perm filename MT3[1,LCS] blob
sn#834829 filedate 1987-02-22 generic text, type T, neo UTF8
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3. Octaves. Notes Moving from One Staff to Another.
Example 6.
1. RS
2. IN 1
3. 1 120 1
4. BA/F2+/EE+/DD+/AA3-///CC4-/TR/M/
5. EN4+:GG:AA/ F5-:DD:A4/ BB3+:DN4:EN:AA/M;
6. E//Q/S//E/Q/ E/Q./2;
7. S 8/A 9;
8. 2B;
9. ;
10. SA EX6AA.XXX
Octaves are encoded by adding either a plus (+) or minus (-)
immediately after the letter and octave number for a given note.
The plus is used when the octave is to be above (stem up) and the
minus is used for the octave below (stem down). The octave
number given will be that of the first note only. This saves
much typing of octave numbers. Note that the first two octaves
in the example, F2+/EE+/, could also have been given as
F2:F3/EE2:EE3/, but this involves almost twice as much typing.
Another time saver demonstrated in this example is the
double keystroke to indicate a flat. The second octave, based on
E flat, was typed as EE+/. Any such double letters will produce
flats on the display. If an accidental is given for an octave
created by means of the plus or minus sign it will always appear
on both notes of the octave. Note that if you were to type
EE2:E3/, the flat would appear only on the bottom E.
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When chords include an octave, as in line 5, it is best to
type in the octave first and then the other chord notes in the
usual fashion, using the colon to separate the chord notes after
the plus or minus sign. You will notice that, in most cases,
SCORE automatically spaces out the accidentals of complex chords
in the proper manner.
It is seen at the beginning of the second measure that some
of the accidentals of the chord have been extended out to overlap
the bar line. This will present no problem if the music is to be
processed by the PAGE program since that program always justifies
the musical text. The justifying routine in SCORE will be fully
discussed later, but the command may be used here to improve the
appearance of the example. Notice the difference after the
following is typed.
J <invokes justifying routine>
1 0 120 <justify staff 1, from position 0 to 120>
Example 6b.
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The next example gives the method of encoding a series of
notes which move from a given staff to the staff above or the
staff below.
Example 7.
1. RS
2. IN 1
3. 1 100 1
4. M2/BA/T3 8/ RIX6/M2/ RIX6/M2/ RIX5/M2;
5. SX14/E/S/;
6. G;
7. SP 1
8. IN 1
9. -BA/ F3/A/S+/SD/E2/A/C3/E/
10. RI/S0/SU/C3/ S+/E:C:G2/ S0/SD/D3/E;
11. SX6/Q./S//E/;
12. ;
13. 1 6/7 8/9 10;
14. 1 6/7 8;
15. IN 1
16. -BA/ RI/ SU/A3//GS;
17. 2 4 8/E/S/;
18. ;
19. 3B;
20. 2 +3;
21. IN 2
22. TR/T3 8/RI/SU/B4/GS/D/S-/SU/G5/ES/B4/RI/
23. S0/D:F:C5/D4:B;
24. Q./SX6/E//;
25. ;
26. 3B;
27. 1 6;
28. SA EX7AA.XXX
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Again a dummy spacing staff will be established (lines 2-6)
because of the inconsistencies of the part writing. The
invisible rests for the smallest rhythmic values, along with the
measure lines, bass clef, and meter, for the bottom staff are
included. For this example, only the left half of the staff will
be used. Line 3 conveys this information. The presence of a
third number will cause the music to have "proportional" spacing.
Line 9 gives all the notes for the first measure. Beginning with
the third note, middle C, this voice has moved up to the staff
above. S+ indicates that the following notes will appear one
staff up from the original staff. The stems must be forced to
point downwards. This is accomplished by SD/. The SCORE program
does not know that these notes are in the treble clef, so they
are given names as if the bass clef were still the reference
point. That is, the middle C in the treble clef occupies the
same position as a low E in the bass clef. Hence you type E2 for
this note. The reference to the treble clef could be established
by inserting -TR before the notes in question. Then the middle C
would be typed as C4, etc. In this case a -BA returns the
reference to the bass clef.
9. -BA/ F3/A/S+/SD/ -TR/C4/F/A/C4/ -BA/
The second measure is occupied by a single invisible rest.
All the notes for that bar are given with the music for the upper
staff. After the rest, S0/SU/ returns the notes to the original
staff with the stems up. This lasts for only one note. Then the
next chord is again on the staff above. Here an SD/ is not yet
necessary since the order in which the chord notes are typed
establishes the stem direction. However SD/ could have just as
well appeared before the chord.
There are no marks (dynamics, etc.) in this example so line
12 has only a semicolon. The beams must be placed by note number
since there is no consistent pattern of grouping.
All the notes for measure two are given with those of the
upper staff on line 22. After the first three notes, S-/ puts
the following notes on the staff below. SU/ is then needed to
the make the stems go upward. Now the notes are named as if they
were in the treble clef. That is, the note just above the staff
is called G5, the note in the top space with a sharp is called
ES, etc. In many cases, where notes move from one staff to
another some editing will be necessary. SCORE does not yet have
routines that cover all cases for beams and slurs in these
situations. This example will be recalled later to demonstrate
some of the editing techniques in SCORE.
The last group of notes in the bass clef is entered on lines
15-20. The first two bars, plus one eighth rest, are all
combined in a single invisible rest whose value, 2 4 8/, is given
in line 17. (Actually this could have been written as 2../ but
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the other form was used to demonstrate the use of composite
rhythmic values.) Strict rules must be followed when typing such
composites. Only numbers may be used and no dots may be used.
However as many as eight numbers may appear before the slash.
For example, an invisible rest covering three measures of common
time plus a dotted eighth would be typed as a rhythmic value of
1 1 1 8 16/. In line 19, 3B; may be used to set the beams for
the last notes of the bass clef. SCORE adds up rhythm from the
start of the line and finds that these last three values fall
within the last three eighth-note division.
The SCORE program is in a constant process of refinement.
As of the date of this document it does not yet deal fully
automatically with all aspects of music which moves from one
staff to another. In particular, the placement of beams must be
adjusted by means of the SCORE editing facilities which will be
covered in later chapters. Example 7b presents this passage
after editing and justifying.
Example 7b.
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