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2. Multistaff Input.

The next example will deal with the automatic alignment of
voices on different staves as well as demonstrate the use of some
new repetition features.

Example 2.

1. RS
2. IN 1
3. 0 200
4. M3/BA/K3F/T2 4/R/OF3/M3/ E/D/M3/
5. R/C/G/F/M3/ E/F/G/M3;
6. QX4/ EX6/ Q;
7. S 1:8/ P 1;
8. 2B;
9. ;

10. SP 1
11. IN 2
12. AL/K3F/T2 4/RW//R/E4/A/G/D/BN3;
13. 2//E//Q/E//Q;
14. S 1 3 4/T 2/P 1;
15. 2B;
16. ;

17. IN 3
18. TR/K3F/T2 4/G4X10/AN/BN/
19. C5/E/D/C/BN4/C5/D/ C/B4/A/G;
20. E/S//REP3 4/SX4/TX6/Q;
21. P 1;
22. 2B;
23. 17 19/20 22;

The RS (restart) in line 1. insures that the display will be
cleared. Line 3, 0 200, tells SCORE that the notes are to be
spaced exactly according to the given rhythms over the entire
standard staff width. In line 6 the repetitions of rhythms are

-------- SCORE 2 --------

given by the letter X. QX4/ means a quarter note value will be
used four times, etc. Rhythm numbers can be used as well as
letters. Line 6 could have been typed as 4X4/8X6/4;. The
rhythmic value always comes first; the number of rhythms to be
used follows the X. This same procedure may be used when e
ntering notes.

A different form of repetition is accomplished in line 20.

20. E/S//REP3 4/

The REP3 4/ means that the previous three items typed are to
be repeated a TOTAL of four times. This produces a total of
twelve rhythmic values. Exactly the same effect is produced if
just the letter X is used in place of REP. Thus X3 4/ and
REP3 4/ are equivalent. This repeat feature can be used with
either Mode I (notes) or Mode II (rhythm) input. When using REP
it must be remembered that ALL separate things typed (i.e.
separated by slashes) are to be counted. This means that clefs,
measure lines, etc. must be counted along with notes and rests.
Study the next example:

A4/G/R/E/M/REP5 4/

Here the sequence of two notes, a rest, a note and a measure
line will appear a total of four times.

Repetition strings can be "nested."

E5/A4/G/B/REP3 3/M/ REP11 2;

Here the first REP repeats the A, G, B three times. Then
these nine notes, plus the first note, E, and the final bar line
are displayed two times - for a total of 20 notes. The bar line
will appear at the end of each ten-note string.

A new form of rest is given in line 12. RW/ makes a whole
rest print no matter what rhythmic value is given. (In this case
each RW will have the space value of a half rest.) At first the
whole rest is positioned exactly at its proper rhythmic point.
However, after the data has been processed by PAGE, the whole
rests are automatically centered in the traditional manner. (For
centering whole rests with editing commands see page ?-? of the
SCORE Manual.)

Alignment.

When the notes of several staves are to be properly aligned
it is usually best to enter data for the lowest voice of the
system first. The main reason for this is that when SCORE
computes bar lines which are to cover several staves, they are

-------- SCORE 2 --------

always drawn upward from a given staff. Thus, in line 4, M3
indicates a measure line drawn up through a total of three
staves.

The semicolon in line 9 of Example 2 marks the end of input
for the bottom staff, staff 1. (There are no slurs or ties on
this staff. That is why no numbers precede the semicolon.) The
entry on line 10, SP1, is crucial to the alignment system. This
means that all future spacing will be computed relavent to the
rhythms found on staff 1. If this code were not used, the notes
of each of the other staves might be spaced somewhat differently,
depending on several factors.

After SP has been used, no spacing numbers should be entered
for input on following staves. On line 11, data for Mode I
(notes, etc.) follows immediately after the IN 2 found on line
11. If SP had not appeared above, then spacing numbers would have
had to appear between lines 11 and 12. This same holds true for
lines 17 and 18.

After all this data has been processed by SCORE your screen
should appear as follows.

Example 2b.

Because only two numbers, 0 200, were typed in line 3, each
measure uses approximately the same amount of space. If this
material is to be processed later by the PAGE program you should
not be further concerned about the layout, as PAGE will exten-
sively rearrange things. However if this excerpt were to be used
as a stand-alone example it would be better to have things spaced
in the more traditional (not exact) manner. To accomplish this
the special lining up command, LI, must be typed. After this is
typed the music will be completely realigned. In the next form
of this example it can be noticed especially that the last
quarter note takes considerably less space than the other

-------- SCORE 2 --------

quarters. The LI command makes a composite of the rhythms found
in all parts. From this composite a spacing scale is created to
arrange the notes more according to rhythmic density than to
exact duration.
Example 2c.

The following example presents problems that will often be
found when more than one voice appears on a single musical staff.

Example 3.

