perm filename ATB[1,LCS] blob
sn#841444 filedate 1987-06-10 generic text, type T, neo UTF8
SCORE Advanced Topics AT-7
When entering a large score, a little planning ahead in
regard to the use of motives can often save a considerable amount
of typing. First, make a Xerox copy of the entire original
manuscript so that extensive markings may be made. Any section
of melodic or rhythmic content which is going to reappear in more
than one place need only be typed once. Using one of the
computer's general purpose editors, a set of input files will be
created which can be recalled at any point where the same melodic
or rhythmic elements occur. The handwritten manuscript of
Example 1(AT) is reproduced below with markings showing the
motivic elements which can be used. Also, a few note numbers will
be added so that it will not be necessary to count notes while
doing the actual typing for the placement of marks and slurs.
Example 3(AT)
SCORE Advanced Topics AT-8
First, an edit file containing all the motivic material will
be created. On the top line (Flute) of Example 3(AT), motives A
and B have been indicated. These will be used for both the Flute
part and the Piano part. Motives C and D will be used by the
Bassoon and the Viola. Just the rhythmic element of the Trumpet
line will be designated as motive E. This will also be used by
the Horn. Motives F and G will be used by the Contrabass and the
Violoncello. The particular spacing of the entered motives is
unimportant at this stage since other input lines will determine
the final spacing of all parts. The edit file will put the
motivic material into the SCORE program and then immediately
delete the items from memory. Even though the actual notes and
rests are deleted, the motive information is retained just so
long as no subsequent "G" or "RS" is typed. These two commands
usually reset internal pointers such that all motivic information
is wiped out.
1. IN 4 (from the Flute line)
2. 0
3. A(AF5/GF/FF/EF/DF/CF/DN6/EN/CN/ CS5/BN4/A/ FS6/);
4. B(TX12/Q/);
5. G;
6. IN 3 (the Bassoon line)
7. 0
8. C(CN3/R/D/ R/EF/R/ D/R// CS4/CN/ RW);
9. D(QX9/ 2/Q/ 2.);
10. G;
11. IN 2 (the Trumpet line)
12. 0
13. RX12; (just rests here since there is no melodic motive)
14. E(QX6/ E//Q//2./);
15. G;
16. IN 1 (the Contrabass line)
17. 0
18. F(RW/ G2/GS// A/R// RW/);
19. G(2./ Q./E/Q/ Q/// 2./);
20. G;
21. DEL (this deletes items -- 22=all staves -- from
22. 22 the screen but leaves motives intact)
The above should be saved in an edit file with the name
"MOT". Now the complete five bars of score will be entered. This
example will first assume you must start up the SCORE program.
(The line numbers are for reference only.)
SCORE Advanced Topics AT-9
SCORE (these first 3 lines CANNOT be in an Edit file)
G STFA.SYM (get the setup for the top 1/2 of the score)
READ MOT (all needed motivic material is read in)
1. IN 1 (Trumpet)
2. 21 (start 1 space unit to right of setup's bar line)
3. TR/F4/R/F/M2/ R/EN/R/M2/ EN/R///M2/ RW/M2/RW/M2;
4. @E;
5. CR 1/TS 1:3/F 4; (TS = tenuto-staccato combination)
6. G;
7. SP 1 (line up everything with staff 1)
8. IN 2 (Horn)
9. TR/AA3/R/A/ R/BB/R/ BB/R/// RW/;
10. @E; (same rhythm as Trumpet)
11. CR 1/F 4/TS 1:3;
12. G;
13. IN 3 (Bassoon)
14. BA/RI/M4/ REP1 5; (this gets the bar lines right -
15. 2.X5; - see explanation below)
16. G;
17. IN 3 (now for the real Bassoon part)
18. -BA/@C;
19. @D;
20. TS 1:4/F 4/P 5;
21. ;
22. 5 6;
23. IN 4 (Clarinet)
24. TR/RW/ R/CS5/EN/ FS4//R/ CN6/BB5/A//G/F//E/D/
25. R//G4/FS/EE;
26. 2./ Q/Q./E/ 2/E// TX9/ Q//T//;
27. -A 1/W 2/A 3/FP 3/S 7 10 13 16;
28. 2B;
29. 3 4/5 6/8 9/11 12/14 15;
30. IN 5 (Oboe)
31. TR/R//CS5/EE/G4/CS5/EN/ FS4/EE/DN/ RW/
32. EE5/DN/C//BB4/A/B/A/G;
33. Q/// E//Q./E/ Q./E/Q/ 2./ TX9;
34. -A 1 4/S 3 11 14 17/W 5/FP 6;
35. 2B;
36. 1 2/9 10/12 13/15 16;
37. IN 6 (Flute)
38. TR/@A/BF6/A/G//F/EN//D/CS/RW/; (first 2 bars use A and B)
39. @B/ TX9/ 2./;
40. CR 1/FP 15/S 17 20 23;
41. 2B;
42. 15 16/18 19/21 22;
43. SA SYAAA.SYM
The upper part of this system should now appear as follows.
