Manual Tonica Fugata/pop v.12

Daniel Frey
Dominik Hörnel
tonica fugata/pop
Chord theory
Music theory
Composition
Version
tonica 12.0
capella-software
2 tonica 2
tonica fugata/pop version 12.0
Authors
Daniel Frey, Dominik Hörnel
Copyright © 1999 – 2016
capella-software
Publisher
capella-software AG
An der Söhrebahn 4
D-34320 Söhrewald
info@capella-software.com
www.capella-software.com
tonica is a registered trade mark of capella-software AG

3
Content
Introduction................................................................................................................6
Welcome to tonica fugata.......................................................................................... 6
D7 – T or V7 – I or C7 – F?......................................................................... 6
Hardware and software.............................................................................................. 7
What is new?............................................................................................................. 7
Restrictions of the demo version................................................................................ 7
Install and start tonica ................................................................................................8
License, activation, demo version............................................................................... 8
Document structure................................................................................................... 8
Key.............................................................................................................. 9
Time signature............................................................................................. 9
Layout ......................................................................................................... 9
Parallels....................................................................................................... 9
Zoom........................................................................................................... 9
Print view size...........................................................................................10
Working with tonica .................................................................................................11
Single note entry with the mouse, PC keyboard and Midi keyboard.........................11
The cursor..................................................................................................11
To enter notes and rests............................................................................ 11
Editing........................................................................................................13
Barlines......................................................................................................13
Beams....................................................................................................... 14
Ties............................................................................................................ 14
Triplets....................................................................................................... 15
Volta brackets............................................................................................ 15
Placeholders.............................................................................................. 15
Rhythmic playing in (Real Time Entry)......................................................................16
Editing (deleting, cutting, copying, pasting)..............................................................18
The Undo Function .................................................................................................. 19
Chord description..................................................................................................... 19
Evaluating chord descriptions .................................................................................. 22
Opening and closing a file, saving a file, importing and exporting a file...................23
Your personal tonica folder........................................................................23
Opening a piece of music.......................................................................... 23
Saving a file .............................................................................................. 23
Importing a file........................................................................................... 23
Exporting a tonica file................................................................................ 27
4 tonica 4
View in capella......................................................................................................... 28
Printing..................................................................................................................... 29
Score playback.......................................................................................................... 29
Setting up music entry and playback.........................................................30
Selecting instruments................................................................................ 30
Selecting a playback tempo...................................................................... 31
Midi-Reset................................................................................................. 31
Automatic composition.............................................................................................32
Fermata..................................................................................................... 32
To determine the composition section....................................................... 33
To harmonize a melody............................................................................. 33
To realize chords....................................................................................... 34
Composition and analysis options.............................................................34
Figured bass realization............................................................................................ 35
Realizing a figured bass-line..................................................................... 35
Figured bass notation in tonica................................................................. 37
Accompanying patterns............................................................................................ 38
Create an accompanying pattern as default............................................. 39
Add accompanying pattern to melody....................................................... 39
Voice duplication...................................................................................................... 40
Duplicate a voice....................................................................................... 40
f tonica fugata: Automatic Phrase variations...........................................................41
How to vary a melody or phrase ...............................................................41
How to create variations with the dialog „Variation Model“.......................43
f tonica fugata: How to compose a canon................................................................43
Hints for canon composition...................................................................... 44
f tonica fugata: How to compose a fugue ................................................................45
Hints for fugue composition....................................................................... 46
The fugue composition kit......................................................................... 48
Set the vocal range................................................................................................... 52
f tonica fugata: Creating a harmonic style ...............................................................53
The Style assistant.................................................................................... 53
Editing a harmonization style.................................................................... 55
Using, copying and changing a harmonization style................................. 56
Automatic style analysis............................................................................ 57
Automatic style training............................................................................. 57
Style import................................................................................................58
Style import options................................................................................... 58
Style export ...............................................................................................58
Automatic harmonic analysis...................................................................................58
Analysing a score...................................................................................... 59
f tonica fugata: Automatic examination of compositions.........................................59
Examine a composition............................................................................. 60
Introduction 5
Voice leading rules in tonica ..................................................................... 61

Chord realization rules.............................................................................. 61
Chord progression rules............................................................................ 65
Automatic cadences................................................................................................. 67
tonica example files.................................................................................................. 68
Index.........................................................................................................................70
6 tonica Introduction 6
Introduction
Welcome to tonica fugata
This manual applies to both tonica fugata and tonica pop. All tonica pop functions are
also available in tonica fugata. Sections referring to tonica fugata only are specially
marked: f tonica fugata
tonica pop composes harmonizations, four-part arrangements and accompaniments in
Jazz and Pop style.
tonica fugata is a powerful composition aid as it will harmonize your melodies. It comes
with several basic styles. The Baroque style of JS Bach (there are two variations on this),
the Romantic style of Max Reger, the Jazz and the Pop style. You can realize figured
basses in the figured bass style. A new feature allows you to create your own composi-
tion programs. All you need to do is import 10 to 20 MIDI scores which represent a
composer’s style. tonica fugata reads these examples and uses a sophisticated neural
network program to learn what rules are required to reproduce the composer’s har-
mony styles. tonica fugata also recognizes cadences in the sample works and will add to
your score complete cadences when they fit the flow of the music. This adds signific-
antly to the realism and fluency of the composition.
Furthermore tonica fugata analyzes each four-voice melody according to the Functional
Theory or the Roman Numeral Theory. Violations of composition rules can be displayed
and are corrected by tonica fugata.
In tonica pop you can enter chords in Jazz notation and have them analyzed.
tonica fugata varies your melodies so that a Partita or a Prelude is generated. tonica
fugata composes beautiful canons according to the melodies you define. And finally,
tonica fugata composes entire fugues in several versions for the theme you choose.
D7 – T or V7 – I or C7 – F?
Three different methods of describing chords are built into tonica fugata. Function The-
ory which is primarily used in Germany, Roman Numeral method primarily used in
Great Britain and Chord Theory. Should you want to compose in the Jazz style we
recommend that you make tonica fugata display the harmonies according to Berkeley
standard.
In tonica pop the display of harmonies follows the Berkeley standard.
Introduction 7
Hardware and software

Minimum requirements
For tonica to run you will need
• a Microsoft Windows PC.
• Microsoft Windows Vista/7/8/8.1
Useful accessory
• A Midi keyboard will speed up note entry.
What is new?
• Accompanying patterns: Creates patterns with or without given melody in
different rock, pop or dance styles
• New harmonization style „Pop style“, created from over 1000 typical examples
• Inserted cadences are adapted to the harmonization rhythm of the respective
style
• Harmonization can now also be effected at the interval „whole“
Restrictions of the demo version

• Files cannot be saved or exported
• Files cannot be printed
• Composition and analysis limited to four measures
8 tonica Install and start tonica 8
Install and start tonica

License, activation, demo version
When you start tonica for the first time, the program will prompt you to license the
software. You will find the serial number in the email we sent you. Please print it out
and keep it in a safe place. Transfer the serial number to the license dialog which ap-
pears at the program start. You now have 30 days to use tonica with all its features.
Within these 30 days you must activate your product for your PC. The activation dialog
appears every time you start the program, until it is activated. The easiest way to activ-
ate is as follows:
Make sure that your PC is connected to the Internet. Start the program to display the
activation dialog. Enter your email address and click OK.
Your software will immediately connect to our server and transfer your license serial
number and a hardware code. In return, our server will calculate an activation code and
transfer it back to your PC.
You will then see an on-screen confirmation of the successful activation. You program is
now permanently activated on your installation PC.
If the product activation fails, you can contact the distributors by phone. Please dial the
number displayed in the activation dialog. If you do not have any Internet connection,
you are lead through the manual activation procedure. Please follow the instructions
displayed in the activation dialog.
For 30 days after installation you can use your program without any limitations. After
that period it will revert to demo mode, unless it is activated. So there is no hurry. Even
if the automatic activation should fail, you have sufficient time to get in touch by
phone.
After reinstalling your operating system, or after a major hardware upgrade of your PC,
you will have to reactivate the software.
You need administrator rights for activation. If you are the person that set up and in-
stalled Windows, or if you are the only user on a personal computer system, then you
will almost certainly have administrator rights.
Document structure
Each tonica score consists of two staves. The upper stave with the treble clef contains
the soprano and alto voices, the lower stave line with the bass clef contains the tenor
and bass voices. Below the lower stave is one more line (two if modulated) to accom-
Install and start tonica 9
modate the chord description. If no chord description is shown, a blue square will dis-
play.
Title
Each score can be given a title. You can do this through the Document menu or you can
press the ÁÍCÍtÍrÍlÉ+ÁÍFÍ2É key combination. Alternatively you can double-click the Title.
Key
You can change the key through the Document menu or you can press the ÁÍSÍhÍiÍfÍtÉ+ÁÍFÍ3É
key combination. A dialog box will open with all the major and minor keys. Click on the
radio button alongside the key you wish to use. Any notes which are already in your
score will be transposed into the new key, and you can choose whether they are trans-
posed upwards or downwards. A note which will need more than five ledger lines will
automatically be shown in the octave above or below.
Time signature
You can change the time signature by using the Document menu, or you can press the
ÁÍCÍtÍrÍlÉ+ÁÍFÍ4É key combination. A dialog box will open, giving you the choice of time signa-
tures and also the option of the Common time and Alla Breve symbols. Further time sig-
nature can be selected by clicking on the drop down list arrows in the dialog box. Bar-
lines will be entered automatically when notes are played rhythmically into the score,
but if you are entering notes with the mouse or the keyboard you will need to enter the
barlines manually.
Layout
The distance between the staves in each line of music can be changed by using the
Document menu. With the dialog box that appears you can change the distance
between soprano/alto and tenor/bass within a stave and also the distance between the
lines of music (the pairs of staves).
Parallels
In Analysis – Show parallels you determine which parallels are displayed in the
document.
Zoom
On the Commands toolbar you will see a drop down list with a percentage. This is a
zoom percentage that affects the size that the staves are shown on the screen. The de-
fault is 100%. You can select: 300%, 200%, 150%, 100%, 75%, 50%. Deviating values can
be entered manually.
10 tonica Install and start tonica 10
Print view size

From the Document menu you can select a range of print sizes. 100% means that your
page is completely filled. You can determine a size or select one of the defaults: 100%,
75%, 50%, 25%.
Working with tonica 11
Working with tonica

Composing begins with note entry. You can enter notes in tonica with the mouse, the
PC keyboard or Midi keyboard.
Single note entry with the mouse, PC keyboard and Midi

keyboard
The cursor
You can move the cursor in several ways:
• With the direction arrow keys to move along the voice note at a time.
• With the direction arrow keys to move up or down to the next voice or to the
chord description line.
• With ÁÍCÍtÍrÍlÉ + the direction arrows to jump one beat to the right or left, re-
spectively one stave up or down.
• With ÁÍHÍoÍmÍeÉ and ÁÍEÍnÍdÉ to the beginning or end of the current voice.
• With the mouse: select any note or rest from the toolbar, also click on the bar-
line, fermata, or placeholder icon to add these. Move the mouse pointer to
where you want to enter your selection and click. You should click above the
stave centre line to insert into the soprano or tenor and below the centre line
to insert into the alto or bass.
You can scroll around the score window using the direction arrows providing you do not
have the Windows scroll lock on. If the light below the scroll lock label at the top right
of your keyboard is lit this signifies that the scroll lock is on.
To enter notes and rests

capella users will notice that note entry and many other operating controls are identical with tonica
and capella.
1.
Select the voice that you want to enter notes into either by moving the cursor
(see above) or by clicking on one of the icons on the toolbar, shown below.
12 tonica Working with tonica 12
icon key voice
ÁÍSÍhÍiÍfÍtÉ+ÁÍFÍ5É soprano
ÁÍSÍhÍiÍfÍtÉ+ÁÍFÍ6É alto
ÁÍSÍhÍiÍfÍtÉ+ÁÍFÍ7É tenor
ÁÍSÍhÍiÍfÍtÉ+ÁÍFÍ8É bass
2. Select the duration of the note/rest that you want to enter.
keys:
note
ÁÍ1É ÁÍ2É ÁÍ4É ÁÍ8É ÁÍ6É
keys:
rest ÁÍSÍhÍiÍfÍtÉ+ÁÍ1É ÁÍSÍhÍiÍfÍtÉ+ÁÍ2É ÁÍSÍhÍiÍfÍtÉ+ÁÍ4É ÁÍSÍhÍiÍfÍtÉ+ÁÍ8É
ÁÍSÍhÍiÍfÍtÉ+ÁÍ6É
and adapt the length this way.
3. To dot a note or rest click on this symbol: (key: ÁÍ.É). The setting is automat-
ically cancelled after the dotted note is entered.
4. Add any accidentals required:
key: ÁÍSÍhÍiÍfÍtÉ+ÁÍ#É
key: ÁÍ#É
key: ÁÍNÉ
key: ÁÍBÉ
key: ÁÍSÍhÍiÍfÍtÉ+ÁÍBÉ
Note: Accidentals also affect other voices that have notes within the same bar
at the same pitch. The effect of the accidental only applies within the current
bar. When the composition is analysed, enharmonic transpositions are toler-
ated.
5. Finally click on the specific stave line in the position where you want to insert
the note or rest.
5.1. Press one of the following keys to set the respective note at the cursor po-
sition.
ÁÍAÉ, ÁÍHÉ, ÁÍCÉ, ÁÍDÉ, ÁÍEÉ, ÁÍFÉ, ÁÍGÉ
(ÁÍSÍhÍiÍfÍtÉ enters the note an octave higher.)
Pressing ÁÍSÍpÍaÍcÍeÉ or ÁÍPÉ enters a rest.

