in an academic journal means I want to have a
lifelong
feud with you.
And then there's email, where the sender thinks of it as a
conversation,
and the receiver thinks of it as a publication...
Cheers,
John Walsh
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http
a space between them: ( .
(Of course, there remains the question of whether that slur
applies to one voice, or to all. Hey---that's someone else's
problem.)
Cheers,
John Walsh
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, i.e. it has all the
information it needs. (In mathematical terms, the mapping abc --- parsed abc is
invertible.)
Cheers,
John Walsh
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, printing the title and incipit on the same
line, that's between you and abcm2ps.
Cheers,
John Walsh
---snip here
File index.fmt:
\X\:X5
\T\:T55
\M\:M5
\K\:K6
|30
Note: Carriage returns are important. The \X should be on the first line of
the file
-791751c82382
Message-Id: [EMAIL PROTECTED]
Content-Length: 1281
This was a slow but otherwise typical day. No idea if the spam is
really from the list or if the headers are bogus.
Cheers,
John Walsh
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I recently read about the ability to index tunes in one or
more abc files using ABCMUS. Unfortunately, I have been
unable to do so. Would some kind individual reply (maybe by
private e-mail) with some simple directions about how to
index the tunes contained in a single abc file. If I can
get
should work on Macs--the indexing part
of the program should run, even if TeX is not installed. You can use
this to index anything from one file to your whole abc collection.
Cheers,
John Walsh
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, (And not only to
John Cage: the last is by far the most common Irish tune) so
T:none is ambiguous. T: would seem to be a reasonable way to
indicate that a tune doesn't have a title, or that at least that one
doesn't want to print a title above it.
Cheers,
John Walsh
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The double-spaced ones are a nightmare. Have you figured out what
sequence of events creates them?
It can happen when a file passes thru both a DOS and Unix
editor.
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JW
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that a backslash
beginning a line passes the whole line verbatim directly on to tex. So
the first line after the K: field just defines two musixtex macros.
Cheers,
John Walsh
X:1
T:Test
M:9/8
K:G
\def\userTu#1{\tinynotesize}\def\userTl#1{\userTu#1}
d|cAG GDG G2 d|cAG GDG F2d|TcAG GDG G2G|TFAd fed
will look at the wrong *.mx* files, and
it'll give you really weird error messages.
Cheers,
John Walsh
I have a collection of ABC tunes that I play frequently and would like
to make a printed format of these in a nice book like format. I am
familure with LaTeX so I thought that abc2mtex might be the way
continuations which would work on a whole group, or within a group. A
few ideas were suggested. Barry Say made a fairly far-reaching proposal
for doing this, but I don't think the discussion continued much beyond
that point.
Cheers,
John Walsh
Steve Bennett writes:
Hi!
I'm in the process of writing
or
not it works on a given implementation is another question, of course. So
is the case in which you'd want it to tie one ending, not the other; in
that case, I'd just include both measures in the repeat.)
Cheers,
John Walsh
With abcm2ps, how do I do ties over alternate endings? If I
have
decide to dig deeper into musixtex?
The MusiXTeX user manual is a pretty good start. It mentions a
list, about which I know nothing :-( Tex, of course, has an active
community, and email lists which offer plenty of help.
Cheers,
John Walsh
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it! But...you could also ask: why don't the
Pommies still use the English system? (By the way, there's an amusing
history behind the fact that Canada uses the metric system, and America
uses the English system.)
Cheers,
John Walsh
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the octave below. This lays the
keyboard out like an organ. And, while you're at it, why not make it sound
the note as you type it? Then you can type by ear.
Cheers,
John Walsh
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-
standard at http://www.nspipes.co.uk/barry/abc2propos2.html
I couldn't find that---got the earlier version, but not
the second.
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John Walsh
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Stephen Kellett writes:
John Walsh writes:
(My own impression is that using white space as a delimiter
probably works better for machines than humans---and I think
I helped prove that
I think you got that the wrong way around? I can give well known (in
computing circles) examples
Stephen Kellett writes:
I think there is a problem with the approach outline below by John
Walsh.
In many places you are taking an already existing tag (for want of a
better word), such as X: or T: or t:, whatever and adding overrides with
no prefix to indicate it is an override. For example
take over
the world?
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John Walsh
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post, it
helps that the developers are musicians...
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John Walsh
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that the backslash worked
for both the words and the music at the same time, and have no trouble.
So it ought to be workable for machines too.
Of course the existing standard, which was written when
abc only had one-staff capability, doesn't address this.
