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201 3-8
Help
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SAVVAS PAPADOPOULOS
Contents
Introduction.
Prologue
Aid contracts.
THE ENVIRONMENT OF MELODY
STARTING THE PROGRAM
THE MELODY DATA FILES
TOOL BOXES
basic menu
BASIC TOOLKIT
HELPFUL TOOLKIT.
INFORMATION LINE
REMAINING TOOLS
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TOOLBOXES OF MUSICAL POINTS

WORKS WITH MUSICAL DOCUMENTS.
Create a music document.
Create a music document from a template
Open music document
Save a music document
Save a music document as a template
Change document format based on template.
Print music document
Export document to Acrobat PDF format.
Export pages to images.
Lock the document to modifications
THE LIBRARY OF MELODO
Library work
Create a book
DISPLAY OF THE DOCUMENT.
DOCUMENT FORMAT.
Document page layout
Document page outline
Distances of musical characters and words
Headers - Footers
Page color
Text coloring
FORMATION OF THE PARAGRAPH.
FORMATTING THE TEXT.
Resize music fonts.
TEXT WRITING
Examining and changing the properties of objects.
Cut / Copy / Paste
Enter text.
Introducing arctic audio evidence.
Assignment or rescaling in arctic testimony.
Introduction of original testimony.
Assignment or change of Scale in original testimony.
The intermediate testimonies
Insert Heading.
Insert musical text points.
4th) Import points with chart.
Training the Melody to enter points with a chart.
Delete musical notes.
Enter time points.
Insertion of expression points
Introduction of damages.
Automatic assignment of Scales to damages.
Introduction of alterations or tractions.
Automatic import of Charms
Enter the Rate indicator number
Use of old marks: Sharp, double and triple slash, crease, bend, etc.
Import dependent points as independent
Introduction of Archigrams.
Introduction of temporal treatment.
Importing private signs and symbols.
Scale input
Insert Images.
Import video and audio.
Saving images, videos and sounds.
Display list of media associated with the document
Enter Reference ( * )
LINKING DOCUMENTS
Inserting a link to another document or to another location of the same document.
Entering Rhythm points
Illustration
Insert and display lyrics.
Format lyrics font
Show variation.
Introduction of balance sheets.
Enter regular text.
Easily highlight multi-tonal text
Special character support
Text display control points.
Points of European music
Insert another document into the current document
Spelling check.
Disable spell check
IMPLEMENTATION
Execution index.
View modes while running and entering text.
AUDIO OUTPUT
MIDI Output Devices .
Add - delete voices.
Activate voices.
Voice profiles and groups
Voice synthesis with MIDI .
MIDI commands
CHANGE TONIC HIGH MEMBER.
BALANCE SETTINGS.
SCALE ILLUSTRATION
THE SCALE AS PAN HARMONY and ISOCRATES.
POINT DEVIATIONS GENERAL AND LOCAL.
MUSIC SERIES
Install music font.
Music font export
CREATION OF DOCUMENT CONTENTS
ADJUSTMENT OF BREATHING TIMES
CREATION OF ARCTIC TESTIMONY.
Registration of Arctic testimony in the bank.
Dissolving Arctic testimony into its elements.
Importing Arctic evidence from an external archive.
Automatic assignment of Scales to Arctic testimonials
CREATION OF SCALE
MAKING SUBSCALE (3/4/5 CHORDS)
METROPOLITAN ILLUSTRATION
ANALYSIS OF THE VOICE OF PSALTON
Depiction of the pitch of the chanter's voice.
Voice analysis window topology
Audio waveform display area
Voice pitch analysis area
Voice pitch analysis parameters
RHYTHMIST
SYNCHRONIZATION OF MUSICAL TEXTS WITH RECORDINGS
FOR FONT MAKERS
Changes in the 2013 version.
Instructions for making music font.
2) Fonts supporting special points .
LISTS OF MUSIC RECORDS.

Working with lists
Working with list contents
FINDING
Finding musical cues
Find a musical phrase
COLLECTION OF MUSIC POSITIONS AND THEIR USE.
Registration of musical positions.
Search music position
Music position search functions
Sort music location search results.
Connection of music places.
VISUAL RECOGNITION OF MUSIC AND REGULAR POLYTONE TEXT (OCR).
Completion of text after OCR
THE MELODY DATA FILES. RESET.
PHOTO SHOOT
POINTS OF ATTENTION.
UPGRADING OLD VERSION DOCUMENTS.
ADVICE - COMMENTS.
KEY UPGRADE
KEYBOARD COMMANDS AND SHORTCUTS
TOUCH SCREEN COMMANDS .
EPILOGUE
CONTACT
Introduction.
Before you start, print this help so that you can consult it more easily.
If you are using Melodo for the first time, it is a good idea to open and browse the ready-made musical texts provided, such as the entire Anastasimatario of John and other texts. You will find these in the Melodos
Library by pressing the Library button and then double-clicking on a book and a document successively.
In order to use Melodos, no more special knowledge is needed than that of using any text editor.
Melodos guides the user with help texts where it deems necessary.
Here we briefly describe most of them and explain some difficult points in practice.
CAUTION. Melodos works on any screen resolution from 1024 x 720 and up, but we recommend 1280 x 1024 to work efficiently.
It also works on any screen dpi eg 96, 120, 150 etc. If the screen has a very high HD resolution eg 1920 x 1080 like new computers and is smaller than 19 inches, then the menus and forms are displayed in
very small letters, like and in every other program, and it is good to change the screen dpi to 150 so that the menus and forms of Melodos and the other programs can be seen comfortably.
Also, Melodos can take advantage of the existence of more screens than one and display a different window on each screen. For example, on one screen the music documents, on the other screen the
metrophony, on the third screen the analysis of the user's voice, on another the Library and so on.
Prologue
With the program Melodos you can write any text of Greek, Byzantine, Eastern or ..Chinese and generally any traditional music of the world easily and very quickly with the use of Byzantine notation checking at
the same time the spelling and syntax of the musical text, to listen to its performance faithfully and precisely, print beautiful pages in color and export the pages you've written as image or pdf files to use for
publishing elsewhere.
There are a lot of details that make it easier for you to get the final result, such as configuring the page to your liking, thinning the characters and lines at will, choosing any color for any group of symbols, inserting
images into the text, inserting videos or external sounds files or designs, the free insertion of normal text in between the musical text, the insertion of MIDI commands at any point of the musical text, the insertion
of Archigrams, the insertion of Titles and Headings linked to the contents so that you can easily jump to any point.
You can also freely specify which font to use for the musical text or for the normal one, change the size or shape of the letters, color and alignment.
You can use the special music text input screen very easily and quickly, drawing the characters on the screen with the mouse or on a tablet with a pen or on a tablet pc with the ... finger.
You can set page borders and headers or footers differently in different areas of the document and page numbering.
You can change the font of the lyrics and the isocrathams and choose one of the many ways of displaying the isocrathams.
You can write text and verses and isograms in all languages of the world.
You can automatically or manually enter pulls and specify them with decimal precision.
For the sound you can choose which MIDI output device you will use from those already installed on your computer, choose the instruments with which each voice will be performed for the singers and isocrates.
You can have up to 10 different voices sing or balance.
You can use the metronome to keep the rhythm of the performance.
You can use the independent Rhythm Maker to write and listen to Rhythms.
You can raise or lower the base pitch of the playing member as much as you like.
You can increase or decrease the execution speed regardless of the time behavior of the member.
You can use all MIDI commands to control the sound dynamically during performance and according to position. For example to change the volume or the stereo image of the channels dynamically.
You can choose one of the ways of automatic switching of the musical text during the execution, i.e. if it will change by page or by line.
You can change the appearance of the pages as a document or as a book for easier page switching.
You can make as many new sounds as you want and scales for the musics of the whole world.
You can at any time dynamically see the performance, the position and the course of the member on the scale or metrophonic window.
You can also use the scale as an Isocrates with simultaneous execution of up to three 3 different isocrates and up to 6 voices.
You can chant or sing into a microphone connected to the computer and control the pitch, pitch, tremolo, tempo, volume and many other characteristics of your voice so that you can easily correct them where
there is a mistake and become ... a nightingale. You can also do this with recorded voices of accomplished singers to visually see how to perform musical positions and phrases as well as their intervals in the
scale.
You can use the base of musical positions with a huge number of ready-made traditional musical positions of Byzantine, traditional and other music that is constantly enriched via the internet to write easily and
quickly and faithfully to traditional and correct writing musical texts. You can enrich this data yourself with as many new positions as you want. You can use the above base of musical positions to write the lyrics
only with their emphasis and get ready musical positions to finally choose the one that works for you.
You can use 'find' to search and find similar musical phrases within the documents.
You can synchronize the musical text with a live recording, so that it is performed against the performance of the computer instruments.
You can make lists of documents with the exact reference position within the document, so that with one click the document opens at the point you want.
You can explore music documents and books with the Melody Library, finding what you want quickly and easily. Make new Books with colored covers and add the music documents of their contents.
You can quickly explore each document using its table of contents and jump to where you want.
You can create callouts with music or normal text above each line of the normal or music text.
You can insert your own music and other symbols on top of the musical characters or as independent ones, thus enriching the text with points that Melodos does not have by itself.
Finally, you can scan all your music books and turn them into Melodos books very quickly and easily, with the OCR included in Melodos.
These most important, but also many more elements that you will discover along the way, make up a complete Byzantine notation musical editor environment for entering, analyzing, composing and performing
musical text using the Computer.
With this help, you will be able to start using Melodos. Immersion is left to your imagination because Melodos is designed to follow the limits of imagination.
Aid contracts.
Where you see the command Ctrl + letter eg Ctrl + C , it means hold down the Ctrl key on the keyboard and hit the key mentioned here eg C.
THE ENVIRONMENT OF MELODY

The Melodos program has dozens of windows to facilitate the user in performing various tasks.
The main window that appears as soon as you start the program is:
STARTING THE PROGRAM

There are three ways to start Melodos.
)
1st :
Step Procedure Result
1 Click on the Windows Start button The Windows Start Menu opens
2 Go to Melodos The Melody menu opens
3 Click on Melodos 2013 Melodos begins
second
2nd ) The way is by double-clicking the Melody icon on the desktop
third
3rd ) The way is by double-clicking on any Melodos document which will load after starting.
THE MELODY DATA FILES

Melodos after version 2013-7 keeps all its data files separate from program files for ease of user management.
All the files found here can be enriched by the user continuously with new data that he can use in the documents he creates. They are not documents themselves but collections or databases that can be used in
writing musical texts.
To go to this folder click on the [Tools -> open data file location] menu.
They are in this position
THE FOLLOWERS
1) In the music fonts folder, all the musical fonts of Melodos and yours that you may create.
2) In the special fonts folder, the special fonts of the melodist and yours that you might create.
3) In the listes folder The lists of documents you create.
4) In the folder protipa eggrafa the template documents you create.
5) In the protipaOCR folder, the Melodos templates and yours for book recognition with OCR.
6) In the Textures folder the images and textures of Melodos and yours that you use to paint pages and letters.
7) In the formulaes_sounds folder, the recordings for the musical positions that you may register.
THE FILES
8) Arktikes_M.ark the collection of Arctic testimonies that you can constantly enrich.
9) fonesPanarmoniou. The combination of voices with which the Panharmonio – Isokrates plays and which you can enrich with new ones.
10) ipoKlimakes.ipo. The subscales you can enrich with new ones.
11) Klimakes.Ech. The scales that you can enrich with your own.
12) musicsTheseis.mef. The collection of music positions that you can constantly enrich.
13) profilFonon. Which do you upload to the documents to change the execution instruments. You can also create your own.
14) protipaHandOCR. This is where you enter points with the pen (by drawing them) for the program to recognize. When you train it with your own handwriting, the entries are entered here.
15) recentFont. It is the list of most frequently used fonts, in the normal text font selection window.
16) rithmiseis. Here the general appearance of Melodos when closed is registered so that it opens in the same form as it was closed.
17) rithmoi.rim. Collection with rhythms of the independent Rhythmographer. You can enrich it unlimitedly with new rhythms.
18) sindesiFthoronMeKlimakes. In this file, the connections of the damages with the scales are registered so that when you enter a damage, it is automatically connected and the scale is changed.
All the above files are configured and enriched by the user and have nothing to do with the programming part of the program where the user is not allowed to change anything.
That's why they have their own storage location which for windows 7 is C:\\ProgramData\\MelodosData which is usually hidden from public view but can be explored through Melodos as mentioned at the
beginning of this page.
This entire folder is backed up when you save the critical Melody data files to restore in the event of a Melody re-installation so that the work you did outside the documents is not lost and is recorded in these files
and not within the music documents.
BACKUP AND RESTORING DATA FILES.
BACKUP
To keep all these files somewhere for safety in case of "accident" go to the [Tools -> Backup of critical data files] menu.
In the form that opens, specify a location where you will save them and remember where it is so that you can restore it if necessary.
RESET.
To restore the critical files in Melodos in case of reinstallation of Melodos and if you have backed up the critical data files, go to [Tools -> Restore critical data files] menu and follow the instructions.
TOOL BOXES
All toolboxes can be shown or hidden selectively from the [Show] menu or by right-clicking on them and selecting the action.
Any toolbox inside the menu that is checked is visible, otherwise it is not.
basic menu
It's the first line above shown here:
Whenever we refer to a command on the menu, it will be enclosed in brackets in bold and italics.
eg [ File -> Open ] means that in the "File" menu you selected the "Open" command.
BASIC TOOLKIT
Where the basic toolbox is mentioned, the following two Melodos toolboxes will be understood:
HELPFUL TOOLKIT.
Where auxiliary toolbox is mentioned it will be meant the left vertical toolbox where part of it is shown here.
INFORMATION LINE
At the bottom of the program there is the information bar to provide useful information
information such as where you are, if you are performing the pitch and time, if any
errors in the text etc.
REMAINING TOOLS
By pressing in the main toolbox the buttons:
A) the Rhythmographer 's toolbox is displayed:
B) of the normal and musical text formatting appears the:
C) Voices and MIDI commands are displayed:
TOOLBOXES OF MUSICAL POINTS
Concise musical notation toolbox

Pressing the button in the Basic Toolbox displays the summary toolbox of music notes with which you can insert all the points except the times:
Quantitative Analytical Toolkit.

Pressing the Basic toolbox button displays six toolboxes that visually contain all quantized ascents, descents, and equalization complexes for easy one-click input.
Corrosion Toolkit.
Clicking on the Basic Toolbox displays the toolbox with the damages for easy visual input with one click:
Expression toolkit.
Clicking on the Basic Toolbox displays the toolbox with all the expression points for easy insertion with one click:
Timepoint Toolbox.
Pressing the Basic Toolbox button displays the Timepoints toolbox for easy one-click insertion:
Importing points from these toolboxes is easy. But there are a total of 4 ways to enter the points as we will see later for faster writing.
way from the [ way
To hide or show some toolboxes there is a 2nd Show ] menu and a 3rd by right clicking on the toolboxes.
Especially for the quantitative, damage, expression and time analytical toolkits, you can right-click on them to choose from the drop-down menu and [ Hide buttons ] whether or not to display some buttons that
you probably don't use.
Also something that applies to all musical note input toolboxes is that you can move them to the four sides of the central window by grabbing them by the grid they have at the beginning.
WORKS WITH MUSICAL DOCUMENTS.

Create a music document.
From the create button in the main toolbox or from the menu [File -> Create -> Music Document] the Page Setup form appears from which you select the sheet size, orientation, text and binding margins and
whether the margins will be opposite on odd-even pages.
You can change all this later.
Create a music document from a template

If you want to create a music document based on a template, just select the corresponding menu. Then you can choose a pre-saved template or a document in the form of which you want the new document to
resemble, so that you don't have to redo all the configurations from the beginning such as page dimensions, musical and normal fonts, colors and so much more. All this is transferred to the new document.
Open music document

There are five different ways to open a Melody document.
1) From the open button of the basic toolbox or from the [ File --> Open ] menu, the window for searching the computer folders and finding the document opens, from where, after selection, it opens in
Melodos.
2) Another way is Drag-drop , i.e. you grab a Melodos file with the mouse in a folder and drop it on Melodos.
3) Another way is if you double click on a Melody file or right click and [Open].
4) Another frequently used way is to select from the recently opened documents recorded in a menu list [File -> Recent documents].
5) Another way is if you open the Library of Melodos and from there open the document. See details at: THE LIBRARY OF MELODOS .
Save a music document

You must save the text you enter at regular intervals so that you do not lose your work in case something goes wrong, for example the computer or the program "hangs" or there is a power cut.
From the save button of the main toolbox or from the [ File --> Save ] menu, the familiar windows form will appear if you haven't saved at least once more, to define the storage location and the name of the
music file. Next time it will save without asking for a name.
Pay attention to the storage location of the document to be inside the Library for reasons we mention in: THE LIBRARY OF MELODOS (below).
Save a music document as a template

From the menu [File -> Save as template] you can create a template that has all the configurations of the current document except of course its content. Later you can create new documents based on this
template or convert existing documents based on this template. Of course, you can use any document as a template, but for convenience you can create a collection of template documents that you use most in
the files you create and give them a similar name so that you can easily find them. The storage location of the templates is predetermined by Melodos for ease of finding them, but you can also save them
anywhere else on your computer.
Change document format based on template.

From the menu [File-> Apply template to the document] you can change the format of the open document (page dimensions, colors, fonts, etc.) based on some of the document templates you have pre-
created, but you can also do it with any other document , the configuration of which you will transfer to the current document and of course not the content.
Print music document

Pressing the button or selecting from the menu [File -> Print] activates the form that guides you through the printing process with its multiple options such as printer, pages to be printed, watermark, etc.
Export document to Acrobat PDF format.

To export the document in PDF format you must first install a virtual PDF printer . You will find many free ones on the internet such as doPDF . After installing it, all you have to do is print the document and
choose this virtual PDF printer as the printer . If you want very good PDF quality , you must choose "embed fonts" or " Embed Fonts " in the PDF . If you want the PDF for simple viewing, do not select embed
fonts to keep the size of the PDF as small as possible.
Export pages to images.

You can export the pages of the music text as images and send them by e - mail to a recipient or publish them on the internet or make them into a book or album or print them etc. Melodos exports the images in
many formats either compressed or without compression. From experience you will choose the export format that suits you. In general, if the text does not have images or if it does and you don't mind a slight
alteration in their export quality, you choose the export in GIF format , because they take up the smallest space on the disk. If you have images and you want good quality in the images as well as good
compression in the space they occupy, you choose the JPEG format , while with the PNG format you have very good quality with a small file size.
From the menu [File --> Export pages as images] the form will appear where you will give the pages and the quality . Then in another form the name with which you want the images to be saved and the path to
the disk. If the text takes up more than one page then Melodos will automatically add a number to the end of the image file name starting from 1, eg Cherub1. gif , Cherub2. gifs etc.
Lock the document to modifications

From the menu [File --> Lock document] can lock the document so that it cannot be modified. Copy from and Paste to document functions are also prohibited. To activate these you have to give a code.
Unlocking is done again from the same menu.
THE LIBRARY OF MELODO

The Library plays a very important role if you want to do organized work. And that means:
1) Have all Melodos' documents and books in a specific location on the computer so you don't have to search here and there.
2) To be able to link documents to each other and move from one document to another document and to a specific page without any problems.
3) To be able to make lists from where you open documents on a specific page. for example, in a Sunday liturgy, 10 different documents may be involved (Orthros, Pasapnoaria, Doxastics, Trisagios hymn,
Cherubic, liturgical, Social, etc. in various sounds and by various composers). So you can make a list from the previous one and add the documents involved one by one, in the order you want and on the page
you want. So by simply clicking on the contents of the list, you open your music documents in the order and on the page you specified.
4) Inside the library the documents are displayed elegantly and with the display of their cover or first page, giving rich information about their content and generally you get the impression of a real library. The
display is adapted to the object and has a huge difference from the dry display of files and documents from the Windows explorer .
5) Inside the library you can search for a document among hundreds using a word of its title as a criterion if you don't remember anything else and get a limited list of answers from where you can easily locate it.
These and many more make the Library a very impressive and useful tool.
The Library folder is named MELODY LIBRARY and is located directly at the root of the disk and cannot be a subfolder inside another folder. For example it is C :\\ MELODY LIBRARY or D :\\ MELODY LIBRARY.
You can change the drive it's on, but not its name.
If you change the library disk, make sure that all the documents and books included in the Library are also copied to the new location.
Pressing the auxiliary toolbox button, shown here, opens the Library on its main page where Melodos books or musical documents are displayed, depending on what this position contains.
Note here that only music documents and book folders or relationships containing music documents are visible in the Library. Anything else inside these folders does not appear in the library.
Hidden in the library for each book is a folder called melodosBookMedia, where the book's images, videos, and audio recordings are stored and can be used by all documents in that book only.
Also inside the book folder is the image of its cover with the same name for each book: exofilo_Bibliou.png. If it does not exist then the book appears with the image of the windows folder. And she is invisible
from the library. But you can see all this from the windows explorer.
With the tools of the library, you can create new books in folders and thus group your work.
A book may be contained within another book or in a folder, but the final responsibility for arrangement rests with you.
To explore the contents of a book or folder I double click. The book opens and the contents I see are music documents belonging to this book or other music books.
For documents you can see the first page of the document, the name of the file, and if you put the mouse over it you can see the number of pages and its contents.
A double click opens the document.
Books are distinguished from documents by their book-like shape.
There are options in the menu to specify how documents and Books are displayed with large or small images or none, with tiles or with lists. Also with Ctrl key + mouse wheel, you can change the size of the
images.
With the button [Define the location of the Library] You can change the root disk of the location of the Library but you cannot put it in a subfolder but only directly on any hard drive you have, for example C
:\MUSIC_LIBRARY or D :\MUSIC_LIBRARY, and not you can give it a different name.
If you change the library disk, make sure that all the documents and books included in the Library are also copied to the new location.
By pressing the 'Open Library folder ' button you can explore the library folder with Windows explorer .
CAUTION. Do not store in the Library folders any other unrelated files and folders, but only what is related to the Melody, because the Library is self-cleaning and you can lose them and it is also scanned at
startup by the Melody to load its contents and if it contains a lot of stuff it will be slow to load.
Library work
There is a button named [Tasks] in the menu . Pressing it or alternatively right-clicking on a book or document or folder in the Library opens the menu to work with the books or documents depending on what you
selected.
So you can open the book to see its contents (this is also done by double-clicking) or open the document in Melodos (and this is also done by double-clicking).
You can open their paths in Windows Explorer .
You can create a new book or folder. You can also do this from Melody as [File->Create->Music Book].
Change the image and title of a book or folder.
Rename a book or document, which especially for documents is recommended to be done from here and not from the windows explorer because at the same time the linked individual folder of the document
that may exist if the document contains images is also renamed.
If you have opened a book to go back one step you have to press the menu button [Go back one step to the Library] which in the meantime appeared as soon as the book was opened.
Only the deletion of books or documents cannot be done from here, but you have to open its path with the windows explorer and do it through the explorer . The same if you want to move a book to another
location.
Especially to move a document to another book or folder, the best way is to open it in Melodos and from there save it in the new location. This is so that any images or other objects contained in the document and
stored in the individual folder or in the folder of the book it belongs to are not lost.
The library detects any change that happens to its contents either directly from it or from windows explorer and displays it immediately if it is visible.
Create a book
There are two ways to create a book. The first one is through the library and its menu [Tasks->Create new Book].
The second one from Melody and menu [File -> Create -> Music Book] .
The form opens that guides you to create a book (book folder with its name and path, which we said should be in the Library) and how the book will look in the Library of Melodos.
As soon as you build it you will see it directly in the central Library if you have it open.
The library detects any change that occurs in its contents and displays it immediately if it is seen.
DISPLAY OF THE DOCUMENT.
NAVIGATION IN DOCUMENTS
When you open several documents at the same time, in the bar of open documents you see, for example, the following:
They are the names of the open documents, while for the document that is activated two additional buttons are shown. One button to close it and one to display it in full screen as mentioned above. With a right
click you change the color of the tab and open the document storage folder.
If you have more than one document open and you want to see them all at the same time, just use the buttons on the main toolbar.
NAVIGATION IN THE PAGES OF A DOCUMENT

In the basic toolbox you will find the following tools:
Hovering over each tool explains exactly what you do with it.
You can change the appearance of the book by two or one page, to a display with adjustable zoom. You can adjust the zoom or navigate to the page you want. With the last tool shown, you publish the document
to the entire screen.
NAVIGATION TO DOCUMENT POINTS

To insert or change a point in the document you must first place the cursor on it.
You can move the point insertion marker either by clicking on the document or with the keyboard arrows or with the PageUp , PageDown , Home and End keys in combination or not with Ctrl or Shift.
Music and other points and texts within the document are given a unique sequence number starting from 0 for the first and ending as the last.
This number is shown at the bottom of the program, in the information line , e.g
Another way to move to a point is if you know its number within the document.
Double-clicking on the information line opens the form where you enter the number of the point you want to go to.
DOCUMENT FORMAT.
Document page layout

From the menu option [ File -> Page Setup ] you can change the initial dimensions of the page, its orientation and margins.
Document page outline

From the menu option [Format -> Page Border] opens the form for defining the page border format and margins. Note that the border margins are independent and can differ from the text margins specified with
the Page Layout form for more flexibility in the final appearance of the page.
Distances of musical characters and words

From the menu [Format -> Spacing of points, lyrics and words] you define the distances of music points from each other, lyrics from music points and lines of music or normal text and words of normal text.
You can change some of these distances independently for each paragraph (see Paragraph format).
Headers - Footers
From the menu [Format -> Headers – Footers] the form to define it starts.
If you want to change the header or footer on subsequent pages, use the menu command [Insert -> New Header – Footer (from current page)] with the cursor on this page.
Also here you define the numbering of the pages and if the first page starts from 1 or another number or if the numbering is taken from the end of another document automatically, in case the document belongs to
a book, so that there is continuity in the numbering.
Page color
From the menu [Format -> Page background] you can choose from a multitude of ways to paint the page as well as the area of application of the paint.
Text coloring
From the menu [Format -> Character Color] you can choose from a multitude of ways to paint the characters in a global way or depending on the point.
However, with the formatting tools you can paint anywhere in the text with different colors the points or the text or the verses that have predefined colors. For details see the chapter 'Text Formatting'.
FORMATION OF THE PARAGRAPH.
QUOTATION MARKS.
A paragraph is defined as the space between two line breaks with the enter key or less often page breaks.
All formatting in the paragraph is saved at the original line break before the text.
Line break automatically we have after the points Arctic audio testimony, Heading and horizontal line, but the paragraph continues and so do its formats. If I want to change paragraph formatting after these points,
I have to put a line break with enter .
I can format the current paragraph in two ways.