5.2. Play a note via a connected Midi instrument. This instrument must have
been selected in the dialog box for Music entry and playback.
5.3.Enter the note with the mouse piano. It is activated with this icon:
The mouse piano uses the so called zebra stripes mode, known from
capella: Each key is divided into three areas. Click on thee middle (grey)
area, to create a note in the selected length (see step 2). Click above, to
create a note in double length. Click below, to create a note in half length.
6. Notes following the inserted note are moved to the right. Barlines and chord
descriptions are not.
7. You can repeat notes in front of the cursor by pressing [Shift]+[7].
8. Notes that have already been entered can be shifted up or down by placing the
cursor in front of the note and then holding down [O] (not zero) and repeatedly
touching the arrow keys up respectively down. Using the letter [O] will shift the
notes diatonically, while holding down [P] will shift the notes chromatically.
9. Increase / decrease the value of notes: Position the cursor in front of the relev-
ant note and press [>] to increase its value or [<] to decrease its value.
Editing
You can delete notes, rests and chord descriptions by placing the curse to the left of the
note and pressing ÁÍDÍeÍlÉ. The note to the right is deleted. Pressing the back delete key
(the left facing arrow above the Enter key) will delete the next object to the left of the
cursor. You can also use the menu command Edit and the delete option.
Barlines
➔ Inserting and deleting barlines with the mouse
1. Click one of the icons , (key: ÁÍ|É for plain barline) to
enter barline mode.
2. Set the barline by clicking between two notes with the left mouse button.
3. Delete a barline by right mouse clicking on it with the barline icon lit.
4. Click again one of the icons to switch off barline entry.

➔ Inserting and deleting barlines with the PC keyboard
Press key ÁÍTÉ to enter a barline at the cursor and ÁÍSÍhÍiÍfÍtÉ+ÁÍTÉ to delete the barline
nearest to the cursor.
Barlines will disappear at the end of a line when they coincide with the end barline.
Barlines are not anchored to notes, they are recorded as being a specific number of six-
teenth notes from the start of the line.
Beams
➔ Eighth notes and sixteenth notes can be joined with beams:
1. Place the cursor between two eighth or sixteenth notes.
2. Click this icon to set a beam.
3. Click this icon to delete a beam.

4. You can set and delete beams also within marked groups of notes.
Ties
Notes where the duration should extend beyond a barline are split across the barline by
means of a tied note. See the following example:
Which results in
The division of the note is only done for visual purposes. The note is still recorded at its
full value. If the barline is removed the full value note reappears.
➔ Ties can also be set manually:
1. Position the cursor between notes of the same pitch.
2. Click this icon to set a tie.

3. Click this icon to remove a tie

or
1. Position the cursor behind a note.
2. Press ÁÍSÍhÍiÍfÍtÉ+ÁÍ0É to insert a note of identical pitch and tie it with the preceding
note.
Triplets
➔ Notes and rests can be combined as triplets:
1. In a voice, choose notes and rest with a total length of 3/16, 3/8, 3/4 etc.
2. Click this icon to create a triplet or press ÁÍRÉ.
3. Click this icon to remove a triplet or press ÁÍRÉ again.
Volta brackets
Repeat (volta) brackets at the end of a repetition determine which final bar is to be
played in the first or second place.
1. Place the cursor in front of the note where you wish to set the repeat bracket.
2. Click this icon to set a repeat bracket.
Placeholders
Placeholders are particularly useful for moving barlines to the end of the stave. This is
not necessary when barlines are entered automatically by tonica.
➔ To insert individual placeholders
1. Select the voice.
2. Click this icon .
3. Click on the stave where you want to insert the placeholder. Alternatively, you
can insert a placeholder without clicking on the icon by pressing ÁÍLÉ
➔ To automatically insert placeholders
1. From the Edit menu click on the option Insert placeholders or click this symbol
.
2. Setting the placeholders may take several seconds. Each stave will then be
closed by a barline at the right-hand side. Placeholders set before this action
will not be kept.
Placeholders are shown as small red boxes. They are hidden on the screen by pressing
(key: ÁÍSÉ) and are never visible when printed.
Rhythmic playing in (Real Time Entry)

If you have a Midi keyboard you can play the notes in rhythmically.
➔ To play the notes in rhythmically
• From the Music menu select rhythmic playing in.
• From the resulting dialog box choose the voice the notes are to be played into.
You will now see a further dialog box.

• Tap the [Tab] key on your PC keyboard to set the pulse for the music. As you do
this you will see the time in milliseconds between taps. The gap between the
last two taps will be used for the pulse of the music. If you do not use the [Tab]
key then the gap between the first two notes will be used to set the pulse.
• The notes that you play in will be inserted from the cursor position. Barlines
will be entered automatically for the time signature derived from your setting
of the pulse.
• To ensure that the last note has the correct duration it must be held on care-
fully. Alternatively you can play an extra note, and this may help continue your
playing over the penultimate note. The last ’dummy’ note can then be deleted.
• To end playing in click on the Exit button in the dialog box or press the ÁÍEÍnÍtÍeÍrÉ
key. Now you can see the notes on the screen. You can abandon your playing in
by clicking on Cancel.
Tips for rhythmic playing in
Don’t play chords (i.e. several notes at a time). You can improve the accuracy of your
playing in by adjusting settings in the Music entry and playback option under the Mu-
sic menu. This menu will allow you to specify sharps. For example, ticking the right
hand check box will produce A# and leaving it unticked will produce B flat. More con-
sistent note lengths will be achieved if you understand the two settings described be-
low:
Absence of a played note can be taken to be unintentional, inaccurate playing rather
than a deliberate rest. For example if you set a quarter note value here then gaps in
your playing of a quarter note or longer will be taken as rests and below a quarter
note the gap will be added to the preceding note length.
For similar reasons to the above - because it is difficult to reliably distinguish in your
playing between dotted and undotted note lengths for very short notes – tonica al-
lows you to set a note value below which all notes will be assumed to be undotted.
Play as slowly as possible. You do not need to stick to the original tempo reading. Be-
fore you start you can click the PC Tab key at a slow tempo to tell tonica the quarter
note beat. Use a metronome. Do not vary your tempo.
Play the piece a second time and compare the two for the best possible result.
Using the PC keyboard to play in rhythmically
You can play music in rhythmically using specific keys on your PC keyboard. Whilst this
is not easy, some users may wish to use this method. After setting up tonica for playing
in (as described above) use the PC keys shown below. The top row are the black keys
and you can use whichever of the two sets you prefer.
ÁÍ2É ÁÍ3É ÁÍ5É ÁÍ6É ÁÍ7É ÁÍ9É ÁÍ0É ÁÍ´É Higher notes
ÁÍQÉ ÁÍWÉ ÁÍEÉ ÁÍRÉ ÁÍTÉ ÁÍYÉ ÁÍUÉ ÁÍIÉ ÁÍOÉ ÁÍPÉ ÁÍÜÉ ÁÍ+É
ÁÍSÉ ÁÍDÉ ÁÍGÉ ÁÍHÉ ÁÍJÉ ÁÍLÉ Lower notes

ÁÍZÉ ÁÍXÉ ÁÍCÉ ÁÍVÉ ÁÍBÉ ÁÍNÉ ÁÍMÉ ÁÍ;É ÁÍ:É
tonica should automatically map the keys above to the notes of the scale. If it does not
it is because it is assuming the wrong national keyboard standard. This is referred to as
the code page setting. If you are using an English language version of Windows you will
have either the US or UK keyboard set, both of which may need you to tick the check
box next to Swap Z and Y in Music entry and playback. This is because the German key-
board for which tonica was developed has the Z and Y swapped.
Editing (deleting, cutting, copying, pasting)

The above instructions work in the same way in tonica as in other Windows programs.
For example you can cut or copy a section of score from one area and paste it into an-
other.
➔ To mark a section to be edited with the mouse
1. Move the mouse pointer to the start of the piece to be marked.
2. Press and hold down the left mouse button.
3. Drag the mouse pointer to the end of the piece. Unlike other Windows pro-
grams, the music content in tonica restricts the flexibility of marking to the fol-
lowing:
To mark a single voice: The pointer must only move over one half of the stave.
For example for soprano or Tenor (Alto or Bass) the black background must
only appear behind the top half of the stave.
Soprano and Alto or Tenor and Bass: The black background must cover the
whole of the appropriate stave.
All voices: The black background must cover both stave lines.
4. Release the mouse button.
➔ To mark a section to be edited with the keyboard
1. Move the cursor to the start of the section to be marked (use the direction ar-
rows or the mouse).
2. Press and hold down the ÁÍSÍhÍiÍfÍtÉ key.
3. Move the cursor to the end of the piece to be marked. The restrictions on
marking a section are as for the mouse (see above).
4. Release the ÁÍSÍhÍiÍfÍtÉ key.
If you want to mark the entire document use the keys ÁÍCÍtÍrÍlÉ+ÁÍAÉ.
Note: If you mark a voice you include notes belonging to that voice that are outside the black marked
area. For example the marked lower half of the top stave, for the alto, includes alto part notes in the
unmarked upper part of the stave.
You can cancel the marking by clicking anywhere in the window.

Copy (Key: ÁÍCÍtÍrÍlÉ+ÁÍCÉ) leaves the notes in the score and takes a copy to the clipboard.
Cut(Key:ÁÍCÍtÍrÍlÉ+ÁÍXÉ) removes the notes from the score and takes them to the clipboard.
Both instructions overwrite anything currently on the clipboard.
Delete (Key: ÁÍDÍeÍlÉ) removes the notes from the score and does not take them to the
clipboard, so the clipboard’s previous contents remain.
Paste (Key: ÁÍCÍtÍrÍlÉ+ÁÍVÉ) pastes the notes from the clipboard at the cursor position. It can
be into the same score or another tonica score. You can paste the notes into any voice.
If you paste into a different clef the notes are transposed by an octave.
If all four voices are copied then the barline is also copied, otherwise it is not.
The Undo Function

This function (key: ÁÍCÍtÍrÍlÉ+ÁÍZÉ) cancels the preceding action. Pressing it again reinstates
the action. You can undo and redo (key: ÁÍCÍtÍrÍlÉ+ÁÍYÉ) up to 40 actions.
Chord description
Chords can be described using one of three methods: Function theory, Chord theory or
Roman Numeral method. The first two are commonly used in Germany and the latter in
Britain and the USA. The methods are interchangeable. You can select which will be
used through the Documents menu. Existing descriptions will be displayed in whichever
method is currently selected.
➔ How to insert chord descriptions
• To enter a new description follow the steps above and when the pop up menu
appears select the option Insert chord description.
• To edit an existing description either right mouse click on the description or
press Enter when the cursor is to the left of the chord description. A pop up
window appears. Select Chord description or move the cursor in the respect-
ive column and press ÁÍÊÉ. The correct name for the chord description that you
enter will be shown in blue under the notes. f tonica fugata: The description
which you want to overwrite is colored in the document. Fill in all spaces in the
dialog window.
f tonica fugata: Function theory descriptions:
a: T, S, D, Tp, Sp, Dp, Tg, Sg, Dg, t, s, d,

tP, sP, dP, tG, sG, dG, DD (Double
dominant), SS (Double subdominant)
b, c: Numbers 1 to 9, upper voices or
n (for Neapolitan sixth)
d: S, D, Tp, Sp, Dp
e: Numbers 1 to 9
f tonica fugata: Chord theory descriptions:
a: Degree of the scale: I, II, III, IV, V,

