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.