DWB 3 DEMO/40 P 10066 DEMO/80 P 12776 WINDOW.SYS4864 P 667 ( ********************************w * KEY SIGNATURE TRANSPOSITION * * DEMO FOR 40 COLUMNS * * BY KEVIN A. KOMONYI * * - - - - - - - - *( * COPYRIGHT (C) 1991 * * BY KEVIN A. KOMONYI *<2 * ALL RIGHTS RESERVED *c< ********************************FZ$(14):"": (2)4090:ՙZ$:"WITCH TO 40-COLUMN TO OPERATE...THEN HIT "PG$(13):G$::G$(27)(88):G$ZY$(142):0,1:4,1:808,112:792,98_:20105` "WINDOW.SYS4864"pd""n:""xZ$" NTER Ò FOR THE EY IGNATURE HART, OR Ԓ TO TRANSPOSE A SPECIFIC KEY."1200:340Z:Z$"1) Þ [NO SHARPS/FLATS] 9) B [6 FLATS]""2) # [7 SHARPS] 10) [1 SHARP]""3) B [5 FLATS] 11) B [4 FLATS]""4) [2 SHARPS] 12) [3 SHARPS]"/ "5) B [3 FLATS] 13) B [2 FLATS]"e "6) [4 SHARPS] 14) [5 SHARPS]" "7) [1 FLAT] 15) B [7 FLATS]" "8) # [6 SHARPS] *****************" 1500!:Z$"1) Þ [NO SHARPS/FLATS] 9) B [6 FLATS]"P!"2) # [7 SHARPS] 10) [1 SHARP]"!"3) B [5 FLATS] 11) B [4 FLATS]"!"4) [2 SHARPS] 12) [3 SHARPS]"!"5) B [3 FLATS] 13) B [2 FLATS]"&""6) [4 SHARPS] 14) [5 SHARPS]"[""7) [1 FLAT] 15) B [7 FLATS]"""8) # [6 SHARPS] *****************"""HOOSE A NUMBER FROM THE CHART ABOVE. HAT IS THE KEY SIGNATURE OF YOUR COMPOSITION?"#"(IT )"K# 1:X1:"",X: 1T#""#C$(1)"   () "#"540:580#' 1:"HAT WOULD YOU LIKE IT TO BE?"#,"(IT )"$1 1:Y10:"",Y: 1Y$6D$(10)"   () # "|$@560:600: 2::540:560:630$J:"T'S BEEN NICE MAKING MUSIC WITH YOU!": 3::1020::Y$"":$T:" ")%^"AJOR CALES, EYS WITH HARPS AND LATS"\%h" # /":%r"Û--"%|"#1 SHARP"%"##2 SHARPS"&"###3 SHARPS"M&"####4 SHARPS"~&"#####5 SHARPS"&"########6 SHARPS"&"#########7 SHARPS":'"Û--"?'"B1 FLAT"o'"BBBB2 FLATS"'"BBBBB3 FLATS"'"BBBBBB4 FLATS"'"BBBBBBB5 FLATS"/("BBBBBBBB6 FLATS"_("BBBBBBBBB7 FLATS"(:"IT Β TO CONTINUE.": 3:1300:140("OUR ORIGINAL KEY: ":C$(X)(&(0"OW TRANSPOSED TO: ":D$(Y)(:0)DX1"V1O3T7U5X0HCHDHEHFHGHAHBO4HC" : HALF NOTES6)Nb)XY10"V1O3T7U5X0HGHAHBO4HCHDHE#HFHG"h)b)l580:600:540:560)v"OOK AND LISTEN TO THE DIFFERENCES IN":"BOTH KEYS. OST MUSIC IS WRITTEN USING"<*"CHORDS IN THE FIRST, FOURTH AND FIFTHPOSITIONS AS ARE HIGHLIGHTED. ELATIVE"j*"MINOR CHORDS ARE SHOWN IN PARENTHESIS."*"O LAW DICTATES THAT YOU MUST FOLLOWTHIS PATTERN. F YOU WOULD LIKE TO HEAR"+"THE CHORDS YOU HAVE CHOSEN, OR COMPARETHEM WITH OTHER CHORDS IN ANY KEY, JUST"S+"ENTER THE CORRESPONDING LETTER ON YOURKEYBOARD."