VI, VII in upper or lower case. Note:
Similar to Roman Numeral Method
but upper case letters define major
and lower case letters minor.
b, c, d: Numbers 1 to 13, upper
voices b or #
d: # or space symbol
f tonica fugata: Roman Numeral descriptions:
a: # or b, to signify a
sharpened or flattened bass
of the chord.
b: Degree of the scale: I, II,
III, IV, V, VI, VII in upper or
lower case.
c, d: Numbers 1 to 9, upper
voices or n (for Neapolitan
sixth).
e: # or b, to signify a
sharpened or flattened third
of the chord.
f: b, c, d, e denoting which
inversion of the chord is
used. i.e. which note is ap-
pearing in the bass.
Jazz descriptions:
a: Keynote: C, D, E, F, G, A, B
or B-flat, additionally # or b
to signify a sharpened or
flattened keynote.
Left dialog box: Chord family
(such as maj, m, add, sus,
dim, aug) including added
notes.
Right dialog box: additional
added or modified notes in
brackets (such as (b5 #9)).
b: Bass note (if differing
from keynote): C, D, E, F, G,
A, B or B-flat, additionally #
or b to signify a sharpened
or flattened bass note.
f tonica fugata:Figured bass descriptions:
Every edit field:
1-14 Figure number

0 Tasto solo
/ Chord anticipation
- No chord
Modulations
Click on Modulation in the chord description dialog box. From the resulting pop up win-
dow select the key to which you wish to modulate. Click on the new key. Enter the
chord description for the chord in the new key. If you enter a chord which is not consist-
ent with the modulation you will see a notice to this effect. Chord descriptions for the
new key are shown lower on the page than chord descriptions in the previous key.
➔ Deleting a modulation
To delete a modulation place the cursor to the left of the last chord in the old key. Call
up the Chord Description dialog box and click Modulation. Select the original key.
Click on the <= or => to step forward or back to the next chord description. Click OK to
end input.
Evaluating chord descriptions

➔ You evaluate the correctness of a chord description as follows:
• Right mouse click on the chord description or with the cursor to the immediate
left of the description press ÁÍSÍhÍiÍfÍtÉ+ÁÍEÍnÍtÍeÍrÉ.
• From the pop up menu choose Evaluate.
• The evaluate dialog box gives the following information:
Notes in the chord

Which degree is in which voice
Notes that are foreign to the chord
Whether the bass is correct

Whether the third is doubled
Whether an enharmonic mistake is present
• Click <= or => to evaluate the next chord, or click OK to end.
Opening and closing a file, saving a file, importing and

exporting a file
Your personal tonica folder
During installation of tonica a tonica folder is created in the „Documents“ directory. In
this folder you can save your tonica documents. This folder also contains further folders
and files which are needed for the use of tonica and should not be altered. These
folders are interesting for you:
• The folder „Example“ contains pieces of music with note examples.
• The folder„Demo“ contains many pieces of music which demonstrate
harmonization styles and functions available in tonica. The folder „Bach“ for
example contains chorals of J. S. Bach and the folder „Fugue“ contains fugue
themes which can be used as basis for fugue composition in tonica.
Opening a piece of music

You can select Menu and Open, click on the Open icon or use the keys ÁÍCÍtÍrÍlÉ+ÁÍOÉ.
A standard Windows file opening dialog box will appear.
Saving a file
tonica saves a file using the standard Windows dialog boxes.
Importing a file
From capella
You can import capella files of the type capx. The first four voices of the file are
imported.
➔ How to import a capella file
1. From the tonica File menu select Import...
2. From the resulting dialog box select capella (*.capx).
3. Find the capella file from the standard Windows dialog box.
From Midi
You can import standard Midi files of the type Midi-1.

➔ How to import a Midi file
1. From the tonica File menu select Import...
2. From the resulting dialog box select Midi (*.mid).
3. Find the Midi file from the standard Windows dialog box.
4. A large window opens showing all the important Midi information. More de-
tails are given below with an example of Midi import :
Meaning of the terms:

• File: Midi file name including the folder path
• Copyright: If available
• Format: 0 (one track, several channels), 1 (several tracks with a channel per
track) or 2 (several independent tracks)
• Key, time signature: set by the Midi file but can be changed in tonica.
• Anacrusis (upbeat): Counted in 32nds of a note value from the start of the
score.
• Factor by which all imported note lengths are multiplied. Values 2 or 4

are useful to uniformly increase very small note lengths to make them more
readable as notation. Values 3 or 5 are useful if the Midi file contains triplets.
• Line for each track and/or channel. Each line contains:
- Track number
- Track name
- Channel number
- Start point (starting point for the first note played expressed in 32nds of a
whole note)
- stave lines showing the first 100 notes of each track/channel. You can scroll
horizontally in quarter-note steps to see more notes.
- Four check boxes. You must tick one of the boxes for each stave to tell ton-
ica which voice to put the stave’s notes into. Above the first set of boxes is
the heading S A T B, showing which voice the boxes underneath relate to.
Strategy
Tracks/channels in Midi can be multi-voiced, however tonica can only contain one voice
per stave. The check boxes above make it possible to redirect tracks/channels contain-
ing a single voice to a specific tonica voice. The dropdown boxes at the bottom of the
import window underneath the strategy heading allow you to strip out a single voice
from a multi voiced track/channel. Do this by using one of the strategies described be-
low:
• highest: If several notes occur at the same time the highest is selected.
• 2nd highest: If several notes occur at the same time the 2nd highest is selec-
ted. If only one note occurs it is skipped and a rest substituted. If you used this
on a single voice stave you would only import rests!
• 3rd highest and 4th highest logic as above.
• lowest: If several notes occur at the same time the lowest is selected.
• 2nd lowest: If several notes occur at the same time the 2nd lowest is selected.
If only one note occurs it is skipped and a rest substituted. If you used this on a
single voice stave you would only import rests!
• 3rd and 4th lowest logic as above.

• Note: A note can be imported into two voices if it meets the criteria for both
voices.
Midi import in practice
The following examples should help to clarify the above:
First example
Strategy Soprano: "highest"

Strategy Alto: "3rd highest"
Strategy Tenor: "lowest"
Result:
Soprano voice: Green notes
Alto voice: Red notes
Tenor voice: Blue notes
Explanation:
• In the seventh column (seventh chord along) note A is imported into the alto
and the same note is also entered into the tenor. This is because the note
meets two of the criteria we set above. It is the third highest, matching the alto
criteria and also the lowest, matching the tenor criteria.
• In columns 8 and 9 the alto only gets a rest because there are no 3rd highest
notes.
• In column 10 (last column) note D is taken to be the third highest note in the
column because the eighth-note D in the previous chord is still sounding. It is
therefore part of the chord in column 10.
Second example
Strategy Soprano: "highest"

Strategy Alto: "D 4"
Strategy Tenor: "lowest"
Result:
Soprano voice: Green notes
Alto voice: Red notes
Tenor voice: Blue notes
Explanation:
In columns 5 and 6 the A was imported into the alto voice because the D – being the
lowest note - was imported into the tenor.
Midi quick import

Quick import was developed to let you import Midi files without going through the
above dialog box to specify what notes go to each voice. To be useable the Midi file
must contain either 2 tracks with 2 voices or 4 tracks with 1 voice each.
1. From the File menu select Midi quick import...
2. You will get a standard Windows dialog box. Select one or more Midi files as
you would select ordinary files in Windows.
3. The files are imported in sequence, opened and saved as tonica files.
Exporting a tonica file

To capella
If you are exporting a tonica file to capella, you will apply tonica's export function.
➔ Exporting in capella-format
1. From the File menu choose Export...
2. In the dialog, choose file format capella 3:1 or capella 2:2 (*.capx). In the
normal case this is the default setting.
2:2 exports soprano/alto and tenor/bass in one stave.
3:1 exports soprano/alto/tenor in one stave (with chord display) and bass in
the second stave.
3. Give the file a name.
4. Alternatively, you can use the menu item “View in capella”(page 28) . This com-
bines the steps „Export (in tonica)“ and „Load (in capella)“.
5. In order to also export the function symbols (T S D etc.), tick the box “Export
function symbols” in the file menu before starting export.
To MusicXML format
➔ Exporting in MusicXML format:
2. In the export dialog box choose MusicXML (*.xml).
To Midi format
Many music programs (such as capriccio, the capella squencing program) use the Midi
format as well as their own proprietary format. Therefore exporting from tonica in Midi
format allows tonica scores to be used in most music programs.
➔ Exporting in Midi format:

2. In the export dialog box choose MIDI (*.mid).
4. Set the following Midi parameters:
Midi time basis This value defines the definition of the note
length. The bigger the value the more exact the
definition of the note length.
Initial empty bar Break at the beginning (optional). The length of

the break is indicated in 16ths.
Note length Depending on the instrument it may be

reasonable not to play the note at its full length in
the Midi file.
The smaller the value the more staccato the
sounds will be in the Midi file.
View in capella
This option allows you to transfer a composition directly into capella. The composition
will be exported and capella will start automatically, loading the composition. Select
this option from the File menu or click this icon . If figured bass is active for chord
description, you can choose between 3:1 and 2:2 export. In all other chord description
types the export is allways 2:2. (page 27)
Tip: On execution of this command a capella file is created and saved in a folder
„_capella“ below the personal tonica folder.
Printing
tonica prints using the standard Windows drivers and dialog boxes. tonica will use the
printer set as default in the User Account Control. You can select a different printer
from the File menu clicking Set up printer...
You can set paper sizes, margins etc. by selecting Page setup from the File menu.
Print out size is set through the Document menu and Print size.
➔ To print a tonica score
1. From the File menu choose Print, or press ÁÍCÍtÍrÍlÉ+ÁÍPÉ or click this icon .
2. You will get the standard Windows Printer dialog box.
Score playback
➔ To play back a score
1. From the Music menu select the voice(s) to play back or select All voices. e.g.
"All", "Soprano", "Alt", "Tenor" and/or "Bass".
2. Move the cursor to the left of the first note to be played back.
3. Start playback.
3.1. Click on the playback icon on the commands toolbar or press ÁÍFÍ9É to
play back all voices selected in step 1 above.
3.2. Click this icon to play back only the voice on which the cursor is
positioned.
4. The cursor moves along with the playback.
5. Repeats are played back correctly.
6. To stop playback before the end click on the playback icon again or or
press ÁÍFÍ9É again.
Setting up music entry and playback

