perm filename MT1B[1,LCS] blob
sn#834827 filedate 1987-02-22 generic text, type T, neo UTF8
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<TYPE 15 RHYTHMS >
<TYPE -- >
5. 2/E// E/S//E./S/E// T///Q/;
<ADD MARKS >
6. F 1 13/ C- 4.5:7/ S 8/ P 9/ MF 10/ T 10:12/
<TYPE -- >
7. C 10.5:12.7/ A 13 14;
<ADD BEAMS >
8. 2B;
<ADD SLURS >
9. 2 3/4 6;
<Save input to file?>
If you have been typing data directly to the SCORE program,
at the conclusion of the input for each staff the following
message will appear:
<Save input to file?>
If this question is answered by "yes" (or just the letter
"y") you will have the opportunity of saving everything you have
typed, starting with the word IN. A "yes" response will cause
the computer to then type:
<Type output name ->
At this point you may choose any name you think best
describes the input. Only five letters may be used for this name
-- and, be very careful that the name you have chosen is
different from any others you have already used. (If you use a
name that already exists on the disk the old data will be erased
and replaced by your new data.) If you do not type any name at
all, the data will be saved in a file called INPUT.TMP. The
".TMP" will remind you that this is considered a temporary file
that you will not necessarily want to keep for a long time. In
general it is a good idea to save the data each time you use the
IN command. In this way if some error is discovered later it is
an easy matter to edit the saved file and then resubmit it with
the READ command.
If you have prepared your input with an editor program for
use with the READ command all of the above has no signifcance,
since your work is already saved in your edit file.
When the program is started it tells you that it is waiting
for its first input, input for Item #1. You will see that when
the above input procedure is finished a similar prompt appears.
-------- SCORE 1 --------
4
At this time 42 Items have been created and the program is now
ready for Item #43. An Item may be a note, a rest, a clef, a
staff, etc. The editing of the individual items will be
discussed in a later chapter.
At line 1, Example 1, the word IN is followed by a group of
parameters. The word IN is considered to be the first parameter,
P1. The first one, P2, refers to staff 1. The screen can
display 8 musical staves, numbered 1 to 8. Staff 1 will appear
at the bottom of the screen, staff 8 off the top. The second
zero, P3, means that staff 1 will begin in horizontal position 0,
the far left side of the page. The third zero, P4, means there
will be no vertical shift from the "normal" position of staff 0.
The last number, P5, is set to .9, meaning the staff size will be
90% of the default size. Since no other parameters are
mentioned, they will all use their default values. (For example,
P6, the right horizontal position of the staff, will become 200,
the far right edge of the printed page. Details concerning staff
parameters are found on page 6-1 of the MS manual.)
Line 2 will tell what portion of the staff is to be used for
the input which will follow. The zero says that the default
values will be used. This means that the full range of the line,
0 to 200, will be used. (The numbers, "0 200", could have been
typed.) These numbers are arbitrary horizontal space divisions.
At printout time, when a normal staff length of circa 7.5" is
used, each space unit equals .0375". These small units can be
further divided down to the limit of the resolution of the
printing device, (.00333" on the laser printer). A third number
could have been added to create non-rhythmic spacing. The use of
this feature will be discussed later in this chapter.
Line 3 starts the main body of the input for the line of
music. Five input "modes" are used by the SCORE program. These
modes must always come in the same order:
Mode I. Notes, rests, bars, key signatures, meter.
Mode II. Rhythms.
Mode III. Marks. (Dynamics, accents, staccato, etc.)
Mode IV. Beams.
Mode V. Slurs and ties.
After the prompt, <TYPE -- >, the input for the notes and
rests, etc. will be typed. Several lines may be used with up to
100 characters in a line. However it is usually best to keep the
lines fairly short. The first M of line 3 means we will begin
with a measure line at position zero (because of the statement in
line 2). Each particular item in an input line will be delin-
eated with a slash. When there is no more of the current type of
input to come, a semicolon is typed to indicate the end.
