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PC-SIG Diskette Library (Disk #1397)

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Information about “PIANOMAN GOES BAROQUE”

Baroque music lovers will treasure this latest PIANOMAN artistry by
Nancy Moran.  Ten 18th Century compositions by Scarlatti, Telemann,
Wagenseil and Karl Philipp Emanuel Bach are transcribed and adapted for
the PC.  Under Ms. Moran's hand, these 32 minutes of delight prove the
ordinary PC to be a musical instrument of great range and diversity.

Ms. Moran, who also authored PIANOMAN DOES BEETHOVEN, PIANOMAN
complex heights while seeming to give the PC a new voice.


║              <<<<  Disk No 1397 PIANOMAN GOES BAROQUE  >>>>             ║
║ To start the program, type PG-BAROQ (press enter)                       ║
║                                                                         ║
║ To look at the documentation on your screen, type VIEW (press enter)    ║


                      ║   PIANOMAN GOES BAROQUE   ║
                      ║  NOTES ON THE INSTRUMENT  ║

    As primitive as it might appear, the personal computer is in fact a
musical instrument of great range and diversity.  Not only does its speaker
have an effective range of six octaves or more (and an actual range well
beyond that), but the body of the CPU is as much a resonating (and amplifying)
chamber as the body of a cello.  Upon specification and direction by software,
sound waves can be generated by the speaker and then blended and amplified by
the CPU.  What the ear perceives is a composite of many elements, many below
the threshold of human perception.

     The "music" induced by these files through the speaker and CPU of the PC
relies on only three software-controllable elements:  pitch, duration and
silence, delivered to the speaker linearly (like Morse code) and not as
chords.  However and for example, the files in "Pianoman Goes Baroque" deliver
pitch codes to the speaker in groups of anywhere from one to six, duration of
pitch is varied anywhere from 14 to 540 msec, and silence appears as rests,
almost imperceptible interruptions or "corrugation" of note clusters.  There
is a great deal more artistry in playing the PC than superficial appearance

      Throwing a stone into a calm pond demonstrates wave generation in a
roughly two-dimensional system.  The wave form created by the stone can be
amplified and its frequency altered by throwing in a second stone.  Throwing
in the second stone just at the nadir or crest of the wave from the first
stone can create a "harmonic" pattern where the two waveforms are complemen-
tary.  Tossing in stones with the right size and shape at the right points at
the right time intervals can produce "symphonic" wave formations over the
surface of the pond.

     The CPU, its motherboard and add-on cards, and expansion slots are in
actuality a three-dimensional model of the two-dimensional pond.  The mother-
board and add-on cards serve in the same "musical" capacity as the struts in
any of the stringed instruments.  The speaker itself functions much like the
reed on a clarinet or oboe.  The speaker emanates tones at a particular
frequency for a preset duration, which thereafter fill the CPU with waveforms
which resonate inside the box and are thus amplified by resonating prior to
escaping through slots to the exterior.

     In the case of computer-assisted music-making by manipulation of speaker
output, it is possible to specify extremely minute patterns of pitches and
durations of pitches which collectively reinforce each other (by natural
overtone series) and/or which "pile up" prior to exit from the CPU such that
"harmony" is created.  In that the actual lengths of the soundwaves corres-
ponding to the pitches (frequencies) equal or are integer multiples of the 
PIANOMAN GOES BAROQUE              - 2 -              NOTES ON THE INSTRUMENT

dimensions of the CPU, a certain amount of dynamic (loudness/softness) and/or
textural influence can be exerted by exploiting physical occurrences outside
direct software control.  For example, "silence" in the form of rests or
staccato can yield tiny eddies or interruptions much like tongue stops on a
wind instrument or plucking as opposed to bowing a string instrument.

     As with any musical instrument of any sophistication, the PC is not
easily learned;  it does require a great deal of practice and preparatory
learning.  Further, much skill is demanded for proper and satisfying execu-
tion.  However, at this point in its development, I think you will agree that
as a solo, multivoice instrument, the PC has come into its own. 