➔ To set the defaults for playing music into tonica and playing music back
1. From the Music menu select Music entry and playback, or press ÁÍCÍtÍrÍlÉ+ÁÍEÉ.
2. The capella-tune dialog appears.
3. Under Output select the Windows sound driver that you want.
4. For more help about capella-tune please click „?“ in the dialog box.
➔ To set the defaults for music options
1. From the Music menu select Music-options
2. Tick the check boxes as follows:
2.1. Tick Cursor jump-back after playback. If you do not tick this box the
cursor will stay behind the last played note.
2.2. Prefer sharps lets you tell tonica to sharpen certain notes. The check
boxes represent the black keys on the keyboard. For example if you tick the
right hand box that black note will be A#. If you do not tick it the note will
be B flat.
2.3. In the group Rhythmic playing in you will find Shortest dotted note and
Shortest rest.
2.4. Tick Swap keys Z and Y. This is used when you play in rhythmically from
the PC. tonica is expecting a German layout keyboard which has the Z and
Y keys exchanged. You should tick the box to swap the positions of the Z
and Y for English and US keyboards.
2.5. Tick Play back keyboard entry if you wish to hear your playing in. Other-
wise you will only hear your MIDI keyboard.
2.6. Tick Even out playing speed if you would like tonica to attempt to com-
pensate for speed fluctuations in your playing. You should experiment, as
this may not always improve the accuracy overall.
Selecting instruments
If you are playing your tonica files back through a soundcard you can choose from 128
Midi instrument sounds. This does not work if you are playing back through the PC
speaker option.
To select an instrument
1. From the Music menu select Instrument, or press ÁÍCÍtÍrÍlÉ+ÁÍIÉ.
2. Select the voice it is to apply to.
3. Select the Group and Instrument. This is either the capella Vienna orchestra or
a Midi device. There are 128 possible sounds arranged in 16 groups of 8 instru-
ments. The drop down list MIDI-Nr. is linked to the previous instrument selec-
tion. You can enter a Midi instrument reference number and call up an instru-
ment directly.
4. The Volume slider adjusts the playback of the instrument between 0 and 127.
As well as dragging the slider with the mouse you can use the direction arrows
to move the slider in single units and the page up and page down buttons to
move it 25 steps at a time.
5. In the group headed Play you can play a sample note of the instrument. Each
button represents an A an octave apart.
6. Repeat the above from step two for each voice you want to set an instrument
on.
The instrument setting is saved when you save the score.
Selecting a playback tempo
To set the playback tempo
• From the Music menu select Tempo or press ÁÍCÍtÍrÍlÉ+ÁÍTÉ.
• Use the slider to choose a tempo.
• You can also enter the duration of a quarter note in milliseconds or the number
of quarter notes per minute.
Midi-Reset
Click on this icon if you are having trouble with playback, for example a note
hanging.
32 tonica Automatic composition 32
Automatic composition
tonica can compose a four part arrangement from any melody line entered into any
voice line. This ability was learned with the help of artificial neural networks created by
tonica from music examples given to it. Each neural network should be built from ex-
amples of a particular composer. Four networks are included with tonica, two from J.S.
Bach chorale styles, one from Max Reger and one Jazz style. tonica also composes can-
ons and fugues. With tonica you can also create your own neural networks from other
composers’ examples that you import into tonica.
You can use this feature as an aid in learning about four part harmony and as a tool to
harmonize your compositions, giving you a good starting point that can be further
worked on by you. To get the best out of this feature the following procedures are re-
commended:
➔ To compose with tonica
• First enter the melody into the soprano or any other voice line. Mark important
sections by inserting fermata. These are recognized by tonica and lead to bet-
ter results. See Note entry for help on inserting notes and fermata.
• From the menu Score select the option Compose.
• Play back the result.
• When you have listened to the result one way to modify it is by right mouse
clicking on particular Chord descriptions and entering your own.
• You can recompose your changed sections by asking tonica to replace the ex-
isting notes of the changed sections with notes that match the chord descrip-
tions entered manually by you. To do this select Realize chords from the Com-
pose menu and if necessary add ornamentations, also from the Compose
menu.
You can also get a change to your harmonies by selecting either a different composer’s
style or by varying the level of detail that harmonies are constructed to. i.e. whether
the basic building blocks are quarter notes, eighth notes, half notes etc. To do this se-
lect Options, also from the Compose menu.
Fermata
Fermata are an important help in creating a smooth composition. Maybe you know J.S.
Bach's choral fermata: They always appear at the end of a phrase. When you set
fermata while entering notes tonica will enter cadences down to these fermate. This
makes a smooth, harmonic composition.
Automatic composition 33
If you want to make tonica use cadences from the cadence database you should set
fermata at the end of each phrase.
➔ To set fermata while entering notes
• Click Voice and Note value.
• Click the fermata symbol .

• Enter the note – the fermata will appear above it.
tonica allows you to set fermata in all voices.
➔ To set a fermata later
• Make sure that none of the note value symbols are active.
• Choose the soprano voice and position the cursor in front of the note above
which the fermata is to appear.

➔ To remove a fermata
• Make sure that none of the note value symbols are active.
• Choose the soprano voice and position the cursor in front of the note above
which the fermata is to appear.

Setting and removing fermata subsequently is done with the same command.
To determine the composition section

• Mark the phrase as a note block with the mouse.
• In the Compose menu determine the Composition section.
Choose all if the composition is to be created for the entire melody.
Choose current phrase if the phrase is to be composed where the cursor is currently
positioned. Phrase ends are marked by fermata. If there is no fermata, then this
corresponds with compose all.
Choose marked phrase if you want a previously marked phrase to be composed.
If you want new harmonies to be calculated, tick Harmonize again. This corresponds
with the command Compose without passing notes.
To harmonize a melody
If you want to make tonica harmonize a melody without creating a complete
composition, click Harmonize from the Compose menu. tonica will automatically
determine a harmonization and insert the calculated functions. You can change the
composition options by clicking Options.
To realize chords
By clicking realize chords from the Compose menu you can realize four-voice chords for
the functions you have set. You can either let tonica determine the functions or
set/change them yourself. The composition options can be changed by clicking Options.
f tonica fugata: If you have realized chords chord by chord, then you can tick passing
notes from the Compose menu. With this your composition will become very smooth
and elegant. The composition options can be changed by clicking Options.
Composition and analysis options
Clicking Compose-Options opens the dialog for composition settings. You can
individually set these options for each tonica document. They will be saved together
with the document. You will obtain the best results using the Standard settings.
Click Harmonization style to determine a style.

Harmonization rhythm determines the rhythm of the harmonization (such as quarter
notes or dotted rhythms).
Generally tonica will determine a composition by choosing the most likely harmony. For
alternatives to this click allow alternative solutions.
tonica prefers a linear proceeding of the accompanying voices. This sometimes
produces chords with notes in distant positions which are difficult to play on a keyboard
instrument. By clicking prefer close position tonica will pick chords whose three upper
voices can be played with the right hand.
In the area insert cadences you determine if or where tonica may insert cadences. You
can choose between everywhere and at phrase ends. Phrase ends are marked by
fermata.
Mostly, tonica will create a four-voice composition. By changing the number of voices
you can obtain a three-voice (soprano, alto, bass) or two-voice (soprano, bass)
composition. When the melody is in the soprano, the bass line will be added. With
three-voice compositions, an alto voice will be added when the box „prefer close
position“ is ticked. Otherwise a tenor voice will be added.
Figured bass realization

The figured bass is a musical notation that has emerged in Baroque music. A bass-line
(bass voice) with added numbers is notated to which improvised chords were supple-
mented. Figured bass instruments were the harpsichord, organ, lute, theorbo, etc., to-
gether with a bass viol, cello, double bass, bassoon or trombone playing the bass voice.
The numbers and accidentals beneath the bass voice indicate what intervals above the
bass notes should be played. Above each bass note without numbers a full diatonic tri-
ad in root position is played. Chord notes can be doubled or played in another octave.
Common voice-leading rules apply for realizing the chords.
tonica automatically creates full chord realizations of figured basses. Chords are gener-
ally realized in close position which allows bass notes to be played with the left hand
and added chord notes with the right hand on keyboard instruments. Individually tied
chord notes result in a smooth composition which can be exported to capella, for ex-
ample to accompany a melody voice.
The rules of figured bass notation have changed over the centuries. Even today differ-
ent ways of writing figured basses are taught. At the end of this section a brief sum-
mary is given how to interpret figured bass numberings in tonica.
Realizing a figured bass-line

When you select the command Figured bass from the Compose menu, a dialog appears
in which you can define the setting for figured bass composition.
When realizing a figured bass the selected harmonization rhythm and number of voices
are considered.
• By clicking Options you can change the setting of harmonization rhythm and
number of voices. All other settings in the Options dialog will not influence
figured bass realization.
• The harmonization rhythm determines the rhythm of figured bass realization
(e.g. quarter notes). Intermediate bass notes (e.g. eighth passing notes) are
realized as chords only if they are numbered.
• In Section you define the section to be realized.
• Click all if the realization is to be composed for the entire bass-line.
• Click current phrase if only the phrase where the cursor is positioned is to be
realized. Phrase ends are marked by fermata. Should there be no fermata, then
this corresponds to the entire bass-line.
• Click marked section if a marked section is to be realized.
• Chords are normally realized in close position to be played with the right hand.
In the early days figured bass composition was closely related to instrumental
or vocal parts to be accompanied. Voices were equally distributed on both
hands. Choose Early BC-Style (open position) if you prefer this behaviour.
To fully utilize the potential of this feature we recommend you proceed as follows:
➔ How to create a figured bass composition
• Enter the bass-line into the bass voice. Important sections of the bass-line
should be marked with fermata. These will be referenced during the automatic
composition process and generally produce a better result than working
without fermata.
• Optional: To generate a complete composition without numbering bass notes
please select Figured bass from the Compose menu. All bass notes on harmon-
ization rhythm will be supplemented by chords based on diatonic triads in root
position.
• Now enter your desired numberings for the bass notes. Numbers indicate the
intervals that should be played above a bass note. Alterations with respect to
key are notated as accidentals or with "+". Write "0" or "-" for bass notes on
harmonic rhythm for which no chords should be generated.
• To create two or more chords on a single bass note, you need to add rests in
another voice such that boxes appear at the desired points in time below the
bass note. Write the numberings for additional chords into these boxes. The
added rests will be overridden when the composition is created.
• Select Figured bass from the Compose menu and modify the harmonization
rhythm in the Options dialog if necessary.
• Play back the figured bass realization and assess the result.
• To modify the result using different settings you can undo the action and rerun
Compose – Figured bass with new parameters until you are satisfied with the
result.
Figured bass notation in tonica

The following figure shows some examples of numberings and their realization in ton-
ica.
The following rules apply for numberings in tonica:

• Numbers from 0 to 14 are allowed. Number 0 means "tasto solo" (no chord).
You can enter up to 3 numbers for each chord. Third (3) and fifth (5) must not
be notated but are added automatically. Example: Bass note c of first chord in
the above figure is supplemented by third (e) and fifth (g). In addition the sop-
rano voice doubles the fundamental note c.
• Numbers greater than 7 are interpreted as chord positions, i.e. they refer to
chord notes in the upper voices (soprano and alto voice). tonica considers
these chord positions during figured bass realization if they do not result in
voice-leading errors. Example: The numbering (11 9) in the figure means that
the added notes (eleventh f and ninth d) should appear in the soprano and alto
voice respectively. In the following chord with numbering (10 8) these notes
are resolved into notes e and c.
• The following replacement rule applies: If number 4 is notated, number 3 must
be notated explicitly to be considered as a chord note. If number 6 is notated,
number 5 must be notated explicitly to be considered as a chord note. Ex-
ample: In the chord with numbering (6 4) number 4 replaces 3 and number 6
replaces 5. Therefore the third (e) and the fifth (g) do not appear.
• The following completion rule applies: If number 2 is notated, it will be auto-
matically supplemented by numbers 4 and 6. If numbers 2 and 4 are notated,
number 6 will be supplemented (third inversion). If numbers 3 and 4 are not-
ated, number 6 will be supplemented (second inversion). Example: The first
chord with number 2 includes the second (d) but also the forth (f) and the sixth
(a).
• All accidentals (bb, b, #, x, natural) and "+" are allowed to notate alterations.
Except for natural, accidentals are interpreted relative to the key, i.e. they raise
or lower a diatonic note by one or two semitones. Like "#", a "+" raises a
diatonic note by a semitone. Example: In the chord with numbering (4+ 2), the
forth (f) is raised by a semitone (f sharp).
• If an alteration without a number is notated, number 3 is added. Example: In
the second chord with numbering "b", the third (e) is lowered by a semitone (e
flat).
• To realize a bass note with no chord or no chord change, "0" or "-" are notated.
Example: In the above figure the last 4 bass notes are not supplemented by
chord notes because of numbering "0" and "-".
• A "/" sign indicates a chord anticipation of a following bass note. Example: The
chord with numbering "/" anticipates the added chord notes of the following
chord (b, d, and f).
Accompanying patterns
In light music, typical repeated rhythmic-harmonic structures are called accompanying
patterns.
tonica composes accompanying patterns in several rock, pop and dance styles. This
function can be applied in two ways: tonica either creates an accompanying pattern as
default which can then be supplemented by a melody voice or adds an accompanying
pattern to a given melody.
If desired, harmonization rhythm, tempo and timbre of the accompanying voices are
adapted to the selected accompanying style.
Create an accompanying pattern as default

• In the File menu, create a new document via the command New.
• In the Document menu, set the desired key and time signature in Options.
• Open the dialog „Accompanying pattern“ in the Compose menu. A dialog
appears where you can determine settings to be considered during creation of
an accompanying pattern.
• Select the desired accompanying style from the drop-down list.
• When you tick the box Adapt harmonization rhythm, the harmonization
rhythm is adapted to the accompanying style or can be adapted in the drop-
down list. Otherwise the preset harmonization rhythm is applied for the
selected harmonization style.
• When you tick the box Adapt tempo (quarter notes) anpassen, then the
tempo of the file will be adapted to the accompanying style or can be edited in
the input field.
• When you tick the box Adapt accompanying instruments, then the instrument
of the accompanying voices is adapted to the accompanying style or can bei
edited via the selection button.
• In Options you can change settings for the harmonization style.
• Your result is an accompanying pattern you can add a melody to.
Add accompanying pattern to melody