SCORE Advanced Topics AT-9
Example 4(AT)
Some explanation is needed for the procedures of line 14 and
following. Melodic motive C was set up in the edit file without
any bar lines. This was done because this motive will also be
used for the Viola part, where no bars are required. (The bar
lines for the string section are generated from the Contrabass
part.) The Bassoon part requires bar lines which extend upward
through four staves. In line 14, RI/M4 puts in an invisible rest
followed by the proper sized bar line. REP1 5; picks up the last
significant item, plus the bar line and repeats it for a total of
five times. The rhythms given in line 15 cause these bars to be
placed at the proper intervals for the 3/4 meter. Then lines 18
and 19 put the real notes and rhythms of the Bassoon part into
place.
SCORE Advanced Topics AT-10
Next the bottom unit of the score will be entered.
RS (clear all items from program)
G STFB.SYM (get the setup for the strings and piano)
READ MOT (get all the motives back)
1. IN 1 (Contrabass)
2. 21 (start at correct position)
3. BA/ RI/M5/ REP1 5; (see explanation re. Bsn. part above)
4. 2.x5;
5. G;
6. SP 1 (space all according to staff 1)
7. IN 1
8. -BA/@F; (-BA because bass clef already present - see 300)
9. @G;
10. TS 4/FP 4;
11. ;
12. 1 2;
13. IN 2 (Cello)
14. BA/@F;
15. @G;
16. TS 4/FP 4;
17. ;
18. 1 2;
19. IN 3 (Viola)
20. AL/@C; (use motives from Bassoon)
21. @D;
22. TS 1:4/FP 4;
23. ;
24. 5 6;
25. IN 4 (Violin 2)
26. TR/R/AN4/AS/B///BF3/R//RW/CS5/B4//G5//FN;
27. Q/Q./E/Q./E/QX4/2./E../32/E./S/E/;
28. CR 1/TS 6/FP 6/A 7 11;
29. 2B;
30. 1 2/4 5/9 10/11 12;
31. IN 5 (Violin 1)
32. TR/CS5/EF/AN4/R/RW/EN/FN//C5/DS4/E/F/FS/G/BF/
33. DN5/E/F/FS/G/AF/C6;
34. Q/E//Q/2./E../32/Q./E/SX4/Q./E/Q/SX4/E/;
35. -A 1/S 3 5/H 3/FP 4/A 4 19;
36. 2B;
37. 1 2/6 +7/8 11/12 +13/15 18/19 99;
38. IN 6 (Piano)
39. TR/@A/M/BF5/R///M/RW/M/RW/M;
40. @B/ E//Q//2./; (use motives A and B, from Flute)
41. S 15/F 15/O 15:15.1;
42. 2B;
43. ;
44. SA SYAAB.SYM
SCORE Advanced Topics AT-11
Example 5(AT)
Justifying and aligning large scores.
Since SCORE will only deal with sixteen staves of music at
one time, it is impossible to use the ordinary SCORE procedures
when justifying very large scores. For this purpose a special,
separate program called JUST must be used. JUST allows you to
read in a series of files for each single score system. Once
read in, JUST acts like a greatly expanded form of the SCORE
program with the limited capability of justifying, aligning, and
adjusting the vertical spacing of staff lines. Upon completion
of the justifying process the files are written back to the disk,
usually with new names. In most cases, it is strongly advised to
use new names and/or extensions for the justified version of your
work. One reason for this is that the computer could die in the
middle of the process of writing out the justified files. In
this case it would be rather difficult to reassemble the page of
music, since the spacing for some parts of it would have been
altered while other sections would retain the original spacing.
The operation of the JUST program is as follows. The prompts
typed by the program are enclosed in brackets.