     Compare the "ordinary" PC for a moment with such "classic" instruments as
French horn, oboe, bass viol, and even xylophone, harpsichord and clavichord. 
How many of these are currently "installed" worldwide?  Which of these can
stand on its own as a multivoice instrument?  Now for a moment consider taking
music for any one of those to the office sandwiched in a book, or transmitting
it at 1200 or 2400 baud over phone lines to the next continent.  

     In terms of potential richness of repertoire, convenience and accessi-
bility by the greatest number of people, the personal computer -- no supple-
mental hardware -- is the new musical instrument of the decade.

     The name "Pianoman" itself applies to a copyrighted triad of executable
files:  one is for installation, another is to convert (or deconvert) your
creations (or anyone's creations) into either executable or text form, and/or
merge melody lines into harmonies.

     The third and main executable file has two distinct functions:  it
converts the PC keyboard into a keyboard instrument for note recording by
assigning pitches rather than characters to the letter and number keys;  in
its other aspect, it is a highly sophisticated "text" editor of musical notes
and "blocks" of notes.  Notes entered on the keyboard appear in text-editable
form at the flip of a screen.  Notes can be played back by the block or from
any point in the composition.

     One does not have to be an accomplished keyboard musician to generate
high quality music files on a PC.  During note entry, you can raise the
octave, turn on recording, flip screens and mark your place in a tune in six
keystrokes, all with the same finger.  What you do have to know to use
Pianoman effectively are, for example, the difference between G and  G-sharp,
a quarter from a half, how many beats are in the measure you are working on
and which note cluster is "right":  D-F#-A-C or D#-G#-A-C#?
PIANOMAN GOES BAROQUE              - 3 -              NOTES ON THE INSTRUMENT

     The user can record and edit notes with a single finger (though more are
certainly helpful).  In text editing, notes are like letters on a word
processor, harmony groups like words, and blocks of various duration,
sentences and paragraphs.  Almost all functions are mnemonic for English
speaking people (for example, "eighth note" is "E") so that the several help
screens are almost superfluous after an hour of practice.  

┌───────┐ Pianoman pitches are denominated in A-B-C form (with no flats:
│ PITCH │ B-flat is denoted as A# and so forth) and octaves by integers 1
└───────┘ through 8.  Since only one line is entered at a time, only one clef
has to be followed at a time -- octave can be adjusted globally later in two
keystrokes.  Pitch changes of several steps can be easily done across large
blocks.  Pitch changes to single notes can be done in half-steps one keystroke
at a time and are audible as they are made.  

┌──────────┐ Pianoman utilizes a user-set "quarter" note as a standard by
│ DURATION │ which later defaults, inserted rests and relative durations
└──────────┘ are set with single or very few keystrokes.  Durations are
expressed in milliseconds and may be set note by note, equally across a block,
as percentage increases or decreases of existing durations, or rounded to a
user-selected value.  The "quarter" note can be reset at will at any time. 

┌─────────┐ Silence occurs in Pianoman music by two methods:  by insertion
│ SILENCE │ of "rests" defined in msec lengths (in relation to the pre-
└─────────┘ defined "quarter" note), or by cutting short the duration of a
given note with the staccato function.   As text, the staccato note appears as
a single note with the staccato number noted in the lower left corner, making
it easy to identify.  Increasing or decreasing staccato can also be done by
the note or globally.