• Enter the melody in the desired voice.
• Open the command Accompanying pattern from the Compose menu. A dialog
appears when you can determine settings which are to be considered during
creation of an accompanying pattern.
• Select the desired accompanying style from the drop-down list.
• When you tick the box Adapt harmonization rhythm, then the harmonization
rhythm will be adapted to the accompanying style or can be changed in the
drop-down list. Otherwise the preset harmonization rhythm is applied for the
selected harmonization style.
• When you tick the box Adapt tempo (quarter notes) anpassen, then the
tempo of the file will be adapted to the accompanying style or can be edited in
the input field.
• When you tick the box Adapt accompanying instruments, then the instrument
of the accompanying voices is adapted to the accompanying style or can bei
edited via the selection button.
• In Options you can change settings for the harmonization style.
• Your result is an accompaniment to your melody in the selected accompanying

style.
Voice duplication
Duplicating a voice means to add to a melody a parallel accompanying voice at a fixed
interval distance (for example octave, third or sixth). The most frequent form of voice
duplication is octaving: As an example the cellos in an orchestra are often duplicated by
the double basses playing one octave lower. Another form of voice duplication was the
parallel leading in fifths and fourths („Quartal harmony“) in medieval times. With
increasing development of Major-Minor tonality, thirds and sixths prevailed against the
fourth which was perceived as dissonance to be resolved. Only 20 th century music
liberated the use and thus the parallel leading of dissonant intervals. In today's easy
listening music which still has tonal characteristics voice duplication in thirds and sixths
is often used to enrich the sound of a voice („background singing“).
tonica is able to add a parallel accompanying voice to any existing voice. Both
accompanying voice and interval to be applied for duplication can be selected freely.
When the main voice is to be duplicated the voice range set for the accompanying voice
will be considered. Accompanying tones are octaved if necessary.
Given harmonies will also be considered for the selection of accompanying tones.
These tones are always selected to go with the corresponding harmonies. The
accompanying interval will be adapted if necessary: If for example the third is selected
as interval, but the accompanying tone in the third interval does not go with the
harmony, then the next tone going with the harmony will be selected, for example the
tone in fourth interval.
Duplicate a voice
When you select the command Duplicate voice from the Compose menu a dialog
appears where you can determin settings to be considered during voice duplication.
• In the area Section you determine the section to be duplicated.
• Select all when the entire melody voice is to be duplicated.
• Select current phrase if only the phrase where the cursor is situated is to be
duplicated. Phrase ends are marked by fermata. If there are no fermata then
this is equivalent to the entire melody voice.
• Select marked section when you want to have the section duplicated which
you marked before.
• In the area melody voice select the voice with the melody to be duplicated.
• Select duplicated voice for the voice in which the duplicated accompanying
tones are to be created.
• Select intervall to determine the distance between the parallal accompanying

voice to the melody voice.
Here is an example how to apply voice duplication:
➔ How to have tonica create accompanying voice to a leading voice
• First enter the melody voice in the soprano. Mark important sections with
fermata.
• Optional: First create a hamonization of the melody. Select the command
Harmonize from the Compose menu and set in Options a plain harmonization
style, for example „Samuel Scheidt“.
• Optional: Add a simple bass voice to the melody. Select the command Realize
from the Compose menu and set „2“ voices in Options.
• Now duplicate the melody voice with an alto voice in third interval. Select the
command Duplicate voice from the Compose menu with these settings:
Melody voice „Soprano“, duplicated voice „Alto“ and interval „third“.
• The result is a three-part composition with a duplicated melody and a plain
bass. Listen to it and evaluate it.
• Optional: Duplicate the alto voice by an additional tenor voice in third interval.
Select the command Duplicate voice from the Compose menu with these
settings: Melody voice „Alto“, duplicated voice „Tenor“ and interval „third“.
• Now you have a four-part composition with double-duplicated melody and a
plain bass.
f tonica fugata: Automatic Phrase variations

How to vary a melody or phrase
tonica can automatically compose variations of melodies or phrases. This unique capab-
ility was learnt with the help of so-called artificial neural networks from pre-selected
samples of particular variation styles (for example Chorale parts by Johann Pachelbel).
You can use this feature to easily learn the fundamentals of variations and you can use
the results as starting point for your own compositions.
To fully utilise the potential of this feature we recommend that you proceed as follows:
Clicking Vary from the Compose menu opens a dialog where you can determine all
settings for the variation. tonica will remember your settings and will go back to the
preset ones if you click Default.
The harmonization and variation style you selected will be considered during
composition.
• By clicking Options you can change settings of the harmonization style.
• By clicking Variation style you can change the appropriate settings.

• In Section you define the section to be varied.
• Click all if the variation is to be composed for the entire melody.
• Click current phrase if only the phrase where the cursor is positioned is to be
varied. Phrase ends are marked by fermata. Should there be no fermata, then
this corresponds to the entire melody.
• Click marked section if a marked section is to be varied.
• In Melody voices choose the melody voice.
• If you have entered no functions or do not wish to apply the preset functions,
then click Harmonize again.
• In Varying voices you determine which variation is to be created in which
voice. If you wish to have the variation always in the same voice, tick Fixed and
enter the desired voice.
• If your variation is to be created in different voices, tick Random alteration
between and tick all voices which may be varied. tonica will pick a random
variation motif in one of the chosen voices (soprano, alto, tenor or bass). If you
also tick No variation, then it might happen that no variation motif appears at
a time.
• If you want to decide yourself when a voice is to be varied, tick Alternation
pattern and enter the order of voices to be varied like this: SB SAT for example
means that the first variation motif is to be in the Soprano (S), the second one
in the Bass (B), then there is to be no variation (space), then again Soprano (S),
Alto (A) and Tenor (T). This sequence will be repeated until the end of the
variation.
To fully utilise the potential of this feature we recommend you proceed as follows:
➔ How to vary a phrase
• Enter the melody into the soprano voice or into any other voice. The more im-
portant parts of the melody should be marked with fermata. These will be ref-
erenced during the automatic variation process and generally produce a better
result than working without fermata.
• To generate a complete composition with varying melody please select Vari-
ation from the Compose menu.
• To generate a variation that includes voices other than the melody voice you
need to first compose a score from the menu Compose - Score.
• You can then compose a variation from the score using menu Compose – Vari-
ation. You can define which voice of the score must be varied.
• Play back the variation and assess the result.
• To modify the result using different settings you can undo the action in step 4
and rerun Compose - Variation with new parameters until you are satisfied
with the result.
How to create variations with the dialog „Variation Model“

Select menu Compose - Variation Model to modify the variation style. The settings can
be defined individually for each tonica document and will be saved together with the
score. Clicking Standard gives you the standard settings.
With Variation style you set the style tonica will apply to vary the phrase (for example
Pachelbel Partita I). Underneath you will find a short description of the variation style
you chose.
With Variation rhythm you determine the duration of a variation motif (for example
quarter notes). Here you can set the harmonization space. You can also choose values
differing from the harmonization space.
Usually each variation motif starts with the first note in the voice to be varied, so the
variation follows the movement of the voice. Clicking Determine first motiv tone
creates variations with the first motif note differing from the voice to be varied. This
gives you a „flowing“ characteristic.
f tonica fugata: How to compose a canon

When you select the command Canon from the Compose menu, a dialog appears in
which you can define the setting for canon composition. This setting can be individually
defined for each tonica document and is saved together with the document. tonica will
remember the setting you defined and will reset it when you click the Default button.
When composing a canon the selected harmonization and variation styles are
considered.
• In the area Theme you define the part which is to be used as the theme.
• Select All if the entire melody is to be used as the theme.
• Select Current phrase if the phrase is to be used as theme only where the
cursor is currently placed. The end of a phrase is indicated by a fermata. When
no fermata have been placed then this relates to the entire melody.
• Select Marked section to use a previously marked section as the theme.
• For Melody voice select the voice that contains the melody.
• In the Canon material area of the dialog you can define the setting which is to
be considered for the creation of the canon's musical material (harmonization,
accompaniment). Click Determine, and the setting will be automatically
determined considering the selected theme.
• If you want to vary the canon accompaniment tick Vary accompaniment. The
selected variation model will be considered when varying the accompaniment.
• For harmonization of the theme the harmonization rhythm which you selected
for the document will be considered. You can change the setting for the
harmonization style by clicking Options.
• The Variation rhythm you selected for the document will be considered for
creating the counterpoint. You can change the variation style setting by clicking
Variation style.
• In the area Round canon you can define the canon's structure. With a round
canon the voices enter one after another until the canon is repeated.
• With Order of entry you define the order in which the voices enter. In Entering
voice the voices used are listed in their order of entry. This order of entry can
be changed by clicking up and down. Single marked voices can be deselected
with >. To select marked voices you must mark them in the list Not used voice
and then click <.
• Additionally, you can determine a theme form for each entering voice. This can
be original form, retrogration or canon rectus et inversus. When all entering
voices are in their original form a strict canon is created. This means that each
entering voice is (except for the octave pitch) an exact imitation of the previous
voice. You can change the theme form for the marked voice via the button
Change theme form.
• The Entering interval determines how many semitones away from the previous
voice a voice shall enter. When you select an entering interval other than prime
the canon will change keys with each entering voice, depending on the
entering interval. This is done until the keys repeat.
• With Maximum length you determine the canon's maximum duration (number
of bars). Leave the predefined value unchanged if you do not want to restrict
the length.
Hints for canon composition

tonica is able to compose cirucular canons with any theme and for several voices.
tonica will of course consider the selected harmonization and variation style. You can
use this feature to playfully obtain basic knowledge of the strict counterpoint and then
take the results as the starting point for your own composition.
Round canons are characterized by the fact that voices are repeated after a certain
number of bars. This has the effect that the canon can be continued at will. You can
choose a strict or a free canon. With a strict canon each entering voice in its original
form is (apart from the pitch) an exact imitation of the previous voice. You will obtain a
free canon if you select a theme form (inversion, retrograde or canon cancrizans) which
differs from the original form for one or several entering voices. Theme form and
accompaniment of the entering voices will then differ.
Also, you can determine which voices are to enter in which order and whether
accompaniying voices are to be varied. Additionally, you can change the voices'
entering interval.
We recommend that you proceed as follows in order to fully use all features for
automatic canon composition:
• Enter the theme in the soprano or any other voice. Alternatively, choose a
suitable melody section, for example the first phrase of a melody.
• Select the preferred harmonization style and a variation style if you wish to
vary the canon's accompanying voices.
• Click Canon in the Compose menu to determine the round canon's structure.
This includes the order of entry of the voices, the theme form and the entering
interval of the entering voices.
• Determine whether the canon's accompanying voices are to be varied.
• Compose the canon by confirming the selected parameters.
• Play back the canon and judge the result.
• To compose a canon again with altered parameters undo the result and
compose again with the command Canon from the Compose menu until the
result suits your requirements.
f tonica fugata: How to compose a fugue

When you click Fugue in the Compose menu a dialog appears in which you can
determine fugue parameters. This setting can be individually defined for each tonica
document and is saved together with the document. tonica will remember the setting
you defined and will reset it when you click the Default button.
When composing a fugue the selected harmonization and variation styles are
considered. You can change this setting by clicking Options and Variation style.
• In the area Theme you define the part which is to be used as the theme.
• Select All if the entire melody is to be used as the theme.
• Select Current phrase if the phrase is to be used as the theme only where the
cursor is currently placed. The end of a phrase is indicated by a fermata. When
no fermata have been placed this relates to the entire melody.
• Select Marked section to use a previously marked section as the theme.
• For Melody voice select the voice that contains the melody.
• In the Fugue material area of the dialog you can define the setting which is to
be considered for the creation of the fugue's musical material (harmonization,
accompaniment). Click Determine, and the setting will be automatically
determined considering the selected theme.
• The counterpoint of the theme is composed from the fugue's accompanying
voices. If you wish to vary these accompanying voices tick Vary accompanying
voices. The selected variation style will be considered when varying the
accompaniment.
• For harmonization of the theme the harmonization rhythm which you selected
for the document will be considered. You can change the setting for the
harmonization style by clicking Options.
• The Variation rhythm you selected for the document will be considered for
creating the counterpoint. You can change the variation style setting by clicking
Variation style.
• Generally the fugue theme ends harmonically before the next cue (no overlap
of entering themes), however sometimes the new theme enters together with
the last note of the (initial) theme. In this case please click Theme overlap
where you can define the overlap duration in sixteenth notes.
• In the area Fugue you can determine the fugue's structure. A fugue begins with
voices entering one after another with the theme (which forms the exposition).
Following this the theme will be altered in one or several sections
(development).
• With Form scheme you determine the fugue's basic form i.e. the character of
exposition and development. With Form scheme you also determine the order
of entering voices. For example, in the standard fugue pre-defined by tonica
the voices enter in the order [2, 1, 4, 3]: 2nd voice, 1st voice, 4th voice, 3rd voice.
• With Voice allocation you determine how the voices of the selected form
scheme are to be allocated to the voices of the fugue to be composed. If you
choose soprano as the first voice and then alto, tenor and bass for the standard
four-part fugue the voices will enter in that order: soprano, alto, tenor, bass.
You can modify the order of entry by changing the voice allocation. For
example, if you exchange alto for soprano and bass for tenor, then the order of
entry will change as follows: soprano, alto, tenor, bass. You can even allocate
two or more voices of the form scheme to a voice of the fugue. If you choose
the soprano for all voices then you will obtain a fugue with a four-part
structure, but for only one melody instrument, such as in J.S.Bach's sonata for
violin solo (BWV 1001).
Hints for fugue composition

