# GNU Solfege 3.13.1 Manual de usuario

### Tom Cato Amundsen

`<tca@gnu.org>`

Copyright © 2005 Tom Eykens

Copyright © 2000, 2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008 Tom Cato Amundsen

Está permitido copiar, distribuír e/ou modificar este documento baixo as condicións da Licenza Pública Xeral GNU tal e como publicou a Fundación de Software Libre, tanto a versión 3 da licenza coma calquera outra posterior que vostede escolla. O documento completo da licenza está dispoñíbel en Appendix A, GNU General Public License version 3 .

List of Figures

3.1.
3.2.
3.3.
3.4.
3.5.
3.6.
3.7.
3.8.
3.9.
3.10.
3.11.
3.12.

## Chapter 1. Introdución

## Sobre o manual

Esta guía de usuario está dispoñíbel dentro do GNU Solfege no menú Axuda. O visualizador html que se inclúe no programa ten varias limitacións, por exemplo cando vai ás follas de estilo CSS, por iso quizais prefira visualizar a guía nun navegador web real. Pode atopar o directorio de instalación do manual de usuario en Localizacións de ficheiros no menú Axuda .

## Informe de erros

Envíe informes de erros ao seguimento de erros en http://bugs.solfege.org. Se o prefire tamén pode mandar un correo electrónico a `<bug-solfege@gnu.org>`. As consultas e parches de carácter xeral deberían enviarse a `<solfege-devel@lists.sourceforge.net>`.

Por favor, asegúrese de que os seus informes de erros van ben detallados. Algo como "Saíume unha xanela cunha mensaxe de erro cando tratei de iniciar o programa" non me serve de moito. Á hora de informa de erros:

- Dígame que versión do Solfege está executando e comprobe se hai versións novas dispoñíbeis. Se vostede só quere executar versións estábeis, non debería probar versións máis novas en desenvolvemento.

- Que sistema operativo está a empregar e que versión?

- Describa con exactitude o que estaba a realizar cando apareceu o erro.

- Envíe unha copia exacta das mensaxes de erro, xa que estas teñen sentido para o autor mesmo cando a vostede lle parecen indescifrábeis.

## Recursos en liña

A páxina do Solfege é http://www.solfege.org. Existe tamén unha páxina con información máis estática en http://www.gnu.org/software/solfege/.

### Descargar o Solfege

O código fonte está dipoñíbel en http://ftp.gnu.org/gnu/solfege. Se quere probar sorte, pode tratar de utilizar as versións inestábeis de http://alpha.gnu.org/gnu/solfege (teñen erros, pero quizais haxa cousas novas). Poida que estas novas versións teñan máis defectos, pero así terá ocasión de probar material novo e enviar informes de erros.

O código fonte e algúns binarios precompilados están dispoñíbeis en http://sourceforge.net/project/showfiles.php?group_id=1465.

Se executa o Debian pode `apt-get install solfege` para descargar e instalar o programa.

### Listas de correo

#### `<solfege-announce@lists.sourceforge.net>`

Teñen pouco tráfico e moderado, empregaranse para anunciar versións estábeis do Solfege. (Subscrición | Arquivo)

#### `<solfege-devel@lists.sourceforge.net>`

Se quere notificar algún problema á hora de instalar ou executar o Solfege, ou se ten algunha pregunta, comentario ou idea para mellorar o programa, pregámoslle que as envíe a estas listas e non ao foro de Sourceforge nin directamente ao autor. Pode enviar as súas suxestións ao Solfege-devel sen ter que subscribirse. (Subscrición | Arquivo)

#### `<bug-solfege@gnu.org>`

Enderezo GNU estándar para enviar informes de erros. Polo de agora esta lista vai dirixida a `<solfege-devel@lists.sourceforge.net>`

## Xanela de preferencias

### Instruments

#### Tempo

Estabelece o tempo (compases por minuto) para a música e os arpexos.

#### Instrumento preferido

Set the midi instrument and volume used for most exercises.

#### Instrumentos do acorde

O Solfege pode empregar tres instrumentos diferentes á hora de reproducir os acordes. Un para o ton máis alto, outro para os tons do medio e o último para o ton máis baixo. Isto pode ser útil se ten dificultade para identificar tons individuais nos coros.

#### Instrumentos de percusión preferidos

Estabelece o instrumento de percursión empregado para dar a entrada ás preguntas de ritmo e o instrumento que reproducirá a pregunta.

### Usuario

O Solfege emprega esta información nalgúns exercicios en que o usuario ten que entoar.

#### Ton máis alto e baixo que o usuario é quen de entoar.

Estes botóns de axuste informan ao Solfege do ton máis alto e máis baixo que o usuario é quen de entoar. O programa considera estes valores só de forma orientativa. Por exemplo, se os valores están estabelecidos de `do` a `do'` e vostede configurou o programa para que lle pida que entoe décimas máis pequenas ou máis grandes, probablemente terá que entoar tons fóra dese rexistro.

#### Sexo

O Solfege precisa saber se o usuario é muller ou home para poder crear as preguntas en que este deberá entoar a resposta. Isto débese a que a voz do home é unha oitava máis baixa que a da muller.

### Programas externos

Solfege will search the PATH for the programs you enter on this page. So you only have to enter the full path if the programs are installed outside the PATH.

#### Conversores

Introduza as liñas de comandos que poden converter un formato de audio noutro. `%(in)s` cambiarase co nome do ficheiro que se vai converter e `%(out)s` co nome do ficheiro novo que se obtén. Non é preciso introducir `%(out)s` se o programa o gardou automaticamente nun ficheiro novo coa extensión correcta.

#### Reprodutores de audio

Liñas de comando que poden reproducir diferentes formatos de audio. `%s` cambiarase co nome do ficheiro que se vai reproducir. O nome do ficheiro engadirase ao final da cadea a non ser que inclúa un `%s`.

#### Miscellaneous

A few exercises make use of the programs CSound and MMA. Lilypond-book is required to make ear training test printouts, and latex is required if the printout should be created in dvi format. Without latex, you can still create html output.

"Programa de correo" especifica o comando que inicia o programa de correo ao premer nos enderezos electrónicos do manual de usuario.

### Interface

Display user manual in web browser: Use this as an alternative to the help browser included with the program.

Resizeable main window: Allow the user to resize the main solfege window.

Seleccione un idioma: vostede pode seleccionar o idioma que queira de forma manual en caso de que o Solfege non o detectase correctamente, ou se prefire executar o Solfege nun idioma diferente ao do seu sistema operativo.

### Práctica

Non realizar unha pregunta nova até que se resolva a anterior: desactiva o botón "novo" até que se responda a pregunta correctamente ou o usuario prema en "abandonar".

Repite a pregunta se a resposta foi incorrecta: reproduce o son de novo cando o usuario dea unha resposta incorrecta.

Modo experto: en moitos exercicios, vostede só poderá practicar un subgrupo de preguntas do ficheiro de lección.

### Configuración de son

#### Configuración de Midi

Hai tres formas de reproducir o son:

Sen son:

  Use este modo para a depuración ou para portar o Solfege. Desta forma non se reproducen os sons, os eventos do midi cólanse no stdout.

Usar un dispositvo:

  Aquí, a mellor opción é xeralmente `/dev/music`, xa que posúe o mellor soporte para os instrumentos de percusión. `/dev/sequencer2` normalmente é unha ligazón simbólica a `/dev/music`. Se o seu sistema non posúe `/dev/music`, pode crealo con este comando como raíz (se vostede utiliza linux kernel versión 2.2 ou posterior):

  cd /dev mknod music u 14 8

  On MS Windows this choise is labeled `Windows multimedia output`.

Usar reprodutor midi externo:

  Isto pode ser de utilidade á hora de portar a sistemas que non empregan OSS, ou se vostede posúe un sintetizador midi de mala calidade na súa tarxeta de son e prefire usar TiMidity.

## Editor de conxunto de exercicios

O editor de conxunto de exercicios permítelle crear ficheiros MIDI/WAV/MP3/OGG de preguntas para que as poida cargar na pda, no móbil ou no reprodutor MP3. Crearase unha folla coas solucións que se poderá imprimir. Daquela, vostede poderá escoitar as pistas de forma aleatoria no reprodutor MP3 e comprobar se é quen de identificar a música correctamente.

Empregue o editor de conxunto de exercicios para seleccionar que exercicios quere crear. Pode gardar a súa selección nun ficheiro para empregalo máis adiante. Cada vez que prema Exportar crearase un novo conxunto de ficheiros no directorio que vostede elixa. Deberá cargar os sons creados no seu dispositivo móbil de forma manual.

O programa permítelle crear preguntas a partir de tantos ficheiros de lección como vostede queira, pero o máis común sería crear moitas preguntas dun só ficheiro ou duns poucos.

Os programas empregados para converter os diferentes formatos dos ficheiros aparecen especificados na páxina GUI da xanela de preferencias. Comprobe eses programas no caso de que teña problemas para converter os ficheiros MIDI en formatos WAV, MP3 ou OGG.

Táboa coas cabeceiras explicadas

Suma

  Número de preguntas creadas a partir do ficheiro de lección.

Repetir

  Número de veces que se repite cada pregunta.

Demora

  Cal será o tempo do atraso entre as preguntas medido en duración de negras.

## Editor de impresión de exercicios de adestramento auditivo

Esta ferramenta está dispoñíbel no menú Ficheiro. Utilícea para crear probas de adestramento auditivo que logo vaia imprimir. O Solfege creará dúas versións do documento: unha para que a completen os estudantes, e outra coas solucións xa escritas.

O botón Engadir fará emerxer un menú con todos os exercicios da árbore de aprendizaxe activa a partir da cal esta ferramenta pode crear exercicios. Ao escribir isto, os módulos de exercicio idbyname, melodicinterval e harmonicinterval. A partir do módulo `idbyname`, só se soportarán os obxectos de música chord, rvoice e voice.

## Chapter 2. Apartados de axuda para os exercicios

##

## Intervalo harmónico

Este é un dos exercicios que pode empregar para practicar intervalos. O concepto é moi simple: presione o botón Intervalo novo para reproducir intervalos aleatorios, despois deberá dicir de que intervalo se trataba.

Se está a utilizar os botóns da interface, poderá permer neles co botón dereito do rato para escoitar os intervalos que representan.

### Configuración

Na páxina de configuración do exercicio hai unha caixa de combinación onde vostede poderá seleccionar diferentes formas de responder á pregunta. De momento hai un piano, unha guitarra, un baixo e algúns tipos de acordeóns ademais dos botóns predeterminados que trae a interface. Máis abaixo pódese ver unha captura de pantalla coa interface do piano.

### Combinacións de teclas

- Intervalo novo: Alt+n

- Repetir: Alt+r

- Repetir intervalo melódico: Alt+m

- Abandonar: Alt+g

Segunda menor: 1 | Cuarta xusta: 2 | Sexta maior: 3 | Novena menor: 4
Segunda maior: q | Trítono: w | Sétima menor: e | Novena maior: r
Terceira menor: a | Quinta xusta: s | Sétima maior: d | Décima menor: f
Terceira maior: z | Sexta menor: x | Oitava xusta: c | Décima maior: v

## Intervalo melódico

Este exercicio crea intervalos aleatorios que vostede deberá tratar de identificar.

Se está a utilizar os botóns da interface, poderá permer neles co botón dereito do rato para escoitar os intervalos que representan.

### Configuración

Na páxina de configuración do exercicio hai unha caixa de combinación onde vostede poderá seleccionar diferentes formas de responder á pregunta. De momento hai un piano, unha guitarra, un baixo e algúns tipos de acordeóns ademais dos botóns predeterminados que trae a interface. Máis abaixo pódese ver unha captura de pantalla coa interface do piano.

### Combinacións de teclas

- Pregunta nova: Alt+n

- Repetir: Alt+r

- Abandonar: Alt+g

Segunda menor: 1 | Cuarta xusta: 2 | Sexta maior: 3 | Novena menor: 4
Segunda maior: q | Trítono: w | Sétima menor: e | Novena maior: r
Terceira menor: a | Quinta xusta: s | Sétima maior: d | Décima menor: f
Terceira maior: z | Sexta menor: x | Oitava xusta: c | Décima maior: v

## Entoar o intervalo

Neste exercicio, o Solfege mostrará un ou máis intervalos que vostede deberá entoar. Por desgraza, aínda no é posíbel entoar por un micrófono e deixar que o Solfege valore se a súa entoación foi correcta ou non, así que terá que ser vostede quen decida se esta foi válida.