+"OR FLATS, USE THE ԟ KEY AND THELETTER, AND FOR SHARPS, USE THE = (OR"+"OMMODORE) KEY. INOR CHORDS ARE GOTTENBY USING THE ̟ KEY."X,"IT ANY KEY FOR A COMPLETE CHART OFKEY CODES. NTERING  AT ANY TIME WILL","END. IT ϒ":580: 1:600:V$,V$(13)740,:540,560,:"Ӓ ٠Ӓ Ӓ ٠Ӓ"--:"M(BM)<>"b- "M<>"-"M(BM)<>"- "M(#M)<>".*"M<>"9.4"BM(#M)<>"o.>"BM(#M)<>".H"B<>#M(BM)<>".R"B<>BM(#M)<>"/\"B<>#M (BM)<> "I/f"#< = >#< = >"~/p"B<>#< = >"/z"B<>#< = >"/"#< = >B<>"0"B<>#< = >"R0"M<>#< = >"0"M(BM)<>IT ђ TO END SESSION"01700:0:"Ӓ ٠Ӓ Ӓ ٠Ӓ"1:"M(BM)<>";1"M<>"q1"M(BM)<>"1"M(#M)<>"1"M<>"2"BM(#M)<>"H2"BM(#M)<>"2"B<>#M(BM)<>"2"B<>BM(#M)<>"2"B<>#M (BM)<> ""3"#< = >#< = >"W3"B<>#< = >"3"B<>#< = >"3"#< = >B<>"3"B<>#< = >"+4"M<>#< = >"a4"M(BM)<>IT ђ TO END SESSION"k4CH$4CH$(1)"V1O3T7U5X0WAV2O3T7U5X0WCV3O4T7U5X0WE" :"M"4CH$(67)"V1O3T7U5X0WCV2O3T7U5X0WEV3O3T7U5X0WG" :""(5CH$(68)"V1O3T7U5X0WDV2O3T7U5X0W#FV3O3T7U5X0WA" :""l5CH$(5)"V1O3T7U5X0WEV2O3T7U5X0WGV3O3T7U5X0WB" :"M/BM"5CH$(70)"V1O3T7U5X0WFV2O3T7U5X0WAV3O4T7U5X0WC" :""5CH$(71)"V1O3T7U5X0WGV2O3T7U5X0WBV3O4T7U5X0WD" :""6CH$"Q"330:100626:Z$:" 128 (40-COLUMN VERSION)"a6"OPYRIGHT () 1991 BY EVIN . OMONYI"6"LL RIGHTS RESERVED AND ALL APPLICABLE LAWS APPLY.": POKE818,506::"HIS Œ IS AVAILABLE":"FOR THE 128 IN 80-COLUMNS OR"?7$"40-COLUMNS. AM REQUESTING":"A $20.00 DONATION. HEN ORDERING,"7."PLEASE SPECIFY WHETHER YOU WANT":"THE 80- OR 40-COLUMN VERSION."78::" ONATIONS SHOULD BE MAILED TO:"7B:" EVIN . OMONYI"7L" 22 OLONY T. XT."8V" EYMOUR, 06483"68`774,139:U$:U$(13):1020E81,3,39,9N8 A\8A012108" HEN EYCHANGER IS FIRST RUN, IT WILL "8"PROMPT YOU TO CHOOSE BETWEEN THE FULL "8"KEY SIGNATURE CHART OR THE SECTION THAT"!9"ALLOWS YOU TO CHOOSE INDIVIDUAL KEY "R9"SIGNATURES FOR COMPARISON. "9" ΠϠ "9A$:A$(13)1280:127094864,0:0,0,39,24,19 95,6,35,1794864,19( A92A01420:<" "j:F" HIS SCREEN CAN BE USED AS AN":"OVERALL COMPARISON BETWEEN KEY":P"SIGNATURES. S YOU CAN SEE, ":"THEY ARE SET UP IN SUCH A WAY ";Z"AS TO SHOW THEIR RELATIONSHIPS":"AND ARE FURTHER BROKEN DOWN TO"T;d"REFLECT SHARPS AND FLATS. OW":"ON TO THE NEXT SECTION... "};n" ";x" ΠϠ...";A$:A$(13)1420:1410;4864,0:0,0,39,24;;2,8,32,18;4864,1< A<A01680<<" HIS SECTION LETS YOU PICK A"e<"NUMBER CORRESPONDING TO THE KEY"<"YOUR COMPOSITION IS WRITTEN IN"<""THEN DECIDE THE KEY YOU WANT IT"<,"TO BE. T WILL PLAY THE SCALES" =6"TO COMPARE THE TWO. OU WILL BE"2=@"ABLE TO MAKE THE NECCESSARY KEY"[=J"CHANGES. 