All Metronome Types/Harmonic Polyrhythms like 4 : 3
From Bounce Metronome
| All Metronome Types | Taster | Basic | Pro | Swing and Lilt | Drum and Dance | Flamenco | Polymeters like 3/8 : 2/4 | Polyrhythms | like 4/4 : 4/3 | Additive Rhythms | like 4/4 + 7/8 | Polyrhythm Cycles | Polytempi like pi : 4 | Tap a rhythm | Harmonic Polyrhythms | Cycles of Harmonic Polyrhythms | Harmonic pi : 4 | Rhythmicon | Fractal Tune | Bounce on Lyrics |
Next: Harmonic Polyrhythms like 4 : 3
Previous: Harmonic Polyrhythms like 4 : 3
Controls Common to Many Windows
Bounce Metronome
Harmonic Metronome main window - see F1 Help window for QUICK START...
This tip is shown when you hover the mouse over the title bar or the background of the main window. Hover mouse over individual controls for their help.
Harmonic Metronome
may need to use the RESET METRONOME button first if if you have come here from one of the other metronomes
Here the idea is that each number of beats per measure is assigned a pitch, so e.g. 7 beats to the measure corresponds to the seventh harmonic, 5 beats to the measure corresponds to the fifth and so on.
The results sound harmoniously together as they use pitches from the harmonic series.
This idea is related to the Lambdoma arrangement of pitches, and to Theremin's Rhythmicon. Originally suggested by Barbara Hero and may be of interest for music therapy.
Quick Start
1. Select one of the preset polyrhythms such as 2 with 3 with 5 / 4.
2. Choose Harmonics (major type chords) (keyboard shortcut ALT + J) or Sub-harmonics (minor type chords) (ALT + Y).
2. Then set the tempo using the dial or tap at tempo with the BACKSPACE key. Then use the PLAY button to hear the harmonic metronome. Shortcut RETURN key to start / stop play.
For more details see Quick Start - More Details below.
Making your own harmonic metronomes
To make your own harmonic metronome, switch on as many rhythms as you need using the With check boxes. Then set the desired number of beats per measure for each one.
You may also want to change the selection under How to choose the harmonics (ALT + C).
If you want to see how it works, take a look at Show All Parts (Ctrl + 9). The harmonic metronomes are made by shifting the pitch for individual parts in Show All Parts (Ctrl + 9) by appropriate amounts.
Alternative approach
Some users may find it easier to enter your rhythm using Rhythms and Polyrhythms (Ctrl + 89). In Rhythms and Polyrhythms (Ctrl + 89) you can also find an editable drop list of rhythms which includes many more polyrhythm examples - which you can edit to add your own rhythms for quick access.
Quick Start - More Details
1. Select one of the preset additive rhythms such as 2 with 3 with 5 / 4.
2. Set the tempo using the tempo dial or tap at the desired tempo with the BACKSPACE key.
3. Use the STOP sound or PLAY sound button to stop and start the sound. The bounce will start automatically when you click the PLAY sound button. Click STOP Bounce or START Bounce button to stop and start just the visual display of the bouncing balls.
4. Sometimes you may want to hear each beat split up into smaller beats, e.g. maybe 4/4 with two or four subdivisions of each beat.
Click the appropriate button for the number subdivisions you want to play for each beat. Or to just hear the main beat, set the number of subdivisions to 1.
If you choose four subdivisions you will see an extra check box "Also 2" appear - this lets you simultaneously beat 2 and 4 subdivisions. The same thing happens if you choose e.g. 8 subdivisions - with an option to play also 2 and 4 subdivisions - and so on.
5. If you want to practise a rhythm with swing then select Lilt or Swing and adjust the amount of swing using the slider that appears.
You may want to see the bouncing ball display in a larger window. To do that use the zoom icon at top right of the bouncing balls, or go to Bounce | 2D Bounce - larger window... which brings up Metronome Bouncing Ball (Ctrl + 219).
For a 3D bouncing ball with drum stick or conductor's baton style visuals use 3D Bouncing Balls, Drum stick or Conductor's baton (Ctrl + 224)
Adjusting your rhythm
After you have made your basic rhythm you can adjust it in many ways to meet your requirements. You can change the size of any beat, skip beats, and change the instrument to play or show / hide the bouncing balls for any of the parts.
To change the size of any beat, first make sure you have Show BLOCKS for parts selected. Then LEFT CLICK and drag on the boundary between the beat and the next beat in the blocks at the bottom of the bouncing ball display.
To skip an individual beat, LEFT CLICK on its diamond in the bouncing ball display, which will change to a grayed out ellipse to indicate that the beat is skipped.
If you select Show Parts adjustments then you will see some diamonds, circles and rectangles controls which you can use to adjust the rhythm.
You can use the diamonds, circles and rectangles to the left of the bouncing ball display to hide any of the bouncing balls, change the instrument for a part, or silence any of the parts.
With the triangles to the right, you can increase the number of parts, or the number of beats in each part.
You can use the controls in 3D Bouncing Balls, Drum stick or Conductor's baton (Ctrl + 224) similarly.
To find out what any of these controls does, just hover the mouse over it to bring up its tool tip.
Metronome Type (drop list)
Choose YOUR BOUNCE METRONOME type from the drop list depending on your interests...
The main window will change depending on which metronome you choose from the drop list, and then you can check the help for the main window for that metronome (hover mouse over main window title bar and see the F1 help for the main window for the metronome).
Here is a quick summary of what each one does:
Bounce Metronome Basic
Basic metronome for any time signature (including any odd time signature), and any number of subdivisions.
Also has the gradually changing tempo feature (though with fewer options for it than the Pro metronome).
Bounce Metronome Pro
All the features of the PRO metronome acessible within one window. If you want to focus on one particular feature then try one of the more specialised metronomes.
Swing Metronome
Use this to practise swing or to use lilt for a more lively rhythm.
Drum & Dance Metronome
For drum rhythms such as paradiddle, and dance rhythms mixing quarter notes, eighth notes and so on. You can select from a drop list of rhythms or enter a new rhythm.
Polyrhythm Metronome
Use this to practise polyrhythms (cross rhythms) such as 2 beats to a measure with 3 simultaneously, or 3 with 4, 3 with 5 etc.
Additive Metronome
to practise additive rhythms such as 2 + 3 (i.e. 5/4 divided into two beats followed by 3 beats) or 3 + 2 + 3 etc.
Rhythm cycle Metronome
Here you can make a cycle of rhythms and polyrhythms one after another. Useful for long additive rhythms with many rhythms one after another - or a cycle that combines ordinary rhythms with polyrhythms.
Fractional Rhythms Metronome
Fractional rhythms here are ones with either a fractional (e.g. 2.2) or irrational (e.g. golden ratio or PI) number of beats to the measure. The beats drift in and out of phase with the measure line.
Tap out a rhythm
Use this to tap out a rhythm and then play the bouncing balls metronome to follow the rhythm of your taps.
Harmonic Metronome
Here the idea is that each number of beats per measure is assigned a pitch, so e.g. 7 beats to the measure corresponds to the seventh harmonic, 5 beats to the measure corresponds to the fifth and so on.
The results sound harmoniously together as they use pitches from the harmonic series.
This idea is related to the Lambdoma arrangement of pitches, and to Theremin's Rhythmicon. Originally suggested by Barbara Hero and may be of interest for music therapy.
Harmonic Rhythm Cycle Metronome
Play a cycle of rhythms or polyrhythms one after another with the pitches following the harmonic series.
Fractional Harmonic Metronome
Here the idea is that you can use fractional or irrational rhythms e.g. involving the golden ratio or PI and combine that with the idea of using pitches corresponding to the number of beats to the measure.
So PI / 4 will be played using two pitches at a ratio of PI to 4 to each other.
The golden ratio rhythms are particularly interesting here because the golden ratio rhythm is in a sense the most polyrhythmic possible rhythm (ratio of beats most hard to approximate using a rational number). Similarly the golden ratio pitch interval is the most inharmonic possible pitch interval. It's a pleasant interval actually on most instruments - some inharmonic pitch intervals are very pleasant sounding (the ones that are often hard on the ear are e.g. detuned fifths, close to a very pure interval such as a fifth, octave or fourth,but obviously not hitting it).
So this combination gives the most polyrhythmic possible rhythm combined with the most inharmonic possible interval.