tonica is able to compose fugues with any theme and for several voices. tonica will of
course consider the selected harmonization and variation style. You can use this feature
to playfully obtain basic knowledge of fugue composition and then take the results as
starting-point for your own composition.
The special feature of a fugue is its complex treatment of the theme. A fugue begins
with an exposition when the main theme is heard. The main theme is called the subject
or Dux (Latin: leader), the transposed version is called the answer or Comes (Latin:
companion). When in the key motif of the Dux the fifth note appears above the key
note, then this key note will be changed to a fifth in the Comes. This is in order to
ensure the identity of the key. Alternatively the theme will be transposed true to the
interval. This is called a 'real fugue'. Further voices can be added according to this
principle until the entire number of voices is reached. Further on in the fugue there will
always be parts where the theme is executed in different voices. These parts are called
„developments“. In these developments the theme can be varied in different ways or
can be combined with itself. Such combinations can be stretto (overlap of two or more
entering themes), reversions, retrogrations of the theme or augmentations (statement
of a melody in longer note values). The entering themes are connected with each other
by interludes. These interludes are used for modulation and are generally composed
from sequences or canons.
tonica offers several form schemes, most of them derived from the fugues of the Well-
Tempered Clavier by J.S. Bach. In the composed fugues, the exposition, developments
and entering themes are marked. When you click one of the notes of an entering theme
with the mouse a tool tip opens which gives you information about the theme form.
When choosing a fugue theme you should pay attention to a focused melodic content.
The theme should have a distinctive character. It should not fall apart into two equal
halves, as many themes of the Viennese classic do. The theme should not exceed the
range of an octave. It should stay in its key and may only switch to the upper dominant
when being modulated.
In tonica you will find the fugue themes of the Well-Tempered Clavier by J.S. Bach. They are good
demonstration material.
We recommend that you proceed as follows in order to fully use all features for
automatic fugue composition:
• Enter the theme in the soprano or in any other voice. Alternatively, choose a
suitable melody section, for example the first phrase of a melody.
• Select the preferred harmonization style and a variation style if you wish to
vary the fugue's accompanying voices.
• Click Fugue in the Compose menu to determine the fugue's structure. This
includes the setting for creation of the fugue material, the form scheme and
the voice allocation.
• Compose the fugue by confirming the selected parameters.
• Play back the fugue and judge the result.
• To compose a fugue again with altered parameters, undo the result and
compose again with the command Fugue from the Compose menu until the
result suits your requirements.
The fugue composition kit

With the fugue composition kit you can edit and graph existing fugue schemes (= form
schemes of a fugue).
This dialog shows all fugue schemes in a tree structure, reflecting the hierarchic
composition of the fugue:
• Level 1: Fugue scheme (for example standard fugue)
• Level 2: Form section (exposition, development or coda)
• Level 3: Form component (theme, canon interlude, sequence interlude or
fermata interlude)
In levels 1 and 3 you can change properties of a fugue scheme (name, number of
voices, bars and duration of theme) or a form section.
Click one of the nodes to edit its properties. You can edit or create new form schemes
via the context menu (right mouse click) or with drag and drop.
Click Export to export fugue schemes as a file.
Click Import to import fugue schemes.
With Default the predefined fugue schemes will be restored. All changed or newly set
fugue schemes will be deleted.
With Accept you accept the modifications for the marked node.
Click Graphics to activate or deactivate the graphic description of the fugue schemes.
Finish with OK to save the changes you made. If you click Cancel all changes are
cancelled.
The fugue's time flow, which is defined by the form scheme you chose, is shown in a
separate window. This is described in the section Fugue.
The form section you chose (here: entering theme in the alto) is outlined in black. If you
click on any symbol except the counterpoint the cursor will jump to the respective form
section.
The following properties can be defined for a fugue scheme or a form section:
Properties of a fugue scheme

Description: Name of the fugue scheme
Number of voices: Number of voices of the fugue
Bar: Meter of the fugue
Duration of theme: The form scheme is based on this duration. Click ... to set the
duration in number of bars, beats or sixteenth notes. If a fugue is composed whose
duration does not comply with the duration stated then all durations are adapted
accordingly.
Properties of a theme
Theme voice: Voice with entering theme
Leading: Determines if the theme voice is leading. If the entering theme is leading then
tonica will try to maintain the initial form of the theme excluding clearly indicated
changes (such as reversions). Not leading entering themes can be adapted to leading
entering themes. If a theme enters in two or more voices at the same time then the
voices not leading will be harmonically adapted to the leading ones.
Mode: Mode of the entering theme can be either direct (major, minor) or related to the
theme (unchanged, change major/minor). If you enter a minor theme and then choose
„change major/minor“ the theme will appear in the corresponding major mode.
Comes: Determines if the theme is to enter as comes or dux (original form).
Transposition: Determines the number of semitone steps for the transposition of the
theme.
Reversion: Determines if the theme is to enter as reversion (horizontal reflection).
Change of note value: Determines if the theme is to be augmented. If it is to be
augmented all note durations will be doubled in length.
Duration: Duration of the entering theme in relation to beginning or end of the theme.
Click ... to set the duration in number of bars, beats and sixteenth notes. The duration
of the entering theme can be stated in relation to the beginning of the theme (such as
„eight sixteenth notes from the beginning of the theme“) or in relation to the end of
the theme (such as „eight sixteenth notes until the end of the theme“). This means that
the theme will be reduced by the final eight sixteenth notes.
Narrow range: This means that there is a theme overlap so that the theme appears in
two voices at a time. Here you set the duration of the narrow range in relation to the
beginning or end of the previously entering theme. If you set the narrow range to start
zero sixteenth notes before end of the previously entering theme, then the theme will
begin directly after the end of it (no overlap).
Position: Here you set the theme's position. Contrary to transposition this means that
the theme will begin on a different interval level of the scale without being transposed
into another key.
Pedal point: Semitone pitch of the pedal point, if existing. A pedal point is an extended
note in the lowest voice (usually the bass).
Active Voices: Determines which voices are to be active for this form section.
Properties of a sequence (sequencing interlude)

In a sequencing interlude a part of the theme is repeated and it ascends or descends on
different levels of the scale.
Main voice: Voice of the sequence on which the theme is based.
Mode: Mode of the sequence either direct (major, minor) or related to the theme
(unchanged, change major/minor). If you enter a minor theme and then choose
„change major/minor“ the sequence will appear in the corresponding major mode.
Comes: Determines if the sequence is to enter as comes or dux (original form).
Transposition: Determines the number of semitone steps for transposition of the
sequence.
Initial level: Level on which the sequence is to start.

Direction: Number of ascending or descending levels.
Number of entries: Number of sequence repetitions. If you set „1“, then you will obtain
a simple interlude.
Reversion: Determines if the sequence is to be based on the reverted theme (horizontal
reflection).
Change of note length: Determines if the sequence is to be based on the augmented
theme. 'Augmentation' means doubling of all note lengths.
Duration: Duration of a sequence repetition relating to the beginning or end of a
theme. Click ... to set the duration in number of bars, beats and sixteenth notes. The
sequence is based either on the beginning or the end of the theme. The duration can
also be set related to the beginning of the theme (for example eight sixteenth notes
after the beginning of the theme) or the end of the theme (for example starting eight
sixteenth notes before the end of the theme).
Position: Position of the theme on which the sequence is based. Contrary to
transposition, this means that the theme will begin on a different interval level of the
scale, without being transposed into another key.
Pedal point: Half tone pitch of the pedal point, if existing. A pedal point is an extended
Properties of a canon (canon interlude)

In a canon interlude a part of the theme is repeated, one after another and in different
voices.
Starting voice: Starting voice based on the theme.
Mode: Mode of the canon either direct (major, minor) or related to the theme
„change major/minor“, then the canon will appear in the corresponding major mode.
Comes: Determines if the canon is to enter as comes or dux (original form).
Starting interval: Semitone starting interval of the canon.
Entering interval: Determines how the new canon entry is to be transposed. If you
choose fifth, then each new entry will start a fifth up.
Number of entries: For number of entries = 1 you will obtain a simple interlude.
Reversion: Determines if a canon is to be based on the reverted theme (horizontal
reflection).
Change of note length: Determines if the canon is to be based on the augmented

theme. 'Augmentation' means doubling of all note lengths.
Dauer: Duration of a canon relating to beginning or end of a theme. Click ... to set the
duration in number of bars, beats and sixteenth notes. The canon is based either on the
beginning or the end of the theme. Also, the duration can be set related to the
beginning of the theme (for example eight sixteenth notes after beginning of the
theme) or the end of the theme (for example starting eight sixteenth notes before the
end of the theme).
Position: Position of the theme on which the canon is based.
Pedal point: Half tone pitch of the pedal point, if existing. A pedal point is an extended
Properties of a fermata (interlude)

Lasting chord with fermata at the end of an interlude.
Keynote: Keynote of the chord.
Mode: Mode of the chord either direct (major, minor) or related to the theme
„change major/minor“, then the chord will appear in the corresponding major mode.
Duration: Duration of the chord. Click ... to set the duration in number of bars, beats
and sixteenth notes.
Set the vocal range

When you click Vocal range in the Compose menu a dialog appears in which you can
change the vocal range of each voice for melodies, variations, canons and fugues. This
is useful when you wish to compose for a certain instrumentation such as a string
quartet or a male-voice choir. You can individually determine the vocal range for each
tonica document. This vocal range will be saved together with the document.
Click the tab Compose or Vary... and determine the lowest and highest note of each
voice. You can do so by augmenting or diminishing the note with the controller.
Depending on the stave in which the voice is displayed (upper stave for soprano and
alto, lower stave for tenor and bass) you can determine notes from D1 to h3. The
minimum (permitted) distance between lowest and highest note is one octave. Click
Default to reset the vocal ranges to the default value.
Variations are mainly composed for instrumental ensembles and not for vocal
ensembles, therefore larger vocal ranges are set as default values so that the
instruments' range range can be fully utilised.
tonica considers the vocal range you set when composing melodies, variations, canons
and fugues.
f tonica fugata: Creating a harmonic style

tonica has a procedure for learning new harmony styles. It uses a sophisticated neural
network technique, but in a way that is very simple for the user to use. You simply
provide tonica with characteristic examples of the style and the software will extract
the rules behind the style. The most important job for the user is to carefully select
pieces of music that are typical of the style. The more typical pieces of music are
available the better the results will be.
tonica provides an automatic, parameterizable system to create harmonization style
rules. The resulting styles can be added to the Bach, Max Reger and Jazz styles supplied
with tonica. To create a new style you give tonica a quantity of music examples in the
form of tonica files. The program automatically analyses the examples, using a tech-
nique called Neural Network Analysis. Creating a set of style rules this way is referred to
as 'training the network'. Because it can take some time if you supply a lot of examples
(20+) and ask for a high probability of the predicted result matching a real example
when setting the Learning parameters, the process runs in the background while you
use tonica for something else. The trained styles are available immediately.
There is a comprehensive range of facilities to edit styles. Styles can be copied,
changed, deleted, imported and exported.
There are also options that can be applied when using the harmonization style. You will
find these under the menu Compose and Options.
The Style assistant makes it simple to set training parameters for creating the networks that
are used in automatic harmonization.
Style production is limited to example scores that contain chords covered in tonica's
analysable chord repertoire, therefore it is not suitable for styles which use unusual
harmonies. The present repertoire of approximately 50 chord types nevertheless covers
a large proportion of potential harmonies.
The Style assistant

The Style assistant can be started by clicking on Style assistant which can be found
under the Harmonization menu. The style assistant lets you create new styles from
scratch, or to import and modify existing styles.
Use the following example to see how you can create a new harmonization style from a
simple cadence in tonica. The result may not be particularly original, but the procedure
is the same as with creating a new style.
Decide on the tonica files from which a new style is to be created