'M SORRY TO SAY, YOU"=T"MUST DO THAT YOURSELF. "=^" ΠϠ "=hA$:A$(13)1650:1640=r4864,0:0,0,39,24=|=7,13,39,23>4864,1 > A>A01680F>" HIS AREA IS HELPFUL TO SHOW"p>"HOW EASILY YOU CAN CALL UP THE">"MYRIAD COMBINATIONS OF CHORDS">"AVAILABLE. OR THIS DEMO, HAVE">"ACTIVATED ONLY THE HIGHLIGHTED"?"CHORDS AND ()UIT. OLLOW THE"B?"CHART AS LONG AS YOU WISH, AND"l?"HIT '' FOR A FINAL MESSAGE. "?" "?&" Ҡ, ΠϠ. "?0A$:A$(13)1850:1840?:4864,0:0,0,39,24?D*@:Y$:" Ϸ"U@" $ $"@" $  ϷЙ $"@" $   Ι $"@" $  ̯ $"A " $  $"5A" $   $"bA " $  ̯ $"A*" $ ™ $"A4" ̯A>53281,0AH:M$" KEYCHANGER 128 DEMONSTRATION PROGRAM":2160:0BR:M$" A NEW PROGRAM FROM POVERTY SOFTWARE"B\:M$M$" (C) 1991 BY KEVIN A. KOMONYI ...ONE MOMENT PLEASE...":2160: 6:BfBp54273,99:54278,250:54276,129BI1(M$):" ";:J119: C 54296,15: (M$,I,1);:54296,0::1C 54276,32: 54296,15:J1299:NC 54276,0: 54296,0::A ********************************************************* * KEY SIGNATURE TRANSPOSITION DEMO FOR 80 COLUMNS * * BY KEVIN A. KOMONYI *( * COPYRIGHT (C) 1991 BY KEVIN A. KOMONYI *A2 * ALL RIGHTS RESERVED *< *********************************************************F"WINDOW.SYS4864"P808,112:792,98:Z$(14):Y$(142):2010.Z:Y$:""d"":Z$n"NTER  FOR THE FULL EY IGNATURE HART, OR  TO TRANSPOSE A SPECIFIC KEY."IxY$:""Y$:"":Z$1270:460 1::350:Z$"1) Þ [NO SHARPS/FLATS] 9) B [6 FLATS]"` "2) # [7 SHARPS] 10) [1 SHARP]" "3) B [5 FLATS] 11) B [4 FLATS]" "4) [2 SHARPS] 12) [3 SHARPS]"9!"5) B [3 FLATS] 13) B [2 FLATS]"!"6) [4 SHARPS] 14) [5 SHARPS]"!"7) [1 FLAT] 15) B [7 FLATS]"""8) # [6 SHARPS] *****************"""HOOSE A NUMBER FROM THE CHART ABOVE."::"HAT IS THE KEY SIGNATURE OF YOUR COMPOSITION?"""(IT )":1540: 1)#X1:"",X: 1i#C$(1)"   () "w#680:720# 1::"NTO WHAT KEY WOULD YOU LIKE IT TRANSPOSED?"#""(IT )"8$, 1:Y10:"",Y: 1y$6D$(10)"   () # "$@700:740: 2::680:"":700:770%J:"T'S BEEN NICE MAKING MUSIC WITH YOU!": 3::1160%T:Y$"":Z%^:Y$"Ϸ"%h""%r""&&|""j&""&""&""6'""z'""'"̯"("ί":?