It needs some thought.
Cheers,
John
. The rule count comments as white space would do the job, I think,
and then the comments would always work.
Cheers,
John Walsh
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So there are two examples of people who use abc2mtex for
typesetting.
But why not use Lilypond, which can do anything that
abc2mtex could do and more?
Because I'm using abc2mtex and have no intention of changing. I
have a book in print which occasionally goes...but why am I
something received
from JC's tunefinder, and not having any idea why all these pagebreaks are
appearing?
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John Walsh
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for
typesetting. I'm sure there are more. And of course, once one's spent
the time to learn how to use a program, one tends to keep on using it,
so that abc2mtex will probably continue to be used. There is even a
*possible* project to bring it at least partially up to date.
Cheers,
John Walsh
will be ignored in the first example, and it isn't the
final non-space character on the line in the second. You probably want to
treat comments as white space.
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John Walsh
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in a percussion clef. The problem, of course, is that it requires someone
who *really* knows about percussion to do this. Any candidates? (Vicious
circle: Drummers don't use abc because abc doesn't cater to drummers
because drummers don't use...)
Cheers,
John Walsh
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don't know if other programs handle
them at all. Should they?
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John Walsh
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from there. Whatever,
~A3 is *not* played A3 (except as a variation, of course :-).
Cheers,
John Walsh
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staff. I
think it was dropped in the final version of abc2mtex.
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John Walsh
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-readability and use the in any complicated
way, it might be worthwhile discussing alternatives.
Cheers,
John Walsh
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acute with time.
(Or Jum Vint will update abc2win. But that is really too much to ask. I
am reminded of a sig I saw somewhere: Programming is like sex: make one
mistake and you end up supporting it for life.)
Cheers,
John Walsh
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It was the original syntax, wasn't it ? It worked before the inline
field [M:...] syntax was introduced, so there may be a lot of older
tunes out there that have it.
There *may* be, but are there?
I haven't seen any...
Yes, there are.
Cheers,
John Walsh
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the PLAY command.
Cheers,
John Walsh
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portable). I've found it
useful, and I'm sure others will too.
Cheers,
John Walsh
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people might think that doesn't cover all the interesting
cases...
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John Walsh
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when it became clear that people
intend !...! to only allow things on a restricted list. I can't use
It clearly has to be expanded to take arguments.
Cheers,
John Walsh
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Am still catching up with last weeks postings...
John Chambers writes:
Which does remind me of a suggestion I've long thought of making: Any
Baroque musician is familiar with the convention that a '+' above a
note means Ornament this note somehow. It's a generic, unspecific
ornament
---it became
unneccessary. (Except to those, if any, who continued to use
abc2mtex/musicTeX---abc2mtex can put out code for either.)
Cheers,
John Walsh
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for their solo
piping.
Cheers,
John Walsh
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to the
issue themselves.
Cheers,
John Walsh
Bernard Hill writes:
But * is already part of the standard as a right-justified linebreak and
I've seen plenty of tunes that use it.
Is *that* what it means!
But what is a right-justified linebreak? Or more to the point, what's a
NON-right
as a delimiter, and delimiters are tall and skinny, while * is
short and fat.
Cheers,
John Walsh
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DEF|...
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John Walsh
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mentioned
in the 1.6.1 docs. I know I used it on some session tune files I put on
the web in '94. (Of course, it won't be in that many tunes since it had
to be entered by hand, as opposed to having the program automatically add
it.)
Cheers,
John Walsh
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to my own copy. If, of course, there is a good
way to get abc2ps to put them where they should go.
Cheers,
John Walsh
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transcriptions of
someone's playing.)
Cheers,
John Walsh
X:1
T:McLeod's Reel
R:reel
B:Bowing Styles in Irish Fiddle Playing vol. 1, by David Lyth
Z:from transcription of Michael Coleman
M:C|
L:1/8
K:G
(uF|G2) BG DGBG|G(B{d}BA Bc)BA |(vG2B)(G DG)B(uG|AF)F/F/(F A)(cBA)|
(vG2 BG d)(GBG)|G(B{d}BA) (Bcd)g
should line up. This means that the bar lines *don't* line
up in general, except for the double bars.
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John Walsh
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to like their composers dead.)
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John Walsh
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it says.
Excellent! It'll take me a day or so to get within
range of a scanner, but I'll try the first couple of pages.
Cheers,
John Walsh
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Here's a Chinese piece* for the Erhu ...
which uses some ABC constructs I've not seen before.