This is the most important step and might require some effort and time to get it right.
The sample files from which you want to create the style must be available in tonica
format (examples for Bach-style and Scheidt-style have been copied into your demo
folder). If your source file is only available in capella format you can export it from
capella in MIDI format and then import it into tonica.
For this exercise you need to open file 03-11.tca, located in the example folder. It con-
tains a phrase consisting of four chords that constitute a complete cadence (tonic, sub-
dominant, dominant, tonic). tonica will learn the functions which form the basis of the
phrase.
Examination of the harmonization style via harmonic analysis

This step is not essential to creating a new style, however we recommend it as a means
of confirming the quality of the new style. In our current example you will note that no
function (or chord description) is indicated below the last chord. To find out how tonica
analyses the phrase you need to do a harmonic analysis via the menu Analysis/Har-
monic Analysis. As a result the last chord will also be shown as tonic. You can listen to
the analysed result via the menu Compose/Exposition.
Selection and analysis of sample files

The first two steps were used to prepare the style creation. Now you need to start the
style wizard (menu Harmonic styles/Style assistant) and click on Continue. You have
now reached the first step of the actual tonica style creation. Click Add to select the file
03-11.tca located in your example folder. From the same folder add the file 03-51.tca,
click the filename and click the Test button (more about Test later). Enter a name for
the style, e.g. Cadence style. Click on Next. Both files will automatically be analysed
(one training file and one test file). Confirm the analysis by clicking OK.
Determination of the learning parameters and training of the harmonization style

For the purpose of this exercise you should use the standard settings as displayed in
this dialog window. Click Continue. This will automatically initiate the style training.
Once completed the training report window will display a statistical summary of the
result. The figures should be interpreted as follows: Classification grade of 100% for
training indicates that all harmonies have been learnt successfully. Classification grade
of 75% in the test column of harmonic function indicates that only ¾ of the functions
from the test sample (03-51.tca) would have been determined in the same way by the
trained style.
A high classification grade for training indicates that the training data have been learnt
well. A high classification grade for test indicates that the learnt function is capable of
predicting test data that has not been learnt. This means that it is not necessarily
desirable to reach 100% classification grade on the training samples, but rather aim for
a well balanced grade between training and test data. In our example 75% is the
maximum attainable grade for the test data.
Click OK to exit the style assistant.
Examine the test result

Once the training of the new style has been completed successfully you need to open
file 03-11.tca and select the newly created style from the drop-down list in tonica's
standard toolbar. Press F5 to recreate the phrase that had been used for training and
tonica will create the learnt functions. The fact that the chords do not correspond to
the original phrase is due to tonica's limitation to learning the functions on which the
phrase is based, but not the actual chord notes.
You can now use this newly created cadence style to generate simple phrases for new
melodies. Due to the short training sample this cadence style will generate only
relatively simple phrases, consisting of tonic, subdominant and dominant. To create a
genuine new style you need to employ more examples, although there is no standard
rule as to how many might be required. From our example you can see that even very
few examples can help to create a new style. However to create a more complex style,
like Bach for example, you would have to use 10 – 20 examples, each with a duration of
an average Bach chorale. The more characteristic examples you use, the better the
result.
Editing a harmonization style

Click on the Harmony style menu and select Style Editor. Here you can copy, change,
delete, train, import and export styles. The styles provided (Bach, Reger, Jazz) cannot be
re-worked, as you need the original example scores which are not supplied.
• Select New to create your own style from example scores of your chosen com-
poser (see Harmonization styles).
• Select Import to import an existing harmonization style file (see Style import)
• Select Close to exit the current window and project.
For styles shown in the Styles list the following actions are possible:
Copy produces a new style from the one you select from the list. It opens the standard
editing dialog box to make changes to the original file before saving it under a new
name (see Harmonization style copying).
Change opens up the style editor as above but does not automatically revise the file
name. You can also start this by double clicking on a style file (Harmonization style -
changing).
Delete deletes a style from your PC.
Train starts the Style training process for the marked style file. Neural networks are
trained by tonica through a process of guided trial and error. A set of steps is created
that reliably mimics the harmonization style of the given example files.
Export will let you copy a style file to another folder. You can specify whether you want
the associated example score to be exported as well as the neural network (see Style
export).
Info lists the performance of the neural network style file against the example files for a
number of key chords.
Using, copying and changing a harmonization style

This dialog box lets you specify the characteristics of a style and in addition:
• The name of the style file
• The list of files which tonica uses for training and testing to create the style
• the learning parameters - the constraints that tonica applies when creating the
neural network that defines a style
• The Composition options - the constraints that are applied when using a style
file to create harmonies
In order to be able to define a style meaningfully you need at least 10 - 20 example
files. There are buttons in the dialog box for adding and deleting files from the file list.
When you have entered a style name and copied example files to the file list you have
done all that is necessary to create a style file. In order to be able to better judge the
results of the style training you can define some files with the "Test" button as test files.
These test files are then not used for training, but only to test the results of the style
production. They are examined to see how well style characteristics from the trained
network compare with examples that have not been part of the training process.
Learning parameters
This dialog box lets you specify the learning parameters for style training. It is advisable
to train initially with the preset values. Changing the learning parameters can lead to an
improvement of the learning results. This is because it is not possible to automatically
determine a set of optimal learning parameters, since these are dependent on the
learning example files that are used. The following learning parameters can be set:
Iterations: The number of times tonica tries new rules and compares them to the ex-
ample and test files. The range is 1 to 500. The larger the number the smaller the learn-
ing error, but the longer the process takes.
Variable network size: This can be between 0 and 100%. In the case of 0% no additional
processing elements (called neurons in neural network techniques) can be added to the
network by tonica. Each neuron receives an input, processes it and either passes it to
another neuron or passes it to the outside world. More neurons means the more data
can be compared and more processing can be done. This can improve accuracy and will
take more time.
Style complexity: This can be set between (0,0) and (5,0). (0,0) and tells tonica that the
complexity of the harmonization that it can create when applying the rules is not con-
strained. If you go to the other extreme of (5,0) you will get more conservative and less
original harmonies.
Automatic style analysis

Automatic style analysis is started if you change any of the files in the list of example
scores or if you change any of the analysis program settings.
During style analysis all the learning and test files are read and the setting Space for
harmonic analysis set in the Composition options dialog box is used. You are informed
of any errors in the example score files. At the end of the process you can accept or re-
ject the new network. You are shown the predicted accuracy figures for the new net-
work to help you decide.
Automatic style training

Automatic style training is started by selecting Style Assistant which is under the
Harmonization style menu. Alternatively you can click on the Training button in the
Harmonization style editor dialog box. The training process goes on in the background,
allowing you to continue using tonica as normal.
The following skills are learnt by individual neural networks:
Chord description: This corresponds to the degree of the scale box in the Chord de-
scription entry window
Bass note: This corresponds to the note in the bass note box in the Chord description
entry window
Upper voice notes: This corresponds to the notes in the upper note boxes in the Chord
description entry window
Passing notes in the three lower voices (alto, tenor and bass)
Different networks are used for major and minor keys, therefore each of the above
have major and minor networks created if there are major and minor scores in the
example score list.
Progress of training is shown in minutes and a progress bar is displayed.
After the training process you will see an analysis of the results. This compares the
harmonies predicted by the trained networks with the actual harmonies. 100% would
mean that the actual harmonies were predicted completely accurately. The most
important networks are the ones that predict the chord name (the first of the four
groups listed above).
There is a difference in the predicted accuracy against the training scores and those
scores designated by you as test scores. A high percent against the training scores
means that the network has learnt well from the training pieces, whilst a high
percentage against the test scores means that the networks can predict well when
given new pieces to harmonize. It is not effective to spend a lot of time trying to get the
performance against the training scores up to 100 %. The best use of time is to get
similarly high percentages against the test and training scores.
You can decide to abandon the trained networks if the results are poor.
Major and minor keys are usually left together in the examples file list, however you can optimize the
networks separately if you wish by modifying the Learning parameters. You will need to have two sep-
arate file lists, one for each, to do this.
Style import
You can import existing harmony styles from other users of tonica and previous versions
of tonica. The Import button is available on both the Style assistant dialog box and the
Harmony style editor dialog box. Both of these can be found under the Harmonization
styles menu.
Select the tonica style file which has the extension (*.tsf). See Style import options for
options available to you when you import a style.
Style import options

The style import options are:
• File name
• Whether the example scores used to train the style are to be imported with the
style. If they are, the style can be further worked on.
• Destination folder
Style export
You can export a style so that it can be used by other users of tonica or in future ver-
sions of tonica. The Export button is in the Harmonization style editor dialog box.
Select the name of the tonica style file to be exported. It will have the (*.tsf) extension.
You have the choice of exporting the file on its own or with the associated example
scores used to create it.
Click Yes to copy all the example files along with the style. A future user will be able to
revise the style using the example scores.
Click No to export the style file on its own. This is the set of neural networks and is all
that is needed to use the style to harmonize melodies. However the recipient will not
be able to modify the style.
Automatic harmonic analysis

tonica can automatically create chord descriptions for notes in a score. This is a useful
tool to understand what your input is and also for analysing the great composers.
Using the interval structure of the notes in the score tonica recognizes five classes of
chords:
Major third (if necessary with added seventh)
Minor third (if necessary with added sixth)
Major third with added sixth and/or minor third with added seventh
Diminished chords (if necessary with added ninth)
Other chords e.g. secondary chords
Analysing a score
Analyse your composition by clicking Harmonic analysis from the Analysis menu. The
calculated functions will be listed below the score.
Click the Section of the score to be analysed.
In Chord scheme choose the style to be applied (for example „Classical music“ or
„Jazz“) .
If you wish to change the distance in harmonic analysis click Options in the Compose
menu.
f tonica fugata: Automatic examination of

compositions
The order of tones in a composition is subject to rules being called composition or voice
leading rules. Respecting these rules is to ensure that a smooth composition is created
which pays attention to the harmony of the voices as well as to a vocal and
independent continuation of each single voice.
A distinction is made between rules for chord creation and rules for chord continuation.
For example, a chord should generally be made of at least three tones (keynote, third
and fifth). The most well-known rule for chord continuation is the interdiction of fifth
and octave parallels i.e. the parallel voice leading of two voices in fifth or octave
distance which would affect the independence of both voices. When writing a
composition in tonica, fifth and octave parallels are displayed with red lines. When
tonica automatically composes, it will consider the most important composition rules.
The importance of voice leading rules in tonal music was often subject to change in
music history. In this respect these rules are to be seen as recommendations and not as
dogma. Nonetheless they help the student to understand why certain passages of a
composition just „don't sound well“.
tonica is able to automatically examine voice leading rules for a composition. You can
use this feature to have your own or foreign compositions controlled as to the
observation of these rules. tonica will distinguish between mistakes when an important
rule has been violated and warnings when it is merely recommended to observe a
certain rule.
As result of the examination note heads or functions where mistakes or warnings
occurred will be coloured in red or blue. If you move the mouse over one of these note
heads or functions, an info dialog will appear which displays the exact mistake or
warning. Multiple mistakes or warnings per note or function are possible. If you wish
you can have tonica correct voice leading mistakes by right mouse clicking on a
coloured note or function.
Examine a composition
You can have a composition examined with the command Examine composition in the
Analysis menu. Note heads or functions where mistakes or warnings occurred are
coloured in red or blue.
• Choose the section of the composition to be examined.
• If you have not entered any functions or want to have harmonies analyzed
rather than entered functions, then select the checkbox Analyze harmonies
again.
• As chord scheme select the style which is to be taken as basis for the analysis,
for example „classical music“ or „Jazz“.
After the examination of the composition move the mouse over a note or function
coloured in red or blue. The mistake or warning text will be displayed. With notes, the
relevant voices will also be stated in the mistake or warning text. In case of a chord
continuation mistake, it will additionally be stated if the note or function belongs to the
first or second chord of the chord continuation.
When right mouse clicking the red or blue coloured note or function, a context menu
will appear:
• Select Info voice leading... to have the mistake or warning text displayed in a
separate window. In this window you can click on the help button to obtain
details about the rules in question.
• Select Correct voice leading... to have tonica correct mistakes or warnings.
Depending on the selected section either the chord at the marked position, the
current phrase or the entire composition will be corrected.
Tip: The tones in the melody voice will not be altered during voice leading correction.
Therefore please make sure that the correct melody voice has been selected. If you
have set fermata in the melody voice, then this voice will be preselected.
Voice leading rules in tonica