(:" "((2)"AJOR CALES, EYS WITH HARPS AND LATS"((2)" # /":;)"Û--")"#1 SHARP")"##2 SHARPS"E*"###3 SHARPS"*"####4 SHARPS"*"#####5 SHARPS"P+&"########6 SHARPS"+0"#########7 SHARPS",:(2)" ":^,D"Û--",N"B1 FLAT" -X"BBBB2 FLATS"e-b"BBBBB3 FLATS"-l"BBBBBB4 FLATS".v"BBBBBBB5 FLATS"m."BBBBBBBB6 FLATS"."BBBBBBBBB7 FLATS"D/(2)" ":"IT ANY KEY TO CONTINUE.": 2W/1400: 1:150z/"OUR ORIGINAL KEY: ";C$(X)//"OW TRANSPOSED TO: ";D$(Y)//X1"V1O3T7U5X0HCHDHEHFHGHAHBO4HC": 1/ 0Y10"V1O3T7U5X0HGHAHBO4HCHDHE#HFHG": 10+0720:740:680:7000%:"OU CAN SEE AND HEAR THE DIFFERENCES IN BOTH KEYS. F COURSE, NO MUSICAL"0 "PIECE USES EVERY CHORD AVAILABLE IN A GIVEN KEY SIGNATURE. ENERALLY, MUSIC IS"^1"WRITTEN USING CHORDS IN THE FIRST";(130);", FOURTH";(130);" AND FIFTH";(130);" POSITIONS AS ARE HIGHLIGHTED"1 "ABOVE, WITH A RELATIVE MINOR CHORD";(130);" - SHOWN ABOVE IN PARENTHESIS." 2*:"O LAW DICTATES THAT YOU MUST FOLLOW THIS PATTERN HOWEVER. XPERIMENTATION"a24"IS THE KEY TO EVERYTHING WE DO. F YOU WOULD LIKE TO HEAR THE CHORDS YOU HAVE"2>"CHOSEN OR COMPARE THEM WITH ANY OTHER CHORD EITHER IN THE CHOSEN KEY SIGNATURE"3H"OR ANY OTHER, ALL YOU HAVE TO DO IS ENTER THE CORRESPONDING LETTER ON YOUR KEY-"i3R"BOARD. OR FLATS, USE THE ԟ KEY SIMULTANEOUSLY, AND FOR SHARPS, USE THE ="3\"(OR OMMODORE) KEY SIMULTANEOUSLY. INOR CHORDS CAN BE OBTAINED BY USING THE"4f"̟ KEY. IT ANY KEY FOR A COMPLETE CHART OF KEY CODES. NTERING  AT"4p"ANY TIME WILL END THE SESSION. NJOY YOURSELF!  Ϡ .":720: 1:7404uV$:V$(13)890:8854z:680:"":7005:"   ٠   ٠ "f5:"M(BM)<>"5"M<>"6"M(BM)<>"g6"M(#M)<>"6"M<>"7"BM(#M)<>"h7"BM(#M)<>"7"B<>#M(BM)<>"8"B<>BM(#M)<>"n8"B<>#M (BM) <> "8"#< = >#< = >"9"B<>#< = >"m9"B<>#< = >"9"#< = >B<>":"B<>#< = >"l:$"M<>#< = >":."M(BM)<>IT  TO END SESSION":1700:8CH$;BCH$(1)"V1O3T7U5X0WAV2O3T7U5X0WCV3O4T7U5X0WE" :"M"P;LCH$(67)"V1O3T7U5X0WCV2O3T7U5X0WEV3O3T7U5X0WG" :"";VCH$(68)"V1O3T7U5X0WDV2O3T7U5X0W#FV3O3T7U5X0WA" :"";`CH$(5)"V1O3T7U5X0WEV2O3T7U5X0WGV3O3T7U5X0WB" :"M/BM"::" ONATIONS SHOULD BE MAILED TO:"H>:" EVIN . OMONYI"g>" 22 OLONY T. XT.">" EYMOUR, 06483":1870>774,139:U$:U$(13)340:1160>6,3,45,9>4864,1>  A>A01380?" HEN EYCHANGER IS FIRST RUN, IT WILL "I?(" PROMPT YOU TO CHOOSE BETWEEN THE FULL "{?2" KEY SIGNATURE CHART OR THE SECTION THAT"?