[EMAIL PROTECTED] wrote:
>
...
> accidental F naturals if it used your K:G^f_b_e key signature.
>
> X:1
> T:Presbyterian Hornpipe
> M:3/2
> L:1/8
> K:Gm
> G2B2B2G2cBAG|^F2A2A2F2A3F|G2B2ABcA Bc d2|D2G2G2B2A2G2:|
> g2b2b2g2b2ag|f2a2a2f2a2gf|e2f2g2f2g2a2|f6e2d2c2|
> B2d2f2B2d2f2|A2c2f2A2c2f2|G
On Thu, Aug 24, 2000 at 11:34:41AM +0200, Frank Nordberg wrote:
>
> I dont want to sidetrack this discussion, but how on earth do you play a
> hornpipe in 3/2 time???
> I know about hornpipes in 4/4 and 2/2 and 12/8, but this one is new for me.
>
3/2 hornpipes or "double" hornpipes were
Thanks a lot Chris :)
Does any BarFly users happen to have a suitable stress program (might be
difficult with the alternating 6/4-3/2 bars...)
Frank
Chris Walshaw wrote:
>
> On Thu, Aug 24, 2000 at 11:34:41AM +0200, Frank Nordberg wrote:
> >
> > I dont want to sidetrack this discussion, but
Frank Nordberg wrote:
>Does any BarFly users happen to have a suitable stress program (might be
>difficult with the alternating 6/4-3/2 bars...)
>
BarFly's stress programming assumes that all bars are the same, so it
can't be done without changing the barring of the tune. You can divide
each ba
Bryan Creer rambles on with:
| Of course nobody says "This is in F sharp, C sharp" rather than saying it's
| in D.
Actually, I have heard people say things like "Let's play it in two
sharps" occasionally, but I'd agree that this isn't common phrasing
in any crowd that I hang out with.
>| ... there is a very strong pub music scene around here
>| (East Sussex, England) and I could and, sometimes do, go to several
>sessions
>| a week. Nobody EVER mentions modes. They just aren't part of our
>thinking
>| and I'm talking about some very good musicians.
>
>I'd wonder about th
Phil Taylor wrote:
>
> Frank Nordberg wrote:
>
> >Does any BarFly users happen to have a suitable stress program (might be
> >difficult with the alternating 6/4-3/2 bars...)
> >
>
> BarFly's stress programming assumes that all bars are the same, so it
> can't be done without changing the barr
Phil Taylor writes:
| >I'd wonder about this claim. My guess is that you're one of those
| >people who don't consider "major" and "minor" to be modes. But they
| >are, of course. I hear these two mode names fairly often. Of course,
| >people often say "major" for "mixolydian" and "mi
Phil "Phermat" Taylor wrote:
[snip]
>| I was, of course talking a load of twaddle
about Scan Tester's No 2 to
>make a
>| point, although I still think there is more to it than simple
G major.
>
>Probably the most interesting point is that, if you were to
try to
>write a routine that disc
> My guess is that you're one of those
> people who don't consider "major" and "minor" to be modes.
Well, I'm equivocal. I thought part of the criticism of classically trained
players was that they lumped modes into the major/minor system and hence
missed the character that the mode gave t
Chris Walshaw wrote:
>
> On Thu, Aug 24, 2000 at 11:34:41AM +0200, Frank Nordberg wrote:
> >
> > I dont want to sidetrack this discussion, but how on earth do you play a
> > hornpipe in 3/2 time???
> > I know about hornpipes in 4/4 and 2/2 and 12/8, but this one is new for me.
> >
> 3/2 h
David Barnert wrote:
>I think having abc represent
>information that is not in "the tadpoles" (except for header info
>related to the tune's provenance) is asking for trouble.
Since abc is a system for representing musical information in
human-readable ascii, there is no particular reason for i
Bryan Creer comments further:
| > My guess is that you're one of those
| > people who don't consider "major" and "minor" to be modes.
|
| Well, I'm equivocal. I thought part of the criticism of classically trained
| players was that they lumped modes into the major/minor system and he
This is how the algorithm I'm testing at the moment works.
First I collected together a file of about 350 tunes, taken
mostly from Henrik Norbeck's site and from Jack Campin's
mode tutorial (because those people are careful with their
transcriptions and their key assignments are generally
correct
[ oh well, I'm still here after all; also and more surprisingly,
it looks like I'm back on Scots-L. Thanks, Toby. ]
> The fact that [mode notation] conveys info not in the tadpoles is
> true but unimportant. This is more a defect in standard staff notation.
But one that's very often fixed by
On Thu, 24 Aug 2000, Bruce Olson wrote:
> RE: In a history of the English stage I saw that a stage piece "Jack on
> the Green" was attributed to a Mr. Birkhead. No music was given, or copy
> of the tune referenced, but many copies of a tune of this title are
> known (Jack on/in/of the Green). Can
On Thu, 24 Aug 2000 [EMAIL PROTECTED] wrote:
> Double Hornpipes are, indeed, cracking tunes. They seem to be picking up in
> popularity in sessions. As well as the 121212 and 123123 rhythms, there also
> seems to be a 123412 rhythm with matching harmony. There don't seem to be
> many record
The list was set to send any messages with words like "subscribe"
and "unsubcribe" directly to me. I turned that option off. Here's a
message that the list forwarded to me.
Toby
-- Forwarded message --
Date: Thu, 24 Aug 2000 16:50:06 -0700
Subject: BOUNCE abcusers@:
I wrote:
>I think having abc represent information that is not in "the
>tadpoles" ... is asking for trouble.
and Robert Bley-Vroman wrote:
>Since abc is a system for representing musical information in
>human-readable ascii, there is no particular reason for it to
>restrict itself to the s
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