Text font and style can be chosen.Ĭomment, to write remarks aboutthis effect.
The effect name, which is displayed on a score to the rightof the icon. Plays a bitof the staff this effect is assigned to.
While editing an effect processor, the name ofthe staff containing the effect is displayed in the window title bar. On a score, the staffan effect processor is applied to is the one including the top edge ofthe effect's icon. Thisicon can be chosen from amongst a set of predefined icons ("Change" button)or drawn with the integrated icon editor ("Edit" button). At the bottom of the window : The Icon used to display this effect on the score. You can edit these parameters by entering their value withthe keyboard or by moving control handles on the graphics.
On the right, parameters for this effect type. Stop, which means this effect type is stopped and is not used anymoreto process the sound.Do not modify, which means this effect type is unchanged and keepsthe previously set parameters.Two icons are available for any effect type : In the middle, the way this effect type is applied tothe sound. These effects typescan be cascaded to produce the sound you wish. In the effect editing window, you can see : Later, you will be able to double-click on the effect with the lassotool to open the effect editing window again. Select the "Effect processor" tool (blue footswitch icon) in the "Miscellaneous"tool palette and click where you want it to be inserted in the staff. Several predefined effect processors are provided with the software,but you can easily define your own, and then insert them into your tunesor share them with other users. As many effects as you need can beinserted in a staff : instrument sounds can then be changed while musicis playing.Įffect processors can be applied to standard sounds as well asto user sounds. These effect processors are organised like a guitar multi-effect footswitch: several effect types can be cascaded in order to changethe original sound of the instrument. I would call it "the chords are not weird but the changes are".ĭoes all the above actually make any sense? I'd like some more read on the subject if anyone have.When using digital output, you can apply effectprocessors to the sounds produced from a score.Įffect processors are available in Melody Assistant from version 4.3and in Harmony Assistant from version 6.3. That's pretty much almost every possible major chords of the chromatic scales. I mean, II III and VI are pretty common but rock also use stuff like bII bIII bVI bVII and other borrowed chords on a daily basis. However, the horizontal harmony is very "random", unexpected and I mean in a good way. We often have straight-forward major and minor triads, and an awful lot of times just power chords. On the other hand, rock usually has minimalistic vertical harmony. "The chords are weird but the changes are not" is what I would call it. Meanwhile, the horizontal flow of chords often follows some expected patterns and rules (mostly ii-V-I). This result in some crazy chord like 7susb9#11 and such. We have chords with lot of notes, typically seventh, and usually extended and altered.
In jazz, the interesting part is in the vertical harmony, i.e the structure of the chords. I'll try to describe it at best as I could: I'm not sure if these terms exist or not, but listening to different genres of music and studying their theory has led me to realise a few things regarding harmony.
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