On a related note, I've had the idea (for a while now) to get the tab (Wayne's format) for an entire period or composer and run it through a parser which would look for patterns in the music. I'd be looking for things like the most common phrases (length could be variable) in Dowland's music. I've worked with the tab quite a bit already and think this kind of analysis would be possible. My original ideas was to generate a "work sheet" for a given program of music that would help a perform work up music more quickly. The performer could work through the music making sure the most common passages are under the fingers first. Kind of a crazy idea, but it shows the potential power of having this music in a normallized format.
--- [EMAIL PROTECTED] wrote: > "Dr. Marion Ceruti" <[EMAIL PROTECTED]> said: > > > >>Tablature and staff notations record different things, tablature records > finger > > positions; staff notation records pitch. One CAN translate either into the > > other, > > but, SHOULD one? > > > > +++Yes. This is why I like TablEdit so much. You input tab and you output > tab > > plus staff notation. It is helpful to have both when learning a different > piece > > especially if it was written for an instrument with a new tuning. > > Sorry to be imprecise, I was thinking of the situation where only ONE set of > information is recorded, which form should it be? The trouble with forming > that 'standard' is that one obliges a discarding of information; if only > pitch is > recorded one loses information about technique (perhaps also about > intonation). > It is not always possible to be certain which playing position the composer > actually used, even when tablature is evident; only when 'chords' are > involved is > it possible to be sure in many cases. > > > >>the translation requires knowledge of the tuning of the > > instrument; is one ALWAYS certain of that? > > > > +++Yes. You better > > but, do you? Are you certain you have interpreted that german tablature > correctly? Those glyphs get pretty obscure at times, even when a k ey is > included, often the glyphs used in the key differ from the ones in the body > of the > work. Frequently there will be glyphs unused, and glyphs used but once. One > then > has to consider the issue of typographical errors. > > > > +++If you are proficient at playing the instrument, usually you will be > able to > > select the best way to play a note or a group of notes, among the very few > > possibilities available. > > yes, but, that might be different for you than it was for the composer, and > perhaps when the composer indicates a particular position there is some tonal > > reason for it; or perhaps it due to faulty memory that the uncommonly played > piece > gets set down in one way when it would have been (or was) originally played > much > differently. > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >
