YouCompose User Manual

YouCompose
User Manual
App Version 8.3
Document version 8.31

YouCompose User Manual
Contents
Introduction - Meet Aimée 6
Quick start with ‘Tutorial Mode’ 8
The basic structure of a composition 9
Composition View 10
Grid mode 10
Score mode 13
Files View 15
The File Menu 17
Adding a new composition 18
Adding an empty composition to start from scratch 18
Setup a new composition with a prede ned ensemble 20
Let Aimée compose a symphony 21
Receiving a composition from another device using AirDrop 23
Importing a YouCompose le 24
Importing a MIDI le 28
Load a track from a MIDI le 30
Adding notes to a movement 33

Recording a melody and adding it to a movement 34
Keyboard setup 35
How to use the virtual keyboard’s ‘touch sensitivity’ 36
Quantization 36
Record a melody 36
Using a MIDI keyboard 37
2
fi
fi
fi
fi
Let Aimée add a melody to a movement 38
Advanced melody settings 39
Adding notes to a movement manually 40
Harmonizing your melodies 41

Viewing the Harmonization Report 42
Editing a movement 43
About selecting single and multiple fragments 43
Editing fragments and segments 45
Single Fragment Editing Panel 45
Multiple Fragment Editing Panel 46
Splitting or gluing segments 47
Editing notes with the Note Editor 48
Editing in Grid mode 48
Editing in Score mode 52
The Instrumentation Menu 54
Editing a single note 55
Adding lyrics 56
Editing multiple selected notes 57
Applying transformations to multiple selected notes 59
Instrumentation, Composition Instructions and Harmonization Points 60
Instrumentation 60
Composition Instructions 60
Harmonization Points 62
Harmonization Point types 62
Editing Instrumentation 64
Editing a Composition Instruction 67
Sources composition instruction 67

3
Harmonization composition instruction 68
Automatic Harmonization Point placing settings 70
Fill pattern examples 71
Special effects 72
Parallel to harmonization composition instruction 74
Parallel to part composition instruction 75
Editing Harmonization Points with the Note Editor 76
About selecting single and multiple Harmonization Points 76
The Harmonization Point Editor 77
Applying transformations to harmonization points 78
Protecting segments against harmonization 78
Transposition, loop playback and part level settings with the ‘Function Selector’ 79
Settings 80
App Settings 80
App settings in Apple’s iOS Settings app 82
Boot mode 82
Composition Settings 83
Part Settings 85
Muting a Part’s internal sound 86
Part range versus instrument range 87
Segment Settings 90
The mixer 92
The Movement Manager 94

Add new empty movement or let Aimée compose a new movement 96
How does Aimée use existing material while composing a movement? 98
Audiobus, AudioCopy and Inter-App Audio 99

Audiobus and YouCompose 99
4
Using AudioCopy 100
Recording Audio with Inter-App Audio 102
Exporting your composition 105

Exporting an audio le. 105
Exporting MIDI. 106
Spacing repeating notes 107
Exporting audio. 107
Sending a YouCompose, audio or MIDI le or the score via email 108
Exporting a YouCompose le to another App. 109
Exporting a composition to another device using AirDrop 110
Print score 112
Sending a ‘Happy Birthday Email’ 113
Aimée and copyrights. 114
Literature 116
Hardware requirements 116
Contact us 116
5
fi
fi
fi
Introduction - Meet Aimée

Artificial intelligence and music go well together. YouCompose is proof of that.
Meet Aimée, your personal, artificially intelligent assistant composer, she's ready to help you compose great
music.
Whether you are a beginner or a professional composer, she will boost your creativity with her vast
knowledge of music theory and the clever use of genetic algorithms.
You give her your melodies and decide how she should handle them. Aimée then finishes your composition,
doing all the hard work that normally takes hours, but now is done in seconds.
Aimée can also compose her own melodies or even sonatas, scherzos, fugues and more ... what about a
complete symphony? You can use her compositions, or parts of them, in any way you want.
YouCompose is a great tool to create your own music for your movie, game or theater productions for
example. It's also great for songwriters but above all: it’s just fun to play with this app and enjoy its
sometimes surprising results.
Here's what you and Aimée have at your disposal:
Built-in instruments:
- 80 instrument definitions with their sounds are included. You'll find all regular orchestral instruments,
keyboards, organs, guitars, basses, chorus, percussion and more.
- With more than 85 predefined ensembles, you can quickly set up YouCompose for a wide variety of
instrument groups such as trios, quartets, quintets, etc., small and large orchestras or a big band.
Creating and editing:
- You create melodies using the built-in virtual keyboard or a MIDI keyboard, by entering single notes in a
grid or score editor, by importing a melody from a MIDI le or by asking Aimée to make one for you.
Aimée will then harmonize these melodies in a classical or jazz style taking into account the instruments
you selected.
- A composition can be edited in many ways. YouCompose allows you to copy, paste, move and delete
movements, segments and individual notes.
- You can ask Aimée to compose a complete 3 or 4 movement classical or jazz symphony for your
ensemble all by herself, or let her add a new movement to an existing one. She can do that based on her
own melodies or on melodies you provide.
- You can control the way she harmonizes your melodies with special instrumentation tools, by de ning
‘Composition instructions’, setting ‘Harmonization Points’ and other options, or you can also leave that
completely to Aimée.
- If you wish you can even combine classical and jazz styles within one piece.
- Special tools allow you to enter lyrics, apply melodic transformations or create dynamic e ects.
6
fi
ff
fi
Sharing and saving:
- YouCompose is Audiobus, AudioCopy and Inter-App Audio compatible and supports background audio.
This means that you can record its audio using Audiobus, GarageBand or any other Audiobus compatible
or IAA host App. In Audiobus you will find remote triggers for reverb and output level adjustment. With
AudioCopy you can copy audio from movements, parts, segments or fragments to any other AudioCopy
compatible app.
- YouCompose is CoreMIDI compatible. This means that you can also use a MIDI keyboard, a MIDI sound
module or synth apps running on your device together with YouCompose.
- You can export audio files directly to other apps on your device. Supported audio file formats are: MIDI,
aac, m4a, aiff, caf and wav. A m4a file contains iTunes data like ‘artist’, ‘song name’ and ‘lyrics’. You can
export audio from movements, parts, segments or fragments.
- You can view your composition’s full score and the individual parts (transposed when applicable), print
them directly from YouCompose to an AirPrint compatible printer or export them to any PDF viewer like
iBooks.
- You can save compositions to your device and load them again later. Additionally, YouCompose allows
you to send and receive them from other devices running YouCompose via iCloud, email or an AirDrop
connection.
- You can share your composition with others by sending an email containing a YouCompose file, m4a
audio files, MIDI files and/or a PDF document with the full score and the individual (transposed) parts.
Several sample compositions containing well known melodies are also included in the package.
7
Quick start with ‘Tutorial Mode’

The best way to learn the basics is to start YouCompose with an empty composition in ‘Tutorial Mode’.
When you start YouCompose for the first time, you will find it running in this mode.
Follow the instructions and the tutorial will show you how to record a tune, add it to a movement, harmonize
it and play it.
‘Tutorial Mode’ can be switched On or Off:
Tap the button in the Composition View to open the

settings menu and tap ‘Start Tutorial Mode’ or ‘Quit
Tutorial Mode’.
You can also set the Tutorial Mode in the settings pane
of YouCompose in the Settings App of your device.
Step by step you will be guided to add a melody,

harmonize it and listen to the result.
Have fun!
8
The basic structure of a composition

A composition is divided into movements. A composition has at least 1 movement and can have an
(almost) infinite number of movements.
A movement has parts (they would be called ‘tracks’ in a traditional DAW) initially named after the
instruments that are assigned to them (you can change the titles if you want).
A movement must have 1 and can have up to 50 parts.
Adding notes to a movement is done by adding segments to it. Each segment has fragments, one for
each part. One of these fragments was added by the composer (bright green), the others where added by
Aimée during harmonization (dark green).
Only the memory size of your device limits the number of movements or segments you can add to a
composition.
The Composition View showing the third movement (III) of the composition with 6 parts, 4 segments and 24
(4x6) fragments.
9
Composition View
Grid mode
Letter Symbol Description
A The ‘Part headers’. Tapping a part’s instrument image will open the ‘Part
Settings’ for that part.
In every part header you see an image of the instrument that is selected for
that part, and the name of the part (iPad only).
To the left you see the ‘Range Indicator’ for that part and instrument (see
‘Part Settings’ for more info on that).
The ‘M’ and ‘S’ buttons allow you to ‘Mute’ or ‘Solo’ the sound of the part:
Tapping ‘M’ mutes the sound of this part (Alto Sax I).
Tapping ‘S’ mutes all other parts leaving only the sound of the Alto Sax I.
10
B The ‘Parts Manager’ ribbon has a set of buttons for each part.
The 'swap parts' buttons when tapped will swap this part with the part
above or below it.
The ‘add part’ buttons when tapped will add a new part above or
below this part. The properties for the new part are copied from the part
above the ‘add part’ button (with the exception of the upper part).
The ‘delete part’ button when tapped will remove the part with all the
fragments it contains.
C The ‘show-hide Parts Manager’ toggle button.

Touch this button to show or hide the Parts Manager ribbon.
You can also show or hide the Parts Manager by swiping to the right or left
inside the Parts Ribbon or by tapping and holding anywhere inside the
ribbon.
D The ‘Bar Ribbon’ shows the bar numbers in your movement. Tapping on
the Bar Ribbon moves the ‘Playhead’ (see ‘E’) to the tapped bar.
E The ‘Playhead’. Its position determines where playback will start when you
tap the ‘Play’ button (see ‘I’). Its position also determines where a segment
will be split when you tap the ‘Split’ button (see ’N’).
F The ‘Files View’ button. Tapping it opens the ‘Files View’ where you can
manage your les, delete or duplicate a composition or start a new one.
(see ‘Files View’ for more on that).
G The ‘Undo - Redo’ control.
Tapping the left arrow will undo your last action(s). Any undone action can
be redone by tapping the right button.
H The ‘Grid - Score’ control. At any time during editing or playback of the
current movement you can switch between the grid or score view by
tapping the appropriate button here.
I The ‘Play - Rewind’ control.
Tapping the ‘Play’ button on the right will start playback beginning at the
position of the Playhead.
Tapping the ‘Rewind’ button will bring the playheads position to the start of
the movement.
When playback starts the ‘Play’ button will be grayed out and the ‘Rewind’
button will turn into the ‘Stop’ button. Tapping the ‘Stop’ button will stop
playback.
11
fi
J The ‘Movement Selector’ indicating the current movement. Tapping it

opens the ‘View Movement’ panel that enables you to select the movement
that will be shown in the Composition View and becomes the ‘current’
movement.
It also gives you access to the ‘Movement Manager’ where you have top
level control over the movements in your composition.
If your composition has only one movement the ‘Movement Manager’

button is the only button shown.
K The ‘Export’ button. Tapping it will open a panel giving access to all
L The ‘Settings’ button. Tapping it will open a panel giving access to the ‘App
Settings’, ‘Composition Settings’ and ‘Composition info’. Here you will also
nd a button to quit or start ‘Tutorial Mode’.
M Shows the ‘Selected Bar’. When you tap a bar on the Composition View
this bar becomes the ‘Selected Bar’ and the ‘Edit Panel’ will be presented.
When you then enter the Note Editor for that fragment it will scroll
immediately to the Selected Bar.
N When the Playhead is positioned inside a segment the ‘Split’ button is

shown. Tapping the ‘Split’ button will split the segment leaving two
segments where there was previously one.
When the Playhead is positioned between two segments that have the
composer added fragment in the same part and share the same key the
‘Glue’ button is shown. Tapping the ‘Glue’ button will glue the segments
together leaving one segment where there were previously two.
12
fi
Score mode
With the ‘Grid - Score’ control you can toggle between Grid and Score mode. The
Composition View in Score mode has the same functions as in Grid mode with some exceptions:
Letter(s) Description
A, B, C, F, G, H, I, J, K, L, M, N As in Grid mode (see above).
D Instead of a bar ribbon, Score mode displays tabs that

allow you to view the entire score as well as individual
parts. Selecting one of the parts lowers the sound level of
the other parts.
13
Letter(s) Description
E Instead of a playhead and needle the score mode shows

a ‘Play bar’. As in grid mode its position determines where
playback will start when you tap the ‘Play’ button (see ‘I’).
Its position also determines where a segment will be split
when you tap the ‘Split’ button (see ’N’).
You can move the ‘Play bar’ by tapping AND holding a

bar anywhere in the score.
14
Files View
The heart of YouCompose is ‘Files View’. Here you can find all your compositions and imported MIDI files. It
is here where you delete, duplicate, import or create new compositions. It is here where you select the
composition that you want to edit or view in Composition View.
When in Composition View tap to go to Files View:
15
A The ‘Add file’ button opens a menu with two buttons:
- Add new composition:

Tapping this button will open the ‘Add new composition’ wizard. Please
read ‘Adding a new composition’ in this manual.
- Airdrop RECEIVE:
You can receive compositions from other YouCompose users via
AirDrop. Please read ‘Exporting a composition to another device using
AirDrop’ elsewhere in this manual, it also describes how to receive a
composition using this button.
B Search files by entering text here. It works like a filter. Only files will be
displayed with filenames containing the search text. This works for all
folders (see ‘F’).
C Tap ‘Maintenance’ to go into ‘maintenance mode’. The button will turn

into ‘Done’ and the le thumbs will start to wobble. Tapping a
composition or a MIDI le will now display a ‘delete’ button’ to move it to
the deleted les folder. Tapping a deleted le inside the deleted les
folder will display a large ‘delete’ button to remove the le permanently.
When your are ready with maintenance tap ‘Done’ to return to normal
operation. Please read ‘The le menu’ in this manual also.
D The information button. Tapping it opens a panel that contains important

links and information about YouCompose:
- The version number of the app
- Link to this manual
- Link to our website www.youcompose.com
- Link to Apple’s App Store (if you like YouCompose then please help us
maintain YouCompose and rate the app or leave a review)
- Link to our Facebook page (don’t forget to like us if you do)
- General information and copyright notice
E The ‘Sort’ button determines the order in which the les are displayed.
Can be set to alphabetical (A->Z) or date-time. In the latter case the
most recently edited compositions will appear rst.
F The folder button determines what les are displayed. Can be set to
compositions, MIDI les or deleted les. The deleted les folder can
contain both compositions and MIDI les.
G Tapping a composition will make it the ‘current’ composition. Its

background will turn blue to mark it. Also when a composition is added
or imported it will appear here as ‘current’ with the blue background.
When a composition is tapped the ‘File menu’ will be shown. Please

read ‘The le menu’ below.
16
fi
fi
fi
fi
fi
fi
fi
fi
fi
fi
fi
fi
fi
fi
fi
The File Menu

Tapping a composition, MIDI file or deleted file will display a menu with one or more buttons giving access
to appropriate functions for that file. Depending on de file type and maintenance mode this menu can vary.
Button File type / mode Function

Composition The edit button.
Tapping it opens the current movement of the composition in
‘Composition View’.
Composition The speaker button.

Deleted composition Tapping it starts playback of the current movement of the
composition.
Tapping it again stops playback.
Composition The le duplicate button.

Tapping it duplicates the composition adding a sequence number to
its lename. The duplicated le becomes the current composition.
Composition The le info button.

Tapping it opens an information panel with info about the composition.
Deleted composition The restore button.

Deleted MIDI le Tapping it restores the le to its original folder.
MIDI le The reload button.