     Once two to four melodic lines ("strings") are recorded and matched as to
duration, a utility program will "merge" the two lines into another file
consisting of much smaller, identically sized slices of the original lines
alternated and interwoven so as to create "harmony" and/or "polyphony". 
Merging will increase the total number of notes eightfold or more depending on
number of strings and size of slices, though duration of the file will be

PIANOMAN GOES BAROQUE              - 4 -              NOTES ON THE INSTRUMENT

     The decision as to how tightly the notes will be sliced is made at the
merge stage when the software requests a divisor value.  A single four-tone
chord of 360 msec may be split into 4 units of 90 (more like arpeggiation), 2
four-tone units of 45 (suitable at faster tempos), 3 four-tone units of 30, 4
four-tone units of 22 (automatically rounded), and so forth.  Combinations can
be added later to the same composition, depending on tempo and textural effect
desired.  Since "string" sets are not destroyed by a merge, different merges
using different divisors can be tested.

	The software offers a variety of tools to edit and otherwise polish a
merge file.  "Staccato" inserted at the string stage can be used to mark notes
and groups of notes for easier manipulation after the strings are broken into
small subunits.  "ZAP" eliminates rests and adds their duration to the
immediately preceeding note.  "Join" combines adjacent notes of the same pitch
into one note of their combined duration.  All pitch, duration, and silence
functions as outlined above are also fully available.

     There is a great deal of versatility in the performance of embellishments
such as trills, mordents and turns.  Including a delicate turn or trill in a
pre-merged string may result in a steadily "buzzing" merge file of negligibly
small subunits, but by halving or otherwise diminishing the unit length of a
trill or turn after a merge, one may create a "chirping" effect.  An embel-
lishment is also best done after a merge when the composer intended the first
note or two to occur prior to a downbeat or otherwise outside the tempo.  

     Accelerando, ritardando and other gradual tempo variations may be
executed as percentage variances over lengths of notes or by specifying
changes in duration with exact numbers.  To achieve an increasing rate of
acceleration over a given stretch of notes, for example, one could block small
portions and specify a 6%, then 8%, then 10% increase.  Also, combining tempo
change with blocking, it is possible to execute tempo changes to occur over,
say, consecutive 16th notes, or in broader gradations over several measures.

     Merge files can be combined together, for example, such that the first
section of a file has its quarter-note divided into eight subunits, and the
second, by twelve, depending on circumstance.  The same technique may be
applied from phrase to phrase, and as discussed above, within embellishment. 
Merge file development is further discussed in the documentation for the disk,
"Pianoman Does Beethoven".

PIANOMAN GOES BAROQUE              - 5 -              NOTES ON THE INSTRUMENT

     All files on this disk and others in the Pianoman series were done on a
home computer, a clone 8088 (4.77 Hz), under (variously) IBM PC DOS 3.1, 3.2
and 3.3.  Although my machine has 640K RAM, I hardly needed 256K of it (if
that), for any file in this collection.  I have a standard AT keyboard with
the function buttons down the side, and my monitor is, by choice, monochrome. 
I do have (and need) a hard drive to contain a now extensive music collection
(among other applications), but my actual working music directory rarely
occupies more disk space than that of a standard floppy disk (360K).  The
bottom line is that it is possible to generate files like these even on an
inexpensive, one disk, 256K, monochrome system so long as you are running IBM
PC-DOS and not generic MS-DOS (the latter required by the software).

     My machine is upended on its narrow side, floppy slot up, speaker slots
down, firmly wedged.  It's in an ordinary, off the rack PC box, no extras.  It
does not have a 15+ lb. monitor with shock (vibration, sound wave) absorbing
CPU IN ANY WAY, SHAPE OR FORM!)  I also use the machine for word processing,
database, spreadsheet and many other applications, and have been playing music
on it for well over a year.  (Once I let it play for 4 hours non-stop.)  Never
at any time has harm come to my machine or any other application as a result
of running music files.

     The software used to produce this disk (Pianoman) is shareware, meaning
you may get it from your local bulletin board or other shareware vendor for
free or a very small price and try it without paying the author in advance. 
The introductory screens are produced by a utility included in the Pianoman
program, but the ones here have been subjected to DEBUG and Norton Utilities.

