Music Composition

Overview

Ultima Online has always given players freedom to express themselves through their characters, homes, and stories. On Angel Island, musicians can also decorate the air with the custom Angel Island Music System (AIMS).

With AIMS, bards can play notes using the [play command, write arrangements in Razor, create sheet music, and share or sell compositions through the Music Box.

Getting Started

Anyone can use [play — no Musicianship or other skill is required. No physical instrument is required either: AIMS supplies a virtual harp, lap harp, or lute. Sound effects (the + numbers) require 1,000 Music Karma; type [play musickarma to see yours.

The basic command is:

[play note pause note pause ...

For example:

[play cl 0.4 cl 0.4 g 0.4 g 0.4 a 0.4 a 0.4 g 0.8

Numbers represent pauses between notes, in seconds. Begin with the sample tunes below, then explore instrument choices, timing, and reusable passages.

Note Values

The 25 available note names are:

Register	Notes
Low	cl (low C), csl (low C#)
Main	d, ds, e, f, fs, g, gs, a, as, b, c (middle C), cs
High	dh, dsh, eh, fh, fsh, gh, gsh, ah, ash, bh, ch (high C)

Instruments and Note Offsets

AIMS has three virtual instruments in order: Harp (0), LapHarp (1), and Lute (2). Use [play instrument harp, [play instrument lapharp, or [play instrument lute to choose one. The default is Harp.

Prefix a note with + or - to select an adjacent instrument without changing the main instrument. For example, with LapHarp selected, -a plays on Harp, a on LapHarp, and +a on Lute.

[play instrument lapharp
[play a +a -a b +b -b c +c -c d +d -d

From Harp, ++ selects Lute; from Lute, -- selects Harp:

[play instrument harp
[play a +a ++a b +b ++b
[play instrument lute
[play a -a --a b -b --b

Composing, Recording and Sharing

Music Recorder

The Music Recorder captures a Razor performance into a composition book, making it easier to edit than pasting scripts manually.

1. Enter [MusicRecorder start.
2. Play your Razor script.
3. Enter [MusicRecorder stop.
4. Target a blank composition book.

A script might contain:

say '[play -e 0.21 -fs b +eh 0.22 -e +eh 0.21 -g b +eh 0.21'
say '♪ Take my money,'
wait 1400

The recorder captures [play and spoken lyrics, and estimates waits rounded down to the nearest 100 milliseconds. Recording keeps the book's full size, leaving the remaining pages blank for edits; a recording longer than the book is cut off, with a message. Review recorded waits before publishing. If waits are consistently excessive, try another client or assistant; Razor bundled with the Angel Island Launcher has generally been responsive.

Sheet Music

Sheet Music lets composers transcribe compositions into saleable sheet music. Creating sheet music is also the first step toward adding a song to the Music Box.

Music Box

File:Musicbox1.png

Music Box

The Music Box is a luxury music player for homeowners. It supports spoken commands and lets players sample, purchase, and enjoy compositions by other musicians.

Advanced Composition: Sections and Repeats

Sections and repeats let you write a musical passage once and reuse it throughout a composition. They are especially helpful for verses, choruses, accompaniment, and songs approaching the composition book's 96-page limit (see Songs in Several Books).

Section markers are comment lines in the composition book. Razor and ordinary [play commands ignore them, so the musical lines remain Razor-compatible. AIMS expands the arrangement before previewing or transcription.

Named Sections

A normal section plays where it is written. You can play it again later by name:

# Section: Chorus
say '[play c 0.3 e 0.3 g 0.3 c 0.5'
# End
# Play: Chorus
# Play: Chorus x3

Here the chorus plays once at its definition, once at the first # Play, and three more times at the second # Play.

Silent Sections

A silent section defines material without playing it at that location. It plays only when called:

# Silent Section: Chords
say '[play -e -a -cs 0.44 -e -a -cs 0.28'
say '[play -e -a csl 0.28 -ds -gs -b 0.29'
# End
# Play: Chords

Simple Repeats

Use a repeat when you do not need a reusable name:

# Repeat from here
say '[play c 0.2 d 0.2 e 0.2 f 0.2'
say '[play g 0.2 a 0.2 b 0.2 c 0.5'
# Repeat x3

The count is the total number of performances, including the first. Thus x1 plays once, x2 twice, and x3 three times.

Syntax Reference

Marker	Meaning
# Section: Name	Begins a named passage that plays here and may be called later.
# Silent Section: Name	Defines a passage that plays only when called.
# End	Closes the current section.
# End: Name	Closes the named section; mismatched names are errors.
# Play: Name	Plays a previously defined, closed section once.
# Play: Name x3	Plays it three times here.
# Repeat from here	Marks the start of a repeat.
# Repeat x3	Ends the repeat and plays its contents three times in total.

