MIDI can be a very powerful tool when making music in the digital world. Although MIDI can get very complex, the basics are easy to understand. In this article we will cover some of the terms you may come across when reading about MIDI. These are also the same MIDI terms you may see referenced in your product's user manual.
MIDI Basics - Common Terms Explained
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Intro
An acronym for Musical Instrument Digital Interface, MIDI was created in the early 80s as a communication standard for musical hardware. The standard allows two products, from two different manufactures, to send performance data back and forth using a common language. These days, MIDI is used to control music equipment, lighting equipment, and even video games. It's a fast transferring digital signal that allows performance data to be layered using multiple channels or separated using multiple ports.
Channels vs Ports
Program adobe flash. MIDI messages can be defined by a MIDI port and/or a MIDI channel. Each port has 16 different channels that can be used to pass data. MIDI ports are often unique hardware paths, typically indicated by a 5-pin DIN connectors (shown below). MIDI ports can have their own hardware input and output or all ports can be handled by a single USB connection.
Tip: You can send the same performance data down all MIDI channels when an OMNI mode is used from the transmitting hardware or software.
USB-MIDI vs 5-pin DIN
MIDI is transferred using two common cables/connectors. Most hardware and external sound modules will use MIDI 5-pin DIN inputs and outputs to transfer MIDI. More recently, due to the music software explosion, MIDI is being sent over a USB cable. Since computers come standard with USB ports, a USB connection is now the more desirable choice.
MIDI controllers may have USB-MIDI as well as 5-pin DIN in and outs. This accommodates computer and external hardware connection.
Whats a 'Virtual Instrument' and Why Do I Need One?
MIDI does not pass audio signal, so if you are using a MIDI controller connected to the computer, you will most likely need some sort of software that will interpret the MIDI and produce sound. This is referred to as a Virtual Instrument, VI, or plug-in. If you are using recording/sequencing software, you may already have some virtual instruments included. Virtual instruments can consist of a variety of sounds or can specialize in a particular timbre or category. Whether you're looking for great piano sounds, epic drum kits, or the sounds of crashing dish wear, there is a virtual instrument out there for everyone.
Some Advantages of Using MIDI
Types of MessagesMIDI Notes - letters vs numbers
The most commonly used MIDI message is a note-on or note-off message. A note-on message is created when pressing a key (or pad), and a note-off message is created upon release. This MIDI note message tells you what note was played, how hard the note was hit, and what MIDI channel the note was played on. Using note-on and note-off messages will determine how long the note took place. All this performance data gets translated to digital information, which can then be read by any other device supporting MIDI.
Every note on a full scale (88-key) piano is affiliated with a note and octave, as well as a MIDI note number. The following chart will show you this relation:
The same notes and octaves displayed on a full range piano:
Looking at the charts above you can see that middle C, known as C4, is represented by MIDI note number 48.
TIP: Changing the MIDI note a controller sends can be helpful when a drum pad is not triggering the desired sound from your software or hardware. If you wanted to send C4 when pressing a pad, MIDI note 48 would need to be assigned to the pad.
ON/OFF Messages - momentary vs toggle
There are two ways a MIDI note can be sent. When using a keyboard, you will most likely be using momentary messaging. This mean an ON message is created when pressing a key, and an OFF message is created when releasing the key. Sometimes, when using drum pads or buttons, a toggle style functionality may be desirable. When using a toggle setting the OFF messages are not being sent when the pad is released. Instead, the pad will alternate between sending ON and OFF messages when struck.
TIP: Using a button or pad with a toggle function will help control a parameter that needs to stay on after releasing the button/pad. This can be beneficial if you are controlling something like a solo, mute, or an effects ON/OFF switch.
Continue Controller/Control Change/(CC)
Most commonly referred to as a (CC), this message consist of a controller number and a value ranging from 0-127. Most hardware encoders, such as knobs and faders, will send these types of messages. Often encoders will have the ability to change the control change number they are sending. This flexibility allows a single encoder to have the ability to control multiple parameters such as volume, filter cutoff, effect mix, etc.
The following list shows the standard use for these controller numbers when controlling MIDI hardware. The controller assignments in bold are the most commonly used.
NOTE: When using software that supports MIDI mapping, you can assign any control change number to any parameter available via mapping.
Program Change
Also known as a 'patch change', these messages are commonly used to tell hardware or software to change a patch preset. When using General MIDI, the program change number will be affiliated with a particular type of patch. When General MIDI is not being used, manufactures will list patches in the order they wish. Most virtual instrument companies will not follow this standard since their sound sets are unique. Here is the list of program changes and what patch they refererence when using the General MIDI standard:
Piano
Chromatic Percussion
Organ
Pipe
Synth Lead
Synth Pad
Synth Effects
Ethnic
Percussive
Sound effects
TIP: Program change messages are specific to a MIDI channel as well. This allows you to change the patch of multiple virtual instruments or hardware modules, all from the same MIDI controller using channel assignments.
Also See.... denotes accompanying sound files
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Metaphoric example to understand the flow of a supply chain. A concept of increasing throughput by adjusting buffers by a rope and controlling speed by a drum.
Like members of a mountaineering team who climb a mountain on the rope, a drum and rope are used for an analogy of management tools when soldiers march or boy scouts hike.
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This troop analogy was first applied to a production line by Ford Motor Co., Ltd. who connected production processes of an automobile assembly line by conveyer belts. Then, Mr. Taiichi Ohno of Toyota Motor Corporation introduced a rope called 'KANBAN'. Both of the concepts brought an innovation in company management and had a great impact on economic growth.
As in an example of boy scouts hiking, those who are bottlenecks are positioned at the beginning and a rope is used for subordinating (synchronizing) the speed of followers with that of the bottleneck persons. This enables preventing the march (work-in-process inventory) from expanding. In other words, to eliminate work-in-process inventory is to reduce costs. Also, in preventing the front ones of the bottleneck group who determine the marching speed of the entire team from slowing down, a rope plays an important role as a buffer to absorb the changes in the marching speed of the front ones of the bottleneck group. A drum plays a role of conveying the information about the speed of the slowest bottleneck persons to everyone in the group and cheering up the bottleneck persons to raise their speed up.
When the rope is stretched out to the limit, it is necessary to impose a constraint on those who tied to the rope so that they will not be able to raise the speed any further. In some cases, work needs to suspend when the buffer reaches the limit. Similarly, the team may sometimes need to stop. If the drum is beaten at the speed of the first person of the team, an interval with the following persons will get wider and wider. In that case, the inventory level will increase and throughput will decrease. If the drum is beaten at the speed of the last person of the team, i.e. the team marches at the speed of the inventory, the inventory level will decrease and throughput will increase as the speed of demand increases. The pull-type system means to beat a drum at the speed of the last person, which corresponds to as demand-driven pull type supply chain management.
Taken with kind permission from the book: 'Understand Supply Chain Management through 100 words' by Zenjiro Imaoka. Published by KOUGYOUCHOUSAKAI Users Who Learned This Word Also LearnedSite SearchSCM TerminologyAlso found in: Thesaurus, Medical, Legal, Idioms, Encyclopedia, Wikipedia. drum·mer(drŭm′ər)n.
2. A traveling salesperson.
drummer(ˈdrʌmə) n
1. (Instruments) a person who plays a drum or set of drums
2. (Professions) chieflyUS a salesman, esp a travelling salesman
3. (Agriculture) slangAustralandNZ the slowest shearer in a team
drum•mer(ˈdrʌm ər)n.
2. a commercial traveler or traveling sales representative.
bubeník
dobos
드러머
trommeslagertrommis
bobnar
คนตีกลอง
người đánh trống
drummer[ˈdrʌməʳ]N (in military band etc) → tamborm; (in jazz/pop group) → bateríamfdrummer[ˈdrʌmər]n(gen) → joueur/euse m/f de tambour, tambourm; (in rock band, in jazz band) → batteur/euse m/fdrum roll n → roulementm de tambourdrum set n → batteriefdrummern
(in orchestra) → Trommelschläger(in)m(f); (in band, pop group) → Schlagzeuger(in)m(f); (Mil, in parade etc) → Trommler(in)m(f)
drummer[ˈdrʌməʳ]n (in military band) → tamburo; (in jazz band, pop group) → batteristam/fdrum(dram) noun
1. a musical instrument constructed of skin etc stretched on a round frame and beaten with a stick. He plays the drums. drom, trom طَبل барабан tambor buben die Trommel tromme τύμπανοtambor trumm طبل rumpu tambour תֹּף ढोल bubanj dob genderang tromma, trumba tamburo ドラム 북 būgnas bungas dram tromtrommebęben طبله tambor tobă барабан bubon boben bubnjevi trumma กลอง davul, trampet 鼓 барабан کھال وغیرہ منڈھ کر تیار کیا ہوا مخروطی یا نیم کروی ساز، ڈھول cái trống 鼓
2. something shaped like a drum, especially a container. an oil-drum. drom وَعاء يُشْبِه الطَّبْل барабан tambor barel trommelförmiger Behälter tromle; tønde κύλινδροςbidón vaat هر چیز طبل مانند rumpu tonneauחבית ढोल-नगाड़े valjak, bačva tartály drum tunna bidone, fusto 太鼓状の物 북처럼 생긴 것 cilindras, būgnas, statinė tvertne tong tontrommel, valse, fat, sylinder, tønnebeczka طبلى ته ورته bidon butoi барабан barel sod bure trumma ที่มีลักษณะคล้ายกลอง varil, bidon 鼓狀物(尤指容器) барабан; циліндр ڈھول کی شکل کا کوئی برتن đồ vật có hình dáng giống cái trống 鼓状容器
3. an eardrum. oordrom طَبْلَةُ الأذْن тъпанче tímpano bubínek (ušní) das Trommelfell trommehinde τύμπανο αφτιού tímpano trummikile گوش میانی tärykalvo tympan תוֹף הָאוֹזֶן कान का परदा bubnjić dobhártya gendangan telinga hljóðhimna timpano 鼓膜 고막 ausies būgnelis bungādiņa gegendang trommelvliestrommehinnebębenek د غوږ پرده tímpano timpan барабанная перепонка bubienok bobnič bubna opna trum[hinna] เยื่อแก้วหู kulak zarı 耳膜 барабанна перетинка کان کا پردہ màng nhĩ 鼓膜
verb – past tense, past participle drummed –
1. to beat a drum. slaan 'n drom يُطَبِّل бия барабан martelar bubnovat trommeln tromme παίζω τύμπανο tocar el tambor trummi lööma طبل زدن soittaa rumpua battre du tambour לְתוֹפֵף ढोल बजाना svirati bubnjeve dobol menabuh genderang tromma battere/suonare il tamburo ドラムを打つ 북을 치다 mušti būgną sist bungas palu trommelentromme, slå på tromme grać na bębnie طبله وهل martelar a bate (la tobă) бить в барабан bubnovať bobnati udarati u bubanj trumma, slå på trumma ตีกลอง davul çalmak 打鼓 бити в барабан ڈھول پیٹنا đánh trống 打鼓
2. to tap continuously especially with the fingers. Stop drumming (your fingers) on the table! tik يَدُقُّ барабаня martelar poklepávat trommeln tromme χτυπάω ελαφρά τα δάχτυλα πάνω σε κτ. tamborilear trummeldama ضرب گرفتن rummuttaa tambouriner לְתוֹפֵף तबला इत्यादि बजाना bubnjati prstima dobol mengetuk-ngetuk tromma tamburellare とんとんたたく (손가락으로) 탁탁 치다 barbenti bungot (ar pirkstiem) bergendang trommelentromme bębnić سوكه وهل لكه د ميز ټكول په ګوتو سره martelar a bate (cu degetele) în ceva барабанить poklepkávať bobnati (s prsti) lupkati trumma เคาะเป็นจังหวะซ้ำ ๆ sürekli tıkırdamak 持續輕敲(尤其是用手指) тарабанити пальцями انگلی سے کسی سطح پر بجانا đánh nhịp tay 连续敲击(用手指连续地敲)
3. to make a sound like someone beating a drum. The rain drummed on the metal roof. drom يَقْرَعُ، يَدُقُّ كالطَّبْل барабаня martelar bubnovat trommeln tromme κοπανώ repiquetear trummeldama صدای طبل دادن rummuttaa tambouriner לְתוֹפֵף בְּ- तबले की तरह की आवाज निकलना या निकालना dobovati kopog mendera óma, bergmála tambureggiare とんとんという音をたてる 북처럼 울리다 barbenti bungot bergendang roffelentromme bębnić د طبلى ږغ martelar a cădea cu zgomot барабанить bubnovať bobnati bubnjati trumma, smattra ทำเสียงเหมือนคนตีกลอง tıpır tıpır ses çıkarmak 發出類似擊鼓聲 гупати, грюкати ڈھول بجنے جیسی آواز نکالنا gõ; đập 发出类似敲鼓的声音
ˈdrummer noun