Tapping it reloads the MIDI le. YouCompose treats the le as if it were
imported again.
All les in The delete button.

maintenance mode This button is displayed in the upper left corner of composition and
MIDI les. Tapping it moves the le to the deleted les folder.
Tapping a le inside the deleted les folder shows a larger version of
this button. Tapping that will permanently delete the le.
17
fi
fi
fi
fi
fi
fi
fi
fi
fi
fi
fi
fi
fi
fi
fi
fi
Adding a new composition
Adding an empty composition to start from scratch
In the Files View tap and then to enter the ‘Add new composition’ wizard:
Step 1: Select ‘Empty composition’
Tap ‘Next >’:
Step 2: Set title, composer and opus number of your new composition.
Tap ‘Next >’
18
Step 3: Select the ensemble you want to compose for.
The parts shown are from the ensemble of the ‘current’ composition in Files View.
So you can set up an ensemble here by making a particular composition 'current' in Files View before
starting the wizard.
But there are other ways to set up your ensemble.
For example, you can use the buttons to swap instruments between parts.
Or you can add new parts with the buttons. Or remove parts with the buttons.
You can tap an instrument’s image to open Part Settings for that part to pick another instrument or set other
properties.
Pay attention to the ‘Range Indicators’ to the left of each instrument. They provide information about the
part’s and instrument’s ‘vocal’ range. Please read ‘Part range versus instrument range’ elsewhere in this
manual.
A quick way to set up instruments is to use a predefined ensemble. Read the chapter 'Setup a new
composition with a a predefined ensemble' below.
After you are satisfied with the instruments and parts setup you have two options:
Tap to save your new empty composition in the compositions folder and return to Files View.
Or tap to save your new empty composition in the compositions folder and immediately load
it and show the first (empty) movement in Composition View.
The new composition will become the ‘current’ composition inside the compositions folder and it will have
the typical blue background in Files View:
19
Setup a new composition with a prede ned ensemble
During the setup of a new composition (see 'Adding a new composition') you can use predefined
ensembles by tapping in step 3.
First, on the left, you can select the desired number of parts for your new composition. Then select a
suitable ensemble on the right.
Now tap to return to the composition setup wizard. There you can still make changes to the
ensemble before continuing.
20
fi
Let Aimée compose a symphony

Composing a complete 3 or 4 movement classical symphony or a jazz symphony has never been easier.
Simply ask Aimée to do just that for you.
In the Files View tap and then to enter the ‘Add new composition’
wizard:
Step 1: Select ‘Classical 3 movements’, ‘Classical 4 movements’ or ‘Jazz symphony’.
In a ‘Classical 4 movements’ symphony the third movement is a minuet or a scherzo.

A ‘Jazz symphony’ has three movements. The second movement always has a small ternary form.
Tap ‘Next >’:
Step 2: Set title, composer and opus number of your new symphony.
Tap ‘Next >’:
21
Step 3: Select the ensemble you want Aimée to compose for.
You can tap an instrument’s image to open Part Settings for that part to pick another instrument or set other
properties.
part’s and instrument’s ‘vocal’ range. Please read ‘Part range versus instrument range’ elsewhere in this
manual.
composition with a a predefined ensemble' above.
After you are satisfied with the instruments and parts setup
Tap ‘Next >’:
Step 4: Set main key and chromatics. When set to ‘Random’ Aimée will select a main key herself.
Tap ‘Create symphony >’:
22
Step 5: Aimée creates your desired symphony. If you wish you can playback the movements.
You can start from step 1 again by tapping ‘< Again’ but this means that this symphony will be lost.
You now have two options:
Tap to save your new empty composition in the compositions folder and return to Files View.
Or tap to save your new empty composition in the compositions folder and immediately load
it and show the first (empty) movement in Composition View.
The new composition will become the ‘current’ composition inside the compositions folder and it will have
the typical blue background in Files View:
Receiving a composition from another device using

AirDrop
You can receive compositions from other YouCompose users via AirDrop.
In the Files View tap and then .
Please read ‘Exporting a composition to another device using AirDrop’ elsewhere in this manual, it
also describes how to receive a composition.
23
Importing a YouCompose le
Importing a YouCompose file is NOT initiated by YouCompose. It is initiated by tapping a YouCompose file
on your device. It is most likely that you will find these files as email attachments in emails sent to you by
other YouComposers (see ‘Exporting a YouCompose file, MIDI files and PDF document containing the score
via email’) or on an external drive like iCloud or Dropbox where you put them using the file export function
(see ‘Exporting a YouCompose file to another App’).
We will use an example with a YouCompose file on iCloud Drive. To access the file open the Files app by
tapping its icon:
Locate the YouCompose file on your iCloud Drive and tap and hold it. A menu will appear:
If you see the iCloud icon with a small downward pointing arrow at the top right of the file icon, this
means that the file is in the cloud and has not (yet) been downloaded to your device.
To import the file into YouCompose, you must first download the file.
24
fi
Tap ‘Download ’ from the menu:
The file will be downloaded to your device and the iCloud icon will disappear.
Now when you tap and hold the file a second time the menu will be different:
Tap ‘Share’ from the menu:
25
Tap ‘Open in YouCompose’.
The file will now be imported into the file system of YouCompose.
YouCompose will open and show you the imported file:
There is an alternative way of importing a YouCompose file:
Locate the YouCompose file on your iCloud Drive and tap and hold it. A menu will appear:
26
Tap ‘Move’ and select ‘On My iPad’ -> ‘YouCompose’:
Now tap ‘Copy’ in the upper right corner. You just imported the composition into the file system of
YouCompose. When you open it you will find your new file there:
27
Importing a MIDI file

Importing a MIDI file is initiated by tapping a MIDI file on your device, it is NOT initiated by YouCompose.
MIDI files can be found everywhere on the internet or you might find them as email attachments.
After downloading and/or storing a MIDI file on your device tap the file to open a menu:
Notice:
Make sure the file is fully downloaded on your device before you try to
open it in YouCompose!
Tap ‘Open in YouCompose’.

YouCompose will open, the MIDI file will be copied into the YouCompose/MidiFiles folder and the MIDI file
import wizard (see below) will start.
Alternatively you could tap ‘Save to Files’:
Make sure to move the file into the file system of YouCompose by selecting the
‘On My iPad’ -> ‘YouCompose’ -> ‘MidiFiles’ folder:
28
Now you will find the MIDI file in the Files View in YouCompose (see ‘Files View’ for more on that).
Tap ‘MIDI’ in the folder button to see all imported MIDI files:
29
Load a track from a MIDI le

Open Files View and tap ‘MIDI’ in the folder button to see all imported MIDI files.
Tap a file to show the ‘(Re)Load’ button:
Tapping this button will start the importing process of the selected MIDI file.
Its content is presented to you in the MIDI file import wizard:
Step 1: Select the ensemble you want Aimée to import a melody from the MIDI file in.
You can tap an instrument’s image to open Part Settings for that part to pick another instrument.
part’s and instrument’s ‘vocal’ range. Keep in mind that importing a melody can be tricky. This has to do
with the ranges of note pitches inside the segments of the MIDI file and the instrument ranges of the
ensemble that you picked. They might not match and force Aimée to expand part ranges beyond
instrument ranges in some cases. Please read ‘Part range versus instrument range’ for more information.
composition with a a predefined ensemble’ to learn more about it.
Tap ‘Next >’:
30
fi
Step 2: Select the part that you want Aimée to import the melody in. You can force Aimée to use only a
particular part or leave the choice to her (recommended).
Tap ‘Next >’:
Step 3: Now select a track, a MIDI channel and a segment to determine which melody will be imported. You
can use the ‘Play’ button to listen to the selected track as it would sound after importing it into
YouCompose.
Aimée will treat the notes as if they were played on a keyboard, that is why three parameters are of
importance and can be set here:
- ‘Quantization’. See ‘Segment Settings’ for an explanation of this parameter.
- ‘With rests’. See ‘Keyboard setup’ in ‘Recording a melody and adding it to a movement’ for an
explanation of the parameter ‘Record rests’.
- ‘Allowed tuplets’. See ‘Segment Settings’ for an explanation of this parameter.
Use the button to listen to the result before importing the track(s).
Now make a choice:
Tap if you want Aimée to create a new composition with a first movement containing the
selected melody from this MIDI file as main source. The new composition will become the ‘current’
composition inside the compositions folder and it will have the typical blue background.
Or:
31
Tap to copy the segment(s) containing the imported melody to the clipboard to be
copied later into any movement of an existing composition as main source(s) (see ‘Adding notes to a
movement’ -> ‘Paste fragment’).
If necessary Aimée will expand the default vocal ranges of the parts to fit the imported melody as
mentioned in step 2.
If no key information is found for the imported MIDI track YouCompose will warn you about that:
Once you have imported a melody from a MIDI file you can always reload the same MIDI file again to
import another track because the imported file is copied to the MIDI files folder where it is at your
disposal until you delete it.
32
Adding notes to a movement

You can only add notes to the current movement in your composition by adding segments to it.
To add a segment you have to add a fragment to one of its parts.
To do so tap anywhere on an empty space within a part track or, when fragments are already there on a
fragment and then inside the ‘Edit Panel’ , or :
It will open the ‘Add segment panel’ with 4 buttons:
The buttons give you 4 different ways of adding a fragment to the selected part:
- ‘Record new’: Tapping this button will open the built-in virtual keyboard allowing you to record a melody
(see: ‘Recording a melody and adding it to a movement’).
- ‘Insert new’ (also ‘Prepend new’ or ‘Append new’ depending on the context): Opens a panel allowing you
to add a fragment with a melody created by Aimée (see: ‘Let Aimée add a melody to a movement’).
- ‘Paste fragment’ (also ‘Paste fragments’ depending on the number of fragments copied): Will add
previously copied fragment(s) from the clipboard (see: ‘Editing fragments and segments’) to the part.
Aimée will analyze the fragment(s) before it is pasted and, if necessary, transpose the notes to a nearby
key to fit it into the vocal range of the part.
With this ‘Copy-Paste’ method you can transfer fragments between parts, movements or compositions.
- ‘Insert empty’ (also ‘Prepend empty; or ‘Append empty’ depending on the context): Opens a panel
allowing you to add an empty fragment. This fragment can then be opened in the Note Editor where you
can manually add notes (see: ‘Adding notes to a movement manually’).
The fragment added using any of the 4 methods mentioned above becomes the 'Main Source' in the new
segment.
There is a method to also add 'Secondary Sources' within a segment.

See 'The Sources Composition Instruction' to learn more about this.
33
Recording a melody and adding it to a movement

After tapping the ‘Record new’ button on the Composition View, the virtual keyboard will appear:
A new segment is added to your movement at the same time. The settings for this segment (like key, time
signature, tempo, harmonization style, recording settings, etc.) are copied from the segment prior to it or,
when it is the first segment in your movement, set to default values.
You can access the settings for the new segment by tapping below the panel showing
the key, time signature, tempo, quantization and tuplet settings.
See ‘Segment Settings’ to learn more about them.
To access the ‘Part Settings’ to change the Part’s instrument, its range or the MIDI out channel, tap the
instrument’s image.
See ‘Part Settings’ lo learn more about these.
The image above shows the keyboard in the scale of A major (chromatics not allowed).
As you can see, there are 5 different kinds of keys here:
- Normal playable white keys.
- Normal playable white keys with a red dot: These are the root notes of the scale.
- Normal playable black keys.
- Grayed out white keys: They are playable but (in this case) the pitch will be a half tone higher. For
example, if you play an F key you will hear an F# and see the F# key being played.
34
- Grayed out black keys: They are not playable. If you tap them, one of the white keys underneath will be
played.
By organizing the keyboard in this way it is impossible to play outside the scale while at the same time the
whole keyboard remains touch sensitive.
In the image above you also see some red keys. These keys can be played on the keyboard but they are
outside the range of the selected instrument, in this case an alto saxophone. If it is your intention to have an
alto saxophonist play this Part, you should not use these keys, or preferably: change the range setting of
this Part to match that of an alto saxophone.
Keyboard setup
Before recording a melody, consider whether and how you want to use MIDI, or the ‘Recording tempo’,
‘Record rests’ and ‘touch sensitivity’ or velocity settings.
Tap the button to adjust these settings to your preference:
The top pane contains everything you need to set

up an external MIDI source like a MIDI keyboard if
you want to use one. Just pick an available source
and a MIDI channel in.
When the ‘MIDI’ switch is set to ‘OFF’ (disabling

MIDI in and out) a ‘MIDI panic’ procedure is
initiated sending a MIDI off signal for all notes to all
connected MIDI destinations.
Turning on the MIDI monitor gives you the

opportunity to view all incoming MIDI information.
This way you can check whether the source you
selected is working properly.
The bottom pane gives you options to customize

the way you want to record the melody.
Setting ‘Recording tempo’ only affects the

metronome tempo, not the tempo at which the
notes are played during playback (to set the
playback tempo enter the Segment Settings).
While setting the recording tempo the metronome
will be activated and turn blue .

Tapping the metronome will toggle the metronome
sound off and on.
Setting ‘Record rests’ to ‘Off’ gives a note’s length

to every played note beginning from their starting
position and ending at the starting position of the
next played note (or the end of the fragment for the
last note), thus ignoring any ‘note off’ events.
Setting ‘Record rests’ to ‘On’ gives a note’s length

to every played note beginning from their starting
position and ending at the starting position of the
next played note OR until the key is released. So
when no keys are played a rest is inserted.
35
How to use the virtual keyboard’s ‘touch sensitivity’

If the recorded velocities are not set to a fixed value, the position tapped on a key determines the velocity of
the note played. Tapping a key in the upper area produces a soft note. Tapping the key in a lower area
produces a louder note:
In other words: the lower you hit a key, the louder the note will sound.
Quantization
Also pay attention to the ‘Quantization’ setting (in ‘Segment Settings’). It can be set to 1/4, 1/8 or 1/16
notes. When you listen to the metronome during recording you try to play in rhythm as good as you can, but
you will never be exact. Aimée will assist you and place the notes you play exactly to the nearest ‘quantized
position’. So, for instance, if you need 1/16 notes in your recorded melody you would have 4 positions in
one beat that Aimée can ‘quantize’ to (when tuples are not allowed). When your melody does not contain
1/16 notes, set this to 1/8 and when your melody does not contain 1/8 notes either, set the ‘Quantization’
setting to 1/4.
Record a melody
To start recording tap
The ‘Record’ button turns into the ‘Stop’ button and you should hear the metronome, if not, check the
sound settings on your device.
Do not worry about the number of metronome ticks that you let pass at the beginning of a recording before
you hit the first key, Aimée will not include them in a recording. If you do not play a key for 11 bars,
recording will stop automatically.
You can only play one key at a time, remember: you are entering a melody only, so there is no need to play
chords.
Make sure you record at least 1 bar, otherwise Aimée will not be able to ‘quantize’ your notes properly and
will not allow a recording.
Use the keyboard slider above the keys to select another part of the keyboard.
When you are finished playing your melody tap
The button turns back into the ‘Record’ button and the metronome stops.
36
You can now playback your recording by tapping
Now you have to decide:
- The melody is a mess and beyond repair: Tap ‘Record’ again and start over. Your recording will be erased.
- Your recording is not perfect but can be repaired. Tap the available Note Editor button or
. The Note Editor will be opened allowing you to edit the notes in your recording. See ‘Editing
notes and Harmonization Points with the Note Editor’.
- Your recording is ok: Tap in the upper right corner to add the recorded fragment and with it a new
segment to your current movement.
Using a MIDI keyboard

Instead of playing the virtual keyboard during a recording, you can use a Core MIDI compatible keyboard.
You will need a cable to attach the keyboard’s USB cable to your device. After a few seconds YouCompose
will have detected the new keyboard and you can start using it.
Use the ‘Keyboard setup’ panel (see above) to customise the way MIDI is used.
Make sure the ‘MIDI enabled’ switch is ON and that the correct MIDI source has been selected.
By default YouCompose will process incoming MIDI data from all channels from the source but you can
force it to process only the data from a specific channel by setting the ‘MIDI channel IN’ on the MIDI pane
of the virtual keyboard.
37
Let Aimée add a melody to a movement

Aimée can harmonize your melodies but you can also ask her to make a melody for you. She uses special
designed genetic algorithms to generate melodies. A special button gives access to advanced melody
settings where you get the opportunity to directly intervene in the operation of her algorithms.
After tapping the ‘Prepend new’, ‘Insert new’ or the ‘Append new’ button on the Composition View (see:
‘Adding notes to a movement’), a panel will appear with the Segment Settings for a new segment:
The first 3 and the 5th panes contain normal Segment

Settings, see ‘Segment Settings’ to learn more about
them.
The 4th pane containing the ‘Mood’ setting is of

importance here.
The Mood setting can be set to:

- Lethargic
- Sad
- Relaxed
- Positive
- Happy
- Energetic
This setting is taken into account by Aimée while

making a melody for you.
In the 6th pane you can set the desired number of bars
for the new segment to be inserted.
<= means less or equal to

= means equal to
=> means equal to or more
Tapping gives access to advanced melody settings where you get the opportunity to directly
intervene in the operation of Aimée’s algorithms. See ‘Advanced melody settings’ below.
Adding a melody to a part in a new segment is one thing, filling in the other parts is another. Aimée has
many genetic algorithms at her disposal to achieve this. Again, you can determine how Aimée uses her
algorithms by defining 'Composition instructions' in combination with an 'Instrumentation' for the segment.
Tap to access the ‘Instrumentation view’. There you can determine

which parts in the segment should play. There you can also add, remove or define the 'composition
instructions' that determine how Aimée uses her harmonization algorithms to fill these parts with notes.
See ‘Instrumentation, Composition Instructions and Harmonization Points’ to learn more on that.
Tap , or in the upper right corner to add a fragment to the selected part with
the new melody, thus adding a new segment to the current movement.
38
Advanced melody settings
Tapping gives access to advanced melody settings where you get the opportunity to directly
intervene in the operation of Aimée’s melody generating algorithms:
Each pane shows a parameter that Aimée uses when she applies her genetic
algorithms to generate a melody.
Let's explain this with an example:
Take the parameter 'Desired percentage of notes at the start of a bar'. If you want
Aimée to generate a melody whose notes are mostly (or not at all) at the beginning of
a bar, you can use this parameter.
Ignored by Aimée Active

(with grayed thumbs) (with colored thumbs)
First, set the ‘Percentage’ slider (the top one) to the desired value for your melody.
This can be a value from 0%, which means you prefer not to see any notes at the
beginning of a bar, to 100%, which means you prefer to see all notes at the beginning
of a bar.
Then use the 'Importance' slider (the bottom one) to indicate how important this
element is to your melody. When set to zero the thumbs are grayed and the
parameter is ignored by Aimée. But when it has a value and the thumbs get their
color, Aimée will consider the value when she selects one of the many melodies
generated by her while applying the algorithms.
Setting a parameter does not mean that the melody you eventually get will exactly
match the set value. Aimée will have to take into account many parameters that
sometimes even have conflicting ‘interests'.
39
Adding notes to a movement manually
After tapping the ‘Prepend empty’, ‘Insert empty’ or ‘Append empty’ button on the Composition View (see:
‘Adding notes to a movement’), a panel will appear with the Segment Settings for a new segment:
The first 5 panes contain normal Segment Settings, see

‘Segment Settings’ to learn more about them.
The 6th pane containing the ‘Length (bars)’ setting is of

importance here.
Tap , or in the upper right corner to add a fragment to the selected part with
the desired bar length, thus adding a new segment to your composition.
The fragment can now be opened in the Note Editor where you can manually add notes. (see: ‘Editing
notes and Harmonization Points with the Note Editor’).
40
Harmonizing your melodies

After adding a few melodies (sources) to the current movement the Composition View will look something
like this:
Your added fragments are there (bright green) they are called ‘sources’, and importantly: the red
‘Harmonize’ button is visible in the lower right corner.
Whenever Aimée detects that the current movement was changed and needs
harmonization the button will appear.
This means that the ‘Harmonize’ button appears not only after adding a new segment, but also, for
example, after you edit notes or change the settings of an existing segment, part, instrumentation or
composition instruction, etc.
Aimée keeps a close eye on everything and as soon as she notices that changes made by you may have
consequences for parts or even the entire composition, Aimée reports for duty and the 'Harmonize' button
will appear in the bottom right corner.
Now tap ‘Harmonize’ and let Aimée do the hard work.
The Composition View will look like this:

41
Aimée has added 5 fragments in every segment. All generated fragments are dark green or gray.
Depending on the Segment Settings for the ‘Instrumentation’ and ‘Composition instructions’ some
generated fragments contain notes while others do not. Fragments that do not hold any notes are gray.
Notice that the ‘Harmonize’ button disappeared. Since your movement does not need harmonization now,
the button is not visible.
While harmonizing the current movement Aimée first analyzes your melodies (also called sources) and tries
to make a nice harmonic progression. Taking into account the parameters set in the ‘Instrumentation’ and
‘Composition instructions’ she will then fill in the missing parts. When problems occur during harmonization
she will add them to a ‘Harmonization Report’.
The last Harmonization Report is always available:
Viewing the Harmonization Report
Tap the button to open the Settings Panel, then tap .

For every movement in your composition you will find its last Harmonization Report there. Aimée gives a
rating which is reported first, it’s a number between 0 and 100. 100 means that she did not have any
problems applying strict rules. A number less than 100 means that some problems were encountered.
These problems are then listed below the rating.
42
Editing a movement
About selecting single and multiple fragments

Before going into details about editing fragments it is important to know some basics about selecting a
single fragment or multiple fragments and how to deselect them.
Selecting a single fragment is easy: Just tap short on the one you want to edit. The color of the fragment
will turn orange indicating it is selected and the single fragment editing panel will be presented:
Notice:
To single select another fragment just tap short on the other
fragment. It will at the same time deselect the previous one.
Selecting multiple fragments within one part: After selecting the first fragment tap and hold a second
fragment in that part. Both fragments will be selected, and turn orange, together with all fragments in
between. The multiple fragment editing panel will be presented:
Notice:
You can drag the multiple fragment editing panel to another
position on the screen if you want.
To exclude a particular fragment from the selection: just tap it short:
43
To expand the selection: tap and hold another fragment within the part:
Selecting multiple composer added fragments: Tap short on any fragment within the first segment to
single select it as show above. Then tap and hold another fragment in another part to multi select only the
composer added fragments:
To cancel any selection: Just tap and hold within any selected segment.
When a composer added fragment with the main source from a segment is part of the selection all
protected fragments and fragments containing secondary sources in that segment will automatically also
be selected:
When selecting fragments within one part:

All main- and secondary sources fragments in the sixth segment are
included because the composer added fragment containing the
main source (melody) is part of the selection. In the fourth segment
the composer added fragment is not selected therefore not all
fragments in that protected segment are selected.
When selecting composer added fragments:

Since all composer added fragments are part of the selection so are all protected fragments (segment 4)
and fragments containing secondary sources (segment 6).
44
Editing fragments and segments

Editing a fragment or a segment in the current movement is done
from the Composition View.
When in Grid Mode: single and multiple fragment selection and
editing is possible.
When In Score Mode: only single selection and editing of a fragment
is possible.
Tapping short on a fragment will turn its color to orange, indicating

that it’s selected, and open the
Single Fragment Editing Panel
Button Function
Tapping this button will open the Note Editor for the fragment. See ‘Editing notes and
Harmonization Points with the Note Editor’ to learn more about that.
Tapping this button will open a panel with the Segment Settings. See ‘Segment Settings’ to
learn more about them.
Tapping this button will change the ‘protect’ status of the segment to ‘Protected’ meaning
that Aimée will now skip this segment during the next harmonization round. The button now
shows the ‘Unprotect’ image, a lock will be placed inside the generated fragments and its
color will change a little.
Tapping the button again will reverse the above. See ‘Protecting segments against
harmonization’ to learn what this all means.
Tapping this button will copy the selected fragment to the clipboard. The fragment can now
be pasted into another part, movement or composition (see: ‘Adding notes to a
movement’).
Notice:
When copying a fragment that was added by the composer inside a protected segment
all fragments in that segment are selected and copied to the clipboard. When you
subsequently paste to the same part somewhere else Aimée will paste the whole
segment when possible. Notice that the complete protected segment is pasted only
when you paste to the same part! When pasted to a different part only the composer
added fragment is pasted.
Notice:
When copying a fragment that was added by the composer (containing the main source)
all fragments in that segment containing secondary sources are also selected and
copied to the clipboard. When you paste these in another part, Aimée will do her best to
also paste the secondary sources in a responsible way.
45
Button Function
When tapped from within a fragment that was added by the composer (containing the main
source): the whole segment with all its fragments will be erased. When tapped from within a
generated fragment or a fragment containing a secondary source: only those fragments will
be erased.
Tapping a ‘+’ button will open the ‘Add segment’ panel (see: ‘Adding notes to a
movement’).
Multiple Fragment Editing Panel

Tapping short on a fragment and then tapping and holding a second, will select the first, the second and all
fragments in between. Remember: multiple fragment selection and editing is only possible in the
Composition View in Grid Mode! It will open the ‘Multiple Fragment Editing Panel’:
Button Function
Tapping this button will copy all selected fragments to the clipboard. These fragments can
now be pasted into another part, movement or composition (see: ‘Adding notes to a
movement’).
Notice:
When copying a fragment that was added by the composer inside a protected segment
all fragments in that segment are copied to the clipboard. When this fragment is
subsequently pasted to the same part somewhere else Aimée will paste the whole
segment when possible. Notice that the complete protected segment is pasted only
when you paste to the same part! When pasted to a different part only the composer
added fragment is pasted.
Notice:
When copying a fragment that was added by the composer (containing the main source)
all fragments in that segment containing secondary sources are also selected and
copied to the clipboard. When you paste these in another part, Aimée will do her best to
also paste the secondary sources in a responsible way.
When tapped from within a fragment that was added by the composer (containing the main
source): the whole segment with all its fragments will be erased. When tapped from within a
generated fragment or a fragment containing a secondary source: only those fragments will
be erased.
46
Button Function
Tapping this button will change the ‘protect’ status of all selected segments to ‘Protected’
meaning that Aimée will now skip these segments during the next harmonization round.
The button now shows the ‘Unprotect’ image, a lock will be placed inside the generated
fragments and their color will change a little.
Tapping the button again will reverse the above. See ‘Protecting segments against
harmonization’ to learn what this all means.
Tapping this button will open a panel with the Segment Settings of all selected segments.
See ‘Segment Settings’ to learn more about them.
I will enable you to increase or decrease tempo or setting any parameter for all segments at
once.
Splitting or gluing segments

Sometimes it is necessary to split a segment or to glue two segments together. For instance, if you want to
delete, copy-paste or transpose only a part of a segment you must first split it.
Splitting or gluing can be necessary for better harmonization too. Aimée treats notes in the middle of a
fragment differently from notes at the end of a fragment.
Be aware that you can only glue two segments that have the composer added fragment in the same part
and share the same key.
To split a segment first position the Playhead at the bar where you wish to split the segment.
You will see the ‘Split’ button . Tapping the ‘Split’ button will split the segment leaving two segments
where there was previously one.
To glue two segments, position the Playhead between the two segments you want to glue.
If these segments have the composer added fragment in the same part and share the same key the ‘Glue’
button is shown. Tapping the ‘Glue’ button will glue the segments together leaving one segment where
previously there were two.
47
Editing notes with the Note Editor

The Note Editor enables you to edit notes and Harmonization Points in a segment. As in Composition View
the Note Editor can be used in Grid and Score mode.
To reach the editor first select a fragment in Composition View, tap it to show the Edit panel and tap .
The Note Editor will alway open in the same display mode (Grid or Score) as in Composition View.
When opened it shows you all the individual notes in the segment. Remember that a segment contains
fragments (one for each part). One fragment always is the ‘current’ fragment, its notes are editable. It is very
easy to switch back and forth to other fragments within the editor, as will be shown below.
Editing in Grid mode
48
A The ‘Part header’.
Tapping on the part title will open the ‘Part Settings’ for that part.
Tapping on the buttons allow you to switch to the fragments of the

other parts within the segment. These buttons are only visible when the
segment contains a fragment for these parts.
Another way to switch to an other part is simply to tap a note from that part
(see ‘P’).
B The ‘Pitch Ribbon’ shows the pitches of the notes in the different lines in the
grid.
Red notes are outside of the instruments range.
C The ‘Beat Ribbon’ shows the bar and beat numbers in your movement and
contains the Playhead.
The two arrows to the left and right inside the Beat ribbon allow you
to quickly scroll to the beginning or the end of the segment. Tapping these
arrows when the start or end position is already reached will switch the
editor to the previous or next segment (when available).
Tapping anywhere on the ribbon allows you to select the start position from
which playback will begin when you tap the ‘Play’ button (see ‘J').
You can reset the start position by tapping the rewind button.
D The 'Instrumentation Menu' gives you quick access to the instrumentation

settings for this segment in the ‘Instrumentation View’ and the available
'Composition Instructions' that apply to the di erent instrument groups.
Learn more about this little control in ‘The Instrumentation Menu’. below.
E Harmonization Points inside the ‘H’ ribbon. See ‘Harmonization Points’

below for more details. Every composition instruction has it own line of
harmonization points.
Tap (short) a position on the ‘H’ ribbon to EDIT harmonization points. Tap
and hold a position on the ‘H’ ribbon to HEAR the current chord on that
position arpeggiated.
49
ff
F The ‘Editing Style Selector’ determines the way the editor will react to touches.
You can choose between 2 styles:
‘Edit notes’: Allows you to tap a note to open the ‘Note Edit Panel’. See
‘Editing a note’. It also allows you to select notes and perform actions on
these selected notes. See ‘Editing selected notes’.
‘Add notes’: Tap anywhere in the grid and a new note will be added there
unless another note already exists in that position. The velocity of the new
note will be in between its predecessor’s velocity and that of the note following
it. If no predecessor exists, the velocity will be equal to the velocity of the note
that follows. If there is no note following the new one, its velocity will equal the
velocity of its predecessor. If the new note is the first note in the fragment its
velocity will be set to the default value 80.
Notice: You can add notes beyond the last bar in the fragment. If you do,
a new bar is added to the segment automatically.
G The ‘Function Selector’. When tapped will provide you with the ‘Function
Picker’ as shown, allowing you to pick the ‘Active Function’.
Read Transposition, loop playback and part level settings with the ‘Function
Selector’ below.
H The ‘Undo - Redo’ control.
Tapping the left arrow will undo your last action(s). Any undone action can be
redone by tapping the right button.
I The ‘Grid - Score’ control. At any time during editing or playback of the
segment you can switch between the grid or score view by tapping the
appropriate button here.
J The ‘Play - Rewind’ control.
Tapping the ‘Play’ button on the right will start playback beginning at the
position of the Playhead.
Tapping the ‘Rewind’ button will bring the playheads position to the start of the
segment thus resetting a manually set starting position for playback if there is
one (see ‘C’).
When playback starts the ‘Play’ button will be grayed out and the ‘Rewind’
button will turn into the ‘Stop’ button. Tapping the ‘Stop’ button will stop
playback and return the playhead to the manually set position on the beats
ribbon or the start of the segment if no manually set position is available.
K The ‘Settings’ button here will give you access to the Segment Settings. See
‘Segment Settings’ for details.
L When you are done editing or adding notes, this button will take you back to
the previous screen.
50
M The black boxes represent notes within the range of the selected instrument.
Inside you can read the lyrics belonging to the note. The number underneath it
is its velocity. The handle at the end allows you to control the length of the
note.
Tap (short) a note to select it.

Tap AND HOLD a note to hear it.
Tap and move to change pitch or position.
When one note is selected:

Tap AND HOLD another note to select the note AND all notes in between this
note and the previous selected note.
When multiple notes are selected:

Tap (short) an unselected note to add the note to the selection.
Tap (short) a selected note to remove the note from the selection.
Tap AND HOLD an unselected note to select it AND all notes in between this
note and other selected notes.
N The red boxes represent notes outside the range of the selected instrument.
O The orange boxes represent selected notes.
When there is only one selected note the ‘Single Note Edit Panel’ will be
presented.
When multiple notes are selected the ‘Multiple Notes Edit Panel’ will be
presented.
Tap the note and move to change pitch or position together with all other
selected notes.
P Notes in other parts. Tapping a note of an other part causes a switch to that
fragment as ‘current’.
Q The ‘Selected Bar’. When you tap a bar on the Composition View that bar
becomes the ‘Selected Bar’. When you then enter the Note Editor for that
fragment it will scroll immediately to the Selected Bar. Also, when you select a
bar inside the Note Editor and return to the Composition View the Selected
Bar is moved in the Composition View.
R Just as on the Composition View: Whenever Aimée detects that the current
movement was changed and needs harmonization this red button will appear.
Tap it to harmonize your composition.
S The ‘Multi Note Edit Panel’. Displayed here because 3 notes were selected.
When only one note is selected the ‘Single Note Edit Panel’ would have been
presented.
Notice:
Both the Single and Multi Note Edit Panel can be dragged on the screen to
a new location when they are blocking your view.
51
Editing in Score mode
Letter(s) Symbol Description
A, C, D, E, As in Grid mode.
F, G, H, I, J,
K, L
B Permanently displayed on the left with clefs, accidentals and time

signature for each part.
52
Letter(s) Symbol Description
M Normal black note within the range of the selected instrument.
Tap (short) a note to select it.