<" ALLOWS YOU TO CHOOSE INDIVIDUAL KEY "?F" SIGNATURES FOR COMPARISON. "@P" ΠϠ "-@ZA$:A$(13)1380:1370G@d4864,0:0,0,79,24,1M@n^@x7,10,74,17j@4864,1s@ A@A01520@" "A" HIS SCREEN CAN BE USED AS AN OVERALL COMPARISON BETWEEN KEY "jA" SIGNATURES. S YOU CAN SEE, THEY ARE SET UP IN SUCH A WAY AS TO "A" SHOW THEIR RELATIONSHIP TO ONE ANOTHER AND FURTHER BROKEN DOWN TO "B" REFLECT SHARPS AND FLATS. OW ON TO THE NEXT SECTION... "RB" "zB" ΠϠ... "BA$:A$(13)1520:1510B4864,0:0,0,79,24BB20,8,71,17B4864,1B AB"A01680(C," HE INDIVIDUAL KEY TRANSPOSITION SECTION ALLOWS "eC6" YOU TO PICK A NUMBER CORRESPONDING TO THE KEY THE "C@" COMPOSITION IS WRITTEN IN AND THEN DETERMINE WHAT "CJ" KEY YOU WANT IT TO BE. T WILL PLAY THE MUSICAL "DT" SCALE TO GIVE YOU AN IDEA OF HOW THE KEYS DIFFER "YD^" IN PITCH. SING THIS AS A BASIS, YOU CAN THEN BE "Dh" ABLE TO MAKE THE NECCESSARY CHANGES ON THE MUSIC. "Dr" 'M SORRY TO SAY, YOU MUST DO THAT YOURSELF. "D|" ΠϠ "EA$:A$(13)1680:16700E4864,0:0,0,79,246EHE37,13,79,23TE4864,1]E AkEA01680E" HIS AREA IS HELPFUL TO SHOW HOW EASILY "E" YOU CAN CALL UP THE MYRIAD COMBINATIONS "F" OF CHORDS AVAILABLE. OR THE PURPOSES "6F" OF THIS DEMO, 'VE ACTIVATED ONLY THE "fF" HIGHLIGHTED CHORDS IN THE KEYS ABOVE "F" AS WELL AS THE ()UIT KEY. OLLOW "F" THE CHART AS LONG AS YOU WISH, AND "F" THEN HIT '' FOR A FINAL MESSAGE. "G" "GG&" Ҡ, ΠϠ "eG0A$:A$(13)1850:1840}G:4864,0:0,0,79,24GDGN40,15,75,23GX4864,1Gb AGlA01990Gv" ONORABLE MENTION SHOULD GO TO "H" AVE ETZLER, THE MAN WHO CREATED "@H" THE ROUTINE, WITHOUT "mH" WHICH WOULD NOT HAVE BEEN ABLE "H" TO PREPARE THIS DEMO AS NICELY. "H" N EXPLANATION AND DEMO OF THE "H" PROGRAM IS AVAILABLE "!I" THROUGH -INK'S LIBRARY. ">I 15:4864,0:0,0,79,24DII:%:Y$:" Ϸ"I" $ $" J" $  ϷЙ $"NJ" $   Ι $"J" $  ̯ $"J " $  $"K" $   $"UK " $  ̯ $"K*" $ ™ $"K4" ̯K>(14):53281,01LHM$" 128 ":2160:|LRM$" NOTHER GREAT PROGRAM FROM  Œ"M\M$M$" (C) 1991 BY EVIN . OMONYI ...ONE MOMENT PLEASE... ":2160Mf 6::Mp 54273,99: 54278,250JMz 54276,129\M I1 (M$)sM" ";:J119:M 54296,15: (M$,I,1);M 54296,0::M 54276,32: 54296,15:J1299:M 54276,0: 54296,0::L)(? ,.P67) )e89i?8?,?-?i8?6i8?7() .9L!/8()8)./`  D T d o`(8`  D T d o()8)`?`)8 0 1 2 3 +P*`)8 2 3 0, 1- *P+` 0 1 `2 3 ` `)ʼ?* 04i0 D25i2 T* ͭ40521m*10i0 D3m+32i2 TЙ*PL3-2,8-/,.`9 .96 m798`TABLE)