Re: [abcusers] Susato's Danseryes
Jack Campin escreveu: 5. Line terminators [...] BBEdit Lite does the same (and the full version of BBEdit also manages site uploading for you). But the problem isn't with text processors, it's with brainless transfer agents that don't convert terminators in text files properly. If the original file uses any of the standard options coherently, it's not the source site's problem if duff web browsers and mail agents fuck up. John Walsh escreveu I have a bunch of files that I've transferred between Unix and Dos, and edited on both, so they have some line endings from each. (And it'll get worse if I ever get that Mac notbook...) In fact the flaws are all along the line, IMHO: 1 ABC relies on line terminators as a meaningful unit of coding. SGML (and its offspring HTML), on the contrary, avoids relying on them exactly for reasons of portability, but even so has an algorithm to handle them in the couple of circumstances they might be a point (please see Martin Bryan's SGML and HTML Explained chapter 11, section 11.4 - The effect of record boundaries at url: http://www.personal.u-net.com/~sgml/book/home.htm#Contents). 2 Text editors should allow you to keep consistency in line terminator formatting upon request (or not, if for some reason the file format you are typing assigns different roles to CR and LF and their combinations), instead of assuming just one of several possibilities. Some try to guess the format regardless of the local system's default. 3 ABC software don't seem to be generally aware of platform specificities. They should take portability issues into account and process line terminator candidates one by one trying to make sense out of them to allow for mixed platform editing à la John Walsh and minimize the risk of misinterpretation of the author's intention. E.g., othercrlfcrlfother and othercrlflfother would be both interpreted as otherline endline endother, but there would be no solution for cases in which a othercrother further received a lf upon editing on another platform (resulting in othercrlfother). Again, that is the consequence of not having an explicit code to signal meaningful line ending in ABC language. I think it's too late to change the way ABC encodes functional line termination; also we cannot expect the other segments (text processors, network transfer software) to deal with ABC specific issues. So, it's up to ABC software developers, who are concerned with these problems, to manage workarounds where due. Regards, Paulo Eleutério Tibúrcio To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
Re: [abcusers] Susato's Danseryes
Thanks to everybody who responded to my Susato posting - and especially to Phil who sent me a really usfeul error reprort privately. I'm sorry I haven't been able to participate much myself in the discussion(s) I triggered, but it seems you've managed quite nicely without me, so I guess it didn't matter much. Oh well, here's my summary: --- 1. Editorial accidentals. Simon Wascher (I think) wrote: I usually use #A or bA to show editorial accidentals. Phil Taylor replied: Yes. Perhaps ^# would be better. I'd go for Phil's suggestion if it wasn't for two details, the ^xxx and _xxx text string syntaxes aren't stanrdaized enough yet and there's no way to get playback of such accidentals. John Chamner's (_) and (^) suggestion is a very good idea too, btw, but I don~'t think there is any abc application that can actually understand this. --- 2. Barlines Contrary to my normal policy, I will keep the barlines and add a note saying no barlines in the original. There is one very unusual reason for this. Most people know Susato from F. J. Giesbert's 1936 transcription of Danserye - or from any of the hundreds of rip-offs of Giesbert's edition. Unfortunately Giesbert didn't know nearly as much as he liked to think about renaissance music. So he transcribed some of the pieces with absolutely ridiculous barring, such as: M:C| L:1/4 c-|c/B/c/d/ ec|cc/d/ e/c/d/e/|fd2f|... instead of: M:3/5 L:1/4 cB cd|ecc|c/d/e/c/d/e/|fd2|... (from the beginning of Bergeret sans roch) Unfortuantely, despite his lack of knowledge about the subject, Giesbert was long considered an authority in the early music community, so his editions remained unchallenged for too long, leaving the best pieces of Danserye virtually unplayable. So I've decided to add some more sensible barring to my edition to try to counteract this long-lasting and unfortunate misunderstanding. --- 3. Separated or intermingled voice lines. This is a rather messy problem we ought to discuss at length here at abcusers. It's not an issue specially related to Susato, though. --- 4. P: field Simon Wascher wrote: Why do'nt you use