Tap AND HOLD a note to hear it.
Tap and move to change pitch or position.
When one note is selected:

Tap AND HOLD another note to select the note AND all notes in
between this note and the previous selected note.

Tap AND HOLD an unselected note to select it AND all notes in between
this note and other selected notes.
N Note outside the range of the selected instrument.
O Selected note.
When there is only one selected note the ‘Single Note Edit Panel’ will be
presented. In addition, when the note’s length can be changed, the
‘Note Length Slider’ is presented to the right of the note.
When multiple notes are selected the ‘Multiple Notes Edit Panel’ will be
presented.
Tap the note and move to change pitch or position together with all
other selected notes.
P The ‘current’ fragment has a green background. Bright green for a

melody (source) fragment, dark green for the generated fragments.
Tapping on any staff other then the current one makes that fragment
‘current’ and its notes editable.
Q, R, S As in Grid mode.
53
The Instrumentation Menu

When you are in the 'Note editor' you will see the 'Instrumentation menu' at the bottom left.
This small control center gives you access to all the settings important for
grouping instruments and assigning a group to a 'Composition Instruction’.
See ‘Instrumentation, Composition Instructions and Harmonization Points’ to

learn more on that.
Tap or to open the 'Instrumentation View' where you can group the available instruments and
assign them to a particular composition instruction.
The available composition instructions each have an button that gives access to the associated
parameters and opens the corresponding 'Composition Instruction View’.
The ‘Harmonization Points’ associated with a particular composition instruction are shown in the same
ribbon to the right of every buttons.
The top button always gives access to the only and always present 'Sources' composition instruction.
This allows you to define secondary sources within this segment in addition to the main source.
The (inactive) or (active) buttons allow you to mute the sound of the respective instrument
group. The notes of the muted parts will then no longer be visible in the editor.
The ‘current’ part is always visible regardless of the mute setting.
Notice:
One of the composition instructions is marked with a green band .

That is to indicate the composition instruction that is valid for the active part/instrument in the editor.
54
Editing a single note

Tapping and directly moving a note will change any note’s position or pitch without the need to select
it first.
When no other notes are selected or just one, Tap (short) a note to select the note. The ‘Single Note Edit
Panel’ will pop up:
Button Function
Deletes the selected note.
The ‘Add lyrics’ button opens the ‘Lyrics Editor’ for the note. See ‘Adding lyrics’ below.
Selects all notes in the current fragment. As a result the ‘Single Note Edit Panel’ will
disappear and the ‘Multi Note Edit Panel’ will be presented (provided there are at least
two notes in the fragment).
Changes the pitch of the note up or down by 1 ‘tone’. How much a ‘tone’ is depends on
the ‘Key’ and ‘Chromatics’ setting of the segment (see ‘Segment Settings’).
When this setting is ‘Diatonic’ the note is moved up or down along the scale. E.g. when in
C major the note is moved from C -> D -> E -> F etc, or vice versa.
When this setting is ‘Chromatic’ then every step is a semitone.
Changes the pitch of the note up or down by 1 octave.
The ‘Chromatics’ setting is of no consequence here.
Use this slider to change the velocity of the note.
In Score mode: Use the Note Length Slider to change the note’s length.
Notice: The length slider is hidden when the note length can’t be changed.
In Grid mode: Use the note’s handle at the end of a note to change the note’s length.
In Score mode: Tap anywhere within a selected note’s position (above or beneath the note) and move
to change pitch or position without your finger blocking your view.
Tap and HOLD a note to just hear it.
55
Adding lyrics
After tapping the button on the ‘Note Edit Panel’ in the ‘Note Editor’, the ‘Lyrics Editor’ will open:
Notice: You can use the Lyrics Editor both in Grid and in Score mode. You can switch between the two
modes anytime during editing lyrics without a problem. If the lyrics panel blocks your view you can drag it
on the screen to an other location.
You can now type the lyrics for the current note.
Tapping will open the Lyrics Editor for the next note and so on until the last one.
Tapping will open the Lyrics Editor for the previous note and so on back to the first note in the
fragment.
While scrolling through the notes in this way you will also hear the notes. If you want to hear the current
note again, tap .
When you are done editing lyrics tap or anywhere else on the screen to return to the Note
Editor.
56
Editing multiple selected notes

To select multiple notes, select the first note by tapping (short) on it (the ‘Single Note Edit Panel’ will be
presented). Then tap AND HOLD another note to select the note AND all notes in between this note and the
previous selected note.

Tap AND HOLD an unselected note to select it AND all notes in between this note and other selected notes.
Selected notes are orange.
When multiple notes are selected the ‘Multiple Notes Edit Panel’ will be presented:
Button Function
Deletes all selected notes.
Copies all selected notes to the clipboard.
To paste notes elsewhere (this can be done in the same segment or another
segment, movement or even in another composition):
Tap AND HOLD an empty pitch on any position to show the ‘Paste notes’ button.
Tap this button and the notes will be pasted in that position. When there is not
enough room for the copied notes, following notes will be moved foreward to make
room.
Selects all notes in the current fragment.
57
Button Function
Changes the pitch of all selected notes up or down by 1 ‘tone’. How much a ‘tone’
is depends on the ‘Key’ and ‘Chromatics’ setting of the segment (see ‘Segment
Settings’).
When this setting is ‘Diatonic’ a selected note is moved up or down along the
scale. E.g. when in C major the note is moved from C -> D -> E -> F etc, or vice
versa.
When this setting is ‘Chromatic’ then every step is a semitone.
Changes the pitch of the selected notes up or down by 1 octave.
The ‘Chromatics’ setting is of no consequence here.
Use this slider to change the velocity of the selected notes.
The existing velocity range of the notes within the selection will always be
maintained. This means that the maximum increase of velocity for all notes
depends on the note with the highest velocity and, vice versa, the maximum
decrease for all notes, on the note with the lowest velocity.
Allows you to create a decrescendo or crescendo with the selected notes.
Sliding to the left or right will decrease or increase the velocity of all selected
notes. The amount of change for each note depends on the position of the note
within the selection. The higher its position the higher the amount of change. The
rst selected note will not change velocity and the last note will change the most.
Allows you to apply a melodic transformation on the selected notes in the

fragment. This button will apply a inversion.
See ‘Applying transformations to multiple selected notes’ below to learn more
about its impact.

fragment. This button will apply a retrograde.
about its impact.

fragment. This button will apply an augmentation.
about its impact.

fragment. This button will apply a diminution.
about its impact.
In Score mode: Tap anywhere within a selected note’s position (above or beneath the note) and move
to change pitch or position of all selected notes without your finger blocking your view on the notes.
58
fi
Applying transformations to multiple selected notes

The buttons mentioned in the table below can be found in the ‘Multiple Notes Edit Panel’. See ‘Editing
multiple selected notes’ above to learn about selecting notes and this panel.
Button Transformation Example
Inversion Before
After
Retrograde Before
After
Augmentation Before
After
Diminution Before
After
59
Instrumentation, Composition Instructions and

Harmonization Points
Instrumentation
Above you saw that after all the sources (melodies) have been defined, Aimée places the missing notes in
other parts during the ‘Harmonization’ process (see ‘Harmonizing your melodies’ above). But how does
Aimée know how to do that? In other words, how does Aimée know, for example, which parts/instruments
she should fill in and which not, and how does she know for each part/instrument where the notes and rests
should go and which harmonies she should use? The answer is: ‘Instrumentation’.
Within YouCompose, the instrumentation is arranged per segment. This means that each segment has its
own instrumentation definition and all necessary parameters for this are determined per segment.
These parameters are defined in 'Composition Instructions'. A segment always has at least one
composition instruction but can have (many) more. Normally, the number of composition instructions will
increase with larger ensembles.
Composition Instructions
Each segment has at least one composition instruction containing parameters that Aimée uses to determine
where exactly the notes should be in the fragments to be generated in that segment during harmonization.
A composition instruction contains the following parameters:
- The type of composition instruction. There are four types ‘Sources’, ‘Harmonization’, ‘Parallel to
harmonization’ and ‘Parallel to part’.
- Generally applicable parameters depending on the type.
- A list of parts/instruments to which the composition instruction applies.
- Harmonization points that indicate at which positions in time notes should be placed.
Let's clarify this with an example:
We assume a movement with 10 parts. Let's say a saxophone group in 4 parts, a string group in 4 parts and
two woodwinds, a flute and a clarinet. In our segment, the Main source (melody) is in the soprano sax.
As mentioned, every segment has at least one composition instruction, namely the ‘Sources' instruction. In
the list of parts/instruments for this composition instruction, only the soprano sax is mentioned as 'Main
source'. This one instruction is always present in every segment and therefore cannot be removed. In our
example we will not use the ‘Sources' instruction.
First we add a composition instruction with the title 'Saxes' and with the type 'Harmonization'. This type of
composition instruction will harmonize a source using the rules of the common practice period (CPP). We
make sure that the soprano sax is included in the parts list for this instruction and also add the remaining 3
saxes. So in total we have added 4 parts. That is also the maximum number for this type of composition
instruction.
60
Second, we add a composition instruction with the title 'Strings' and with the type 'Parallel to
harmonization'. This type of composition instruction only contains a reference to another composition
instruction of type 'Harmonization'. So there is only one candidate for this reference, namely 'Saxes'. So we
set that and add all 4 string instruments to the list of parts.
Third, we add a composition instruction with the title 'Woodwinds' and with the type 'Parallel to part'. This
type of composition instruction contains only a reference to a part that becomes the ‘source’ for all other
parts that appear in the parts list. The ‘Main source’ is automatically taken as the source, so that is the
soprano sax. In principle you can define any other part as a source, but we won't do that now. We now add
the flute and clarinet parts to the list in instruction ‘Woodwinds'.
In the 'Instrumentation View’ our example would looks like this:
Notice: Apart from the 'Sources' instruction, which is always in front, the composition instructions are
always placed in alphabetical order. See ‘Editing Instrumentation’ to learn more.
61
Harmonization Points
Harmonization points determine the positions in time where Aimée is allowed to place her notes during the
harmonization process. Each ‘Harmonization’ type composition instruction has its own set of harmonization
points.
Harmonization Points are essential elements in your composition. They determine the way Aimée
harmonizes a melodie using the rules of the common practice period (CPP). Placing them wisely is as
important as having a good melody source.
Harmonization Points can be placed on every position within a segment. You will find them inside a special
‘H’ ribbon in the Note Editor. Every composition instruction of type ‘Harmonization’ has its own ribbon with
editable harmonization points.
By default Aimée places the Harmonization Points for you. This ‘Automatic Harmonization Point
placing’ (AHPP) process can be done in different ways. You can use the ‘Composition Instruction Settings’
to tell Aimée how to do it. See ‘Composition Instruction Settings’ for details.
AHPP works well, but you get the best harmonization results if you place them yourself. Best practice
would be to let Aimée place them automatically with AHPP first, and then do the fine-tuning yourself in the
note editor.
Harmonization Point types

In the note editor on the ‘H’ ribbon for composition instructions of type ‘Harmonization’ you will find
yellowish and purplish Harmonization Points.
Yellowish Harmonization Points are placed by Aimée using the settings you provided for AHPP in the
‘Composition Instruction Settings’.
Purplish Harmonization Points are placed by the composer (you or Aimée during auto composing).
You will also find purplish harmonization points at the beginning of a segment when the AHPP is set to
‘Repeat first bar’, ‘Repeat 2 bars’ or ‘Repeat 4 bars’. Also when you edit an automatically placed yellowish
harmonization point, overruling AHPP, all yellowish harmonization points will turn to their purplish equivalent
to indicate that they no longer will be replaced in the Automatic Harmonization Point placing process but
instead are considered to be placed by you, the composer.
Type Symbol When When Description

placed by placed by
in editor “AHPP” composer
on ribbon on ribbon
Change Let Aimée pick a chord and change harmony on this

Chord position.
Set Chord Set a chord yourself on this position. Pick one out of
several options from a menu.
Repeat Repeats the previous chord. Aimée will try to harmonize

Chord with a chord inversion of the chord preceding this
position.
62
Type Symbol When When Description

placed by placed by
in editor “AHPP” composer
on ribbon on ribbon
Anticipate Anticipates the next chord. Aimée will try to harmonize

Chord with a chord inversion of the chord following this
position.
Use When possible and necessary Aimée will fill the gap
passing between the preceding and following chord note with
notes passing notes.
Notice: Aimée will only try to add passing notes when

the interval between the preceding and following chord
note is more than a major second.
Unison Aimée will add a note with the same pitch as the source
notes melody on this position. The added notes can by one or
more octaves up or down depending on the part ranges.
Repeat Aimée will simply repeat the previous note on this

notes position.
Notice: The composition instruction setting ‘Combine

repeating notes’ will be ignored, so this repeated note
will always sound.
Anticipate Aimée will simply put a note on this position with the
notes same pitch as the note following this position.
Notice: The composition instruction setting ‘Combine

repeating notes’ will be ignored, so this note will always
sound.
Insert The gray Harmonization Points determine the positions

rests within the segment where Aimée will force the other
parts assigned to the same composition instruction to
be silent. She will simply place a rest in that position in
all generated fragments for these parts during
harmonization.
63
Editing Instrumentation
When you tap or from the ‘Note editor’ or from ‘Segment

settings’ you can open the 'Instrumentation View’:
What you actually see is a table with all composition instructions in a row on the x-axis and the part names
on the y-axis. Each cell in the table is a toggle button that allows you to add or remove a part to/from the
parts list in a particular composition instruction.
Apart from the 'Sources' instruction, which is always in front, the composition instructions are always
placed in alphabetical order.
You will also find a number of other buttons and labels in the view.
Everything is explained in the table below.
Element Description
The 'Improve Instrumentation' button is only visible when Aimée thinks she
can improve the current instrumentation. If you tap on it, Aimée will apply the
improvements she sees.
When you make your own instrumentation for a segment, you can safely
ignore Aimée's improvement advice and go your own way. However, it can't
hurt to see what Aimée does when she improves an instrumentation.
Removes all unused composition instructions.
64
Element Description
The 'Restore' button will appear immediately after you make a change to the
instrumentation. By tapping the button you return the instrumentation to the
situation that was in e ect when you opened the view.
The composition instruction header for the 'Sources' instruction. This

instruction always contains the 'Main source'. Here you can assign parts that
you want to use in addition to the main source as 'Secondary' sources.
The notes inside any source fragment, be it main or secondary, will not be
altered by Aimée during the harmonization process. A secondary source
can also be a source for other composition instructions within a segment, as
you see here.
The composition instruction header contains a number of elements.

Shown in bold text is the title of the instruction. Remember: The order in which
the instructions are displayed is alphabetical (except for the rst 'Sources'
instruction). The type of instruction is shown below the title in plain text. All
instructions (except the 'Sources' instruction) also have a delete button.
Delete-button inside a composition instruction header.

Tapping it removes the composition instruction.
Edit-button inside a composition instruction header.