Putting It Together

This example uses a silent accompaniment inside a verse and repeats the verse:

# Song: Example
# Author: Galois
# Instrument: LapHarp
# Silent Section: Chords
say '[play -e -a -cs 0.44 -e -a -cs 0.28'
say '[play -e -a csl 0.28 -ds -gs -b 0.29'
# End
# Section: Verse
say '[play -ds -b 0.14 fs 0.14 -fsh 0.14'
# Play: Chords
# End
# Repeat from here
# Play: Verse
# Repeat x2
# Play: Chords x2

The verse plays once at its definition, twice more inside the repeat, and the chords play twice at the end.

For first and second endings, define the shared passage as a silent section, play it, write the first ending, play it again, and write the second ending:

# Silent Section: Theme
say '[play c 0.3 e 0.3 g 0.3'
# End
# Play: Theme
say '[play a 0.3 g 0.5'
# Play: Theme
say '[play f 0.3 c 0.5'

Rules and Limits

• Commands are case-insensitive, and spacing is flexible: #play:Chorus x2 and # Play: CHORUS both work.
• Section names may contain spaces, must be unique, and must not contain the word "loop".
• Define and close a section before using # Play on it.
• Sections and repeats may be nested, including sections that play other sections, up to eight levels deep.
• Repeat and play counts range from x1 to x99.
• A composition may expand to at most 2,000 lines and 64 KB once its sections and repeats are written out (the longest songs written so far are about 250 lines and 17 KB).
• Each marker must occupy its own line; do not append one to a say line.
• Unrecognized # lines remain comments, such as # Verse 1, # Play softly here, and # End of verse.
• Existing header settings such as # Song:, # Author:, and # Instrument: continue to work.
• A reused section includes all its contents: musical lines, waits, lyrics, and comments.

Preview Without Using Paper

To hear a composition before transcribing it:

1. Enter [play preview.
2. Target the composition book (in your backpack, or within two tiles).
3. Enter [play preview again to stop.

Preview plays the expanded arrangement just as sheet music would, without consuming manuscript paper. While a preview is active, other [play commands explain how to stop it.

On shards with context menus, single-click a composition book in your backpack and choose Start to preview it; while it plays, the menu offers Stop.

Transcribing and Troubleshooting

Transcription still works as before: double-click manuscript paper and target your composition book. The song is named by its # Song: and # Author: lines, or, without them, by the title and author written on the book itself. AIMS expands sections and repeats into the full arrangement on the resulting sheet. The compact composition and the same music written out in full have the same song identity (hash). Older books without section markers continue to transcribe normally.

If AIMS finds a structural mistake, transcription stops without consuming the paper. Up to five errors appear in red, followed by a count of any remaining errors. Messages identify the page and line and may suggest a correction:

page 37: '# Play: Brige' - no section named "Brige" (did you mean "Bridge"?)

The checks include unknown or duplicate sections, missing or mismatched endings, unmatched repeats, sections played before being closed, self-references, invalid counts, malformed marker placement, excessive nesting, and compositions that expand beyond 2,000 lines or 64 KB.

Songs in Several Books

A composition book holds at most 96 pages. This is a limit of the game client, not of the server: the client draws an entire book as one image, and a book much larger than 100 pages crashes the client when it is opened. Sheet music itself has no page limit, so a song too long for one book can be written across several books and transcribed into a single sheet.

This is optional. A song that fits in one book needs nothing new, and sections often make a long song fit in one book.

To split a song, begin every book with the song's title and the book's place in the song:

# Song: Lanterns at the Hearth
# Book: 1/3

The second book begins with # Song: Lanterns at the Hearth and # Book: 2/3, and the third with # Book: 3/3. Then:

• Keep all of the books together in your backpack or in one bag.
• Target any one of them with manuscript paper, [play preview, or the book's context menu: AIMS reads all of the books in order and makes one song.
• Put the song's settings (# Author:, # Instrument:, # Timer: and so on) in book 1. Later books need only # Song: and # Book:.
• A section can be played from any later book. A useful pattern is to make book 1 your library of silent sections (verse, chorus, riffs) and write the song itself in the following books as # Play: lines. Because a section must be written before it is played, the library goes in the first book, not the last.
• A song may span up to nine books.

If a book is missing, appears twice, or the books disagree on the count, AIMS says which book and transcribes nothing. Mistakes inside the books name the book and page:

book 3, page 1: '# Play: Chorsu' - no section named "Chorsu" (did you mean "Chorus"?)