A Version of Theremin's Rhythmicon
Lets you play a version of Theremin's Rhythmicon using the number keys on your PC keyboard and the first six keys of the first row of letter keys e.g. q w e r t y as the keys of your instrument.
Theremin's Rhythmicon is an instrument with sixteen keys. Each key silences or plays a rhythm with a different number of notes to the measure, starting from 1 for the first key, 2 for second key all the way down to 16 for the last key. Each key also plays a different note of the harmonic series.
see
http://en.wikipedia.org/wiki/Rhythmicon
Fractal Tune Metronome
Play the rhythms using fractal tunes. This is just a taste of what can be done in this way. It may give some idea of what your rhythm will sound like melodically. It also introduces you to the fractal tunes you can make with Fractal Tune Smithy.
Note - at present Bounce Metronome Pro is at version 3.2. but FTS is still at 3.0. Bounce Metronome Pro has many capabilities not in FTS such as the skipped beats for instance. So most of the tunes you make here can't be played in Tune Smithy itself until the release of version 3.0 hopefully some time in summer or autumn 2009.
Car - Tunes Metronome
Show a ball bouncing on the lyrics as for the Song Car Tunes in early movies.
This metronome is left out of the drop list of metronomes for blind users at present. Perhaps there is something one could do here without the bouncing ball graphics - i.e. to display the words of the lyric in time to the rhythm, perhaps arranged so that the screen reader reads out each word just before it is sung - but I'm not sure at present how useful it would be or how exactly one would do it.
All the other metronomes are accessible to blind users.
Hide graphics (button)
Hide Graphics - use this button if you are blind or prefer keyboard to mouse
/ Show volume as a number (button) (Alt + /)
Change between the volume as text box, or as a graphic...
Click to change from volume as a text box to volume as graphic, and back again.
Harmonics (button)
Sets the parts to play Harmonics (major type chords)...
The pitch of each part gets set to a harmonic of the pitch set in Pitch of 1/1 of Scale (Ctrl + 10)
http://en.wikipedia.org/wiki/Harmonic
What this does
This sets the pitch for each part based on the harmonics series 1/1, 2/1, 3/1, 4/1 etc. where 2/1 means double the frequency so raised by an octave. 3/1 means three times the frequency of the 1/1, and so on.
You can adjust the pitch of the 1/1 in Pitch of 1/1 of Scale (Ctrl + 10) - which will adjust all the other pitches up or down as well since they are all intervals from the 1/1.
Details of how the subharmonics are selected
The way this works depends on your choice in "How to choose the harmonics" drop list.
E.g. if set to "Match harmonic to number of beats per measure" then a part with three beats per measure will get set to play three times the frequency of the 1/1.
If you select Reduce to octave, then the interval will be "reduced to the octave" i.e. raised by octaves (multiplied by 2) until the pitch gets to the interval 1/1 to 2/1 (in the case of the 3 beats to a measure example it gets reduced to 3/2).
Not quite what you expected?
If you use this feature with rhythms such as 4/4, or 2/4 (time signatures) amd set to match the harmonic to the number of beats in per measure - then it will play notes at octaves at 4/1 and 2/1 respectively. If you use this with the option to reduce to octave, then e.g. with the 4/1 set to reduce to the 1/1 then it may make no difference at all.
If you want to make sure all the parts have different pitches then choose another option in the Choose pitches as drop list.
For some ideas to get started with this feature, try out the presets for the Harmonic Polyrhythm Metronome or the Harmonic Fractional Polyrhythm Metronome.
This is an option for MELODIC INSTRUMENTS ONLY, selected for instance using Instruments (Ctrl + 8) or Modify Wave Shape Instruments Menu (Ctrl + 196). Non melodic instruments, selected using Non Melodic Percussion (Ctrl + 21), will ignore any pitch adjustments you make.
The pitch for each part is an exact harmonic if you have a whole number of beats per measure. However, for the unusual rhythms with fractional beats per measure, then it won't be an exact harmonic. For instance use this with the g beats per measure of the Harmonic Fractional Polyrhythm Metronome and you get the interval g/1 which is an interesting interval since it is the interval hardest to approximate by simple ratios, so in a sense, as far from a harmonic interval as it is possible to get.
How it works (under the hood)
What Bounce Metronome does is to set the Shift pitch by column in Show All Parts (Ctrl + 9) to the desired interval for each part for the current rhythm. can could alternatively set the pitches for each part there by hand - this is just a quick and easy way to do it automatically.
What else happens
After you press this button you will see that it gets a permanently "pressed" appearance to show that it is now active. From then on, every time you make a new rhythm, it will get made with pitches based on the subharmonic series.
To switch this option off, when you want to make a rhythm with all the parts the same pitch, press "All parts the same pitch" in Harmonics Metronome (Ctrl + 229).
Background information about harmonics
The notes on a natural trumpet, or the overtones of a string, are examples...
Most melodic instruments have a spiky frequency spectrum. You see a peak at the heard pitch of the note, but also another peak an octave higher, then another an octave and a fifth higher, the next is two octaves higher, then two octaves and a major third, and so on the peaks get closer and closer together in pitch.
Some instruments like wind instruments have very few peaks, e.g. the ocarina which has a very pure sound often has only the one peak for the heard frequency of the note.
Other instruments like strings have many peaks. Musicians who spend a lot of time listening to the constituent pitches of notes may be able to hear these peaks as distinct pitches. For instance bell tuners may because in order to tweak the sound of a bell you adjust the volumes and positions of the individual peaks that make up its characteristic timbre - for instance to achieve the minor third type sound of a church bell you need to tweak the shape carefully.
If you have learnt to listen like this, and you listen carefully to a note played on say a 'cello you may be able to hear these as separate individual component pitches of the note, a bit like a chord. You can then e.g. sing its constituent pitches one note at a time up the harmonic series. Or on a string instrument, you can sound the harmonics by touching the string lightly half way along, or a third of the way along etc - this blocks off all the sound except for one of its component pitches, giving a pure sounding "overtone" or "harmonic".
When you play harmonics together, then the notes go harmoniously with each other, just as the constituent pitches of say a 'cello combine to make a single mellow sounding note.
A major chord is made up of the fourth, fifth and sixth harmonics of a harmonic series of a note two octaves below the root note of the chord.
The harmonics as frequencies
As far as frequency is concerned, the first peak in the spectrum is the heard pitch, the second peak is double the frequency, the third peak is three times the frequency and so on. Since an octave corresponds to a doubling of pitch - that's just how we hear sound - then the first octave is at twice the original pitch, the second is at four times the original, the third octave is at eight times the original pitch and so on.
So there are more and more intervals to fit into each new octave - so we hear these intervals as getting closer and closer together as you go up in pitch.
Sub-harmonics (button)
Sets the parts to play Sub-harmonics (minor type chords)...
The pitch of each part gets set to a subharmonic of the pitch set in Pitch of 1/1 of Scale (Ctrl + 10)
http://en.wikipedia.org/wiki/Subharmonic
What this does
This sets the pitch for each part based on the subharmonics series 1/1, 1/2, 1/3, 1/4 etc. There 1/2 means half the frequency (lowered by an octave). 1/3 means a third of the frequency (lowered by an octave and a fifth)and so on.
If you use this with the pitch of the 1/1 set to middle C, then some of the subharmonics will be extremely low in pitch
If the pitches are too low, adjust the pitch upwards using Pitch of 1/1 of Scale (Ctrl + 10).
Details of how the subharmonics are selected
The way this works depends on your choice in "How to choose the harmonics" drop list.
E.g. if set to "Match harmonic to number of beats per measure" then a part with three beats per measure will get set to play a third of the frequency of the 1/1 as set in Pitch of 1/1 of Scale (Ctrl + 10).
If you select Reduce to octave, then the interval will be "reduced to the octave" i.e. raised by octaves (multiplied by 2) until the pitch gets to the interval 1/1 to 1/2 (in the case of the 3 beats to a measure example it gets reduced to 2/3).
This is an option for MELODIC INSTRUMENTS ONLY, selected for instance using Instruments (Ctrl + 8) or Modify Wave Shape Instruments Menu (Ctrl + 196).
Non melodic instruments, selected using Non Melodic Percussion (Ctrl + 21), don't have a pitch assigned to them - so will ignore any pitch adjustments you make.
How it works (under the hood)
What Bounce Metronome does is to set the Shift pitch by column in Show All Parts (Ctrl + 9) to the desired interval for each part for the current rhythm. can could alternatively set the pitches for each part there by hand - this is just a quick and easy way to do it automatically.
