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abc:standard:v2.1:proposals:clefs_voice_parameters:dave:v4 [2012/08/26 08:57]
dave
abc:standard:v2.1:proposals:clefs_voice_parameters:dave:v4 [2012/08/26 15:29]
dave
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   * '​transpose'​ has been changed to '​instrument'​ to make it compare with Chris'​s proposal   * '​transpose'​ has been changed to '​instrument'​ to make it compare with Chris'​s proposal
   * '​shift'​ has been changed to '​abc'​ to make it less like a verb, and to try to make its purpose more intuitive (which is difficut)! ​ It represente the pitch of the abc-encoding.   * '​shift'​ has been changed to '​abc'​ to make it less like a verb, and to try to make its purpose more intuitive (which is difficut)! ​ It represente the pitch of the abc-encoding.
 +  * voice parameter macros have been introduced to simplify defining duplicate instruments on scores, and possibly as a way to bring in those with other ideas of modelling instrument transpositions.
 +  * Clefs and transpositions have been separated, by popular request, into different sections.
  
 ---- ----
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 //Include Alan's table here!// //Include Alan's table here!//
  
-**Example:​** ​  6,3  6,4+**Example:​** ​  6:3  ​and 6:4
 These define an augmented 4th (C to F#) and a diminished 5th (C to G) respectively. These define an augmented 4th (C to F#) and a diminished 5th (C to G) respectively.
  
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 Now that intervals are defined, ''​+8'',''​-8'',​ ''​instrument'',​ ''​abc''​ can be discussed. Now that intervals are defined, ''​+8'',''​-8'',​ ''​instrument'',​ ''​abc''​ can be discussed.
  
-===== 13.3.1 ​Prameters ​+8 and -8 =====+===== 13.3.1 ​Parameters ​+8 and -8 =====
  
-The keywords +8 or -8 define the voice as being for an instrument which sounds one octave higher than its written pitch music. ​ They define also that an 8 is drawn above/below the clef respectively. ​+The keywords +8 or -8 define the voice as being for an instrument which sounds one octave higher ​or lower than its written pitch music. ​ They define also that an 8 is drawn above/below the clef respectively. ​
  
 **Example: ​ (written pitch encoding)** **Example: ​ (written pitch encoding)**
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 ==== 13.3.5.4 octave and abc together ==== ==== 13.3.5.4 octave and abc together ====
  
-''​octave''​ and ''​abc''​ should not both be used in teb same V: field. ​ If they are, their effects add.+''​octave''​ and ''​abc''​ should not both be used in the same V: field. ​ If they are, their effects add.
  
 ==== 13.3.5.5 abc and transposing instruments ==== ==== 13.3.5.5 abc and transposing instruments ====
  
-It is important that ''​abc''​ distances the abc-code from the instrument'​s ''​written''​ pitch. ​ It never affects the instruments ​transposition.+It is important that ''​abc''​ distances the abc-code from the instrument'​s ''​written''​ pitch. ​ It never affects the instrument'​s ​transposition.
  
 A special case is when the ''​abc''​ interval is exactly opposite to the ''​instrument''​ interval. ​  ​Example:​ A special case is when the ''​abc''​ interval is exactly opposite to the ''​instrument''​ interval. ​  ​Example:​
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 <​code>​[K:​C] C D E F</​code>​ <​code>​[K:​C] C D E F</​code>​
  
-Thus in this case the abc encoduing ​is at concert pitch.+Thus in this case the abc encoding ​is at concert pitch.
  
 Quite generally (assuming ''​8,​-8,​octave''​ are absent) ​ Quite generally (assuming ''​8,​-8,​octave''​ are absent) ​
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-==== 13.3.5.4 Why have the keyword ​//abc//? ====+==== 13.3.5.4 Why have the keyword ​''​abc'' ​? ====
  
-It has to be said that ''​abc''​ looks pretty horrible! ​  ​However if you copy from a transposing instrument'​s written pitch abc, and paste into that of another instrument, then adjusting the instrument //and// abc parameters of the inserted section is the only way to make it print and sound in the recipient voice at the correct pitch. ​  It might be wise to avoid doing this if possible, and then ''​abc''​ will never be needed.+It has to be said that ''​abc''​ looks (a) pretty horrible ​and (b) usually unnecessary!   ​However if you copy from a transposing instrument'​s written pitch abc, and paste into that of another instrument, then adjusting the instrument //and// abc parameters of the inserted section is the only way to make it print and sound in the recipient voice at the correct pitch. ​  It might be wise to avoid doing this if possible, and then ''​abc''​ will never be needed.
  
 ====== 13.4 Showing scores at concert pitch ====== ====== 13.4 Showing scores at concert pitch ======
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 The instructions The instructions
  
-''​I:​concert_pitch [8]''​ +<​code>​ 
-''​I:​written_pitch''​ +I:​concert_pitch [8] 
-''​I:​transpose_score <​interval>​''​+I:​written_pitch 
 +I:​transpose_score <​interval>​ 
 +</​code>​
  
 may be placed in the file header or any tune header. ​ They tell software what overall score type is needed. may be placed in the file header or any tune header. ​ They tell software what overall score type is needed.
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 and an open or closed score will be produced according to the absence of presence of ''​I:​concert_pitch''​. and an open or closed score will be produced according to the absence of presence of ''​I:​concert_pitch''​.
  