Player Settings and Commands

The [play command also configures instruments, timing, volume, and performance behavior.

[play Config

Displays the current player settings.

[play Instrument

Select Harp, LapHarp, or Lute. Default: Harp.

[play instrument harp
[play instrument lapharp
[play instrument lute

[play Timer

Choose Classic, Dynamic, or Anchored:

[play timer anchored

A composition book can also declare its timer in the header:

# Timer: Anchored

Classic

Classic is the original Angel Island timer (2006). It uses a fixed 100-millisecond tick. Notes written together play sequentially, giving a strummed rather than simultaneous-chord effect. Pauses are rounded up to the next 100 milliseconds. Classic is suitable for simple melodies, manual play, and older compositions. It ignores Tempo and Prefetch.

[play timer classic
# Timer: Classic

Dynamic

Dynamic (2022) schedules notes using millisecond-based delays, supporting true chords and more detailed rhythms. Tempo specifies the default spacing between successive notes in milliseconds (default 100). Prefetch controls how explicit pauses interact with that spacing: with Tempo 100 and a pause of 500 milliseconds, Prefetch False gives 600 milliseconds between notes, while Prefetch True gives 500.

# Timer: Dynamic
# Prefetch: True
# Tempo: 0

Because Dynamic schedules relative to the previous note's actual playback time, small delays can accumulate in longer pieces. Testing has shown drift approaching 10% in some cases.

Anchored

Anchored supports Dynamic-style chords, Tempo, and Prefetch, but schedules notes relative to the composition's start. This reduces accumulated timing drift. After a server interruption such as a world save, it adjusts its timing reference rather than releasing a burst of overdue notes. Anchored is a good choice for long, rhythmically complex pieces.

# Timer: Anchored
# Prefetch: True
# Tempo: 0

Existing Dynamic pieces can generally use Anchored without rewriting their notes or pauses.

Timing Mode Comparison

Feature	Classic	Dynamic	Anchored
Resolution	100 ms tick	Millisecond-based	Millisecond-based
True chords	No	Yes	Yes
Tempo / Prefetch	Ignored	Supported	Supported
Timing drift	Fixed-tick behavior	Can accumulate	Minimized
Best for	Simple and legacy music	Detailed arrangements	Detailed arrangements with stable tempo

Compatibility

Legacy NewTimer settings remain supported:

# NewTimer: False
# NewTimer: True
[play newtimer false
[play newtimer true

NewTimer False corresponds to Classic; NewTimer True corresponds to Dynamic. If both Timer and NewTimer headers are present, Timer wins. Without an explicit timer setting, songs default to Classic.

[play Prefetch

Use with Dynamic or Anchored (not Classic):

[play prefetch true

When enabled, an explicit pause replaces rather than adds to the default Tempo interval. Default: False. Older compositions may need pause adjustments when switching modes. See Advanced Usage.

[play Tempo

Tempo controls the default spacing between notes in milliseconds for Dynamic and Anchored.

[play tempo 100

At 50, the default interval is half as long as at 100; at 200 it is twice as long. Changing Tempo after composing may require adjusting explicit pauses. Default: 100.

[play Reset

Resets the player to its defaults: Harp, Classic (NewTimer False), Prefetch False, Tempo 100, Chatter True, ConcertMode False, Volume 20. Your macros are kept.

[play + (Sound Effects)

With at least 1,000 Music Karma, musicians can use sound IDs from the game client:

[play +480

Here +480 is the sound associated with targeting the Cure spell. See Sound List.

[play Chatter

[play chatter false

Enables or disables the *plays a tune* emote when you begin playing. With Chatter on, the Classic timer also warns you about repeated notes that may not play. Default: True.

[play ConcertMode

[play ConcertMode True

Allows nearby listeners to hear the volume levels set by the musician regardless of distance. Default: False.

[FilterMusic

Toggles whether composition music plays on your client; it does not silence music for others.

[StopMusic

Stops your character's [play performance immediately.

Volume, Music Karma and Composer Titles

Volume

Place vN before a note or group of notes to change volume. Volumes run from v0 (quietest) to v20 (loudest); higher values play as v20. The default is v20. [play volume N sets your default volume.

Volume steps are heard only in ConcertMode: enable [play ConcertMode True and every listener hears the volume you set, regardless of distance. Without ConcertMode, volume steps are ignored and listeners hear normal distance-based volume.