the P:field within the tune body for the Reprise text? ... To my personal understanding I always wonder why someone created a field that organizes the playing order and does not allow the usual part and playing order terms to be used within. John Chambers replied: As far as I can tell, Chris never said that such things aren't allowed. Both Simon and John are right, of course. But I don't think many ABC applications supports things like P: Reprise --- 5. Line terminators RJP wrote: This file has cr terminated lines... I'm afraid that problem is a bit beyond me. As far as I know, SaintEdit is the only Macintosh text processor that allows you to specify line terminators, and I don't fancy opening each and every Musica Viva document in SaintEdit before uploading. Any suggestions for solving this? Frank Nordberg To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
Re: [abcusers] Susato's Danseryes
Seems the typo devil worked overtime on my previous posting. Don't know what came over me. Sorry for mis-spelling your name, John. And sorry for all the other weird typos too. One of them really needs a clarification. The barring example should be: M:C| L:1/4 c-|c/B/c/d/ ec|cc/d/ e/c/d/e/|fd2f|... instead of: M:3/4 L:1/4 cB c/d/|ecc|c/d/e/c/d/e/|fd2|... (from the beginning of Bergeret sans roch) of course. Frank To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
Re: [abcusers] Susato's Danseryes
Jack Campin writes: But the problem isn't with text processors,it's with brainless transfer agents that don't convert terminators in text files properly. I have a bunch of files that I've transferred between Unix and Dos, and edited on both, so they have some line endings from each. (And it'll get worse if I ever get that Mac notbook...) There must be a lot of other people who do the same, so mixed line endings may not be that uncommon. Most editors these days seem to handle it gracefully, so one tends not to notice---I usually have to open a file in vi to make sure---but I don't know that you can always blame the transfer agents for not picking it up. Cheers, John Walsh To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
Re: [abcusers] Susato's Danseryes
Frank Nordberg wrote: Just like to tell everybody at abcusers that I've just posted a complete ABC edition of Tielman Susato's Danserye Hey great, thats really nice. My transcriptions raises a few interesting questions regarding ABC-versions of early music. Should we add barlines? How do we disern between original and editorial accidentals? etc. etc. etc. Anybody's views on those question are much apreciated. I usually use #A or bA to show editorial accidentals. About the barlines, I would primarily say no, lets give the source as pure as possible, but maybe for the sake of usability just add a note: no barlines in the source. I would find it much better to write the music voice after voice. It is not really possible to read the four voices in paralell in the abc text anyway and it is complicate to extract parts for playing. I still find that programmers should enable voice after voice input. The way it is here simply mixes up text matters and layout matters (not your fault). Simon Wascher - Vienna, Austria To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
P:field [Re: [abcusers] Susato's Danseryes]
Hello again, Frank Nordberg wrote: http://www.musicaviva.com/abc/tunes/susato-tielman/susato-1551.abc My transcriptions raises a few interesting questions regarding ABC-versions of early music. Should we add barlines? How do we disern between original and editorial accidentals? etc. etc. etc. Anybody's views on those question are much apreciated. So are any error reprots, of course. Why do'nt you use the P:field within the tune body for the Reprise text? I know this is not classical standard, but if there is no P: in the header, there is no reason not to use the P:field in the body for something that is in fact exactly in the meaning of Part. To my personal understanding I always wonder why someone created a field that organizes the playing order and does not allow the usual part and playing order terms to be used within. This is the standard: P - parts; can be used in the header to state the order in which the tune parts are played, i.e. P:ABABCDCD, and then inside the tune to mark each part, i.e. P:A or P:B. In fact, the P: field mixes up two things in an unfortunate way: P: as in part P: as in playing order (of these parts) So my sugestion to an extension of the standard is: $ instead of single letters numbers or words can be used. Within $ the header these words or numbers need to be in [square brackets]. $ Example: P:[Einleitung][1.][1.][2.][2.][1.][Ausgang] $ To enable this the words or numbers in the playing order within $ the header need to equal exactly the words and numbers of the $ P:fields in the body of the tune. $ If there is no P:field in the header of the tune the contents of $ the P:fields within the tune body are just text, and should be $ used for usual terms for marking parts. If my english is not sufficient please correct me, I hope you can get the meaning. regards Simon Wascher -Vienna, Austria To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
