DVLCO — DV Language Composer ORCHESTRA Demo v1

Global Playback Settings

All channels share these settings. Each DV box must exactly fit the box capacity.

Orchestra Transport

Controls all channels together.

Channels

Each channel is one DV part (instrument). Add as many as you like. Use the channel’s volume and Mute for balance.

DV Language – Full Guide for This Demo (v1)

DV Language (David’s Violin Language) is a modern textual music notation system. Instead of writing notes on a staff, you write them as text: notes, octaves, durations, chords, rests, slides, drums, degrees and more. This demo lets you listen to DV notation with multiple channels.

Index

1. Quick Start – Minimal Example
2. Boxes, Beats & Tick Math
3. Notes, Octaves, Accidentals & Durations
4. Rests & Full-Box Mute
5. Repeats |: ... :|
6. Slides LEFT-S-RIGHT
7. Chords – DV Style & Western Symbols
8. Degree Mode (1, 2, 3… + octaves)
9. Piano Right / Left Hand
10. Triplets & Tuplets
11. Temporary “Fake Sustain” for Two Voices
12. Drums & Percussion Shorthand
13. Export & Print
14. Multilingual Solfège Example

1. Quick Start – Minimal Example

Copy–paste this into one channel (instrument = Piano) and press Play:

| Do4Q ; Mi4Q ; Sol4Q ; Do5Q |
| Do5Q ; Sol4Q ; Mi4Q ; Do4Q ||

• Do4Q = note Do, octave 4, quarter note.
• Two boxes = two bars. In 4/4, each box is 4 quarter notes.
• Lines end with || to close the phrase (optional but recommended).

2. Boxes, Beats & Tick Math

DV Language in this demo uses boxes instead of standard barlines. A box is everything between | and the next |.

• | ... | – one box (one bar).
• Last line usually ends with ||: | ... ||.
• Tokens inside a box are separated by ; or ,.

Time resolution (ticks):

The engine checks that the sum of durations in each box equals the box capacity. If not, the box is marked as an error (timing mismatch).

3. Notes, Octaves, Accidentals & Durations

Basic format: NoteOctaveDuration

• Do4Q – Do, octave 4, quarter.
• Re5E – Re, octave 5, eighth.
• Mi3H – Mi, octave 3, half.

Note names (Latin style):

• Solfège: Do Re Mi Fa Sol La Si.
• Letter names: C D E F G A B.
• Do4Q and C4Q are essentially the same pitch.

Accidentals: can be written before or after the octave:

Do#4Q   Do4#Q   Dob4Q   Do4bQ
C#4Q    C4#Q    Cb4Q    C4bQ

# / ♯ and b / ♭ are accepted (depending on font / input method).

Durations – letter form:

• W – whole.
• H – half.
• Q – quarter.
• E – eighth.
• S – sixteenth.
• T – 32nd.

Durations – fractional form:

• (1/1), (1/2), (1/4), (1/8), (1/16), (1/32).
• Example: Do4(1/4) = quarter note, 24 ticks.

Dotted durations * (extend by half):

• Q* = Q + E (dotted quarter).
• H* = H + Q (dotted half).
• (1/4)* = quarter + eighth.
• (1/8)* = eighth + sixteenth.

Examples (copy–paste):

| Do4Q* ; Re4E ; Mi4Q ; Fa4Q |
| Sol4H* ; Mi4Q ; Re4Q ||

4. Rests & Full-Box Mute

Full-bar mute: any of these alone in a box fills the entire bar:

| 0 |
| Rest |
| R |
| Mute |
| M |
| MW |

Partial rests / mutes:

• RestQ, RestE, Rest(1/4).
• 0H, 0Q, etc.
• MuteQ, M(1/8), MQ.

Example (copy–paste):

| Do4Q ; RestQ ; Mi4Q ; RestQ |
| 0 |

5. Repeats |: ... :| (Plays Twice in Demo v1)

Repeats are written with |: (start) and :| (end). In this demo: each repeat section is played twice (one repeat level).