What else happens
After you press this button you will see that the button is displayed with a permanently "pressed" appearance to show that it is now active. From then on, every time you make a new rhythm, it will get made with pitches based on the subharmonic series.
To switch this option off, when you want to make a rhythm with all the parts the same pitch, press "All parts the same pitch" in Harmonics Metronome (Ctrl + 229).
Background information about subharmonics
You need to know about the harmonic series first - the series of overtones for instance the notes played on a natural trumpet. The harmonic series consists of the original note, double its frequency, three times its frequency and so on.
Subharmonics work the same way but you divide instead of multiply.
So, this time you start with the original frequency, then half of it, then a third and so on.
So for instance for the fifth subharmonic, instead of 5/1, you have 1/5. The interval between the subharmonic and the 1/1 is just the same as for the harmonic, inverted, here a 5/1 downwards instead of upwards. If you look at pairs of notes then all the intervals are the same as for the haronic series.
But chords with three or more notes have a different flavour when you play them using subharmonics.
Just as a major chord is made up of notes of the harmonic series, the minor chord is made up of notes of a sub harmonic series. So chords based on the sub harmonic series have somewhat of a "minor" sound. Chords using only notes in the sub harmonic series sound harmonious like the chords of the harmonic series, but with this minor sound to them.
The overtones that make up most instruments follow a harmonic series. Most musical instruments only have peaks in the harmonic series - or close to it (in the case of the stretched partials of a modern piano) or are inharmonic like some gongs with a fairly random distribution of frequency peaks.
You could say that, in a way, most instruments have a natural "major" type sound to the instrument "timbre". If you play just one note on an instrument rich in harmonics such as violin or whatever, you are actually playing a major chord type pattern of overtones.
However, (most) church bells are designed to have a clear frequency peak, the "tierce", a minor third above the fundamental frequency - giving them their characteristic "minor" sound. That is why even just a single church bell playing on its own has this sad "minor" type sound to it. It is by design, church bells have to be constructed carefully to have this characteristic sound.
Some unusual bells have a major third for the tierce, and you can set other pitches to it too with careful design of the bell.
So, with suitable bells,you can compare the sound of a bell with a major third for the tierce, one with an equal tempered minor third, and one with a just minor third. The tempered minor third is flattened slightly to exactly match the twelve equal interval of a modern piano.
To listen to those three types of bell sound, visit this page:
[ http://www.hibberts.co.uk/compat.htm The sound of Bells]
Auto choose pitches (check box) (Alt + C)
Sets the parts to play Sub-harmonics (minor type chords)...
The pitch of each part gets set to a subharmonic of the pitch set in Pitch of 1/1 of Scale (Ctrl + 10)
http://en.wikipedia.org/wiki/Subharmonic
What this does
This sets the pitch for each part based on the subharmonics series 1/1, 1/2, 1/3, 1/4 etc. There 1/2 means half the frequency (lowered by an octave). 1/3 means a third of the frequency (lowered by an octave and a fifth)and so on.
If you use this with the pitch of the 1/1 set to middle C, then some of the subharmonics will be extremely low in pitch
If the pitches are too low, adjust the pitch upwards using Pitch of 1/1 of Scale (Ctrl + 10).
Details of how the subharmonics are selected
The way this works depends on your choice in "How to choose the harmonics" drop list.
E.g. if set to "Match harmonic to number of beats per measure" then a part with three beats per measure will get set to play a third of the frequency of the 1/1 as set in Pitch of 1/1 of Scale (Ctrl + 10).
If you select Reduce to octave, then the interval will be "reduced to the octave" i.e. raised by octaves (multiplied by 2) until the pitch gets to the interval 1/1 to 1/2 (in the case of the 3 beats to a measure example it gets reduced to 2/3).
This is an option for MELODIC INSTRUMENTS ONLY, selected for instance using Instruments (Ctrl + 8) or Modify Wave Shape Instruments Menu (Ctrl + 196).
Non melodic instruments, selected using Non Melodic Percussion (Ctrl + 21), don't have a pitch assigned to them - so will ignore any pitch adjustments you make.
How it works (under the hood)
What Bounce Metronome does is to set the Shift pitch by column in Show All Parts (Ctrl + 9) to the desired interval for each part for the current rhythm. can could alternatively set the pitches for each part there by hand - this is just a quick and easy way to do it automatically.
What else happens
After you press this button you will see that the button is displayed with a permanently "pressed" appearance to show that it is now active. From then on, every time you make a new rhythm, it will get made with pitches based on the subharmonic series.
To switch this option off, when you want to make a rhythm with all the parts the same pitch, press "All parts the same pitch" in Harmonics Metronome (Ctrl + 229).
Background information about subharmonics
You need to know about the harmonic series first - the series of overtones for instance the notes played on a natural trumpet. The harmonic series consists of the original note, double its frequency, three times its frequency and so on.
Subharmonics work the same way but you divide instead of multiply.
So, this time you start with the original frequency, then half of it, then a third and so on.
So for instance for the fifth subharmonic, instead of 5/1, you have 1/5. The interval between the subharmonic and the 1/1 is just the same as for the harmonic, inverted, here a 5/1 downwards instead of upwards. If you look at pairs of notes then all the intervals are the same as for the haronic series.
But chords with three or more notes have a different flavour when you play them using subharmonics.
Just as a major chord is made up of notes of the harmonic series, the minor chord is made up of notes of a sub harmonic series. So chords based on the sub harmonic series have somewhat of a "minor" sound. Chords using only notes in the sub harmonic series sound harmonious like the chords of the harmonic series, but with this minor sound to them.
The overtones that make up most instruments follow a harmonic series. Most musical instruments only have peaks in the harmonic series - or close to it (in the case of the stretched partials of a modern piano) or are inharmonic like some gongs with a fairly random distribution of frequency peaks.
You could say that, in a way, most instruments have a natural "major" type sound to the instrument "timbre". If you play just one note on an instrument rich in harmonics such as violin or whatever, you are actually playing a major chord type pattern of overtones.
However, (most) church bells are designed to have a clear frequency peak, the "tierce", a minor third above the fundamental frequency - giving them their characteristic "minor" sound. That is why even just a single church bell playing on its own has this sad "minor" type sound to it. It is by design, church bells have to be constructed carefully to have this characteristic sound.
Some unusual bells have a major third for the tierce, and you can set other pitches to it too with careful design of the bell.
So, with suitable bells,you can compare the sound of a bell with a major third for the tierce, one with an equal tempered minor third, and one with a just minor third. The tempered minor third is flattened slightly to exactly match the twelve equal interval of a modern piano.
To listen to those three types of bell sound, visit this page:
[ http://www.hibberts.co.uk/compat.htm The sound of Bells]
Find all multiples (drop list)
This changes how the pitches are found for the parts in the rhythm...
Match harmonic to number of beats per measure - so the more beats to a measure in the part, the higher the harmonic it will play in the harmonic series of pitches. See below example .
(not shown for fibonacci rhythms or sound of pendulum wave)
Consecutive prime harmonics - 2nd harmonic for part 1, 3rd for part 2, 5th for part 3, 7th for part 4, and so on.
Consecutive harmonics starting from ...
- e.g. 2nd harmonic for part 1, 3rd for part 2, 4th for part 3 and so on.
Example
An example may help make it clear how the maths works - this uses Match harmonic to number of beats per measure, with the first part set to 7 beats per measure and the second part set to 5 beats per measure, with a measure beat as well.
The first part has 7 beats. So the seventh harmonic is used to find the pitch for that part, so the pitch for the part is seven times the frequency of the measure beat as set in Show All Parts (Ctrl + 9). If set to reduce to the octave, then the pitch will be 7/4 times the frequency of the measure beat part.
The second part has 5 beats, so the fifth harmonic is used, and its pitch will be 5 times the measure beat frequency, or 5/4 times it if the frequencies are reduced to the octave. If the measure beat is ignored, then the first part will play the pitch set in Show All Parts (Ctrl + 9) so you divide all the pitches by 7, and the second part will play 5/7 times the pitch of the first part.
Reduce to octave (check box) (Alt + D)
Shifts all the pitches by octaves so that they all play in the same octave range - useful if the pitches vary greatly in range
Ignore measure beat (check box) (Alt + N)
Sets the first part to 1/1 and adjusts the other parts in pitch accordingly, except the bar beat is also left at 1/1
Reverse order (check box)
Assigns the pitches to the parts in reverse order so that the first part gets the pitch normally assigned to the last one and so on.
