Time signatures, tempi and pitches come from your file — sound, start point and grid are up to you.
← All toolsor drop one here — .mid, .musicxml, .xml, .mxl, a saved session, or an audio file as a backing track. Nothing leaves your device.
Click the map to set the start bar. Bar widths follow their real duration, so a 3/16 bar is half the width of a 3/8 bar.
Load a score and the tool reads its bar structure: time signatures, tempo marks and the notes themselves. Rehearse from any bar by typing its number or clicking the map, and let the count-in bring you in. The three sounds — woodblock, sine beep and cowbell — cut through different ensembles, and every downbeat is accented.
If your file contains a written click part, switch “Click follows” to the notes in the file. Each distinct pitch is then analysed and mapped to its own click pitch, so a part notated a fifth higher sounds a fifth higher. Compound meters count every eighth by default and can be switched to dotted-note beats. Repeat signs are not unfolded — the click follows the written order.
The click can also be seen rather than heard: switch on the light signal and the edge of the screen glows with every downbeat, or with every click. Colour and intensity are yours to set, and the count-in flashes red. It appears in performance mode, where the screen is given over to the click anyway — useful on a dark stage, through a monitor at the back of the hall, or for a player who cannot wear in-ears.
Spoken bar numbers can be switched on for every bar, or for every second, fifth or tenth bar — counted by the bar numbers in the score, so every fifth bar means bar 5, 10, 15. Each number is spoken just after its own downbeat — never before it, since anticipating the beat throws players off. They are read by the browser's own English voice, which plays outside the audio engine, so they are heard live but cannot be written into the exported MP3.
Staff text and rehearsal marks can be spoken as well. Write them as staff text (Shift+X in Dorico, Cmd+T in MuseScore) attached to the note where they belong, and prefix the ones meant for the click with an exclamation mark — “!first violin”. The marker is not spoken; it keeps performance directions and click cues apart in the same file. Rehearsal marks are announced as “rehearsal A”. Text always takes precedence over a bar number falling at the same moment.
An audio file dropped onto the page becomes a backing track: it runs with the click, has its own level, and always starts from wherever the start bar is — jump to bar 80 and the tape jumps with you. Use the offset field if the recording does not begin exactly on bar 1; a negative value means the audio starts later than the click. The tempo slider stretches both together. Its waveform appears under the bar map, drawn on the same bar axis, so loud and quiet passages sit exactly under the bars where they happen — stereo files as two lanes, left in blue above, right in violet below. It can be mixed into the MP3 export, and it is not part of a saved session file, which keeps sessions small.
“Save session” writes a single file holding the score itself together with every setting — sound, grid, start bar, count-in, tempo, announcements. Keep it on your drive or in Files on the iPhone and open it here again later, on any device, to continue exactly where you were.
The last score you opened and all settings stay on this device, so the tool comes back ready to play instead of asking for the file again. Nothing is uploaded — the file lives in your browser's own storage. A backing track belongs to the score it was loaded with and is dropped when a different score is opened; “Reset all” clears score, backing track and every setting at once.
The click can also be exported as MusicXML: a single staff carrying the click itself, with the bars, time signatures, tempo marks and spoken cues of the original. Send that file to your players instead of the full score — loaded back into KLIKKER it produces exactly the same click, and it opens in any notation program.
These tools are free and stay free. They are written and maintained by one person — a composer who needs them for his own rehearsals. If one of them saved you time, a coffee is always welcome.
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