### Configuración

O programa tratará de facer unha pregunta onde todos os tons estean dentro dun rexistro que o usuario poida entoar, tal e como se configura na xanela de preferencias. Ás veces, non é posíbel manter a pregunta dentro deste rexistro, por exemplo cando o exercicio está configurado para crear moitos intervalos onde todos eles son ascendentes.

### Combinacións de teclas

- Intervalo novo: Alt+n

- Intervalo novo, o último foi correcto: Alt+n

- Intervalo novo, o último foi incorrecto: Alt+w

- Repetir o primeiro ton: Alt+r

- Reproducir a resposta: Alt+p

- Reproducir o último ton: Alt+l

## Identificar o acorde

A finalidade deste exercicio é identificar o acorde que se está reproducindo.

Comece o exercicio premendo en Novo. Logo o Solfege reproducirá un acorde e vostede terá que identificalo nun dos botóns que hai debaixo da liña de mensaxes de estado.

Se a súa resposta foi correcta, o programa mostrará o acorde na liña de funcionalidades e a mensaxe "Correcto" aparecerá na barra de estado. Entón, vostede poderá premer no botón Novo para que haxa unha pregunta nova.

Se a súa resposta é incorrecta, será a mensaxe "Incorrecto" a que apareza na barra de estado.

### Combinacións de teclas

- Acorde novo: Alt+n

- Repetir: Alt+r

- Repetir arpexo: Alt+a

- Abandonar: Alt+g

## Identify the cadence

Identifique a cadencia premendo no botón que teña o seu nome. Tal e como se recoñece en bug #5 precisamos exercicios de cadencia no Solfege.

In this release of Solfege, we only have one exercise with cadences in major. In this exercise, a major scale is played to establish the tonic. Maybe this is too little? Do we need a complete I-IV-V-I before the question? Or maybe it is better to write real music that ends in the cadence we want to practise? This are things we need to descide before we release 3.12.0. Comments and music can be added to bug #5.

## Identificar o acorde

Esta é unha páxina de axuda xenérica para todos os exercicios escritos do módulo de exercicios de `acorde`. Estes exercicios poden preguntarlle ao usuario tres cousas: tipo de acorde, inversión e ton máis agudo. A idea é que vostede responda en tres pasos:

- Identifique o tipo de acorde.

- Que inversión é esta?

- Cal é o ton máis agudo do acorde?

É importante que lle dedique o tempo que precise, que entoe o acorde e que identifique o tipo de acorde antes de tratar de atopar a inversión.

Teña en conta que é posíbel que algún exercicio lle pregunte só polo tipo de acorde e a inversión, ou só a inversión e o ton máis agudo.

### Combinacións de teclas

- Acorde novo: Alt+n

- Repetir: Alt+r

- Repetir arpexo: Alt+a

- Abandonar: Alt+g

## Respostas de selección múltiple para música

Esta é unha páxina de axuda xenérica para todos os exercicios escritos que empregan o módulo de exercicios `idproperty`. Polo xeral, os exercicios traerán un texto de axuda máis específico ca este.

A captura de pantalla anterior mostra un exemplo de como pode ser un exercicio.

O exercicio traerá unha pregunta e reproducirá algo de música, vostede terá que seleccionar unha resposta de cada columna na táboa dos botóns. Ao seleccionar na columna a resposta correcta, a etiqueta tornarase negra e na súa barra de estado aparecerá a mensaxe "Correcto" .

O exercicio mostrará Repetir arpexo se o programa pode arpexar unha ou máis das preguntas que trae.

### Combinacións de teclas

- Acorde novo: Alt+n

- Repetir: Alt+r

- Repetir arpexo: Alt+a

- Abandonar: Alt+g

## Entoar o acorde

Se está dirixindo un coro, deberá entoar as primeiras notas para as diferentes voces e, no caso de que non dispoña dun piano cerca, deberá empregar un diapasón. Se vostede é home, deberá dar o ton para as mulleres unha oitaba máis baixo e viceversa.

O programa reproducirá a nota LA (440 hz) e mostrará un acorde que vostede deberá entoar. O Solfege aínda non dispón de soporte para micrófono, así que será vostede quen decida se a súa resposta foi correcta ou non.

### Combinacións de teclas

- Novo: Alt+n

- 440hz: Alt+z

- Repetir a resposta: Alt+p

## Ritmo

O programa reproducirá os ritmos que se creen de forma aleatoria. O usuario deberá introducilos premendo os botóns que representan os diferentes elementos rítmicos.

Unha vez introducidos elementos rítmicos suficientes, o Solfege comprobará a resposta. Se todo é correcto, o programa mostrará unha cara sorrindo, no caso contrario, mostrará unha cara triste e marcará todos os ritmos que estean mal.

Se algunhas das súas respostas foron incorrectas, borrarase todo a partir do primeiro elemento que estea mal ao premer na cara triste (excepto algún ritmo correcto do comezo da súa resposta) ou ao premer nos botóns para o ritmo do principio da páxina.

Poder premer no botón "Play" para escoitar a súa opción.

De momento as preguntas que fai o exercicio realízanse seleccionando elementos rítmicos de forma aleatoria. Quizais esta non sexa a mellor maneira de facelo, por iso esperamos ter un método máis eficaz de xerar preguntas nunha versión posterior.

### Combinacións de teclas

- Novo: Alt+n

- Repetir: Alt+r

- Abandonar: Alt+g

- Tecla de retroceso: Tecla de retroceso

## Tocar o ritmo

O programa reproducirá de forma aleatoria os ritmos creados e o usuario deberá repetilos.Para iso terá que introducir o ritmo premendo no botón coa etiqueta Toque aquí.

## Ditado

Este exercicio chámase exercicio de ditado, mais se os ficheiros de lección necesarios están escritos, pódese empregar de varias formas:

- Pode deixar que o Solfege lle reproduza música que vostede terá que escribir nun papel á parte. Prema nos botóns coas negras para repetir pequenas partes da música. Deberá premer no botón Mostrar e comprobar as súas notas vostede mesmo para ver se cometeu algún erro.

- Pode utilizar este exercicio para practicar a lectura á vista: cando comece o exercicio, prema en Mostrar e trate de entoar a música. Logo, pode usar o botón "Reproducir toda a música" ou os botóns coas negras para que o programa reproduza a música. Terá que ser vostede mesmo quen decida se o fixo ben.

### Combinacións de teclas

- Reproducir toda a música: Alt+p

- Mostrar: Alt+s

## Escalas

As escalas son un tema complexo. Por exemplo, a escala lidia grega (C-D-E-F-G-A-B-C) é diferente da escala lidia medieval ou moderna (C-D-E-F#-G-A-B-C). Pode ler máis sobre as escalas que emprega o GNU Solfege aquí.

Polo de agora o Solfege só ten tres tipos de exercicios de escalas.

- O Solfege reproducirá a escala e vostede terá que identificala premendo no botón co nome da escala correcta.

- O Solfege reproducirá a escala para que vostede identifique a súa estrutura. Ofreceráselle un conxunto de botóns etiquetados cos números 1, 2 e 3. Estes números representan os intervalos de segunda menor, segunda maior e terceira menor que hai entre os tons da escala.

- O Solfege reprodicirá unha escala e vostede deberá identificar a que grao pertence. Por exemplo, poida que o Solfege escolla a escala menor natural e a reproduza a partir de calquera dos seus tons, polo que vostede deberá dicir en que ton comeza.

### Combinacións de teclas

- Novo: Alt+n

- Repetir: Alt+r

- Repetir lentamente: Alt+s

- Abandonar: Alt+g

## Entoación

Neste exercicio, o Solfege reproducirá un intervalo e vostede terá que dicir cal é a entoación. Pode facer isto premendo un a un nos botóns que poñen "demasiado baixa", "afinada" ou "demasiado aguda". Tamén pode ocorrer que algún destes tres botóns non apareza.

### Combinacións de teclas

- Novo: Alt+n

- Repetir: Alt+r

- Abandonar: Alt+g

- Mostrar: Alt+s

## Identificar o ton

Este é un exercicio de memoria de tons e de intervalos ao mesmo tempo. Algunha xente pensa que este tipo de exercicios poden facerlle dar o ton perfectamente, pero nós non pensamos iso.

Basicamente, o programa dá un ton que vostede terá que identificar mediante a comparación co último ton que lle deu.

Para comezar, o programa dará un ton e mostrará o nome na barra de estado. Vostede identificará os tons premendo no teclado do piano ou empregando os atallos que representan as letras que aparecen en cada tecla.

Prema co botón dereito do rato no teclado do piano para escoitar a nota sen adiviñala antes (algúns dirían que isto é facer trampas...).

### Configuración manual

Pode configurar o exercicio `idbyname` como vostede queira seleccionando Outros → Configúreo vostede → Identificar o ton.

Pode realizar o exercicio de varias formas. Persoalmente, non practiquei moito este exercicio, así que os apartados que seguen son só suxestións.

#### Nota a nota

Comeza só con tres notas do-re-mi no peso 1. Cando acade un 96% de acertos, engada a nota fa e continúe. O menú Outros → Identificar o ton contén exercicios que lle engadirán tons de un en un até que vostede practique con 12 tons.

#### Peso no la

"Peso no la" é outra forma de practicar. Para iso terá que seleccionar Outros → Configúreo vostede → Identificar o ton.

Configure o ton la no peso 11 (ou maior) e o resto no peso 1. Desta forma o programa reproducirá o ton la a miúdo e vostede poderá recordalo para despois empregar o la como referencia para identificar os demais tons. Cando xa leve un tempo practicado, pode baixar o peso do la para facer o exercicio máis difícil.

#### Configuración

Ao comezo da páxina de configuración é vostede quen lle di ao programa cal é a importancia dos diferentes tons. Por exemplo, se vostede lle dá ao la 11 puntos e ao resto un punto a cada un, (11+11*1)/11*100 = 50% dos tons aleatorios serán la.

Debaixo diso, vostede seleccionará a que oitavas pertencerán os tons aleatorios.

Daquela, vostede poderá elixir se o Solfege debería facerlle unha nova pregunta de forma automática cando xa teña resolta a anterior.

No cadro de abaixo poderá estabelecer algunhas opcións que lle expliquen que é o que pasa se a súa resposta non é correcta.

Os atallos do teclado poden configurarse no ficheiro de configuración. Pode atopar a súa localización en Axuda → Localizacións de ficheiros.

## Compases por minuto

O programa soará a tempo, coma un metrónomo. Vostede terá que saber cantos compases por minuto se reproduciron. Cada botón representa un tempo, o programa só tocará nos tempos que teñan un botón co texto en negra. Prema co botón dereito do rato para cambiar o estado do tempo.

Nota: o ritmo depende da función `gtk timeout_add` para reproducir o ritmo, así que non é moi preciso.

### Combinacións de teclas

- Tempo novo: Alt+n

- Abandonar: Alt+g

## Entoar 12 notas aleatorias

Neste exercicio, o programa mostrará os doce tons da escala nunha orde aleatoria e reproducirá o primeiro ton. Despois, vostede debería entoar todas as notas e comprobar se a última delas coincide. Así, a actividade semella máis un exame de lectura á vista que un exercicio para aprender a entoar os intervalos. Para isto último, debería realizar algúns dos outros exerciciosde intervalos.

### Combinacións de teclas

- Novo: Alt+n

- Reproducir a primeira nota: Alt+p

- Reproducir a última nota: Alt+lT

- Reproducir todas: Alt+a

## Nomear os intervalos

Neste exercicio, o Solfege mostrará e reproducirá un intervalo que vostede terá que identificar. Este é un exercicio de teoría musical e non de adestramento auditivo. Para aprender a darlle nome aos intervalos debería ler the section called “Intervals”.

Identificará o intervalo premendo no botón que teña o nome específico e o nome xenérico do intervalo.

## Ditado de progresión harmónica

Neste exercicio, o Solfege reproducirá música e vostede terá que premer nos botóns para facer unha representación das progresións harmónicas do exercicio.

## Chapter 3. Music theory

## Scales

Davide Bonetti has contributed a large set of scale exercises and some pages describing all the scales. You can see the pages here.

## Intervals

In music theory we use the word interval when we talk about the pitch difference between two notes. We call them harmonic intervals if two tones sound simultaneosly and melodic intervals if they sound successively.

Interval names consist of two parts. Some examples are "major third" and "perfect fifth". In Walter Pistons "Harmony" the two parts are called the specific name and the general name part. Wikipedia talk about interval quality and interval number. I have seen people talk about an intervals numerical size.