The first way is from the [Format -> Paragraph] menu , it opens a utility window from where I can set the alignment, indents and protrusions, spacing, space before, borders, and shading.
I can set the same from the formatting toolbox. To open it I press the main toolbox button. The formatting tools are located on the right side of this toolbox.
Select the text or paragraph and apply the formatting. If you continue to write text you will write in the way of the formatting you selected. If you are in lyrics input mode ( F 12) the formatting will be done on the
lyrics. Paragraph formatting (alignment, indentation, and line thinning) applies to both musical text and regular text.
FORMATTING THE TEXT.
SERIES RELATED TO THE MUSICAL TEXT

For the musical text and all the fonts related to it, which are:
musical notation font
font of the lyrics
Isocrates font
text font in Arctic Testimonies
directive font above the musical text
font of phthongs in damages
font to indicate the tempo
time-conduction pulsation font
variation font on points.
font of change molecules on the points

traction molecule font
user private points font
they can be determined by pressing the main toolbox button.
It should be noted that the above fonts, with the exception of the lyrics, cannot be changed within the document but are the same throughout the document.
Resize music fonts.
To choose a different musical font, or to change its size or style, it is sufficient to press the icon in the main toolbox and from the menu that will open, select [Music Notes] .
In the form that opens please note that the testimonials have a separate setting and can have a different size and style but the same font as the other musical parts.
To change the size and style of the musical font in the arctic testimonies of the sounds, you must double-click on an arctic testimony and from the form that will open select the size and style, but not the font that
is the same as that of the musical text.
PLAIN TEXT STRINGS

Normal text and words can change within the document all the properties of the font which are: name, size and Style. They can also change the dilution, color, labeling.
All this from the text formatting toolbox:
I first select the text I want, and apply the formatter.
The initial font of the regular text is selected from [ -> Initial fonts for regular text] .
TEXT WRITING
Examining and changing the properties of objects.
If you want to see or change some property of the existing elements of the document, there are many ways and mechanisms.
1) By double-clicking on the point or object you want to see or change some of its properties.
2) Right-click on the point or object. From the drop-down menu that will appear, select [ Properties ], which opens the characteristic form for each object to edit the object's characteristics.
3) You put the pointer on the object and from the menu [ Edit --> Point properties ].
The elements on which you can apply the above methods are almost all points and objects in the document.
Cut / Copy / Paste

You can use these three functions of the clipboard, as you use them in any Windows application . After selecting the area of the musical text you want, apply the cut or copy , with a right click or from the
[Edit] menu or with the Ctrl + C keys .
Likewise pasting with right click or from [Edit] or Ctrl + V keys .
Especially if you want to copy only text to the clipboard in order to transfer it to a text editor (e.g. Word ), you must right-click or from [Edit] select [ Copy only text or verses or initials or headings ].
If you want to paste text in place of lyrics, it is enough to be in lyrics input mode ( F 12 ), otherwise it will be pasted as normal text.
Enter text.
The text in a Melodos document can be complex, i.e. it can consist of musical text with lyrics, normal text, explanatory text, images, other objects such as headings, charts, scales, graphs, etc., all of which are
intertwined between their.
Below is a step-by-step explanation of how to import all these elements of the music document, starting a new document.
OBSERVATION 1st
When entering text there are two automatic page advance mechanisms and to choose the one you want go to [ View --> Page scrolling while editing] from where you can decide whether the text entry line will
be made normally at the bottom of the of page or whether the text entry bar will always be in the center of the page.
h
OBSERVATION 2
When entering the musical text, you can have the spelling and syntax check activated to get advice on any mistakes you make. You activate it by pressing the Ortho button in the Basic Toolbox.
Introducing arctic audio evidence.

To build Arctic Sound Testimonials see the chapter 'Building an Arctic Testimonial and Assigning Sound'.
The arctic audio testimony consists of two parts:
a) Its plan or graph and
b) The scale of the sound we assign to it.
So to insert an arctic sound testimony in the text you have to:
person
1 ) to enter her plan.
.
2nd ) optionally assign the pitch or scale if not done automatically
From the menu [ Arctic m -> Import Arctic testimony ], you select the Arctic testimony. Melodos contains many ready-made Arctic testimonies, but if you want you can create your own. How to see Creating an
Arctic Audio Testimony Plan.
Assignment or rescaling in arctic testimony.

Once you put in the Arctic Testimony, if it is not associated with a sound, the sound assignment form opens from which you select the sound and base note. If it does not open it means that the Arctic witness is
connected to some sound. For how to connect Arctic testimonials with sounds so that connection is not requested when you import them, see Automatic assignment of sounds to Arctic testimonials . If you
want to change the sound in an existing Arctic testimony do the following. Either by right-clicking on the Arctic audio testimony and selecting from the menu -> [ Assign Scale to Arctic testimony ], or from the
menu [ Scales -> Assign scale to Arctic testimony ], you select from the soundbank the scale and the base note of sound. Melodos comes with a variety of sound scales but if you want you can create your
own scales and add them to the scale bank. Details in CREATING SCALES AND SOUNDS .
ARCTIC WITNESS PROPERTIES

By double-clicking on the arctic testimony, its properties form opens, from where you can define the characteristics of the present or all arctic testimonies. You can also determine whether the present arctic
testimony will appear in the contents.
Introduction of original testimony.

When starting to write a musical text, usually after the arctic testimony you put a testimony. If you want the member to start without an Arctic testimonial, you must put a testimonial. The testimony is entered by
pressing the (M) key. If no sound has been set yet, you'll notice that appears in place of the quotation marks. This happens because the scale and its witness points are not yet known.
Assignment or change of Scale in original testimony.
So if no sound has been defined yet and you put a testimony that looks like , or if a sound has been defined but you want to change it and start with a testimony of it and not an arctic testimony, do the following:
While the pointer is on the testimony with the right click and select from the menu [Make initial witness and assign scale] , or from the menu [ Scales -> Assign scale to initial witness ], you select the scale,
and now with this witness a new sound starts with its scale. And this testimony is now the member's original testimony. Of course, it doesn't look any different from all the other testimonials, but if you press the
show all button in the main toolbox, you'll see 'Initial testimonial' written on it.
The intermediate testimonies

automatically display the member's current witness point and are entered with the M key on the keyboard.
By double-clicking or right-clicking and Properties on a witness, you can specify some useful properties on the display of the current or all witnesses of the document, such as aligning it to the right of the line,
etc. Another way to insert the witness aligned to the right end of the line is to enter it with Ctrl + M .
In the main toolbox there is the button : . With this you can, when you have wear and tear, move the phtongos that the testimony depicts to the phtongos of the wear and tear, which certainly happens in the
variation, because when the phtongos changes with the wear and tear, in the variation I leave the old phtongos and continue the variation from the new phtongos , but not in what the testimony shows. The
testimony continues to point to the original wave. But if you press this button then the testimonies are written with the phthongos transposed by the decay (if transposition is done). The right thing is not to depict
the phthongos transposed in the testimonials, but many authors use this way to write the testimonials.
Insert Heading.
From the menu [Insert -> Heading] opens the form to write the heading and define some of its properties.
The heading can appear as a title in the document contents if the corresponding check is selected.
Insert musical text points.

The points of damage, time, expression, alterations and isocraments require an underlying quantitative point to be entered, that is, the index must be on a quantitative point. Otherwise they are entered as
independent points for illustration only and are neither counted nor executed.
There are four ways to enter musical text.

)
1st With mouse . By pressing it: of the main toolbox, the toolbox appears:
where all the musical points and their combinations are included. From there, with one, two or three clicks, any combination of characters for quantity, time, expression, wear, etc. is entered.
.
2nd ) With mouse By clicking on the basic toolbox, 6 detailed toolboxes of the quantity points and their combinations appear:
or if you choose to show them with the number of voices from [Display -> How to display detailed quantity points] :
By pressing the : of the main toolbox, they appear respectively

Damage points:
The points of expression:
and the time points:
All these are inserted into the text with a single click on them.
Footnote 1. It is possible to specify which buttons will appear in the detailed toolboxes of music scores. This way we can hide musical parts that we rarely use, and our toolbox becomes easier to use.
This is done by right-clicking on the toolbox and from the drop-down menu we go to [Hide Buttons] and check or uncheck the button that we want to show or not show in the current toolbox. From its color we
understand whether it will appear or not. When they are gray they will be displayed, if they are white they will not be displayed.
Footnote 2. We can drag and move on the four sides of the central window all the toolboxes that have the -> handle on their left (that is, all the musical toolboxes).
)
3rd With keyboard . This method is suitable for faster text input than the previous 2. You must first learn which keyboard keys you use to enter each point. Attention, you don't need to learn hundreds of
combinations but only about fifteen basic ones because for the others the program itself guides you what to type.
These keys, however, can be defined by the user. For example, you can specify that pressing the I key will open the menu for entering the equal and its complexes. With O (micron) Oligo and its complexes coc.
This definition is done in the form that you open from the menu: [Tools --> Assign musical notes to keys] .
There are 3 ways to learn the key assignments for each point so you can use them.
A) From the menu [Tools -> Assign musical notes to keys] , you can see and print all the basic keyboards.
B) If you place the mouse on the buttons of the toolbox: : you will be informed of the shortcuts of the keys with which you can
open the sub-menus of the points from the keyboard.
C) If in the above toolbox you press the first key with the ? all keyboard shortcuts will appear on the corresponding points:
Below are the key assignments as Melodos originally had them. Any and all keys used for the musical symbols are as shown in
the image below. There are no keystroke combinations using Alt, Ctrl or Shift to enter musical text.
To display the note assignment form and to change assignments go to [Tools -> Assign musical notes to keys] .
The initial settings for the keyboard are mnemonics of the names of the points you want to enter. For example, if you want to enter the little bit, you press O, for equal, I, for the left, P. Of
course you can change these.
During the input process with the keyboard, other sub-menus are opened, when they exist, and on the sub-menus are shown the keys that you have to use to enter the complex complexes
through the keyboard.
Example 1: If I press O on the keyboard, the menu appears:
.
If I press O again as shown, it will insert the plain Oligon, while I will enter the Oligon with even and K the oligon with even and embroideries. While if I press the + key it will open the sub-
menu of ascending clusters with Oligon, from where I again select the voices with numbers. coke.
For even greater speed, you can use the keyboard in combination with the mouse to select from the submenus.
Example 2 :
Let's say we want to introduce a little light and embroidery. We first press O for Oligo, then as soon as the menu opens we see that to go to the descents we have to press -- , and as soon as the descents open
we see that to go down 2 voices we have to press 2. But because there are 2 combinations we press 2 again to go to the one with the embroidery, and finally we press Enter to insert it.
Example 3 :
A different example is when the starting point is not the base point but is located on another base point. Example: The high upper-right on the thrower.
Press Y to display the high menu. Then P to tell him he's going to fly and then 4 for quad climb.
OBSERVATIONS :
In general, to activate a submenu type the first letter, number or symbol that appears in the menu path you want to follow.
In the Holidays there are also 2 other types of time increase with vertical dots that are used by Peter of Ephesus in the books he published as well as the acute one.
The testimony is calculated automatically by pressing the M key in the required position. All the user does is specify at the beginning of the member of the arctic testimony of the sound or the
original testimony, and the scale.
The number keys 1 - 9 are used to enter the tempo.
F 4 to return to inputting music text when I'm in input mode for lyrics or normal text or isograms
F9 to enter the A Equation.
F10 to enter the B Equation.
F11 is used to insert normal text between musical characters. eg if you want to write an explanation for the musical text.
F12 to enter the lyrics of the music text. In the main toolbox by selecting Σ1, Σ2, Σ3, Σ4, and Σ5, up to 5 verses can be displayed and entered in the same musical text.
The Tab key when we are entering lyrics, in addition to moving the cursor to the next point , copies the current verse to the next point and moves all the following verses by one position.
With the Home key we move to the beginning of the current line (or of the text if Ctrl is also pressed), while with End we move to the end as is done in any text editor.
The Del key deletes the current character, as does Backspace.
Space works in the same way as text writers by leaving a space between characters, while
Tab leaves a larger gap that I can specify from the [Format -> Note Spacing …] form.
Some of the above are developed more extensively in their own Chapter.
4th) Import points with chart.
Tapping it in the vertical toolbox on the left opens the offsets and point entry window with a graph at the bottom of Melody which has its own tools.
From this window you perform two different tasks. The first is to adjust the deviations of the points (see the deviations chapter) and the second, which we will deal with here, is to insert points by drawing them.
For this chapter, ignore the right window with the list and target regarding point deviations and explained in the corresponding chapter.
Here you can draw with the mouse or pen if you have a tablet or tablet pc or touch screen the shape of the point you want to insert and the shape is automatically recognized and converted into a point in the
document.
As you can see, the design area is divided into 3 parts:
1) The introduction BEFORE THE POINT ,
2) The introduction to the SELECTED POINT and
3) The introduction AFTER THE POINT .
Also a horizontal line shows the (imaginary) line of the musical text.
If you select a quantitative point in the text, it will be drawn in the central part. If you want to put a new quantitative point before or after it, you draw it entirely in the areas BEFORE or AFTER the point.
If you want to put another point that is intertwined with the selected point, you draw it in the middle window and depending on its position above or below the selected point.
The points you can enter are the following but not only:
TIPS FOR ENTERING POINTS.

You start drawing the point in a white area where there is no other point but you can then continue on another point. If you start on another point then you don't draw a new point but you change the deviations of
the point you clicked on. (For more, see the Point deviations chapter ).
The area where you draw the point is important for correct identification . The reference point is always the point selected in the text.
PARTICULARLY.
QUANTITY POINTS are drawn in the area before, after or above the current point.
Time points ( Quick, Fractions, Simple ) are drawn above or below the selected point, not in the area before or after the point.
In particular, for the following points, the introduction is as follows:
The points that need 2 independent movements, Embroidery and Cross , you draw them with one movement without leaving the click.
In Hamili you don't need to draw its diagonal.
Simple is entered with a click below where it takes simples.
The gorgo mark with a click left, right or in between on the gorgo depending on its position.
The Cross and Party if they belong to the selected point are drawn on it or if they are independent in the areas before or after the selected point.
THE EXPRESSIVE POINTS.
Weight is inserted in front of and inside the area of the selected quantity point. Otherwise, if it is drawn before or after the selected point, there is a pause of one time.
If Weight is drawn below the quantitative point then it becomes Piasma .
The single -point Digits and Smooths , Antikenoma , Endophone , (and the old points : Bending , Piasma , Tromicon , Strepton and Supplication belonging to a single point), are drawn within the area of
the selected point, and below it (except Supplication drawn from above), without touching the area before or after the selected point.
Digit can also be entered in italics to align with previous Heteron.
If the right edge of the Digit enters the area of the next point then it becomes a 2-point Digit or long.
The distinction in identifying the lower Yphen from the long Digital is made by the area where its graph begins. If it starts from the lower right half of the selected point it is Yfen down, while if it starts from the
lower left half of the selected point it is long Digit or 2 point Digit.
The Endophone is inserted as Hetero below the quantitative point and only within its area.
Points that join 2 or more characters, long 2-point Digit , 2-point Smooth , 2- or 3- or 4-point Heteron , Top and Bottom , start in the area of the selected point and end in the area after the point.
The Heteron is inserted in 3 sizes, depending on the position of its right end, i.e. how far it penetrates to the next point.
The Antikenoma in the apostrophe and the underflow can be entered in 2 sizes depending on the position of its right edge in the right half of the selected point.
If the Upper Texture is all inserted in the area of the selected quantitative point, then it becomes a Crown , unless the point has a simple Expansion on it, in which case it becomes a Coupling Expansion (with a
hat).
Finally, the Expansion takes a large or small size depending on the height that is designed.
ALL OTHER POINTS that are not entered with a graph, sound evidence, pulls, damages, time processes, and expansions, you have a local menu to enter them as of course from the central Melodos toolboxes.
Locally you also have the Undo and Redo buttons.
DELETE all points within this area, by right clicking on them.
Melodos has registered standards for identifying these marks. But if there is no good recognition, then you have to retrain them with your own handwriting.
If the musical points appear too large in this window so that some cannot be seen, you can make them smaller by narrowing the width of the central window by moving its margins from the right.
Training the Melody to enter points with a chart.

To switch to Melodos' training mode, press the Training button . It will turn orange to indicate that you are in training mode. In this state, the point you enter is recognized again if it is registered. At the same time,
however, it gives you the possibility to retrain it if it is not recognized, as long as you press the Training button again in less than 10 seconds, which now flashes and counts down to indicate that it is
ready to register a new point plan.
With the button Check templates you can examine one by one all the registered templates for each point and if you want to delete a template.
If you train or delete any templates, closing this window or Melody will prompt you to save the changes to the template file.
Do a lot of testing and don't hesitate to delete some patterns that don't match your graphic character. Within a few minutes you can adapt it to your own handwriting and have 100% recognition success and above
all a high speed of entering musical text without using the keyboard and menus.
Delete musical notes.

In the above form for entering points graphically as well as in the form for changing the deviations, deletion is done very simply by right-clicking on the point you want to delete.
In the document directly the deletion is of course done with Del or Backspace if it is to delete the entire cluster. However, if it is a particular point within the complex, the deletion is done from its input menu which
either has the DELETE or CANCEL command (for damages, alterations, time, expansions, balances) or if it does not have it, such as the expressions, you simply re-enter it and thus remove it.
Enter time points.

It is easy and can be done in several ways.
1) By selecting a time point from their toolbox:
2) By typing T for the fraction, the period . for simple ones, Γ or G for fast ones, Σ or S for spotted gorgons, P or R for slow ones, the corresponding drop-down menus appear from where you select the point.
3) Drawing the point in the input area with a pen. For details on entering each point, see the chapter Entering points with a pen.
NOTE ON GORGA. You can insert up to heptagon and you can put dots, in many places at the same time without limitation as the picture shows. It goes without saying that these
are executed precisely.
Insertion of expression points

In addition to the graphical way mentioned above for entering these points there are 2 other ways.
1) Selecting from their toolbox the point:
2) Selecting ' Ec ' from the summary toolbox or pressing the Σ or W key opens their drop-down menu:
from where you can select or type the number or letter to insert the corresponding point in the text.
Heavy in particular can be entered directly with the B key.
There are three different digital ones. The first normal, the second oblique to adapt to a previous one and the third long to connect two points. Of course the first can be used for two
points.
The omalon has three versions. The first is for one point, the second connects two points and the third is double and connects two points again.
Three versions for the other. To connect 2, 3 or even 4 points.
Two versions for the vaccine, for 1 and 2 points.
Introduction of damages.
You enter wear in two steps.
)
1st Insertion of wear point.
The wear point can be entered either from the wear toolbox:
by pressing the corresponding button, either from the summary toolbox of musical notes by pressing
the Φ button , or from the keyboard with the Φ or F key , which contains all the decays and tempos of the music. There is the possibility for the user to create his own wear point.
.
2nd ) Insertion of the Sound Scale at the point of wear
After the introduction of wear and tear in the text there are three cases:
1) the wear you put on must be scaled and plumbed. Then the assignment of the wear scale is done automatically and you don't have to do anything else. How to connect scales with decays see below in the
chapter Automatic assignment of scales to decays .
2) If you want to link the wear with a scale registered for linking, then by right-clicking on the point you go to [Quick assignment of scale to wear] and select one of the possible links of the wear with scales
registered by the manufacturer or by you. If they do not exist as mentioned above, go to the chapter Automatic assignment of scales to damages to see how to create them.
3) If the wear has no connection to any scale or if it has and it was connected but you want to change the scale or the phthong or other details of the connection you have to do the work with the detailed form.
Follow the instructions below:
By right-clicking on the point that has the wear, select -> [Detailed assignment of scale to wear] , or from the menu [Scales -> Detailed assignment of scale to wear] .
The form that opens contains the necessary instructions for the correct placement and selection of the wear pin and the locking pin in order to avoid displacement of the base, while all this is done easily thanks to
the visual representation of the initial, fluorescent and final scales.
With decay you can change the whole scale to a new one but you can also not change the whole scale but only a part of it, for example a trichord or tetrachord or pentachord. Then with another wear you can
change another or the same 3/4/5th chord etc. In this way you can create scales that change the characteristics of the sound segmentally and dynamically during the evolution of the melody. This characteristic is
also used in Byzantine music, mainly in the timbres, if, for example, we change a single fifth chord of a diatonic scale with the timbre of Libra or Clito. But mostly it is useful in traditional and oriental music, where
subunits and parts of the scale are constantly changing instead of the whole scale. (see Appendix A at the end).
There is also the kind of damage that only causes permanent changes in some scales instead of changing parts or even whole scales as usual.
)
These damages are: 1 The anjem that causes a permanent depression in the entering phthong. 2nd ) the permanent pressure of the Vu entering the phthong Ga and causing a permanent pressure in the
. ) Spathe
Vu 3rd ) the permanent depression of Zo which enters the Ke phthong and causes permanent depression in Zo, and 4th which causes permanent depression in the above phthong and permanent
pressure in the one below. The amount of distortion they cause can be set or changed by the user in the form.
Especially for the anjem it can behave either as normal wear and affect the entire four-chord, or as a permanent depression only in the entering phthong. Likewise, the spathe can either replace an entire trichord
or cause a permanent attraction to the two neighboring phothongs. Which method to use is up to the user. There are many examples on this topic. If you take the exams you will understand the process better.
The use of the above damages as points of permanent attraction is done in the same way as the other damages. Only if instead of the permanent changes form opening, the normal decay sound change form
opens you will press the PERMANENT CHANGES button to open the permanent changes form. Following the form's instructions, you set the points of the permanent damage, and you can even set a different
witness point for the dragons affected by the permanent damage.
example
For a better understanding of the use of decays the following example is given (the member is ready, in the examples given with the Melody).
The Member is the "Beauty" you chant at the end of the Akathistos.
The point under consideration is "the way in which it was added". Specifically, the musical phrase is the following:
At the beginning the sound is an oblique second and in "dio" we have a diatonic deterioration in the phthong Ga. If we convert the second oblique into the first, in the fifth Ga without any other prediction, then the
form of the scales that will appear will be the following:
From the figure alone, it can be seen that the bases and peaks of the pentachords of the oblique second and the first sound are not identical. (while the total points of the pentachords are the same and equal to
42)
And without listening to it, but even if we listen to it above, we will find that we have a slide of the base upwards, that is, the base of the voice rises after the deterioration, precisely because the relative position of
the pentachords moved upwards. Of course we don't want that.
We can avoid this upload as follows.
In step 3) of the form above (in the middle) you will see the existence of a "Fluor scale lock string" option. So we will choose this at -2 (the reason is explained below) That is, we go to the phothong Pa "-2 Pa
initial with Pa fluorescent", while previously the locking of the scales was done in the phothong Ga "0 Ga initial with Ga fluorescent".
If you look at the scales now, you'll see the following:
The important thing to notice now is that the bases and peaks of the second and first oblique pentachords are identical. This avoids changing the base in case of wear that is not exactly at the base or top of the
3/4/5 strings. Of course, listening to it will give you a better understanding of the result.
The fact that we chose to lock the scales at -2 was because exactly 2 phthongs below the phthong of decay (Ga) in (Pa) is the base of the pentachords and the initial scale and the floret. What we care about is
that this base does not move up or down. And this will be done in this particular case only if the scales are locked not in the note where the decay enters, which is here Ga, but in the note of the base of the
pentachords to which the decay belongs, which is Pa here.
So if Ga was a pentachord base there was no reason to lock the scales to another pentachord. But now that Ga is not a base, but in addition its height in relation to the base is different in one scale (of the second
side) than in the other (of the first), the locking of the fluorescent scale must not be done on this floor because we will have a slide of the tone of the base, but in the fifth which is the common base (and therefore
has the same height) in both scales which here is Pa.
So in complex decay patterns if the decay is not on the base or top of the 3/4/5 chords we try to balance the bases or tops, or at best both, of the original 3/4/5 chord and the flourish.
Of course there are rare occasions when we are looking for the base of the voice to slide up or down and use this convenient way to do it.
OBSERVATION
In the main toolbox there is the button : . With this you can, when you have wear and tear, move the phtongos that the testimony depicts to the phtongos of the wear and tear, which certainly happens in the
variation, because when the phtongos changes with the wear and tear, in the variation I leave the old phtongos and continue the variation from the new phtongos , but not in what the testimony shows. The
testimony continues to point to the original wave. But if you press this button then the testimonies are written with the phthongos transposed by the decay (if transposition is done). The right thing is not to depict
the phthongos transposed in the testimonials, but many authors use this way to write the testimonials.
FOR THE DEVIATIONS OF WEAR ABOVE THE POINTS

Damages in terms of their size and deviations are categorized into 4 categories
1) extensive damage:
2) high damages:
3) the diagonal damages that touch the upper right part where the phthong can be written:
4) all the rest.
So when you define the deviations of some wear on a specific point, then the same deviations apply to the other wears of the
same category as shown above.
Upper damages, i.e. those entering the upper part from the main points, have a different deviation when there is a gorgo or
upper fraction.
Whereas if they enter the lower part of the point, their deviation is affected by whether there is a simple, double, etc., slop or
fraction at the lower part of the point.
Automatic assignment of Scales to damages.

Whenever you put a damage you must also assign some sound scale to that damage or some permanent alteration if the
damage is such. How this is done is described in the chapter Importing damages a little above.
But you can connect decays with sounds in advance, and Melodos has this job half ready, but you can change these
connections by assigning others or creating other additional connections with scales for each decay.
Pressing the menu [Scales -> Link scales with damage] , will open the form that guides you how to connect a scale with a
damage or for permanent changes to damage that receives them. You will find that each damage can be associated with up to
5 different sound scales or permanent damage. Of course, when wear and tear comes in, it is automatically connected not to all
of them, but to the first of them, i.e. the one with the highest priority.
Introduction of alterations or tractions.