-------- SCORE 1 --------
5
Next in line 3 comes the clef designation, TR. TR=treble
clef, BA=bass clef, AL=alto clef, TE=tenor clef. These are the
only clefs that can be entered at this time. However any of the
other C clefs may be created with the editing methods. If no
clef is given, the notes will appear in position as if the treble
clef were being used. Sometimes you may wish the notes to be in
position as if there were a bass (or other non-treble) clef
without having that clef actually appear. In this case precede
the clef code with a minus sign, e.g. -BA. In effect this
produces an invisible clef which has no space requirement.
After the clef comes the key signature, in this case two
sharps. The key signature is always entered in the form "Knx",
where n=number of accidentals, and x=F, S, or N, for flats,
sharps, or naturals. (See the SCORE Reference Manual for more
details on key signatures.)
Next comes the time signature, or meter. The time signature
will always be made up of the letter T followed by a number, a
space, and another number. Thus "T6 8" would give the 6/8 meter.
Almost any two numbers can be used here. For the special meter
signs for common time (C) and Alla Breve use "T99 1" and "T98 1"
respectively.
The next few entries on line 3 are for the notes. The first
entry, "OB4", is special however. The letter O indicates that
the following notes will be entered in "ordinary" mode. Every
note will be considered to be in the octave range of the last
given octave number. The octave range numbers begin with C1, the
lowest C on the piano keyboard. C4 is middle C, C6 is the high C
of the trumpet, C2 is the low C of the cello. The B just below
middle C is B3, etc. After the first octave number is given, the
octave range numbers need appear only if the notes enter a new
range.
The Octave Ranges
You will notice that many octave numbers are given in the
input example because the excerpt keeps crossing from octave 4 up
to octave 5 and back again. To avoid having to type so many
octave numbers the letter P can be inserted to tell the program
to go into "proximity" mode in relation to the octave ranges of
all the following input. This means that as long as no octave
-------- SCORE 1 --------
6
number is given, each succeeding note will be at the closest
possible position to the preceding note. Thus these same lines
might appear as follows:
3. M/TR/K2S/T3 4/PB4/C/AS/M/ D/C/CN/B/BB/A/R/M/
4. F5:D///G4:A:C/FN4:A:D/MD;
If the letter P had not been typed, the C in measure one
would have appeared in the octave range 4, below B, instead of in
range 5 above. Take note of the following example. If /OC4/G/
is typed, the G will appear a fifth higher (G4) than middle C.
However if we type /PC4/G/, the G will appear a fourth lower (G3)
than the C because this G is closer to middle C than is G4.
Remember that the letters P and O are "sticky", that is the
effect of either one of them remains constant until the other one
appears. When you first run the program the letter O is
understood. However, it is a good idea to give either an O or P
at the beginning of your note input.
The third note in the example is an A sharp. Accidentals
are indicated by the letters F, S, and N for flat, sharp, and
natural. The accidentals must always precede any octave number.
For double-flat and double-sharp use FF and SS. (One small time
saver: flats may be entered by simply repeating any note letter.
Thus BB = BF, EE = EF, etc.)
In most cases the stem direction will be chosen auto-
matically by the program. All notes from below the staff up to
the second space (A4, treble clef) will have their stems up and
the notes on the middle line and above will have their stems
down. However when horizontal beams connect a group of notes
other factors will determine the stem directions. Further
examples will show how the automatic features can be overridden.
A little further down line 3 you will find M/. This
indicates the next bar or measure line. Near the end of the line
you will see R/ which is used for rests of any duration. Later
on some other forms of rests will be discussed. The line ends
with another bar line, M/. If the final slash were omitted the
last M would be ignored. Each slash tells the program that some
kind of input unit is complete.
The third measure of the example includes chordal writing.