Pitch of 1/1 of Scale (Ctrl + 10)
Transpose all the notes up or down in pitch...
This sets the pitch of the 1/1 of the scale used by Bounce Metronome to play your notes. 1/1 here means the original note all other scale pitches are measured from.
So when you change the pitch of the 1/1, it transposes all the notes of the scale, so all the notes played in Bounce Metronome using that scale.
Divided by (editable)
Default 1 - this changes the pitch of the entire rhythm, - e.g. set to 2 to reduce the pitch by an octave, or 1/2 to increase the pitch by an octave...
This option is made visible whenever you make a rhythm with harmonics. The default of 1 means no change of pitch.
The way it works is that it divides all the ratios in the "Shift PItch For" column in Show All Parts (Ctrl + 9) by this number.
You can also use Pitch of 1/1 of Scale (Ctrl + 10) to vary the pitch.
The advantage of this option is that it lets you set a different pitch for the harmonics and for the subharmonics, making it easy to go back and forth between harmonics and subharmonics with a single click.
The default for the harmonics is 1 to play the same pitch.
The default for the subharmonics is to multiply the pitch be 16 - that's because the subharmonics as they go down from the pitch of the 1/1 tend to be several octaves lower in pitch on average.
2 , 3 --- 4 (button) (Alt + 3)
Default 1 - this changes the pitch of the entire rhythm, - e.g. set to 2 to reduce the pitch by an octave, or 1/2 to increase the pitch by an octave...
This option is made visible whenever you make a rhythm with harmonics. The default of 1 means no change of pitch.
The way it works is that it divides all the ratios in the "Shift PItch For" column in Show All Parts (Ctrl + 9) by this number.
You can also use Pitch of 1/1 of Scale (Ctrl + 10) to vary the pitch.
The advantage of this option is that it lets you set a different pitch for the harmonics and for the subharmonics, making it easy to go back and forth between harmonics and subharmonics with a single click.
The default for the harmonics is 1 to play the same pitch.
The default for the subharmonics is to multiply the pitch be 16 - that's because the subharmonics as they go down from the pitch of the 1/1 tend to be several octaves lower in pitch on average.
3 , 5 --- 4 (button) (Alt + 5)
Default 1 - this changes the pitch of the entire rhythm, - e.g. set to 2 to reduce the pitch by an octave, or 1/2 to increase the pitch by an octave...
This option is made visible whenever you make a rhythm with harmonics. The default of 1 means no change of pitch.
The way it works is that it divides all the ratios in the "Shift PItch For" column in Show All Parts (Ctrl + 9) by this number.
You can also use Pitch of 1/1 of Scale (Ctrl + 10) to vary the pitch.
The advantage of this option is that it lets you set a different pitch for the harmonics and for the subharmonics, making it easy to go back and forth between harmonics and subharmonics with a single click.
The default for the harmonics is 1 to play the same pitch.
The default for the subharmonics is to multiply the pitch be 16 - that's because the subharmonics as they go down from the pitch of the 1/1 tend to be several octaves lower in pitch on average.
2, 3, 5 --- 4 (button) (Alt + 2)
Default 1 - this changes the pitch of the entire rhythm, - e.g. set to 2 to reduce the pitch by an octave, or 1/2 to increase the pitch by an octave...
This option is made visible whenever you make a rhythm with harmonics. The default of 1 means no change of pitch.
The way it works is that it divides all the ratios in the "Shift PItch For" column in Show All Parts (Ctrl + 9) by this number.
You can also use Pitch of 1/1 of Scale (Ctrl + 10) to vary the pitch.
The advantage of this option is that it lets you set a different pitch for the harmonics and for the subharmonics, making it easy to go back and forth between harmonics and subharmonics with a single click.
The default for the harmonics is 1 to play the same pitch.
The default for the subharmonics is to multiply the pitch be 16 - that's because the subharmonics as they go down from the pitch of the 1/1 tend to be several octaves lower in pitch on average.
Beats per measure - first time signature
Enter the number of beats in the measure such as 3, 4, 5, 6 etc...
This is the top number of the time signature e.g. the 3 in 3/4, also called the "denumerator".
You can find this control in the main window for some of the metronomes, in 3D Bouncing Balls, Drum stick or Conductor's baton (Ctrl + 224) and Combine Rhythms (Ctrl + 217). Note, Combine Rhythms (Ctrl + 217) isn't available in the Basic metronome.
Other ways to vary the number of beat in the bar
You can adjust the number of beats in each part by hand using the controls in the bouncing balls windows or using Beats volumes and times (Ctrl + 76) or Beats - Set beat times and volumes individually (Ctrl + 31).
The time signatures method is often better though, as it lets you change to other time signatures quickly, and vary the number of subdivisions of each beat easily, just with a single adjustment.
Extra check boxes
For some time signatures check boxes appear in Combine Rhythms (Ctrl + 217) to let you emphasize some of the beats in the measure.
NOTE these check boxes don't appear for the Polyrhythm Metronome or the Basic Metronome.
Compound time
This is for time signatures such as 6/8, 9/8, 12/8 etc
You'll see a check box to beat compound time. In this rhythm the eighth notes are played in groups of three, so every third beat is emphasized.
You see this option If the number on top is a multiple of 3 and the number on the bottom is 8 or any other number higher than 4.
Beat quarter notes
For time signatures such as as 8/8, 12/8, 16/8 etc you can switch on an option to beat quarter notes.
You see this option when the number on the top (denumerator) is a multiple of 4 and the number on the bottom is 8 or a higher multiple of 4.
Fractional numbers of beats to a measure
You can also have fractional values here e.g. 3.1 or even an irrational number like PI. You can enter a number like PI as 3.14159 (as many places as you like - up to 14 decimal places will be used to make the rhythm). Or in the case of PI you can use formulae - just enter it as PI.
With fractional numbers of beats to a measure, the beat will drift with respect to the measure lines - if unsure what that means, just try it out to see what happens.
You can use any formula here. Some simple examples include PI, G (golden ratio), E (natural logarithm of 1), R(2) (for square root of 2), ...
For details of formulae you can use for these fractional beats, see the help for {{w81}
With (check box)
Add a second time signature
Beats per measure - second time signature
Number of beats per measure in the second time signature...
E.g. 3, 4 etc. This is the top number in the time signature, the "denumerator" e.g. the 3 of 3/4.
Compound Time etc
This is as for the first time signature. Quick summary:
For rhythms such as 6/8, 9/8, 12/8 etc. a check box appears to let you emphasize every third beat as in compound time.
E.g. 6/8 compound time emphasizes the middle beat in the measure, 9/8 compound time emphasizes the fourth and seventh beats, and so on.
You also have an option to emphasize quarter notes if the rhythm is suitable e.g. 8/8.
You can also make this a fractional value e.g. 3.1 or even an irrational number like PI which you can enter as e..g 3.14159 or as PI. If you do that then the beat will drift with respect to the measure lines - just try it out to see what happens.
For details of formulae you can use see the help for Calculator (Ctrl + 81)
With (spin)
Increase or decrease number of beats in the measure for second time signature
With (check box)
Add a third time signature
Beats per measure - third time signature
Number of beats per measure in the third time signature...
E.g. 3, 4 etc. This is the top number in the time signature, the "denumerator" e.g. the 3 of 3/4.
Compound Time etc
This is as for the first time signature.
With (spin)
Increase or decrease number of beats in the measure for third time signature
With (check box)
Add a 4th time signature
With (check box)
Add 5th time signature
With (check box)
Add 6th time signature
With (check box)
Add 7th time signature
Tempo
Enter Tempo in Beats per Minute (like heart rates)- including decimal values or fractional BPM - or optionally as time for note in seconds...
Vary this to play the rhythm faster or slower.
You can use decimals, or ratios like 53/2 or any formula e.g. 3*21 or whatever.
If you want to enter the time for the note instead there's an option to do this in Tempo Dial - Preferences (Ctrl + 223)
Click and drag to adjust the number
You can also adjust the number here with click and drag. Click on the number and then with the mouse button held down, drag the mouse cursor up out of the text box to increase the number. Drag downwards to decrease the number. If there's a decimal point then you can adjust the numbers either side of the point in the same way, and you can also use Ctrl, Shift or Alt + click / drag to adjust by larger amounts. If it's a formula e.g. 3*21 you can use Ctrl +click to adjust the two numbers independently.
