Bryan Creer :
>I've gone for highest note prevails in the counting of the times
so you 
>can do things like -
>
>X:1
>T:The Cotillion
>C:Trad (Bosham Band)
>M:4/4
>L:1/8
>K:G
>[G4D4][d4B,4]|[B2D4]AB [G2B,4]AB|[c2E4]B2[A2D4]G2|[FD4]GAF
[D3A,3]D|
>
 

I've seen that Skink happily supports this notation too. (and
multiple undo, I've just noticed that)
I hope more and more programs will be able to handle this, and
maybe the standard could allow it too.

>> Perhaps it should be by length of the first note in the chord.

Jack Campin  said :
>This is a very good idea, but the semantics I'd need in every
instance
>where I've wanted it would be that the *shortest* note counts. 
This is
>more reliable than hoping you don't get pedal notes above the
melody.

I've thought to that too, in fact I find it logical to use a tie
before a new barline instead of having notation like that :

cd[C4e2]d2[c2A,4]  | [A,2d]e[B,4f2]e2[d2G,4] etc.

Here is an example : (I've just realized that my notation is
incorrect, I should have begun with 
cd | [C4e2] etc. to avoid the ties and to be on the correct strong
beat. This tune was one of the first I've transcribed.
Nevertheless it's just an example to illustrate the idea of this
[A4A2] notation)

X:4
T:Rapunsel
C:Kari Rueslċtten
D:Demo Recordings
O:Norge
Z:<[EMAIL PROTECTED]> -- http://anamnese.fr.st
M:4/4
L:1/8
Q:1/4=100
K:Eb
cd[C4e2]d2[c2A,2-]  | [A,2d]e[B,4f2]e2[d2G,2-] |\
[G,2c]d[C4e2]d2[A,2c2]  | [G,2=B]c [G,2B2][C4c4]   | "/.../"

In an other tunes, I was really stuck because I had already 3
voices, it was a really long tune, and I didn't want to had a 4th
voice full of rests just to add some extra notes in the last
mesure, so I think there is a real need for such a notation...
In guitar it's often there is a pedal note (or a chord) whereas
there is a melody line above, and to have only a voice is more
logical in a certain way.



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