Input of pulls can be done manually from the toolbox as with all music points.
Pressing the Q key or from the quick points toolbox pressing the pull points opens the dropdown menu:
From here you can enter the pull point or remove it if it exists. You can also enter a virtual push or pull point without it having any action in execution.
Finally, if you double-click the Q key or select ' Precision' from the menu, the dimmer will open from where you can now specify the pull with an accuracy of a tenth of a molecule.
CAUTION .
The absolute number of moles of attractions, where this occurs, depends on the moles of the lattice. Thus there are the following standard divisions of the crossbar:
68, 72, 100 and 1200 moles. However, if you want another number for the crossing, you can determine the crossing with your own number of molecules.
This setting is done from the scale menu:
So for example if I have an attraction of 4 moles in spans of 72 moles, or 4 / 72 this corresponds to the remaining spans:
4 / 72 for a scale of 72 points
3.77 / 68 for a scale of 68 points
5.55 / 100 for a scale of 100 points
66.6 / 1200 for a scale of 1200 points (or cents ).
Automatic import of Charms

There is also a completely automatic mode where Melodos takes over the import completely without you having to remember any rules and every pull is calculated on every fire symbol that is pulled. Melodos has
the ability to know if you entered an attraction yourself or if it entered automatically. So if this way is used, you can choose to keep any pulls you may have put in yourself
In the existing writings, strokes are rarely used in writing and only a few authors put them, but most of the time not with the correct point, e.g. monoline or two-line, etc. but with the simple point of depression or
two-line, implying any stroke. And of course the chanter can perform correctly regardless of whether there is a right or wrong point of attraction. Melodos, however, as the machine that it is, must see exactly the
point in order to perform correctly. The positions and the amount of drag to be used in the automatic input of drags are determined during the construction process of the audio scale. Here is another highlight of
Melodos' capabilities, the user is given the possibility to define the rules of the pulls of each sound during the process of building its scale and to define the pull of each note according to whether the path of the
member is ascending, descending or stance (see Making sounds ).
Now let's see how the automatic import of pulls is done.
Pressing the main toolbox button , and selecting Import pulls into current member, only imports pulls for the current member up to the original audio witness change, not to other segments defined by another
audio witness.
If throughout document is selected, strokes will be inserted throughout the document.
Of course, there is also the option to delete the pulls, where it is again possible to keep the pulls entered by the user and not automatically.
By pressing the same button and selecting [Instructions display mode] , you define the general appearance of indents for the entire document.
But you can also define for a single point whether its attraction will be visible or not. By right-clicking on the point with the drag you choose from the menu whether it will be invisible or not.
Whether visible or invisible pulls are always performed by Melodo, unless they are virtual.
Enter the Rate indicator number

Being in text input mode and with the cursor on a musical point or a note or a dilation or a Timeline, you can enter the beat number number on those points by simply pressing a number on the keyboard. This
number can be from 1 to 15. To disappear the beat number just press the number 0 (zero).
Use of old points: Sharp, double and triple vertical, crease, bend, etc.
Although I disagree with the selective restoration of only certain old points in the new scripture, use of these points can still be made with the Melody.
However, the total restoration of the old writing would be ideal, which is now possible thanks to the new technology, so that its learning is done much faster and the certainty of reading is ensured thanks to the
parallelism of the two texts, old and new.
The attentive researcher of Melodos will find that Melodos has already laid the foundations in this direction.
Import dependent points as independent

The points wears, pulls, expression, time and from the quantitative points the embroidery and the high, cannot stand alone, but need an underlying body which is a quantitative point, for example a little.
Because many times for the sake of reference or teaching it is necessary to be able to write them independently, I do it as follows. For all the others except the embroidery and the high, I insert them in the usual
way in the text but in a position where there is no quantitative point.
Whereas embroidery and high I enter them from the shortcut toolbox by pressing the embroidery or high option and choosing from the menu […virtual. Not performed or counted] .
Eg for high:
These points when written independently accept only local deviation.
Introduction of Archigrams.
In Introduction to Lyrics , it is mentioned how I can make the first letter of the verse different from the others and appear as an initial letter.
The actual archigram is independent of the lyrics and can be inserted anywhere.
From the menu [Insert -> Musical text font] the form appears where we write the font, define its font, its size, its color, its position etc. Also if we select [Multiple font that changes according to the lyrics Σ1 –
Σ5] , the initial can change if the active verse changes (Σ1 – Σ5).
Introduction of temporal treatment.

This is done as follows: either from the summary toolbox or from the time points toolbox you press the XA button or press the Ψ or C key and from the drop-down menu you select the time course.
To see and change some of its properties, double-click on the time warp point or right-click and properties, and the time warp settings form opens.
In the properties from option 2 you give acceleration for positive or deceleration for negative numbers of the time transport and optionally if you want some limit on the acceleration.
Importing private signs and symbols.

Many times you may want to use in the musical text some musical or other symbols that are not contained in the Melodos font.
This is possible as long as you have them all in a font installed in Windows and you choose it from the fonts [ -> User Private Points] .
So you go to the menu [Insert -> Private symbol] and choose whether it will be independent or whether it will be integrated into a quantitative point.
From the form that opens, you write or paste the symbol from another document or enter it from a symbol table, as long as you choose the font you defined for your symbols, otherwise it is possible that something
different will appear in the final text.
If you send the document for display on another computer, you must make sure that the private symbol font is installed there. Otherwise the document will not display your symbols correctly. In this case you must
also send the font with the private symbols.
Scale input
From the menu [Insert --> Scale] You can insert a scale into the document. The scale updates dynamically and displays the characteristics of the sound exactly where it is. By double-clicking on it or right and
properties or [Edit -> Point properties] you define the way the scale is displayed.
CAUTION. The units listed on the scale are affected by the unit units you set in the external Scale menu .
Insert Images.
From the menu [Insert -> Image] and [Insert -> Image Thumbnail] you have the possibility to insert images into the document to decorate and enrich the text.
You can also paste an image that you have copied to the clipboard from this or another program with the keys Ctrl + V or from the [Edit -> Paste] menu .
From the input form you choose whether the image will be copied:
A) in the individual folder of the document or
B) in the book's shared file folder. If the document belongs to a book it is recommended, or
C) whether it will be incorporated into the document. This is recommended if the images are too small and ancillary to the text.
However, if the images are copied to the document's individual folder, then in case of moving the document to another computer or storage location of the same computer, if this is not done through the program
with the function [File -> Save As...] but is done manually by the Windows explorer , the document's individual folder containing its images must also be copied .
The same is true if you save them in the folder of the book where the document may belong (if it belongs).
There is also a second way of inserting images which is mentioned below the display list of media related to the document .
Images appear directly in the text, and you can change their appearance by opening their properties (double-click or right-click and properties or [Edit -> Properties] .
Import video and audio.

From the menu [Import -> Video and audio file] you can put a reference to video files or audio files which here as in the images are copied to the individual folder of the document or the public of the book if the
document belongs to a book. Here there is no option to embed in document.
To play these files you have to double click on their characteristic point in the document which is: . To stop the execution press stop . With a right click you can see the properties of the multimedia and
change some.
In the case of moving the document to another location, the same applies as mentioned above for the images.
There is also here the second way of inserting media as with the images mentioned below, from the document related media display list .
Saving images, videos and sounds.

These media files are copied and stored in one of two locations: or
A) in the individual or private file of the member created specifically for this purpose. It has the same name as the document except of course the ending mel but with the extension _ files and it is in the same
folder as the document. For example for a Melody document named antiphons. mel would create a private folder, in the same path, with the name antiphona_files where the external image, sound, video etc. files
that you might insert into the document would be placed . This folder is shown in Windows explorer with a distinctive icon to make it stand out. In this folder you should neither add nor remove anything because
it is processed automatically by Melodos and will delete what is added there.
A clarification for older versions of 2012 is that this folder had a name exactly the same as the document without of course the suffix . mel and without the _ files extension that was added in the 2012 version.
B) If the document belongs to a book that may contain other documents, because an image or video can be used by another document, you can instead of saving it in the private folder of the document, send it to
the media folder of the book so that from there to be used in all documents in the book instead of being imported into each document's private folder again. This folder with the book's media is inside the book
where the book's documents are located and is always named melodosBookMedia.
The program guides you how and where to save the copy of the image or video or audio.
If it understands that the document belongs to a book, it also displays the option to save in the common folder of the book, otherwise it hides it.
Especially for images you have the option to embed it in the document.
In general, if you make a book, prefer saving in the book folder.
If the image is too small and helpful to the text, integrate it into it.
Display list of media associated with the document
At the far right of the main toolbox you will find the button . Pressing it opens a form on the right which is divided into four lists.
1) Above is the list of media stored in the document's individual folder and most likely used in the document.
2) Next is the list of media stored in the book the document belongs to, if it belongs. This media does not necessarily need to be used by this document, as it can be used by any document in the book that this
document belongs to (if it belongs).
3) Next are the names of the media listed in the document with one of the following clarifications in front of them:
a) multimedia file for video or audio;
b) file image for image stored in one of the 2 folders of the document, individual or book and
c) embedded image, embedded in the document and not separately stored in a folder.
4) Below is the presentation window of the images or videos or sounds when I select one of the three lists above.
The use and purpose of this list is as follows.

A) To easily control the images, videos and sounds related to this document and even those that belong to the document.
B) To be able to easily, with a double click from here, insert them again and again in other positions of the document if necessary. In fact, the images that are imported by double-clicking in the third list, i.e. in
"Passed to the document" have exactly the configuration that they might have undergone in the original image that I double-click on.
C) If the current document belongs to a book and the other documents or the book contains images that the current document does not contain, I can see all the images in the book and double-click to insert any I
want into this document.
D) By right-clicking on the third list of media passed in the document, I can jump to their location.
Enter Reference ( * )
The reference is shown with a star and a number eg *1. Use to refer to the continuation of the musical text alternatively in another position which is usually written at the bottom of the page.
This reference can only be made within the same document. For a reference to another document, see the next paragraph.
It can be virtual only, or it can dynamically transfer the scale and current height from the source point to the destination point. It can be entered from the [Insert -> Reference] menu ). By double-clicking or right-
clicking and [properties] on a reference point you can change its properties.
When the reference is dynamic, the departure reference must have the same number as the destination reference in order for the scale transfer to occur. If I'm on a dynamic reference and I right-click on it, the
drop-down menu gives me an option to go to the corresponding linked reference point, either source or destination, so I can jump from one reference point to its counterpart whenever I want. It can be set in the
properties of the starting point of the reference, to branch on the execution of the member to its destination.
CONNECTION OF DOCUMENTS
This is very similar to the cross-reference mentioned earlier, but it can link two different documents and you can double-click to move from one document to the other.
Of course, this connection can only concern the document itself from one point of it to another point of it.
Linking of this type can be done with documents stored anywhere within the folders. Nevertheless, it is good that these documents are within the path of the Library of Melodos for
the following reason. If the documents are moved to another computer and, as is likely, will be stored in a folder with a different name and path than the original one, then the link
has now lost the absolute address of the referring document and now has only the name of the document as an element of citation will look nowhere but within the Library of
Melody to locate it by name alone. So if he is there he will open it.
By the way, we can point out that we should not have two or more documents with the same name in the Library, regardless of whether they belong to different Books, precisely
because in this case of the link the absolute address of the document is lost, it can be confused by the same name and open another document instead of the one with which the
connection was originally made.
Inserting a link to another document or to another location of the same document.

We will explain how to connect with an example.
1) Open any document. This document will be the destination.
2) At some point of it to which you would like another document to be linked, right-click and from the drop-down menu select: and then: [Copy …]
It will tell you with a message that the address of the document and the point where the pointer is located have been retrieved.
3) Now open the document from which you will link to the previous document whose address you retrieved.
4) By right-clicking on the point from which you want to put the connection, select from the drop-down menu again [Link documents] and this time [Insert connection point] .
Give the name-title for this link that will appear in the document and click OK. Inside the document will appear the title of the connection you gave accompanied by the duck at
the beginning.
Test the transition by double-clicking on the title.
By right-clicking on it and [Properties], you can see the details of the connection, that is, name and position of the document that the connection refers to, and change the Title of
the connection if you want.
Entering Rhythm points

In order to describe rhythms, we use the position and lift or compound marks (position + lift) such as OÒÖ I İ Ϊ 1, 2 etc. Melodos supports these points in writing and performance. They are entered from the
summary toolbox by pressing the Rhythm button . After importing them by double-clicking on them or right-clicking and properties, we can define the percussion instruments used to sound the position and lift as
well as set the volume of these instruments.
Illustration
The explanation as the word says is a piece of music or other phrase written over the musical main but also from any other text that is intended to give some more detailed analysis and explanation of the regular
text.
Usually its letters are smaller than those of normal text.
Here is an example with a musical text that has an explanation on top:
the
To make an explanation I do the following steps:
1) I write the music or phrase where I want the explanation to go.
2) I select the phrase and by right-clicking on it I select from the drop-down menu [Convert the points to an explanation] .
All the selected text is converted into a callout and a very thin point is created at the beginning of the callout text that if all is visible or if I hover over it or if I select it it appears like here on the left where I can
double click on that point to open the properties of the callout and change the display characteristics of the text.
Insert and display lyrics.

DISPLAY LYRICS
In the basic toolbox you will see the following tools:
Σ1 , Σ2, Σ3, Σ4 AND Σ5 are for showing or hiding the lyrics. Usually the texts contain only one verse, so only Σ1 will be selected . But many verses can be seen together at the same time. This is needed when for
example I write 'rules' where the tropes follow the same musical pattern of the 'wilderness'. Or songs that repeat the same musical pattern, only changing the words at each stanza.
If you do not use some lyrics, do not activate them because they occupy the corresponding space on the page even if they do not contain text.
With the Π key , the variant of the text appears, which of course you cannot intervene in since it is calculated automatically by Melodo.
With the T key, the emphasis of the musical text appears. For its usefulness and more details see COLLECTION OF MUSIC POSITIONS AND THEIR USE .
The order of appearance of the verses in relation to their distance from the musical point is T,P,S1,S2,S3,S4,S5.
INTRODUCING LYRICS
To enter the text in the verse, the verse must first be activated, i.e. one or more of Σ1, Σ2, Σ3, Σ4, Σ5 must be pressed .
For those verses that are visible, the corresponding Σ1 - Σ5 are painted in orange.
By pressing the F 12 key, either from the menu [Insert -> lyrics] when you are in a quantitative character, the pointer changes color to orange and you can write the lyrics from the keyboard just like you write text
or paste text from another program here. If you write polytonically, Melodos offers you an easy way to insert tones and breaths by pressing the F 8 key after the letter to be accented or by right-clicking and
choosing " Accent letters " from the drop-down menu. Of course, you can also set the tones using the keyboard shortcuts offered by Windows .
If at some point the verses are repeated and you want instead of verses there to appear a line or a dotted line, you must put in the verses a relative dash - or underscore _ without another letter, so in the following
verses and until you write again a verse letter will appear one of 2 alternate line formats. To adjust the appearance of this line go to and select [Lyrics -> Line format in place of lyrics] .
If several verses are visible at the same time, eg Σ1, Σ2 and Σ3 and you want to enter the text in Σ2, press F 12 again and the input changes from Σ1 to Σ2. Which verse is enabled for import is shown by
flashing.
CHANGING DISPLAYED LYRICS.
For example, if you want Σ1 and Π to appear at the beginning of the document, then Σ2 and Σ5, then Σ3 and so on, you can display different verses in different parts of the document with the menu command [
Insert -> Change displayed verses ].
After the command redefine the display in the next area by pressing any of Σ1, Σ2, Σ3, Σ4, Σ5, Π and Σ .
Bulk editing of lyrics.
If you pasted text in the lyrics and want to remove accents go to the menu: [Edit -> Bulk edit current member or entire document->Remove accents from lyrics] .
If you're writing polyphonic lyrics, use the F 8 key to easily add accents and spirits to the lyrics as in normal text.
Also with the space key , you can split the verse into two parts and move by one position all the verses from that point onwards until the sound change or the line break point ( enter ).
With Ctrl + Space (space) you insert a blank character in the lyrics.
With Del or Backspace you can delete them, or delete the lyrics of all the selected points.
Pressing the Tab key copies the current verse to the next point.
By double-clicking on a quantitative point or right-clicking and properties and choosing "Make the first letter of the verse different" you can make the first letter of the verse look different, e.g. bigger as
Archigram. You define its size from the fonts [ -> Lyrics -> Protogram] and its color from the color assignment table [Format->Character Color->With individual coloring] , and 'Verses Protogram' button.
By selecting text and being in lyric input mode ( F 12 ), you can change the color of the selected lyrics from the formatting tools as well as insert highlighting.
Melodos also supports the writing of special letters and others that are not included in Windows fonts . See Special character support .
Lyrics font formatting

The font of the lyrics can only change color in the different parts of the text.
I define the initial, general color of the verses from the menu [Format -> Character color -> With individual coloring].
To set or change the lyrics font and its properties I must either A) by pressing it in the main toolbox select Lyrics font or Protogram font of the lyrics or size of the indicator verses or B) from the formatting
toolbox and while in input mode lyrics ( F 12), I choose the font, size, and B I U that are uniform throughout the text and the color or highlight that is applied only to the selected text.
Particularly:
1) to display the protogram in a verse, I double-click on the music point that has the verse and from the menu that opens, check 'Make the first letter of the verse different'.
2) To make the verse of the current point with small letters as markers I must of course be in verse input mode (key F 12), then I put the marker on the letter of the verse after which I want the letters to become
markers, and from format toolbox press the x button (located right after the B I U buttons ).
To set the display of verse protogram and verse markers go to : [ -> Verse -> …] and select
There are cases where in some part of the musical text I do not write lyrics but it is understood that the same verse is repeated. If I want a line to appear in this area instead of the lyrics, I do the following. In the
very next verse from the last syllable I put a dash – . From then on until I start writing lyrics again, there will be a line in place of the lyrics.
If this is not the case, or if you want to change the appearance of the line, go to fonts [ -> Lyrics -> Line format in place of lyrics] and adjust.
Show variation.
By pressing the Π button next to the verses Σ1 - Σ5, you choose to display the variation of the music in its own line below the music and above the lyrics. The program automatically calculates the variation
weights. When you write the musical text, you can have the variation activated so that you can see the variation at the same time.
But you can if you want to mix the variation with the Σ1 verses and have the variation appear in place of the Σ1 verses instead of verses in some part of the text. To do this you declare it at the beginning of this
section and at the end by putting the command [Insert ->Start or end variant].
There is one more indication of variation. It is activated by a second button located further to the left than the normal P. This displays the variation without taking up space. It has its own font for the display that
you set from the fonts [ -> Variant helper ] , and the position from the dimmer that opens with the arrow after .
Introduction of balance sheets.

There are three ways to enter balance input mode.
A) by pressing the F 9 key on the keyboard.
B) from the menu [Import -> Equations].
C) pressing the Equals button located on the right side of the main toolbox, next to the show scale button.
Then the isochart panel appears on the right. At the same time, all the open documents go into the state of input of isocrats and for indication the indicator acquires a violet color. In this state, you cannot enter
anything from the keyboard other than isograms.
You can enter the isocrates either by clicking with the mouse on the icons of the isocrates panel or with the keyboard by pressing the corresponding isocrates keys N, P, B, C, D, K, Z, M, A, S.
If you enter from the panel, you can choose whether the isohold will be of the waist, the hip or the needle visually.
If you enter from the keyboard, then only with the equals key you enter Z, N, P, B, C of the waist and D and K of the hip. If you want to enter Z, N, P, B, C of the thread, hold down the Shift key and hit the letter,
while to enter the default, hold down the Ctrl key and hit the letter.
Each quantitative point accepts double balances. The choice whether to enter the A or B Isocrate is made from the isocrates panel by pressing the buttons A Iso or B Iso respectively . From the panel you can
also determine whether the isocrates will be placed at the top of the point or at the bottom by pressing the Up or Down buttons respectively . With the X button of the isocrates panel you delete the isocrate from
the current point where the pointer is.
The pause also takes points of Isokratams.
For all points it is true that ΣΨ means silence of Psalter, while Σ means silence of Isocrates. A = follow with and is equivalent to M = together or member, where Isocrates rhymes with the Psalmist.
Bulk processing of isocharts.
You can mass remove or delete all A or B isograms in whole or selected text, from the menu [Edit -> Mass editing … -> Delete -> A or B isograms]. You can also make the isocrates invisible in the text while
they are still running as well as change how the isocrates are displayed from the fonts button [ -> Isocratics].
Enter regular text.

If needed you can write normal text anywhere in between the musical text. Melodos natively supports text with windows fonts . So you can write in any language of the world supported by the fonts you have
installed on your computer. It also supports all paragraph formatting methods, such as alignment, indentation, spacing, borders, tearing, etc. of modern text editors.
Entering text is very simple. By pressing the F 11 key on the keyboard your pointer turns blue to indicate that you are entering text and your keyboard behaves like any text editor. Write what you want. You can
also paste a text from another text writer. At the end, don't forget to press the F 11 or F 4 key again to return the keyboard to character input.
Easy highlighting of multi-tonal text

If you write polyphonic text in lyrics or in general, Melody offers you a very easy way to enter tones and spirits, without having to remember all the key combinations that Windows uses to give you polyphonic text.
To do it:
1st) you must first be in normal text (F11) or lyrics (F12) input mode.
2nd) To put the detailed index after the letter to which you will apply the multi-stress.
3rd) Press the F8 key or right-click and select "Highlight letters" from the drop-down menu.
4th) From the drop-down menu that opens, you choose the accent.
As mentioned, you can do this for both the lyrics and the normal text.
Special character support

In Melody some combinations of the keyboard in inputting lyrics and text allow the input of special characters that are not contained in Windows fonts .
Melodos has its own ready-made fonts (located in the \ special fonts folder of the Melodos installation path) specifically for these characters.
The table below shows these characters as they are entered from the keyboard.
character importance Way

Introduction
Ctrl + J
Ctrl + N
f Ctrl + S
u Ctrl + O
uh Ctrl + I
th ~ Ctrl + U
and Ctrl+K
Of course you can use special fonts to write letters or syllables of the ancient or other language anywhere. However, if the texts are transferred to another computer, you must make sure that these fonts exist
there too, otherwise they must be copied there to display the special text correctly.
You can mass convert the letters u, f, and their abbreviations in the entire document or in a selected area of the document or vice versa. This is done from the [Edit -> Edit Selected Text -> Convert Lyrics or
Convert Text -> Shorthand] menu .
Text display control points.

All text display and music text display controls are summarized here.
Control points are generally inserted between the rest of the text in the document to take some action on the display of the text. Their action starts from where they are and is removed or changed from the same
control point.
These points in normal view of the document are invisible, but they can be seen if you press the show all button of the main toolbox or if you hover over them or if they belong to selected text.
VARIATION START - END point

Within the text it appears in the form shown here.
This control point turns the display of the Σ1 verses into a variant or removes this display.
It is entered from the menu [Import -> Start – end variant] .
It's a point where I can click to select it and delete it directly.
Point NEW CHAPTER FOOTER

With this point I change the existing header and/or footer to a new one.
It is inserted from the [Insert -> New Header-Footer] menu .
It's a point where I can click to select it and delete it directly or edit it from its properties.
Point CHANGING DISPLAYED LYRICS

After this point I can display different lyrics than I displayed before this point. It is enough to put the pointer in the area before or after this point and check from Σ1, Σ2, Σ3, Σ4, Σ5, Π, Φ which ones I want to
appear in each area.
It is inserted from the [Insert -> Change Displayed Lyrics] menu .
As you can see, the verses that will appear after it are also written on it.
This is also a point where I can select it directly by clicking and delete it.
TEXT LETTER FORMAT Point

This point is introduced when I set a region to a different name, size, style, font of normal text (not music), and color and highlight for normal and music text and word thinning for normal text only.
It's automatically inserted when I do any of the text formatting above, and it's not selectable on mouse click, so I can't delete it directly as an individual point.
After the word Format that is written follow the abbreviations of the formats it contains and mean the following:
C = change the normal Font
ε = change the Font of the special letters .
M = resize normal font.
Σ = change Style of normal font.
X = Change to Text Color, normal or musical.
E = change the Marking of the text, normal or musical.
A = change to Word Dilution of normal text only.
Points of European music

Byzantine music later borrowed some symbols from European music, such as the weft and the crown. Apart from these, however, the traditional Greek and Eastern music, which is fully supported by the Melody,
also borrowed some others for the completeness of the writing. These others can be found in the Summary Toolbox and under the Ep symbol from Repeats. They are the points of replays, walks and referrals.
Connoisseurs of traditional or European music can recognize the symbols and use them appropriately.
Especially the walk point, by double-clicking on it or from the [Edit -> Point Properties] menu, the following form is opened where the related to this point is specified.
Changes to the form are reflected directly in the text.
Insert another document into the current document

Many times you may need to consolidate two or more documents into one. Of course one way is by Copying – pasting the text from one document to another.
An easier way is to do from the [Insert -> Melody Document] menu and select the other document you want to insert into the current document. The entire document will be imported.
Spelling check.
Melodos has a built-in spell checker and checks both the spelling and syntax of the texts we write. And it instructs us how to write or "tolerates" some mistakes, highlighting them with the color corresponding to
the severity of the mistake (red, green, blue, etc.) so that we realize that there is a mistake. You will find that if there is an error in the text, during execution it stops at that point and reports the error. Of course, if
the error is on the page shown on the screen, you can easily correct it, but if the text is very long and there are several errors, then you will use the error detector to scan all the errors in the text and correct them.
Its use is very simple. Pressing the main toolbox button moves the cursor to the next misspelling.
Disable spell check
If you want to write text quickly, and are annoyed by the messages asking you to set the sound to initials and corruptions, you can disable the messages either from the main toolbar button or from the
[Tools -> Disable spell check] menu . But in this situation the scale, notes and variation of the musical text will not be properly depicted. If spell checking is disabled, then the button flashes.
EXECUTION _
You will have noticed that there are a number of run buttons as shown in the main toolbar.
or even an extra one .
The most basic of these is the .
This plays the part of the musical text where the green marker is located, from the beginning of its testimony to the end, unless you selected a part in which case it plays the selected part only.
By clicking on the document or the metrophony at the time of execution, the cursor is moved to that point and the execution continues from there. Right click stops the execution.
For the rest of the buttons:
it performs statically the musical point that you will click on either in the document or in the metrophony. So you can hear each note individually. If the spot has 2 or three parts or pods, then the spot is mentally
split into 2 or 3 parts and the clicked part is executed. When it is pressed with the space key (space) or the keyboard arrow you go ahead and perform the next firework at the rate you want. In this way you
can practice understanding the time signs and their correct execution.
You do the same as the previous one, but only the isobar is heard. So you can chant and isocrate yourself by simply clicking on the icon where you are where the isocrates are written.
It does this from the current position of the green marker to the end of the document, regardless of whether sounds change or not.
If text is selected executes by repeating the selected text. If there is no selected text, it works like normal, with the difference that as soon as the execution of all the text is finished, it starts again from the
beginning.
To select an area of the musical text, click with the mouse at the beginning of the area and drag the mouse to the end of the area. The intermediate layers that are selected are colored green.
It stops the execution. The same happens if during execution you right-click on the document or the metrophony.
In addition to these execution buttons shown in the menu, you have the possibility to insert an execution button inside the text, from the [ Insert -> Execution Point ] menu. Whenever you double click on this
point it will start execution from that point.
Those documents that have synchronized their text with a live recording from a singer or choirs etc., are displayed together with the execution buttons and the .
As soon as you press it, a list of all the synchronizations of the document opens, from where you can choose what you want to hear and see. There is also the option [PERFORM ALL SYNCHRONIZATIONS]
where it performs all synchronizations of the document in sequence with a gap of about 4 seconds between them.
From the menu [Insert -> Synchronization execution point] you can also put a synchronization point inside the document. So by double-clicking on it, it starts syncing.
For how I synchronize musical texts with live recording, see the chapter SYNCHRONIZING MUSIC TEXTS WITH RECORDINGS .
If you perform such a sync, you can hear the performer perform a certain musical position over and over again by clicking on the point where the music begins. In this way you can easily learn to perform difficult
musical positions that may contain expressive points and gorga or holiday complex.
When you are in this execution mode, you can temporarily pause and repeat the execution with the P or Π key on the keyboard, while with the S or Σ key you can permanently stop the execution.
To speed up or slow down the execution, temporarily, without changing the time courses, click on the button: of the basic toolbox. A dimmer will appear from where you can change the execution speed up to
400% of normal.
Execution index.
During the run you will notice that there is a second moving pointer, this time blue, that moves to always show the run fire symbol.
Also the executed part of the point is painted with a different color. To set them as you want, go to the [Format -> Indicators] menu .
View modes while running and entering text.