Re: [abcusers] Susato's Danseryes
Simon Wascher wrote: Frank Nordberg wrote: Just like to tell everybody at abcusers that I've just posted a complete ABC edition of Tielman Susato's Danserye Hey great, thats really nice. It is indeed - thank you Frank. My transcriptions raises a few interesting questions regarding ABC-versions of early music. Should we add barlines? How do we disern between original and editorial accidentals? etc. etc. etc. Anybody's views on those question are much apreciated. I usually use #A or bA to show editorial accidentals. Yes. Perhaps ^# would be better. About the barlines, I would primarily say no, lets give the source as pure as possible, but maybe for the sake of usability just add a note: no barlines in the source. It depends on what you are trying to do here. Barlines do make the music much easier to read, and easier to check for correctness. Also it's much easier for a user to take them out than it is to put them in again, if that's what is required. I would find it much better to write the music voice after voice. It is not really possible to read the four voices in paralell in the abc text anyway and it is complicate to extract parts for playing. I still find that programmers should enable voice after voice input. The way it is here simply mixes up text matters and layout matters (not your fault). I disagree. Writing the abc line by line preserves the original music layout in the abc, and I find it much more readable. I notice, however that in some of the pieces you have two lines in each voice. This seems to me to be the worst possible compromise. Phil Taylor To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
Re: [abcusers] Susato's Danseryes
Hello, Phil Taylor wrote: Simon Wascher wrote: I would find it much better to write the music voice after voice. (...) I disagree. Writing the abc line by line preserves the original music layout in the abc, Not necessarily, especially not if the original layout is no score but single parts. and I find it much more readable. I notice, however that in some of the pieces you have two lines in each voice. This seems to me to be the worst possible compromise. that is not a compromise, that is a consequence. Since I need eight bars per line in music display, the linebreak follows after the eight bar. Since eight bars are very long and may cause corrupted linebreakes for example in e-mails, I regulary put a backslash after every fourth bar (this also makes the structure of the tune transparent). regards Simon Wascher - Vienna, Austria To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
Re: [abcusers] Susato's Danseryes
Simon == Simon Wascher [EMAIL PROTECTED] writes: Simon I would find it much better to write the music voice after Simon voice. It is not really possible to read the four voices Simon in paralell in the abc text anyway and it is complicate to Simon extract parts for playing. Not if you use abcselect, written by Christoph Dalisch. You can find it at his site: http://www.emsland-aktuell.com/lautengesellschaft/cdmm/index.html -- Laura (mailto:[EMAIL PROTECTED] , http://www.laymusic.org/ ) (617) 661-8097 fax: (801) 365-6574 233 Broadway, Cambridge, MA 02139 To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
Re: [abcusers] Susato's Danseryes
Phil == Phil Taylor [EMAIL PROTECTED] writes: I usually use #A or bA to show editorial accidentals. Phil Yes. Perhaps ^# would be better. Are there any abc2ps variants that have implemented this feature? I still find that programmers should enable voice after voice input. The way it is here simply mixes up text matters and layout matters (not your fault). Phil I disagree. Writing the abc line by line preserves the original Phil music layout in the abc, and I find it much more readable. No, the original layout was partbooks, so voice after voice preserves the original layout better. -- Laura (mailto:[EMAIL PROTECTED] , http://www.laymusic.org/ ) (617) 661-8097 fax: (801) 365-6574 233 Broadway, Cambridge, MA 02139 To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
Re: [abcusers] Susato's Danseryes