Tapping it opens the ‘Composition Instruction View’ for the selected
instruction.
See ‘Editing a Composition Instruction’ to learn more about the generally
applicable parameters that come with a composition instruction.
The label of a part that has an assignment in one of the composition

instructions.
The label of the part that contains the ‘Main source’. It is always automatically
assigned to the composition instruction 'Sources' and often serves as source
for other composition instructions.
The label of a part that does not (yet) have an assignment in one of the
composition instructions.
The button to add a new composition instruction to the segment.
Tap this button and you will be prompted to enter a title for the new instruction
and then it will be added. Note: The composition instructions are always
placed in alphabetical order in the list (except for the rst 'Sources'
instruction).
Immediately after adding the instruction, the 'Composition Instruction View'

will open so that you can set the parameters for the new instruction.
See ‘Editing a Composition Instruction’ to learn more about the generally
applicable parameters that come with a composition instruction.
65
ff
fi
fi
Element Description
Part assignment toggle button.
The gray buttons represent unassigned parts for the composition instruction.
Tap it to include that part in the parts list for that instruction.
Since Aimée maintains the internal integrity and coherence between the
composition instructions after every change, adding a part may have
consequences for this instruction or other instructions.
The button with the asterisk in the middle is a special one although the
functionality is no di erent. This asterisk was placed there by Aimée when you
added a new segment to the movement. To make it easy for the composer,
Aimée then also adds a number of composition instructions in which she
indicates, with the asterisks, what the candidate parts are for each speci c
instruction. Aimée uses this information in auto-composing. You don't have to
stick to that.
Part assignment toggle button.
The white buttons represent the assigned parts in each composition

instruction. Tap it to remove that part from the parts list for that instruction.
The text in the button indicates the role the part has within the instruction.
There are many di erent roles that a part can ful ll. Within a composition
instruction of the 'Harmonization' type, for example, there are four roles that
have to do with harmonization: Soprano, Alto, Tenor and Bass. Which part
gets which role is determined by Aimée, in this case on the basis of the ranges
of the di erent instruments.
Since Aimée maintains the internal integrity and coherence between the
composition instructions after every change, removing a part may have
consequences for this instruction or other instructions.
Tap this button to exit the view. If you work on an iPad, you can also tap
anywhere next to the view to close it.
Every time you add or remove a part, Aimée checks the internal integrity of each composition instruction
and the interrelationship between the composition instructions. When you add a part, for example, this can
result in Aimée removing a part elsewhere, because otherwise the integrity of the composition instruction is
not guaranteed. It is therefore advisable to first remove parts that are no longer desired before adding
a new one.
66
ff
ff
ff
fi
fi
Editing a Composition Instruction
Tapping from the ‘Instrumentation View’ or from the 'Instrumentation Menu’ in the ‘Note Editor’ will
open the ‘Composition Instruction View’. There are four types of composition instructions, each with its own
parameters and settings: ‘Sources’, ‘Harmonization’, ‘Parallel to harmonization’ and ‘Parallel to part’.
Sources composition instruction
Each segment in a movement has exactly one

composition instruction of the type 'Sources'.
This instruction has as a parameter a list of parts.

The 'Main source' is always present in it and
cannot be removed from it.
This instruction allows you to define 'Secondary'

sources in addition to the main source. All parts in
the list, main or secondary will not be affected
when Aimée does a harmonization for this
segment. All notes in these fragments remain
untouched.
All sources, with a melody de ned here can be a

source for other composition instructions within
the segment.
The list of parts is maintained in the

instrumentation view, there is only one parameter
available: 'Copy lyrics to secondary sources'.
Setting Description
Copy lyrics to This setting is only important if you added lyrics to your main source.
secondary sources
If ON, Aimée will copy the lyrics from the main source to all secondary
sources during harmonization. No notes inside the secondary sources are
altered or added, only the lyrics are copied.
67
fi
Harmonization composition instruction
Each segment in a movement can have as many

composition instruction of the type
‘Harmonization' as you wish.
This type of composition instruction will

harmonize a source melody using the rules of
the common practice period (CPP). A CPP
harmonization can be performed in 2, 3 or 4
voices by Aimée. Therefore, a maximum of four
parts can be included in the parts list.
The parts list is maintained in the

instrumentation view, several additional
parameters can be set here.
Setting Description
Title The title for this composition instruction.
Changing the title may change the order of the composition instructions within
the instrumentation view as they are listed in alphabetical order.
Composition Select a type for the instruction. You can choose from 3 types: ‘Harmonization’
Instruction type (selected here), ‘Parallel to harmonization’, ‘Parallel to part’.
Harmonization Style Can be set to 'Automatic', 'Classical' or 'Jazz' and determines the style Aimée
uses when harmonizing this composition instruction in this segment.
When set to 'Automatic', the segment setting for 'Harmonization Style' is

adopted. See ‘Segment Settings’.
Harmonization Here you can try and set alternative harmonizations named ‘A’, ‘B’, ‘C’ or ‘D’.
alternative The number of alternatives depends on the number of parts to be harmonized.
There will always be two alternatives (‘A’ and ‘B’) for 2 part harmonization, three
for 3 part harmonization and four for 4 part harmonization.
There is no way of knowing beforehand what an alternative will look like so you
will have to try and rate it yourself. Sometimes alternative ‘B’ is more to your
liking in segment 1 and alternative ‘C’ in segment 2. Sometimes, especially in
short segments, there is no di erence between the alternatives at all.
68
ff
Setting Description
Automatic This parameter determines how Aimée will set Harmonization Points
Harmonization Point automatically. (See ‘Harmonization Point types’ to learn more about
placing harmonization points)
Notice: ‘Automatic Harmonization Point placing’ is abbreviated as ‘AHPP’.
You will find an overview of all settings in a separate table below.

See ‘Automatic Harmonization Point placing settings’.
When Harmonization Points were edited by the composer, automatic placing is

turned off. Instead of this setting you will find the button:
Tap it if you want to restore the automatic setting, however if you do, your
editing of Harmonization Points that you did in the note editor will then be lost.
Allowed automatic This is an element of ‘Automatic Harmonization Point placing’ (AHPP).

points
You can set whether Aimée may or may not use a certain harmonization point
type while automatically setting the harmonization points for the composition
instruction in this segment. See ‘Harmonization Point types’ to learn more
about all types of harmonization points.
Three types can be used by Aimée:

- Change Chord (mandatory)
- Insert rests (can be switched on or o )
- Use passing notes (can be switched on or o )
Special e ects This is an element of ‘Automatic Harmonization Point placing’ (AHPP).
You will find an explanation of special effects in a separate table below.

See 'Special effects'.
Alternative key Set an alternative key just for the harmonization of the parts in this composition
instruction. When set to 'Automatic', the segment setting for 'Key' is adopted.
See ‘Segment Settings’.
Once a segment contains notes, the keys that do not contain one of these notes
are disabled leaving the key(s) that contain(s) all notes in the segment.
Combine repeating This setting determines whether repeating notes within the selected time span in
notes in generated the generated fragments during harmonization, are combined into one note.
fragments
generated fragments
If ON, Aimée will copy the lyrics to all parts associated with this composition
instruction during harmonization. She will repeat notes with lyrics, if necessary,
on positions where there are no Harmonization Points.
69
ff
ff
ff
Automatic Harmonization Point placing settings
AHPP setting What Aimée does
Every beat A Harmonization Point will be placed on every beat of every bar.
On 1 and 3 A Harmonization Point will be placed on beat 1 and 3 of every bar.
On 1 and 4 A Harmonization Point will be placed on beat 1 and 4 of every bar.
Every bar A Harmonization Point will be placed on beat 1 of every bar.
Every note A Harmonization Point will be placed on every position where a note in the
source melody is.
Polyphonic 1 Harmonization Points of type 'Change Chord' will be placed according to

the rhythmic pattern of the source melody shifted backwards by 1/2 or
one bar (depending on the length of the segment). Type 'Insert rests'
Harmonization Points will be placed on every position with a rest in the
source melody.
Polyphonic 2 Harmonization Points of type 'Change Chord' AND type 'Insert rests' will
be placed according to the rhythmic pattern of the source melody shifted
backwards by 1/2 or one bar (depending on the length of the segment).
Polyphonic 3 Harmonization Points of type 'Change Chord' and type 'Insert rests' will
be placed according to the rhythmic pattern of the source melody in the
PRIOR segment. When set to the rst segment (no prior segment
available) ‘Polyphonic 2’ setting is taken.
Anticipate Harmonization Points of type 'Change Chord' AND type 'Insert rests' will
be placed anticipating the melodic pattern.
Contra Harmonization Points of type 'Change Chord' will be placed in contrast to

the rhythmic pattern of the source melody. Type 'Insert rests'
Harmonization Points will be placed on every position with a rest in the
source melody.
Repeat rst, 2 or 4 bar(s) The pattern of Harmonization Points in the rst one, two or four bar(s) is
repeated in all following bars. Harmonization Points within the rst bar(s)
can be edited by the composer without canceling the Automatic
Harmonization Point placing process. If you do, the new pattern is
instantly updated inside the following bars.
Fill pattern 1/4, 1/8 or 1/16 You will find an explanation of ‘Fill pattern’ in a separate table below.
See 'Fill pattern examples’.
Random Harmonization Points will be placed randomly.
Notice: The last bar in a melody may be treated differently with some settings.
70
fi
fi
fi
fi
Fill pattern examples
UI Result when applied, example
On 1 and 3
Fill pattern 1/4
Fill pattern 1/8
Fill pattern 1/16
71
Special effects
In addition to AHPP, you can also choose to add a so-called 'Special effect'. This is best illustrated with an
example:
UI Description Result when applied, example
None No special e ect is applied
Arp. 1/4 Arpeggios on 1/4th
72
ff
UI Description Result when applied, example
Chrd rep. 1/4 Chord repetitions on 1/4th
73
Parallel to harmonization composition instruction

composition instruction of the type ‘Parallel to
harmonization' as you wish.
This composition instruction allows you to

directly parallelize all assigned parts with parts
from an existing ‘Harmonization’ type
composition instruction, the ‘Source CI’.
With the 'Source CI' selector you determine

which composition instruction should serve as
the source CI. This other CI that serves as
source CI must always be of type
‘Harmonization’. Aimée then determines the
roles of the parts.
If the source CI has less parts assigned to it

than this instruction has assigned to, it will lead
to a ‘No source’ message on one or more of the
(too many) assigned parts here.
Since this composition instruction always refers

to an instruction of type ‘Harmonization,’ you
can assign up to four parts to it.
Setting Description
Changing the title may change the order of the composition

instructions within the instrumentation view as they are listed in
alphabetical order.
Composition Instruction type Select a type for the instruction. You can choose from 3 types:
‘Harmonization’, ‘Parallel to harmonization’ (selected here),
‘Parallel to part’.
The ‘Source CI’ selector.

The harmonization with which this instruction should run in parallel
can be selected here. Its parts will be the source for the parts
assigned to this composition instruction.
Copy lyrics to generated This setting is only important if you added lyrics to your main source.
fragments
If ON, Aimée will copy the lyrics to all parts associated with this
composition instruction during harmonization.
74
Parallel to part composition instruction

composition instruction of the type ‘Parallel to
part' as you wish.
This composition instruction lets you copy one

part, the “Source,” to other parts. Aimée takes
the properties of all instruments into account
when 'copying'. I.e. the notes are sometimes
transposed by an octave when copied.
The parts list is maintained in the

instrumentation view. There you define the
‘Source’ part and the parts the notes from the
source should be copied to.
Setting Description
Changing the title may change the order of the composition instructions within
the instrumentation view as they are listed in alphabetical order.
Composition Select a type for the instruction. You can choose from 3 types: ‘Harmonization’,
Instruction type ‘Parallel to harmonization’, ‘Parallel to part’ (selected here).
generated notes
If ON, Aimée will copy the lyrics to all parts associated with this composition
instruction during harmonization.
75
Editing Harmonization Points with the Note Editor

You can edit Harmonization Points yourself from within the Note Editor where you will find the ‘H’ ribbon at
the bottom of the view. All Harmonization Points are placed on this ribbon.
Remember: All composition instruction have their own harmonization points.
If the ‘Automatic Harmonization Point placing’ (AHPP) setting is still active for a composition instruction
when you start editing, you will be prompted with a dialog box asking you if you want it to be turned off for
this composition instruction, otherwise you will not be able to edit them yourself.
Notice: If you want to restore AHPP after editing the Harmonization Points, you can do so in the
‘Composition Instruction Settings’, however if you do, your own editing of harmonization points will then be
lost for this composition instruction.
Tap and hold a position on the ‘H’ ribbon to hear the current chord on that position arpeggiated.
No editing will take place if you do this.
Tap and move a harmonization point to alter its position on the ‘H’ ribbon. When multiple points are
selected you can also tap and move them together along the ‘H’ ribbon when space is available.
About selecting single and multiple Harmonization Points

To edit just one harmonization point tap (short) on a position in the ‘H’ ribbon.
The harmonization point or, when the position is empty, the position will be selected, turn orange and the
Harmonization Point Editor will appear showing the properties of the selected point or position.
Tap (short) an other point or position inside the ‘H’ ribbon to single select and edit it and deselect the
previous one.
To select multiple harmonization points or positions make sure at least one is already selected and then
tap AND HOLD a second point or position. This point or position will also be selected. You now have two
selected points or positions. Now tap AND HOLD a third point or position. This point or position will also
be selected together with all positions in between it and the already selected positions. The points and
positions will all turn orange to indicate that they are selected and the content of the Harmonization Point
Editor will change accordingly.
When more than one positions on the ‘H’ ribbon are selected you can add or remove a single point or
position to or from the selection by tapping it.
In the lower left corner of the Harmonization Point Editor you will find the ‘Select all’ button. This button
toggles between 3 functions. The active function depends on the points and positions already selected.
Button Description
The ‘Only select points’ function will be active when one or more (but not all)
harmonization points AND a few empty positions are selected (orange). Tapping the
button will remove the empty positions from the selection leaving only the selected
actual harmonization points.
The content of the Harmonization Point Editor will change accordingly.
Tapping the ‘Select all points’ button will select all actual harmonization points.
Tapping the ‘Select all positions’ button will select all positions with or without an
actual harmonization point.
76
The Harmonization Point Editor

After you have selected one or more harmonization points or positions in the ‘H’ ribbon, the ‘Harmonization
Point Editor’ will be presented to you:
The title bar gives some information about the selected position.
It tells you the current chord and its inversion in the right corner.
When more than one positions are selected the title bar will tell
you how many positions are selected.
For every harmonization point type (see above) you will find a
button with its symbol and a short description.
Tap a button to set its type for all selected positions.
Tapping ‘Set Chord’ will open a menu from which you can pick a
chord that you want Aimée to respect on the selected positions
during harmonization.
When there are harmonization points within the selected range of

positions the top button will show the ‘delete‘ symbol and look
like this .
To remove the selected harmonization points tap this ‘delete’
button.
Please pay attention to the ‘Application’ option. It can be set to

‘All parts’, ‘Bass only’ or ‘Bassless’. It determines for which parts
Aimée will take the selected harmonization points into account
during harmonization. When set to ‘Bass only’ only the lowest
part will be harmonized. Depending on the harmonization point
type the other part(s) will be unaffected or Aimée will put a rest on
that position. The opposite is true for the ‘Bassless’ setting where
all parts except the bass will be harmonized. Again, depending on
the harmonization point type the bass (lowest part) will be
unaffected or Aimée will put a rest in the bass on that position.
The ‘Select all’ button in the lower left corner is treated above. See ‘About selecting single and multiple
Harmonization Points’.
Tapping will copy all selected harmonization points to the clipboard.
To paste these harmonization points elsewhere (this can be done in the same segment or another
segment, movement or even in another composition): Make sure the Harmonization Point Editor is hidden
and Tap AND HOLD on any position in the ‘H’ ribbon to show the button. Tap this button
and the points will be pasted in that position. When there is not enough room for the copied points,
following points will be moved forward to make room.
77
Applying transformations to harmonization points

As with notes you can apply transformations to harmonization points. Three button in the lower right corner
allow you to apply a retrograde, augmentation and diminution. In the table below this is explained. You will
not find an inversion button since an inversion would have no effect on the placement of harmonization
points.
Notice: Transformations can only be applied when you select one continuous block of positions in the
‘H’ ribbon with at least two harmonization points.
Button Transformation Example

Retrograde Before
After
Augmentation Before
After
Diminution Before
After
Protecting segments against harmonization

The Note Editor allows you to edit notes in all fragments within a segment, not only in the main and
secondary sources but also in the generated fragments.
Changes made in generated fragments however will be lost when you ask Aimée to harmonize your
composition again, because the first thing Aimée does when harmonizing your composition is to discard all
previously generated fragments. As a result, your changes will be lost UNLESS you protect them.
To protect a segment do the following:

On the Composition View tap one of the generated fragments in the segment that you want to protect. The
Edit Panel will be presented. Now tap . The button will change into the ‘Unprotect’ button and
78
a lock symbol will be placed inside the generated fragments, indicating that the segment is now protected,
and its color will change from green to brown.
Now when you re-harmonize your composition Aimée will not discard the fragments in this segment and
skip the segment during harmonization.
Tapping the button again will reverse the above and the segment will no longer be protected against
harmonization.
Transposition, loop playback and part level settings with

the ‘Function Selector’
The ‘Function Selector’ in the Note Editor’s bottom toolbar gives access to 3 different functions that allow
you to manipulate properties of the melody in the fragment. When tapped it will provide you with the
‘Function Picker’. Tap on a function and it will become the ‘Active Function’ in the bottom toolbar, ready to
be used by you, even during playback
Below you will find descriptions of the available functions:
Function Buttons Description

Transpose Allows you to transpose all notes within the segment Up or Down when
possible, thus also changing the key of the segment.
Notes in other parts within the segment will also be transposed.
Loop playback This function presents a switch that determines playback mode.
Playback will always start with the rst note on the left side of the
screen or from a manually set position.
When set to ON playback will stop after the last note visible in the
screen and playback will be repeated.
When set to OFF playback will stop after the last note in the fragment.
Playback Parts This function presents two speaker buttons. The left speaker button
Level other reduces the audio output level of the other parts, the right speaker
Parts button increases it.
Notice: When in Grid mode, notes in other parts become invisible when
the output level for other parts is reduced to zero.
79
fi
Settings
YouCompose has many settings panes that allow you to set its parameters.
Therefore, it is good to be aware that settings come in 4 levels:
- App level
- Composition level
- Part level
- Segment level
When a settings panel is opened, the title at the top will always indicate the level type.
In the paragraphs below you will find descriptions of the settings of each level separately.
App Settings
Tap from the Composition View and then the menu item :
Setting Description
Your name Enter your name here. YouCompose will use this name as ‘default’
composer when you start an empty composition. Your name will be printed
on the score.
Preferred music style De nes your default harmonization style when starting a new composition.
This setting is only used to set the initial style, it does not mean that you are
restricted to it inside a composition, you can always use both styles at any
time.
80
fi
Setting Description
Chord names style Determines the way chords are displayed throughout the app. It can be set
to ‘Relative’ where chords are de ned by their degree inside their scale (I, ii,
iii, IV, V7 etc.) or ‘Absolute’ where the chords are named after the pitch of
the root note (D, E7, F#m7 etc.)
User interface theme Pick what you like best, ‘Light’ or ‘Dark’.
Toolbar Composition View Determines the text shown in the Composition View toolbar (iPad only). Can
shows be set to display the composition title, the le name or information about the
segment the playhead is currently in (when no segments are present the
text ‘YouCompose’ will be displayed).
MIDI enabled If you want to use a MIDI keyboard, sound module or another app with
Background Audio, you must turn this MIDI enable switch ON, otherwise
YouCompose will ignore incoming MIDI data and not send any.
The Core MIDI compatible devices that YouCompose found are listed in the
box below .
If you do not use MIDI devices turn the switch to OFF for better
performance of the App.
When the ‘MIDI enabled’ switch is set to ‘OFF’ (disabling MIDI in and out) a
‘MIDI panic’ procedure is initiated sending a MIDI off signal for all notes to
all connected MIDI destinations.
The MIDI enable switch can also be found in the virtual keyboard settings
and on the mixer. See ‘Recording a melody and adding it to a movement’
and ‘The Mixer’.
MIDI on the network If you also want to connect YouCompose with device via your network, you
must turn this ‘MIDI on the network’ switch to ON.
MIDI le export - Spacing This setting is important if you wish to export MIDI les from YouCompose
repeating notes: to other apps. Please read ‘Exporting MIDI’ below, there you will nd the
‘Spacing repeating notes’ explained.
Tapping this button has the exact

opposite e ect as tapping ‘Harmonize’ in the Composition View. All generated (dark green) fragments
that were added by Aimée will be removed, with the exception of protected fragments.
81
fi
ff
fi
fi
fi
fi
App settings in Apple’s iOS Settings app
Some settings can also be accessed by running Apple’s iOS Settings app on your device.
Tap , then under ‘Settings’ scroll down and tap
Apart from the settings you will also find the version
number of the app, information about the literature
used by Aimée and acknowledgements about used
third party resources.
Boot mode
The 'Boot mode' setting deserves special attention.
When the app is started, YouCompose will normally immediately load the last 'current' composition or open
the Files view if that was what you ended up with when you closed the app. In exceptional cases, for
example if the last 'current' composition has not been saved correctly or completely, YouCompose may not
start properly.
You can then use this setting to force YouCompose to boot with an empty new composition in the Main
view. After that all your compositions are accessible in Files view as normal.
To carry out this procedure, select 'Open with new empty composition' in the app settings under 'Boot
mode'. Then restart YouCompose. First make sure that YouCompose was completely closed!
This action is one-time, i.e. YouCompose immediately resets the 'Boot mode' to 'None' after startup, so
that the app starts again as it should the next time.
82
Composition Settings
Setting Description
Composition title Here you can enter the title for your composition.
If the le name parameter (See ‘Saving your composition to

your device’) is not set or empty the le name will also be set
to this title.
Composer Enter the name of the composer here.
When you start an empty composition YouCompose will ll

this with the name of the ‘default’ composer as set in the ‘App
Settings’.
Opus number Can be set to any number or ‘none’. The opus number will be
printed on the coversheet of the score’s PDF document.
The opus number will be automatically increased each time
this composer produces a new composition.
Display bar number every x bars Can be set in the range from 3 to 10. It a ects the numbering
of bars in the ‘Bar Ribbon’ on the Composition View and in the
score.
83
fi
fi
ff
fi
Setting Description
Full score part notation When the score is shown or printed for a single part, it is
always written transposed for the instrument.
Here you choose whether or not the parts in this composition

will be written transposed in the full score.
Notation Choose an option for the notation: ‘precise’ or ‘simpli ed'. In

the simpli ed notation, short notes are preferably notated as
staccato notes and there are much less dynamic markings.
Precise Simplified
Scrolling (device) Can be set to ‘Horizontal’ or ‘Vertical’. It determines the

direction in which the score will scroll on your device when in
‘Score View’.
Page-size (PDF) Can be set to ‘Letter’, ‘Legal’, ‘A3’ or ‘A4’. If you want to print
the score make sure you have the right page dimensions set
here.
Orientation (PDF) Can be set to ‘Portrait’ or ‘Landscape’. Determines the

direction in which the score is printed.
Quality (PDF) Determines the resolution used in the PDF document:
Good: 144 DPI

Better: 288 DPI
Best: 576 DPI
Sta -size (PDF) This determines the height of the sta s in the PDF with the
score that can be generated and printed.
Sta -size can be set separately for the full score and the parts.
Include Composition info (PDF) Determines whether information about the composition, its
movements and parts is included in the PDF with the score, or
not.
84
ff
ff
fi
ff
fi
Part Settings
The ‘Part Settings’ can be accessed from the Composition View. Tapping the part’s title or image in the
‘Part header’ will open the Part Settings for that part.
Unless you changed it, the part’s title is identical to the name of the instrument assigned to it.
The ‘Part Settings’ can also be accessed from

the Note Editor by tapping on the part title in
the ‘Part header’.
You can also access the part setting from the

virtual keyboard.
Setting Description
Part title Enter the part title here. It will be shown in the ‘Part header’ on the Composition
View and be used in the score.
If Part title is left empty, the instrument name will be displayed automatically.
85
Setting Description
Instrument Select an instrument for this Part with the ‘Instrument Picker’ by tapping its
image in the right region of the Instrument Picker. Tapping the category icons in
the left region of the Instrument Picker will scroll the right region to the rst
instrument in the selected category.
Tap on the instrument’s image to hear it. Above the image you will nd the
instrument’s range and the instrument’s written transposition (number of
semitones relative to the sound of the instrument).
A special ‘instrument’ is the ‘None (sound o )’ setting, the only instrument in the
rst category ‘No sound’. It allows you to mute the internal sound of the part. If
MIDI is enabled (see App Settings) this ‘instrument’ is replaced with the ‘Only
MIDI’ instrument. See ‘Muting a Part’s internal sound’ below.
Highest possible note Set this to the highest note you want to allow for this part, which is the upper
for this Part limit of the part’s range.
If the part’s range differs from the range of the assigned instrument you will
notice warnings.
See ‘Part range versus instrument range’ for an explanation.
Lowest possible note Set this to the lowest note you want to allow for this part, which is the lower limit
for this Part of the part’s range.
If the part’s range differs from the range of the assigned instrument you will
notice warnings.
See ‘Part range versus instrument range’ for an explanation.
MIDI channel OUT If MIDI enabled is ON, YouCompose will output MIDI notes to this channel
during playback for this part.
Panning Determines the place of the instrument in the stereo eld.

Can be set from Left to Right.
Output level Use this slider to adjust the audio output level of this part to bring it into balance
with the other parts.
When MIDI is enabled (see App settings) AND the slider is set to zero, the part
will only output MIDI data while the part’s internal sound is muted.
See ‘Muting a Part’s internal sound’ below.
Muting a Part’s internal sound

You can mute the internal sound in YouCompose for a Part. This is important when you want to use
YouCompose as a MIDI controller mapping the parts to the instruments of an external device or another
app running on your device while the YouCompose part’s internal sound is muted.
You can mute a part’s internal sound in two ways:
- By setting the ‘Output level’ of the part to zero. Part and instrument ranges and properties are maintained.
- By selecting the ‘None (sound off)’ or ‘Only MIDI’ (which symbol is presented to you depends on the ‘MIDI
enabled’ setting in ‘App Settings’) from the Instrument Picker. Part and instrument ranges are set to
maximum range.
Depending on the ‘MIDI enabled’ setting in ‘App Settings’ the following symbol is presented in the ‘Part
headers’ in Composition View:
86
fi
ff
fi
fi
fi
or
Make sure ‘MIDI enabled’ in ‘App Settings’ is ON and the MIDI channel for the selected Part is mapped to
an external instrument, otherwise you will not hear the notes in the Part.
Part range versus instrument range

As you have seen, every part has an instrument assigned to it. You might also have noticed that you can set
the highest and lowest notes possible for every part. This determines the range of the part, and it is not
necessarily the same as the range of the assigned instrument.
You can set the part range, but you can not set the instrument range. The instrument range obviously is a
property of the instrument, you can only change that by selecting a different instrument.
There are several reasons for you to limit the part range though. First, limiting the choices for Aimée during
harmonization might improve the composition. Secondly you might be writing a part for a musician that is
not (yet) able to use the instrument’s full range.
We would like to distinguish between four situations to explain how YouCompose treats the ‘range issues':
1. The part range is equal to or smaller than the ‘best sounding’ instrument range.
This is the ideal situation. You will see a green message in Part Settings.
On the Composition View in the Part header for the part you will see a green band in the ‘Range Indicator’:
The position and height of the gray band indicates the maximum range of
the instrument and gives some information about the range of the
instrument in relation to a possible full range from C1 to C8.
The part range is shown in green inside the gray band because it is identical
to or smaller than the ‘best sounding’ range of the instrument.
In Part Settings you will see:
2. The part and maximum instrument ranges are identical.
You will see a blue message in Part Settings.

On the Composition View in the Part header for the part you will only see a gray band in the ‘Range
Indicator’:
87
The position and height of the gray band gives some information about the
range of the instrument in relation to a possible full range from C1 to C8.
The part range is not shown because it is identical to the instrument range.
In Part Settings you will see:
3. The part range is (partly or completely) outside the range of the instrument.
This is not an ideal situation. A part might contain notes that can not be played on the selected instrument.
If you are engaged in producing electronic music, that's no problem, but YouCompose will present you with
some red warnings in Part Settings.
On the Composition View, in the ‘Range Indicator’ the part range is colored red:
The highest possible note for this part is above the upper limit of the instrument’s
range.
In Part Settings you will see this warning:
The lowest possible note for this part is beneath the lower limit of the instrument’s
range.
Both lowest and highest notes are outside the instrument’s range.
88
4. The part range is completely inside the range of the instrument but outside the ‘best sounding’
range.
This is not a problem and sometimes even desirable, as mentioned above, but YouCompose will present
you with a blue message in Part Settings.
On the Composition View, in the ‘Range Indicator’ the part range is colored blue:
The highest possible note for this part is beneath the upper limit of the
instrument’s range.
In Part Settings you will see this:
Both lowest and highest notes are within the instrument’s range AND the part
range is smaller.
In Part Settings you will see this:
YouCompose offers you some functions to easily adjust the part range(s):
While selecting an instrument for a part using the ‘Instrument Picker’:

If the part range is (partly or completely) outside the range of the instrument, this
button is visible. Tap it and Aimée will try to set the part range to the instrument’s
best sounding range. When she succeeds there will be no warnings, but
sometimes there are already notes in the part outside the instrument’s best
sounding range that prevent the part range to be properly set and you will be
warned.
If the part range is completely inside the range of the instrument but outside the
best sounding range, this button is visible. Tap it and the part range will be set to
the instrument’s maximum range.
If the part range is equal to the maximum range of an instrument, this button is
visible. Tap it and Aimée will try to set the part range to the instrument’s best
sounding range.
Tapping this button will restore the part range to its original values.
89
Segment Settings
The ‘Segment Settings’ can be accessed from the Composition View by tapping on a fragment.
The ‘Edit Panel’ will open, now tap and you will see the Segment Settings for the selected segment.
Notice:
Some Segment Settings will also be presented to
you when you add a new segment to the current
movement, see ‘Let Aimée add a melody to a
movement’ and ‘Adding notes to a movement
manually’.
Notice:
Segment settings can also be accessed from the
Note Editor en the virtual keyboard.
Notice:
To the right of the segment title, the duration of
the segment is displayed in min:sec.
Notice:
Some parameters are not allowed in combination
with each other. For example, a X:5 tuplet with a
X/4 time signature. Therefore, some options are
grayed out.
Sometimes a setting is not possible because

existing notes in the segment prevent it. If you
choose an option that is prohibited for that
reason, a 'Not allowed' warning will be briefly
visible.
Setting Description
Segment title You can enter a title for the segment here.
This title will be displayed in the Composition View. If no title is given a

default name (a combination of its key and time signature) is displayed in the
Composition View.
Key The key for the segment.
Once a segment contains notes some keys may be grayed out and disabled,
as in the above image. The reason is that there are notes in the segment that
do not t into the scales of these disabled keys.
Notice: The key set here may be overruled by an ‘alternative key’ in one or
more Composition Instructions. See ‘Harmonization composition
instruction’.
90
fi
Setting Description
Diatonic Chromatic When set to Diatonic Aimée will use only notes in the diatonic scales for the
melody in this segment.
If style is set to ‘Classical’ this also applies to the other harmonized voices.
If style is set to ‘Jazz’ the harmonized voices will always be allowed to have
notes from a chromatic scale.
When set to Chromatic Aimée will use all notes in the chromatic scales in all
voices for all styles.
Once a segment contains notes belonging to a chromatic scale this setting

can no longer be set to Diatonic.
Keyless notation Applies to notation in the score. When set to ON the key of the segment will
not be indicated by accidentals at the beginning of a system. Instead all
notes will be notated with their accidentals.
Notice: Keyless notation does not mean keyless harmonization!

If you do not want the key to be notated in the score setting a key is still of
importance for Aimée when harmonizing a melody.
Time signature The time signature for the segment.
You can set a time signature by setting a ‘Numerator’ and a ‘Denominator’

separately, allowing time signatures 2/2, 3/2, 4/2, 5/2, 6/2, 7/2, 2/4, 3/4, 4/4,
5/4, 6/4, 7/4, 8/4, 9/4, 3/8, 4/8, 5/8, 6/8, 7/8, 8/8 and 9/8.
Quantization Can be set to 1/4, 1/8 or 1/16 notes. It represents the shortest possible note
in the segment or, in other words, the length of one ‘position’ in the segment.
This is important while recording a melody, see ‘Recording a melody and

adding it to a movement’.
Allowed tuplets If you want to use tuplets in the segment, choose the tuplet you want to
allow here. A tuplet is represented in a ratio. For example, 7:4 means that 7
notes can be placed where there would normally be 4. 'Triplets' are displayed
with a ratio of 3:2 (3 over 2), for example.
Harmonization Style Can be set to ‘Classical’ or ‘Jazz’ and determines the style used by Aimée
when harmonizing this segment.
Notice: The style set here may be overruled by the style setting in one or
more Composition Instructions. See ‘Harmonization composition
instruction’.
Tapping this button gives you access to the instrumentation settings of the
segment. See 'Editing Instrumentation’.
Tempo The playback tempo for the segment.
Swing level Determines how much ‘swing’ is applied to 1/8 notes in segments with jazz
(Jazz only) style harmonization. Only 1/8 notes are a ected. When 1/16 notes are
present within a beat there will be no swing in that beat.
Swing level can be set from 1:1 straight (no swing) to 3:1 hard swing.
Default value is 2:1 ‘triplets’ swing.
91
ff
The mixer
The Mixer View gives you access to all sound and MIDI settings in one place.
The mixer shows a pane for each part with all sound and MIDI settings that are possible for that part. The
same settings can also be found separately in the Part settings for each part (see 'Part Settings').
Note the settings above in the example for Part 1 and Part 2. Both are 'MIDI out only', but Part 1 lacks the
'Part level' setting. The reason for this lies in the different 'instrument' choice between the parts. Part 1 has
instrument ‘No sound’ and Part 2 has ‘Oboe’. See 'Muting a Part’s internal sound’ in ‘Part Settings’ above
to learn more about the difference.
In addition to the settings for each part, you will find three panes on the right with general settings for MIDI,
reverb and global audio output to and from your device (Main).
Setting Description
Device volume The system output volume of your device can be set here.
OUT LEVEL Use this slider to adjust the audio output level of YouCompose to bring it
into balance with other sound sources on your device. This setting does not
a ect the overall system output volume, only that of YouCompose.
Reverb Settings Three sliders (‘Reverb level’, ‘Room size’ and ‘Distance’) enable you to
create the right spatial ambience for your audio.
To turn o Reverb: Slide ‘Reverb level’ completely to zero.
92
ff
ff
Setting Description
MIDI enabled If you want to use a MIDI keyboard, sound module or another app with
Background Audio, you must turn this MIDI enable switch ON, otherwise
YouCompose will ignore incoming MIDI data and not send any.
When the ‘MIDI enabled’ switch is set to ‘OFF’ (disabling MIDI in and out) a
‘MIDI panic’ procedure is initiated sending a MIDI off signal for all notes to
all connected MIDI destinations.
The MIDI enable switch can also be found in the virtual keyboard and the
app settings’. See ‘Recording a melody and adding it to a movement’ and
‘App settings’.
MIDI network If you also want to connect YouCompose with device via your network, you
must turn this ‘MIDI on the network’ switch to ON.
MIDI ch. IN YouCompose will process incoming MIDI data from the channel(s) set here.
It can be set to ‘All’ but you can force YouCompose to process only the data
from a specific channel by setting this to a number.
The MIDI channel IN setting can also be found on the virtual keyboard. See
‘Recording a melody and adding it to a movement’.
When a composition is saved all audio and MIDI related settings for each part are saved with it.
Also saved with a composition are the reverb settings and the main ‘OUT LEVEL’.
93
The Movement Manager

As you have seen above (see: ‘The basic structure of a composition’), a composition has at least 1
movement and can have an (almost) infinite number of movements. The Composition View shows you the
content of the ‘current movement’.
The ‘Movement Selector’ in the toolbar indicates which movement is currently displayed (I, II, III, IV etc.).
Tapping this button gives you the option to switch to another movement making that one ‘current’ and
showing its content in the Composition View.
The ‘Movement Manager’ gives you top level control over the movements in your composition. With it you
can swap movements within the composition, copy them, delete them or add new ones.
To access the ‘Movement Manager’ tap the Movement Selector from the Composition View and
then :
The above example shows you a composition containing 5 movements.
These functions help you manage your movements:
Button Function
Copies the entire movement to the clipboard. You can now use the ‘Paste’ button
within the Movement Manager to make a copy of this movement in a free position.
You can use this copy-paste function to transfer a movement from one composition
to another.
Plays the movement.
To stop playback tap this button again.
94
Button Function
Takes you back to the Composition View with this movement as ‘current’ movement.
Removes the entire movement. Movements that follow the deleted movement will ll
in the gap.
Causes the movement to swap its position with the one following it.
Will open the ‘Add new movement’ panel.
See ‘Let Aimée compose a complete new movement’.
Puts the previously copied movement in this position.
See above under ‘Copy’.
If you are happy with the changes you have made, tap this button in the toolbar. You
will return to the Composition View where you will see the changes applied.
Tapping this button in the toolbar will take you back to the Composition View. No
changes will be made to your composition.
95
fi
Add new empty movement or let Aimée compose a

new movement
Since Aimée can harmonize your melodies and is able to compose melodies, you'd think that she must be
capable of composing a complete movement.
Guess what... she is!
Tap the Movement Selector in the toolbar of the Composition View, then
to open the Movement Manager.
You will find the button in the ‘Free’ position after the last movement.
Tap it and the ‘Add new movement’ panel will open:
Now pick the movement type you

want to add.
When you select ‘Empty movement' you can add it directly using the button that will then
appear. You can also choose to have Aimée compose a movement for you. In that case, a next step is
necessary to tell Aimée how to do that. First select which type of movement Aimée should compose, there
are 6 options:
- Sonata created by Aimée

- Small binary created by Aimée
- Minuet created by Aimée
- Scherzo created by Aimée
- Fugue created by Aimée
- Fugato created by Aimée
Then tap ‘Next >’:
96
There are 5 parameters that you can set:
Setting Description
Style Determines the harmonization style for all segments in the new movement,
can be:
- Classical
- Jazz
Main key When set to ‘Random’ Aimée will choose a main key when composing from
scratch or it will be taken from the existing material.
Diatonic When set to ‘Diatonic’ Aimée will use only notes in the diatonic scales for the
or melodies.
Chromatic If style is set to ‘Classical’ this also applies to the other voices.
If style is set to ‘Jazz’ the generated harmonized parts will always be allowed to
have notes from a chromatic scale.
When set to ‘Chromatic’ Aimée will use all notes in the chromatic scales in all
parts for all styles.
Create from scratch Determines how Aimée will make her melodies. She can create them herself
or ‘from scratch’ or she can try to use existing melodies that are already there in
Use existing material your composition.
See ‘How does Aimée use existing material while composing a movement?’
for more information (just below here).
97
Setting Description
Mood The Mood setting can be set to:
- Lethargic
- Sad
- Relaxed
- Positive
- Happy
- Energetic
This setting is taken into account by Aimée while making the melodies for you.
Now tap . Aimée will load the new movement into the composition in its designated position and
return control to the Movement Manager. There its melodies (sources) are harmonized by her.
You can continue creating movements after that.
Tapping will take you back to the Movement Manager without adding a new movement.
How does Aimée use existing material while composing a

movement?
When you choose to let Aimée ‘Use existing material’ while creating a new movement to your composition,
she will try to pick up melodies from the composition as it is now and use them as new sources. Suitable
melodies can only be found in fragments added by the composer that have at least 4 bars and 6 notes for
all forms except ‘Fugue’. For a fugue a melody (source) with 4 notes and 2 bars is su cient. If no such
fragments are present in one of the movements in the current composition the option ‘Use existing material’
will not be available.
If suitable fragments are available Aimée will examine them starting with the rst suitable fragment in the
movement previous to the movement you are composing. This does not mean that a melody found there
can always be used by Aimée as a new source because there can be other reasons for her not to use it, for
instance when its range is too large, its key does not t your ‘Main key’ selection or there is a ‘chromatics’
problem.
Notice: If you select ‘Random’ for ‘Main key’ the key of the rst suitable fragment will be set as ‘Main key’.
When Aimée is not able to use any of the existing melodies she will display an alert box with the most
probable cause and create her own sources instead.
98
fi
fi
fi
ffi
Audiobus, AudioCopy and Inter-App Audio

Audiobus and YouCompose
Audiobus allows audio streaming between music apps on your device, it is used by professionals.
This manual is not going to explain how Audiobus works. Here we assume you know. If you want
information on Audiobus, google ‘Audiobus’ and you will find all you need.
For those who use ‘Audiobus’ or ‘Audiobus Remote’ here are some specifics:
YouCompose acts as an input app in Audiobus. In Audiobus and Audiobus Remote it offers the standard
‘Play/Stop’ and ‘Rewind’ buttons. The Rewind button is not disabled during playback, you can engage it at
any time.
Additionally in Audiobus Remote YouCompose offers 4 remote triggers that allow you to adjust the reverb
and output levels:
The Reverb - and + and Level - and + buttons will be disabled when their limits are reached.
Notice:
The output level can not be reduced to zero, there will always be a minimum audible level.
99
Using AudioCopy
AudioCopy by Retronyms inc offers a way to copy paste audio from one compatible app into another. When
you have the AudioCopy app installed on your device all copied sounds are gathered there in a nice list. In
AudioCopy you can edit the sounds and upload them to SoundCloud. This manual is not going to explain
how the AudioCopy app works. If you want more information google ‘AudioCopy’ and you will find all you
need. For (audio)copying and pasting to work you do not need the app as the example that follows will
show you.
As an example we will show you how to (audio)copy a segment from YouCompose and paste it in
GarageBand:
Tap in the toolbar of the Composition View, then to open
the Audio Export panel:
Make sure ‘AudioCopy’ is selected in the toolbar.
Now select the part and/or segment you want to copy (here we will take all parts from segment 1).
If necessary you can adjust the audio output level to make sure the audio is not too soft or loud.
If you plan on using the audio file as a loop in another app, make sure 'Export as loop' is selected,
otherwise select 'Export as song', in which case a fading reverb at the end of the recording will be added.
Now tap : :
The Audio Export panel will disappear and you will hear the music being recorded by YouCompose and a
dialog box will be presented indicating its progress:
100
Tapping Cancel will stop recording and cancel AudioCopy.
If you wish you can change the file title here.

Now tap ‘Copy Audio’ to copy the segment to the audio clipboard.
Open Garageband and open one of your songs. Make sure Tracks view is open. Move the playhead to the
point where you want the audio to start. Tap the track where you want to paste the audio:
Now tap Paste.
You can also tap an empty area of Tracks view, then tap Paste. In this case the audio file is pasted into a
new empty track.
Pasting the audio file into a ‘Live Loop’ is also possible.
101
Recording Audio with Inter-App Audio

YouCompose is Inter-App Audio (IAA) compatible (as ‘Generator’) and supports background audio. This
means that it can send its audio output to any other IAA compatible ‘Host’ app such as GarageBand.
As an example we will show you how to record a movement from YouCompose to GarageBand:
First open GarageBand and start a new song. Look for ‘Inter-App Audio apps’ in
‘Instruments’, it looks like this:
Tap it.
Make sure ‘Instruments’ is selected, you will see the icons of all IAA compatible
‘Generator’ apps on your device. One of them is YouCompose:
Tap the YouCompose icon.
YouCompose will now be activated. At the bottom of your screen in

YouCompose, you should see a small panel showing the GarageBand icon
and a few controls, like this:
This panel serves as a remote control of the host App, in this case GarageBand. You can drag this panel to
any other location within the screen if it gets in your way.
Now tap the GarageBand icon in the remote control. You will return to GarageBand in the ‘Audio Recorder’:
You can see the YouCompose icon next

to the jack plug on the left side, telling
you that YouCompose is ‘plugged in’.
On the right side, inside the ‘Beat
Ribbon’ you will find a white + button.

Tap it and make sure ‘Section Length’ is
set to ‘Automatic’:
102
Now tap the YouCompose icon next to the jack plug on the left.
It will bring you back in YouCompose.
There is the remote control, waiting for you to start recording:
Make sure you have the movement you want to record as ‘current movement’ in the Composition View of
YouCompose and the playhead is in the right position.
Now tap the ‘Record button’ on the remote control:
You may hear GarageBand’s metronome, wait until you see the time
indicator running, then tap the play button to start playback in

YouCompose.
GarageBand is now recording YouCompose’s audio output. During recording you can switch between
YouCompose and GarageBand tapping the icons as many times as you like to monitor the process.
When playback in YouCompose is finished tap the stop button . GarageBand stops recording.
Now tap the GarageBand icon to switch to GarageBand to see the result:
If you like you can add an effect to the

audio by tapping one of the nine effect
icons.
In the toolbar you see:
Now tap to see the tracks in GarageBand:
103
And there you have your audio track with your movement’s audio ready to be processed further in
GarageBand.
If your recording turns out to be too loud (or soft) you can adjust the
‘Output level’ in the small remote control panel in YouCompose before
recording the movement again.
104
Exporting your composition

Exporting an audio le.
YouCompose can export an audio file containing the current movement or a part, segment or fragment of it
to any app on your device that is registered to be able to receive these files.
Tap in the toolbar of the Composition View, then to open
the Audio Export panel:
Make sure ‘Export file’ is selected in the toolbar.
If you want you can select a part and/or segment from the current movement, otherwise the entire
movement (All parts - All segments) will be exported.
Now select the file type for your audio file that you need:
Audio le type Details

MIDI A MIDI le has the extension .mid and can have one of two types ‘0’ or ‘1’.
See ‘Exporting MIDI’ below’ for details.
aac This is the smallest compressed audio le.

See ‘Exporting audio’ below’ for further details.
105
fi
fi
fi
fi
Audio le type Details

m4a A small compressed audio file, slightly larger than aac, containing iTunes data
‘album’, ‘album artist’, ‘artist’, ‘composer‘ (if defined), ‘user comment‘ with the
date and time of the exported file, ‘song name’, ‘genre’, ‘track’ numbers,
‘lyrics‘ (when present) and a YouCompose icon as artwork.
Select this file type if you want to export to iTunes!
ai Uncompressed audio le. Large but with better quality.

caf Uncompressed audio le. Large but with better quality.

wav Uncompressed audio file. Large but with better quality.

Best suited for Windows.
Exporting MIDI.
A MIDI file can have one of two types ‘0’ or ‘1’, use the selector to pick one:
Type 0: Contains one track with all meta data and channel events.
Type 1: Contains multiple tracks. The first track, the ‘tempo track’ does not contain notes. All parts have
their own track with all channel events. Parts (tracks) that do not contain notes are skipped.
If you added lyrics in the Note Editor they will be contained in the MIDI file.
When the harmonization style ‘Jazz’ is used in your movement or selected part, segment or fragment, you
have the option to have swing included (or not) in the MIDI file:
When the MIDI file is intended for playback or electronic music production you should include swing but
when you intend to use it in a score editor you should not.
After you made your selections tap :
If no apps can be found to open the resulting MIDI file you will be notified by YouCompose, otherwise a
dialog box will appear showing you the apps that can open or process the MIDI file.
Simply tap on the app of your choice. This app will run and start opening the file. How an app opens a file is
up to that app, YouCompose does not have any control over that.
106
f
fi
fi
fi
Spacing repeating notes

When exporting a MIDI file you should be aware of a setting: ‘MIDI file export - Spacing repeating
notes’ (also see ‘App settings’). This ‘spacing’ can be set to ‘Minimal’ or ‘Maximal’.
Now why is ‘spacing’ between repeating notes within a MIDI file important?
This has everything to do with timing. All notes in a MIDI file are defined by a ‘Note On’ event at a certain
moment followed by a ‘Note Off’ event some moments later. When a note is immediately followed by the
same note (on the same MIDI channel) the ‘Note Off’ event of the first note and the ‘Note On’ event of the
second basically are at the same moment. When the exported MIDI file is played these two events are sent
to a device where the are processed. Sometimes the ‘Note On’ event of the second note is processed
before the ‘Note Off’ event of the first, immediately killing the second note. To prevent this from happening
there should be a small gap between the notes, a short time between the ‘Note Off’ event of the first and
the ‘Note On’ event of the second repeating note. This is called ‘spacing repeating notes’. YouCompose
allows you to set this little time interval to ‘Minimal’ or ‘Maximal’, ‘Minimal’ being one ‘delta time tick’,
‘Maximal’ being a gap of up to 40 milliseconds when possible.
Be aware that spacing is is only applied to repeating notes on the same MIDI channel.
Exporting audio.
If necessary you can adjust the audio output level to make sure the audio is not to soft or loud.
When you intend to use the audio file as a loop in an other app make sure ‘Export as loop’ is selected,
otherwise select ‘Export as song’ in which case a decaying reverb at the end is included in the recording.
After you made your selections tap :
The Audio Export panel will disappear.

