Muse2 (out shortly) takes the attitude that the shortest note in a chord controls the onset of the next thing. If the longest note would extend over a bar then that's a minor error that the user can use the GUI to correct.
Given a whole bunch of different durations it first does tails up at the top and tails down at the bottom (with any semibrieves conveniently giving yet a third "direction" for tails). If that isn't enough then it offsets lower notes to the right a little. If the chord is sorted into ascending order of pitch then notes which are adjacent and of the same length are always combined onto one stem (or lack of stem). Then you have fun with the beaming. Given the possibility of a tails up and a tails down beam simultaneously, a single binary indication "beam me" or "don't beam me" isn't enough. So it ignores spaces in the ABC and sorts out the beaming ab initio. Laurie ----- Original Message ----- From: "Forgeot Eric" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Sent: Saturday, August 03, 2002 12:57 PM Subject: [abcusers] re : suggestions for [A4A2] notation 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. ___________________________________________________________ Do You Yahoo!? -- Une adresse @yahoo.fr gratuite et en français ! Yahoo! Mail : http://fr.mail.yahoo.com To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