a person who plays the drums. dromspeler, tamboer طَبّال барабанист baterista bubeník der Trommler trommeslager τυμπανιστήςbatería trummar طبال rumpali batteur/-eure מְתוֹפֵף ढोलकिया bubnjar dobos penabuh genderang trymbill batterista ドラマー 드럼 연주가 būgnininkas bundzinieks pemukul dram slagwerkertrommeslagerdobosz طبله ږغوونكى baterista baterist барабанщик bubeník bobnar bubnjar trumslagare คนตีกลอง davulcu 鼓手 барабанщик ڈھولچی người chơi trống 敲鼓人
ˈdrumstick noun
1. a stick used for beating a drum. tamboerstok, dromstokkie عَصا الطَّبْل палка baqueta palička na buben der Trommelstock trommestav μπαγκέτα τύμπανου ή ταμπούρλου baqueta trummipulk چوب طبل rumpukapula baguette de tambour מָקלוֹת תִּיפוּף ढोलक बाजने का चोब bubnjarska palica dobverő pemukul genderang trommukjuði bacchetta di tamburo ドラムのばち 북채 būgnininko lazdelė bungu vālīte kayu dram trommelstoktrommestikke, paukestokkpałeczka د طبلى لرګى baqueta beţe de tobă барабанная палочка palička bobnarska palička dobošarska maljica trumstock, trumpinne ไม้ตีกลอง davul tokmağı, baget 鼓棒 барабанна паличка ڈھول بجانے کی چوب dùi trống 鼓槌
2. the lower part of the leg of a cooked chicken etc. boudjie رِجْل الدَّجاج المَطْبوخ бутче perna de galinha stehno der Schlegel lår μπούτι μαγειρεμένου κοτόπουλου muslo koib پای مرغ kanankoipi pilon שׁוֹק עוֹף पके मुर्ग की टांग का निचला हिस्सा batak csirkecomb paha ayam bagian bawah leggur coscia di pollo 鶏の足 (닭 요리의) 다리 vištos kojelė (vistas) stilbiņš peha ayam kippenbout kyllinglårpałka د چرګى پښه perna de galinha copan ножка stehno (piščančje) bedro batak ben ขาเป็ดไก่ที่มีเนื้อมาก but 可食用的家禽小腿(俗稱棒棒腿) ніжка پکی ہوئی مرغی وغیرہ کے پاؤں کا نچلا حصّہ cẳng gà (煮熟的)家禽腿下部
drum in/into
to force someone to remember (something) by repeating it constantly. You never remember anything unless I drum it in/into you. inprent يُجْبِرُ على التَّذَكُّر набивам repetir vtlouci do hlavy jemandem etwas einpauken hamre ind λέω και ξαναλέω martillear, hacer entrar a golpe de martillo, repetir mil veces pähe taguma از طریق تکرار در ذهن کسی فرو کردن takoa päähän seriner, rebattre les oreilles de qqn לְשָׁנֵן बार-बार दोहरा कर कुछ याद करने के लिए किी को बाध्य करना nabubati fejébe ver vkinek vmit mengulang-ulang berja (inn í), troða (í) martellare 繰り返したたき込む 되풀이해 강조하다 (į)kalti į galvą iekalt/iedzīt galvā mengulang-ulang erin hamerenbanke inn i wbić do głowy يو څا باندى يو شې څو ځلى تكرار كول تر څو چى هيري نشى repetir a băga/a vârî (ceva) în capul cuiva вдалбливать vtĺcť do hlavy vbiti (v glavo) utuviti slå in i ตอกย้ำ; พร่ำสอน sürekli tekrarlayarak öğretmek 強行灌輸(某觀念) вдовблювати, втовкмачувати بار بار دہرا کر ذہن نشین کرانا nhắc đi nhắc lại cho nhớ 反复强调(用经常重复的方法迫使某人记住)
drummer→ طَبَّال bubeník trommeslagerTrommlerντράμερbatería, baterista rumpalibatteur bubnjarbatterista ドラマー 드러머drummertrommeslagerdoboszbateristaбарабанщик trummis คนตีกลองdavulcu người đánh trống鼓手Want to thank TFD for its existence? Tell a friend about us, add a link to this page, or visit the webmaster's page for free fun content. Link to this page:
Texture is one of the basic elements of music. When you describe the texture of a piece of music, you are describing how much is going on in the music at any given moment. For example, the texture of the music might be thick or thin, or it may have many or few layers.
It might be made up of rhythm only, or of a melody line with chordal accompaniment, or many interweaving melodies. Below you will find some of the formal terms musicians use to describe texture, and also some suggestions for introducing young students to the idea of musical texture and to these terms.
Terms that describe texture![]()
There are many informal terms that can describe the texture of a piece of music (thick, thin, bass-heavy, rhythmically complex, and so on), but the formal terms that are used to describe texture all describe the relationships of melodies and harmonies. Here are definitions and examples of the four main types of texture. For specific pieces of music that are good examples of each type of texture, please see the Activity section below.
