perm filename MT4[1,LCS] blob
sn#834830 filedate 1987-02-22 generic text, type T, neo UTF8
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4. Motivic Repetition. Saving Input Data.
Example 8.
1. RS
2. IN 1
3. 1
4. TR/T99 1/ A(E4/A/G/D)/ B(F:A:E5)/B4/@A/@B-3/@B-2/M/
5. @A2/@A3/ C(A5:D:B4)/@A3/@C1/M/
6. @A3/@A1/R/@A-1/@B-2/M;
7. Q(SX4/E)//@Q/@-Q/@Q/@Q/SX8/TX6;
8. S 5 6 11 12 21 26/WS 39;
9. 2B;
10. 1 4/7 10/13 16/17 20/22 25/27 34/35 38;
11. SA EX8AA.XXX
A motive may be defined as any sequence of events in notes
or rhythms. Each motive will be identified by a single letter of
the alphabet. Up to twenty-six different motives may be defined
in any continuous run of the SCORE program. Each time you leave
SCORE (by typing 'ex') all the motive identifiers are cleared
from the program. SCORE understands that a motive is being
defined by the presence of a left parenthesis immediately
following a letter. The motive definition is complete when the
right hand parenthesis appears. This normally occurs just before
a slash or semicolon. Motives can be of almost any length.
In line 4., the first four notes of Example 8 are defined as
motive A. Then the three-note chord is defined as motive B.
Once defined, a motive may be recalled by typing the "at" sign
(@), followed by the motive's identifying letter. Thus all four
notes of beat three are created by typing @A.
-------- SCORE 4 --------
27
Motives may be transposed by scale steps. The chords of the
fourth beat are of the same structure as the first chord, but
presented first three scale steps lower, then two steps lower.
This input is accomplished at the end of line 4. by @B-3/@B-2/.
Then measure two begins with motive A up two steps, and then up
three steps. This is entered as @A2/@A3/. Thus transposition is
achieved by placing any positive or negative number immediately
afto the motive letter. Note well that the transpositions are
only by scale steps; the particular sλ_hλ_aλ_pλ_eλ_ of the motive is
maintained regardless of the specific intervals involved. If any
accidentals are used, they will appear "as is" in any transposi-
tion. For example, given motive Z which may be defined as
Z(GS4/BF/A)/, its transposition down two steps, @Z-2/, would
cause the notes E sharp, G flat, F to appear. Great care must be
taken when any accidentals are included in motives.
Motive B cannot be used for the two chords in measure two
because their vertical position requires that the stems go down
rather than up. A new motive, C, is then established for this
form of the chord.
In line 7. the group of four sixteenth rhythms followed by
an eighth is set as motive Q. This particular group was chosen
because of the various ways the motive may be used as the rhythms
continue. At beat three the motive returns, followed immediately
by a retrograde form of the group, i.e. an eighth and four
sixteenths. Retrograde motion is indicated by the presence of a
minus sign between the @ and the identifying letter. Retrograde
forms of note motives may also be used. Based on this example,
if @-A2/ were typed, the notes F, B, C, G would appear.
Rhythmic diminutions and augmentations can also be produced
with this system. Given the rhythmic motive Q above, @Q2/ would
be equivalent to typing EX4/H/. With rhythm, the number
following the motive letter becomes a simple multipler. That is,
"2" would make all the rhythmic durations twice as long. If @Q.5/
were typed, it would be the same as 32X4/S/. The rhythmic
durations would be multiplied by .5 and thus become half as long.
-------- SCORE 4 --------
28
The motive system can be used to advantage if many chords
appear.
Example 9.
1. RS
2. IN 1
3. 1 150 1
4. TR/ D(PC4:E:G)/ E(E:G:C)/ F(G:C:E)/ G(G5:E:C)/
5. H(C6:G:E)/ I(E6:C:G)/M/ @D1/ @F1/ @E1/ @G1/ @I1/
6. @H1/ BA/M/ @D-10/ @E-10/ @F-10/ @G-10/ @H-10/
7. TR/ @F-3/M;
8. Z(E/S//E//Q)/E/S//Q/E//@Z;
9. ;
10. 2B;
11. ;
12. SA EX9AA.XXX
Notice the transpositions. In measure two all the chords
are one step higher than the original positions. In measure
three they are ten steps lower, until the last chord, which is
three steps lower than the third chord of measure one. Remember
that the "steps" referred to are mλ_uλ_sλ_iλ_cλ_aλ_lλ_ steps. The first chord
of the third measure is placed on the staff two steps above the
position of the first chord of the first measure. However,
because of the intervening bass clef the chord of bar three is
ten musical steps lower than the first chord.
Be careful to use a new motive letter if a chord must have
its stem go in a new direction. Even though the fourth chord is
the same as the first, but an octave higher, it cannot be entered
as @A/ because the stem must go down with the fourth chord.
-------- SCORE 4 --------
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Once a motive has been established it can be used as part of
larger motive.
Example 10.
1. RS
2. IN 1
3. 1 120 1
4. TR/ J(E4/G/F)/ K(A/C5/B4/A)/ Z(@J/@K)/ M/
5. @J2/ @K-4/ @Z/ M;
6. S//E/SX4/ X7 4;
7. ;
8. 2B;
9. ;
10. SA EX10A.XXX
In the above example, if the entire second measure were to
be used again at some later time, it could be made into yet
another motive. Then line 5. would appear as follows.
5. X(@J2/ @K-4/ @Z/ M);
Now whenever the motive X is recalled it will include all
fourteen notes of bar two, plus the bar line.
Each time when you begin running SCORE the motive list is
empty. As motives are defined they are added to the list. Care
must be taken that duplicate motive names are not used and that
any motive recalled has actually been defined in the current run
of the program. Sometimes it may be useful to set up a file of
dummy motives which will include several musical structures which
need to be used frequently in piece. In the following example it
is assumed that SCORE is being run from "scratch." (To exit from
SCORE type "ex". To restart the program type "SCORE.")
-------- SCORE 4 --------
30
Example 11.
1. IN 1
2. 20
3. A(PC4:E:G)/ B(E:G:C)/ C(G:C:E)/
4. D(G:E:C)/ E(C6:G:E)/ F(E6:C:G);
5. QX6;
6. G;
7. RS
Let us assume that the above has been prepared in an edit
file which was saved under the name MOT. Once SCORE is running
you then type:
READ MOT
The READ command transfers control of the SCORE program from
the keyboard to a designated edit file. Any command that can be
typed to SCORE can be put into a READ file. The names of such
files can use up to five characters. No extension may be added
to the name. As the file MOT is being read in the notes of the
chords given in the file will appear on the screen. However,
since the last command in the file is RS (restart), the
appearance of the chords will be very brief. Now these chords
can be used in any further input by simply typing @A/, @B/, etc.
If you should ever wish to clear all the motives from the system
you simply type "MC" -- which stands for "motive clear."
Error correction ------
Errors may be corrected at any time while using the IN mode
of entering music by typing the " " character. When this is done
all the lines you have typed will be redisplayed, one by one, and
you will be given the opportunity to accept each line as is,
delete it, retype it, or insert additional lines. Then, when the
IN mode is finished normally, all the lines of data may be saved
to a disk file. If there were any typing errors it is possible
to exit from SCORE and correct the contents of your saved file by
means of any edit program. Then the READ command may be used to
re-submit the data to SCORE.
-------- SCORE 4 --------