You find the general name by counting the steps on the staff, ignoring any accidentals. So if the inteval you want to name goes from E to G#, then we count to 3 (E F G) and see that the general name is third.

The specific name say the exact size of the interval. Unisons, fourths, fifths and octaves can be diminished, pure or augmented. Seconds, thirds, sixths and sevenths can be minor, major, diminished or augmented. A minor interval is one semitone smaller than a major interval. A diminished interval is one semitone smaller than a pure or a minor interval, and a augmented interval is one semitone larger than a pure or major interval.

Accidentals change the size of intervals. The interval becomes one semitone larger if you add a sharp to the highest tone or a flat to the lowest tone. And it becomes one semitone smaller if you add a flat to the highest tone or a sharp to the lowest tone. In the following sections naming of the intervals will be shown in greater detail.

### Seconds

Seconds are easy to recognise: the two notes are neighbours on the staff. One note is on a staff line, and the other one is in the space above or below. A minor second is one semitone step, also called a half step. A major second is two semitone steps, also called a whole step.

To learn to identify seconds, you first have to learn which seconds there are between the natural tones. As you can see in Figure 3.1, “”, only the intervals E-F and B-C are minor seconds. The rest are major intervals. You can check that Figure 3.1, “” is correct by looking at a piano. You will see that there are no black keys between E and F and between B and C.

Figure 3.1.

If the second has accidentals, then we have to examine them to find out how they change the size of the interval. Let us identify a few intervals!

Figure 3.2.

We remove the accidental from the interval in Figure 3.2, “” and see that the interval F-G is a major second. When we add the flat to the highest tone, the interval becomes one semitone smaller, and becomes a minor second.

Figure 3.3.

We remove the accidentals, and see that the interval A-B is a major second. You still do remember Figure 3.1, “”, don't you? Then we add the flat to the A, and the interval become a augmented second. And when we add the flat to the B, and the interval becomes a major second.

Figure 3.4.

We remove the accidentals, and see that the interval E-F is a minor second. When we add a flat to the lowest tone, the interval becomes one semitone larger, and becomes a major second. And when we add a sharp to the highest tone, the interval becomes one semitone larger, and becomes an augmented second.

### Thirds

A minor third is one minor and one major second, or three semitones. A major third are two major seconds, or four semitone steps. Figure 3.5, “” show the thirds between all the natural tones. You should memorise the major intervals, C-E, F-A and G-B. Then you know that the other four intervals are minor.

Figure 3.5.

Then you examine the accidentals to see if they change the specific name. This is done exactly the same way as for seconds.

### Fourth

A pure fourth is 2½ steps, or two major seconds and a minor second. Figure 3.6, “” show all fourths between natural tones. You should memorise that the fourth F-B is augmented, and that the other six are pure.

Figure 3.6.

### Fifth

A pure fifth is 3½ steps, or three major seconds and a minor second. Figure 3.7, “” show all fifths between natural tones. You should remember that all those intervals are pure, except B-F that is diminished.

Figure 3.7.

If the interval has accidentals, then we must examine them to see how they change the size of the interval. A diminished fifth is one semitone smaller than a pure interval, and a augmented fifth is one semitone larger. Below you will find a few examples:

Figure 3.8.

We remember from Figure 3.7, “” that the interval B-F is a diminished fifth. The lowest tone in Figure 3.8, “” is preceded by a flat that makes the interval one semitone larger and changes the interval from a diminished to a pure fifth.

Figure 3.9.

We know from Figure 3.7, “” that interval E-B is a perfect fifth. In Figure 3.9, “” the E has a flat in front of it, making the interval augmented. But then the B is preceded by a doble flat that makes the interval two semitone steps smaller and changes the interval to a diminished fifth.

### Sixths

Sixths are easiest identified by inverting the interval and identifying the third. Then the following rule apply:

- If the third is diminished, then the sixth is augmented

- If the third is minor, then the sixth is major

- If the third is major, then the sixth is minor

- If the third is augmented, then the sixth is diminished

If you find inverting intervals difficult, then you can memorise that the intervals E-C, A-F and B-G are minor. The other four are major. Then you examine the accidentals to see if they change the specific name. This is done exactly the same way as for seconds.

Figure 3.10.

### Sevenths

Sevenths are identified the same way as sixths. When you invert a seventh, you get a second.

If you find inverting intervals difficult, then you can memorise that the intervals C-B and F-E are major. The other five are minor. Then you examine the accidentals to see if they change the specific name. This is done exactly the same way as for seconds.

Figure 3.11.

## Inverting intervals

You invert an interval when you move the lowest tone of an interval one octave higher or the highest tone one octave lower. The general name changes this way:

- Second becomes seventh.

- Third becomes sixth.

- Forth becomes fifth.

- Fifth becomes fourth.

- Sixth becomes third.

- Seventh becomes second.

The specific name changes this way:

- Diminished becomes augmented.

- Minor becomes major.

- Perfect stays perfect.

- Major becomes minor.

- Augmented becomes diminished.

Below are two examples, a major third is inverted and becomes a minor sixth, and a minor seventh is inverted and becomes a major second.

Figure 3.12.

## Chapter 4. Extending GNU Solfege

## Introduction

GNU Solfege is written so that it can easily be extended, even if you do not know any computer programming. The steps are:

- Create a lesson file.

- Create a learning tree for your own lesson file. You do this only once.

- Add the lesson file to the learning tree.

Read the section called “Lesson files” for details on creating lesson files. The easiest way to get started is to take one of the existing lesson files, and modify it. Select File locations on the Help menu to find out where the included lesson files are stored, and where you should save the additional files you create. It is important to store the lesson files you create in the directory intended for user created lesson files, and not in the applications directory. This to avoid loosing files when you upgrade the program.

The file paths is not written here in the user manual because the file path depends on which operating system you run.

You create a learning tree by opening the learning tree editor. Select Learning tree from the Edit menu. Then click the New button and enter a file name. Solfege will suggest a directory to save learning trees, and unless you a good reason to do so, I suggest you save the file there. You can find the location of this directory in the File locations dialog.

Then you create a menu and a submenu with the learning tree editor, and finally adds the lesson file to the selected submenu by clicking the Add lesson button.

## Lesson files

In GNU Solfege, each exercise is created by a lesson file interpreted by one of the exercise modules.

Exercise modules

`harmonicintervals`

  Train harmonic intervals.

`melodicintervals`

  Train one or more melodic intervals.

`singinterval`

  This is an exercise where the program display an interval and play the first tone. Then the user should sing the interval, and then click a button to hear the correct answer. There is no microphone support yet.

`idbyname`

  This is a very generic exercise. In its most basic form, the program will play some sound, and you have to select among several buttons that in some way represents the music.

`chord`

  The chord module act as a specialized idbyname module. The difference is that with the chord module you can write lesson files where the user should tell what inversion the chord is in, and what the top tone is.

`chordvoicing`

  A two-step exercise. First you should identify the chord. Then you should stack the tones in the chord in the correct order.

`compareintervals`

  Solfege plays two intervals, and you should say which one is largest.

`rhythm`

  A simple rhythm exercise. Solfege will randomly generate rhythm patterns that the user should recreate by clicking on buttons.

`dictation`

`harmonicprogressiondictation`

`idtone`

`identifybpm`

`twelvetone`

`singchord`

### File encoding

Solfege by default expects the content of lesson files to be in UTF-8 encoding. Modern editors often let you specify the encoding in the "Save As" dialog. One example is gedit. Other programs, like vim and emacs let you specify the encoding inside the text file.

If this sounds complicated, you can safely ignore the whole encoding issue if you restrict yourself to use only standard ascii characters. That is only the letters a to z.

If you create lesson files with a different encoding, you have to declare the encoding in a special comment at the top of the file. This because Solfege and the tools used to translate Solfege cannot guess the encoding safely. We follow the same conventions as the Python language. See PEP-0263 for the details.

What you have to do is add a comment to one of the first two lines of the lesson file, where part of the line matches `coding=encoding` or `coding: encoding`. Extra characters on the line are ignored, so if you use the emacs or vim editors, you can conveniently tell the editor about the file encoding. The following example sets the charset to ISO 8859-1, a charset commonly used in many west-european languages:

    # -*- coding: iso-8859-1 -*-

Russians might want to use koi8-r:

    # -*- coding: koi8-r -*-

Same as above, but in a format that works with the vim:

    # vim: set fileencoding= koi8-r :

The program use the python libs to convert to unicode, so it should understand almost any encoding you can think of. If you see some characters are missing, for example when the name of questions are displayed on buttons, then most likely you have done something wrong with the encoding.

### Useful unicode characters

Unicode has some characters that you might want to use to make labels look more professionally. If your editor use unicode by default, you may copy-and-paste the characters you need from here, if you are viewing this documentation in a web browser. The number is a hexidecimal number.

ø `00F8 LATIN SMALL LETTER O WITH STROKE`

  Half-diminished seventh chord.

° `00B0 DEGREE SIGN`

  Diminished seventh chord.

△ `25B3 WHITE UP-POINTING TRIANGLE`, Δ `0394 GREEK CAPITAL LETTER DELTA`

  Major seventh chord. We do not know which character to recommend. Solfege does not care, so you can use the symbol you like.

♭ `266D MUSIC FLAT SIGN`

  This sign can be used instead of the letter 'b' for a flat sign.

♯ `266F MUSIC SHARP SIGN`

  This can be used instead of the letter '#' for the sharp sign.

### Comments

Everything after # on a line is ignored. Example:

    # This line is ignored. The next line is not.
    question { bla bla }

### Types

#### Strings

Strings are quoted with the `"` character. Example:

    "this is a string"

Use tripple quotes for strings that contain line breaks, or if the string itself has to contain the `"` character:

    description = """<h1>Long desription<h1> This lessonfile need
    very much descriptions. Qoutes (") are ok here. bla bla bla"""

NB: All strings have to be unicode strings. If you get error messages like this one:

    In line 21 of input: does not recognise this string ';lt;' as a valid token.'
    (line 20): question {
    (line 21): question {
    (line 22):   name = _("Ionia�)

then you must check the encoding of your file, and maybe you should read the section called “File encoding”. You can change the encoding of a file using the iconv program:

    iconv -f YOUR_ENCODING -t utf8 your.file

#### Tempo

The tempo of music is entered as `bpm/beatlen`. The following example will set the tempo to 120 beats per minute, each beat being a quarter note.

    tempo = 120/4

### Global variables

Global variables can save you a few key strokes.

    s = "\score\relative c'{ %s }
    question {
    # instead of music = music("\score\relative c'{ c d e f g2 g2 }")
    music = music(s % "c d e f g2 g")
    }

### Lesson file contents

A lesson file consist of one header block and zero or more question blocks:

    header {
     ASSIGNMENT
     ASSIGNMENT
     ...
    }
    question {
     ASSIGNMENT
     ...
    }

### Header block

The header block can be placed anywhere in the file, but by convention it should be the first block in the file.

Variables shared by many exercise modules

`module`

  Tell what execise module that will run the lesson file. This variable is requried for all lesson files. (The variable was added in Solfege 2.9.0 where it replaced the `content` variable.). Example:

      module = idbyname

`lesson_id`

  Each file need a unique identifier. The identifier can be any string you like, and if you don't add one, Solfege will add one for you. Solfege will also offer to create a new `lesson_id` if you have two files with identical `lesson_id`. Example:

      lesson_id = "5b30c9ae-09f1-40b3-9333-4789638dc851"

`version`

  Tell the version of solfege the lessonfile is known to work with. This variable is not required, but it should be used because it can (but don't guarantee to) help avoid trouble if the lesson file format changes in the future. Example:

      version = "3.0.7"

`title`

  Short one-line description that will be used for creating the menu entry for the exercise. You should add this to all lesson files. Example:

      title = "Minor and major chords in root position"

`lesson_heading`

  A short heading that will be displayed above the exercise. It should say what the purpose of the exercise is. Some modules provide a default value, others leave the string empty. Example:

      lesson_heading = _("Identify the chord")

`help`

  This variable say which help file from the user manual will be displayed when the user presses F1. Example:

      help = "idbyname-intonation"

  By default, Solfege will display the help file that has the same name as the exercise module being used in the lesson file.

`theory`

  This variable say which help file from the user manual will be displayed when the user presses F3. Pressing F3 should display music theory about the exercise. Don't include this variable if there are no music theory written. Example:

      theory = "scales/maj"

`random_transpose`

  In some exercises the program can transpose the music to create variation. The default value is `yes`. (The default value changed from `no` to `yes` in Solfege 3.0.)