     I can play the piano at a talented amateur level;  I can't play the
organ;  I've never touched a harpsichord.  I've heard of Neopolitan Sixths,
but I don't know what they are:  I have no academic credentials in music or
computers.  I think what is more important for the PC is an extensive back-
ground in choral music, mostly alto (but I've been a soprano for Beethoven's
Ninth and tenor for Handel's Messiah).  The significant skill is being able to
read your own one line well while having an awareness of the parts around you. 

PIANOMAN GOES BAROQUE              - 6 -              NOTES ON THE INSTRUMENT

     Most files in the Baroque series took no more time than a Sunday cross-
word puzzle.  (But Baroque music tends to be more easily transferred to the PC
than music from later periods probably because Baroque composers were dealing
with similarly nascent hardware.)  I no longer use photocopies of scores. 
After enough practice, files are easily enough done right from the book with
no marks on the page.  (Pianoman version 4.0 eliminated some of the reason for
marking scores.)

     Needless to say, I have been a registered user of Pianoman for well over
a year.  The program has a shareware price of $25, less than a subscription to
most magazines, and a worthwhile investment if you run into bugs, have
questions or want the supplemental tunes disk.

     "Pianoman" is the trade name for the music transcription/composition/-
keyboard software program and ancillary utilities for IBM compatible personal
computers of the same name and is used herein and in the title of this disk
with prior written consent of the owner, Neil J. Rubenking.

     The files individually comprising Pianoman Goes Baroque, Pianoman Does
Beethoven, 1-2-3 BACH! and Christmas Concerts, vol. 1 and 2, the disks in
themselves, and ancillary files are all copyrighted under my name, and may not
be repackaged or resold without my prior written permission.  The titles of
each disk are trade names and may not be used in conjunction with products in
related lines of commerce without prior agreement.

     IBM is the registered trademark of International Business Machines
Corporation, the company that abandoned the PC, PC-XT and PC-AT (bad speakers
and all), in favor of PS/2 and Display Write 4.

     The sheet music transcribed especially for the Pianoman Goes Baroque
disk, came from the series, "Keyboard Music of the Baroque and Rococo" 
(Georgii, Arno Volk Verlag Köln), bought at G. Schirmer's in New York City
about 20 years ago.  It was then and is now in the public domain since all
composers "expired" more than 200 years ago, and all text came directly from
original manuscripts.  These files are not piano reductions by latter-day
editors;  they are just as K.P.E. Bach, Scarlatti, Telemann and Wagenseil
inscribed them.

PIANOMAN GOES BAROQUE              - 7 -              NOTES ON THE INSTRUMENT

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

               * Author of:  Christmas Concerts, vols. 1 and 2
                             Pianoman Goes Bach
                             Pianoman Does Beethoven

               Comments and inquiries welcome

Directory of PC-SIG Library Disk #1397

 Volume in drive A has no label
 Directory of A:\

PG-BAROQ BAT      2298   3-17-89   2:00a
DIVERTI1 EXE     24772   3-17-89   2:00a
DIVERTI2 EXE     31420   3-17-89   2:00a
DIVERTI3 EXE     15136   3-17-89   2:00a
DIVERTI4 EXE     29488   3-17-89   2:00a
KPEBACH  EXE     51838   3-17-89   2:00a
SCARLAT1 EXE     41392   3-17-89   2:00a
SCARLAT6 EXE     32236   3-17-89   2:00a
SCARLAT7 EXE     36052   3-17-89   2:00a
ZWEI-ONE EXE     40216   3-17-89   2:00a
ZWEI-TWO EXE     28000   3-17-89   2:00a
PGB-READ ME       1637   3-17-89   2:00a
GO       BAT        38   4-24-89   4:39p
PG-BAROQ TXT     16975   3-17-89   2:00a
GO       TXT       540   5-30-89  11:51a
VIEW     BAT        43   5-30-89  11:10a
PAGE     COM       325   1-06-87   4:21p
       17 file(s)     352406 bytes
                           0 bytes free