The keyboard shortcut to adjust the number in the same way is Page up or Page down.
Tempo in BPM
This normally shows the tempo as beats per minute (BPM) - like heart rates. So for instance 60 is 60 beats a minute, i.e. one beat per second. For more about BPM see the tool tip help for the tempo dial Tempo Dial (Ctrl + 222).
You can show the tempo for any part in the rhythm.
You can see the tempi for all the parts in the rhythm in the bouncing all display in the main Bounce Metronome window and in Metronome Bouncing Ball (Ctrl + 219), also as a text field in the More version of Tempo Dial - Preferences (Ctrl + 223).
You can see the tempo as a tempo dial in the main window or in Metronome Bouncing Ball (Ctrl + 219).
About the Parts and the Tempi for Parts
Many of the rhythms use several tempi at once. All the tempi are listed at the top of the bouncing ball display.
Example: with the preset 6/8 rhythm, you will see three tempi, for the measure beats, the two beats to a measure (for the centre beat) - and the six beats to a measure.
You can select the part to show on the tempo dial in Tempo Dial - Preferences (Ctrl + 223). Or left or right click on the part number at top left of the dial as a quick way to skip to the next or previous part, also the tempo part is synchronised with the selected part in Beats volumes and times (Ctrl + 76) or Beats As Text (Ctrl + 77).
When you set the tempo for any of the parts, the tempi for all the other parts will be updated to match. E.g. if you set the eighth note tempo to 120 BPM for a 6/7 rhythm, the tempo for the dotted quarter notes automatically updates to 40 BPM (a third of the tempo because the individual notes are three times longer).
Tempi
Tempo in Beats per Minute - Set tempo on dial - OR : TAP AT DESIRED TEMPO with BACKSPACE key - or use LEFT, RIGHT, UP or DOWN ARROWS to adjust tempo...
The tempo is measured in beats per minute, like heart rate. For more about this scroll down to read about What do the numbers mean?
Lilt or swing (check box) (Alt + W)
For a more natural feel or practice Jazz rhythms, Scottish folk music etc...
I'll start by going through some typical ways to use this feature for a quick start. Scroll down if new to swing or lilt to find out more about them - see http://www.robertinventor.com/wiki/swung_notes.htm further down this page - also later in this page you can find out more about how the swing is implemeneted in Bounce Metronome.
Some typical ways to use this feature
Swing
You can use this to practise swing rhythms such as for Jazz. To do that you set up a rhythm with two subdivisions of each beat - and then as you adjust the swing, the first beat in each pair of subdivisions gets longer and the second beat shorter.
Lilt
Or you can use this to add a gentle lilt to the rhythm as a whole. You can use it like this with a rhythm without subdivisions such as 4/4. Just switch this on but set the slider to a small amount towards the left of the range. This will make the beats in the measure slightly uneven and more natural sounding which you may find helps with practice.
Scottish Jigs and other swung 6/8
If you use this option with compound time rhythms like 6/8 then the triplets get swung. In a triplet swing then the first beat is long, second beat is shorter third beat is between the first two in duration. It's similar rhythm to a triple stroke buzz roll on a drum - the triplet beats get shorter and shorter - then there's a slight pause before start of the next triplet just like the (very slight) pause you get as the drummer lifts the drum stick between buzz rolls - not really a pause - just a gap that is a bit longer than the gap between the last two strokes of the buzz roll.
Buzz rolls
You can also use this option with rhythms with more than 3 subdivisions of each beat. Each one will be played like a buzz roll on a drum of the same number of beats. Again you can use this with a hard swing for an n-tuplet version of the scottich swung triplet or for a buzz roll effect - or with a gentle lilt just to make the n-tuplets a bit uneven in an interesting way. If you want a buzz roll effect with 4 or more subdivisions, make sure you switch off the "Shuffle - Auto pulse as 2 subdivisions if possible" option in Swing and Auto Accents - Preferences (Ctrl + 232)
Swing part with most beats only=
Normally you swing just one of the parts, most often the part with most subdivisions. But when musicians play, the beats themselves are also uneven slightly, as well as the subdivisions. To set up a rhythm like that then you can switch off "Swing part with most beats only" - also switch off "Swing all the same" both in Swing and Auto Accents - Preferences (Ctrl + 232).
Then you can set the swing or lilt independently for each part. You might set the subdivisions to a hard swing for instance, and the individual beats to a gentle lilt.
You can also adjust the timing of any individual beats by hand in Template:W - what you might do is set up the rhythm first using swing and lilt for all the parts - then listen to it and then micro-adjust the individual beats to your preference to get the rhythm you like.
The way of doing lilt here for more than two subdivisions is only one way of doing it..
Swung notes
Swung notes are a feature of many types of music. Notes are played alternately longer and shorter than usual though normally notated all the same length. See the wikipedia article on Swung Note. http://en.wikipedia.org/wiki/Swung_note
Types of music that use swung notes include jazz, Celtic music, some dance and country music, and early music particularly France from the middle of the 16th century to late 18th century.
the early music use (notes inégal) see
http://en.wikipedia.org/wiki/Notes_in%C3%A9gales
and the Dolmetsch site on notes inégal
http://www.dolmetsch.com/musictheory20.htm#egal
For the precursors much earlier in the Ars Antiqua rhythmic modes:
http://en.wikipedia.org/wiki/Rhythmic_mode
Gentle Lilt
In nearly all types of music the beats in a bar are uneven in a subtle way. You notice this especially if you compare it with computer generated music with the notes all exactly the same length. Varying the beat with a gentle lilt makes the music much more natural sounding and it is likely to be easier to play along with.
So, if you find it easier to play along with other musicians than a metronome, it may well be because you are used to playing with a lilt and can't adjust your playing to the strict clock like beat of a metronome. This gentle lilt in your playing is something good, to foster. So when you do metronome practice, it is good if you can adjust the metronome to play a lilt :-) (unless you need to play a clock-like strict beat for some reason for a particular piece say).
To do this in Bounce Metronome Pro, just use the gentler settings for swing, such as Gentle lilt. You may also want to unselect "Swing parts with most beats only". This lets you apply a bit of lilt to all the parts in the rhythm, e.g. do the four beats of 4/4 with a lilt to them - a gradual change of timing through the bar. You probably only want a small amount of lilt for this. Then you could use a larger amount of swing if you want to swing eighth notes subdivisions of each beat.
Amount of swing
With swung notes, you can feel that the beats are uneven in a more noticeable way than a gentle lilt. The second beat in a pair is normally faster than the first.
The amount of swing can vary. So for instance you can have a light swing with the beats in a ratio of 3:2 or a hard swing of 3:1 or a medium swing of 2:1. Or the swing can be in between those amounts, it's not a fixed thing that it has to be 2:1 for instance.
A medium swing has the same timing as a triplet quarter note followed by a triplet eighth note (UK crotchet followed by quaver). However it isn't really a triplet rhythm - the second note you would expect in a triplet is missing. It is usually notated as a pair of eighth notes - understood to be played with a "swing feel".
You can set any of these amounts of swing in Bounce Metronome Pro by adjusting the slider.
" Triplet Swing" - really a swung duplet with triplet timing
The medium swing is also called a triplet swing because of the triplet timing. But it isn't really in compound time because of the missing second note. It is a beat with two subdivisions with an uneven rhythm. So, it is really, more accurately, a swung duplet with a triplet timing.
Jigs are played with Swung Triplets (not to be confused with triplet swing
Sometimes though you get true swung triplets - I mean triplets of three notes played with a swung feel to them, as in jigs in Scottish Folk Music. So in those, you have three different note lengths there rather than just the two note lengths of ordinary swing. The usual two numbers such as 2:1 for a medium swing aren't enough to specify the amount of swing of a swung triplet.
To find out more about the swing rhythm for jigs in Celtic music see Jigs: Trickier than you probably think
http://www.rogermillington.com/siamsa/brosteve/tricky.html
There are different ways to play the swung triplets of a jig. For a discussion thread see:
http://www.thesession.org/discussions/display/12135/comments
Indeed there are many more ways you could play a triplet, with three notes - you could choose any note to be the shortest, then any other note to be the longest, giving six possibilities (L M S, L S M, M L S, S L M, S M L, M S L), and that's not taking account of all the subtle variations in timing within each of those options.