  Used in modules: `chord`, `chordvoicing`, `harmonicprogressiondictation`, `idbyname`, `singanswer`, `singchord`

  Possible values

  random_transpose = no

    No transposition will be done.

  random_transpose = yes

    The exercise will do random transposition. What kind of transposition depends on the exercise, but you get a ok result from this. This is the default value.

  random_transpose = accidentals, INTEGER1, INTEGER2

    Transpose the question by random and make sure the key signature of the question does not get more than a certain number of accidentals. In this context, the number of accidentals can be described by an integer value. A negative value denote a number of flats (b), and a positive number denote a number o sharps (#). Zero mean no accidentals. The integers INTEGER1 and INTEGER2 defines a range of allowed number of accidentals.

    For this transposition mode to work properly, the music in the lessonfile has to be in the keys c major or a minor, or the question must have a `key` variable telling the key signature.

  random_transpose = key, INTEGER1, INTEGER2

    Transpose the music INTEGER1 steps down or INTEGER2 steps up the circle of fifth. In this context up is more sharps and down is more flats. This is real transposition where both the key and the notes are transposed.

  random_transpose = semitones, INTEGER1, INTEGER2

    Transpose the music at most INTEGER1 semitones down or INTEGER2 semitones up. This is real transposition where both the key and the notes are transposed. You will easily end up with music in the keys with LOTS of accidentals.

`enable_right_click = no`

  By default, Solfege will let the user right-click on buttons to hear the music they represent without guessing. Set this variable to `no` for lesson files where it does not make sense, for example in a `idbyname` lesson file where many questions have the same name.

  Modules: `idbyname`, `chordvoicing` and `chord`.

`disable_unused_intervals` `= no`

  By default, Solfege will make the buttons insensitive for intervals that are not being asked. Set this variable to `no` if you want all buttons to be sensitive.

  Modules: `harmonicinterval` and `melodicinterval`.

`ask_for_intervals_0`

  Select which intervals to ask for. 1 for minor second, 2 for major second, 3 or minor third etc. Use a negative number for descending intervals. To ask for more that one interval create the variables `ask_for_intervals_1`, `ask_for_intervals_2` etc. In the following example Solfege will ask for two intervals. The first will be either a minor second or a major second, both intervals going up. And the second interval will be either major second or minor third, both intervals going down.

      ask_for_intervals_0 = [1, 2]
      ask_for_intervals_1 = [-2, -3]

  Modules: `melodicinterval` and `singinterval`.

`intervals`

  This variable tell which intervals should be asked for in exercises using the `harmonicinterval` module. 1 for minor second, 2 for major second, 3 or minor third etc. Example that will practise thirds:

      intervals = [3, 4]

  Modules: `harmonicinterval`.

`test`

  This variable defines the test for the exercise. In a test, Solfege will ask all the questions in the lesson file a number of times. This variable is always used together with `test_requirement`. In the following example, each question will be asked 3 times:

      test = "3x"

  Modules: `harmonicinterval`, `idbyname`, `melodicinterval` and `singinterval`.

`test_requirement`

  This variable defines how large percentage of the questions has to be answered correctly to pass the test. Example:

      test_requirement = "90%"

  Modules: `harmonicinterval`, `idbyname`, `melodicinterval` and `singinterval`.

`have_repeat_arpeggio_button` `= yes`

  Set to `yes` if you want the exercise to have a "Repeat arpeggio" button.

  Modules: `singanswer`.

`have_music_displayer` `= yes`

  Set to `yes` if you want the question to have a music displayer.

  In the idbyname module, setting this variable will add a music displayer where the program will display the answer when the user gives up or answers the question correctly. You might also want to read about at_question_start.

  In the `singanswer` module, setting this variable will add a music displayer where the music will be displayed when the question is displayed.

  Modules: `idbyname`, `elembuilder` and `singanswer`.

`music_displayer_stafflines` `= INTEGER`

  The number of empty staff lines to display when we have no music to display.

  Modules: `idbyname` and `elembuilder`.

`at_question_start` ``

  This variable changes what happens when the user clicks New. By default, Solfege will play the music when the user clicks New, and only display the music when the question is answered correctly and the `have_music_displayer` variable is set to `yes`. Setting this variable will also set `have_music_displayer` to `yes`.

  `at_question_start = show`

    The exercise will get a Play music button. When the user clicks New the music will be displayed in the music displayer, but no music is played. Click Play music to hear the music.

  `at_question_start = play`

    The exercise will get a Display music button. When the user clicks New the music is played. Click Display music to see the music.

  `at_question_start = show, play`

    When the user clicks New the music is both played and displayed.

  Modules: `idbyname`, `elembuilder` and `rhythmtapping2`.

`vmusic`

  This variable holds a representation of the question intended to be displayed. This can be necessary if the music is a .wav or .mp3 file. It will be used when the user clicks Show music or when the question is answered correctly (if we have a musicdisplayer). Added to `idbyname` in Solfege 2.5.1 and to `elembuilder` in 3.9.2.

  Modules: `idbyname` and `elembuilder`.

`rhythm_elements`

  A list of integers (1-34) telling what elementes we should use when creating questions. Example:

      rhythm_elements = 0, 1, 2, 3, 4

  0: , 1: , 2: , 3: , 4: , 5: , 6: , 7: , 8: , 9: , 10: , 11: , 12: , 13: , 14: , 15: , 16: , 17: , 18: , 19: , 20: , 21: , 22: , 23: , 24: , 25: , 26: , 27: , 28: , 29: , 30: , 31: , 32: , 33: , 34:

  Modules: `rhythm` and `rhythmtapping2`

#### Variables that has been obsoleted

`number_of_intervals = INTEGER`

  Made obsolete in Solfege 3.1.5. Solfege will find this number automatically now, so this variable is ignored.

### Question block

Variables you can define in the question block

`name`

  Questions written for the idbyname or elembuilder exercise modules need a name. A name is optional for dictation module.

`music`

  For most lesson files the music representing the question is assigned to this variable. Note that there is a shortcut. Instead of:

      question {
        name = "Lisa gikk til skolen"
        music = music(...)"
      }

  you can write:

      question {
        name = "Lisa gikk til skolen"
        music(...)
      }

  Music objects are documented in the section called “`music` objects”.

`tempo`

  Set the tempo for this questions music. The variable is defined "beats per minute" / "notelen per beat". Example:

      tempo = 150 / 4

  This variable can also be defined globally for the whole lesson file. Do do so you should put it in the beginning of the file, outside any question blocks.

  Modules: `idbyname`, `chord`, `chordvoicing` and `rhythmtapping`.

`instrument`

  By default, Solfege will use the instrument specified on the preferences window when playing questions. This variable let you select a different instrument. Example:

      instrument = "cello", 100

  The instrument name has to be quoted. The integer is the volume, and it should be in the range 0-127. You can see a list of instrument names in the section called “Midi instrument names”. For lesson files where it makes sense, it is possible to specify three set of instruments. The following example will play bass for the lowest tone, piano in the middle and clarinet on the top tone:

      instrument = "bass", 100, "acoustic grand", 100, "clarinet", 100

  This variable can also be defined globally for the whole lesson file. Do do so you should put it in the beginning of the file, outside any question blocks.

  Modules: `idbyname`, `chord`, `singanswer` and `chordvoicing`

`set`

  The set variable is used by some exercise modules to select which question to play when the user right clicks on one of the answer buttons. This can be useful if the lesson file has many questions with the same name, and you want solfege to play the question that is most closely related to the question being asked. You can assign whatever value you want. A good suggestion is to use integers.

  In lesson files that does not use the `set` variable, solfege will play the first question it can find with the same name as the button the user right clicks on.

  If the lesson file uses the `set`, or more precisely, if the question being asked has the variable defined, the program will first try to find a question where the `set` variable matches the question being asked, and the name matches the button clicked. If no match is found, the program will select a question to play as if the `set` variable was not used at all.

  Modules: `idbyname` and `chordvoicing`.

### `music` objects

Each question in your lesson files will define one or more `music` objects.

music(musiccode)

  This is music entered completely following the music format FIXME spec. This means you have to enter complete code with a `\staff` command. Example:

      variable = music("\staff\relative c' { c' d' }")

music3(musiccode)

  The music object can be used for music that has 3 or more staffs. It works the same way as music, but if "Use different instruments for chords and harmonic intervals" is checked in the preferences window, the 3 instruments you can select the same place will be used instead of the preferred MIDI instrument.

chord(musiccode)

  Enter the tones from the lowest to the highest tone, like this:

      variable = chord("c' e' g'")

satb(musiccode)

  This type of music is used by the singchord exercises. It let you say which tones of a chord the different voices in a choir will sing. Take this, for example:

      variable = satb("c''|e'|g|c")

  The `c''` will be sung by the soprano, `e'` by the alto, `g` by the tenor and `c` by the bass. Please notice that when this music is played in arpeggio, the tones to be sung by the women, will be played one octave deeper, of the user is a male. And vice versa if the user is a female or a child.

voice(musiccode)

  This musictype saves some key strokes if you want to enter a melody.

      variable = voice("c'4 c' g' g' | a' a' g'2")

  is the same as

      variable = music("\staff{ c'4 c' g' g' | a' a' g'2")

rvoice(musiccode)

  `rvoice` is similar to `voice` except that the music is in `\relative` mode, relative to the first tone. The following two statements produce the same music:

      variable = rvoice("c'4 c g' g | a a g2")
      \staff\relative c'{ c4 c g' g' | a a g2 }

percussion(percussioncode)

  This music object provides a simple way to play rhythms with percussion instruments. Each tone represents a percussion instrument as defined in the section called “Percussion instrument names”. In the following example, the tone c is translated to the midi sound Side Stick and d to a Mute triangle.

      variable = rhythm("d4 d d d c8 c8 c4")

rhythm(musiccode)

  This music object let you write questions that taps rhythms with the two instruments defined in the preferences window. The tone `c` will play the rhythm representing the question, and the tone `d` can be used if you want to write some sort of "count-in" before the question starts. Example:

      rhythm("d4 d d d c8 c8 c4 c c8 c8")

  You should only use two pitches, `c` and `d`. Other pitches will print a warning, but will still work in the current implementation. To play real percussion with many different instruments you should use the percussion music object.

midifile(filename)

  Play a midi file. The path given to the file is relative to the directory the lesson file is stored in. Example:

      variable = midifile("share/example.mid")

wavfile(filename)

  Play a `.wav` file. The path given to the file is relative to the directory the lesson file is stored in. Example:

      variable = wavfile("share/fifth-small-220.00.wav")

mp3file(filename)

  Play a MP3 file. Similar to `wavfile`.

oggfile(filename)

  Play an Ogg Vorbis file. Similar to `wavfile`.

csound(orchestra, score)

  Given a CSound orchestra and score, this music object will generate a WAV file and play it. Example:

      csound(load("share/sinus.orc"), """
          f1 0 4096 10 1
          i1 0 1 220.0
          i1 + 1 329.04
          """)

mma(mmacode), mma(groove, mmacode)

  Create a music object that use MMA to generate music that it will play. If you create the object with one argument, mmacode should be a string with complete MMA code. With two arguments, `groove` is a string with the name of the groove, and `mmacode` is comple MMA code, except it could be missing the initial "Groove" instruction. The groove from `groove` will be prepended the string.

cmdline(shell code)

  Run an external program. Example:

      cmdline("./bin/csound-play-harmonic-interval.sh 220.000000 320.100000")

### Functions

- `_(`message`)`

  Return the translation of `message` if it exist. Return the string unchanged if not.

      title = _("Bla bla title")

- `include(`filename`)`

  Read the file `filename` into the lesson file and parse it as a part of the file. The filename is relative to the location of the lesson file.

      include("singchord-1")

  The lesson header variables will be taken from the including lesson file. Only if a variable is only defined in the included lesson file, and not in the including lesson file, then the value will be taken from the included file.

- `load(`filename`)`

  Read the file `filename` from disk and return it as a string. The filename is relative to the location of the lesson file.

      orc = load("share/sinus.orc")

Label functions

We call these functions label functions because we use them to create the label for some questions in the program. You should only use these functions where they are documented to work.

- `pangomarkup`(`pangostring`)

  Return a label that the program can put on a button. The label is created using GTK pangomarkup. Google for "pango markup" to get the markup explained. Notice that you have to use triple qoutes around the string.

      pangomarkup("""<span size="xx-large">V</span>""")

- `progressionlabel(`str`)`

  This function has existed in Solfege for a while, but it has not been documented until now. Should we find a shorter function name? An alias can be added so that the old long function name still works.