The colon (instead of slash) is used to divide the notes of a
chord, that is, notes which all occupy the same rhythmic
position. In line 4, F5:D/ indicates one rhythmic unit. The
next two slashes indicate that this interval of the third is to
appear a total of three times. Any time a slash is typed with
nothing in front of it (or just spaces) the last significant item
will be repeated. In this case the significant item is the
complete third, F5:D. Next follow two three-note chords. When
typing chords it is EXTREMELY IMPORTANT to type the proper note
-------- SCORE 1 --------
7
first. In every case the first note given will be taken as the
source position for the stem. The stem will then go up or down
depending on whether the following notes are above or below the
first note. In the case of the first note-pair the stem will go
down, because F5 is higher than D. The last two chords will have
their stems up because in each case the first given note was the
lowest of the group.
Line 4 concludes with MD;. MD is given for a double bar
(Measure Double) and the semicolon indicates that there will be
no more input in this mode, i.e. note names, clefs, bars, etc.
The semicolon plays a double role of marking off an input unit
(the same as a slash) as well as showing that a given mode of
input has been concluded. The graphics display should now appear
as follows. All notes appear as quarter-notes, evenly spaced.
Example 1a.
Line 5. contains data for input Mode II, rhythmic input.
5. 2/E// E/S//E./S/E// T///Q/;
A prompt will appear telling how many rhythms are to be given to
match up with the notes and rests entered. A rhythmic value must
be given for each of the notes (or chords) or rests typed in
Mode I. If desired, all input can be in terms of rhythmic
denominators: 4=quarter-note (there are 4λ_ of these in the time
of a whole-note), 8=eighth-note, 16=sixteenth-note, 2=half-note,
1=whole-note etc. Any number can be used in this way. For
example, 12=1/3 of a quarter-note. (There are 1λ_2λ_ of these values
in the time of a whole-note.) However the program also allows
the use of letters for the most common rhythms. Q=quarter,
E=eighth, S=sixteenth, H=half, W=whole. A normal triplet, i.e.
1/3 of a quarter note, is indicated by the letter T. No other
letters may be used for rhythms. The conventional rhythmic dots,
or double dots, may follow any of these numbers or letters. Thus
in line 5, E./ indicates a dotted eighth rhythmic value. Where
two or three consecutive slashes appear, the last given value is
repeated. At the end of line 5 is, Q/;. As stated above, the
semicolon has the same significance as the slash but also means
there is no more data to come in this mode. Hence the line ends
with two quarter-note values, one for the slash and one for the
semicolon. Now the music will appear with the proper rhythmic
spacing. Numbers will appear over the notes as an aid for inputs
in modes III, IV, and V. (Only single digit numbers are used.
Thus number ten or twenty will appear as 0, eleven or twenty-one
as 1, twelve or twenty-two as 2, etc.)
-------- SCORE 1 --------
8
Example 1b.
Next the prompt <ADD MARKS > will appear. This may be
answered by typing a string of letters and numbers -- or, if
there are no marks are to be entered, just a semi-colon.
6. F 1 13/C- 4.5:7/S 8/P 9/MF 10/T 10:12/
7. C 10.5:12.7/A 13 14;
The positions for all the marks are given by note number. Only
nλ_oλ_tλ_eλ_sλ_ are counted; the rests will always be ignored for the last
three input modes. In this example only a few of the possible
marks are used. F is for the forte sign. There will be one of
these under the first and thirteenth notes. The automatic
settings of the horizontal and vertical positions are usually
acceptable but it is often necessary to do some visual
readjustment with the editing commands after all the music has
been entered. Here the slash serves a slightly different
function in that it merely indicates the conclusion of position
numbers for each mark code. The individual note numbers do not
have to be in ascending order.
The C- stands for the decrescendo sign, or "hairpin." At
the start of line 7 the C is for the crescendo sign. These signs
have variable length and so two numbers, separated by a colon,
must be given to show under which notes they begin and end. The
decrescendo starts half way between notes 4 and 5 and ends under
note 7. If there were several such marks, several pairs of
numbers could appear before the next slash. For example,
C- 2:3 6.4:10 13:14/, etc.
S 8/ puts a staccato dot on note number 8. P and MF will
cause the italic letters p and mf to print under notes 9 and 10.