I would find it much better to write the music voice after voice. It is not really possible to read the four voices in parallel in the abc text anyway Not unless the source is laid out helpfully, but for this sort of music it can be quite easily. I haven't changed a note in Frank's transcription, or made any changes to the generated staff notation, to do this. It does need a wider-than-80-column screen but nothing very exotic. You can see exactly which chord is being played at every point. I have yet to see a four-part hymn setting for which this layout methodology won't work. X:5 T:La mourisque T:(Basse dansse 5) C:Tielman Susato S:Tileman Susato: Danserye (1551) Z:Transcribed by Frank Nordberg - http://www.musicaviva.com %This is a temporary version - please don't redistribute yet N:adapted by Jack Campin to regularize the layout for vertical reading, use more N:reasonable clefs, and to employ instruments that sound better on a small Mac V:1 Program 1 68 alto % oboe V:2 Program 1 68 alto % oboe V:3 Program 1 70 bass % bassoon V:4 Program 1 57 bass % trombone R:Basse dance M:4/2 L:1/2 Q:1/2=210 K:C V:1 E/ F/ G G G |G3 F |E C C D |B,2 G,2 |E/ F/ G G G |G3 F |E C C D |G,2 G,2:| V:2 C/ A,/ C C C |C3 A,|C A, A, A,|G,2 B,2 |C/ A,/ C C C |C3 A,|C A, A,B, |C2 C2 :| V:3 G,/F,/ E,E,E,|E,3 F,|C, E, E, F,|D,2 D,G,|G,/F,/ E, E,E,|E,3 F,|C,D, E,/C,/G, |E,2 E,2:| V:4 C,/D,/ C,C,C,|C,3 D,|A,,A,,A,,D,|G,,2 G,,2|C,/D,/ C, C,C,|C,3 D,|A,,A,,A,, G,,|C,2 C,2:| % V:1 z E E C |C D E C |F D E C |C D B,2 |G, E E C |C D E C |F D E C |C D G,2:| V:2 z E, G,A, |A, E, G,C, |A,B, C C,|E, D, D,2 |D, E, E,A, |A, D, G,C, |A,B, C G,|A, G, E,2:| V:3 z G, E,E, |F, F, E,A, |F,G, E,E,|A, F, G,2 |G, G, E,E, |F, F, E,A, |F,G, E,E,|E, D, C,2:| V:4 z C, C,A,,|A,,B,,C,A,,|D,G,,C,C,|A,,D, G,,2|G,,C, C,A,,|A,,B,,C,A,,|D,G,,C,C,|A,,B,,C,2:| % W: W: From Musica Viva - http://www.musicaviva.com W: the Internet center for free sheet music downloads. This second example goes further, lining up corresponding beats both within and between sections so you can compare chord progressions between them: X:38 T:Mille regretz C:Tielman Susato S:Susato1551 Z:Transcribed by Frank Nordberg - http://www.musicaviva.com %This is a temporary version - please don't redistribute yet N:adapted by Jack Campin to regularize the layout for vertical reading N:and to employ instruments that sound better on a small Mac V:1 Program 1 74 % recorder V:2 Program 1 46 % harp pretending to be a lute V:3 Program 1 46 alto % harp pretending to be a lute V:4 Program 1 33 bass % electric bass guitar pretending to be a theorbo R:Pavane M:C| L:1/4 K:Am V:1 E4 |A2A2 |G3F/E/|D C D2 |C c c c |B2A B |cB A2 |^G2 z2:| V:2 B,4 |A,2 D2 |B,3 A, |B, C A,2 |CD E F |G2F2|E E C D | E2 z2:| V:3 E4 |C2F2 |E3D/C/|B, E FD |E3 C |D E C2|A,B, C A,| B,2 z2:| V:4 E,4 |F,2 D,2 |E,3 F, |G, A, D,2 |A,2 A, A,|G, E, F,G, |A,G, F,2 | E,2 z2:| % V:1 c2 B A |G A A A |G E F2 |E2zB |c2 A2 |B2e2|d c B A |^G2 z2.| V:2 G2 G E |E E F D |E E D2 |G,2 G,2 |A,C B, A,|G, G, C B, |A,G, G E | E2 z2:| V:3 E2 D C |B,C C A,|B,C2 B, |C2B,2 |E2 E2 |E3 E |F E D C | B,2 z2:| V:4 C,2 G, A,|E,A,, F,F,|E,C, D,2 |C,2 E,2 |A,,2 A,,2 |E,2 C,2 |D,E, G,A,| E,2 z2:| % V:1 E2 G G |D d d d |c2 B2 |A A A A |G2 F2 |E E G E |G2 EF | G2 z2:| V:2 G,2 G, G,|D E F G |E2 E2 |E F F F |E2 D2 |C C B, C |B,2 C2 | B,2 z2:| V:3 C2 B, G,|B,C D B,|C A,2 G, |A, C C C |C2 A,B,|C A, G, A, |G,2 A,2 | G,2 z2:| V:4 C,2 E,F,|G, G, D,G,|A,2 E,2 |A,,F, F,F,|C,2 D,2 |A,,A,,E, A,,|E,2 A,,2| E,2 z2:| % W: W: From Musica Viva - http://www.musicaviva.com W: the Internet center for free sheet music downloads. and it is complicate to extract parts for playing. This is a pretty trivial editing task, BarFly has most of this functionality built in already, and it can't take more than a few lines of some scripting/patternmatching language to achieve it. Where do you get MIDI programs 2, 3 and 4 from? Are they part of Quicktime 5 or something? - Jack Campin * 11 Third Street, Newtongrange, Midlothian EH22 4PU, Scotland tel 0131 660 4760 * fax 0870 055 4975 * http://www.purr.demon.co.uk/jack/ food intolerance data recipes, freeware Mac logic fonts, and Scottish music To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
Re: P:field [Re: [abcusers] Susato's Danseryes]