  Return a label. `str` is interpreted like this:

  - Each letter outside of a parentheses is displayed with a large serif font.

  - The text inside parentheses is displayed as a superscript: smaller letters above the baseline.

  - If the text inside the parentheses is divided by a comma, the text before the comma is superscript and after the comma is subscript.

      progressionlabel("I-IV-(6,4)V(5,3)-I")
      progressionlabel("I-VI-V(6)-I")"
      progressionlabel("C(maj7)")

- `rnc(`str`)`

  Display a sequence of roman numeral chords. The chords are separated by whitespace and an optional hyphen. The exact implementation of this is still open for discussion. The current developent version of Solfege will divide each chord in 3 parts and give them different font sizes, and also try to make the chord compact, so that it should not take too much space on screen.

  - The first part of the chord is the roman numberal, including an optional `b` or `♭` (unicode character `U+266D MUSIC FLAT SIGN`).

  - The second part is the letters (if any) between the first and the third part.

  - The third part is from the first digit and the rest of the chord.

      rnc("Imaj7-IIm7-V9-Imaj7")

  Spaces are not allowed in the chord name.

  New in version 3.11.0.

- `chordname(`str`)`

  Display a sequence of chords. The chords are separated by whitespace. Each chord consist of up to four parts, and part two to four are optional:

      [notename][txt1][:txt2][/bass]

  `notename` and `bass` music be a notename in the format understood by the music parser. You can read more about this in the section called “The `mpd` module”. Example:

      g:11b9 cm/g ges:Δ besm:7/f

  New in version 3.11.1.

### Operators

Operators can only be used on strings. `+` is used for joining strings, and `%` is similar to what you find in python, but it is very limited. It only know about `%s`. One example:

    "\staff\relative c'{%s}" % "c d e"

evaluates to

    \staff\relative c'{c d e}

## The `chord` module

### Warning

The chord module has been superseeded by the idproperty module. This module will not be developed further, and will eventually be removed from the program. You should modify your lessons to use the `idproperty` module. The chord module will be removed from the solfege program in the next development series, in Solfege version 3.11.0.

It is easy to do the convert. In Solfege 3.10 the lesson file heading would contain the following line:

       module = chord

Replace that with this:

       module = idproperty
       flavour = "chord"

The chord module let you identify different properties of chords, such as their name, inversion, top tone etc.

The properties are defined by the `props` variable in the lesson file header, and there should be a variable `prop_labels` that defines the label to use. `props` and `prop_labels` must be lists of equal length. You only have to define these two variables if you need other properties than the default ones: `name`, `inversion` and `toptone`.

Below is a minimal lesson file. It will create an exercise that will play a minor or major chord and the user answers with two buttons labeled "Minor" and "Major" and two buttons representing the inversion. Notice that unused properties, toptone in this example, are hidden.

    header {
        module = chord
        title = "Minor and major chords"
        lesson_id = "e263d40a-d8ff-4000-a7f2-c02ba087bf72"
        qprops = "name", "inversion", "toptone"
        qprop_labels = _("Chord type"), _("Inversion"), _("Toptone")
    }
    question {
      name = "Major"
      music = chord("c' e' g'")
      inversion = 0
    }
    question {
      name = "Minor"
      music = chord("es' g' c''")
      inversion = 1
    }

The `inversion` property is special. If assigned integer values, like in the example, the integer values will be replaced with strings. So `0` is replaced with "root position", `1` with "1. inversion" etc.

## The `compareintervals` module

Here is a minimal lesson file:

    header {
        countin_perc = compareintervals
        title = "Compare intervals"
        lesson_id = "9f830e12-1f50-4fa9-8688-1e04469692fa"
    }

This file will make an exercise that ask you to compare harmonic intervals. And since you do not say which intervals, it will ask for all intervals from a small second up to a major decim.

`first_interval_type`, `second_interval_type`

  Let you select if the intervals you are asked to compare should be a melodic or a harmonic interval. The default value is `melodic`. Possible values: `harmonic` and `melodic`.

          first_interval_type = melodic
          second_interval_type = harmonic

  Modules: `compareintervals`.

`first_interval`, `last_interval`

  Select which intervals to select from when creating the questions. This variable should be defined the same way as ask_for_intervals_0. If these two variables are not defined, then the user will be able to select which intervals to practise from the Config page of the exercise.

  Modules: `compareintervals`.

## The `dictation` module

Example:

    header {
      module = dictation
      lesson_id = "a265df62-e007-4a1b-9057-cd05397e88a2"
      title = _("Norwegian children songs")
      version = "2.1.10"
    }

    question {
     name = "Bæ, bæ, lille lam"
     tempo = 130/4
     breakpoints = 2/1, 4/1, 8/1, 10/1, 12/1, 14/1
     music = rvoice("""
        \time 4/4
        c'2 g' | e4 e c2 | d4 d g, g | c1 |
        c2 g' | e4 e c2 | d4 d g, g | c1 |
        a'4 f f f | g2. e4 | f d d d | e2. c4 |
        a'2 f | g e4 e | f b, b b | c1 |
     """)
    }
    question {
     # this tempo definition overrides the global
     tempo = 160/4
     name = "Lisa gikk til skolen"
     breakpoints = 2/1, 4/1, 6/1
     music = rvoice("""
       \time 4/4
       c' d e f | g2 g2 | a4 a a a | g1 |
       f4 f f f | e2 e | d4 d d d | c1
     """)
    }

    question {
     name = "Det satt to katter på et bord..."
     tempo = 96/4
     music = rvoice("""
         \key g \major \time 2/4
         d'8 | [g g] [fis e] | [fis g] a4 | [d,16 d d d] [e8 fis] | g2 """)
    }

By default, the dictation exercise will show the first column of music, and then the user should write the rest. But if the first column is not good enough, for example if there are only rests on the first beat, these two variables can tell the program how much music to display:

`clue_end`

  The following example will display the music on all staffs in the first quarter note:

      clue_end=1/4

`clue_music`

  This is an alternative to `clue_end`. The music assigned to `clue_music` will be shown to the user when he should start the dictation. You should not use both `clue_end` and `clue_music` in the same question.

`breakpoints`

  Set breakpoints in the music, so you can hear the music in parts when doing the dictation.

## The `elembuilder` module

Here is a minimal lesson file:

    element progI { label = "I" }
    element progIV { label = "IV" }
    element progV { label = "V" }

    header {
        lesson_id = "3f3872c0-ef2e-4132-9fb1-97f75c7b28fd"
        module = elembuilder
        title = "progression test"
        elements = auto
        # uncomment if you want a music displayer.
        # have_music_displayer = yes
    }

    question {
     music = rvoice("<c' e g> <b d g> <c e g>")
     elements = progI, progV, progI
     name = "I-V-I"
    }
    question {
     music = rvoice("<c' e g> <c f a> <c e g>")
     elements = progI, progIV, progI
     name = "I-IV-I"
    }

### The element block

This block defines the elements the user can put together to answer the question. Each block is named by the string between `element` and `{`. The block defines one variable, `label` that is the label the button will get.

`label` can either be a plain string or one of the label functions.

### The header block

`elements`

  This variable defines which elements to display. Set this to `auto` to display all elements that are needed to answer the questions in the lesson file. You can display more elements that needed to make it more difficult for the user. An example:

      elements = progI, progIV, progV, progIV, progV_6

`music_displayer_stafflines`

  Set this if you want the music displayer to show more than one empty staff line when the music displayer have no music to display.

See also at_question_start and music_displayer_stafflines.

### The question block

`elements`

  This variable defines which elements defines the question. It can be elements, as defined in the example above, or strings or labels defined by the label functions.

`tonic`

  The exercise will have a "Play tonic" button if this variable is defined in a question in the lesson file. The variable should contain some music to play to the user so that he knows the tonic of the question. This can be useful in harmonic progressions that does not start on the tonic. This variable is optional. Example:

      tonic = chord("c e g")

`name`

  The name is needed for storing statistics. A string or a label created by the label functions.

See also vmusic.

## The `harmonicinterval` module

User documentation is in the section called “Intervalo harmónico”.

Here is a minimal lesson file:

    header {
      module = harmonicinterval
      lesson_id = "a400df62-e007-4a1b-9057-cd05397e88a2"
      version = "3.1.4"
      title = "Seconds"
      intervals = [1, 2]
      test = "3x"
      test_requirement = "90%"
    }

Additional variables you can put in the header. Click on the link to get an explanation:

- disable_unused_intervals

- lesson_heading

## The `idbyname` module

Here is a minimal lesson file:

    header {
      module = idbyname
      lesson_id = "a400df62-e007-4a1b-9057-cd05397e88a2"
      version = "3.1.4"
      title = "Menuitem title"
    }
    question {
     name = "Major"
     music = chord("c' e' g'")
    }
    question {
     name = "Minor"
     music = chord("c' es' g'")
    }

Optional idbyname header variables

`filldir = vertic`

  Tell the direction the buttons are filled. Default value is `horiz`.

  Modules: `idbyname`.

`fillnum`

  Tell how many buttons there are in each row or column. The default value is 1.

  Modules: `idbyname`.

`labelformat``= progression`

  The default value is `normal`. Set to `progression` for lesson files where the name of the questions is a harmonic progression, written in a undocumented, but not difficult format. Check some existing lesson file to see how it works.

  ### Warning

  Using this variable is deprecated. Do not use it for new lesson files.

  Modules: `idbyname`

`have_repeat_slowly_button` `= yes`

  Set to `yes` if you want the exercise to have a "Repeat slowly" button.

  Modules: `idbyname`.

See also at_question_start and music_displayer_stafflines.

### Question block

Required question variables

- name. Can be a string or a label created by the label functions.

- music

Optional question variables

`vmusic`

  See vmusic.

`cuemusic`

  Will be displayed in the music displayer when the user clicks New. Ignored if `at_question_start = play, show` or `at_question_start = show`, because then the content of `music` or `vmusic` is displayed when the user clicks New. (Added in Solfege 2.5.1)

## The `idproperty` module

The `idproperty` module let you create exercises where solfege will play some music and you have to identify different properties of the music.

Below is a minimal lesson file. It will create an exercise that will play a minor or major chord and the user answers with two buttons labeled "Minor" and "Major" and two buttons representing the inversion. Notice that unused properties, toptone in this example, are hidden.

    header {
        module = idproperty
        flavour = "chord"
        title = "Minor and major chords"
        lesson_id = "e263d40a-d8ff-4000-a7f2-c02ba087bf72"
    }
    question {
      name = "Major"
      music = chord("c' e' g'")
      inversion = 0
    }
    question {
      name = "Minor"
      music = chord("es' g' c''")
      inversion = 1
    }

`flavour = "chord"` will add the following definitions to the lesson file header, unless if they are missing:

      new_button_label = _("_New chord")
      lesson_heading = _("Identify the chord")
      qprops = "name", "inversion", "toptone"
      qprop_labels = _("Name"), _("Inversion"), _("Toptone")

`new_button_label` is the label to put on the New button. The default value is `_("New")`.

`lesson_heading` will set the heading to be displayed when you practise. The default value is an emptry string, that will hide the heading.

The properties are defined by the `props` variable in the lesson file header, and there should be a variable `prop_labels` that defines the label to use. `props` and `prop_labels` must be lists of equal length.

The exercise will have a Repeat arpeggio button if one or more of the questions can be played arpeggiated. Set the lesson file header variable `have_repeat_arpeggio_button` to `no` to disable hide the button.

If the exercise have a `inversion` property, it will be treated special. If assigned integer values, like in the example, the integer values will be replaced with strings. So `0` is replaced with "root position", `1` with "1. inversion" etc.

## The `idtone` module

Here is a minimal lesson file:

    header {
        module = idtone
        title = "Id tone 3"
        lesson_id = "e263d70a-d8ff-4000-a7f2-c02ba087bf72"
        black_keys_weight =  0, 0,    0, 0, 0
        white_keys_weight = 1, 1, 1, 0, 0, 0, 0
    }

The 'weight' of a tone tell how big chance is it that the program will select this tone as the next to identify. Think of the weight of a tone as the number of lottery tickets with the name of the tone.

The variable `black_keys_weight` set the weight of the tones c#, d#, f#, g# and a#, and `white_keys_weight` will set the weight of the tones c, d, e, f, g, a, b. In the example above, the tones c, d and e get an equal weight of 1, the other tones 0. This mean that the only tones that will be asked for are c, d and e, and that the three tones share the same probability to be selected.