This example ramps from quietest to loudest:

[play concertmode true
[play macro part1=v0 1 a v1 1 a v2 1 a v3 1 a v4 1 a v5 1 a v6 1 a
[play macro part2=v7 1 a v8 1 a v9 1 a v10 1 a v11 1 a v12 1 a v13 1 a
[play macro part3=v14 1 a v15 1 a v16 1 a v17 1 a v18 1 a v19 1 a v20 1 a
[play %part1% %part2% %part3%

Music Karma

Musicians earn Music Karma through their published compositions: 100 points for each approved composition in the Music Box global repository, 100 points for each copy sold, and 100 points each time one of their compositions is played. Karma is recalculated periodically, so a new sale or play may take up to 15 minutes to appear. Type [play musickarma to see yours.

At 1,000 Music Karma, musicians may use non-musical sounds from the game client with [play. See Sound List.

Composer Titles

Join the NPC Bards Guild to work toward the Composer profession title, progressing from Neophyte through Grandmaster to Elder and Legendary (120). Progress comes from publishing, sales, plays, and use of [play, with bonuses for advanced features. [play usage counts only after joining the guild; publishing, plays, and sales before joining are credited when you join. Published works can also earn ordinary Karma and Fame.

Algebraic Macros

Macros let you name a note sequence, reuse it, transpose it, reverse it, or change its pauses. Unlike sections, macros transform note patterns; sections reuse complete passages, including waits and lyrics.

Defining and Playing a Macro

[play macro bassline = cl 0.2 e 0.2 g 0.2 a
[play %bassline%
[play instrument harp
[play %bassline% 0.2 %bassline%

Macro names use letters and digits only. [play list shows your macros, and [play macro name= (with nothing after the =) deletes one. Macros are kept when you use [play reset.

Transposing

[play %bassline[+5]%

This transposes five half-steps upward (a perfect fourth):

[play f 0.2 a 0.2 c 0.2 dh

Use [+n] or [-n]. Notes outside the supported cl-to-ch range are dropped. Notes written with an instrument offset (such as +a or -c) are not transposed.

Reversing

[play %-bassline%

This reverses the sequence:

[play a 0.2 g 0.2 e 0.2 cl

For example, a blues-style pattern can combine original and reversed macros:

[play %bassline% 0.2 as 0.2 %-bassline%
[play %bassline% 0.2 as 0.2 %-bassline%
[play %bassline[+5]% 0.2 dsh 0.2 %-bassline[+5]%
[play %bassline% 0.2 as 0.2 %-bassline%
[play %bassline[+7]% 0.2 %bassline[+5]% 0.2
[play %bassline% 0.2 as 0.2 %-bassline%

Changing Pauses

[play %bassline<+0.1>%

Adds 0.1 second to every pause, producing:

[play cl 0.3 e 0.3 g 0.3 a

The arithmetic operators can be combined with a macro:

Expression	Resulting pauses
%bassline%	0.2
%bassline<+0.01>%	0.21
%bassline<-0.01>%	0.19
%bassline<*2>%	0.4
%bassline</2>%	0.1

Combining Operations

Define minor and major arpeggios:

[play macro min = cl 0.1 ds 0.1 g 0.1 c
[play macro maj = cl 0.1 e 0.1 g 0.1 c

Then transpose, reverse, and change their pacing in the same expression:

[play %min[+2]</2>% 0.2 %-min[+2]</2>% 0.8
[play %min[+2]</2>% 0.2 %-min[+2]</2>% 0.1 e 0.1 f 0.1 g 0.1 a 0.8
[play %maj[+5]</2>% 0.2 fh 0.05 eh 0.05 c 0.05 a 0.8
[play %min[+2]</2>% 0.2 %-min[+2]</2>% 0.8

Or a Pachelbel-inspired progression:

[play %maj[+12]<*2>% 0.2 %maj[+7]<*2>% 0.2 %min[+9]<*2>% 0.2 %min[+4]<*2>% 0.2
[play %maj[+5]<*2>% 0.2 %maj<*2>% 0.2 %maj[+5]<*2>% 0.2 %maj[+7]<*2>%

A pause change needs an operator (+, -, * or /); without one, such as <2>, the pauses are left unchanged.

Many thanks to Galois for contributing the algebraic macros material.

Sample Tunes

Twinkle Twinkle Little Star

In Razor, add a two-second pause after the third line and a four-second pause before the last line.

[play cl 0.4 cl 0.4 g 0.4 g 0.4 a 0.4 a 0.4 g 0.8
[play f 0.4 f 0.4 e 0.4 e 0.4 d 0.4 d 0.4 cl 0.8
[play g 0.4 g 0.4 f 0.4 f 0.4 e 0.4 e 0.4 d 0.8
[play g 0.4 g 0.4 f 0.4 f 0.4 e 0.4 e 0.4 d 0.8
[play cl 0.4 cl 0.4 g 0.4 g 0.4 a 0.4 a 0.4 g 0.8
[play f 0.4 f 0.4 e 0.4 e 0.4 d 0.4 d 0.4 cl 0.8

Frère Jacques

In Razor, add a one-second pause between the second and third lines.

[play c 0.3 dh 0.3 eh 0.3 c 0.4 c 0.3 dh 0.3 eh 0.3 c 0.3
[play eh 0.3 fh 0.3 gh 1.0 eh 0.3 fh 0.3 gh 1.0 gh 0.1 ah 0.1 gh 0.1 fh 0.1 eh 0.3 c 0.3
[play gh 0.1 ah 0.1 gh 0.1 fh 0.1 eh 0.3 c 0.4 c 0.3 g 0.3 c 1.0 c 0.3 g 0.3 c

Pop Goes the Weasel

[play d 0.2 g 0.6 g 0.2 a 0.6 a 0.2 b 0.2 dh 0.2 b 0.2 g 0.6
[play d 0.2 g 0.6 g 0.2 a 0.6 c 0.2 b 0.8 g 0.6
[play d 0.2 g 0.6 g 0.2 a 0.6 a 0.2 b 0.2 dh 0.2 b 0.2 g 0.8
[play eh 0.8 a 0.4 c 0.2 b 0.8 g

Advanced Usage

The following technical observations and examples were contributed by Galois. They describe the behavior of the Dynamic/NewTimer system and are useful for understanding timing choices.

Understanding Prefetch and NewTimer

Consider:

[play cl 0.1 d 0.1 e

File:Musicbox14.png

Timing illustration

Tempo determines the default note spacing. Prefetch controls whether an explicit pause begins without adding the default delay. Thus you can play closely spaced notes with Prefetch enabled:

[play cl 0.01 d 0.01 e 0.01 f 0.01 g

With Prefetch disabled, negative pauses can also request prefetch-style spacing:

[play cl -0.01 d -0.01 e -0.01 f -0.01 g

These tools help tune precise rhythms such as three notes against two. If no pause is specified (for example, [play cl d e), Prefetch has no effect on that interval.

Repeating Notes

The client has a limitation when replaying the same sound file rapidly. A repeated note may be ignored while its previous sound is still playing. Sound durations vary by instrument; lute notes can generally be repeated faster than standing-harp notes. Switching instruments can sometimes help because the client then plays a different sound file, provided the desired note exists in both registers.

Using Multiple Instruments

This example combines a standing-harp accompaniment with lap-harp melody, inspired by Chariots of Fire:

say '[play newtimer true'
say '[play prefetch false'
say '[play tempo 90'
say '[play instrument harp'
say '[play csl 0.1 csl 0.1 csl 0.1 csl 0.1'
wait 800
say '[play csl 0.1 csl 0.1 csl -0.01 +cs 0.1 csl 0.1'
wait 800
# Note 3 against 2 rhythm
say '[play csl -0.01 +fsh 0.08 csl -0.07 +gsh -0.15 csl -0.15 +ash -0.07 csl 0.1'
wait 800
say '[play csl -0.01 +gsh 0.08 csl 0.1 csl 0.1 csl 0.1'
wait 800
say '[play csl -0.01 +fh 0.08 csl 0.1 csl 0.1 csl 0.1'

Case Study: A Three-Over-Two Rhythm

Galois first chose Tempo 90 with 0.1-second pauses for the desired accompaniment feel. To estimate the effective timing interval, he compared:

[play cl 0.1 cl 0.1 cl 0.1 cl 0.1 g 0.3 g 0.3 cl 0.1 cl 0.1 cl 0.1 cl 0.1 g 0.3 g 0.3

With a more closely matched rhythm:

[play cl 0.1 cl 0.1 cl 0.1 cl 0.1 g 0.34 g 0.34 cl 0.1 cl 0.1 cl 0.1 cl 0.1 g 0.34 g 0.34

The timing relationship was:

2 * (0.01 + x + 0.1) = 0.01 + x + 0.34

This suggested an effective interval component of about 0.13 seconds at that tempo. Four eighth-note intervals then total:

4 * (0.01 + 0.13 + 0.10) = 0.96 seconds

Dividing this into three yields 0.32 seconds per triplet. The bassline falls at 0.00, 0.24, 0.48, 0.72, and 0.96 seconds, while the triplets fall at 0.00, 0.32, and 0.64 seconds.