Because of the presence of the colon, T 10:12/ will put the
tenuto sign (or dash) on all the notes numbered 10 through 12.
Note that the use of the colon here is somewhat different than
its use with signs of variable length. A 13 14; will put accents
-------- SCORE 1 --------
9
on notes 13 and 14. The semicolon tells the program that input
for Mode III is finished. For a complete list of the marks that
can be entered in this way see page 10-10 of the SCORE manual.
The marks are now added to the display.
Example 1c.
Line 8. has Mode IV information, beams. Again, if there are
no beams needed in the line, just type a semi-colon. In this
example the code 2b; was entered. 2b stands for two eighth notes
of rhythmic value per beam. This causes all the beams to be
created automatically, connecting all rhythmic units that add up
to two eighth-notes of time. If the piece were in 6/8 time,
wherein every three eight-notes are usually connected, you would
enter 3B;. This quick system can be used only if the beaming for
the entire line of input is completely consistent. Otherwise
particular note numbers would have to be given to indicate the
beginning and end of each beam. (See below re. the entry of
slurs.) The special configuration of each beam group will be
automatically created based on the rhythmic values of each note.
This feature works for all but the most extreme cases. However
it may be necessary to do some editing to get the particular
configuration of full and partial beams desired.
The beams now are added to the display. The rhythmic
"tails" are automatically deleted where the beams are located and
stem lengths are properly adjusted.
Example 1d.
-------- SCORE 1 --------
10
Slurs (Mode V) are entered on line 9. Here no automatic
placement is possible so the beginning and end points of each
slur must be specified. The vertical position and curvature of
the slurs are set automatically, however, depending on the
positions of the notes involved. Further examples will show some
other possibilities with Mode V input. Following is how this
example should finally appear on the graphics display.
Example 1e.
In Example 1e you will notice that the space after the first
half note seems rather large. The space for this half note is in
fact exactly four times greater than the space for the following
eighth note. Most printed music does not follow exact rhythmic
spacing but rather is spaced according to some sort of sliding
scale of proportions wherein a half note will usually require
considerably less space than four eighth notes, a quarter less
space than four sixteenths, etc. You should not be concerned
with this problem when entering anything more than one or two
lines of music as the best policy is to use exact spacing in the
SCORE program and then let the PAGE program determine the final
layout of the music. The PAGE program, which will be explained
in detail later, automatically creates a form of proportional
spacing. However, for short examples, the line just after the
word IN may be used to cause the music to be spaced in a more
conventional manner. To create proportional spacing line 2 should
then appear as follows.
2. 0 200 1
The first two numbers (after the line number), 0 and 200,
indicate that the music will be placed within the boundries of
-------- SCORE 1 --------
11
positions 0 and 200. The third number, 1, is the code which
turns on the proportional spacing feature. If everything else
were done exactly as before the final form of the example would
be as follows.
Example 1f.
At this point it is a good idea to save the work you have
done so far so it may be recalled later for editing or printing.
Type the following:
SA EX1AA.XXX
This saves your work on the disk with the name EX1AA.XXX.
SA stands for "save." The file name is made up of two parts; the
name proper and the extension (after the dot). The name proper
can have no more than five characters and the extension no more
than three. (Both letters and numbers can be used.) In general,
all five characters should be used for your name, with the last
two being chosen so that a logical alphabetical progression can
be perceived by the PAGE program and the printing programs. The
name "EX1AA" was chosen to indicate the saved version of
Example 1. The first line of a page of music for violin might be
saved with the name VLNAA.V, the second line with the name
VLNAB.V, etc. Page two of this piece might then start with the
name VLNBA.V. The three characters used for the name extension
should remain the same for all files that are to be processed
in sequence by the PAGE program or the printing programs.
When, after saving, you wish to begin new input, type
RS<cr>. (RS = restart.) This clears the screen and brings up
the message <TYPE FOR ITEM #1 > once more. The many letter
commands that may be used in this program are described in
section ? of the SCORE Reference Manual.
-------- SCORE 1 --------
12
-------- SCORE 1 --------