Monophonic
Monophonic music has only one melodic line, with no harmony or counterpoint. There may be rhythmic accompaniment, but only one line that has specific pitches. Monophonic music can also be called monophony. It is sometimes called monody, although the term “monody” can also refer to a particular type of solo song (with instrumental accompaniment) that was very popular in the 1600’s.
Examples of Monophony
One person whistling a tune A single bugle sounding “Taps” A group of people all singing a song together, without harmonies or instruments A fife and drum corp, with all the fifes playing the same melody
Homophonic
Homophonic music can also be called homophony. More informally, people who are describing homophonic music may mention chords, accompaniment, harmony or harmonies. Homophony has one clearly melodic line; it’s the line that naturally draws your attention. All other parts provide accompaniment or fill in the chords. In most well-written homophony, the parts that are not melody may still have a lot of melodic interest.
They may follow many of the rules of well-written counterpoint, and they can sound quite different from the melody and be interesting to listen to by themselves. But when they are sung or played with the melody, it is clear that they are not independent melodic parts, either because they have the same rhythm as the melody (i.e. are not independent) or because their main purpose is to fill in the chords or harmony (i.e. they are not really melodies).
Examples of Homophony
Choral music in which the parts have mostly the same rhythms at the same time is homophonic. Most traditional Protestant hymns and most “barbershop quartet” music is in this category.
A singer accompanied by a guitar picking or strumming chords.
A small jazz combo with a bass, a piano, and a drum set providing the “rhythm” background for a trumpet improvising a solo.
A single bagpipes or accordion player playing a melody with drones or chords. Polyphonic
Polyphonic music can also be called polyphony, counterpoint, or contrapuntal music. If more than one independent melody is occurring at the same time, the music is polyphonic. (See counterpoint.) Examples of Polyphony Rounds, canons, and fugues are all polyphonic. (Even if there is only one melody, if different people are singing or playing it at different times, the parts sound independent.) Much Baroque music is contrapuntal, particularly the works of J.S. Bach.
Most music for large instrumental groups such as bands or orchestras is contrapuntal at least some of the time. Music that is mostly homophonic can become temporarily polyphonic if an independent countermelody is added. Think of a favorite pop or gospel tune that, near the end, has the soloist “ad libbing” while the back-up singers repeat the refrain.
Heterophonic
A heterophonic texture is rare in Western music. In heterophony, there is only one melody, but different variations of it are being sung or played at the same time.
There are no examples of heterophonic music that would be familiar to most Western listeners. Some Middle Eastern, South Asian, and Native American music traditions include heterophony. Listen for traditional music (most modern-composed music, even from these cultures, has little or no heterophony) in which singers and/or instrumentalists perform the same melody at the same time, but give it different embellishments or ornaments.
Homophony
A classic Scott Joplin rag such as “Peacherine Rag” or “The Easy Winners” The “graduation march” section of Edward Elgar’s “Pomp and Circumstance No. 1” The “March of the Toreadors” from Bizet’s Carmen No. 1 (“Granada”) of Albeniz’ Suite Espanola for guitar The latest hit tune by a major pop solo vocalist The opening section of the “Overture” Of Handel’s “Messiah” (The second section of the overture is polyphonic)
Monophony
Here is an excerpt from James Romig’s Sonnet 2, played by John McMurtery. A Bach unaccompanied cello suite Gregorian chant Sing something for them without accompaniment Long sections of “The People that Walked in Darkness” aria in Handel’s “Messiah” are monophonic (the instruments are playing the same line as the voice). Apparently Handel associates monophony with “walking in darkness”!
Heterophony
There is some heterophony (with some instruments playing more ornaments than others) in “Donulmez Aksamin” and in “Urfaliyim Ezelden” on the Turkish Music page. The performance of “Lonesome Valley” by the Fairfield Four on the “O Brother, Where Art Thou” soundtrack is quite heterophonic. (Old-style blues owes more to African than to Western traditions.)
If anyone knows of any other good links or easy-to-find recordings of heterophony, or can share an audio file of a good example, please contact me.
Polyphony
Pachelbel’s Canon
Anything titled “fugue” or “invention”
The final “Amen” chorus of Handel’s “Messiah”
The trio strain of Sousa’s “Stars and Stripes Forever”, with the famous piccolo countermelody
The “One Day More” chorus from the musical “Les Miserables”
The first movement of Holst’s 1st Suite for Military Band
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