## The `melodicinterval` module

User documentation is in the section called “Intervalo melódico”.

Here is a minimal lesson file:

    header {
      module = melodicinterval
      lesson_id = "a400df62-e007-4a1b-9057-cd05397e88a2"
      version = "3.1.4"
      title = "Seconds and thirds"
      ask_for_intervals_0 = [1, 2, 3, 4, -1, -2, -3, -4]
      test = "3x"
      test_requirement = "90%"
    }

Additional variables you can put in the header. Click on the link to get an explanation:

- disable_unused_intervals

- lesson_heading

Tests are only partially implemented for the `melodicinterval` exercise module: tests where each question is made by more than one interval does not work yet.

## The `nameinterval` module

Here is a minimal lesson file:

    header {
        lesson_id = "5623c43e-f529-4376-a0c9-c7d533050360"
        module = nameinterval
        title = _("Fifths")
        intervals = p5, a5, d5
    }

`intervals`

  A list the the intervals to ask for. The intervals are written in a short form, a letter and a number, like `d5` or `m7`. The letters are telling the interval quality are 'd' for diminished, 'a' for augmented, 'm' for minor, 'M' for major and 'p' for perfect.

`tones`

  This variable sets the range of tones that can be used when constructing the intervals. The note names as to be quoted. The default value is `"b", "g''"`. Example:

      tones = "c'", "f''"  # valid
      tones = c', f''      # not valid

`accidentals`

  This variable defines how many accidentals the tones making the interval can have. The value 0 means no accidentals, 1 means that flats and sharps are allowed, and 2 means that double flats and double sharps are allowed. The default value is 1. Example:

      accidentals = 2

`clef`

  Set which clef to use. The default value is `violin`. Possible values: `violin`, `treble`, `subbass`, `bass`, `baritone`, `varbaritone`, `tenor`, `alto`, `mezzosoprano` and `french`. Example:

      clef = bass

## The `rhythm` module

Here is a minimal lesson file:

    header {
      module = rhythm
      lesson_id = "7a4910be-de17-4ce3-9d15-78d48ccf945e"
      version = "3.1.4"
      title = "Easy rhythms"
      rhythm_elements = 1, 2, 3, 4
    }

`visible_rhythm_elements`

  Define this variable if you want more rhythm elements that the one to be asked for. This variable must include both the rhythm elements defined in `rhythm_elements` and the extra elements. Example:

      rhythm_elements = 0, 1, 2, 3, 4, 5, 6

`countin_perc`

  An integer value between 35 and 81, representing the percussion instrument used to give you the beat before the question. The default value is 80. Example:

      countin_perc = 35

      35 Acoustic Bass Drum 51 Ride Cymbal 1   67 High Agoga
      36 Bass Drum          52 Chinece Cymbal  68 Agogo Low
      37 Side Stick         53 Ride Bell       69 Cabasa
      38 Acoustic Snare     54 Tambourine      70 Maracas
      39 Hand Clap          55 Splash Cymbal   71 Short Whistle
      40 Electric Snare     56 Cowbell         72 Long Whistle
      41 Low Floor Tom      57 Crash cymbal 2  73 Short Guiro
      42 Closed Hi Hat      58 Vibraslap       74 Long Guiro
      43 High Floor Tom     59 Ride Cymbal 2   75 Claves
      44 Pedal Hi Hat       60 Hi Bongo        76 Hi Wood Block
      45 Low Tom            61 Low Bongo       77 Low Wood Block
      46 Open HiHat         62 Mute Hi Conga   78 Mute Cuica
      47 Low-Mid Tom        63 Open High Conga 79 Open Cuica
      48 Hi-Mid Tom         64 Low Conga       80 Mute Triangle
      49 Crash Cymbal 1     65 High Timbale    81 Open Triangle
      50 High Tom           66 Low Timbale

  Modules: `rhythm`

`rhythm_perc`

  Same as countin_perc, but setting the instrument used to play the question. The default value is 37.

  Modules: `rhythm`

`count_in`

  The number of beats as count in. The default value is 2.

  Modules: `rhythm`

`bpm`

  The tempo, in beats per minute. The default value is 60.

  Modules: `rhythm`

`num_beats`

  The number of elements the question is made of. The default value is 4.

  Modules: `rhythm`

## The `rhythmtapping` module

Exercises using this module will play some music and then the user should tap the rhythm. The program will then say if the users rhythm is similar enough to the rhythm played by the computer.

Here is a minimal lesson file:

    header {
      module = rhythmtapping
      lesson_id = "82b718e8-f174-446f-8297-58ddd17dae03"
      version = "3.7.0"
      title = "Rhythm tapping test"
    }
    question {
     music = rhythm("c4 c8 c8")
    }
    question {
     music = music("\staff\relative c'{c4 d8 e f4}\addvoice\relative c'{c4 b8 c a4}")
     rhythm = rhythm("c4 c8 c c4")
    }

The first question in the example is very simple and self explaining. Solfege will play the rhythm defined in the `music` variable, and the user should tap that rhythm.

The second question is a little more complicated. Here Solfege will play the music defined in the `music` variable. And when the user taps the rhythm, Solfege will compare the users rhythm with the rhythm defined in the `rhythm` variable. The reason for using two variables is that Solfege is not smart enought to figure out the rhythm if you enter polyphonic music. It make noe difference if you set the `rhythm` variable to be a `rhythm` music object, or another single voice type like `rvoice`. This might change in the future. You as a lesson file author must make sure the rhythms in the two variables are in fact the same.

## The `rhythmtapping2` module

Solfege will play a generated rhythm, and the user should tap the same rhythm.

Here is a minimal lesson file:

    header {
      module = rhythmtapping2
      lesson_id = "7a4916be-de47-42e3-9d15-78d48ccf945e"
      version = "3.7.0"
      title = "Rhythm tapping test"
      rhythm_elements = 1, 2, 3, 4
    }

See also at_question_start.

## The `singanswer` module

Here is a minimal lesson file:

    header {
      module = singanswer
      lesson_id = "a400df62-e007-4a1b-9057-cd05397e88a2"
      version = "3.1.4"
      title = "Sing the root of the chord"
    }
    question {
        question_text = "Sing the root"
        music = chord("c' e' g'")
        answer = chord("c'")
    }
    question {
        question_text = "Sing the root"
        music = chord("a' c'' e''")
        answer = chord("a'")
    }

Additional variables you can put in the header. Click on the link to get an explanation:

- have_repeat_arpeggio_button

## The `singchord` module

Questions for this exercise need to have the `key` variable set if the key signature is anything else than ''c'' major (or ''a'' minor). Example:

    header {
      module = singchord
      lesson_id = "a404df62-e037-6a1b-9027-cd05397e88a2"
      version = "3.1.4"
      title = "Simple chords"
    }
    question { music = satb("c''|e'|g|c") }
    question { music = satb("a'|e'|c'|a") }
    question { key="d \major" music = satb("a'|fis'|d'|d") }
    question { key="f \minor" music = satb("as'|f'|c'|f") }

See also the section called “Entoar o acorde”.

## The `singinterval` module

User documentation is in the section called “Entoar o intervalo”.

Here is a minimal lesson file:

    header {
      module = singinterval
      lesson_id = "a400df62-e007-4a1b-9057-cd05397e88a2"
      version = "3.1.4"
      title = "Thirds"
      ask_for_intervals_0 = [3, 4]
      test = "3x"
      test_requirement = "90%"
    }

## The `mpd` module

The module is not documented yet. The input format is similar to the one used by GNU Lilypond, but only the simplest construct works.

Quick note: Notenames understood by the program are c, d, e, f, g, a, b, with 'is', 'isis', 'es', or 'eses' added. For example 'fis', 'bes', 'gisis'.

## Midi instrument names

             acoustic grand          contrabass      lead 7 (fifths)
            bright acoustic     tremolo strings   lead 8 (bass+lead)
             electric grand   pizzicato strings      pad 1 (new age)
                 honky-tonk  orchestral strings         pad 2 (warm)
           electric piano 1             timpani    pad 3 (polysynth)
           electric piano 2   string ensemble 1        pad 4 (choir)
                harpsichord   string ensemble 2        pad 5 (bowed)
                       clav      synthstrings 1     pad 6 (metallic)
                    celesta      synthstrings 2         pad 7 (halo)
               glockenspiel          choir aahs        pad 8 (sweep)
                  music box          voice oohs          fx 1 (rain)
                 vibraphone         synth voice    fx 2 (soundtrack)
                    marimba       orchestra hit       fx 3 (crystal)
                  xylophone             trumpet    fx 4 (atmosphere)
              tubular bells            trombone    fx 5 (brightness)
                   dulcimer                tuba       fx 6 (goblins)
              drawbar organ       muted trumpet        fx 7 (echoes)
           percussive organ         french horn        fx 8 (sci-fi)
                 rock organ       brass section                sitar
               church organ        synthbrass 1                banjo
                 reed organ        synthbrass 2             shamisen
                  accordion         soprano sax                 koto
                  harmonica            alto sax              kalimba
                 concertina           tenor sax              bagpipe
    acoustic guitar (nylon)        baritone sax               fiddle
    acoustic guitar (steel)                oboe               shanai
     electric guitar (jazz)        english horn          tinkle bell
    electric guitar (clean)             bassoon                agogo
    electric guitar (muted)            clarinet          steel drums
          overdriven guitar             piccolo            woodblock
           distorted guitar               flute           taiko drum
           guitar harmonics            recorder          melodic tom
              acoustic bass           pan flute           synth drum
     electric bass (finger)        blown bottle       reverse cymbal
       electric bass (pick)          skakuhachi    guitar fret noise
              fretless bass             whistle         breath noise
                slap bass 1             ocarina             seashore
                slap bass 2     lead 1 (square)           bird tweet
               synth bass 1   lead 2 (sawtooth)       telephone ring
               synth bass 2   lead 3 (calliope)           helicopter
                     violin      lead 4 (chiff)             applause
                      viola    lead 5 (charang)              gunshot
                      cello      lead 6 (voice)

### Percussion instrument names

The first column is the integer value for the instrument. The second column tell the name of the note you should enter in the rhythm music object.

    35 b,,   Acoustic Bass Drum   59 b     Ride Cymbal 2
    36 c,    Bass Drum 1          60 c'    Hi Bongo
    37 cis,  Side Stick           61 cis'  Low Bongo
    38 d,    Acoustic Snare       62 d'    Mute Hi Conga
    39 dis,  Hand Clap            63 dis'  Open High Conga
    40 e,    Electric Snare       64 e'    Low Conga
    41 f,    Low Floor Tom        65 f'    High Timbale
    42 fis,  Closed Hi Hat        66 fis'  Low Timbale
    43 g,    High Floor Tom       67 g'    High Agogo
    44 gis,  Pedal Hi Hat         68 gis'  Agogo Low
    45 a,    Low Tom              69 a'    Cabasa
    46 ais,  Open HiHat           70 ais'  Maracas
    47 b,    Low-Mid Tom          71 b'    Short Whistle
    48 c     Hi-Mid Tom           72 c''   Long Whistle
    49 cis   Crash Cymbal 1       73 cis'' Short Guiro
    50 d     High Tom             74 d''   Long Guiro
    51 dis   Ride Cymbal 1        75 dis'' Claves
    52 e     Chinese Cymbal       76 e''   Hi Wood Block
    53 f     Ride Bell            77 f''   Low Wood Block
    54 fis   Tambourine           78 fis'' Mute Cuica
    55 g     Splash Cymbal        79 g''   Open Cuica
    56 gis   Cowbell              80 gis'' Mute Triangle
    57 a     Crash Cymbal 2       81 a''   Open Triangle
    58 ais   Vibraslap

## Appendix A. GNU General Public License version 3

Version 3, 29 June 2007

Copyright © 2007 Free Software Foundation, Inc. http://fsf.org/

Everyone is permitted to copy and distribute verbatim copies of this license document, but changing it is not allowed.

## Preamble

The GNU General Public License is a free, copyleft license for software and other kinds of works.

The licenses for most software and other practical works are designed to take away your freedom to share and change the works. By contrast, the GNU General Public License is intended to guarantee your freedom to share and change all versions of a program—to make sure it remains free software for all its users. We, the Free Software Foundation, use the GNU General Public License for most of our software; it applies also to any other work released this way by its authors. You can apply it to your programs, too.