1. RS
2. IN 1
3. 1
4. TR/T3 4/RI////M/T3 8/RI///M/RI///M/
5. T2 4/RIX6/M;
6. Q//E// E/// /// S////E/;
7. G;
8. SP 1
9. IN 1
10. SU/D5/RI/ FN4/B/C5/ REP3 2/ RI/G5;
11. 2/Q/ EX6/ Q/;
12. -S 2 5/-A 3 6;
13. 2 4/5 7;
14. 3 +4/6 +7;
15. IN 1
16. SD/B4/C5/R/FS/ RD/EF4/ RD/DF/ G5:FS4X4/AF/FN;
17. Q//E// E/Q/ E/Q/ SX4/E/;
18. P 1/F 4/S 6:9;
19. 6 9/10 11;
20. 1 -2/10 -11;

-------- SCORE 2 --------

21. LI
22. 1
23. J
24. 1
25. SA EX3AA.XXX

Example 3b.

The input on lines 2-7 sets up the clef, meter, bar lines
and a group of invisible rests (RI/). This first set of input
includes no marks, beams, or slurs. On line 7, G; (= go) is
typed to tell the SCORE program not to expect any data for Modes
III, IV, and V.

A line of "dummy" input is necessary because there must be a
single consistent string of rhythmic events in order for the
proportional spacing to be effective. There is an invisible rest
for every active point in the line. These invisible rests stay
with the visible material when it is saved. Since all the
rhythmic spacing information is in the invisible rests the LI
command can properly realign the music. However the invisible
rests make no provision for accidentals so the line must be
justified (J, lines 23-24) to avoid printing overlaps.

You will find much use for the J command. What this does is
to search out most places where the music overlaps or is too
cramped. Such spots are given their minimum required space and
the required space is "stolen" in equal amounts from all places
where the present space exceeds the minimum needed. In most
cases the overall space changes will be quite small unless you
have tried to overcrowd the line. J only concerns itself with
notes, rests, clefs, meters, bar lines, and key signatures. All
other objects must be moved by means of the general editing
techniques of SCORE.

After typing J you will see the prompt:

TYPE STAFF #, POS1, POS2 AND CODE #

In response to this you should type either one or three numbers.
(The fourth item, CODE #, does not apply to the justifying
routine.) The staff number can be any number from 1 to 16 if you
wish to justify the music on a single staff. If all staves are

-------- SCORE 2 --------

to be justified at once (i.e. if they constitute a single system)
then type any number greater than 16. POS1 and POS2 refer to the
left and right position limits of the text to be justified. If
only a staff number is given it is assumed that the entire range,
0 to 200, is to be justified. More will be said about the J
command when the editing procedures are discussed in detail.

Many instances in this example require that the stem
directions go contrary to the norm. In line 10, SU/ (stems up)
causes all the notes of this input line to appear with their
stems pointing upward. In the following input unit, line 16, all
the notes must have their stems down, so an SD/ (stems down) must
be entered. Once either SU/ or SD/ is used the automatic system
for determining the stem directions is suspended until the next
semicolon (end of input) is encountered. (However, when chords
are entered the stem direction is ALWAYS determined by the order
of note input. The first note entered sets the source position
of the stem. If the second chord note is above, the stem will go
up; if it is below, the stem will go down.)

It will be noticed in bars two and three that the rests for
the lower voice must be located below the staff instead of at
their normal central positions. In line 16 the RD/ (rest down)
indications accomplish this. (To place rests above the staff use
RU/ - rest up.) The editing facilities will allow for the
placement of rests at any desired level.

In measures two and three it is necessary to have the
staccato dots and the accents above the stems instead of the
usual position below the note heads. For Mode III input (marks)
a minus sign preceding the code letter will cause the mark to
appear beyond the stem. In line 12 the -S and -A put the marks
in the proper vertical positions. In this usage the minus sign
has nothing to do with "up" or "down", rather it is used to
indicate that a mark is to appear at the end of the stem
regardless of the direction of the stem. The minus sign may be
used with many of the letters that pertain to marks which are
actually attached to notes. These include:

A Accent AS Accent-Staccato
W Wedge WS Wedge-Staccato
T Tenuto(dash) TS Tenuto-Staccato
HW Heavy wedge F0-F5 Fingering

When typing the note numbers for Modes III to V, be careful
to count only the notes and chords that are part of the input
group being entered.

Because of the metric irregularity of this example, the
automatic system for specifying the beams cannot be used.
Instead, the beginning and end points for each beam must be given
by note number (lines 13 and 19). On lines 14 and 20 the data

-------- SCORE 2 --------

for slurs is given. All the slurs must appear on the side of the
notes opposite from the norm. The plus signs in line 14 insure
that the curve of the slurs will be upward and that the slurs
will appear above the stems. The minus signs in line 20 make the
slurs curve downward and assume positions below the stems. The
positioning of slurs is not entirely automatic. Some later
editing will sometimes be necessary to achieve pleasing results.