BarFly guesses that P means an inverted mordent, but offers no
suggestions about what J is. Clue us in?
Oops. That was from the private tune-cellar. Hadn't expected to
send it out, so I
the Chinese
introduction, I probably wouldn't have to ask but...does anybody here know
anything about this notation? Is it particular to the flute, or is it a
general music notation?
Cheers,
John Walsh
* A story goes with it, and I'll pass it on, exactly as it was told to
me
...)
Finally---call it spin-off or collateral damage as you
please---solving the note-head problem in this setting may end up solving
it in general. (And you can call me Pollyanna for thinking it will all be
that simple...)
Cheers,
John Walsh
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wget -A gif -r http://memory.loc.gov/afc/afcreed/
(linux) gets the gifs quite a lot of other stuff too
wget is in cygwin (PC) too.
Cheers,
John Walsh
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the key to K:Gmix. That gives three nice
tunes for the price of one (G, GMix, and ADor) all sounding different,
and all sounding traditional.)
Cheers,
John Walsh
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a
leg doesn't make it one. (At which point the humanities
types all get indignant. ;-)
Unless they're historians, in which case they say,
Yep, that's a good ole Abe Lincoln story.
Cheers,
John Walsh
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the line-breaking decisions to the program. (I have
absolutely no idea how easy/difficult this is.)
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John Walsh
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.
Or...it could even be a formal part of abc...
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John Walsh
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set up. The ratio, by the way, is 7:5, not 2:1 or 3:1. Probably a
little too straight for most people, but I kinda like it.) The ratios are
quickly changed, so it's easy to experiment with overdotted rhythms to
see what they sound like.
Cheers,
John Walsh
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start.
Cheers,
John Walsh
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), is a worthy rule of thumb for overall
design, but an unreliable guide for individual decisions.
Cheers,
John Walsh
* Misquoted, I'm sure---sorry, I've forgotten the exact wording.
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is the invisible rest embedded in abc? I had
the impression it was introduced to get around the limitations of the
guitar chord mechanism. If ever one could rationalize that...
Cheers,
John Walsh
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X:2
bla bla
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John Walsh
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; Chris'
hack is simply to put the tab stops in the abc, and then pass them
directly on to musixtex. Hmm...I wonder: is it too late to simply use y as
a tab stop?
Cheers,
John Walsh
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a second space to end the beam, but this
works better for parsers than human readers---the difference between
one and two spaces is notoriously hard to spot. (Which pair of words
is double-spaced above?)
Cheers,
John Walsh
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are
in 2/4, the last two bars of the polka are in 9/8, etc. I'd like
to use the R: field there to get the rhythm change to sound right
on playback.
Cheers,
John Walsh
P.S. For those of you who don't have Abcmus and wonder what we're talking
about, (hope you don't mind, Henrik) here's Tommy Reck's
that already has them. In addition it has a cute
feature which is fun to play with: it allows you to adjust a strangeness
factor--the higher the strangeness factor, the stranger the chords it
sets. And they can be pretty strange, indeed...
Cheers,
John Walsh
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, it's ugly. Of course, you can leave the Q: line in, search for
\metron in the music.tex file that abc2mtex generates, and just replace
replace \qu or \cu with \qup. This'll give you the output you
expect.)
Cheers,
John Walsh
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, and might have its own advantages.
Of course, if it's a one-off project, he can use any field he
chooses. The I: field would be fine.
Cheers,
John Walsh
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. Quite
moving. Strangely enough, the march wasn't the Battle of Aughrim, but the
Return from Fingal, which commemorates an earlier Irish battle, a victory
rather than a defeat (it is said it was played by the troops of Brian Boru
returning from the Battle of Clontarf.)
Cheers,
John Walsh
(some
There is an exception---of course---for
a couple of pages later he writes that it is permissible to put a
courtesy accidental on the note after a page-turn, ie if it
has been tied over from the previous page
Hmmm
Cheers,
John Walsh
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Jack Campin writes:
Gilderoy gets around there's probably no other tune in the British
Isles with so many descendants Gilderoy *means* red haired boy
Unless, of course, it dates all the way back to Gilles de Rais, in
which case it means Bluebeard
Cheers,
John Walsh
To subscribe
the tie/slur distinction the
way it's meant to be, but it points out the need for clear
documentation--it's easy to imagine someone using a tie for a slur and
then having no clue as to why some strange accidentals showed up later on
in the measure.