When we speak of free software, we are referring to freedom, not price. Our General Public Licenses are designed to make sure that you have the freedom to distribute copies of free software (and charge for them if you wish), that you receive source code or can get it if you want it, that you can change the software or use pieces of it in new free programs, and that you know you can do these things.

To protect your rights, we need to prevent others from denying you these rights or asking you to surrender the rights. Therefore, you have certain responsibilities if you distribute copies of the software, or if you modify it: responsibilities to respect the freedom of others.

For example, if you distribute copies of such a program, whether gratis or for a fee, you must pass on to the recipients the same freedoms that you received. You must make sure that they, too, receive or can get the source code. And you must show them these terms so they know their rights.

Developers that use the GNU GPL protect your rights with two steps: (1) assert copyright on the software, and (2) offer you this License giving you legal permission to copy, distribute and/or modify it.

For the developers’ and authors’ protection, the GPL clearly explains that there is no warranty for this free software. For both users’ and authors’ sake, the GPL requires that modified versions be marked as changed, so that their problems will not be attributed erroneously to authors of previous versions.

Some devices are designed to deny users access to install or run modified versions of the software inside them, although the manufacturer can do so. This is fundamentally incompatible with the aim of protecting users’ freedom to change the software. The systematic pattern of such abuse occurs in the area of products for individuals to use, which is precisely where it is most unacceptable. Therefore, we have designed this version of the GPL to prohibit the practice for those products. If such problems arise substantially in other domains, we stand ready to extend this provision to those domains in future versions of the GPL, as needed to protect the freedom of users.

Finally, every program is threatened constantly by software patents. States should not allow patents to restrict development and use of software on general-purpose computers, but in those that do, we wish to avoid the special danger that patents applied to a free program could make it effectively proprietary. To prevent this, the GPL assures that patents cannot be used to render the program non-free.

The precise terms and conditions for copying, distribution and modification follow.

## TERMS AND CONDITIONS

## 0. Definitions.

“This License” refers to version 3 of the GNU General Public License.

“Copyright” also means copyright-like laws that apply to other kinds of works, such as semiconductor masks.

“The Program” refers to any copyrightable work licensed under this License. Each licensee is addressed as “you”. “Licensees” and “recipients” may be individuals or organizations.

To “modify” a work means to copy from or adapt all or part of the work in a fashion requiring copyright permission, other than the making of an exact copy. The resulting work is called a “modified version” of the earlier work or a work “based on” the earlier work.

A “covered work” means either the unmodified Program or a work based on the Program.

To “propagate” a work means to do anything with it that, without permission, would make you directly or secondarily liable for infringement under applicable copyright law, except executing it on a computer or modifying a private copy. Propagation includes copying, distribution (with or without modification), making available to the public, and in some countries other activities as well.

To “convey” a work means any kind of propagation that enables other parties to make or receive copies. Mere interaction with a user through a computer network, with no transfer of a copy, is not conveying.

An interactive user interface displays “Appropriate Legal Notices” to the extent that it includes a convenient and prominently visible feature that (1) displays an appropriate copyright notice, and (2) tells the user that there is no warranty for the work (except to the extent that warranties are provided), that licensees may convey the work under this License, and how to view a copy of this License. If the interface presents a list of user commands or options, such as a menu, a prominent item in the list meets this criterion.

## 1. Source Code.

The “source code” for a work means the preferred form of the work for making modifications to it. “Object code” means any non-source form of a work.

A “Standard Interface” means an interface that either is an official standard defined by a recognized standards body, or, in the case of interfaces specified for a particular programming language, one that is widely used among developers working in that language.

The “System Libraries” of an executable work include anything, other than the work as a whole, that (a) is included in the normal form of packaging a Major Component, but which is not part of that Major Component, and (b) serves only to enable use of the work with that Major Component, or to implement a Standard Interface for which an implementation is available to the public in source code form. A “Major Component”, in this context, means a major essential component (kernel, window system, and so on) of the specific operating system (if any) on which the executable work runs, or a compiler used to produce the work, or an object code interpreter used to run it.

The “Corresponding Source” for a work in object code form means all the source code needed to generate, install, and (for an executable work) run the object code and to modify the work, including scripts to control those activities. However, it does not include the work’s System Libraries, or general-purpose tools or generally available free programs which are used unmodified in performing those activities but which are not part of the work. For example, Corresponding Source includes interface definition files associated with source files for the work, and the source code for shared libraries and dynamically linked subprograms that the work is specifically designed to require, such as by intimate data communication or control flow between those subprograms and other parts of the work.

The Corresponding Source need not include anything that users can regenerate automatically from other parts of the Corresponding Source.

The Corresponding Source for a work in source code form is that same work.

## 2. Basic Permissions.

All rights granted under this License are granted for the term of copyright on the Program, and are irrevocable provided the stated conditions are met. This License explicitly affirms your unlimited permission to run the unmodified Program. The output from running a covered work is covered by this License only if the output, given its content, constitutes a covered work. This License acknowledges your rights of fair use or other equivalent, as provided by copyright law.

You may make, run and propagate covered works that you do not convey, without conditions so long as your license otherwise remains in force. You may convey covered works to others for the sole purpose of having them make modifications exclusively for you, or provide you with facilities for running those works, provided that you comply with the terms of this License in conveying all material for which you do not control copyright. Those thus making or running the covered works for you must do so exclusively on your behalf, under your direction and control, on terms that prohibit them from making any copies of your copyrighted material outside their relationship with you.

Conveying under any other circumstances is permitted solely under the conditions stated below. Sublicensing is not allowed; section 10 makes it unnecessary.

## 3. Protecting Users’ Legal Rights From Anti-Circumvention Law.

No covered work shall be deemed part of an effective technological measure under any applicable law fulfilling obligations under article 11 of the WIPO copyright treaty adopted on 20 December 1996, or similar laws prohibiting or restricting circumvention of such measures.

When you convey a covered work, you waive any legal power to forbid circumvention of technological measures to the extent such circumvention is effected by exercising rights under this License with respect to the covered work, and you disclaim any intention to limit operation or modification of the work as a means of enforcing, against the work’s users, your or third parties’ legal rights to forbid circumvention of technological measures.

## 4. Conveying Verbatim Copies.

You may convey verbatim copies of the Program’s source code as you receive it, in any medium, provided that you conspicuously and appropriately publish on each copy an appropriate copyright notice; keep intact all notices stating that this License and any non-permissive terms added in accord with section 7 apply to the code; keep intact all notices of the absence of any warranty; and give all recipients a copy of this License along with the Program.

You may charge any price or no price for each copy that you convey, and you may offer support or warranty protection for a fee.

## 5. Conveying Modified Source Versions.

You may convey a work based on the Program, or the modifications to produce it from the Program, in the form of source code under the terms of section 4, provided that you also meet all of these conditions:

1. The work must carry prominent notices stating that you modified it, and giving a relevant date.

2. The work must carry prominent notices stating that it is released under this License and any conditions added under section 7. This requirement modifies the requirement in section 4 to “keep intact all notices”.

3. You must license the entire work, as a whole, under this License to anyone who comes into possession of a copy. This License will therefore apply, along with any applicable section 7 additional terms, to the whole of the work, and all its parts, regardless of how they are packaged. This License gives no permission to license the work in any other way, but it does not invalidate such permission if you have separately received it.

4. If the work has interactive user interfaces, each must display Appropriate Legal Notices; however, if the Program has interactive interfaces that do not display Appropriate Legal Notices, your work need not make them do so.

A compilation of a covered work with other separate and independent works, which are not by their nature extensions of the covered work, and which are not combined with it such as to form a larger program, in or on a volume of a storage or distribution medium, is called an “aggregate” if the compilation and its resulting copyright are not used to limit the access or legal rights of the compilation’s users beyond what the individual works permit. Inclusion of a covered work in an aggregate does not cause this License to apply to the other parts of the aggregate.

## 6. Conveying Non-Source Forms.

You may convey a covered work in object code form under the terms of sections 4 and 5, provided that you also convey the machine-readable Corresponding Source under the terms of this License, in one of these ways:

1. Convey the object code in, or embodied in, a physical product (including a physical distribution medium), accompanied by the Corresponding Source fixed on a durable physical medium customarily used for software interchange.

2. Convey the object code in, or embodied in, a physical product (including a physical distribution medium), accompanied by a written offer, valid for at least three years and valid for as long as you offer spare parts or customer support for that product model, to give anyone who possesses the object code either (1) a copy of the Corresponding Source for all the software in the product that is covered by this License, on a durable physical medium customarily used for software interchange, for a price no more than your reasonable cost of physically performing this conveying of source, or (2) access to copy the Corresponding Source from a network server at no charge.

3. Convey individual copies of the object code with a copy of the written offer to provide the Corresponding Source. This alternative is allowed only occasionally and noncommercially, and only if you received the object code with such an offer, in accord with subsection 6b.

4. Convey the object code by offering access from a designated place (gratis or for a charge), and offer equivalent access to the Corresponding Source in the same way through the same place at no further charge. You need not require recipients to copy the Corresponding Source along with the object code. If the place to copy the object code is a network server, the Corresponding Source may be on a different server (operated by you or a third party) that supports equivalent copying facilities, provided you maintain clear directions next to the object code saying where to find the Corresponding Source. Regardless of what server hosts the Corresponding Source, you remain obligated to ensure that it is available for as long as needed to satisfy these requirements.

5. Convey the object code using peer-to-peer transmission, provided you inform other peers where the object code and Corresponding Source of the work are being offered to the general public at no charge under subsection 6d.

A separable portion of the object code, whose source code is excluded from the Corresponding Source as a System Library, need not be included in conveying the object code work.

A “User Product” is either (1) a “consumer product”, which means any tangible personal property which is normally used for personal, family, or household purposes, or (2) anything designed or sold for incorporation into a dwelling. In determining whether a product is a consumer product, doubtful cases shall be resolved in favor of coverage. For a particular product received by a particular user, “normally used” refers to a typical or common use of that class of product, regardless of the status of the particular user or of the way in which the particular user actually uses, or expects or is expected to use, the product. A product is a consumer product regardless of whether the product has substantial commercial, industrial or non-consumer uses, unless such uses represent the only significant mode of use of the product.

“Installation Information” for a User Product means any methods, procedures, authorization keys, or other information required to install and execute modified versions of a covered work in that User Product from a modified version of its Corresponding Source. The information must suffice to ensure that the continued functioning of the modified object code is in no case prevented or interfered with solely because modification has been made.

If you convey an object code work under this section in, or with, or specifically for use in, a User Product, and the conveying occurs as part of a transaction in which the right of possession and use of the User Product is transferred to the recipient in perpetuity or for a fixed term (regardless of how the transaction is characterized), the Corresponding Source conveyed under this section must be accompanied by the Installation Information. But this requirement does not apply if neither you nor any third party retains the ability to install modified object code on the User Product (for example, the work has been installed in ROM).

The requirement to provide Installation Information does not include a requirement to continue to provide support service, warranty, or updates for a work that has been modified or installed by the recipient, or for the User Product in which it has been modified or installed. Access to a network may be denied when the modification itself materially and adversely affects the operation of the network or violates the rules and protocols for communication across the network.

Corresponding Source conveyed, and Installation Information provided, in accord with this section must be in a format that is publicly documented (and with an implementation available to the public in source code form), and must require no special password or key for unpacking, reading or copying.

## 7. Additional Terms.

“Additional permissions” are terms that supplement the terms of this License by making exceptions from one or more of its conditions. Additional permissions that are applicable to the entire Program shall be treated as though they were included in this License, to the extent that they are valid under applicable law. If additional permissions apply only to part of the Program, that part may be used separately under those permissions, but the entire Program remains governed by this License without regard to the additional permissions.

When you convey a copy of a covered work, you may at your option remove any additional permissions from that copy, or from any part of it. (Additional permissions may be written to require their own removal in certain cases when you modify the work.) You may place additional permissions on material, added by you to a covered work, for which you have or can give appropriate copyright permission.

Notwithstanding any other provision of this License, for material you add to a covered work, you may (if authorized by the copyright holders of that material) supplement the terms of this License with terms:

1. Disclaiming warranty or limiting liability differently from the terms of sections 15 and 16 of this License; or

2. Requiring preservation of specified reasonable legal notices or author attributions in that material or in the Appropriate Legal Notices displayed by works containing it; or

3. Prohibiting misrepresentation of the origin of that material, or requiring that modified versions of such material be marked in reasonable ways as different from the original version; or

4. Limiting the use for publicity purposes of names of licensors or authors of the material; or

5. Declining to grant rights under trademark law for use of some trade names, trademarks, or service marks; or

6. Requiring indemnification of licensors and authors of that material by anyone who conveys the material (or modified versions of it) with contractual assumptions of liability to the recipient, for any liability that these contractual assumptions directly impose on those licensors and authors.

