a simple scale if you do not feel inspired, or even an existing melody that you like.
- Listen to it and modify the rhythm by using the rhythmic harmonics as explained in the last article.
- Once the melody is the way you want it to be, select another instrument for the next staff and decide which rhythmic value it will use to accompany the melody. Select notes that sound good with the melody, based on chords if you know them, or just by sheer testing and trying: select a first note and listen to it, change it and listen again until you like it. Does it sound good? Then keep it and test now for the next note.
- According to the Pizzicato version you have, you can also create small rhythmic phrases, for instance with percussion instruments, to increase or decrease the music tension.
Do these exercises by concentrating mainly on the rhythmic aspects, which is the point stressed in our last articles. You can for instance create a score with various instruments, all based on the C Maj chord (C - E - G) and work on different rhythmic layers on an orchestral score with the same notes over and over, by varying the rhythm, the layout and the instrument combinations.
Take the holyday opportunity to make some music!
Dominique
Vandenneucker
Designer of Pizzicato.
You can always contact Blair
Ashby, at Aunyx Productions, Inc. for any information you
need on Pizzicato and the way to use it.
