Carl Sorensen wrote: > Hans Aberg wrote: >> There is really a mixture of ideas. The relative notation should be >> there in order to simplify input. There, I tend to think about the >> melody line in a local region, rather than just related to the note >> before. In tonal music, this note may often be the tonic then, but if >> the melody crosses below it, one may need to shift region without >> indices, simply because it is tiresome to writ them. So that is the >> thinking about relative pitches. >> >> The other is just to use a numbering 0-9 to label the octaves (with 4 >> being the middle one), used for indicating absolute pitches. This is >> just a more modern system of the older that LilyPond. It is not new, >> though: I have a book from 1975 using it, Robert Dick, "The other >> flute". But thinking on it over some time, I start to think it is >> quite convenient: just one symbol to indicate the octave. Then, if >> such numbering should be used, it should not conflict with writing >> chords and the like, therefore the prefix notation. I have extracted >> this latter idea from some ideas I have on notating more general >> scales and chords, where such notational conflicts also must be avoided. > > It would be a very simple task for a programmer to write a preprocessor > that would take notation in the syntax you describe and convert it to > Lilypond in absolute notation.
I am no programmer, but I wrote a short script to convert lilypond to midge, only for the entering note stage, which is when you want to hear it in a real hurry. Midge uses /4 for octaves, but no matter how you do it, c' c c, spans three octaves. You have to have a lot of octaves to justify having to add all those numbers, and you can transpose if the clef doesn't suit. Here are the sed commands: [EMAIL PROTECTED] Feb 26](20:41:20)~/data/wb/seddev/midge$ cat lymid.sed # a non-executable sed command script # to convert simple lilypond notes to # midge notes, for super quick hearing. # notes are assumed to be the only things in # the file. # chords are (midge). Length is 1st note in it. # put spaces at begin and end of lines s/^ */ /g s/ *$/ /g # convert chords # do not allow space before 1st note or after last in chord. s/< */</g s/ *>/>/g #wd1 spc #wds2 ## s/<\([^ ]\+\) \+\([^>]\+\)>\([^ ]\+\)/< \1\3 \2 >/g s/</(/g s/>/)/g # flat or sharp s:\([a-g]\)s:\1+:g s:\([a-g]\)[fb]:\1-:g # l length = time value eg: /l4/ s:\([^0-9 ]\+\)\([0-9]\+\):/l\2/\1:g # octave is already at end of word s:':/5:g s:,:/3:g s/\([^35)(]\) /\1\/4 /g ------------ You can see it's pretty trivial ;-) daveA -- Free download of technical exercises worth a lifetime of practice: "Dynamic Guitar Technique": http://www.openguitar.com/instruction.html You can play the cards you're dealt, or improve your hand with DGT. To email go to: http://www.openguitar.com/contact.html _______________________________________________ lilypond-user mailing list [email protected] http://lists.gnu.org/mailman/listinfo/lilypond-user