Your selection will be recorded first by YouCompose. During this process you will hear the music being
recorded and a dialog box will be presented to you indicating its progress:
Tapping Cancel will stop recording and cancel export.
If no apps can be found to open the resulting audio file you will be notified by YouCompose, otherwise a
dialog box will appear showing you the apps that can open or process the audio file.
Simply tap on the app of your choice. This app will run and start opening the file. How an app opens a file is
up to that app, YouCompose does not have any control over that.
107
Sending a YouCompose, audio or MIDI file or the score

via email
YouCompose can send an email message containing the YouCompose file, an m4a audio file for each
movement and/or a MIDI file for each movement and/or a PDF document containing the score using your
standard email client.
Tap in the toolbar of the Composition View, then , the ‘Email Composition’
panel opens:
Enter a subject for your message.

If you wish you can enter text in the second pane, this is optional.
Tapping in the ‘Email Composition’ panel will open the ‘Composition Settings’ enabling you to set
parameters for the score.
If the receiver of your message also has YouCompose installed on his or her device you can include the
YouCompose file. The receiver can import this file into YouCompose, see ‘Importing a YouCompose file’.
Now decide which additional document(s) you want to include in your message, an m4a audio file or a
MIDI file for each movement or a PDF file containing the score or all. The m4a files will contain iTunes data
‘album’, ‘album artist’, ‘artist’, ‘composer‘ (if defined), ‘user comment‘ with the date and time of the
108
exported file, ‘song name’, ‘genre’, ‘track’ numbers, ‘lyrics‘ (when present) and the YouCompose icon as
artwork. The PDF will contain the full score and the scores of all 4 (transposed) parts. The MIDI file will be of
type 1 containing multiple tracks (a ‘tempo track’ plus one track for each part).
When the harmonization style ‘Jazz’ is used in your composition you have the option to have swing
included (or not) in the MIDI files. When the MIDI files are intended for playback or electronic music
production you should include swing but when the receiver intends to use them in a score editor you should
not.
Tap ‘Send email’. Your standard email client will now open with the composed email. There you can send it
the way you‘re used to sending an email.
Exporting a YouCompose le to another App.

YouCompose can export a YouCompose file containing all movements to any app on your device that
excepts it. Dropbox , iCloud or any other file exchange app would be a good example to use if you quickly
want to transfer a composition from one device running YouCompose to another running YouCompose.
This function is also useful if you want to have external backup files of your YouCompositions.
Tap in the toolbar of the Composition View, then :
If no apps can be found to open this file you will be notified by YouCompose, otherwise a dialog box will
appear showing you the apps that accept files.
Simply tap on the app of your choice. This app will run and start opening the file. How an app opens this file
is up to that app, YouCompose does not have any control over that.
Exporting a YouCompose file would be useless without an import function. So there is one. See
‘Importing a YouCompose file’ to learn about it.
109
fi
Exporting a composition to another device using

AirDrop
Sharing your composition with other musicians is easy.
A prerequisite is that both users, the composer and the musician, have YouCompose running on their
device and WiFi or Bluetooth turned ON.
We will assume that you, the composer, wish to send the composition to a musician or to a group of
musicians. You are the ‘sender’ and the musicians are all ‘receiver’.
Below is a step-by-step guide which will help you transmit a composition:
Step Action by sender (iPad Composer) Action by receiver (iPad Musician)

1
Tap in the toolbar of the Tap in the toolbar of the Files View.
Composition View.
2
Tap Tap
3 The ‘AirDrop SEND’ panel will appear and The ‘AirDrop RECEIVE’ panel will appear and
your device will immediately search for other your device will immediately wait for a sender to
nearby devices: connect:
4 Tap on ‘iPad Musician’ Wait for sender
5 The nearby-search-panel will change: You will be asked to accept the connection with
the composer:
6 Wait for receiver Accept the connection by tapping ‘Accept’.
110
Step Action by sender (iPad Composer) Action by receiver (iPad Musician)

7 The nearby-search-panel will change: The ‘AirDrop RECEIVE’ panel will change:
Notice the availability of the ‘Done’ button.
8 Optionally: Add more musicians to the Wait for sender

INVITEES list.
9 Tap Done Wait for sender
10 Data is sent. Data is received.
11 You’re done.
Now tap to save the received
For iPad users: tap anywhere on the screen composition in the compositions folder.
to return to the Composition View
You will return to the Files View and find the
newly received composition as ‘current’ with
For iPhone users: tap in the upper the typical blue background:
right corner.
111
Print score
Tap in the toolbar of the Composition View, then .
The score, consisting of a full score and all the individual parts will be opened in Apple’s standard PDF
reader.
Tap in the upper right corner to access any one of your AirPrint compatible printers or to export the
score to other applications like iBooks.
Setting parameters like print quality, page size, orientation and staff size can be done in
‘Composition Settings’.
112
Sending a ‘Happy Birthday Email’

Now that you have read the manual (congratulations!!), we will demonstrate how to make a ‘Happy Birthday
Email’ with YouCompose.
- First open the sample composition ‘Happy Birthday to You’ that came with YouCompose from Files View.
- Look for the third fragment in the first part, it should be called ‘Enter name’.
- Tap the 7th bar (which is the second bar in the fragment) and open the ‘Note Editor’ for this fragment.
- There are 2 notes in the bar nr. 7, tap on the first one to open the ‘Note Edit Panel’.
- Tap the ‘Add lyrics’ button to enter the ‘Lyrics Editor’.
Now think about the name of the birthday boy or girl and how you would sing his or her name within the
two notes in bar 7.
- Enter the name with the ‘Lyrics Editor’.
- Exit the ‘Note Editor’ to return to the Composition View.
- Change the name of the third fragment into something different from ‘Enter name’ since it will appear in
the score as a segment title.
- Tap ‘Harmonize’ to let Aimée do her job.
- We will assume that you know who is visiting the birthday boy or girl on that special day. If you know the
names of four friends that are good singers you could enter their names as ‘Part title’. Their names would
then appear as singers for the parts in the PDF-score.
- Now send an email containing both a MIDI file and the score.
113
Aimée and copyrights.

Recently, the US Copyright Office (USCO) ruled that an 'AI' (Artificial Intelligence) cannot claim copyrights
itself. Stephen Thaler claimed this on behalf of his 'Creativity Machine'. This AI had created a series of
artworks based on machine learning. Mind you, it was the AI who claimed the copyright in this case, not the
creator of the AI itself. The USCO ruled that the Creativity Machine could not claim copyrights on the
images produced because the AI lacks one important element, namely being 'human'. In other words, only
real people can own copyrights.
What applies to pictures also applies to music. Aimée herself cannot claim any copyrights on the music she
produces. There's good news for YouCompose users: Aimée doesn't claim it either.
But what about the creator of Aimée, Wout. He has copyright on Aimée, but can he have copyright on the
music composed by Aimée? After all, there are a lot of creative hours in the programming of Aimée and as
far as we know Wout is human.
Legally, this has not been established unambiguously because there is no case law on this (yet). But there is
good news for users of YouCompose and Aimée: Wout, as the author and owner of Aimée, will not claim
any copyrights on Aimée's music.
Who is left then? Well, you! As a user of YouCompose, and therefore of Aimée, you can
claim copyrights to the music composed by Aimée. After all, it happened on your initiative and you chose
the parameters. There is always a 'human' component here. You used Aimée, to a greater or lesser extent,
as a tool in writing your music in the same way a photographer uses his camera or a keyboardist uses his
synthesizer.
But is the latter correct? Is Aimée comparable to a camera or a synthesizer? When granting a copyright
claim, the USCO places great emphasis on the fact that a work of art must be the product of human
creativity. When a person uses a camera or a synthesizer this is not disputed, but does that also apply to
Aimée?
This is not yet clear in a legal sense. The coming years will show what level of human input is sufficient for
the USCO, or another agency that deals with it, to assign the copyright to the produced artworks to the AI
user.
For now, in any case, as far as Wout is concerned, you own the copyrights to the music that was composed
on your initiative by Aimée on your computer, iPhone or iPad.
But..., consider this:
During one of the many test runs of YouCompose at Elstar’s YC Labs, Aimée came up with the following
melody:
114
You may recognise in this melody a resemblance to Beethoven's 5th symphony. Now Beethoven can no
longer claim copyrights on his music because he passed away more than 70 years ago, but suppose he
didn't and Beethoven still had copyrights on his music.
Beethoven could challenge your copyright claim for this composition, although Aimée composed the above
piece for you completely autonomously and without knowledge of Beethoven's music.
There is one more aspect that is important. For this we return to the above-mentioned
'Creativity Machine' by Stephen Thaler. This makes use of 'machine learning'.
This means that the AI, before it is able to create something itself, is 'trained' on the basis of existing works
of art by one or more authors, the so-called 'data'. Many contemporary creative AI systems work in this
way.
Recently, there has been increasing resistance to this in the creative community.
Artists worry that their works, which are sometimes difficult to create, will be used as data in 'machine
learning' AI systems that then create new works that are suspiciously similar to their creations.
Two aspects related to intellectual property and copyrights play a role here.
- Can a certain artwork be used to train an AI?

- Does an AI generated artwork infringe on the copyrights of a human artist, in a similar way as in the
above Beethoven 5th example.
The two aspects have not been tested in a legal sense.
Regarding the first point: many AI makers who build systems based on existing artworks invoke the
principle of 'fair use' of copyrighted material. Human artists would therefore do well to indicate for each
work whether or not it may be used as 'data' in machine learning systems. When an artist or composer
explicitly forbids this, I think there is no longer any question of 'fair use', but as I said, this is nowhere laid
down in a legal sense.
As for the second point: Any work of art, whether man-made or machine-made, can infringe on someone
else's rights. So anyone can dispute the copyrights of an AI-produced work for whatever reason. A judge
will ultimately have to determine whether the claim is successful.
What about Aimée and the 'data' she uses? Well, Aimée does use data, but not existing music. Aimée's
data consists of music-theoretical knowledge about melody formation, harmonization, instrumentation etc.
brought together in an expert system. Wout added his own knowledge and consulted well-known sources
that are included in a bibliography that you can find below (see ‘Literature’) and although the books in the
list are of course copyrighted, the knowledge described in them is not. Combining this knowledge with
genetic algorithms creates a personal Aimée style, so that you can recognise Aimée's compositions as you
often can with other composers. Aimée can do her work without using copyrighted sources and is thus a
truly autonomous composer.
It may be different if you, as a user of YouCompose, use Aimée as an assistant and have a piece composed
based on pre-existing and possibly copyrighted melodies. In that case, the work created by Aimée may also
infringe someone else's rights. Keep that in mind.
Summarising:
The basic principle is that you, as a user of YouCompose, own the copyrights of the music produced by
Aimée on your computer, iPhone or iPad. Neither Aimée nor Wout can or will contest your rights. Aimée
herself does not use copyrighted material of others.
It is possible that the result of Aimée's efforts infringes other people's rights. This could be coincidental or
the result of the fact that you put Aimée to work on the basis of melodies that are protected by copyright.
115
Literature
Aimée was inspired by the following books:
- Diether de la Motte: Melodie. (dtv/Bärenreiter 1993) ISBN: 3423046112 / 376181173X
- Diether de la Motte: Harmonielehre. (dtv/Bärenreiter 1990) ISBN: 3423041838 / 3761841833
- Benjamin Dale, Gordon Jacob & Hugo Anson: Harmony, Counterpoint & Improvisation Book 1 & 2.
(Novello 1940)
- Arnold Schoenberg: Fundamentals of musical composition. (Faber and Faber London Boston 1990) ISBN:
0571092764
- Arnold Schoenberg: Structural Functions of Harmony. (Faber and Faber London 1999) ISBN: 0571196578
- Alfred Mann: The Study of Counterpoint: From Johann Joseph Fux's Gradus Ad Parnassum. (W.W. Norton
and Company New York London 1971) ISBN: 0393002772
- Alfred Mann: The Study of Fugue. (Dover publications New York 1987) ISBN: 0486254399
- Samuel Adler: The study of Orchestration third edition. (W.W. Norton & Company New York London 1989)
ISBN: 0-393-97572-X
- Elaine Gould: Behind Bars. (Faber Music Ltd London 2011) ISBN 0571514561
Hardware requirements
YouCompose can be installed on any device running Apple’s iOS 14 or higher.
Contact us
Visit us on Facebook and please, if you like YouCompose don’t forget to ‘like’
YouCompose:
https://www.facebook.com/Ucompose
Any problems, suggestions or questions? Use our contact form on youcompose.com:
https://youcompose.com/contact
116

YouCompose User Manual

Загружено:

Сведения о документе

Авторское право

Доступные форматы

Поделиться этим документом

Поделиться или встроить документ

Параметры публикации

Этот документ был вам полезен?

Это неприемлемый материал?

Авторское право:

Доступные форматы

YouCompose User Manual

Загружено:

Авторское право:

Доступные форматы

YouCompose

App Version 8.3

Document version 8.31

Introduction - Meet Aimée 6

Quick start with ‘Tutorial Mode’ 8

The basic structure of a composition 9

Adding a new composition 18

Adding an empty composition to start from scratch 18

Setup a new composition with a prede ned ensemble 20

Let Aimée compose a symphony 21

Receiving a composition from another device using AirDrop 23

Load a track from a MIDI le 30

Adding notes to a movement 33

How to use the virtual keyboard’s ‘touch sensitivity’ 36

Using a MIDI keyboard 37

Let Aimée add a melody to a movement 38

Advanced melody settings 39

Adding notes to a movement manually 40

Harmonizing your melodies 41

Editing fragments and segments 45

Single Fragment Editing Panel 45

Multiple Fragment Editing Panel 46

Splitting or gluing segments 47

Editing notes with the Note Editor 48

Editing in Grid mode 48

Editing in Score mode 52

The Instrumentation Menu 54

Editing a single note 55

Editing multiple selected notes 57

Applying transformations to multiple selected notes 59

Instrumentation, Composition Instructions and Harmonization Points 60

Harmonization Point types 62

Editing a Composition Instruction 67

Sources composition instruction 67

Harmonization composition instruction 68

Automatic Harmonization Point placing settings 70

Fill pattern examples 71

Parallel to harmonization composition instruction 74

Parallel to part composition instruction 75

Editing Harmonization Points with the Note Editor 76

About selecting single and multiple Harmonization Points 76

The Harmonization Point Editor 77

Applying transformations to harmonization points 78

Protecting segments against harmonization 78

App settings in Apple’s iOS Settings app 82

Muting a Part’s internal sound 86

Part range versus instrument range 87

The Movement Manager 94

How does Aimée use existing material while composing a movement? 98

Audiobus, AudioCopy and Inter-App Audio 99

Using AudioCopy 100

Recording Audio with Inter-App Audio 102

Exporting your composition 105

Exporting MIDI. 106

Spacing repeating notes 107

Exporting audio. 107

Sending a YouCompose, audio or MIDI le or the score via email 108

Exporting a YouCompose le to another App. 109

Exporting a composition to another device using AirDrop 110

Print score 112

Sending a ‘Happy Birthday Email’ 113

Aimée and copyrights. 114

Hardware requirements 116

Introduction - Meet Aimée