5.1 Single-box repeat

|: Do4Q ; Mi4Q ; Sol4Q ; Mi4Q :|

Playback: that one box is played twice.

5.2 Multi-box repeat group

|: Do4Q ; Mi4Q ; Sol4Q ; Mi4Q |
| Do5H ; Si4H :|

Here the repeat section is two boxes long. Playback: box 1 & box 2, then again box 1 & box 2.

5.3 Repeats + continuation

|: Do4Q ; Mi4Q ; Sol4Q ; Mi4Q |
| Do5H ; Si4H :|
| Do5Q ; Do5Q ; Do5Q ; Do5Q ||

Playback: (boxes 1–2 twice) then the last box once.

Demo v1: no nested repeats and no alternative endings yet. Use simple repeat blocks only.

6. Slides LEFT-S-RIGHT

A slide connects two notes or two degrees. The basic pattern: LEFTDUR-S-RIGHTDUR.

Examples (notes):

| Do4E-S-Mi4E ; Fa4E-S-Sol4E ; Do5Q ||
| Sol4Q-S-Do5Q ; Do5Q-S-Si4Q ||

Examples (degree mode):

| 1Q-S-3Q ; 5Q-S-1.1Q ||
| 2E-S-3E ; 4E-S-5E ; 6Q ||

• Both sides must fit inside the tick math like any other notes.
• Slides can appear anywhere inside the box, separated by ; or ,.

7. Chords – DV Style & Western Symbols

7.1 DV chord notation (explicit pitches)

Combine notes with + and put a duration at the end:

| Do4+Mi4+Sol4Q ; Fa4+La4+Do5Q ||
| C4+E4+G4H ; F4+A4+C5H ||

• All notes in a + group share the same duration.
• The group must fit inside the box capacity as usual.

7.2 Western chord symbols (root + quality)

Root is a note name (C, D, E, F, G, A, B with accidentals), plus a chord quality and duration:

| CQ ; CmajQ ; C7Q ; CmQ ||
| Fsus4H ; G7H ||

Supported qualities in Demo v1 (as intent):

• C, Cmaj – major.
• Cm – minor.
• Cdim – diminished.
• Caug – augmented.
• C7, Cmaj7, Cm7, CmMaj7.
• Cdim7, half-diminished Cø7 / Cm7b5 (implementation may still be refined).
• Csus2, Csus4 – suspended chords.

Internally, the engine builds voicings from the root and quality. Exact voicings can be refined in future versions; syntax here reflects the intended DV Language behavior.

8. Degree Mode (1, 2, 3… + octaves)

Each channel can switch its Input mode between: Notes (Do/Re/C4…) and Degrees (1, 2, 3…). In degree mode, you no longer write C, Do, etc. — you write scale-degree numbers.

8.1 Basic degrees

• 1Q, 2Q, 3Q, 4Q, 5Q, 6Q, 7Q – scale degrees 1–7.
• 8Q, 9Q, 10Q, 13Q – extended degrees.
• Negative degrees go backwards: -1Q, -2Q, etc.

The channel defines: Root (C, D, E…, with accidentals), Scale type (major, natural minor, etc.), and Root octave. Degrees are mapped from this.

8.2 Octave modifiers on the degree

• 1.0Q – degree 1 in the base octave.
• 1.1Q – degree 1, one octave above.
• 1.(-1)Q – degree 1, one octave below.
• Same for any degree: 5.1Q, 7.2Q, 3.(-2)Q, etc.

8.3 Degree accidentals

• 1#Q, 2bQ, 3#Q, 6bQ, etc.
• Also with octaves: 1#.1Q, 4b.(-1)Q.

8.4 Chords in degree mode

Use + exactly like in DV pitches, but with degrees instead of notes:

| 1+3+5Q , 4+6+1.1Q ||
| 1.(-1)+3.(-1)+5.(-1)H , 5+7+2.1H ||

Examples (copy–paste for a C major scale):

| 1Q ; 2Q ; 3Q ; 4Q |
| 5Q ; 6Q ; 7Q ; 1.1Q ||

Internally the engine converts degrees to real notes (MIDI pitches) using the channel’s root, scale and octave.