You will also find at some point when the run has reached the bottom of the screen that it automatically changes to scroll up to continue viewing the text.
There are two modes of this automatic page advance mechanism that you will find in the menu [ View --> Slide at Runtime ].
The first one is -> [ With Page Section Shift ] and is the one we described above.
The second [ With current line in center ] raises the text line by line so that the execution line is always in the center of the screen.
AUDIO OUTPUT
MIDI Output Devices .

The creation of the sound in the Melody and in the normal performance, and not in the performance of synchronized texts with live recording, is done by the MIDI devices that are installed in Windows as
programs or by external devices called MIDI Samplers or sound modules and connected to the MIDI port of the computer you. Details about MIDI devices can be found in numerous books in the Greek and
foreign literature. Since Melodos natively supports the use of MIDI commands , it's good to read some things if you want to use the full potential of it.
From the menu [ Audio Output --> Connect Voices <-> Instruments <-> MIDI Devices ] the form will appear:
Here you will notice the following:

In the left part there is the list of all the chanter, isocrates and metronome voices that you have registered in the document.
In the middle there are all the MIDI devices you can use to perform a voice.
On the right there are the channels you choose one for each voice. You should know that each MIDI device has 16 channels
for playing the sounds. So it can simultaneously perform up to 16 different instruments. That is, in our case up to 16 different
voices. In Melodos we use 10 channels for the voices of the document and therefore we can simultaneously have up to 10
different voices of chanters, isocrates and a metronome. The remaining 6 voices or channels are available for the
ISOCRATES instrument.
Finally we have the performance instruments on the right side of the form which either have a GM ( General Midi ) name or
you can select them by their number. There are 128 instruments you can use in each voice of the document. For sound and
midi experts there is Bank select on the top right which can be exploited to route voice connections to special synthesizer
modules and assemblers to produce thousands of specialized sounds.
By reading the instructions on the form you will be able to route the voices through the output devices and channels to the
desired performance instrument.
So, to make or change a voice connection with instruments, you do the following steps:
1) you choose the voice
2) you choose the sound production device. If you want only this voice to be routed to that particular audio output device,
uncheck the box on the bottom left of this theme.
3) You choose the channel. From 1-9 for chanter and isocrates and 10 for the metronome.
4) A) If the voice is not a metronome, select the performance instrument or program number on the right.
B) if it is a metronome, the percussions appear at the far right from where you select the metronome execution instrument, while you can also select a program. Also in the center and below there is a green tab
from where you can choose if you want, how the metronome will sound in cases without expansion or with various expansions.
A convenience provided by the program is to be able to make the above changes while at the same time listening to the performance of the member. So if you press the run button at the bottom left, you will be
able to directly test the instruments as you change them.
Add - delete voices.

In the same form there is the Add voice button . Clicking on it opens the form:
Here you define the voice category, whether it will perform as a chanter or A isocrates or B isocrates. While in the middle you can define the harmony with the chanter or Isocrates, i.e. if he will sing at the same
tonal pitch or at a different one that you define.
Pressing OK closes the form and the voice is added below the previous ones. Now is the time to determine the instrument with which this voice will be performed.
With the button Delete voice you remove the voice you don't want except for the first 4 which are mandatory.
With Voice Shift you slightly shift the pitch of the voice in relation to the original eg if it is a chanter's voice with the original chanter's voice which is VOICE 1. This slight change causes a pleasant listening. You
can check the listening at the time of the change if the member is running at the same time.
Activate voices.
In the voice toolbox that opens by pressing the main toolbox button, you will see at least the following four buttons:
, which are the basic voices in the order of 1) Metronome, 2) Psalter 3) A Isocrates and 4) B Isocrates. With these you can activate or deactivate the output of each
voice. If you put other voices (maximum 10) they will appear on this line.
While from the right arrows on each voice, you can view the voice's connections, set its initial volume and stereo, and insert or delete MIDI control commands for that voice.
Voice profiles and groups

This function is a convenience to be able to define or change with a single movement complex combinations with voices of chanters, isocrates and the instruments that will be used for the performance, instead of
adding and removing and changing them one by one with each new one document.
You can for example create a profile with a cantor voice performed on the accordion, a second cantor voice performed on the piano, an Isocrates voice performed on the coke violin. Then save this combination of
voices as a profile with a name. Then you can load this voice profile into all the documents you want in one go.
Melodos has some ready-made profiles to get you started.
You open the voice toolbox by pressing the main toolbox button. Then by clicking on the word [Voices] of the voice toolbox you choose from the menu that appears:
Load Voice Profiles.
It opens a form containing various voice profiles from which you choose the one you want. Loads specific instruments for Psalters and Isocrates from the profile you selected. This is reflected in the voices toolbox
for that document.
Save voice profiles.
If in a document you liked the combination of the voices of the chanters and Isocrates, instead of sitting down and doing it every time you want to use it by putting the voices one by one and assigning instruments
you can save that combination of voices and instruments as a new voice profile, i.e. the current voice profile of the open music document, so that it can be used in another music document after it is first loaded
into that one.
Again from the [Voices] menu of the voice toolbox you select [Save voice profile] . You give it a distinctive name to identify it and save it. Now whenever you want to use it in any document it is in the profiles
and you load it as explained in the previous paragraph.
Delete voice profile.
From the same [Voices] menu , you can choose to permanently delete a voice profile.
Voice synthesis with MIDI .

As we said, the sound is produced using the MIDI devices available on the computer. You can install additional MIDI sound generating devices, even programs or external samplers that produce human voice
tones or perform traditional. Melody will automatically recognize them and they will be ready for you to use in the same way as we mentioned in MIDI devices . With such a sound-producing device from samples
of a choir or other human voice connected to the Melody, a much higher quality of music is produced since Byzantine music is primarily performed by humans. Besides, you can also "load" a multitude of
instruments into such a MIDI output device, and indeed some that are more suited to Eastern music such as canon, oud, sazz, etc.
MIDI commands
These commands directly affect the instrument that produces the sound. They are instructions to the sound card where the final voice output is produced. These instructions can be, for example, increase or
decrease the volume of a voice, for example Isocrates A. or transfer the voice of the chanter only to the right channel, so the chanter will only be heard from the right speaker, of Isocrates A to the left channel, so
Isocrates A will only be heard from the left speaker. This particular function is very useful because we can separate the voices and as an example a lesson can be done in a whole choir where some will only listen
to the A isobar, and the B isobar, and only the singer(s). Of course everyone must wear headphones.
At an even more advanced level, we can also split the voices whether there are 3 voices for chanter, isophonic, heptaphonic, antiphonic and route them to 3 different audio output cards to get up to 10 audio
outputs each performing a different voice from 10.
MIDI commands are integrated within the quantity points (equal, little, etc. and in the pause). So when Melody executes such a point, it first checks if there are MIDI commands and executes them first to program
the sound generator, that is, it gives the instructions to the sound card on how the voices will be heard. Then he performs the phthongos with all the voices of the Psalter and the isocratmas that he may have with
all the voices of Isocrates A and B. In this way, the way of performing the voices can be changed during the performance.
And all this dynamically while the member is running. That is, to start the performance with some sound of a voice and along the way to change many qualities in its acoustics, even the instrument with which it is
performed if this is required by the realistic performance of the member. There are 127 commands to do fantastic things.
There is no limit to the amount of MIDI commands we can enter at one point.
Melody natively supports midi commands which you can embed in all quant points and pauses so that the moment the performance passes that point containing MIDI command(s) the voice generator is
reprogrammed with the new data.
To insert, change or delete midi commands there are two ways:
1) From the voice toolbox press the MIDI Commands button and the MIDI tools appear to the right of it :
To enter a MIDI command from here

A) you put the pointer on the quantitative point you want
B) You choose the Action to be taken
C) You choose the Voice that will be affected
D) You choose the Amount of energy.
E) Press Done and from the menu select [Insert MIDI command ].
2) The second way to do the same is to press the arrow to the right of a voice, for example, and select [Insert MIDI commands ] from the menu .
In the form that will open, select the same things as mentioned above and press Enter or change .
The music point containing MIDI commands is painted with a grid as an indicator, only when the toolbox is open . If it is closed, the grid is not visible and therefore you cannot understand where
there are MIDI commands .
Here is an example for a better understanding of entering MIDI commands into musical text.
What we will do is route the Psalter's voice to be heard only from the right speaker, and the voice of A Isocrates to be heard only from the left speaker.
Open any member or write a new member. Add A Equirations to the member.
It moves the pointer to the member's first firebrand immediately after the initial testimony.
By pressing the main toolbox button or from the menu -> [View -> MIDI Voices and Commands] or by right-clicking on a toolbox and [Voices and MIDI Commands] you will see a toolbox appear in the
form below:
and by pressing the MIDI Commands button, the tools will appear to the right of it:
If the point the cursor is at already has MIDI commands they will appear in the list after the button: MIDI Commands .
To insert a MIDI command at the cursor position:
1st) From the MIDI command toolbox we select from the Voice the voice on which the MIDI command will act. Here we will choose her
Voice Voice 1: Chant unison. Psalmist's basic voice .
2nd) From the Action we select the action to be taken. Here we will select the Action: 10 Voice Stereo .
3rd) From Amount , select 127 .
Note: 127 sends the voice to the right speaker, while 0 to the left. To sound equally from both speakers the value must be 64. All voices initially have the value 64.
4th) From Do we select [Insert / Change MIDI command] .
With the latter, the MIDI command was inserted at the point.
You'll notice that a grid appears over the character we just placed the MIDI command on. This grid is the indication that this point also contains MIDI commands and will appear on all points that have such
commands as long as the MIDI command toolbox is visible.
So if you now use one of the methods to remove the MIDI commands toolbox, the grids from the points that have these commands will also disappear.
To send A Isocrates to the left channel repeat steps 1 to 4 changing only the Voice to Voice 2: A Isocrates , and the Amount to 0 . You mean that you have also put A-flats in the musical text so that the voice can
be heard.
Finally press run to hear the result.
DELETING MIDI commands is done similarly with the above two input methods as follows :
1) From the voice toolbox press MIDI Commands to show the MIDI tools if they are not visible.
You put the pointer over the quantifier or rest that contains MIDI command(s) . You can tell that a music point contains MIDI commands because it is painted with a grid as an indicator, only when the toolbox is
open .
Since this point contains MIDI commands , the list after the MIDI Commands button contains these commands and by pressing it opens and selects the MIDI command you want to delete:
Then from the menu of the toolbox Do: you select [Delete MIDI command ] .
2) The second way is from the arrow to the right of the voice, eg select [Insert / delete MIDI commands ] . In the form that opens, select the one you want from the list of entered commands and press
Delete .
You can mass delete MIDI commands in the document using various criteria eg document area and/or voice and/or command. You can do this in the 2 ways above, only that in the final selection menu you will
select [Mass deletion of MIDI commands ] .
CHANGE TONIC HIGH MEMBER.

Depending on your voice, man or woman or child, and high voice or middle voice or baritone, you can adjust the height of the base of the sound of the performed member.
That is, you transfer the natural basis of the sound. For example, the first sound based on Pa, its natural base is in tone 144. But a child cannot descend to these tones. Also the female voice has higher bases. So
in Melodos there is the possibility to transfer the tone of Pa from 144 Hz as high or low as you want up to about 2 octaves. There is also the option for the base of the new sound to continue at the pitch where the
previous member ended. (This is used, for example, in octaves such as the Dormition of the Virgin, Holy Thursday antiphons etc. where the next member continues from the tone that ended the previous one).
These are done from the main toolbox by pressing the button , so the following form appears to make the settings:
To temporarily change the tonal base of the member, press the button in the main toolbox. A dimmer will appear from which you can change the voice up or down by up to two stops.
BALANCE SETTINGS.
from the menu [ Audio Output --> Equalizer Settings ] the form appears
Since the isocratam point does not exist above every note but only in some and is implied in the rest, it is logical that the Melody does not perform it constantly. Therefore, in order to hear the isocractus
continuously on instruments that after a while weaken and lose their sound, such as the piano or the guitar, we choose a repetitive method so that the previous isocractus is repeated in each note.
When we use instruments that do not have damping, such as the violin or the clarinet, then we choose the simple isocrate method because the isocrate is not gradually lost and does not need to be repeated.
A SCALE ILLUSTRATION
By pressing the main toolbox button: the Scale appears on the right and vertically or down and horizontally , with the scale loaded from the point in the document where o.
Its topology is as follows. There is the main trunk of the scale on which we see all the phongs with their testimonies the intervals and pulls.
On the left side of the scale there is a strip in which a pointer appears and moves that shows the flare at the current point, and if it is performed, the scale changes dynamically with
the decays and changes of sounds and its pointer constantly moves to the performed flare and even with a fraction of a second advance to pre-idea the eye in the movement of the
phthong. The indicator is bi-composite and has a line showing the current photgo, and the second arrow-shaped indicator shows the course of the photgo that follows or will be
executed immediately after. The points of the intervals are indicated, the witness points, and it is possible to see (in this figure they are not shown) the possibilities of traction during
the four possible ways of the member's course, which are 1) descent and ascent 2) continuous ascent, 3) continuous descent and 4) ascent and descent ). It is clarified that these are
not the pulls that the text has, but they are the pulls of the audio scale, that if the auto import of pulls is used, these pulls will be used and inserted into the text. Because we can not
apply the pulls of the scale within the text but our own. The final pulls performed by Melodos are those listed on the beacons and not those listed on the scale. If tractions are
automatically inserted then these scale tractions will be passed in the right places, otherwise if they are placed by the user, they can differ from those of the scale.
You will notice that at the height of each pull there is a dotted line that shows the full width of the scale the amount of the pull. And that between this dotted line and the fifth of the
scale that receives the attraction, a shading is made to easily recognize whose fifth the attraction is. All this is to have a visual image of the pulls of the scale, in view of the fact that as
we will see below the scale turns into an instrument, the Panharmonio that also performs the pulls.
Another feature of the scale is that it automatically changes color depending on the sound and the course of its intervals. This helps a lot to visually identify and identify a scale very
quickly by its color alone. This only applies if the ladder was constructed according to the rules described in the home position. See details in SCALE AND SOUND CONSTRUCTION
.
Pressing M on the scale toolbox opens a menu to specify how the scale is displayed through a variety of options:
Their exploration is easy and left unexplained.

In the toolbox of the scale you will also see a number which here is 72. This means that all the intervals written on the scale are calculated for diapasos or octaves of 72 degrees.
Pressing it opens the menu
from where you can change the threshold to one of the predefined ones or to any value you want.
THE SCALE AS PAN HARMONY and ISOCRATES.

And now the presentation of a new instrument specialized for Church, Byzantine, traditional Eastern and not only music.
It is what the old men of the Patriarchate Commission dreamed of accomplishing in 1883 and in parts they succeeded but it was abolished because it was unwieldy and too
expensive.
A subsequent attempt by Kon. Psaha who named it Panharmonio had the same fate.
So now we bring it back in program form and with much more perfect execution by exploiting the enormous capabilities of today's computers.
So the Committee called this instrument the ECCLESIASTICAL Psaltery and based on it they measured, recorded and saved the authentic scales of Byzantine music and wrote the "ELEMENTARY TEACHING
OF BYZANTINE MUSIC MADE ON THE BASE OF THE Psaltery".
This instrument is a modern harmonium or synthesizer but with the scales of Byzantine music that Melodos has and those you have made for any music in the world.
It has the enormous flexibility to allow the user to change scales, voicings, ensembles and other sound characteristics with one click, very easily and quickly.
The scale from a passive display turns into a powerful instrument that can simultaneously perform up to 6 different voices and up to 3 different voices.
Its capabilities exceed and far exceed those of the so-called Isocrates used by many singers and musicians.
From now on we will refer to this instrument as Panharmonio .
Let's see its operation in order.

In order to draw the scale, you must have an open document and the cursor at some point from where it will load the Scale.
It is also good to choose the appearance of the scale in a horizontal position, as more practical for this purpose, i.e. using the scale as an instrument, but if you are comfortable vertically, no problem. From the
Scale Menu select [Direction -> Horizontal] .
Also choose not to display pulls in detail, if they do, by unchecking [Menu -> Show Pulls] .
By pressing the button in the menu of the scale, the scale becomes Panharmonic, simultaneously with the scale, and is divided into horizontal areas according to the voices you have programmed.
If the Panharmonic with voices has not been programmed yet, it will display a message that no voices have been set. Then you have to program the instrument as follows:
Pressing Φ on the scale toolbox opens the menu:
You choose Create Voices.

From here opens a familiar form with which we created voices for the document much earlier.
The way is exactly the same. You press the Add Voice button to add up to 6 voices.
Here the voice categories are not Psalmist and Isocrates A and Isocrates B, but :
A voice, B voice, C voice. This distinction is topological and you will see below what it means. Add 2 voices, one of type A and one of type B. Choose the instrument of each voice, in A piano(1) and in B Accordion
(22), and press OK . That's it.
Press it and you will see the Panharmonio divided into horizontal areas according to the voices you have programmed. The upper area reads the message 'Activation Area A Voices' and the bottom '
Activation Area B Voices' . This means the following. If you click inside the A area, it will be activated and you will hear the performance of all the voices that are of type A, while if you click on the B area, the
performance of all the voices that are of type B will be activated. So this topological separation can be extended up to 3 areas A, B and C. This means that I can click the A range of voices on the Panharmonic Pa,
the B range on the D and the C range on the Z. Thus the voices that are characterized as A voices will perform the note Pa, the B voices the note Di and the C voices the note Zo all at the same time.
Now click on Panharmonio to try. Try adding other voices of type A or B or C to make the sound more impressive. You can make a voice into percussion if you want.
If you want to play all the voices together regardless of which voice range they belong to, then click on the string indicator area, a narrow strip located just above the scale if it is displayed horizontally, or to the left
if it is displayed vertically.
And now some nice goodies for the Panharmonio.
Pressing the Φ of the toolbox and selecting [Voice Properties] from the menu will open the following form:
On the top left are the panharmonic voices that you entered from the [Create/Delete/Edit Voices] menu of the Φ menu of the scale.
You must first choose the voice you want to configure with the various commands on this form. So after you choose a voice
You can :
A) to temporarily disable a voice instead of deleting it so that it is not performed by Panharmonio.
B) Set the volume and stereophonic voice (if it will be heard from the left or right or both channels).
C) Determine how Panharmonios responds to clicks on it as follows:
1) Execution of the nearest phthong or pull. This way is the most appropriate since it executes exactly the drop or pull that is closest to the point where you click with the mouse.
2) Execution of the nearest phthong. Same as above but does not perform any pulls that the scale has.
3) Free execution. Depending on where you click, the absolute pitch of the tone that will be heard is also determined.
D) For cases 1 and 2 of C) above, you can define the behavior of the selected Panharmonic voice when you drag the mouse over it while holding down the left mouse click. You have two options.
1) The voice should only perform the mouse next to change if it is changed (it is also the default) and
2) To always execute it whether changed or not. Here you have to choose the playing instruments carefully or move the mouse slowly, otherwise the constant repetition of the note as the mouse is moved will
sound like noise.
E) To define the behavior of the instrument when you leave the left mouse click on a voice area. You have two options:
1) Let nothing happen to this voice.
2) To stop this voice from sounding.
E) Determine if you want the volume to be taken from the position you clicked. The scale has 2 dimensions, horizontal and vertical. And if it is depicted horizontally then the horizontal dimension shows the height
of the balloon. At the same time you can take advantage of the vertical dimension to get the execution intensity from this dimension. So if you activate this option of the voice then its volume will depend on the
vertical position of the click within its area, with greater volume the higher the click was made within its area and less the lower. You can therefore simultaneously with one click determine the pitch and volume of
the voice(s) being performed.
G) In the right part of the instrument voice properties tab there is the activation to perform the voice from keys connected to the MIDI in port or via USB . This would be useful if the scale was not visible and would
work like a piano but with Byzantine or other scales that you define. However, it was added for completeness and you can try it.
If you have a touch screen (Touch screen ) by hand or with a pen, then you have an unparalleled instrument in which you can see exactly what you choose to perform. You can perform with absolute precision
intervals and pulls of the sound you have predetermined in the scale. You can switch scales with a single click. If, for example, you create a document in which you will only put arctic testimonies of sounds to
which the corresponding scales have been assigned, then with a single click on the arctic testimony the Panharmonic scale changes.
This combined with the parallel performance of up to 3 different phthongs and 6 different voices and the ability to control the volume with the same click of the phthong make the Panharmonio of Melodos a new
instrument of Byzantine music, useful both for performance and for isocrata.
INTERRUPTION OF PERFORMANCE OF INSTRUMENT VOICES

To stop the execution of a certain category of voices, it is enough to right -click on the area of the voices that you want to stop playing. So with a left click on the scale-instrument you activate, and with the right
you deactivate the voices of this area. If you want the voices of all areas to stop at the same time, then you right-click on the area of the path marker of the floats. On a touchscreen, right-clicking is done by
pressing one finger and tapping the other momentarily on the screen.
Panharmonic voice profile

You can easily save and recall performance instrument combinations for the Panharmonic, just like you do with document voices.
From the Τ of the toolbox and selecting [Voice Profile] you have the options
to be able to load, save or delete voice profiles.

When you save, the voices of Panharmonios are saved in this profile as they are at the moment you profile them, i.e. the voices, whether they are active or not, with the instruments, their intensities, the way they
are performed and all their other properties that you specified in the form Voice properties.
Panharmonic voice pitch change.

Finally, on the right side of the scale you will see a roaster. With this you can change the pitch of the voice of Panharmonio-Isocrates as well as the member of the document. There are several ways to move him.
1) Dragging it with the mouse to the desired molecules.
2) Selecting and with the mouse wheel per molecule.
3) With the keyboard arrows per molecule.
4) With the pageUp - pageDown keys per 6 points.
Right-clicking on the roaster resets the change in height.
There is a line on the roaster every 6 points and the scale menu shows exactly the points of change.
POINT DEVIATIONS GENERAL AND LOCAL .
Pressing the deviations and pen point insertion button of the auxiliary vertical toolbar displays a guide line on each line of the document, and at the bottom of the program a window for defining the deviations.
The window is the same as for entering pen marks as explained in the corresponding chapter. That's why here ignore the first (above) toolbox that concerns the insertion of pen marks.
This window is divided into two smaller windows.

