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Message: [QUOTE="Bombastus, post: 91544, member: 2178"] RapidComposer 6.2 added a Phrase play mode that lets the right side of a split keyboard trigger phrases from a dedicated melody track. The change pushes Live Mode beyond simple section launching because your two hands can now handle different musical jobs at once. The left side still controls material from the composition. The right side can play scale notes, chord notes, or phrases, depending on the selected Play Mode. In Phrase Mode, one hand chooses the harmonic section while the other calls up melodic material that follows it. [HEADING=2]Phrase Mode splits harmony from melody[/HEADING] The important distinction is where the notes come from. The left zone can trigger configurable composition sections, while the right zone pulls phrase playback from a dedicated melody track. You are not simply firing another copy of the same section. Each triggered section can carry its own chord progression. Changing the left-hand key can move the harmony underneath a phrase without forcing you to rewrite the melodic source. RapidComposer adapts the triggered melody to the active harmony and keeps its notes synchronized with the composition. A short melodic figure can survive several chord changes while retaining its rhythmic identity, provided its note relationships can follow the harmonic context. The [B][URL='https://goldmidi.com/community/threads/musicdevelopments-shipped-rapidcomposer-6-2.76930/']RapidComposer 6.2 performance changes[/URL][/B] build on the split-keyboard work introduced earlier in version 6.1. Phrase Mode is the part that makes the split feel musically purposeful rather than merely convenient. Preparation still matters. Live Playback Mode expects tracks, phrases, and chords on the master track, so a thin harmonic setup gives Phrase Mode less useful material to react to. For longer pieces, keys can represent bars, chords, structural lines, or complete parts. Structural lines deserve attention because one line can span multiple chords and phrases. RapidComposer can restructure a long composition into shorter lines without changing the existing phrases or chords themselves. It gives you fewer, more useful trigger points instead of a keyboard packed with tiny slices. A four-chord verse shows why this matters. Put the chords inside one structural line and a single left-hand trigger can launch the sequence while the right-hand phrase follows the changing harmony. The same melodic source can then ride across the progression instead of forcing you to prepare a separate phrase for every chord. [HEADING=2]Quantized triggering keeps sections under control[/HEADING] Live Mode already had two broad playback behaviors before Phrase Mode arrived. Play Full Bar lets a triggered phrase continue through the end of its bar. Play While Held ties playback to how long you keep the assigned key down. The held-key behavior also exposes controls for trigger timing, release timing, and repeated playback. Version 6.1 added latch playback and expanded Quantized Trigger choices to one, two, three, or four bars plus End of Pattern. Those controls matter more once each hand can change a different layer of the performance. A left-hand section change may swap an entire chord progression while your right hand introduces another phrase. [B]Quantized phrase launching[/B] keeps those entrances aligned instead of making every quick key press an immediate musical event. Timing becomes a choice rather than an accident of finger movement. Key assignment needs some thought before playing. Mapping every bar gives fine control, but a long composition can become awkward fast. Chord assignment is similarly busy when the harmony changes often, while structural lines usually offer a cleaner middle ground. Right-split transposition, introduced with the keyboard split in version 6.1, also frees the playable side from an inconvenient register. On a compact controller, reachable section keys and comfortable melody notes can otherwise fight for the same space. Extra transposition room can keep both zones playable without reshaping the source material. Planning the zones around your hands makes Phrase Mode considerably easier to use. It also keeps the left-hand triggering area from consuming keys you would rather reserve for melodic work. Small controllers benefit most from getting this split sorted before playback. [HEADING=2]Saved keyboard state makes repeat sessions practical[/HEADING] RapidComposer 6.2 now stores the Virtual Keyboard state in the composition. For Live Mode, the keyboard is no longer just a temporary input display. Its performance state can stay attached to the piece you are building. Live Mode settings were already designed to travel with compositions, and earlier 6.x updates preserved the on-screen keyboard position and size between sessions. Version 6.2 closes another setup gap by storing the Virtual Keyboard state with the composition itself. Different songs can keep different performance configurations without forcing you to rebuild them from scratch each time, especially when each song uses a different keyboard split. Phrase Mode remains a Full Edition feature because Live Playback Mode itself is limited to that edition. Scale and Chord modes keep the right hand focused on individual playable notes, while Phrase Mode pulls structured melodic material from its dedicated melody track for repeatable triggering. A phrase can keep its rhythmic shape while the left hand moves the composition into another harmonic section. [/QUOTE]

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