All other non-permissive additional terms are considered “further restrictions” within the meaning of section 10. If the Program as you received it, or any part of it, contains a notice stating that it is governed by this License along with a term that is a further restriction, you may remove that term. If a license document contains a further restriction but permits relicensing or conveying under this License, you may add to a covered work material governed by the terms of that license document, provided that the further restriction does not survive such relicensing or conveying.

If you add terms to a covered work in accord with this section, you must place, in the relevant source files, a statement of the additional terms that apply to those files, or a notice indicating where to find the applicable terms.

Additional terms, permissive or non-permissive, may be stated in the form of a separately written license, or stated as exceptions; the above requirements apply either way.

## 8. Termination.

You may not propagate or modify a covered work except as expressly provided under this License. Any attempt otherwise to propagate or modify it is void, and will automatically terminate your rights under this License (including any patent licenses granted under the third paragraph of section 11).

However, if you cease all violation of this License, then your license from a particular copyright holder is reinstated (a) provisionally, unless and until the copyright holder explicitly and finally terminates your license, and (b) permanently, if the copyright holder fails to notify you of the violation by some reasonable means prior to 60 days after the cessation.

Moreover, your license from a particular copyright holder is reinstated permanently if the copyright holder notifies you of the violation by some reasonable means, this is the first time you have received notice of violation of this License (for any work) from that copyright holder, and you cure the violation prior to 30 days after your receipt of the notice.

Termination of your rights under this section does not terminate the licenses of parties who have received copies or rights from you under this License. If your rights have been terminated and not permanently reinstated, you do not qualify to receive new licenses for the same material under section 10.

## 9. Acceptance Not Required for Having Copies.

You are not required to accept this License in order to receive or run a copy of the Program. Ancillary propagation of a covered work occurring solely as a consequence of using peer-to-peer transmission to receive a copy likewise does not require acceptance. However, nothing other than this License grants you permission to propagate or modify any covered work. These actions infringe copyright if you do not accept this License. Therefore, by modifying or propagating a covered work, you indicate your acceptance of this License to do so.

## 10. Automatic Licensing of Downstream Recipients.

Each time you convey a covered work, the recipient automatically receives a license from the original licensors, to run, modify and propagate that work, subject to this License. You are not responsible for enforcing compliance by third parties with this License.

An “entity transaction” is a transaction transferring control of an organization, or substantially all assets of one, or subdividing an organization, or merging organizations. If propagation of a covered work results from an entity transaction, each party to that transaction who receives a copy of the work also receives whatever licenses to the work the party’s predecessor in interest had or could give under the previous paragraph, plus a right to possession of the Corresponding Source of the work from the predecessor in interest, if the predecessor has it or can get it with reasonable efforts.

You may not impose any further restrictions on the exercise of the rights granted or affirmed under this License. For example, you may not impose a license fee, royalty, or other charge for exercise of rights granted under this License, and you may not initiate litigation (including a cross-claim or counterclaim in a lawsuit) alleging that any patent claim is infringed by making, using, selling, offering for sale, or importing the Program or any portion of it.

## 11. Patents.

A “contributor” is a copyright holder who authorizes use under this License of the Program or a work on which the Program is based. The work thus licensed is called the contributor’s “contributor version”.

A contributor’s “essential patent claims” are all patent claims owned or controlled by the contributor, whether already acquired or hereafter acquired, that would be infringed by some manner, permitted by this License, of making, using, or selling its contributor version, but do not include claims that would be infringed only as a consequence of further modification of the contributor version. For purposes of this definition, “control” includes the right to grant patent sublicenses in a manner consistent with the requirements of this License.

Each contributor grants you a non-exclusive, worldwide, royalty-free patent license under the contributor’s essential patent claims, to make, use, sell, offer for sale, import and otherwise run, modify and propagate the contents of its contributor version.

In the following three paragraphs, a “patent license” is any express agreement or commitment, however denominated, not to enforce a patent (such as an express permission to practice a patent or covenant not to sue for patent infringement). To “grant” such a patent license to a party means to make such an agreement or commitment not to enforce a patent against the party.

If you convey a covered work, knowingly relying on a patent license, and the Corresponding Source of the work is not available for anyone to copy, free of charge and under the terms of this License, through a publicly available network server or other readily accessible means, then you must either (1) cause the Corresponding Source to be so available, or (2) arrange to deprive yourself of the benefit of the patent license for this particular work, or (3) arrange, in a manner consistent with the requirements of this License, to extend the patent license to downstream recipients. “Knowingly relying” means you have actual knowledge that, but for the patent license, your conveying the covered work in a country, or your recipient’s use of the covered work in a country, would infringe one or more identifiable patents in that country that you have reason to believe are valid.

If, pursuant to or in connection with a single transaction or arrangement, you convey, or propagate by procuring conveyance of, a covered work, and grant a patent license to some of the parties receiving the covered work authorizing them to use, propagate, modify or convey a specific copy of the covered work, then the patent license you grant is automatically extended to all recipients of the covered work and works based on it.

A patent license is “discriminatory” if it does not include within the scope of its coverage, prohibits the exercise of, or is conditioned on the non-exercise of one or more of the rights that are specifically granted under this License. You may not convey a covered work if you are a party to an arrangement with a third party that is in the business of distributing software, under which you make payment to the third party based on the extent of your activity of conveying the work, and under which the third party grants, to any of the parties who would receive the covered work from you, a discriminatory patent license (a) in connection with copies of the covered work conveyed by you (or copies made from those copies), or (b) primarily for and in connection with specific products or compilations that contain the covered work, unless you entered into that arrangement, or that patent license was granted, prior to 28 March 2007.

Nothing in this License shall be construed as excluding or limiting any implied license or other defenses to infringement that may otherwise be available to you under applicable patent law.

## 12. No Surrender of Others’ Freedom.

If conditions are imposed on you (whether by court order, agreement or otherwise) that contradict the conditions of this License, they do not excuse you from the conditions of this License. If you cannot convey a covered work so as to satisfy simultaneously your obligations under this License and any other pertinent obligations, then as a consequence you may not convey it at all. For example, if you agree to terms that obligate you to collect a royalty for further conveying from those to whom you convey the Program, the only way you could satisfy both those terms and this License would be to refrain entirely from conveying the Program.

## 13. Use with the GNU Affero General Public License.

Notwithstanding any other provision of this License, you have permission to link or combine any covered work with a work licensed under version 3 of the GNU Affero General Public License into a single combined work, and to convey the resulting work. The terms of this License will continue to apply to the part which is the covered work, but the special requirements of the GNU Affero General Public License, section 13, concerning interaction through a network will apply to the combination as such.

## 14. Revised Versions of this License.

The Free Software Foundation may publish revised and/or new versions of the GNU General Public License from time to time. Such new versions will be similar in spirit to the present version, but may differ in detail to address new problems or concerns.

Each version is given a distinguishing version number. If the Program specifies that a certain numbered version of the GNU General Public License “or any later version” applies to it, you have the option of following the terms and conditions either of that numbered version or of any later version published by the Free Software Foundation. If the Program does not specify a version number of the GNU General Public License, you may choose any version ever published by the Free Software Foundation.

If the Program specifies that a proxy can decide which future versions of the GNU General Public License can be used, that proxy’s public statement of acceptance of a version permanently authorizes you to choose that version for the Program.

Later license versions may give you additional or different permissions. However, no additional obligations are imposed on any author or copyright holder as a result of your choosing to follow a later version.

## 15. Disclaimer of Warranty.

THERE IS NO WARRANTY FOR THE PROGRAM, TO THE EXTENT PERMITTED BY APPLICABLE LAW. EXCEPT WHEN OTHERWISE STATED IN WRITING THE COPYRIGHT HOLDERS AND/OR OTHER PARTIES PROVIDE THE PROGRAM “AS IS” WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESSED OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE ENTIRE RISK AS TO THE QUALITY AND PERFORMANCE OF THE PROGRAM IS WITH YOU. SHOULD THE PROGRAM PROVE DEFECTIVE, YOU ASSUME THE COST OF ALL NECESSARY SERVICING, REPAIR OR CORRECTION.

## 16. Limitation of Liability.

IN NO EVENT UNLESS REQUIRED BY APPLICABLE LAW OR AGREED TO IN WRITING WILL ANY COPYRIGHT HOLDER, OR ANY OTHER PARTY WHO MODIFIES AND/OR CONVEYS THE PROGRAM AS PERMITTED ABOVE, BE LIABLE TO YOU FOR DAMAGES, INCLUDING ANY GENERAL, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES ARISING OUT OF THE USE OR INABILITY TO USE THE PROGRAM (INCLUDING BUT NOT LIMITED TO LOSS OF DATA OR DATA BEING RENDERED INACCURATE OR LOSSES SUSTAINED BY YOU OR THIRD PARTIES OR A FAILURE OF THE PROGRAM TO OPERATE WITH ANY OTHER PROGRAMS), EVEN IF SUCH HOLDER OR OTHER PARTY HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.

## 17. Interpretation of Sections 15 and 16.

If the disclaimer of warranty and limitation of liability provided above cannot be given local legal effect according to their terms, reviewing courts shall apply local law that most closely approximates an absolute waiver of all civil liability in connection with the Program, unless a warranty or assumption of liability accompanies a copy of the Program in return for a fee.

## END OF TERMS AND CONDITIONS

## How to Apply These Terms to Your New Programs

If you develop a new program, and you want it to be of the greatest possible use to the public, the best way to achieve this is to make it free software which everyone can redistribute and change under these terms.

To do so, attach the following notices to the program. It is safest to attach them to the start of each source file to most effectively state the exclusion of warranty; and each file should have at least the “copyright” line and a pointer to where the full notice is found.

    one line to give the program’s name and a brief idea of what it does.
    Copyright (C) year name of author

    This program is free software: you can redistribute it and/or modify
    it under the terms of the GNU General Public License as published by
    the Free Software Foundation, either version 3 of the License, or
    (at your option) any later version.

    This program is distributed in the hope that it will be useful,
    but WITHOUT ANY WARRANTY; without even the implied warranty of
    MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE.  See the
    GNU General Public License for more details.

    You should have received a copy of the GNU General Public License
    along with this program.  If not, see http://www.gnu.org/licenses/.

Also add information on how to contact you by electronic and paper mail.

If the program does terminal interaction, make it output a short notice like this when it starts in an interactive mode:

    program Copyright (C) year name of author
    This program comes with ABSOLUTELY NO WARRANTY; for details type ‘show w’.
    This is free software, and you are welcome to redistribute it
    under certain conditions; type ‘show c’ for details.

The hypothetical commands ‘`show w`’ and ‘`show c`’ should show the appropriate parts of the General Public License. Of course, your program’s commands might be different; for a GUI interface, you would use an “about box”.

You should also get your employer (if you work as a programmer) or school, if any, to sign a “copyright disclaimer” for the program, if necessary. For more information on this, and how to apply and follow the GNU GPL, see http://www.gnu.org/licenses/.

The GNU General Public License does not permit incorporating your program into proprietary programs. If your program is a subroutine library, you may consider it more useful to permit linking proprietary applications with the library. If this is what you want to do, use the GNU Lesser General Public License instead of this License. But first, please read http://www.gnu.org/philosophy/why-not-lgpl.html.

## Appendix B. Isto non é realmente documentación...

## Isto non é realmente documentación...

Este apéndice contén o ficheiro que se mostrará cando se inicie o programa antes de que o usuario seleccione un exercicio.

## Benvidos/as a GNU Solfege

O Solfege é un programa libre de adestramento auditivo. O programa forma parte do Proxecto GNU. Consulte the section called “Recursos en liña” para máis información sobre as listas de correo e de onde descargar o Solfege.

Seleccione un exercicio do menú para comezar a práctica ou prema en aquí para ler o manual de usuario.

Unha das ideas deste programa é que vostede poida estendelo sen ter que profundizar no código fonte. No caso de que quixese practicar con algún acorde especial ou co ditado de música que non estea incluída, pode escribir os ficheiros de lección e incluílos nun subdirectorio `lessonfiles/` no seu directorio `$HOME`. Se vostede pensa que creou uns ficheiros bos de lección, debería considerar o feito de compartilos enviándoos ás listas de correo, desta forma poderanse incluír na seguinte versión deste programa.