Here you will find an overview of voice leading rules applied in tonica. They are
separated into chord realization rules (apply to a single chord only) and chord
progression rules (apply to the transition from one chord to the next).
Important tip: tonica will determine chords with the help of those functions which
were identified during harmonic analysis. Erroneously or not analyzed functions will
lead to mistakes in the examination of the composition. With intermediate chords
which may result from passing or changing tones between two chord functions, the
chord progression rules will be examined without taking these intermediate chords into
consideration. This is because often, such passing or changing tones only hide but not
really fix rule violations. However, in case an independent intermediate chord is
created, a rule violation indicated by tonica might be invalidated. In this case it is
recommended to give the intermediate chord its own function either by entering the
respective function or by harmonic analysis.
The following example will explain the problem:
The left image shows a rule violation (chromatic cross-relation of tone F in the Soprano
versus tone F sharp in the Bass). However, this is not really a mistake because the chord
transition is bridged over with an independent intermediate chord (fourth-sixth chord)
on the second eighth note. If you have this passage examined in eighth note intervals
after having selected „eighth note“ as interval for the harmonic analysis in menu
„Options“, then the result shown in the image on the right will be displayed for the
same chord sequence. Here, no rule violation but merely a warning is displayed telling
you that in the intermediate chord, the bass tone was not duplicated.
Chord realization rules

Voice crossing rule (warning): Voices are not to cross i.e. within a chord, a lower voice
should not have a higher tone than in a higher voice.
Example:
Voice distance rule (mistake): The distance between Soprano and Alto is not to exceed
one octave. In close position the distance between Soprano and Tenor is not to exceed
one octave.
Example:
Dissonance rule (mistake): In neighbouring voices within a a chord, tones in semitone

distance are not allowed. Tones in whole tone distance should occur only once.
Example:
Rule: Completeness regarding chord tones (mistake): In three-part chords, at least

keynote and third have to be present. In four-part chords, at least three chord tones
have to be present, especially the third.
Examples:
Rule: Completeness regarding chord dissonances (warning): With four-part chords,

characteristic dissonances (such as the seventh with seventh chords) should be present.
Example:
Rule correctness (mistake): A chord may not contain tones not belonging to the
harmony (except for the characteristic dissonances specified in the function).
Example:
Rule: Completeness regarding figured bass (mistake): In figured bass chords, all chord
tones must be present.
Example:
Rule: Figured bass position name (mistake): With figured bass chords, position names
(numbers larger than 7) in the upper voices have to be considered, i.e. the added tones
have to appear in the Soprano or Alto (in the correct order).
Example:
Rule: Dissonance duplication (warning): Charakteristic dissonances (for example the

seventh in seventh chords) should not be duplicated.
Example:
Rule: Bass tone duplication (warning): In fourth-sixth chords, the bass tone should be
duplicated.
Example:
Rule: Third tone duplication (warning): The third in the chord should not be
duplicated.
Example:
Note: In many textbooks you will find the claim not to duplicate the third (especially in
sixth chords). However, Diether de la Motte shows in his textbook „Harmonielehre“
with appropriate compositions that a general interdiction to duplicate thirds is an error.
Statistically seen it strongly depends on the style you look at whether or not third
duplications are used: Samuel Scheidt rarely applies them in his chorals whereas you
will find them rather often with J. S. Bach. Thus this rule is to not be seen as a
command but as a suggestion to reconsider voice leading.
Chord progression rules

Rule: leaps (mistake): In a chord transition you are not to have too many large leaps,
especially within one phrase.
Example:
Rule: Parallels (mistake): The parallel leading of two voices in perfect fifth or octave
distance is forbidden. The same applies when during opposed movement in the same
interval, the distance between voices is plus or minus one octave (antiparallels). Also
forbidden is the interval course from a diminished fifth to a perfect fifth. The opposite
interval course is allowed.
Examples:
The first example contains several parallels:

• Fifth parallel in Soprano and Tenor
• Anti fifth parallel in Soprano and Bass
• Anti octave parallel in Tenor and Bass
Please note that the rule (same as all other chord progression rules) is not invalidated
by intermediate tones (for example passing or changing eighth notes) even though you
will not see any red lines in the composition any more (in this example due to the
intermediate tone d in the Soprano).
The second example contains the fifth course diminished-perfect in Soprano and Tenor.
Rule: Resolve dissonances (mistake or warning): Characteristic dissonances (for
example the seventh in seventh chords) have to be resolved stepwise in the same voice.
You will receive a warning when the dissonance is resolved in a different voice.
Examples:
Note: In some textbooks you will find the demand that in dominant seventh chords, the
third is always to be resolved stepwise upwards and the seventh stepwise downwards.
When analyzing appropriate compositions (for example Bach chorals) you will find that
this demand is permanently violated and that the direction of resolution is less
important than the requirement to always resolve dissonances stepwise (upwards or
downwards).
Rule: Cross-relation (mistake): Cross-relation means a semitone or tritone interval
allocated to two voices. The chromatic cross-relation is forbidden, i.e. the chromatic
succession of tones of two chords in separate voices (for example when suspensions
are resolved).
Example:
Automatic cadences
The tension and movement of a composition comes in large part from carefully
constructed chord sequences which are called cadences. tonica will fit predefined
cadences into your score if requested. These are derived from the styles libraries and
therefore will allow you to benefit from cadences created by past great composers.
They will be inserted at obvious phrase ends and other places tonica feels are
appropriate. In this way a more flowing composition is created, and you can learn how
cadences can be used as a structural element of a score.
The chord descriptions for the inserted chords of the cadence are coloured and if you
rest the pointer over them or right mouse click on them you will see the following
information on the origin of the cadence:
• Composer
• Titel of work
• Text line of the cadence
• Score line number
• Start position in sixteenth notes; for partial cadences this is the position of the
inserted piece
• Classification Perfect or Imperfect
• Type of cadence (G = perfect cadence, HD = imperfect cadence, HDD = imper-
fect cadence ending on the double dominant, HS = half close on the sub-dom-
inant, HZ = half close on the secondary dominant, T = interrupted cadence)
• Idiom (A = authentic, ADW = authentic double idiom, AE = authentic introduc-
tion, AP = authentic pendulum, APHR = authentic phrygian half conclusion, OV
= without usual preparation, P = plagal, PE = introductory plagal, PP = plagal
pendulum)
• Chord immediately preceding the cadence (S = subdominant, Dd = double-
dominant, Z = secondary dominant)
• Penultimate, i.e. characterisation of the next to last harmony of the cadence,
i.e. the first chord of the cadence.
• Editor of the cadence
You can specify whether to insert cadences automatically or not, and whether they can
be at any appropriate point or just at phrase ends. Do this through the Options com-
mand under the Compose menu.
tonica example files

The example files are numbered consecutively. The larger the number the more difficult
the example. To find a file easily all files are arranged in a system giving you information
about the type of file. The two initial numbers of the file name state the chapter the
example file refers to. File 06-20.tca for example refers to chapter 6.
The last two numbers have this meaning:
File name Meaning
10 - 19 : Example files to view and to analyse
20 - 29 : Cadence task to be solved
30 - 39 : Solutions to the tasks

40 - 49 : Figured melody or figured bass to be

completed
50 - 59 : Solution
60 - 69 : Examples found in literature
File name 02-23.tca refers to the third cadence task in chapter 2 of the manual.
Naturally not all numbers are assigned, but this system gives a quick overview and can
be extended by you for more tasks.
Index
A Distance........................................... 9
Document.........................................8
Accompanying pattern................... 38 Dot................................................. 12
Activation......................................... 8
Ambitus.......................................... 52 E
Analyse.......................................... 59 Edit................................................. 18
Automatic cadences......................67 Edit style........................................ 55
B Examine......................................... 60
Export.............................................27
Barlines.......................................... 13
Beams............................................ 14 F
C Fermata..........................................32
Figured bass.................................. 35
Canon............................................ 43 Folder............................................. 23
capella................................................ Fugue............................................. 45
2,2 Export..................................27
3,1 Export..................................27 Fugue schemes............................. 48
H
Export........................................27
Import........................................ 23
View.......................................... 28 Harmonic Analysis......................... 58
Change time signature.....................9 Harmonize......................................33
Chord realization rule.....................61
Compose........................................32 I
Duplicate voice..........................40 Import............................................. 23
Composition................................... 32 Instruments.................................... 30
Accompanying pattern..............38
Introduction...................................... 6
Canon........................................43
Examination.............................. 59
Figured bass............................. 35 J
Fugue........................................ 45 Justification.................................... 15
Fugue schemes........................48
Options......................................34 K
Variation.................................... 41
Variation model......................... 43 Key................................................... 9
Create harmonic style.................... 53
L
Cursor............................................. 11
Learning parameters......................56
D License.............................................8
Dissonance rule............................. 62 Load............................................... 23
M Cross-relation...........................67
Dissonance duplication............64
Midi.................................................... Figured bass position name.....64
Import........................................ 23 leaps.........................................65
Quick import.............................. 27 Parallels................................... 66
MIDI................................................... Resolve Dissonances.............. 66
Export........................................28 Third tone duplication...............65
Midi-Reset......................................31 Rules..................................................
Chord progression...................65
Mouse piano.................................. 13
MusicXML.......................................... S
Export........................................28
Save............................................... 23
N Style analysis................................. 57
note length..................................... 12 Style assistant................................53
Style export.................................... 58
O Style import.................................... 58
Open.............................................. 23 Style training.................................. 57
P T
Parallels........................................... 9 Tempo............................................ 31
Passing notes................................ 34 Ties................................................ 14
Phrase variation............................. 41 Time signature................................. 9
Placeholder.................................... 15 Title.................................................. 9
Playback........................................ 29 Triplets........................................... 15
U
Print................................................29
Print view size................................ 10
Undo.............................................. 19
R
Realize chords............................... 34
V
Redo.............................................. 19 Variation style.................................43
Rhythmic playing in........................16 Vocal range.................................... 52
Rule.................................................... Voice crossing rule.........................61
Bass tone duplication...............64 Voice distance rule.........................62
Completeness regarding chord Voice duplication............................ 40
dissonances.............................. 63 Voice leading rules.........................61
Completeness regarding chord
tones......................................... 62 Volta brackets................................ 15
Z
Completeness regarding figured
bass...........................................63
Correctness..............................63 Zoom................................................ 9

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tonica fugata/pop version 12.0

tonica is a registered trade mark of capella-software AG

Voice leading rules in tonica ..................................................................... 61

Hardware and software

• A Midi keyboard will speed up note entry.

Restrictions of the demo version

Install and start tonica

Print view size

Working with tonica

Single note entry with the mouse, PC keyboard and Midi

To enter notes and rests

icon key voice

2. Select the duration of the note/rest that you want to enter.

and adapt the length this way.

(ÁÍSÍhÍiÍfÍtÉ enters the note an octave higher.)

Pressing ÁÍSÍpÍaÍcÍeÉ or ÁÍPÉ enters a rest.

4. Click again one of the icons to switch off barline entry.

2. Click this icon to set a beam.

3. Click this icon to delete a beam.

2. Click this icon to set a tie.

3. Click this icon to remove a tie

2. Click this icon to create a triplet or press ÁÍRÉ.

3. Click this icon to remove a triplet or press ÁÍRÉ again.

2. Click this icon to set a repeat bracket.

Rhythmic playing in (Real Time Entry)

You will now see a further dialog box.

ÁÍSÉ ÁÍDÉ ÁÍGÉ ÁÍHÉ ÁÍJÉ ÁÍLÉ Lower notes

Editing (deleting, cutting, copying, pasting)

You can cancel the marking by clicking anywhere in the window.

The Undo Function

a: T, S, D, Tp, Sp, Dp, Tg, Sg, Dg, t, s, d,

f tonica fugata: Chord theory descriptions:

a: Degree of the scale: I, II, III, IV, V,

f tonica fugata: Roman Numeral descriptions:

or flattened bass note.

f tonica fugata:Figured bass descriptions:

Every edit field:

1-14 Figure number

Evaluating chord descriptions

Notes in the chord

Whether the bass is correct

Opening and closing a file, saving a file, importing and

Opening a piece of music

You can import standard Midi files of the type Midi-1.

Meaning of the terms:

• Factor by which all imported note lengths are multiplied. Values 2 or 4

• 3rd and 4th lowest logic as above.

Strategy Soprano: "highest"

Strategy Soprano: "highest"

Strategy Tenor: "lowest"

Midi quick import

Exporting a tonica file

➔ Exporting in Midi format:

Initial empty bar Break at the beginning (optional). The length of

Note length Depending on the instrument it may be

Setting up music entry and playback

• Click the fermata symbol .

• Click the fermata symbol .

• Click the fermata symbol .

To determine the composition section

Click Harmonization style to determine a style.

Figured bass realization