-====== 13.5 Showing scores at other pitches ====== +====== 13.5 Illustrations ======
- +
-The instruction +
- +
-<​code>​I:​transpose_score <​interval></​code>​ +
- +
-instructs software to present the score in another key. +
- +
-It may be used with or without ''​I:​concert_pitch''​ with result that the score is transpormed from written pitch or from concert pitch as desired. ​ (For example transposing a concert score up a tone will produce a 'Bb score' sometimes used for brass bands, where the Bb instrument parts are shown at their written pitch.) +
- +
-//​**Author'​s note on syntax:** this capability exists in some software already. ​ Can we make the syntax consistent without causing confusion over the meaning of keywords like '​transpoose'???​ +
-// +
- +
- +
- +
-====== 13.6 Illustrations ======+
  
 This section presents some illustrations of transposing instruments This section presents some illustrations of transposing instruments
  
-===== 13.6.1 Sax quartet in concert C =====+===== 13.5.1 Sax quartet in concert C =====
  
 <​code>​ <​code>​
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 The ''​I:​score_concert''​ line and the ''​I:​clef_concert''​ lines do nothing as it stands, and the same written-pitch score will be printed. ​ But if the ''​I:​concert_pitch''​ line is uncommented (or an equivalent direction issued n a command line) the  ''​I:​score_concert''​ line and ''​I:​clef_concert''​ will kick in to print a reduced concert pitch score. The ''​I:​score_concert''​ line and the ''​I:​clef_concert''​ lines do nothing as it stands, and the same written-pitch score will be printed. ​ But if the ''​I:​concert_pitch''​ line is uncommented (or an equivalent direction issued n a command line) the  ''​I:​score_concert''​ line and ''​I:​clef_concert''​ will kick in to print a reduced concert pitch score.
  
 +//More illustrations to go here!   Need to be able to include pictures of scores!
 +//
  
-====== 13.Rhythm voice ======+====== 13.Rhythm voice ======
  
 A rhythm voice is one which contains no notes at all, but is designed to show chord names. ​ By this means a part, eg for rhythm guitar or banjo, can be put in a separate voice. ​ The voice may contain hidden rests to position the changes within the music. ​  ​Uniquely,​ a rhythm voice need not have the same transposition as voices with which it shares a staff. ​ Example: A rhythm voice is one which contains no notes at all, but is designed to show chord names. ​ By this means a part, eg for rhythm guitar or banjo, can be put in a separate voice. ​ The voice may contain hidden rests to position the changes within the music. ​  ​Uniquely,​ a rhythm voice need not have the same transposition as voices with which it shares a staff. ​ Example:
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 A rhythm voice may contain an ''​instrument''​ parameter. ​ For example ''​instrument=2''​ would indicate a capo at the 2nd fret.  The chord names would be printed as supplied, but play-back would sound a tone higher. ​ A rhythm voice may contain an ''​instrument''​ parameter. ​ For example ''​instrument=2''​ would indicate a capo at the 2nd fret.  The chord names would be printed as supplied, but play-back would sound a tone higher. ​
    
-====== 13.Voice parameter macros ======+====== 13.Voice parameter macros ======
  
 The parameters in a V: field may be represented by a macro in the header. ​ The macro excludes the voice id, but must otherwise define //all// required voice parameters, and not just some of them.  It is recommended that the macro name begin with # to make it clearly distinguishable. The parameters in a V: field may be represented by a macro in the header. ​ The macro excludes the voice id, but must otherwise define //all// required voice parameters, and not just some of them.  It is recommended that the macro name begin with # to make it clearly distinguishable.
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 For those who don't think of instrument transpositions in the standard orchestral way, and the keyword ''​instrument''​ therefore feels a bit strange, then this macro facility allows you to define #​my-instrument (and variants on it) only once, and thereafter your V: statements can use any mnemonic #​my-instrument you like for the instrument transposition. ​ For those who don't think of instrument transpositions in the standard orchestral way, and the keyword ''​instrument''​ therefore feels a bit strange, then this macro facility allows you to define #​my-instrument (and variants on it) only once, and thereafter your V: statements can use any mnemonic #​my-instrument you like for the instrument transposition. ​
  
-====== 13.Notes on the design philosophy ======+====== 13.Notes on the design philosophy ======
  
 The keywords ''​+8/​-8 instrument octave pitch''​ (and not others) are defined as they are, for very specific reasons. ​ Importantly:​ The keywords ''​+8/​-8 instrument octave pitch''​ (and not others) are defined as they are, for very specific reasons. ​ Importantly:​
abc/standard/v2.1/proposals/clefs_voice_parameters/dave/v4.txt · Last modified: 2012/08/26 15:29 by dave
 
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