By selecting a musical point in the text, its cluster will appear in the central window, while a list of all individual points of the cluster will appear in the upper right window, and in the lower right window, if you select
an individual point from the middle or right upper window, a target will appear.
To change the deviations of some of the individual points or even the entire cluster, there are three ways:
1) You pinch with the mouse the point in the central window and move it in any direction to its new position, while at the same time you see its final appearance in the document.
2) You select the individual point by clicking on it or from the list in the upper right window and move it by moving the target in the lower right window.
3) You can also move with the keyboard arrows for greater precision.
ATTENTION must be paid to the fact that when you select an individual point either by clicking on the point or in the list, one or two options appear at the top of the central window depending on the point.
The first option available in most places is General Deviation. If this is changed then it changes to all similar clusters or points within the document but will also apply to all documents using the same music font.
The second option is Local Deviation. Appears only for points that have a local deviation.
Most points have a local deviation such as:
The key points of the clusters listed are called ' Whole Cluster' .
The isocrams, the expressive points all, the pulls, the decays, the rhythm number and the expansions on the percentages.
In this way, the writing proceeds when we have the not frequent phenomenon of the concentration of many points in a small area so that they do not overlap each other for the compared cluster, but also without
interfering with the general deviation of these points that applies to all similar clusters.
So if one chooses to change the local offset, it only applies to that particular cluster or point and nowhere else in the document or another document.
If the point you selected has only General Deviation then Local Deviation is not indicated and vice versa. However, if the point you selected has both deviations then, in addition to being listed, the one that is
activated flashes to remind you which deviation you are changing (General or Local).
Local offsets are stored within the document and are therefore visible if the document is opened on another computer . That is why after defining them the document must be saved before closing.
General offsets are not stored in the document but in a Music Font offsets file. So these deviations are not transferred with the document and so if the document goes to another computer there must be the same
deviations together with the same font for the text to be displayed correctly.
I reiterate that the General Deviations apply to all documents on this computer that use the same music font. So their changes in one document have an impact on every other document on that computer that
uses the same Music Font.
So if you make changes to the General Deviations, they are automatically saved within 4 seconds of the last deviation change and all open documents that use the same font with the new deviation are also
updated.
The General Variations file is a file that accompanies each Melody's musical score font. Because Melody's musical fonts consist only of the basic points without their combinations, and there are about 165, it is up
to the exact arrangement of the complex and complex photongosigns to be remembered and determined by this deviation file. This is its raison d'être. So it takes the same name as the respective music font file
and just changes its ending. If, for example, the name of the font file is 01classicFont.ttf, then the corresponding deviations file of this font will be called 01 classic Font.off, i.e. only the ending changes from . ttf to
. off . The deviation files are located in the same folder as the Melodos music font files, \music fonts which is in the path where Melodos was installed.
If the font is new and does not yet have a variance file, or has one that you are not satisfied with, to avoid the time-consuming process of recreating it from scratch, you can copy a file by pressing the load
variances button in the variances window menu offsets of another font to make a new offset file of the current font. Subsequently and during the use of the font, some minor corrections may be needed in the final
deviations of the points.
With the local deviation in addition to the other advantages that you will find out along the way, it becomes possible for the musical texts to appear like manuscripts. That is, the characters are not on a straight
imaginary line but rise and fall in relation to the horizontal line and according to their energy. This way of writing musical texts is very important in Byzantine notation since it is not done for the sake of decoration
but contains essential dynamics that lead to the correct representation of the musical text. Unfortunately, for the sake of convenience, this way of writing was abolished by the newer typography, while Petros
century
Ephesios used it as much as he could in the first printed books of the newer musical notation despite all the enormous difficulties that existed in the typography of the 19th .
Here are visual examples written like this:
WARNING Because the General Variance file is slowly being built there is a chance that texts sent to you by others will not display their variances correctly, so you must correct them until your own variance file
for that particular music font is satisfactorily completed, unless you also send the font deviations file and replace it.
Especially for Oligo's cluster if you select ' Whole cluster' you will see a second dimmer appear at the bottom of the right window:
With it you can rotate and change the minor to acute and vice versa. This property is stored within the document since it is a change of point and not of offsets.
If the musical points appear too large in the deviations window so that some cannot be seen, you can make them smaller by narrowing the width of the central deviations window where they are drawn by moving
its margins either to the left or to the right.
DELETING all points within this area is done by right-clicking on them just like in the points input window by drawing them on the screen.
MUSIC SERIES
Install music font.
Melodos has a special folder where it keeps its music fonts and the corresponding deviation files.
Before using a new font you must install it in this folder. This is done automatically from the menu [ Tools -> Install music font and offset file ]. After installing it restart Melodo.
Music font export

It is the opposite of the previous one. From the folder containing the Melodos music fonts, you can extract one or more fonts along with the corresponding deviation file to another folder from where you can easily
use them. e.g. send them to another computer, etc.
This is done automatically from the menu [ Tools -> Export Music Font and Offset File ]
CREATION OF DOCUMENT CONTENTS
Pressing the Document Contents: button on the auxiliary vertical toolbar will display an area on the left displaying the contents of the member.
To switch to a Title, it is enough to simply click on it, while double-clicking starts the execution from the point where the title belongs, while if the title concerns a synchronized recording, its execution starts.
The following categories can be seen in the contents.
1) Almost all objects and points of the document.
To add and display in the contents a Title linked to a point of the document, right-click on the point of the document that you want to add to the Contents. From the drop-down menu, select [Add to Contents
List] .
The following form will immediately appear:
Here you have to check the appearance of the title in the Contents and give its hierarchy. The precedence degree can be 1, 2 and 3 and indicates to the contents that
this content is main content(1) or sub-content of the main content that precedes it(2) or sub-content of the sub-content of the main content(3).
Finally, you must write the Title that will appear in the list of Contents.
Especially for Headlines. In addition to this way, you can define the appearance of the Contents from the input form or their properties. Especially for headings only,
the title in Contents is identical to the Heading.
2) The recordings synchronized with the musical text.

Synchronized recordings are automatically added to the Contents without you having to do anything at all.
As by selecting from the button the synchronized recording you can listen to it, so here, in the contents by double clicking you can listen to it again. There is no
hierarchy here and you can tell that it is a synchronization by the icon shown in the contents.
ADJUSTMENT OF BREATHING TIMES

From the menu [ Audio Output -> Cross, Comma, and Witness Times Settings ],
the execution pause time at the cross, comma and witness points can be adjusted to make it appear that the Psalmist is breathing.
Also adjustable is the break in case of arctic audio testimony change during execution and the replay delay in case of replay.
CREATION OF ARCTIC TESTIMONY.

1) First you enter the text, which will be converted into Arctic testimony.
2) You select the text and by right-clicking on it you select [ Convert points to Arctic audio testimony ], or from the menu [ Arctic m -> Create Arctic testimony ], the selected points are converted to Arctic
testimony.
3) If you want, it is a good idea to register it in the bank of Arctic testimonies of Melodos so that it will be available for use in the future.
Registration of Arctic testimony in the bank.

From the menu [ Arctics -> Register an Arctic Testimony ], follow the instructions of the form to register an Arctic Testimony to the collection.
At the end of the successful registration and if the Arctic is connected to an audio, it will ask if you want the connection to the audio to be registered as well. If the connection is also registered, whenever you enter
this Arctic in the documents, the connection with the sound will also be entered. If you want you can of course remove and reconnect with another sound or scale.
Dissolving Arctic testimony into its elements.

To dissolve the Arctic testimony into its individual parts, right-click on it and select [ Dissolve Arctic testimony into its elements ].
Importing Arctic evidence from an external archive.

From the menu [Arctics m -> Import Arctic testimonials to the Bank] we can import Arctic testimonials from an external file that e.g. someone else created it and sent it to us.
Automatic assignment of Scales to Arctic testimonials

Every Arctic testimony to be complete must be connected to the scale of some sound. In the arctic testimony introduction chapter you saw how this connection is made. But if you want to predefine these
connections so that you don't need to make this connection every time you insert an Arctic testimony, but it is done automatically, then you will go to the menu [Stairs -> connection of stairs with Arctic
testimonies] . The program has some connections ready, but you can either change them and make new connections or if you built your own Arctic testimonies, from here you can make the connections with the
sounds. Follow the instructions in the form to complete such a connection.
CREATION OF SCALE
This very powerful feature provides unlimited possibilities, since you can create any scales of sounds you want without limitation on intervals, pulls, etc.
You can construct scales for all musics of the world and not only the 7 tones of Byzantine music, such as pentatones, 12 tones etc.
Each scale is accompanied by certain characteristic pulls to make them more comprehensive in sound. These pulls can be incorporated into its drawn bows or strings depending on whether the melody is moving
up or down or at rest, and become an integral feature of it. So whenever you use the specific scale you can, with a command from the menu, automatically insert all the pulls into the text based on their initial
position in the brackets.
To build scales go to the menu [ Scales -> Build Scale ]. Follow the instructions on the form that opens to complete the construction of the ladder.
In the form that opens, its main element is the table that will be filled with all the characteristics of the scale. You need to understand this table well and that is why an explanation is given here.
to and to
Columns 1st 3rd 9th 16th refer to the steps of the scale.
to are
Columns 4th 8th the scale intervals.
More detail:
column
In the 1st , the phthongi are written .
column
In the 2nd , the witness points for each phthong are defined.
3rd
In the column it is defined if the phthong is a three/four/fifth chord end (or 3/4/5 chord) with YES .
to are
Columns 4th 8th for intervals. More specifically:
column
The intervals are written in the 4th
column
In the 5th the interval is defined in terms of chords.
column
In the 6th the interval is defined in units.
Column
7 defines the intervals from the preparations of the Commission of 1882.
column
In the 8th the interval is defined if it is a connecting tone with YES.
to column
In the 9th 16th , the pulls are defined in the 4 modes of movement of the melody around the examined chord which are:
More specifically:
column
In the 9th the traction in descent without tone.
In the 10th column the traction in continuous ascent without tone.
column
In the 11th the traction in continuous descent without tone.
column
In the 12th the traction in descent without tone.
column
In the 13th , the traction in descending with tone.
In the 14th column the traction in continuous ascent with tone.
column
In the 15th the traction in continuous descent with tone.
column
In the 16th , the traction in descending with tone.
The steps to build a scale

1) First you have to determine the bottom of the scale because the whole scale will be built on it. You can change this at any time.
2) In step 1a) there is an option to lock the extreme chord ratio of the tetrachords fixed at 1.333… or 4/3 and the extreme chord ratio of the pentachords at 1.5 or 3/2. This option is very helpful so that you don't
get out of the Byzantine scales and don't do calculations with the little computer for the total number of tetrachords and pentachords when you change their individual intervals, because then when an interval
increases, the one immediately above is affected by decreasing and vice versa, so that the total moles do not change. If the interval being changed is at the top of the 4/5 chord then it affects the interval below it.
So it is recommended that this is checked under common circumstances. When you want to make special scales with full control of the intervals or any scale with completely free intervals of your liking, for
example for Chinese music or twelve-tone or pentatone scales, then check this and get started! Of course if you are a researcher of the stairs you will find your kingdom here. You can load all these scales that
you build into Panharmonio and listen to them in practice.
3) Then if the scale you want to make looks like an existing one you can not start from scratch but add the existing one from the button Add Scale or 3/4/5 chord and then change some characteristics to end up
with the scale where you want How to create the 3/4/5 chord see below.
To build the scale part by part or to complete the existing one.
Pressing Add Space Up or Down puts a single space at the top or bottom of the existing scale. So piece by piece you add as many spaces as you want or remove if you don't want one of the corresponding
buttons Delete Scale or Space Up or Down.
When you enter an interval on the scale it takes an initial value of about 12 points.
4) The next move is to determine exactly the molecules of each interval you entered.
or the or
That's why you click on the table, to the right of column 4 with each Interval , in column 5 ratio of chords or 6
points depending on how you want to define the interval and in the numerical input box for example ratio of chords or
points you give the price.
There is one more way to get ready 1882 Commission intervals by clicking on the Commission column get it for each
Interval.
At the same time you can see the scale on the right which is constantly updated with the values you change.
5) Now is the time to put the witness points. If you don't put them in, the testimonials won't look right. The provision not to mess with them
is to make scales of music other than Byzantine and traditional where there are not these martyric points for each phthongo but only
phthongos that appear independently of the martyric points.
Clicking on the second column called Martyrical point and to the right of each phthongo, a table opens from where you can choose the
martyric point of the phthongo. He chose for all the phongos their martyrdom points.
6) Then a very important feature of the scale that serves a lot in Byzantine and traditional music.
If you want the scale you make to be colored automatically with colors according to the sound that defines its intervals, its 3/4/5 chords
and its connecting tones, you must necessarily define the ends of the three/four/five chords. Byzantine and Traditional and Eastern music
is known to work with structural units of 4/5 chords and rarely 3 chords. Depending on the relationship between the base and mid-top
intervals, the diatonic, chromatic and enharmonic genres are created. Melodos can and does automatically color the 3/4/5 chords and by
extension the scale so that it becomes an excellent educational and performance tool since you understand at a glance what genre you
are performing.
Also another use of specifying the ends of the 3/4/5 chords is when you are playing a scale change so the program can figure out what key (or octave) to connect the scales to. Because as fixed chords of
transition from one scale to another, chords that are ends of 3/4/5 chords must be taken in both scales, and if the chord that enters the decay and the chord that the decay refers to are not such, they must find the
closest chords to the previous ones, which are ends of 3/4/5 chords that will be considered constant when transferring from one scale to another.
Likewise, having identified the fixed 3/4/5 chord ends, the program will be able to automatically place the Equalizers on the member.
So in the third column entitled End of 3/4/5 chords, you specify with YES those chords that are ends of three-four-five chords.
Connecting
7) Next, and only for pentachords, you must define the connecting tone in column 8 under the title tone . Disjunctive tone is a very important feature in determining the sound. If you do not define it,
the pentachords are not painted with the color of the genus, regardless of whether you have defined 3/4/5 chord ends.
Thus the scale will be colored with the corresponding colors to blue or green for diatonics, red for chromatics and yellow-green for enharmonic sections or 3/4/5 chords. Split tones are left white to stand out. Also,
the 3 strings are painted only if they are at the ends (top or bottom) of the scale, in between they are not painted.
8) Finally, give the name of the scale and press Enter . The scale is registered in the Melodos scale collection and you can now use it in any document you want.
Other functions with Scales
From the menu [Stairs -> Delete / Rename stairs] you do the corresponding tasks.
From the menu [Scales -> Import Scales in Melody's Collection] we can import ready Scales from an external file, e.g. created by a third party and sent to us.
When you open a document, if the document was created on another computer and contains scales and sounds that are not in your computer's scale and sound bank, you can retrieve those scales so that you
can use them wherever you want. From the [Scales -> Collection of scales from the document] menu , the form opens...to intercept the scales of the foreign document that do not exist in your own bank! This
is the second way to transfer scales to another computer. You integrate them into a document, and when the document is opened on the other computer it can retrieve them and integrate them into its own bank to
use them.
CONSTRUCTION OF SUBSCALE (3/4/5 CHORDS )

These are subscales or building blocks that you use as you saw earlier to make Scales. Their construction and management is done from the menu [Stairs -> Stair Submodules].
They serve a lot, because you prepare them once, Melodos already has many such ready ones, and then you use their combinations to make either complex sounds, for example deuteroproto or protovaris or first
dichotomous chromatic etc. or much more to make Eastern and Traditional music tracks.
METROPOLITAN ILLUSTRATION
By pressing the button of the auxiliary vertical toolbox, a window appears at the bottom of the program, in which the same musical text that you have open but in metrophonic display is presented. If there is a
critical error in the musical text, the metrophony cannot be displayed. You have to fix the mistakes so that it appears in her window.
If the pointer is at a point where the scale does not act, the metronome is not displayed. Click on the musical text to display it.
The member and scale are displayed simultaneously as the member moves up and down the scale to provide visual feedback with the exact position and amount of up or down within the scale.
By pressing the execution point of the musical text you will see the metrophony in dynamic display.
A few explanations about the Metrofonia menu .
With [Limits] you define the upper and lower display points if they are automatically taken from the scale or member limits or you can define them manually with Ctrl + wheel .
If you have the menu move tool selected , by clicking on the metrophony you can drag it Up-Down or Right-Left.
At the same time that you click on the metrophony, the pointer in the document moves to the corresponding point in the document and vice versa.
If you select the menu selection tool , then by clicking and dragging the mouse over the metrophony, you select what you want while at the same time the corresponding area is selected in the document. The
same can happen vice versa. That is, to select an area in the document and see its metrophony selected.
With [Zoom] you thicken and thin the metrophony display in terms of time. In too much condensation the musical points disappear so as not to be confused.
With [Show] you choose the way the metrophony slides during the performance.
With the button on the right of the menu you can display the metrophony in full screen or on another screen if your computer has more than one.
With the rest of the buttons you define in detail what you want to be visible or hidden in the metrophony window, the positions, thickness and colors of the displayed elements.
Scales can be displayed with their colors as shown in the image or without them.
When performing or performing synchronized text you can move the pointer and continue the performance from there by clicking on the metrophony. This also happens in static phthong execution. Right click
stops the execution.
ANALYSIS OF THE VOICE OF PSALTON
Depiction of the pitch of the chanter's voice.

With this feature you can connect a microphone (of course a good one) to the computer and while chanting or singing watch your voice move up and down the scale.
It is a top-notch and very useful function to visually understand all the variations in your voice that until now you only perceived aurally. You can see and compare the notes and intervals of the scale with the
position of your voice on the scale. How to perform quality points, flying, heavy, digital, sharp, anti-vacuum, smooth, pulls, gorse, slow and other elements of execution.
And by comparing the results with the analyzes of the voices from recordings of renowned performers that you can find in large quantities on the internet , understand your weaknesses and correct them.
Also, by analyzing such valid voices of Byzantine or traditional music as for example of the first cantor of the Patriarchate of Constantinople Iakovos in 1956 or of the Saint Daniel, you can very accurately find the
intervals he performs in various sounds and then based on these results construct similar scales for the Melody.
By pressing the button of the auxiliary vertical toolbox, the corresponding window will appear at the bottom of the program.
If there is no scale loaded from an open document, the voice analysis window displays the piano on the left with its bars at fixed intervals of 6 steps.
Voice analysis window topology

You will notice that the window is divided horizontally into two parts, lower and upper.
Below that are the audio waveform tools with the audio waveform display window in which to analyze.
Above is the pitch display window with the pitch display tools.
Audio waveform display area
SOUND COLLECTION
The area where the sound waveform is displayed has a certain length and holds about 30 minutes of recording.
There are two ways to 'insert' audio.
And they appear if you press the button after the
From the menu you choose one of three:
1) [Microphones]. You connect the program to the sound input from microphones or other source of the sound card.
Once you select Microphones, the image of the sound card appears just to the right of it . Pressing it opens a menu that shows you the available inputs of the sound card you have, from where you choose the
one that interests you.
NOTE: There is a possibility that the sound card does not show in Windows all possible inputs and especially outputs from where you can record the sound. To achieve this, as long as your card supports it, you
must install a Driver that does this job. Such a free driver has the name kx driver . Search for it and see if it supports your sound card, then install it. Otherwise you have to change your sound card and buy one
that is guaranteed to display the inputs or outputs you want in Windows and its programs.
After selecting the microphone, immediately press one of the next two buttons to record sound. With the first, at the moment of recording from the microphone, the voice pitch is simultaneously analyzed
and displayed, while with the second, only a recording is made and the analysis will be done at a later time. See more in VOICE ANALYSIS PARAMETERS below. If you have a selected area, the recording will
take place from the beginning of the selection to the end of the selected area and will stop there. The recording will start from the position of the marker where it is located. If you want to move it to the beginning,
press .
2) Load audio file. If you select the Audio File as the Audio Source , by pressing the open button , you open the audio file that you have pre-recorded or that is a ready-made audio recording.
Supported audio files must be in .wav format with a sampling rate of 22050 samples/sec and a resolution of 16 bits /sample, stereo or mono.
If the audio file is in mp3 or wma or other format you must first convert it to the above format.
There are many free or demo programs that do this job.
Once you open the audio file, a form will appear:
Here you can listen and select all or part of it to import for analysis if you don't need it all. Besides, as mentioned above, it only
holds 30 minutes of recording, so if the file is longer and you don't want it to be cut at the end, you have to cut it at the beginning. The two pointers shown with A and Z are for this job.
If the final imported file is longer than 40 minutes, it is trimmed from its end.
In both of the above cases it is true that:
A) if I have an area selected within the waveform window, only that area will be covered by the audio signal and either the recording will stop or the import from file will be cut.
B) If I don't have a selected area, then the input of the audio signal will start from the position where the main marker is located. It's the one that moves when I click with the arrow selected. Initially this pointer is at
time 0, but if you click inside the window it is transferred to the click. To move it to 0 press the button or click at the beginning.
SOUND STORAGE
The audio signal you have collected in the above various ways, you can save it for future use and review by pressing the save button .
If you have selected a part of the audio, then only that part will be saved.
The storage format is . wav with sampling 22050 samples / sec , monophonic, the same one you need to load audio files. And in this form you can open it and reload it.
TOOLS
To zoom in the waveform window in terms of time (horizontally) just roll the mouse wheel over it. For the same thing you can use the tools on the right in his toolbox. This zoom has an impact on the
pitch window as well.
To zoom the waveform window widthwise (vertically), hold down Ctrl on the keyboard and roll the mouse wheel over it. To return it to its normal 100%, you can press the number on the %, for example,
which is after the 4 colored icons .
With the selection tool you can select a part of the waveform or move its pointer to any point of the audio waveform by clicking.
The selection start or end indicator lines also have the current sample number or time on them. While in between the selection and below the distance appears again with number of samples or with time.
These markers also extend vertically into the voice pitch window.
With the move tool you can move the waveform or move its pointer. Moving also has an impact on the pitch window of the voice.
With the play , play with repeat and stop buttons , you can listen to the whole waveform or if you have selected a part of it, once or continuously.
With the examine tool and holding down one of the you can listen to the different parts of the waveform through the Hanning window . The length of the Hanning window is what you set for the voice
spectrum analysis and we will see it below in the voice pitch calculation.
With the erase tool you erase the whole or the selected part of the waveform.
Gracefully opens the Windows audio tools , to determine the volume and the active output or input devices of the sound card.
With the tool you can choose the way to display the time on the waveform indicators, from a menu with three options:
With the four colored timers you can put fixed marks on the waveform that will record the time to make various calculations. They also extend vertically into the pitch display area.
The way to activate them is as follows.
1) You click to move the waveform marker to the point where you want to place a timer.
2) You press one of the 4 timers.
3) You move the pointer elsewhere. You will see the timer appear in the position with its color and the indication of the time or the sample at that point.
In the same way you activate all 4 timers.
To remove an active timer simply click on its icon again and you will see it disappear from the waveform.
So far we have analyzed the window that represents the waveform of the sound we want to analyze and calculate the pitch.
Voice pitch analysis area
If there is no scale loaded from an open document, the voice analysis window displays the piano on the left with its bars at fixed intervals of 6 steps.
If a scale is loaded, from the document then that scale is displayed with its intervals.
TOOLS
To zoom in time use the mouse wheel. This zoom is exactly the same as the audio waveform zoom and affects both areas simultaneously.
To zoom the scale vertically (in terms of frequency) hold down the Ctrl key and turn the wheel while the mouse is in this area
To move the audio analysis display up-down or right-left, select the move tool from the toolbox .
To horizontally or vertically select a part of the audio analysis, select the selection tool from the toolbox .
To move the base of the displayed scale to this area, select . This acts exactly the same as the same tool in Melody's main toolbox, i.e. it moves the pitch of the base of the scale selected in the active
document, and the move is seen within this pitch analysis window. So you can move the scale height either from there, or from here, it's exactly the same thing. The move will also be heard in the document if you
execute it.
Moving the base of the scale is needed to be able to match it with the base you sing into the microphone or that is heard from the recording you uploaded here.
The indication or in the toolbox is an indication of how many total molecules of the span the molecules are labeled within this region. There is only one way to change the
scales of the scale here, as in every other point in Melodos that is used, from the scale menu. The change there has a direct impact everywhere in Melodos.
If you press this button it will change to and the display will be in chord ratios instead of moles.
There are corresponding buttons to the time markers we saw before, the altimeter. .
There are four elevation markers and a Report button.
But what is the 'Report' button and where is it needed?
I may or may not use it. So let's go put some elevation markers.
1) I click on the pitch of the voice I want to move the base pitch.
2) I press the altimeter I want
3) I move the base altimeter elsewhere and the altimeter I set is revealed.
I repeat the same for all four elevation indicators if I want.
The left part shows the absolute value of the frequency for the height of the altimeter. But this doesn't tell me anything except for a general information of how high or low I am.
What I need as the main information is how many points is the height here from the base of the sound or some other loft. And this information is not absolute but relative because it is related to something else, the
base in this case.
So here I use the knob to set the reference point which in this case is the base of the sound. I place it just like an elevation marker. I put the main altimeter on the base, hit Report and I'm good to go.
After entering the Reference you will notice that the altitudes show not only the absolute frequency of the height but also points. So these points of all the elevation markers are calculated in terms of the height of
the Reference.
But also the main elevation marker writes points which are again calculated based on the Reference.
To remove elevation markers or Reference, I just need to press their button again.
If you vertically select a pitch range you will find that in addition to the two pointers at the ends of the selection with their indications of absolute pitch and relative points if reporting is enabled, there is also a third
indicator with black in between from the selected pitch, which is called Difference and in addition to indicating the relative altitude difference of the frequencies of the two ends of the selected area, it also indicates
the relative distance between them in molecules, always calculated with the current number of molecules of the cross section. Note, these molecules have nothing to do with the Reference and therefore with its
existence, because precisely in the representation of the difference in the selection, the lower area of the selection is a reference to the upper one.
With the various other buttons in the menu you can change the display of the scale, its units, its lines, etc.
And now the explanation of the most important part of voice analysis.
It is the first button in the voice analysis toolbox, the .
Before you activate it, know that if you have a part of the audio waveform selected, the analysis will only be done on that part, otherwise it will be done on the whole area of the audio that is 30 seconds long,
whether it contains sounds or not. Because this analysis is time-consuming, if you want to analyze a specific part of the recording, in order not to delay, select it first and then press .
This analysis is called OFFLINE because it is not done at the same time that the voice is recorded but later and independently of the recording.
Of course if I choose to open an audio file, I can only apply this resolution because the audio file is pre-recorded.
As soon as you press it, a form appears to define the parameters of the calculation for the analysis of the pitch of the voice.
Voice pitch analysis parameters
The same form appears when I start recording from the microphone with simultaneous analysis of the voice.
In ONLINE voice analysis, the settings are critical if the computer is old, because the analysis is done at the same time as the sound is captured, and if you put the best settings, because it needs a lot of
processing power, the processor may not be enough and you have gaps and interruptions in the sound and resolution or the program crashes.
In OFF LINE analysis, the age of the computer does not matter, it will just take longer to finish the analysis.
This voice analysis performs complex and time-consuming mathematical calculations, more time-consuming than the voice spectrum analysis with the FFT algorithm . To understand, in the best setting,
12,058,593 multiplications and additions are done per second, i.e. the processor works at its maximum.
So in the settings form first is the FFT conversion length .
Here are five options:
First choice. FFT Length :
The best choice for the highest accuracy in the analysis is the one with FFT length = 32768.
However, if you do an analysis at the time of recording and see that your processor cannot handle it, download progressively to 16384 or 8192.
Second choice. Analysis window:
Here 1024 is recommended for human voice. You can also experiment with the 2048, sometimes depending on the sound quality it works better and the pitch changes are smoother, while the 512 is only for
special cases of sounds and for very fast changes of tones and tones.
Third option. Overlay step:
Here you determine how dense in time the voice resolution will be. The denser the better, which is why the default is 128 samples, but also requires more processing power.
[ TECHNICAL ANALYSIS :
This paragraph is intended for audio technicians .
An example of what has been mentioned so far. The audio comes digitized for resolution at 22,050 samples/second. Every 128 samples, an analysis of a window of the sound will be performed, the length of
which you determined in the previous step, for example 1024 samples, so there is an overlap of the analyzed voice windows by 87%. This is done for denser analysis results to capture even the smallest changes
in voice pitch. Each window of length 1024 is filtered by another Hanning window , and finally each resulting window is analyzed with an FFT of length 32,768 or 16384 or 8192 etc depending on the choice.]
COMMENTS.
Consonants, (hissing, dental etc) are not harmonious sounds and have no height. Therefore, in areas where these exist, pitch will not be extracted, simply because it does not exist, and there will be a gap. So
there is no problem with the analyzer if you see gaps in the consonant positions.
As soon as you press OK, the voice analysis starts.