However, one natural and straightforward way is inspired by the way a drum stick behaves if you drop it lightly on the drum. It plays several subdivisions one after another each faster than the previous one, followed by a slightly longer beat to raise the drum stick for the next beat. You get the same rhythm if you drop a bouncing ball from a height. So that's the L S M option. That is exactly how it's played in the various styles of jig rhythm - whether that's a coincidence or not I don't know.
So that's how it's done in Bounce Metronome Pro. So you play the first beat a bit slower than usual, and the next beat a bit faster. That's followed by a medium length beat to raise the drum stick before the next series of bounces. So - just like the way you play the rhythm in a Celtic Jig.
Another subtlety about Jigs is that they are often played with the second triplet in the 6/8 slightly faster than the first so with a very slightly uneven step. Hardly noticeable, but if you listen carefully you hear it.
Also the bars vary in timing too with a lilt - again if you lisen carefully, the first bar may be normal speed, second bar a little faster, third back to normal, fourth a bit slower than the first, the tempo varying very slightly in waves like that. That's common in many styles of music but perhaps a little more noticeable in Celtic music.
Swung notes with four or more subdivisions
When you have four or more subdivisions, then Bounce Metronome Pro does it in the same way, each beat is played faster than the previous one, like the bounces of a bouncing ball or drum stick. So in a four subdivisions swing, the first note is slower than normal, then the next one is a little faster, the third note is the fastest of all, then followed by a slower note again for the lift of the drum stick before the next main beat.
Of course there are many other types of rhythm or "grooves" with uneven timings. Or you may want to vary the swing in subtle ways in the bar.
If that's what you need, you can also set the timings of the beats individually or tap out a rhythm for the bar yourself.
Auto Accents (check box) (Alt + C)
Varies volumes of the OFF BEAT NOTES automatically. For triplets or n-tuplets, makes them gradually quieter, in the way a drumstick bounces if you let it fall loosely...
When lilted in pairs then the second beat is quieter than the first in each pair. When lilted in triplets or more than three notes, each beat is quieter than the previous one exactly in the way it happens with a bouncing ball or drumstick (exponential decay). You can also set it to accent the last beat slightly in triplets or n-tuplets, as players sometimes do. Or you can set it to accent alternate notes. This depends on your settings in Swing and Auto Accents - Preferences (Ctrl + 232)
To get syncopation and Jazz type accents, i.e. with the off beat notes accented, set the amount of the auto accents larger than 100.
Automatic choice to lilt in pairs, triplets, or more notes
The automatic choice to lilt in pairs, triplets, or more notes depends on the reinforced beats.
For instance in the 6/8 preset the third beat is reinforced, as it is played in both of the first two parts. So this rhythm is lilted or swung as two triplets.
In 3/4 with each crotchet split into eighth notes, the second and fourth beats of the six beat part are reinforced. So this time, the six beats (of part 2) are lilted or swung in pairs.
In both of those examples the number of beats to the measure is the same, six beats for part 1.
You can override this by setting the metrical pulse yourself in Beats volumes and times (Ctrl + 76)
You can set any number as the metrical pulse and indeed, one can get interesting rhythms by using a pulse that doesn't match the rhythm, e.g. a metrical pulse of 4 in 6/8 or whatever.
Accent (button)
click to switch on NORMAL ACCENTS - ON THE BEATS - then after that with each click switches between normal accents and Jazz accents, then back again...
This button will be labelled Accent when the volume is set to normal accents, or Jazz if set to Jazz accents.
You can then press the button to switch between the two at any time. If set to normal accents, changes volume to 300 for Jazz accents. If set to Jazz accents, sets this to 50.
How this works is configured in {{w232]]
If you already have the desired type of accent you can use SHIFT + click on the button to set it to the preset value without switching the type of accent (saves need to click twice to get back to desired type of accent).
You need the volume to be over 100% for Jazz type accents between the main beats of the rhythm.
You need it to be below 100% for normal accents - emphasize first beat in each subdivision.
Beats volumes and times (Ctrl + 76)
Adjust the amount of the lilt or swing, or adjust individual beats...
Lets you adjust individual beats by hand. That's the only feature available here for Bounce Metronome Basic. The swing and lilt options are available for the other metronomes.
For a more natural feel or practice Jazz rhythms, Scottish folk music etc...
Gradually Changing Tempo etc (Ctrl + 42)
Configure the gradually changing tempo...
To use this feature first you have to switch on "Gradually Changing Tempo".
You can set it to vary gradually over a time period in minutes and seconds, or over a number of measures. To use measures, switch on "Show Measures"
Changing tempo (check box) (Alt + E)
This lets you vary the tempo slowly over a number of minutes or seconds....
Helpful for practicing gradual changes of tempo - accelerando or ritartando - or to practise a rhythm slowly at first then faster and faster over a number of seconds or minutes.
To set the amount of tempo variation and how long to take to change the tempo, use Gradually Changing Tempo etc (Ctrl + 42)
How to change tempo drop list
You can also choose how it gets varied in the How to change tempo drop list in Gradually Changing Tempo etc (Ctrl + 42).
Choose Following sine wave there for ultra smooth transitions so that you change tempo imperceptibly to start with.
Choose or linear if you just want to change tempo at a steady rate.
See the tip for the drop list in Gradually Changing Tempo etc (Ctrl + 42) for more information about this
Tempo & Rhythm Progressions (check box)
Tempo or rhythm progressions - e.g. for the different sections of a song, or to set the tempo individually for each measure - Configured in Automatic Tempo and Rhythm Changes (Ctrl + 245)....
For the tempo progresssions, just switch on the tempo progressions and set the tempo you want for each section or measure.
For the rhythm progressions, enter all the rhythms for your progression using "rhythm codes" such as 4 for 4/4, 2 for 2/4, 3:5 for a 3:5 polyrhythm etc
See the help for the Auto Rhythm Progression text area for details of how the rhythm codes work.
Use for subtle tempo changes
The Lilt Measures preset and the check boxes to play some of the measures a little faster or slower may help with subtle tempo changes from one measure to the next. Or you can set the tempo for each measure individually.
Helps to give a more natural feel to the rhythm by varying the timing subtly from one measure to the next.
Motivation for lilt measures
When you play or sing a tune, while keeping to a steady overall tempo, it's natural to vary the timing very slightly from one measure to the next. Playing all the measures exactly the same is a bit like walking with all your strides exactly the same like a robot. It isn't wrong to do that - it is done sometimes - especially with music based on repeating sound loops. However it is more common for the measures to vary in a subtle way from measure to measure.
Often the measure timing varies with the melody line and the feel of the tune, so this can't be preset in advance, unless you set it individually for all the measures in the tune you want to play.
However, one interesting pattern is to start at normal tempo, second measure is a tiny bit faster, third is back nearly to normal tempo and fourth measure is very slightly slower than normal, then continue in that way in waves of subtle tempo variation, slower and faster.
So this is the preset pattern.
You can vary the amount of the lilt. You can also set the instant tempo for each measure individually for as many measures as you like.
Some musicians may find that this option helps the metronome to feel a bit more lively and make it easier to play along with. It might also be good practice for playing with other musicians and help make your own rhythms more organic and lively.
Human rhythms are far more fluid and flowing than this.. This option is just a first approximation. It may be useful as an alternative to a totally mechanical repeating metronomc click, and as a way to set a metronome which varies subtly in tempo.
go SILENT briefly (check box)
Switches the sound off for a few measures at a time - this can help you learn to develop your inner sense of rhythm - you can set the number of measures to play or go silent in Go SILENT Briefly (Ctrl + 260).
The idea is it helps you to play at a steady tempo without a metronome.
You enter the numbers of measures to play and to be silent for in Go SILENT Briefly (Ctrl + 260). You can also hide the bouncing balls independently of the sound.
You can set it to go silent at different places in each of the parts as well - for details see the help for the text area "Enter number of measures to play, then number to be silent for, alternating".
Motivation
The idea here is that you continue to play when the sound stops. Then when the sound comes back again, aim to be exactly in time with the metronome, or as close as you can get to it.
You can try this either with or without the bouncing ball visuals as an extra cue to help you stay in time through the silence.
Play in the Pocket
When you practise with the metronome it helps to play exactly in time with the beat, so you "bury the click". That makes sure you are exactly in tempo with the metronome.
Then when the metronome comes on again, are you still in time with it?