Cheers,
John Walsh
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every staff. When a begin repeat coincides with a barline, and is not
at the start of a tune, they write: heavy double barline, key signature, and
colon in that order. So that every staff after the first starts with a bar
line; then comes the key sig, and after that, the music.)
Cheers,
John Walsh
collection. [ ... ] Of course, this is one of many books that
uses several repeat conventions. Not surprising in a large collection.
And perhaps a sign that it was a cut-and-paste job...?
Cheers,
John Walsh
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to
insist on using it anyway, the warnings become annoying, and he or she'll be
better-disposed toward the program if it's possible to turn off the source
of annoyance.)
Cheers,
John Walsh
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,
John Walsh
--THE TUNES
Jigs:
Christmas Day in the Morning: I first learned this jig from Paddy
Haverty, of Killimor, Co. Galway, who called it Munster Buttermilk. Since I
already played another jig of the name, I just called
Laurie's suggestion seems to take care of most of the tempoish
things you'd want to ask a printing or playback program to do, except...how
do you ask it *not* to print the tempo?
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John Walsh
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to
determine the tempo (and, more, a stress program) which can be modified by
the user as desired. It's a great feature. I think of the translation of
allegro into beats per minute as an extension of this.
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John Walsh
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the need to write 's in the abc.
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John Walsh
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, uncomment the two lines with percents in front.)
Cheers,
John Walsh
---EXAMPLES-
Run abc2mtex -x on the following, and run it thru
TeX to see how these look. Those definitions above the second
example may be wrapped by the emailer; they should each
know
that you can always blame the transfer agents for not picking it up.
Cheers,
John Walsh
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places where the chanter is closed, but the note is not quite
staccato. It's a delicate distinction which only comes up when you're
trying to capture the fine points of a particular performance, but I've
found it useful.
Cheers,
John Walsh
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looking at you!.
Popular Italian joke.
...said the blind carpenter as he picked up his hammer and saw.
Popular American joke.
Cheers,
John Walsh
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that
there will be an entry in the U: field:
U: S = segno
and the printed result is the same, but this time the substitution is
done in the bowels of Barfly.
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John Walsh
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:
macros in *TeX*, not in abc.)
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John Walsh
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Cheers,
John Walsh
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, it sounds very much in-your-face and
definitely off. Guitars are much better, since their attack isn't quite
so brash. (Of course, the pianist mistakenly thinks that the pipes are
off...:-)
Cheers,
John Walsh
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tructional video, but it would be better than
the written word alone, and would be compact, easily available, and
useful for a learner isolated from good instruction, as is (too) often the
case. Now that I think of it, if I ever get my hands on a Bulgarian
gaida, I'll be looking for something li
Jack Campin writes:
The R: field is long due for deprecation. There is no standard
list of what rhythms it covers and what to do with them, and nobody
seems interested in making it extensible in any way that would allow
different users to agree on what their extensions mean. Why not
just let
suites, quite apart from
abc2mtex.
The main file is multiv2.txt, which contains both the text and the
examples. The examples themselves are also in separate files. My thanks
to Laura Conrad for putting it on Source Forge.
Cheers,
John Walsh
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Phil Taylor wrote:
John Walsh wrote:
[...]
M:3/8 L:1/8
F3|FFF|F3|FFF|F3|FFF|F3|FFF|F3|FFF|F3|FFF:|
Surely the third voice is half as long again as the other two?
If it were written like this it would be OK:
[...]
V:3
M:3/8
L:1/8
F3|FFF|F3|FFF|F3|FFF|F3|FFF:|
No--there was a mistake
, and I want "~E2" to come out with the roll sign
over the E2, not the twiddle. Else it breaks a couple of MB's of my
abc's, and rather than replace the twiddles by R's in all my files, I'd
rather simply use a program which can be configured to interpret the roll
correctly.
Cheers,
Jo
be used in headers, and not in the tune
body, and use that convention for these additional commands.
Cheers,
John Walsh
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slurs. (I seem to
remember starting some slurs that ended ten tunes later...:-)
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John Walsh
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to be ca 1996.
By the way, the tilde (~) is used by TeX in about the same way as
by abc2ps---i.e. as a non-printing space---tho it also has some other
functions, such as preventing unwanted line-breaks in certain
situations.
Cheers,
John Walsh
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hould *be able* to
describe the number of sharps or flats without naming a tonic and/or mode"
you might not be in the minority. At least you wouldn't be alone, for I'd
agree. But I think it should also be able to describe the tonic and/or
mode, along with a quite few other possibilities.
Cheers,
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