Note that if you have a selected area within the audio waveform area the recording (if you are writing) and the analysis will only be done for that time and stop.
If at the end you do not see a voice pitch diagram, you may have to change the zoom because the resolution is not displayed at all zooms (you will see a message on the screen). If it is still not visible, the voice
spectrum is probably not in the visible field. Move the spectrum area up or down with or zoom in with Ctrl + wheel in the voice pitch window.
RHYTHMIST
The stand-alone typewriter runs independently of the documents. It is useful for writing, listening, learning and using the different rhythms.
For writing rhythms read the classic book "The Rhythmographer" by AGATHANGELOS KYRIAZIDOS. "MEGA THEORETIC" of "CHRYSANTHOS" also contains elements of rhythms.
If you press the drum icon in the main toolbox, the beat toolbox will appear with a beat loaded:
To select a beat, enter a new one, or change its playing instruments, tap on the beat.
To perform it, on the drum or play .
You can also change its execution speed from the time lapse icon.
SYNCHRONIZATION OF MUSICAL TEXTS WITH RECORDINGS

With synchronization we can hear the voice and performance of a musical text by a real singer or teacher recorded while at the same time having functions that we do not have when listening to the same with a
simple audio file player.
The advantages are :
1) We see the pointer over the text that at all times shows what the chanter is doing.
2) I can with one click put the pointer on the point I am interested in and listen to the performance again and again as the singer does it as many times as I want. So I can easily learn and perform, difficult and
twisted musical positions with complex expressions, timings, etc. points.
3) I can change the performance speed for various reasons, eg for practice, to a slower or faster one without altering the pitch and other characteristics of the singer's voice and thus better analyze the
performance.
4) I can simultaneously see the scale and pitch resolution of the adonto's voice on the scale as well as other features.
These and many more are the benefits. In the ready-made examples you will find the document named EXAMPLES_SYNCHRONIZED_RECORDINGS. mel containing synchronized music members with live
recordings.
To open the synchronization menu, press the auxiliary toolbox button and the synchronization tools appear at the bottom of the screen:
The steps to create a new sync are:

1) You prepare the audio file with which the text will be synchronized.
CAUTION . The audio file must be saved in wav or mp3 format and if it is a video file it must be in mp4 format . Although Melodos accepts all audio and video file formats, it does not synchronize properly if the
file is not in one of the formats listed here.
If the audio file is not in this format, use one of the dozens of programs available on the internet to convert it to these formats.
2) Click on the synchronization toolbox and from the drop-down menu that opens:
you select [Add New Sync].
From the form that opens, give a name and select the audio file with which the synchronization will take place.
If you haven't embedded the audio file yet, you can do so from this form. Test the execution to
make sure it's what you want. If you don't use it, don't worry about removing it, since when
Melodos closes a document it also cleans up any media files that aren't used by that document.
You press OK. A new sync is created that currently has only a link to an audio or video file and
is completely empty of any sync point records.
3) To start sync input, press the sync start button and go into sync point recording
readiness with the button flashing as an indication of this status.
Below is described the way to do the synchronization.
Synchronization steps:
1. Press the PLAY button of the sync toolbox or the P key to start playing the media.
2. As soon as the listening reaches the desired point, to synchronize, alternately do one of
the following four actions, whichever suits you best:
a ) click the right arrow icon in the sync toolbox to sync the point the cursor will go to or
b ) press the right arrow on the keyboard to synchronize the point to which the cursor will go, or
c ) press the spacebar to synchronize the point to which the cursor will go or
d ) click with the mouse on the point to be synchronized.
CAUTION . Actions a, b, and c first move the pointer to the next point and then sync that point to the clip, while action d syncs the clicked point.
Continue in the same way until the member you want to sync is finished.
If the multimedia is finished, the synchronization stops automatically. You'll know because the Sync Start/End button will stop flashing . If you want to stop earlier, press the Start/End sync button or the S
key on the keyboard
One advantage of clicking sync over others is that you can also sync non-musical points, such as text or images, while the and right arrow keys and spacebar skip all non-quant music points and move to
the next quant point. This is an advantage if you are synchronizing a musical text and you are not interested in any interpolated points other than quantitative ones.
To temporarily pause the synchronization, use the Π or P key on the keyboard or the synchronization toolbar. When you are in a temporary sync pause the icons will flash.
After you finish syncing there are 3 ways to listen to it.
1) Go to the main toolbox of the program and to the execution buttons area, by pressing the button to choose from the menu that will open the sync you want to hear or
2) In the toolbox of synchronizations by pressing the button select from the menu that will open the Load synchronization.
Sync starts playing automatically.

3) In the contents of the document that appear by pressing the button of the vertical toolbox, the synchronizations are also shown from where they can be executed by double clicking.
While performing a sync you can temporarily pause using the Π or P keys on the keyboard or by right-clicking on the document or with the sync toolbar buttons .
To definitively end the execution, you can use the Σ or S key on the keyboard or the synchronization toolbox button.
In the synchronizations menu you can see some additional tasks for synchronizations.
With [Delete synchronization] the synchronization disappears.

With [Clean Sync] I empty the sync from the sync points if something went wrong and we didn't like the sync. Its connection to the audio file still exists. So I prepare it to repeat the synchronization process with
the same audio file.
After the end of synchronization, you must save the document in order not to lose it. If you forget, the program will remind you when you close the document.
Because the above way to synchronize a text is approximate and not very accurate, there is also a complementary way to give absolute precision to the synchronization so that the executed point of time
corresponds exactly to the depicted point where the cursor is moved.
This mode is complementary to the first and cannot be started until after the first mode of synchronization has been completed.
How is it?
If you don't have a sync loaded, load it by pressing the head in the toolbox and selecting the sync. Alternatively, you can load synchronizations from their construction window.
Right-click on a point in the text and select [Change point sync times] from the drop-down menu . The following form will appear
As you can see you can scan all the points of the loaded synchronization and see their times or change them.
To do this you will need a Wave Editor program from where you can see the times. You can find many free ones . You run this program and load the same audio that you have in sync.
Below is such a program with the sound loaded.
From the shape of the wave and of course listening to it you understand where a syllable begins and which syllable it is. So you find the beginning of the syllable that corresponds to the point in the text you're
syncing and zoom in on the waveform to see exactly the time at that point.
As shown in the drawing above where the pointer is I have a time of 18:920 that is 18 seconds and 920 milliseconds.
So you record this time in the form for changing the times of synchronization points that was opened above, correcting the old time if necessary.
In this way you define the synchronization times of each point very precisely. With a little practice and experience, you can easily find intermediate vowel points and not just the beginning of syllables.
The times are automatically recorded in the current sync as long as you save the document at the end.
FOR FONT MAKERS
Changes in the 2013 version.

IN THE MUSIC SERIES
The following changes have been made to the music font files since the 2008 version.
Damages and pulls are centered, meaning their center both vertically and horizontally is at or near 0 on the X and Y axes.
The width of these points defined by the 2 vertical lines starts from their center and reaches their right edge, i.e. it is half of normal.
1, 3, 5 and 7 molecule alterations circled in black were removed.
The horizontal start indicator on the 3 others was moved to their start.
Added the following new points to the font
Name hexadecimal address Unico de
Heteron very large 3 or 4 points D 08 E
Smooth double for 2 points D 08 B
Diatonic sound benchmark D 090
Witness point nana D 091
Harmonic sound benchmark D 093
Crease D 094
Isaki D 095
Bending D 096
Piasma D 097
Horror D 098
Strepton D 099
Request D 09 A
Digital long, for 2 points D 09 B
Rhythm point 1 D 0 B 2
Rhythm point 2 D 0 B 3
½
Rhythmic point D 0 B 4
Rhythmic weaving ͜ D 0 B 5
IN THE SERIES OF SPECIAL LETTERS

The following changes were made to the fonts of special letters:
1) another lower concave wider than the first one was inserted so that I could put it under the isocrathams that are written with a full syllable, e.g. Pa, Vu, etc.
2) In the two lower hollows the horizontal zero was moved to their center (from the left end which was older).
The music font construction tutorial.

The construction of a musical font for Melody is very simple, since the characters used are all and all 166. So the complete construction of a font of your liking from scanning a book from where we raise the
characters to the end can take only a few hours. If of course you want to create a completely your own font then you should first draw the characters with a good graphics program and using a stylus for best
results and then transfer them to the font as described below.
To make a font you first need a program that makes fonts and there are plenty of such and you can download one for free and make your font. We used Font Creator 6.5 from http://www.high-logic.com/ .
So after downloading and installing such a program, instead of completely starting the construction from the beginning, defining all the characteristics of the font, it is better to make a copy of one of the ready-
made fonts that you get with Melodos, in order to modify it, for example the classic : 01 classicFont . ttf which you will find inside the folder C :/ ProgramData / Melodos _ data / music fonts or you can easily
locate it from the Melodos menu [Tools -> Open positions -> Music fonts] , and open it for editing with program you selected. We used FontCreator 6.5. The image that will appear once you open the font will
be the following:
Before anything else we need to mention the basics of all Melodos music fonts.
To see them, go to the [Format -> Settings] menu of fontCreator.
In the form that opens and in the first tab the Header the basic and only thing we need is the Units per em in the Layout and it must always be 2048.
Now we go to the 3rd tab called Metrics .
Here what we need is in Spacing, Win Ascent = 2880 and Win Descent = -1920. WinAscent is the height of the font above the line and WinDescent is the depth of the font below the line. The ratio of WinAscent
/ WinDescent = 1.5 must be maintained even if you change winAscent and WinDescent to avoid character design problems in Melody.
The sum of WinAscent + WinDescent is the total height of the font and primarily determines line spacing within Melody (this can be configured secondarily within Melody as well).
Other Typo Ascender, Descender and Line Gap should be 0.
Do not press Calculate in Spacing because the program will automatically do its own calculations and will spoil our own settings.
Nothing else from here. Close the font Settings.
Each character, in order for the windows to understand where it starts and where it ends, is defined by two vertical dotted lines, one left and one right, without necessarily being exactly at the beginning or end of
the character. Essentially, in our case, these two verticals determine the width of the character and its centering in its drawing position.
To see these lines we need to open some character of the font for editing. To do this we double click on the character.
Below is the equals character.
You will notice the two vertical dashed red lines at the ends of the equation.
There are characters that have these lines:
1) at the beginning and at the end of them and they are all the quantifiers, all the gorgas, the witness points and the witness phthongos, the sound witnesses, the rhythm points, and the auxiliary points.
2) in the center and at their end and it is the fraction of corruptions, alterations and expressives with the exception of only the three heterons and the long digit where the left diagonal is not exactly in the center
of the point but shifted further to the left.
3) Especially the heaviness and the pause on the second vertical do not have it at the end but where they intersect the horizontal line. Also, the temporal processes are a bit peculiar.
We can move these two vertical lines with the mouse.
You will also see some other red auxiliary horizontal lines. Of these, the most important is the central one called Baseline and marks the imaginary line on which the character rests. Also shown is WinAscent and
WinDescent. These horizontal lines cannot be moved with the mouse like the two vertical lines but are determined by the Font Settings as we saw earlier.
As for the horizontal line, there are the following categories.
1) Those that step on the line such as all the quantitative points that either step exactly or close to the horizontal line, all the gorse, the fraction, the expansions, the rhythm points.
2) Those that are just below the line and are the expression characters.
3) Those whose middle is on the line and are the damages, the alterations, the witnessing points, the witnessing phongos, the testimonies of sounds, the temporal processes.
4) The pause, gravity and temporal actions peculiar.
EXAMPLE,
We will give an example of creating a musical character in the most appropriate way for quality and fast construction.
The build uses programs that you can download for free from the internet for a trial period.
The program you will need is CorelDraw X 6. Download and install it.
As we said before, for your own convenience, make a copy of a font, for example the classic one: 01 classicFont . ttf file that you will find in the music fonts folder in the Melodos installation location, which you
can easily locate from the Melodos menu [Tools -> Open locations -> Music fonts] .
1)Run FontCreator and open the copy of the font you made.
2) Run CorelDraw and create a blank A4 page document with a Rendering resolution of 300 dpi .
3) Scan the page of a book you want to make the font of and save the image. The scan must be done with a high resolution of 600 dpi and in 16 bit Gray Scale or 8 Bit Gray Scale format or in color. However,
not Black and White .
4) Open the image with Windows Paint . Choose a character eg equals. It doesn't matter if it also has pieces from adjacent characters. Copy to clipboard, Ctrl + C .
5) Go to CorelDraw and paste. As it is selected, or if it is not, select it, and zoom it by 3000! times. It should grow to about the width of the A4 page as seen in CorelDraw . The zoom tool will appear on the right by
going from the [ Arrange -> Transformations -> Scale and mirror ] menu .
With the mouse wheel, zoom so that the point is a little smaller than your screen, that is, it appears as whole and as large as possible on the screen.
tool tool
6) In the left vertical toolbox hold down the 5th called Freehand tool and from its menu select the 6th called B- spline .
7) Start at any point on the point outline by successively clicking around and making sure the line that appears follows the point outline. In the corners click more densely to make the turns as true as possible.
While on the long straights click more sparsely. Finally, zoom right over to the starting point and make the last click. The surrounding of the point you formed must be closed and you will know that it is closed if it is
already selected with the closing.

Congratulations, you have just finished the most difficult job. What you've done is convert the original point image to a vector graphic that alone makes the fonts.
We are now working with this vector graphic. The original point image is no longer needed.
With the vector graphic of the point selected click on the right in the color toolbox a black color to fill the vector graphic of the point with black.
8) As it is still selected, copy it to the clipboard ( Ctrl + C ). You are done with CorelDraw .
9) We now go to FontCreator 6.5 where we have opened the copy of the classical music font. We open the point where the new point will come, for example the equals point, and paste ( Ctrl + V ). It is inserted
over the old point. We scale it up or down accordingly so that it's size matches that old equal and erase the old character. CAUTION. We must know exactly the magnification ratio because the next points we will
bring must be enlarged with the exact same ratio in order not to lose their ratio. Of course, if I don't care too much about the detail, I can also equate them as I did with the equal to the corresponding old points,
the little to the old little, the thrower equal to the old thrower.
We close this character and open the next one eg the little one and repeat the steps from 4 onwards for all characters.
After you finish entering all the characters you need to rename the font and give a new name. It is not enough that the font file has a different name because windows and Melody do not get the font name from its
file name, but read it inside the font. So let's define it.
Go to the [ Format -> Naming …] menu of FontCreator .
In the form that opens we must correct the fields that describe the name of the font and they are:
1) Font Family Name
2) Full Font Name
3) Postscript Name .
All three of these fields must have the name of the font as it will appear when I select music font in Melody.
Another thing to note about this form is that the Platform field must have Windows Unicode BMP selected . These exist because we opened a ready-made font and configured it. Whereas if we build it entirely
from scratch, it needs more work.
Save the font. She is ready.
OPTIONAL POINT SIZE CHANGES.

If you ever want to change the size of the font you are building, in addition to making the points smaller or larger, you need to change the WinAscend and WinDescent of the font in proportion to the size of the
font. If for example you want to reduce ( Resize ) all characters to 79% of the original size, then the new Ascent = old Ascent * 79 / 100 = 2880 * 79 /100 = 2275, and the new Descent = original Descent * 79 /
100 = 1920 * 79 /100 = 1516.
The ratio Ascent / Descent = old 2880 / 1920 = new 2275 / 1516 = 1.5 remained the same in the new as it was in the old, i.e. 1.5.
Install the font

The last step is to install it in a position where Melodos can see it.
If you don't already have it saved in the music fonts folder of Melodos, do the following:
Go to Melody's [Tools -> Install Music Font…] menu.
Select the font from the location where you saved it. Press OK. Installed.
Another way is to open the Melody music fonts folder from [Tools -> Open -> Music Fonts] menu and copy the font inside that folder where all the Melody music fonts are located.
Close and restart Melody.
Open a document and from the Fonts menu you can now use it with the name you gave it.
Once you use it for the first time, Melodos will automatically create a variance file for that font that will accompany it for life. This file holds the positions of the characters within the blocks and either slowly builds it
because those positions are hundreds if not thousands, or it copies the offsets of another font into yours which you will be prompted for the first time you use it but you can do and later from the deviations
window button. It is also easier to copy the ready deviations from another font and then make some small changes if you are not satisfied with the visual result.
2) Fonts supporting special points .

Windows fonts do not support these characters.
Melody inserts these characters among the characters of the normal font you use to write lyrics or normal text, and you don't have to worry if the document is transferred to another computer because these letters
will be visible there too.
The ready-made special fonts available in Melodos are similar to Arial, Times New Roman, Garamond, Microsoft San Serif, which is why they have the word similar at the end of the corresponding name, to
indicate which normal font they adapt to.
Because the characters of the special font are combined with the characters of a regular font, the two fonts, regular and special, must have the same characteristics in terms of height, vertical offset and character
size, so that there is no discrepancy in the appearance of compound syllables. With the special fonts that Melodos already has you are covered for 90% of normal fonts.
However, if the normal font you use in texts and lyrics is very sophisticated, i.e. with special deviations and sizes of the characters and cannot be combined with one of the ready-made special fonts of Melodos,
then you have to make your own special font.
Building it based on a regular font is very easy as it only contains 7 characters. To avoid the hassle of doing all the basic settings of the font from scratch, we take the following steps to build it:
1) We open in the font editor, eg FontCreator , the regular font based on the settings of which the special font will become.
2) We save it somewhere outside the fonts with a new name that of the special font.
3) We delete all its characters except for 7 that we use as guides, for example: o, a, A, s, j , n .
4) Open FontCreator and a special font. Their location can be found from the Melodos menu [Tools -> Open data file location -> Special fonts font location] or directly in the folder C :/ ProgramData /
Melodos _ data / special fonts .
We transfer from this special font the special letters one by one and adjust them in height, vertical offset and size if necessary, in the new font using as guides the letters we kept and which we then delete so that
only the new characters remain.
5) We change the addresses of the new characters, i.e. the Unicode numbering , to the same as that of the special font that we opened as an auxiliary.
6) We give an internal name to the font (with the ending …_ similar ) such that it reminds us of the normal font that fits eg Tahoma _ similar . This is the name you will see when we search in the special fonts.
7) Save it and transfer it to the folder with the other special Melodos fonts (see its location above).
The available fonts are similar to Arial, Times New Roman, Garamond, Microsoft San Serif, which is why they have the word similar at the end of the corresponding name. Stick to this formula in naming them for
easy identification.
In version 2013-8 some changes were made. See above for details.
LISTS OF MUSIC RECORDS.

You can create lists to which you can add as many documents as you want and even target a specific position within the document. In this way, you can, for example, prepare the entire order of next Sunday's
sequence and with the laptop on the lectern have the entire order of the sequence in the list and with one click open in order those documents that are involved in the sequence and the point where you want
Adding documents to a list does not move the entire document into the list, but rather creates a reference to the document's storage address and another reference to the pointer's position within the document.
After you have built it and baptized it, save it in the folder mentioned
above.
Melodos does not allow documents that are not stored in its Library to be added to lists, and this is so that it can definitely locate them even if the list and documents are moved to another computer which is most
likely the ultimate storage location them to be different from the original.
Removing or deleting the link does not affect the document in any way, it just removes the reference from the list.
To display the list window, press the button on the auxiliary vertical toolbar of Melodos.
A window named LISTS will appear on the left side of the screen containing all the lists.
Tasks with lists
CREATE NEW LIST.

Pressing it in the LISTS window displays a text line for you to write the name of the list.
After writing it press the Enter key to get it.

You will immediately see the name added to the list of lists.
The lists are displayed in alphabetical order, so if you want to control the display of the lists, put a number in front of her name.
DELETE LIST.
To delete a list select it and press or right-click and from the drop-down menu select [Delete].
RENAME LIST.
To rename a list, select it, right-click and select [Rename List].
OPEN LIST.
To open a list and see its contents, double-click on it, or right-click and [Open list] after selecting it.
Once you open a list, the menu of that window changes to now serve the contents of the list:
Above is the label to return to the lists, because now you are in display mode of the contents of a list.
Works with list contents
ADD NEW REGISTRATION

There are three ways to add a record to a list.
1) Having the document open and clicking on it in the list contents window. Registration takes place in the current open list and if you have a selected item in the list right after it, otherwise at the end of the
list.
2) With the document open and right-clicking on the contents window of the list, select [Add new record...]. And here the recording takes place in the current open list and if you have a selected item in the list
right after it, otherwise at the end of the list.
3) With the document open and right-clicking on the document, select [Add document to list] from the menu. In this case, you will be asked to select the list to which the document will be added, and if this list is
open and if you have a selected item in the list, the registration will take place right after it, otherwise at the end of the list.
In all three cases, the record also contains the position of the marker in the document, so that when you open it from the list, the document will open exactly where the marker was when you made the record in
the list.
CHANGE OF REGISTRATION LOCATION

With the two buttons and having selected an element of the list, you can change the position of the selected element of the list higher or lower.
RENAME AND DELETE LIST ITEM

Having selected an entry in the list with a right click, select from the menu [Rename] or [Delete] respectively.
OPEN DOCUMENT FROM THE LIST

By double-clicking on an item (record) in the list or by right-clicking on a record and [Open document], the document opens in the position where the cursor was when this record was made in the list.
You will notice that the display of a list item or record is as follows:
1) In front is the name you gave.
2) Then comes the word 'File->?'
3) And then the path and file name of the document. Here the path is not complete but Melody assumes that these documents that the lists refer to are inside its Library, so it will search with the incomplete path
only in there to find them, nowhere else.
4) Finally there is the ? and a number. This indicates the position of the cursor within the document.
Chances are, all you'll need to see is the name you gave that item or record. The rest is used by the program to find the file.
FINDING _
Finding in Melody works like in other text editors but for musical notes or whole phrases.
Finding musical cues

You can look for corruptions, Arctic testimonies and Time actions in the musical text.
For this purpose, first press the [Find] button of the basic toolbox to select the type of point you are looking for and the direction within the text (previous or next). The pointer will jump to the first matching point it
encounters. If you want to continue searching for the same type of point, there is no need to repeat the whole process, but it is enough to press the F 3 key to go to the next one or the Shift + F 3 key combination
to go to the previous one.
Find a musical phrase
There are two ways to start finding a musical phrase. One is from the [Find] button of the main Toolbox and the second is by pressing the button of the auxiliary vertical toolbox.
The search window opens at the bottom of the program.
The instructions are informative. To find, do the following steps:

1) Select from an open document or type and select the musical phrase you want to search for.
2) Tick the points you want to be ignored during the search.
3) Check whether the search will be done only in the active document or in all open documents.
4) Press the ' MOVE and FIND' button .
The musical phrase you originally selected to search for will be transferred to the Find window, so you can be sure that the search is for that phrase and no mistake was made. The documents will then be
searched and the list below will be populated with all the phrases found in the open document(s).
With a click on each found item in the list, you go to its position in the document.
Also, after the ' TRANSPORT and FIND' button , you have an update on the number of phrases found.
COLLECTION OF MUSIC POSITIONS AND THEIR USE.
THEORY
Musical positions, or formulas, are small self-contained or incomplete or incomplete sections of music that are used as building blocks to build a complete musical phrase. Many such musical phrases make up the
final member.
These small or larger musical positions had a very high value in old Byzantine music and each of them had its own symbol in shorthand writing, where a symbol or combination of symbols, such as the so-called
major hypostases, and quantitative signs combined with the sound or decays and the position within the text, corresponded to a whole musical phrase that the correct performer had to learn to recognize and
perform by heart. This memorization was also helped by the gesture of the choir master or the teacher or the specialist for this purpose which simultaneously transmitted the rhythm.
After the Byzantine music was transcribed into the new notation, the value of the musical phrases was ignored since the music was divided into pa, vo, ga, di... and the autonomous and structural musical
positions that formed the basis of the music, were broken into smaller pieces from mostly quantitative ones characters that go up and down and try to represent the musical phrase using the expressive and time
points.
Wanting to help in this direction, Melodos introduces the mechanism and function of registering and finding musical positions and phrases. Thus, all or a large part of the traditional musical positions can be
introduced, so that the younger composer can draw from this treasure with ease and use the authentic musical positions of Byzantine or other music depending on the composition.
The primary element in a musical position is its intonation. The stress is supposed to follow the stress of the syllables of the words of the verses.
In the musical parts, we will find or search for the appropriate musical positions based on the accentuation of the syllables of the poetic text.
So, to set the accent of a poetic text we will use the following three points.
0 = in unstressed syllables
1 = in stressed syllables
X = on syllables that can be either stressed or unstressed. That is, X can be both 1 and 0.
An example for better understanding.