Are you so exactly in time that you "bury the beat" right away on the first click after the silence?
You can then try longer and longer silences and see if you are still in the pocket at the end.
Bounce Options (Ctrl + 220)
Includes: option to DELAY BOUNCES TO SYNC. WITH SOUND - also configure MOUSE BUTTONS for the bouncing balls e.g. to adjust beat times - and other options for the bouncing balls.
Measure beat ball (check box)
Display a bouncing ball for measure beat parts (parts with one beat to the measure)
3D Bouncing Balls, Drum stick or Conductor's baton (Ctrl + 224)
Show in 3D as drum sticks, conductor's batons, or bouncing balls...
For options for the 3D visuals, see 3D Bouncing Ball Visuals (Ctrl + 226)
Reset Metronome (button)
Resets rhythm and anything that changes its sound...
This resets the options such as tempo, timing, instruments, controllers etc, that change the sound of the rhythm.
Leaves visual options as they are e.g. whether to show as conducting patterns, bounce inside ovals, colours, textures etc.
Custom Reset
You can make a custom reset using File >> Save As RESET METRONOME for this view.
Reset nearly all settings
If you want to do a reset to get nearly all the settings back to the way Bounce Metronome was when you first installed it, then File | Reset Nearly Everything will probably do the trick.
Reset settings for a particular window
You can also reset the settings for any window in Bounce Metronome.
To do that click on the O (Organise Windows) icon in the window and in Organise windows (Ctrl + 51) you will find options to reset the settings for the window
BouncingBall
Shows balls bouncing in time with the rhythm, and various controls you can use to adjust the rhythm...
Quick start for the Bouncing Balls controls
LEFT CLICK ON THE GRAY SEMICIRCLES to Show / hide the blocks and the parts adjustments.
LEFT or RIGHT CLICK on BLOCKS to ADJUST INDIVIDUAL BEATS, e.g. to skip beats, accent beats, or change volumes. Hover the mouse over a beat for more information.
You can also LEFT CLICK on the main display to restart the measure. This only works if the balls are bouncing silently. When the sound is playing the bouncing balls always synchronise with the sound.
You see this tip when you hover the mouse over the bouncing balls themselves. hover the mouse over the title measure of Metronome Bouncing Ball (Ctrl + 219) for background information.
More Details
The gray semi-circles to left and right can be used to show the beats for each part as blocks below the bouncing balls - and to show controls you can use to adjust the individual parts in the rhythm.
Each row of shaded blocks shows one of the parts. For instance 6/8 has three parts. One of the parts plays the six beats to a measure (as eighth notes). Another part plays two beats to the measure, so that you can hear the middle beat clearly. Another part plays the measure beat.
Each row is the same colour hue as its bouncing ball, though lighter in shade. In each row, the blocks show the individual beats in the rhythm, and the size of each block shows the duration of the beat. The blocks are all done with the first beat of the measure to the left, and last beat to the right (and shown reversed when the balls bounce from right to left).
If you have the display set up so that all the balls bounce together then the balls for each part bounce on the divisions between the beats. However you may have the balls bouncing in opposite directions for polyrhythms like 3 with 4 / 4. If you have a setup like that and also beats varying in size, then the balls may not bounce on the divisions between beats for all the parts.
How to use the blocks to adjust the rhythm
You can LEFT CLICK on a beat to SKIP it, or to adjust the timing of individual beats. You can RIGHT CLICK to ACCENT it, and MIDDLE CLICK or SHIFT + CLICK to adjust the volumes. For more details hover the mouse over the blocks.
Tap out rhythm
You can RIGHT CLICK on any of the parts, to tap out an entire new rhythm. The last click ends the measure so for instance to tap out a measure with four beats, tap four times for your rhythm, then add a fifth tap for the start of the next measure.
Right click on the part you want to adjust the rhythm for - as the rhythm is used for the currently highlighted part.
Another way to tap out an entire rhythm is to use the SPACE BAR on your keyboard. Again, right click on the desired part first to choose the part to set the rhythm for.
Then use Ctrl + SPACE to switch on the SPACE BAR RHYTHM TAPS. Then tap out the rhythm. Use CTRL + SPACE to switch the taps off again when finished
How to play your rhythm back at speed
To play your rhythm at the speed you tapped it, set the beats tempo in the main window to 60 beats per minute. Set it faster than that, or slower. if you want it speeded up or slowed down.
Parts adjustments
You can ue the diamonds, circles and rectangles to the left of the bouncing ball display to hide any of the bouncing balls, change the instrument for a part, or silence any of the parts.
You can use the triangles to the right to vary the number of beats in each part or the number of parts.
To find out what one of those controls does - just hover the mouse over it.
How the blocks work for scripted additive rhythms
These rhythms show up as separate measures along the bottom of the window, one after another, with only one of them highlighted.
With these rhythms, you can click to select one of the measures of the rhythm - this lets you change between the sections of the script manually.
These rhythms are made automatically by Bounce Metronome by creating a script for Tune Script (Ctrl + 171). Because the rhythm is scripted, you can't adjust the beat timings by hand for these rhythms, at least not permanently. If you do adjust the individual beats (for instance using Beats volumes and times (Ctrl + 76)) then the next time that measure is played the script will just set the beats back to the way they were before.
However you can play these rhythms with swing.
You can also make your own scripted rhythms with skipped beats or using any of the other features of Bounce Metronome using Tune Script (Ctrl + 171) - explore auto script in that window.
For instance, one way to do it, if you switch on auto script and then play the rhythm slowly until the script highlight reaches the measure you want to adjust, you can then adjust the beats using Beats volumes and times (Ctrl + 76) as normal and your changes will be added into the script at that point.
Combine Rhythms (Ctrl + 217)
Combine numbers of beats per measure as polymeters, polyrhythms or as additive rhythms (one after another) - also set the numbers of subdivisions separately for each rhythm..
This lets you combine rhythms to make a polyrhythm, or one after another as an additive rhythm (long measure or hypermeasure).
To find out about time signatures, see http://en.wikipedia.org/wiki/Time_signature
Stereo Pan (Ctrl + 50)
Set stereo pan positions for each part for a more immersive experience...
You can use this to place individual instruments in different locations to get a more immersive experience. To take one example, in the traditional seating arrangement for a string quartet the first violin is to far left. Then from left to right you have the second violin, viola, and 'cello in that order with 'cello at far right.
Auto (check box)
With Stereo Pan, you hear the notes played spread out in space. Switch this on if you want to set the stereo pan automatically. Configured in Stereo Pan (Ctrl + 50)...
You can auto pan by part, by position in seed, by position in scale, and various other options.
Auto pan is configured in Stereo Pan (Ctrl + 50).
You can also set the stereo pan positions for each part manually as well, again in Stereo Pan (Ctrl + 50).
Buzz Rolls... (button)
Makes the notes faster and quieter like the "buzz roll" effect used by drummers - CLICK AGAIN TO SWITCH OFF...
This sets the bouncing balls to bounce faster and lighter like the bounces of a ball bouncing repeatedly - or a drumstick buzz roll,
After you switch this on you can adjust the amount of swing, and what to lilt the volumes to, in Beats volumes and times (Ctrl + 76)
If you have set a custom swing level and want to keep it when you switch this on / off then use use SHIFT + CLICK when you switch on to keep the swing amount.
Similar effect to a buzz roll
You get a drum roll by holding the drum stick somewhat loosely, just enough to get a buzz effect as you hit the drum head - with the notes getting faster and lighter through the roll. For more about this, try some of the videos on youtube:
Video tutorial of a Buzz roll on Youtube
http://www.youtube.com/watch?v=PEIuuerxYUM
This option creates a similar effect to that.
You need gentler amounts of swing in the Swing slider to get same effect
Normally when you click on this button, you set it up with a medium swing of 250 to 150. This has roughly the same effect as a hard swing of 300 to 100 in normal use if you use it for e.g. a drum roll using two parts.
That's because this option switches on "Swing all parts by same amount" in Swing and Auto Accents - Preferences (Ctrl + 232) which increases the strength of the swing if you have more than one part which can be swung.
If you want to use your existing amount of swing, then use SHIFT + CLICK on this button which switches on all the features needed for the buzz roll except that it keeps your existing level of swing whatever it is.
What this button does in detail
To get the most natural effect visually and for the sound, quite a few changes needd to be made:
Switches ON "For 3 or more subidivsions, adjust last subdivision towards first" and Switches OFF "For Volumes, adjust up beats and last of 3 or more subdivisions in the same way" in Swing and Auto Accents - Preferences (Ctrl + 232).
Switches ON Swing all parts by same amount in that window - this is useful for polyrhythms when you adjust the amount of swing.
Switches OFF "Shuffle - Auto pulse as 2 subdivisions if possible" - again in Swing and Auto Accents - Preferences (Ctrl + 232) - because you want to do rhythms with e.g. 4 subidivsions as a four beat buzz roll not as an alternating subdivisions type shuffle.
Also switches OFF "Shuffle entire Measure (i.e. shuffle alternate beats)" in the same window if you happen to have it on.
Switches on Lilt or swing, and Auto Accents.
Set the swing to a hard swing.
Sets the volume to lilt to to 40
Switches to stereo pan to follow the bounces in Stereo Pan (Ctrl + 50) to help make it a more immersive experience.
Switches OFF "Exaggerate small bounces" in Bounce Patterns in Bounce Patterns (Ctrl + 227) to make the motion as much like the natural motion of a bouncing ball as possible.
When it is switched off
All of those things are reversed unless they were preset settings:
Switches ON "For Volumes, adjust up beats and last of 3 or more subdivisions in the same way" in Swing and Auto Accents - Preferences (Ctrl + 232).
Switches OFF Swing all parts by same amount and switches ON Swing part with most beats only.
Switches ON "Shuffle - Auto pulse as 2 subdivisions if possible" - again in Swing and Auto Accents - Preferences (Ctrl + 232)
Switches OFF Lilt or swing, and Auto Accents.
Switches to auto pan by parts in Stereo Pan (Ctrl + 50).
Switches ON "Exaggerate small bounces" in Bounce Patterns in Bounce Patterns (Ctrl + 227).
Lissajous Pattern for Notes Played (Ctrl + 137)
Shows Lissajous figures as you play...
Note: for polyrhythms with non melodic percussion, shows Lissajous patterns for the rhythms instead - using the beats per minute for each part as the Lissajous "frequencies".
These patterns were originally made by a Frenchman Lissajous by shining light onto mirrors attached to tuning forks. They can also be shown using oscilloscopes.
The interesting thing about this pattern is that the same chord always has the same pattern whatever its pitch.
So for instance, all major chords with the same exact relative tuning have the same pattern, then there is another pattern for all minor chords, another for all diminished sevenths , and so on. Then there are separate patterns for each of the flavours of all those chords, for instance one for septimal minor chords, one for the ordinary just minor, and so on.
When you have a chord that uses small numbered pure ratios, for instance a chord in the harmonic series or other just intonation (pure ratio based) chords - the lines will join up after a few cycles around.
If the chord isn't quite pure, but close to just, then the lines continue for ever but they start off pretty much the same as the pure chords.
The pattern then would fill the entire area normally (if you set the time out high enough) so wouldn't be very interesting. So normally the lines are set to fade out if it continues too far to follow in the time available. This is configured in the Lissajous Colours and Line Options (Ctrl + 198)
Any that don't fade out can be finished if you give them enough time. The title will show that they need more time - use the Redraw with more time button to see the complete picture.
Some complex just intonation chords may fade out too, because Bounce Metronome didn't follow the curve far enough to find the place where it joins up. The calculation continues ahead of the place it reaches with the drawing, so Bounce Metronome can show many fairly complex just intonation chords without fading them out. But sometimes it just doesn't go far enough in the calculation to recognise them.
If the pattern fades out, and you know that it is in fact just intonation, and want to see the complete curve, increase the time out if necessary, and again, use the Redraw with more time button.
Lissajous 3D (button)
Show the Lissajous figures in 3D - good for chords of three or more notes...
You need to install Lissajous 3D to use this option - get it from
http://www.robertinventor.com/Lissajous_3D/index.htm
Then Lissajous 3D will start up when you press this icon and its shapes will change in response to your chords as you play.
The first Lissajous shape you get - File | New in Lissajous 3D is fine for showing the chords. Have a look at some of the other example patterns - many just differ in things such as the style and colours of the ribbon / tube. Others though use such things as very wide tubes, or alternative formulae instead of sine waves, or they may make a short fragment of curve that swoops around the Lissajous pattern, or several of them doing that at once. Or may have ripples and other effects.
You will see that the 3D shapes turn around - but they also change in shape too - that's a phase shift. The shapes it transforms through are all the same Lissajous curve in the sense that they are all curves for the same frequency ratios. You can change the phase here too using the Lissajous Opts window - most commonly, the two directions are played ninety degrees out of phase.
Opts.... What to show on Piano style Keyboard Pictures (button)
Configure how Lissajous 3D responds to chords played in Bounce Metronome
Conducting Patterns
Choose the conducting patterns to use - the first option follows the standard conducting paterns from Brock McElheran's book...
The left to right option is useful especially for the polymeters and the polyrhythms with polyrhythmic measure beats - it's similar to the bounce left to right but the balls don't need to bounce in synchrony with each other.
The up beat up option is for fun and not a standard pattern - conductors do raise the baton high on the up beat - but normally the up beat starts at the moment when you begin the upward movement - not at the end of the upward motion of the baton (the end of the upward motion is a less precise moment of time, because the baton slows down and so is moving slowly at that point). See below for details.
The custom option let's you configure your own patterns - which you can do in Conducting Patterns (Ctrl + 247)
The patterns used here
The bounce patterns used here are the ones recommended by Brock McElheran - see:
McElheran, Brock. "Conducting Technique for Beginners and Professionals ", 1989, New York and Oxford, OUP
In all conducting patterns, you raise the baton high after the start of the last beat of the measure. This is called the up-beat. Then it is dropped vertically to emphasize the first beat of the measure, called the down beat. So you raise the baton high BEFORE the first (or down) beat.
This helps you to see where you are in the measure and to anticipate the first beat before it happens.
The invisible horizontal plane for the conductor
This style of conducting uses an "invisible horizontal plane" as recommended by Brock McElheran. He recommends it because it makes it easier for performers to anticipate the moment of the beat (particularly if seated to one side of the conductor).
So with this style of conducting, you play the note at the moment when the baton bounces off the "invisible horizontal plane", and all the beats are conducted bouncing off the same horizontal plane.
Other conducting patterns
As for the particular pattern - e.g. 3 4 1 2 for 4/4, different conductors may use slightly different bounce patterns.
An alternative for 4/4 is 3 1 4 2 i.e. the conductor's baton bounces over the position of the down beat twice, from 2 to 3 and then back again from 3 to 4. You can set your own custom patterns in Conducting Patterns (Ctrl + 247).
Also an alternative to the horizontal plane is to have the bounces at different heights. So for instance, in 9/8 the first three beats might be on one level, then the other groups of beats are conducted at successively higher levels instead of all on the same horizontal plane.
I haven't implemented this as a feature in Bounce Metronome yet. It could be done if there was enough interest.
Another idea which perhaps I might do some day is to add an option to record the actual conducting movements of a conductor and play those back in Bounce Metronome. See http://robertinventor.com/bmwiki/Bounce_Metronome_Pro_Wish_List#Get_Conducting_Pattern_from_a_Movie
Up Beat Up - not the way conductors do it
The last option Up Beat Up is just for fun. Normally conductors do raise the baton for the up beat, it's true. But normally the "ictus" - the moment the up beat starts - is considered to be the moment when the baton starts to go up rather than the moment when it reaches the top.
See e.g.
http://www.youtube.com/watch?v=79Pk-33R2HM
for the position of the ictus in e.g. 3/4
But for this "Up Beat Up" option - just for fun - the up beat STARTS when the baton reaches the UP position.
It is almost impossible to show a distinct moment of time visually at the end of the upward movement of the baton if you conduct by hand because the hand naturally slows down as it goes up.
To show an "ictus" at the top of the up-beat you would have to make a bouncing flick downwards instead of upwards, which is an unnatural thing to do (it's the opposite to the way gravity works).
It is just here for fun :-)
Also because some people think this is how you conduct, so by including it as an example and explaining that that's not how it isn't done, helps to make that clear.
Opts.... What to show on Piano style Keyboard Pictures (spin)
Increase or decrease number of beats in the measure for first time signature
Next: Harmonic Polyrhythms like 4 : 3
Previous: Harmonic Polyrhythms like 4 : 3
Controls Common to Many Windows