When the various repetition features of SCORE are used, any
accidentals given in the original statement are ignored in the
repetitions. This is in keeping with the traditions of notation.
In line 16, the repeated minor ninth interval of bar four is
encoded as G5:FS4X4/. The sharp sign will appear only on the
first F. The same thing applies when the code REP is used, as on
line 10. Here the natural will appear in front of the F only in
the first presentation of the note group. The accidentals may be
forced to display by adding 100 to the either number in the
repetition statement. Study the next example.

Example 4.

1. RS
2. IN 1
3. 10 200
4. FS4/A/GS/E/ X4 2/ M/ X109 3;
5. SX24;
6. ;
7. 2B;
8. ;
9. SA EX4AA.XXX

The first repetition of the four-note cell is caused by
X4 2/. (The form Xm n is exactly equivalent to REPm n.) The
sharps appear only in the first beat. However the entire measure
(eight notes, pλ_lλ_uλ_sλ_ λ_bλ_aλ_rλ_ λ_lλ_iλ_nλ_eλ_) is made to appear three times by the
statement X109 3;. If, instead, X9 3; had been typed, no sharps
would appear in the second and third measures.

Again in the next example no single voice can be deduced to
have consistently the greatest amount of rhythmic activity. For
this reason, a "dummy" voice, made up entirely of invisible
rests, must first be entered to provide a proper basis for
spacing. Be careful that these invisible rests are not deleted
by mistake while editing because their presence is also required

-------- SCORE 2 --------

by the PAGE program when the final layout is being determined.

-------- SCORE 2 --------

by the Page program when the final layout is being determined.

Example 5.

1. RS
2. IN 1
3. 0 200 1
4. M2/BA/T2 4/RI/M2/ RIX8/M2/ RIX6/M2/ RIX8/M2/ RIX3/M2;
5. E/ SX8/ TX6/ SX8/ EX3;
6. G;
7. SP 1
8. IN 1
9. -BA/R//E3/// CN/G2/FS/ D/D4/CN/ D:CS/R/;
10. E//Q/EX6/Q/EX4;
11. WS 10;
12. 2B1;
13. 2 3;
14. IN 2
15. TR/T2 4/RI/SD/D4/CS/D/C/ F/BN3/EN4/X3 2/
16. FN4/G/AA//EN/RI;
17. E/ E./S/E./S/ TX6/ S//E/E./S/Q.;
18. CR 11;
19. 2B1;
20. 1 -2/3 -4/11 -12/12 -13;
21. IN 2
22. SU/G4/ /A/BB/ X3 2/ RU/AA// EE5/D/C/AN4/BB/ F/R/;
23. E/ S//E/X3 2/E/Q/E/ E./S///EX4;
24. MP 1/-T 1/-WS 15;
25. 2B1;
26. 1 2/2 +4/5 +7/10 +11/12 +14;
27. SA EX5AA.XXX

Example 5b.

-------- SCORE 2 --------

Lines 2 to 6 set up the dummy spacing line. The dummy line
must contain all the various items, in addition to notes and
rests, which will require space to be reserved. These include
clefs, meters, key signatures, and bar lines. In this example
staff 1 will be used since the bar lines emanate from the bottom
staff upward. In the first full measure there will be eight
invisible rests because the composite of the rhythms of the top
staff makes a string of eight sixteenth notes. In the next bar
the triplets are used for the dummy rhythm. The actual composite
rhythm is more complicated but, generally, the rhythm of shortest
duration at any given point should be chosen. If the situation
becomes very complex, a string of equal values, based near the
smallest value of the composite, should be used.

(The spacing system in SCORE depends on values that are
stored in parameter 7 (P7) for note and rest data. SCORE allows
only one string of space values for each staff. The first set of
notes and rests entered for a given staff will automatically set
up these space values. Further entries on the same staff will
set zeros in P7. Care must be taken that none of the invisible
rests are deleted during editing. Their absence would create
error conditions when running the PAGE program since the spacing
information would be incomplete.)

Line 9. begins with -BA. The bass clef was already put in
along with the invisible rests and thus need not be duplicated.
However, without actually producing another clef, the -BA causes
the subsequent notes to be put in bass-clef instead of
treble-clef positions. The RU/ code is used in line 22 so the
rest in the upper part of the second full measure will be placed
above its usual position.

This example begins with an eighth note pickup. This fact
must be taken into account when using the automatic beam system.
The statement 2B1; on lines 12, 19, and 24 means that all
possible rhythmic values adding up to two eighth notes will be
connected by beams, but that one rhythmic unit will be skipped
over at the start. If the pickup had consisted of perhaps a
quarter followed by an eighth, i.e. two units, then the lines
would read as 2B2;. With pickups both notes aλ_nλ_dλ_ rests are
counted. However if the beams were entered by note number
(non-automatic), then only the notes of a pickup would be
counted.

You will notice at the end of Example 5b that the bar line
is much too close to the last notes of the bass part. A few
other places appear to be too cramped also. To take care of
these problems the "J" command (justify) should be used before
the example is saved. Type J <cr> and then answer the prompt
with any number greater than 16 (16 being the highest staff
number available). This will cause both staff lines to be
justified as a single system.

-------- SCORE 2 --------