Suppose I want to find the stress of the imperfect musical phrase "Open my mouth".
I do the following steps.
1) I divide the poetic text into syllables by putting the acute ones where they should:
"Get it out of my mouth"

2) Where there is acute I replace with 1 and where there is not with 0 and I have:
"Get it out of my mouth"
"0 1 0 0 1 0 0"
This is the way to get stress out of poetic text.
Let's say I want to extract the stress from a slow musical text that has the same phrase as the verse as follows:
Here I have repetition or continuation of some syllables in more than 1 time or points, that is I have :
"I know it, my dear"
This should not confuse me in deriving the intonation. The rule is that I count each syllable in stress only once, regardless of whether it is repeated many times.
That's how it is
"A noi xo to sto o ma a mou o" will happen
"A noi xo to sto ma mu", i.e. finally
"Take it out of my mouth" where the emphasis comes from
"0 1 0 0 1 0 0".
In the accented position of the verses, some other points are also used, such as ha and gorthmics , for with a vowel such as α, ε, ο, η and у, but they are not accented points.
That's it for the theory.
Registration of musical positions.
Pressing the button of the auxiliary vertical toolbox opens at the bottom of the program the window for entering music positions in the collection.
To register a music place, do the following steps:

1) Find in an open document or write the musical phrase you want to enter.
2) Press the button in Melody's main toolbox located with the Σ1–Σ5 verse buttons, to display the musical phrase stress input area in place of the lyrics. It is invisible, it will simply increase the space under the
points and lyrics so that there is room for the introduction of the emphasis of the musical text we were talking about above.
3) Press F 12 to insert lyrics, only because the accent is more before the lyrics it will be activated first.
3) Put the stress according to the stress of the syllables of the poetic text of the lyrics, using the three points we mentioned above, 0 for an unstressed syllable and 1 for a stressed one. X is not needed here. Be
careful not to repeat the stress in case of repetition of the syllable.
2) Check in the window the characteristics of the music position by selecting:
A) Genre of music, (mandatory)
B) Soundtrack, (mandatory)
C) Audio subcategory, (optional)
D) Genre of musical position (for Church music only)
E) Type of musical position. Here a clarification on the ' Variable' option . It is a musical phrase that does not belong to the rest and connects two other musical positions, that is why it is called that. Whereas with '
Preparation' it is the one before the musical phrase that does not belong to the other categories of phrases and whose existence is either to change a 3/4/5 chord, or to do something very short that cannot be
called a phrase and so to prepare the ground in the sentence that follows.
G) Optionally you can choose from the existing ones or give a new name to the music position to search for it by its name. There is a list of ready-made names of old great hypostases and others.
3) Press the button . That's it. If it does not produce any message, it means that it has been registered.
With the import button you can import music positions from a collection that someone else sent you and enriched it with new music positions. So those of these positions that are not contained in your own
collection will be copied to your collection, the rest will be ignored. For how to export the music track collection file, see at the end of the MUSIC SCORE SEARCH.
A music position search
To open the search window for music positions press the button of the auxiliary vertical toolbar. It will appear:
To display musical positions here you must have a document open because the music font used to display musical positions is the same as the active document.
MENU
The menu of this window is:
Some explanations for this.

With [Hide Parameters] , all search parameters of the music position are hidden and the entire window is used to display the found music positions.
With [Transfer] you enter the music position you have selected in this window into the active document. You can do the same with your right in the music position.
With [Delete] you permanently delete the selected music position from the collection. You can do the same with your right in the music position.
With [Properties] it opens a form where you can see and change some of the characteristics of the music position, not the music position itself, such as the name, genre, sound subcategory and also link the
music position with audio file so you can hear this position performed.
You can do the same with your right in the music position.
With , if it is enabled and it will be enabled as long as the music position is connected to an audio file in the way shown in the image above, you can hear the performance of this audio file that is for that
particular music position. You can do the same with your right in the music position.
If a music position has a link to an audio file, then when it appears in the list, it is indicated by the sign ►. In the image, the first two musical positions have such a connection.
With it you change the size of the music font locally.
With it you dilute the musical characters locally.
To export the file of the collection of musical positions press the button: [ Export ] and follow the instructions, while to import musical positions from a file press [Import] .
Finally, there is an indication of the total number of music slots available in the collection.
By right-clicking on the music positions, a menu opens where you do the same tasks as mentioned above, but in addition the Connection of music positions.
Music position search functions

And now the explanation of how we search for music positions with various criteria also called filters.
In the window for finding music positions there are various criteria that you must specify in order to get as close as possible to the sought-after music position. These are
1) Genre of music . Mandatory.
2) The Sound . Mandatory.
3) Audio subcategory . Optional
4) The Genus of the melody. Optional
5) The Type of phrase . If you don't select anything, it means everything and searches independently for all kinds of phrases without filtering.
6) Opening beam . Optional. If you specify it, it will find only those music positions that have this criterion, otherwise it will not consider it as a criterion.
7) Closing date . Optional. The same apply as before.
8) Name of music position . Optional. But if you choose it, it only finds the music positions with that name.
9) Type of wear and tear that it may have . Optional. If you don't choose, it doesn't take it as a criterion and detects the musical positions with any wear.
10) Introduction of syllables of the verses or the emphasis of the verses .
This is the last but the strongest selection criterion. You can enter the poetic text, i.e. the verses spelled out, i.e. separated by a space per syllable, e.g. Open my mouth
Type them in the left text input bar:
and certainly with a tone where they are emphasized. If you are writing in English or another language, use the single quotation mark or acute key to put ' or ΄ at the end of each syllable you want to emphasize,
e.g. :
You will notice that at the same time in the right text input line that is for the stress, the program calculates and writes the stress of the poetic text you enter, that is:
Alternatively you could enter the stress directly instead of writing the syllables of the lyrics.
However, if you write in both areas (incorrectly), the one that has the highest priority and will be taken into account in finding the musical phrase is the stress area and not the syllable area.
On the right there is also an option that says: Find all positions ending in this accent, regardless of their previous accent before the ending.
As you find if the collection contains most of the traditional music places, then you can very easily and semi-automatically create new compositions with the original traditional music line, possibly in other
languages of the world, by just giving the lyrics and applying the criteria mentioned . The aim is therefore to enrich the collection with as many authentic traditional musical positions as possible.
The collection can be continuously enriched by the users who can easily find and register new musical positions and exchange files containing collections of musical positions, updating and enriching their own.
To export the file of the collection of musical positions as mentioned above, press the button: [ Export ] and follow the instructions.
While to import musical positions from such a file press [ Import ] .
These are the criteria by which all the music positions that are registered are filtered and those that meet them appear in the list, while those that do not do not appear in the list.
Sort music location search results.

The presentation of the found music positions can be done in a completely random order without any sorting. This, combined with the fact that there may be many musical positions found, makes it difficult for the
musician to search through them to decide which of them to choose.
So here you can apply sorting of the found results with up to six different consecutive criteria and you can use one or more of them for sorting. The first is the most important, while the next ones follow in
importance in the order of their application.
To set sorting criteria press the first button after SORTING RESULTS that says A) No sorting and choose from the menu one of the sorting criteria you want.
This will be the most important classification criterion. You'll see another sort button appear next to this where you can choose a secondary sort criteria, so that opens up a third
sorter of up to 6. Usually you won't need more than one sorter, but if your music slot collection grows too much in the future with thousands, and the search results are tens or
hundreds then a second, third or even more sorting of the results will be useful.
After putting the sorting filters for easier access to the results, remove the search parameters from the menu button of this window and scroll through the list of
results making the final choice from your experience.
Connection of music places.

Because there can be various versions of a musical position, which are written with minor or greater differences but have the same internal structure such as stress, beginning, end and course, etc. There is the
possibility of connecting and correlating these equivalent musical positions, so that you can switch from one musical position to another equivalent version of it.
To do this :
A) you get the address of a music position by right-clicking on it and from the drop-down menu you select [Connect equivalent music positions -> Get address …] , then
B) select the other music position and with right click again select [Connect equivalent music positions -> Connect music position with received address] . The connection is made and for the sake of truth
the indication "the music position is connected to another 1" appears on the music position. If more connections are made, the number changes.
To disconnect a music position from all the others again with a right click I select [Connect equivalent music positions -> Disconnect the current one from all].
Finally, to see all the connections of a music post, (if any), you right-click and select [Show list of all connected to the current one] .
In the form that opens, you only see the music positions connected to the one you selected. You can also perform various tasks from here that are equivalent to those in the main music location window.
VISUAL RECOGNITION OF MUSIC AND REGULAR POLYTONE TEXT (OCR).

Another globally unique feature of Melodos is that it has built-in a powerful ocr engine for recognition, conversion and import of music and regular polyphonic texts directly from scanner books or from book images
to the music and regular text editor for further processing, saving, printing, export etc.
A very useful Melodos feature with which you can scan all your music or regular books and convert them directly into Melodos documents or export them to another format such as PDF or WORD .
So you can on a Laptop :
1) You always have them with you,
2) To have them organized in the Library of Melodos with all the facilities provided by a powerful search engine and to find what you want among hundreds or thousands of musical topics and titles and categories
and authors within seconds.
3) You have them in the form of Melodos documents, so you have all the facilities provided by the program to listen to them, change them, change their appearance, font, copy and paste them to other documents,
analyze them with the tools of Melodos and so on
Melodos OCR is a complete stand - alone program that works with the Melodos word processor, since the final text is sent to the active document.
It has a very powerful engine for detecting music and regular polyphonic texts in the Greek language.
WARNING ! You have every right to convert the books in your possession into Melodos books and documents in order to transfer them to your computer. However, if these are protected by copyright that has not
expired, it is forbidden to distribute these books that you have converted into electronic format to third parties. But you can use them for your own exclusive use.
MARK .
OCR recognizes music and regular polyphonic texts approaching 100% even in handwritten, well-written handwriting .
But in order to take advantage of all the possibilities of OCR and to get close to 100% recognition, you must carefully read this chapter with the details.
Here it is assumed that you know how to use the scanner and how to scan in the most efficient way and how to use additional technical facilities provided by your scanner to get the clearest possible images from
the books you scan.
THE OCR ENVIRONMENT OF THE MELODY
Pressing the button on the right side of the main toolbox opens the main OCR window .
RETURN TO MAIN MELODY WINDOW

Because the OCR window covers the main Melodos window (unless you have two monitors, in which case you can see both windows), to switch to the main Melodos window at any time, press on the menu
.
OCR MENU
1) SCAN
You can scan books directly by pressing [Scan] in the menu.
If you have trouble selecting a scanner, click the arrow to the right of [Scan] and select the scanner.
ADVICE. Select Professional scan mode and set:

A) image type: Black & White or Black & White. That is, prefer the image to come out with 1 color only the black in the letters and of course the white is the paper.
FOR ADVANCED
This type of scanning also needs another parameter called Thresold, i.e. threshold to separate the black of the letters from the white of the paper.
Scanners have it set round to 120 because 0 is black and 255 is white, so the separation threshold is roughly in the middle.
Do not change it unless there is a valid reason, i.e. the page is not very white but gray, so the average of white-black is also shifted.
If the image has colors and for some reason you want to selectively discard some color, then scan in color to do the filtering in OCR as described later.
B) Resolution : To begin with, put 400 dpi unless the points and letters are very large, in which case put 300 dpi but not less.
If, on the contrary, the letters are too small, put 500 dpi or at most 600 dpi .
Above the menu there is a sign of Oligon written next to it +- 30%. This will guide you in the final choice for the dpi you will eventually choose to scan a book. How you explain later.
2) OPEN IMAGE
It is possible for ocr to be fed with images of books or documents that have been scanned at another time and saved as image files.
You can also convert PDF files to images and then feed OCR the images to convert to Melodos files. There are many free programs that convert pdf to images. Search for them with the word pdf to image .
There are two ways to open image files.
1) By pressing [Open] in the menu, you select the image you will import into ocr for conversion.
All image types are supported ( bmp , png , jpeg , tif , ico etc).
2) With the drag-and-drop or drag - drop function , you grab an image file with the mouse and drop it on the OCR .
Once the image is loaded at the top of the OCR its file name is written. So from here at a glance you can see more images you have loaded.
3) PICTURE PAGES
If there is an image copied to the computer's clipboard from another program, pressing [Paste] in the menu will insert it into ocr .
4) SAVE IMAGE
If for some reason (e.g. you want to edit it later) you want to save the image you entered in some way, press [ Save] in the menu, choose the image format ( bmp , png , jpeg , tiff , gif ) write the name and
save it as an image.
5) INITIAL IMAGE – FINAL IMAGE

Now let's see in practice how exactly we work.
It will be analyzed step by step and it is good to practice what is described here. The act will be marked with the word Application .
As soon as we scan or open an image it appears on the ocr window .
Application. Scan an image from a music book (for starters, let it be well written) at 400 dpi and Black & White.
Alternatively if you don't have a scanner, open a music document or book image file. As mentioned before, the name of the file appears at the top of the OCR .
The ocr window has two tabs shown in the left vertical toolbox called:
A) Original Image and
B) Final Image .
So the image we opened appears in the Home Image tab and is exactly the image, only rotated if necessary (see below) without any other processing.
To be able to edit the image in order to extract the text, we do the following first step:
Application. With the mouse we select on the image the area we want to identify.
This is done so that we can exclude areas without text or with images or other elements that do not interest us and that will confuse the recognition of the text we want.
As soon as we select the area, the image is analyzed according to the settings we have made in [Tools -> Image Settings] and the only part that we selected is shown pre-processed as an image again but as
Final Image, which is why the Final Image tab on the left of ocr is activated.
If for some reason we want to select another area from the same image we loaded, press the Home Image to return to it and select the part we want again.
So now you are in the Final Image . If you are not there, press the Final Image to go.
Before we go to the process of recognizing the text, let's see some information that we will need. We go to the last option of the ocr menu , the (far right) from which we define important ocr
parameters.
6) TOOLS.
Clicking on it opens a form with two labels on the right as shown in the image below.
A) Image Settings
You do some pre-processing on the image to get it in the best possible shape for recognition.
Settings for Home Image:

In order to see the settings you will make here immediately, you must be in the Home Image .
REVERSE & ROTATE

You can flip it and rotate it if it's not horizontal.
IMPORTANT. When you scan or open an image, ocr has an engine that detects the exact horizontal position of the lines in the image (as long as it has musical or normal text) and rotates the image automatically
so that its text becomes horizontal for maximum recognition success.
For this reason, you will see most of the times when you open or scan an image, the Rotation parameter takes on a different value. It's the automatic rotation that ocr does . If in some rare case a mistake is
made (it will be obvious) and the text is not horizontal you can later rotate it from here to make it horizontal.
IMPORTANT. You want the text horizontal and not the border of the image. That's why the outline of the image most of the time can look a little crooked but that doesn't matter, but what matters is that the text is
horizontal and its imaginary lines.
Settings for the Final Image.

In order to see the settings you will make here directly, you must be in the Final Image .
WHITE-BLACK COVER
If the image was scanned in black and white as mentioned before this setting is not possible because the image is already in black and white. If the image was scanned in grayscale or as color, you can set the
black-white threshold from here because now ocr takes over to convert the image to Black-White. Here its default value is around 150 which of course will change depending on if the page is dark and how much,
exactly the same as mentioned earlier in the scanner settings. The final value comes out empirically and after seeing the final results in the image, i.e. how clearly the letters or points look in relation to the
background i.e. the page.
SPECIAL SETTINGS in Picture Settings.
DELETE LINES
If the text you are scanning is, for example, handwritten on paper or cola that had horizontal guide lines, then these lines must be removed before recognition because they get confused with the text and degrade
the recognition rate.
From here you can define whether not only the horizontal lines but also any vertical lines will be eliminated, specifying the thickness below which they will be deleted, while seeing the results directly on the image.
IMPORTANT . Use this only if the image you want to eliminate has lines and give it the smallest possible thickness because it CAN AFFECT sensitive and very thin letters and dots.
SELECTIVE COLOR FADE.
The last option on this tab only applies to images that you scanned as color and that for some reason we want to discard some color. If, for example, a book was
smeared with a red pen, we can erase the red color while keeping the black with which the letters are. And here the results appear directly in the image, so you can
draw conclusions.
B) OCR settings
The second tab of the Tools is: OCR Settings as shown in the figure.
The most important parameter here is the first one called Point Shape Tolerance .
The rest will not be explained because they do not have anything special but are exactly what they say.
Point shape tolerance.

If it has a small value, the letters and points are recognized more correctly, but only those that match very well with the
standards registered by ocr , while if it has a large value, there is a greater possibility of misrecognition of some points,
but at the same time, more points will be recognized.
To the above it should be added that the size of the collection of point templates also plays a role.
So if the pattern collection is very large then the tolerance can be increased and you can have great success.
However, if the template collection has few templates, it is better to keep the tolerance low for correct recognition of
even fewer points. So you will increase the tolerance when the pattern collection becomes large, or if you are using
the Melodos pattern collection for recognition which is large enough to have a high degree of recognition.
IMPORTANT .
The choice has to do with two different factors, the first of which must be well understood if you want to have the
greatest degree of recognition in the texts.
So now is the right time to develop a little the way and technique of ocr operation without technical details but as a
philosophy understood by everyone.
AGREEMENT . In the following development the concepts: character, sign or letter are identical and denote the
smallest unit of an independent sign recognized as a Byzantine notation sign or as a letter, spirit or number of the
Greek alphabet.
HOW OCR WORKS

This ocr , like any other, is based on the comparison of each point with a number of recognized and registered points
contained in a collection.
So initially ocr breaks the text into characters and compares each character with the identified characters in the
collection.
CONCLUSION . The larger and richer this collection, the greater the probability of finding something similar to the
sought point, thus the greater the probability of correct identification.
So the ocr of Melodos contains such a collection with about 5000 different types of letters of the alphabet and signs of
Byzantine music.
The manufacturer incorporated letters and marks that he only owned. Therefore a book or manuscript whose signs
and letters differ greatly from the standards of the Melodos collection will not have a good degree of recognition.
So what appears as a flaw is an advantage because:
a) The user was given the possibility to complete and enrich the collection of Melodos standard points with his own standard points from the books he wants to convert and
b) It is possible to create a completely new collection of standard points and enrich it exclusively with the points of a compared book.
This is an advantage because the ocr is not likely to be confused in recognition by many similar points in the collection. Thus, especially for printed books as well as well-written manuscripts, recognition can
reach 100%.
The task of creating a new model collection and enriching it with the points of a book is called Training.
This can be done from 1 – 3 very content-rich pages of the book to be ocr -converted and can take less than half an hour.
The process will cover over 90% of the points in the book.
Some points that may have been missed in this first training will be marked during the identification process with red paint, so training can be done at that moment. The procedure is described later in this chapter.
Now let's see how you load ocr with a collection of templates needed for recognition.
LOAD STANDARD COLLECTION.

On starting ocr it automatically loads the template collection that was loaded when it was last closed.
But if for some reason, for example, you changed the book you are editing, you want to load another collection of templates, go from the menu [Templates -> Open collection of templates] .
The folder containing the ready templates of Melodos and the ones you have created or will create opens. Melodos comes with three collections as examples you can use to get started. The "General collection
collection
of Melodos OCR templates" which contains templates of signs and letters, the "2nd of OCR templates " and the "Collection of OCR templates of the Greek polytonic alphabet" which contains
templates for recognizing only polytonic text and not music. Later in here there will also be the collections you will create for various books.
Application . Go to the [Templates -> Open Template Collection] menu and load the collection named: ' Melody General OCR Template Collection '.
Once you load the collection you will see its name listed at the top of the OCR .
IMPORTANT . So at any time you can see the collection of templates you have loaded in ocr at a glance , because the collection is one of the most critical elements of recognition.
With the point templates loaded we can start recognition.

Let's finish with [Tools -> OCR Settings ] first .
We continue with the parameter Tolerance in the shape of the point we analyzed before.
The choice of this value can be made based on the format of the text, the size of the template collection and what was mentioned before.
So if the pattern collection is very large then the tolerance can be increased to 25% and you will have great success. But if the pattern collection has few patterns, prefer to keep the tolerance down to 10% or less,
for correct recognition of even fewer points. So you will increase the tolerance when the pattern collection becomes large, or if you are using the Melodos pattern collection for recognition which is large enough to
have a high degree of recognition.
Application . Set the Point Shape Tolerance to 10%.
As I mentioned before, Melodos initially has a collection of templates (about 1000) for all letters of the Greek alphabet and musical notes and uses these templates for recognition.
But the user can do the following.
A) To enrich this collection with new standards (basically if the enrichment is done by well-printed books) and
B) To create a new template collection that is initially empty and with training will fill it with the templates he wants.
This is recommended in all cases as the best option, but even more so when the text has difficulties and peculiarities or is handwritten.
Keep in mind that. If you enrich the collection of Melodos or your own collection with too many books, theoretically you have the greatest ease to recognize unknown texts in the future.
In practice, however, you are lagging first because:
1) if the collection becomes too large, the recognition speed starts to decrease significantly.
2) Points that in another book mean a different letter from the book you recognize start to get confused and thus mistakes are made in recognition.
In addition, don't forget that the recognition is done not only for letters but also for musical parts and many of them are similar to each other so that the recognition gets confused.
In two words, it is best for each book to create its own collection based on which you will make quick and accurate identification.
This does not cost time because you will initially train 90% of the points from 2 comprehensive pages of the book and then the non-recognition (which will be very few points) will be highlighted in red at the time of
recognition so that the training can be done at that time .
A homogeneous book contains no more than 50 musical notes and no more than 100 types of letters. The training in them is done in less than an hour and you have an advantage in accuracy and speed of
recognition, so that as it was found experimentally, in 5 hours you have a book of 400 pages in Melodo.
So let's create a new pattern collection to see how we train and enrich it with point patterns and then use it for text recognition. What is written about the new template collection goes without saying that it also
applies to existing template collections that you continue to enrich.
Application . To create a new template go to the [Templates -> Create New Template Collection] menu.
Scan or open a text image if you haven't done so before and select the area you want to recognize if you haven't done so before.
Now you have in front of you the Final Image as mentioned before and you understand it because the indicator Final Image is activated in the left vertical menu.
In the Final Image, if the image is too large and does not fit on the page with its natural size, it is represented zoomed out. You understand this when instead of the arrow the mouse pointer has a flashlight.
Clicking anywhere on the zoomed image expands it to its natural size centered on the area you clicked and the mouse pointer becomes an arrow.
If the image fits on the page then it is not shown zoomed at all but with its natural size and of course the mouse pointer is the arrow.
IMPORTANT 1.
In the ' Final image' in its natural size, the points must not have a lot of dust, or even worse, they must not consist of small pieces of dust, because the points of the image may be understandable to the eye and
macroscopically, but the ocr cannot joins together tens or hundreds of small separate dots to conclude that this set is, for example, the character oligon. So if this happens, the image must be rescanned by
changing the Thresold (white-black separation threshold, see explanation above) in the scanner or in the ocr if the image was in color and from a file, to a higher value until you see in the 'Final Image' ' to unify all
the dots that make up the various characters. But be careful that the characters don't start to stick together.
IMPORTANT 2.
In the OCR toolbox you will see a little drawn in some size and +-30% written next to it. This means that with the Final Image developed to its natural size, the pixels of the image must have the size of this pixel
+- 30% in order to have good recognition conditions from the size of the points. So if the pixels of the image are much smaller than this pixel guide, you have to rescan the page with higher dpi . If, for example,
you had chosen 300 dpi , try 400 dpi or another number until the dots are roughly within the limits. Of course OCR works with greater tolerances down to 50% and up to 100%.
IMPORTANT 3.
The Final Image has undergone all the processing of the individual points and characters it contains and the points that were recognized are painted in dark color while those that were not recognized are painted
in red.
If you've just created a new template collection as mentioned earlier which is of course completely empty of point templates, it's natural that no points can be recognized and they'll all be colored red to indicate
they're not recognized.
But if you had opened Melodos' template collection, more and more points would have been recognized (right or wrong is not important here), and they would have been painted in black, while the unrecognized
ones would have been painted in red.
IMPORTANT 4 . If the template collection is new and empty of templates, the first template to be trained and registered in the collection is the Oligon point .
This is because based on Oligo all measurements are made on the proportions of the remaining points, the distances of the lines, the points between them as independent or on coke clusters.
That's why the first thing you'll look at is whether the bits of the Final Image are red.
If the oligons are red train the pattern collection with the oligon point as follows:
(The training method is the same for all points and letters).
Application . Right-click on the bit and select [Point Training] from the drop-down menu .
The Point Training form will immediately appear :
On the left it has three consecutive images one below the other, and on the right two tables with all the symbols that the ocr can train .
If you move the mouse over the two tables you have useful instructions for each symbol.
There are also instructions on the Education form which we will look at in more detail because they are very important.
The top left shows where you want to train the loaded or new ocr template collection . Above you can see the point a bit.
CAUTION . If the point is not clearly visible here and it is possibly stuck with another point, the training should not be done. Points are excluded which are allowed to be stuck with some other compared and
recognized as duplicates and these are shown in the upper right panel of the form containing all recognized musical points.
If you take a look at this table you will see that as stuck points you can only train the system with the following:
fly stuck with a fraction