9. Piano Right / Left Hand (Per Channel)

• Set the channel instrument to Piano.
• You will see two text areas: one for right hand, one for left hand.
• Enable or disable “Play both hands together (Piano)”.
• Both hands share the same tempo, meter, mode (notes vs degrees) and scale settings.

Example (copy–paste concept):

Right hand:
| Do4Q ; Mi4Q ; Sol4Q ; Do5Q |
| Do5Q ; Sol4Q ; Mi4Q ; Do4Q ||

Left hand:
| Do3H ; Sol2H |
| Do3H ; Sol2H ||

10. Triplets & Tuplets (Experimental)

Triplets and other tuplets use the tag [i/n] inside the duration. The base duration is divided into n equal parts; i is the index (1, 2, 3…).

Quarter-note triplet (3 notes in the time of 1 Q):

| Do4Q[1/3] , Re4Q[2/3] , Mi4Q[3/3] ; Fa4Q ; Sol4Q ||

Drum triplet example:

| KQ ; S[1/3]Q , S[2/3]Q , S[3/3]Q ; KQ ; SQ ||

Rest / mute triplets:

| RestQ[1/3] , 0Q[2/3] , MuteQ[3/3] ; Do4H ||

In this demo, tuplets are still experimental. Some corner cases may need refinement. If something breaks, assume the rule is not final yet.

11. Temporary “Fake Sustain” for Two Voices on One Staff

In classical scores, a single staff often has two voices: a long note (pedal / cantus) and moving shorter notes. This demo cannot yet hold one note independently while others move inside the same box, so we use a temporary trick.

Core idea:

• Write a long-note value before + (for notation meaning).
• The group duration (after the last note) controls audio timing.

When you write something like Mi3W + Mi4Q:

• Mi3W is visually a whole note (pedal) in DV notation / print.
• Q after the group makes the actual chord last a quarter.

Example 1 – Pedal Mi + moving line (start together, 4/4)

Musical idea: Mi₃ holds for the whole bar, while Mi₄–Fa₄–Sol₄–Mi₄ are quarters above it.

| Mi3W + Mi4Q ; Fa4Q ; Sol4Q ; Mi4Q ||

Interpretation: Mi₃ is the bass pedal for the bar (notation). Each beat is a quarter chord (for audio).

Example 2 – Pedal belongs to the whole bar, upper line starts later

Idea: Mi₃ = whole-note pedal; upper voice only from beat 2:

| Mi3W + Mi3Q ; Fa4Q ; Sol4Q ; Mi4Q ||

• Notation: Mi₃ is shown as a whole note in the bar.
• Timing: helper Mi3Q gives beat 1 its duration; beats 2–4 are Fa₄, Sol₄, Mi₄.

Rule of thumb (Demo v1):

• Use + when you want pitches sounding together on a beat.
• Use ; when notes happen in sequence inside the box.
• “Fake sustain” = long duration before + (notation) + shorter group duration after + (audio + timing).

Future versions aim to support true independent sustain paths per voice. For now, this trick already shows that two-voice writing can be expressed and printed in DV Language.

12. Drums & Percussion Shorthand

These stems are recognized on any channel, but sound best when the channel instrument is set to Drums or Cymbals/Triangle.

12.1 Groove examples (copy–paste)

If KQ ; SQ sounds too thin with a melodic instrument, switch the channel to “Drums” for membrane and “Cymbal/Triangle” for metal.

13. Export & Print

• Per channel MP3/WAV – “Export Channel (MP3) 💾” on the channel.
• Per channel MIDI – “Export Channel (MIDI) 🎼”.
• Full mix MP3/WAV – “Export Full Mix (MP3 / WAV) 💾”.
• Full mix MIDI – “Export Full Mix (MIDI) 🎼”.
• Print – “Print Channel (PDF)” per channel, or “Print All Channels (PDF)”.

14. Multilingual Solfège Example (Do4 → Do5)

DV Language is designed to work with many languages and scripts. Internally they all map to the canonical solfège Do Re Mi Fa Sol La Si.

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