Simon Wascher schrieb: | Why do'nt you use the P:field within the tune body for the Reprise | text? ... | To my personal understanding I always wonder why someone created a field | that organizes the playing order and does not allow the usual part and | playing order terms to be used within. As far as I can tell, Chris never said that such things aren't allowed. He merely described the two kinds of P lines, and gave an example of their use in one kind of music (Morris dance). When I first read this, my immediate reaction was that P could obviously be used for such things as P:Intro or P:Trio. There was nothing in Chris's documentation to discourage this. I was a bit surprised when I found that some people interpreted Chris's one example as meaning that nothing else is allowed. These are all valid interpretations of the English term part, after all. | In fact, the P: field mixes up two things in an unfortunate way: P: as | in part P: as in playing order (of these parts) Chris's original documentation made it clear that P in the header and P within the tune had different meanings. He didn't say much more. It was pretty obvious that P lines in the music should contain only one symbol that named that part, and the one P line in the header should contain only the symbols used in the music section. How such things as repeats were indicated was left unstated (possibly partly because the Morris dance crowd isn't even very consistent about this). | $ Example: P:[Einleitung][1.][1.][2.][2.][1.][Ausgang] Less messy would be to just use either of: $ Example: P:Einleitung,1,1,2,2,1,Ausgang $ Example: P:Einleitung 1 1 2 2 1 Ausgang These are both unambiguous and more readable. And, given the large amount of ABC that is hand-typed (by people who can't even bother to include an X line ;-), this is probably what you'll see no matter what a future standard may say. Remember that ABC is used as a sort of musical shorthand in person-to-person communication; it isn't just a computer notation. There are people who read and write ABC directly and don't use any ABC software. We might also note that Chris's original descriptions dealt only with abc2mtex, which is a music formatter. Like abc2ps, it doesn't need to understand P lines; it only needs to recognize them and copy the text to the right place on the output page. For such programs, there's little need to standardize what text can be on a P line. It's just text, with no actual meaning. However, we also now have ABC players, and they do need to understand P lines. So we should probably be concerned with making the syntax as simple and parsable as we can, if we want it to actually be implemented consistently. To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
Re: [abcusers] Susato's Danseryes
Laura Conrad asks: | Phil == Phil Taylor [EMAIL PROTECTED] writes: | | I usually use #A or bA to show editorial accidentals. | | Phil Yes. Perhaps ^# would be better. | | Are there any abc2ps variants that have implemented this feature? Well, abc2ps has accepted #A and bA from the start. The stuff inside double quotes is just text, and is placed above the note. Such programs don't need to understand the text, and abc2ps has never parsed chord symbols. Making ^#A work is trivial with abc2ps. You find the code that parses such quoted chord symbols, and have it ignore an initial circumflex. This is one line of C. I've done this in my abc2ps clone. Making it handle _#A correctly is a bit trickier, since you have to figure out how to position the # text string below the note. The real problem with this notation is that abc2ps only allows one such quoted string before a note. So you can't have both a chord and an accidental, like F#7^#A. But multiple such text attachments to a note would be useful, and I've been thinking more and more of figuring out how to implement it. For example: F#7^fp^#4A_d.C.. (How's that for unreadable? ;-) To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
Re: [abcusers] Susato's Danseryes
John == John Chambers [EMAIL PROTECTED] writes: John Making ^#A work is trivial with abc2ps. You find the code that John parses such quoted chord symbols, and have it ignore an initial John circumflex. This is one line of C. I've done this in my abc2ps clone. John Making it handle _#A correctly is a bit trickier, since you have to John figure out how to position the # text string below the note. I'd actually settle for the _# being printed above the note, but without the _. Which should be equally trivial; I didn't ask if it was hard; I asked if anyone had done it. -- Laura (mailto:[EMAIL PROTECTED] , http://www.laymusic.org/ ) (617) 661-8097 fax: (801) 365-6574 233 Broadway, Cambridge, MA 02139 To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
Re: P:field [Re: [abcusers] Susato's Danseryes]
John Chambers wrote: Hello, Simon Wascher schrieb: (...) | $ Example: P:[Einleitung][1.][1.][2.][2.][1.][Ausgang] John Chambers wrote: Less messy would be to just use either of: $ Example: P:Einleitung,1,1,2,2,1,Ausgang $ Example: P:Einleitung 1 1 2 2 1 Ausgang These are both unambiguous and more readable. (The dot after the number was intended to be printed: 1. in the P:field in the body) My intention was a standard that allows empty spaces, commas and other common characters within an active P:field, I thought that squared brackets as separators are the most un-used but commonly known and available characters, which also have the advantage to have a direction, so there is a clear i n b e t w e e n (and in opposit to they are not html). Examples: P:second part (why not?) P:Einleitung, auch als Coda regards Simon To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