embroidery stuck with other embroidery as embroidery
embroidery glued with geiston
embroidery glued with anti-vacuum
apostofos glued with light as continuous light
apostrophe stuck with another apostrophe
slightly stuck with an apostrophe inside it
CAUTION. The above points must appear in the upper left image of the form as stuck in order to train them with their counterparts in the table.
The second image below the first on the left shows the outline of the point.
A few words about the philosophy of recognition and identification of points by ocr .
The ocr system essentially has to perform the following task: it has to convert a point or letter into a series of numbers that accurately describe the type of point.
So at the end it will compare whether these numbers are identical and with the order they have with the corresponding numbers of all the templates in the collection. To decide in the end that the letter resembles
the prototype that its numbers match to the maximum degree.
However, in order to extract meaningful numbers from an image, ocr does not store the point in the collection, as it is, but processes it as well:
it takes out its skeleton because in this way there is a generalization of similar points and a great compression of the data.
Ultimately, however, it does not store the skeleton itself, but rather stores two post-processed forms of the skeleton.
1) The first one is called fuzzy skeleton which is a technique in ocr to improve the fidelity and range of point identification.
2) The second breaks the skeleton into several pieces and extracts the vectors of these pieces and stores the vectors. So it will have to compare vectors when it does the recognition of the points. It only does
this for points that have two edges.
So in the training form and immediately below the image of the point there is the image of its skeleton.
The outline should also resemble the point regardless of whether it looks like you drew it with a fine pen.
If it doesn't look like the training shouldn't be done.
The third image on the left shows the image of the area of the point that you can move with the mouse if you pinch it for any clarifications.
As mentioned on the right there is above the table with all the musical points that are recognized and trained and below the table with all the Greek letters of the alphabet as well as the numbers, the spirits for
recognizing and training the tones of the polytonic, the gothmic, and the old and, f, u in one letter.
Below these tables are the final footprints of the point, on the left the final blurred skeleton template of the point in two versions according to its proportions and on the right the final vector footprint of the point.
Possibly only one or two or all three final impressions of the point are shown here. This is what ocr decides which type of footprint of the point to use to register it as a template.
In order to train, i.e. register the footprint of the point as a template, it is enough to click on one of the points in the two tables, of course on the point that its image refers to.
Registration is done automatically as soon as you click. Therefore, make sure that the point of the tables that you will click is the right one.
Later we will see how you can see all the templates in the collection and delete any that you don't want or that you entered incorrectly.
Application . Click on the small point of the first table, since the point you chose for training is the small point.
As soon as you click, the training form closes, ocr processes the new data and reanalyzes the image to see if anything has changed in the recognition.
You will see that the few that were red before, have now become black, a sign that they are now recognizable points.
Probably if the image has many and different ones a bit like in manuscripts or misprinted books, some of them may not turn black. Then it is good to train the ocr with some others a little, before trying the classic
technique, i.e. to raise the degree of tolerance from 10% to 25%, so it will definitely recognize everything but it will also start to make wrong recognition in several places, especially if the collection is new and
does not have many point templates.
So you will increase the tolerance when the pattern collection becomes large, or if you are using Melody's pattern collection for recognition which is large enough and you continue to enrich it with new point
patterns.
Now you can go ahead and enrich the collection with the templates of all other points.
Application. On all points of the Final Image that are red, right-click and [Point Training] following the instructions above to import all kinds of points into the gallery.
HELPFUL TIPS . The points that are stuck with other than those mentioned before or broken we said that you should not train them in any way because you will create a problem in recognition.
This does not apply if:
1) The pattern collection is for some compared only book or group of books with the same writing and
2) This book shows a point permanently or occasionally stuck with another in a combination that is not included in the points allowed by the training table to be stuck.
E.g. The letter 'h' is always attached to the hyphen or the subscript when it has them.
As you know, the combination of 'h' with pasted indented or underlined does not exist in education.
But in order not to lose all three points, we train the set as the most basic point, that is, in our case, 'h'.
So whenever it finds 'h' with a dashed or signed pasted it will recognize it as a related 'h'.
After the recognition and when the text is transferred to the Melodos document, it is very easy to add the fragmented or the signed one by pressing the F 8 key.
The above example can also be applied to stuck musical parts, as long as, as we said, the collection of standards concerns a certain book, i.e. a way of writing, and not all of them in general.
With time and experience you will find many such techniques that ease stuck symbols.
After you are done with the training it's time for Musical or Normal Text Recognition.
TEXT RECOGNITION
Just press [Recognition] in the menu. The program does the rest and asks you some clarifying questions and informs you with messages about the result.
The most important question is if you want to disable spell check which the answer is 'Yes' to 100% of the questions, especially now at the beginning so you don't have spell check at the same time.
And nato! the active document filled with the musical text of the image you converted.
MARK . At this stage and because you have disabled the spell check, the testimonials are not displayed correctly but usually with two X's. This is not a mistake because as you know, Melodos automatically
calculates the testimonials according to the scale and height of the flag in the place where the testimonial is located.
When you complete what is mentioned below and activate the spell check then the testimonials will also be displayed.
All other points have their final display form.
On the Final Image of the OCR, the characters of the identified points are displayed in cherry or burgundy color, so you have the opportunity from here to see if the points are recognized correctly in the first
recognition phase. But the final recognition phase can change some of these points depending on their position in the text and so while they appear here with a certain character, a different character appears in
the final text that goes to the active Melodos document. few points and generally the characters in the ocr and in the document match each other .
That's why you should see if the text in the document is correct. Little by little and with experience this will be done with just a glance.
In the ocr , all the points that were not recognized are painted in red. You can train these as mentioned by right clicking on them.
But there is also a category of points that is painted orange. These points have no standards, nor do they use standards to identify them but mechanically only by their size and proportions.
These are the :
1) Spots, plains and spots.
2) Vertical thin lines as expansions
3) Horizontal thin lines as oligons and dashes
So you cannot train the dots, plain and spotted and any other points that are painted in orange.
If a point is recognized, i.e. painted black in OCR and for some reason you want to retrain it, if for example it is recognized as a wrong point or you want to increase its recognition rate, you can do it as you train it
for the first time. Simply, the program will give you some information about the existing recognition of the point and will ask you some clarifying questions.
When you finish training remember to save the active template collection from the [Templates -> Save Template Collection] menu , although the program will remind you when you close OCR or Melody. If the
collection is new, it will ask you to give it a name. Caution . Don't change the save folder because Melodos only looks in the default one for template collections.
Also in the menu [Templates -> Edit Template Collection] you can see all the registered templates of the active template collection by type and category for easy finding and if you want to delete any of the
ones you think were wrong during training.
By selecting the menu [Templates -> Insert templates into the active collection] you can enrich the active collection with templates from another collection. So you can create a new template collection and
load all the existing templates of the standard Melodos template collection into it and continue to enrich it with new templates and thus not disturb the standard Melodos template collection at all while having all of
its templates in your new collection with which you will now do text recognition.
IMPORTANT CLARIFICATIONS.
A) If the text has hyphens between parentheses, train the parentheses as well, because they help ocr understand that the letters are hyphens and not verses or independent text.
B) Verses go to whichever of Σ1 – Σ5 is activated with priority Σ1 cok. If the text is accented instead of verses (1,0,X) activate Ta so the accent goes there.
C) In the [Tools-> OCR Settings ] window there is an option to automatically correct letters of regular text . This is only recommended to be enabled if you are identifying with the general point pattern and
this is a letterpress book with regular text and lyrics written in classic fonts and not calligraphic or special letterforms.
If you did training on the letters of the text you recognize, it is recommended that this be disabled .
Also if there are errors in the final text in the recognition of letters while training has been done, disable it.
What this option does is that the letters that are similar to each other are transposed by criteria of their height and the position of their upper and lower parts.
So E can do it e
I -> i
The K -> Mr
O -> o
P -> p
P -> p
T -> t
Y -> c (gamma)
Φ -> φ
X -> x
Ψ -> ψ
And vice versa

γ (gamma) can do it either n or y
The e -> E or i
η -> π or Π
The i -> I
The k -> K or x
The n -> c
The o -> O
The π -> Π or η
The p -> P
The t -> T
φ -> φ
The x -> X or k
ψ -> Ψ
The ω -> Ω.
Completion of text after OCR

After getting the text from the scanned document via ocr to the document, you need to:
1) first make the final corrections from any ocr errors as follows:
For the musical text, use the panel for entering and deleting points with a pen because you can very easily, just by right-clicking, delete an individual point within a cluster or the entire cluster.
And you can add points again very easily by drawing them in this panel.
For not the normal text if you want to add polytones to the text or the lyrics, use the F 8 key while you are in the text input ( F 11) or the lyrics input ( F 12) and the detailed indicator is after the letter you want to
emphasize This instead of erasing and rewriting the entire letter with its poly-accent is much faster.
With F 8 you can also convert a letter from lowercase to uppercase and vice versa.
2) And secondly to convert the Arctic lines to Arctic lines and assign scales to the Arctic lines as described in the corresponding chapter of this help.
3) Damages are automatically assigned a scale, but if somewhere it is not done, you can do it manually as described in the corresponding chapter.
After you finish assigning scales, activate auto-spelling if it wasn't already done when assigning scales and choose the correct spelling of the testimonies. If they don't look right choose the text compared to the
prototype and the scale assignments in Arctic evidence and damage.
THE MELODY DATA FILES. RESET.

Saving and restoring data in case of reinstallation of Melodos .
In addition to the documents you write with Melodos and of course you save them and they are not lost, there are also some data that you entered with painstaking effort and which will be lost if you do not keep a
copy, in case you need to reinstall Melodos if you have, for example, formatted or reinstalled Windows . The same applies if you want to load the same data on another computer.
These are: Scales, Arctic Testimonials, Document and Panharmonic Voice Collections, Document and Panharmonic Voice Profiles, Fonts, Rhythms, OCR Templates, Lists, Music Position Collections, etc.
In a Melodos re-installation these will take the original values they have from the manufacturer and anything else you have added will be lost unless you keep a copy of the following items in the Melodos
installation path:
1) The entire app _ data folder (with its contents)
2) Hand OCR the entire folder >>
3) All music fonts folder >>

4) The entire special fonts folder >>
5) All Textures folder >>
SAVING CRITICAL FILES

To keep a copy, fortunately Melodos allows you to automatically make a copy of all these folders and files. From the [Tools -> Backup of critical data files] menu , a form opens that guides you to save these
Melodos data files in a safe place .
Otherwise you could copy the aforementioned folders to a safe location yourself to restore them again yourself.
ATTENTION 1. If you format the disk, these files must first be transferred to another storage medium other than the disk, eg USB Flash memory .
ATTENTION 2. You cannot backup the Melody Library, the music documents and the books you created from here. Do this yourself.
RESTORATION OF CRITICAL FILES
So since you kept these files in a safe place and want to restore them, after e.g. reinstalling Melodos or on another computer,
You will do it from which menu [Tools -> Restore critical data files] .
It will immediately close Melodos because it cannot be running while restoring its critical files and open a form that will guide you to restore these critical files to Melodos. After restoring them, Melodos will also
start.
Of course, you can restore them manually from the backup location in the Melodos installation path on the disk.
PHOTO SHOOT
With this function you can take a picture of a part or the whole screen, and save the picture or copy it to the clipboard. Although the function can be used in general wherever you want, its main purpose is to be
able to easily and quickly transfer to other programs such as Word , some excerpts from the musical text, using the copy and paste method.
The command is in the [ Tools --> Area Capture ] menu.
Immediately after the command, with the first click you select the upper left corner of the area you will photograph and with the second click you photograph. If you happen to want to move the entire scene, then
before you click the second time you right click and move the area. Whereas if you right-click again, you return to the previous state.
Melody support with other languages.

Melody now supports many (all) languages and the language file made on one computer can be sent to any other Melody computer so that Melody appears in that language.
1) Select installed language.
From the menu [Tools -> Language Selection] the list of all the installed languages present in your Melodos will open.
First is the original language of Melodos named Greek (Melodos). Here are all the other languages installed in Melodos. Clicking on the language loads and changes the menus, tools and generally all the texts
in the language you selected.
2) Finding new languages for Melody.
In the Library of Melodos you will find the topic Languages. From there you can download files with new languages for Melodo and install them on your own Melodo.
Also, someone else can send you a similar file with a translation in some language and you can install it in the same way.
3) Install new language for Melodo.
Let's say you found the file with a translation of Melodos in some language and you want to install it in your own Melodos.
The process is very simple:
A) Go to [Tools -> Open Language File Location] menu. A folder will be opened in the location …C:/ProgramData /Melodos_data /languages. In here are all the files with the installed languages of Melodos and
they have the ending .lan.
B) Copy the new language file you received into the folder that opened and close the folder. That was all!
To select the language you just installed, click on 1) Select installed language.
Translation of Melodos in other languages.

With the 2014 version, it was possible to translate Melodos by the user himself into any language in the world. So if you didn't find the language you want, don't worry. Below you will see the steps to create a new
translation for Melodos yourself. The only prerequisite is that you know the language. But you can also be helped by any automatic translator, eg from Google .
Steps to translate Melodos into a language.
1) Create the file of the new language where all the translations you will make will be registered. From the menu [Tools -> Translate Melody -> Create new language]. Name the file eg Romanian or Romanian
.
Prefer to translate from the original language Greek (Melodou).
2) Start to translate first the menus, tools and generally what is visible on the screen.
Choose from the menu [Tools -> Translate Melody -> Translate Objects].
The mouse will have an instruction, that to translate a menu or other object:
a) hold down the Contol or Ctrl key and
b) right click on the object.

That is, Ctrl + Right click .
3) So as soon as you hold down Ctrl and right-click on an object such as a menu or a tool, the translation form will open that has the original texts in the yellow field, and the white field shows the translation if it
has already been done or the original text if not yet translated. Here you delete the original text and write the translation in the language you are translating. The form has an Inscription and/or Explanation field.
The Inscription field is the text that is immediately visible and affects the appearance of the Melody or some window, for example the text in the menus, while the Explanation is the explanatory text that is initially
invisible but appears when you put the mouse over the object, for example a toolbox button .
Captions are highlighted in red while Explanations are highlighted in green to stand out.
Some objects may not have an explanation, eg Menus. In this case, only the fields of the Inscription are displayed in the translation form, while the Explanation is not displayed since it does not exist.
Correspondingly, some others only have an explanation, so in the translation form only the Explanation fields are displayed and the Inscription fields are not displayed.
If the object has both an Inscription and an Explanation, then four fields appear in the translation form, two for the Inscription and two for the Explanation.
CAUTION . Because the Inscription is directly visible, for example, in the menus, and affects the appearance of the Melody or the window where the object is located, it is critical that the text of the translation you
make in the Inscriptions has the same or smaller size than the original or slightly larger. If necessary, if it is much longer, shorten the text. This is because if in the translation, for example, the menus are too long,
then they may no longer fit on the screen and some may start to be hidden.
Therefore, immediately after translating an inscription, check that it appears correctly.
This doesn't apply to Explanations because they don't affect Melody's appearance but are pop-ups when you hover over them and you have the freedom to translate them however you want.
Repeated the translation process for all objects on Melody's main form and all its windows and forms.
When you're done, select [Tools -> Translate Melody -> Translate Objects] again from the menu to make the instruction disappear from the mouse pointer.
4) But there are also texts that are not displayed directly on forms and Melodos windows but appear as messages or as instructions for various tasks.
To have a perfect translation you have to translate all these texts as well. Go to the menu [ Tools -> Melody Translation -> Text Translation].
A list of all the remaining Melodos texts to be translated will open.
On the left are the original texts and on the right the translated ones. To translate a text in this list, double-click on it and a form will open that has the original text at the top and the translated text at the bottom if it
has already been translated or empty if not. There you will write or correct the translation.
5) After you are done with the translations you will save the language from the menu [Tools -> Translation of Melody -> Save language] or [Save language as …] if you want to give a new name.
Now you can use this language on your computer.
If you want to transfer this language to another computer or give it to other users of Melodos, do it below.
From the [Tools -> Open Language File Location] menu , open the folder containing the Melodos languages.
Locate the language you want by the file name that is the same as the language name.
Copy this file and send or transfer it to another computer with Melodo.
You will copy it inside the same folder. See more in the previous chapter For Melodos Support with other Languages.
POINTS OF ATTENTION.
When you were in the execution state of the member, no other action can be taken, eg entering points, objects, etc.
When you were in text or lyrics input mode, you cannot use the keyboard to input musical notes.
From the color of the indicator you will understand in which situation you were.
The Tab character behaves differently when inside an Arctic Audio Testimony design than when inside text. In arctic testimony it has a fixed width equal to 1/3 the height of the musical font. While in text it acts as
a tab, i.e. it leaves a variable space so that the next character starts from the next tab of the line. For how many tabs the line will have you can specify it from [Format --> Point Distances …] .
To change lyrics color in a single track, select it while in lyrics input mode and from the normal text formatting toolbox select the color.
For the most correct adjustment of the deviations between quantitative points, the verses or the variation in the position of the verses should not be visible because the width of their verses can affect the distance
from point to point
UPGRADING OLD VERSION DOCUMENTS.

The new version is fully backward compatible and opens documents written with older versions of Melodos.
Some things that changed that may cause a display problem are listed here.
1) The page border changed a bit in the way it was applied because it became independent of the text margins set in [File->Page Layout] so adjust it from the [Format->Page Border] menu and especially the
Border Offset Vertical parameter. Now you can set the margins of the text differently from the border of the page.
2) Headers and footers may be shifted a bit. If it happens, correct them from [Format->Headers and Footers] and correct the Height of Header, Footer and Numbering.
3) Check and correct if necessary, the displacements of the Archigrams because the way of their displacement changed.
4) Finally, where you have decays in harmony with anjem and you change the interval only and not the whole scale, by right-clicking on the point and selecting [Detailed assignment of scale or permanent
alteration to decay] check the molecules of the interval and especially which chord will move, the one where the anjem enters or the one below. When it enters Zo or Vu, Zo and Vu move, while in Ga and the
rest they usually remain fixed and the phthong below moves.
TIPS – COMMENTS.
A) The first observation is also written in the relevant place for the paragraphs, but because it is considered very important, it is repeated here as well. It's about how you define different paragraph formats and
how you distinguish between them. Wherever you need different formatting in the text or in the paragraphs you have to put the line break point or Enter. This and the page break point hold and save all the
formatting of the following paragraph which may be border or shading or indentation or thinning etc. Even Arctic Testimony or Heading cannot hold the formatting of the following paragraph if and cause a
mandatory newline immediately afterwards. So if you want to change the formatting of the paragraph after that, you have to put the line break point or enter right after and do the formatting in the paragraph that
follows. If you don't put a line break or enter, the formatting you do will be done before the Heading or the arctic testimony until it finds the previous line break point where these formatting will be registered.
B) To create correct text, avoid using the blank character, but define the relative distances of the points from each other using the general settings [Format -> Point Distances…] and from the offsets of the
points the horizontal slider that defines how much is some point away from the previous one. Also for normal text you can thin out the words in a selected area from the text formatting toolbox with the Thin out
words button .
C) All imported points, such as Arctic soundings, scales, images, archigrams, headings, etc., have an auxiliary form to define their relative distances, just double-click on them and it will appear. Also in this way
you can change many of their properties.
D) The tab of the active document:
and the auxiliary windows of Melodos:

for finding a musical phrase, entering a musical position, searching for musical positions, displaying metrophony and displaying voice pitch, have the button : . With this you can open the window or document
in its entire screen without showing the tools and the environment of the main program, so that you have more comfort in the specific work with the document or window.
Also, if your computer has more than one screen, you can use this button to direct the various windows and documents to the screens you want.
When this is done, these windows display the button on the top right , with which you can return to the main program environment.
When you close these external windows they do not close but return to the main program. If you close them in the main program then they close.
A KEY UPGRADE
When upgrading from an earlier version you do not need to change or send the key to the manufacturer. It can be upgraded online as follows.
From Start Programs you will find Melodos and there it has an option Key and Key Information Collection or HASP Key Upgrade . Clicking on it opens the form that guides you how to extract and save the
information from the key to a file.
You will send this file to the manufacturer.
The manufacturer will send you another file that you will apply using the same program and going to the [ Apply License File ] tab. You will provide the file and press Apply Update and the key is upgraded to
the new version.
KEYBOARD COMMANDS AND SHORTCUTS

Keys Energy
M Introduction of testimony
Ctrl + M Insert testimony and align to the right end of the line
F3 Finding (next wear, testimony, Time treatment)
Shift + F3 Finding (Previous Wear, Evidence, Chronology)
F4 Return to input music text
F8 Importing spirits for polyphonic text and lyrics
F9 Import status of Balance Sheets
F11 Normal text input mode
F12 Lyrics input status
Del Action depending on the situation you are in. Normally it deletes
text, in input lyrics, the lyrics.
BackSpace Delete similar elements again with the previous one.
Tab In verse input mode, copies the current verse to the next point by
moving the next ones.
space _ In lyric input mode, moves the cursor to the next point and shifts
the lyrics one position to the right. If it is in between in a verse it
breaks it.
Ctrl + space In verse input mode it puts the blank character
Ctrl + C Copy selected text.
Ctrl + X Cut selected text.
Ctrl + V Paste. Especially in lyrics input mode if the pasted is text it sends it
to the lyrics.
Ctrl + A Select all.
Ctrl + mouse It zooms in.
wheel
Ctrl + Z Undo last action
Ctrl + Y Repetition
Home Moves the cursor to the beginning of the line.
End Moves the cursor to the end of the line.
Ctrl + Home Moves the cursor to the beginning of the document.
Ctrl + End Moves the cursor to the end of the document.
Ctrl + J In text and lyrics input he writes the letter

Ctrl + N In text and lyrics input he writes the letter
Ctrl + S In the introduction of text and verses, he writes the letter (f) as a
monogram
Ctrl + O
Ctrl+I In the introduction of text and lyrics, he writes the letter (u)
Ctrl + U plain or acute or intermittent.
Ctrl+K In the introduction of text and lyrics he writes 'and' as a monogram

Ctrl + F6 When I have several documents open, go to the previous or next
and document.
Ctrl + shift +
F6
TOUCH SCREEN COMMANDS .

These instructions only apply if you have a computer with a touch screen and Windows 7 or higher.
In menus or tools of any Melodos form, tapping with one finger behaves exactly like left-clicking the mouse.
Also in any other form outside of the document to simulate a right mouse click, you make contact with one finger on the screen and without letting go tap the screen momentarily with the other finger and then lift
the first finger as well.
SPECIFICALLY FOR CONTACTING THE DOCUMENT.
WITH ONE FINGER

A) Clicking with one finger on the document page and leaving it without dragging behaves exactly as if you left-clicked with the mouse.
If you are in execution mode, the pointer moves to the point you clicked.
B) Clicking with one finger on the document and dragging the page:
If you are viewing the document on one or two pages, you can change the page as long as you do it quickly, i.e. the time from the contact of the finger with the screen until the finger is lifted should not be longer
than half a second.
If you slide your finger up or left you go to the next page, while down or right to the previous page
In any other view it slides the pages on the screen and with a speed proportional to the speed of the finger. There is no screen time limit here.
WITH TWO FINGERS ON THE DOCUMENT.

If the touch is sustained for more than half a second with simultaneous finger movement, then it zooms in on the document.
If the contact is momentary, i.e. you tap with 2 fingers on the screen once, then if you are in execution mode it stops the execution. While if you are in step execution mode (only the fire symbol you click is
executed) it temporarily pauses. Pause not stop and so you can then by clicking with one finger on the fire sign to start again without having to press the play button. step by step. This is very useful when you
enable the jog button for isogrips only, and you can stop and start isogrips by tapping the screen with one or two fingers.
TO CONTACT THE VOICE VOICE AND VOICE ANALYSIS FORM

Here you can select or move the waveforms with one finger, depending on which tool you have selected, zoom vertically with two fingers and slide the waveforms again with two fingers, pulling them at speed in
the desired direction.
E PILOGOS
The Melodos program, in addition to being a graphically rich text writer of Byzantine music, is also a new instrument for composing and performing Byzantine music as well as all traditional music. This combined
with the flexibility it has to allow the user to create freely without restrictions and load sounds and scales, makes it a unique instrument that many generations earlier would have loved to have.
It can be used as an ever-enriching library, as a musical instrument with limitless flexibility in sounds, and as a music teacher with lessons prepared on top of it, and the way it's built has been made so that its
possibilities are limited only by the user's imagination.
Its graphically rich interface makes it easy to learn and use so that the user can easily and quickly make it his property and take full advantage of the limitless possibilities of this program.
Finally, the OCR machine , optical character recognition, enables the user to integrate all his books, music or normal and polyphonic texts into his computer easily and quickly.
CONTACT _
To keep up to date with all the latest Melodos developments, visit www.melodos.com where you can find constantly updated and evolving material.
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10.12.2023, 23:36 melodos.com/melodos_html_help/Melodos.

TOOLBOXES OF MUSICAL POINTS

LISTS OF MUSIC RECORDS.

THE ENVIRONMENT OF MELODY

STARTING THE PROGRAM

THE MELODY DATA FILES

A) the Rhythmographer 's toolbox is displayed:

B) of the normal and musical text formatting appears the:

C) Voices and MIDI commands are displayed:

TOOLBOXES OF MUSICAL POINTS

Concise musical notation toolbox

Quantitative Analytical Toolkit.

WORKS WITH MUSICAL DOCUMENTS.

Create a music document from a template

Open music document

Save a music document

Save a music document as a template

Change document format based on template.

Print music document

Export document to Acrobat PDF format.

Export pages to images.

Lock the document to modifications

THE LIBRARY OF MELODO

DISPLAY OF THE DOCUMENT.

NAVIGATION IN THE PAGES OF A DOCUMENT

NAVIGATION TO DOCUMENT POINTS

Document page layout

Document page outline

Distances of musical characters and words

FORMATION OF THE PARAGRAPH.

I can format the current paragraph in two ways.

FORMATTING THE TEXT.

SERIES RELATED TO THE MUSICAL TEXT

font of change molecules on the points

Resize music fonts.

PLAIN TEXT STRINGS

Cut / Copy / Paste

Introducing arctic audio evidence.

Assignment or rescaling in arctic testimony.

ARCTIC WITNESS PROPERTIES

Introduction of original testimony.

Assignment or change of Scale in original testimony.

The intermediate testimonies

Insert musical text points.

There are four ways to enter musical text.

By pressing the : of the main toolbox, they appear respectively

The points of expression:

and the time points:

4th) Import points with chart.

TIPS FOR ENTERING POINTS.

DELETE all points within this area, by right clicking on them.

Training the Melody to enter points with a chart.

Delete musical notes.

Enter time points.

Insertion of expression points

FOR THE DEVIATIONS OF WEAR ABOVE THE POINTS

Automatic assignment of Scales to damages.

Introduction of alterations or tractions.

Automatic import of Charms

Enter the Rate indicator number

Import dependent points as independent

These points when written independently accept only local deviation.

Introduction of temporal treatment.