John Chambers <[EMAIL PROTECTED]> writes: : Well, I can think of a simple example of how one might use this: : [A4G2E2]2[F2D2] : This would have a 4-count melody note above the [G2E2][F2D2] chord : change. With L:1/8, the first chord could be drawn on a single stem, : with an open oval for the A4 note and filled ovals for the G2 and E2 : notes. This sort of notation isn't at all unusual in keyboard music. : The abc seems quite readable to me.
It could be too flexible though. How is [A4G2E2]3[F2D2] supposed to be interpreted? It might be better to have the duration of the chord equal to the shortest duration within the chord. That way [L:1/4][A4G2E2] is implicitly equal to a half note, just as in keyboard music the shortest note in the chord is considered the length before the next note begins. In terms of MIDI, the stop-messages would be sent per the individual durations inside the chord, but the start-messages for the next note would be sent after the shortest duration inside the chord. In terms of visually, the longer notes would simply be displayed, the shortest note defining the offset of the next note, measure-wise and in terms of bar-calculation. The problem can be solved already, with programs like abcm2ps. But it seems a bit extreme to define a whole new voice for a few measures of music that have sustained notes over fast progressions. Starling To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