Re: [abcusers] Susato's Danseryes
Laura writes: | John == John Chambers [EMAIL PROTECTED] writes: | John Making ^#A work is trivial with abc2ps. You find the code that | John parses such quoted chord symbols, and have it ignore an initial | John circumflex. This is one line of C. I've done this in my abc2ps clone. | John Making it handle _#A correctly is a bit trickier, since you have to | John figure out how to position the # text string below the note. | | I'd actually settle for the _# being printed above the note, but | without the _. Which should be equally trivial; I didn't ask if it | was hard; I asked if anyone had done it. Yeah; that was what my first pass did. This was just to verify that the parse was correct (and an above/below flag was set properly). Then I worked on figuring out how to get _foo text positioned below the staff. This still isn't perfect, because I don't quite grok how the program positions things. There ain't much documentation ... One thing I would wonder is whether ^# or ^^ would be better. For flats, it's more interesting, since ^b and _b put the letter 'b' on the page, and it'd be nicer to get a real flat symbol. You'd do that presumably with ^_ and __. Then there's the problem of explaining this to a novice in simple words. In any case, to abc2ps or any other formatter, the fact that we're putting accidentals above or below the note isn't very interesting. It's just a chunk of text, with maybe some text being replaced with a funny character, an icon of some sort. So ^# is really not materially different from ^ff or ^legato. But it might be nice to recognize special strings like _da segno and replace segno with the usual symbol. And I'm still tempted to implement parens around accidentals. Anyone want to be the first on their block to do this? To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
Re: [abcusers] Susato's Danseryes
Jack Campin wrote: Simon Wascher wrote: I would find it much better to write the music voice after voice. It is not really possible to read the four voices in parallel in the abc text anyway Not unless the source is laid out helpfully, but for this sort of music it can be quite easily. Its a pitty that not all the music is that helpfully :o) (...) V:1 E/ F/ G G G |G3 F |E C C D |B,2 G,2 |E/ F/ G G G |G3 F |E C C D |G,2 G,2:| how are you doing with beamed music ? Most the traditional music I am dealing with is made up from 1/8 and 1/16 notes. The beams contain a lot of the rhythmical information. (...) and it is complicate to extract parts for playing. This is a pretty trivial editing task, BarFly has most of this functionality built in already, and it can't take more than a few lines of some scripting/patternmatching language to achieve it. I am a user :-) regards Simon Wascher To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
Re: [abcusers] Susato's Danseryes
On 03,Sep/01 8:30 pm, you wrote: Just like to tell everybody at abcusers that I've just posted a complete ABC edition of Tielman Susato's Danserye at http://www.musicaviva.com/abc/tunes/susato-tielman/susato-1551.abc This file has cr terminated lines I have fixed it using the KDE binary editor so that abc2midi et.al. can read it on linux. Quite a lot of errors flagged - but very likely still useful. - sound OK to me anyway :-) -- RJP - [EMAIL PROTECTED] http://www.sedric.demon.co.uk. susato-1551-lf.abc.gz
Re: [abcusers] Susato's Danseryes
RJP writes: | On 03,Sep/01 8:30 pm, you wrote: | Just like to tell everybody at abcusers that I've just posted a complete | ABC edition of Tielman Susato's Danserye at | http://www.musicaviva.com/abc/tunes/susato-tielman/susato-1551.abc | | This file has cr terminated lines I have fixed it using the KDE binary | editor so that abc2midi et.al. can read it on linux. Hmmm ... abc2midi has that problem, too? Maybe I'll patch my copy and send in the changes. I did this several years back with abc2ps. It was about a 2-line change. Michael Methfessel incorporated the change, and abc2ps has since accepted Mac files with no problems. At least in C, it's sorta trivial to do this sort of thing. Most linux software these days is rather nonchalant about line terminators. We oughta get abc2midi in line with the rest. It's amazing how long such mistakes can continue to haunt us ... To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
