perm filename MT5[1,LCS] blob
sn#834831 filedate 1987-02-22 generic text, type T, neo UTF8
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5. Inputting Large Scores.
Special procedures must be followed when creating scores
involving more than sixteen staves. Such scores must be entered
in two or more sections. Because of current display limitations
it may be advisable to break up even six or seven stave scores
into two parts. It must be remembered that, at this time, when
the music for a single system of staves is saved in more than a
single file, it is not possible to process the data with the PAGE
program. (The PAGE program's capacity will probably be increased
at some future date.) For this reason you yourself must plan the
larger layout for each section of the music.
Before the main body of the music is entered it is necessary
to prepare some files that will be used for most or all of the
pages of a given piece or movement. Each of these files will
contain the basic staff setup for some group of instruments.
Then input will be applied to these pre-set staves. Each score
will surely have its own peculiarities but the following example
will provide a basis for dealing with many typical problems. A
few editing commands will be used in the setup process. These
commands will be fully discussed in a later chapter.
For a score of this type a fairly small staff size should be
used so that many notes can be put on each line without too much
crowding. Each staff will be indented somewhat to allow space to
put the instrument names. Also a code name for each instrument
will be added in parameter nine of each staff so that the
automatic part extraction feature of the PAGE program may
function properly. First a single staff will be set and then
edited copies of that will be made to complete a partial system
set up. Two files will be created. The first, STFA.SYM, will
include the upper six staves of the score. The second file,
STFB.SYM, will include the remaining six staves at the bottom of
the score. At the final printing stage pairs of files will
assembled into complete systems.
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Example 12.
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In the following example brief comments will appear in
parentheses following the material that is actually typed.
1. 8 1 20 0 .65 200 (staff indented 20, size=.65)
2. I (begin to edit last given Item)
3. 9 1 (set P9 to 1 to enter instrument code name)
4. TPT (the Trumpet staff)
5. X (exit from edit mode)
6. I (begin to edit this Item once more)
7. 2 2 9 1 (change staff number to 2, set P9 to 1)
8. HRN (the Horn staff)
9. C (C=make edited copy of this Item and exit mode)
10. I (begin to edit last Item - i.e. the copy just made)
11. 2 3 9 1 (change staff number to 3, P9=1 )
12. BSN (the Bassoon staff)
13. C (make new copy and exit edit mode)
14. I (begin to edit last Item - i.e. the copy just made)
15. 2 4 9 1 (change staff number to 4, P9=1 )
16. CLAR (the Clarinet staff)
17. C (make new copy and exit edit mode)
18. I (begin to edit last Item - i.e. the copy just made)
19. 2 5 9 1 (change staff number to 5, P9=1 )
20. OBOE (the Oboe staff)
21. C (make new copy and exit edit mode)
22. I (begin to edit last Item - i.e. the copy just made)
23. 2 6 9 1 (change staff number to 6, P9=1 )
24. FLT (the Flute staff)
25. C (make new copy and exit edit mode)
26. T 1 1 6 0 .9 (T=text; P2=staff 1; P3=1, horiz. pos.;
P4=6, vert.; P6=.9, 90% of full size text)
27. &Trumpet (&=set standard type font, text follows)
28. T 2 1 6 0 .9 ( text to be placed on staff 2)
29. &Horn
30. T 3 1 6 0 .9
31. &Bassoon (up to 100 characters allowed in text line)
32. T 4 1 6 0 .9
33. &Clarinet
34. T 5 1 6 0 .9
35. &Oboe
36. T 6 1 6 0 .9
37. &Flute (now all text done for these staves)
38. 14 1 20 6 (bar line through all staves at position 0)
39. 14 1 20 2 9 (bracket on lower two staves, P4=2)
40. 14 3 20 4 9 (bracket on upper four staves, P4=4)
41. SA STFA.SYM (save these staves)
42. ST 22 8 (special group edit command which allows you
to edit each of the previous staves in the
order in which they were entered)
43. 9 1 (set P9 to 1 to enter new instrument name)
44. CB (Contra Bass on bottom staff of second group)
45. (a space causes editor to move on to next staff)
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46. 9 1
47. VLC (Violoncello)
48. (a space moves on to next)
49. 9 1
50. VLA (Viola)
51. (necessary space)
52. 9 1
53. VL2 (2nd Violin)
54.
55. 9 1
56. VL1 (1st Violin)
57.
58. 9 1
59. PIANO (Piano staff. 5-letter limit on inst. names)
60. X (Exit from edit mode - now all staves renamed)
61. del (Now delete instrument names used on top staves)
62. 22 1 200 16 (22 = all staves, from positions 0 to 200,
code 16 only) (Code 16 = text, words)
63. T 1 1 6 0 .9 (T=text; P3=1, horiz. pos.; P4=6, vertical;
P6=.9, 90% of full size text)
64. &Contrabass (& set standard type font, text follows)
65. T 2 1 6 0 .9 ( text to be placed on staff 2)
66. &Violoncello
67. T 3 1 6 0 .9
68. &Viola
69. T 4 1 6 0 .9
70. &Violin II
71. T 5 1 6 0 .9
72. &Violin I
73. T 6 1 6 0 .9
74. &Piano (now all text done for these staves)
75. ST 22 14 (on all staves <22> edit all bar lines <14> )
76. 4 7 (change P4 to 7, bar line will overlap STFA)
77. (space, move on to next item with 4 in P1)
78. 4 5 (P4=5, bracket will go up 5 staves)
79. (dot, move on)
80. 2 3 3 18 5 8 4 2 (P2=3, move to staff 3; P3=18, to left
of main bracket; P5=8, change to brace;
P4=2, covers 2 staves)
81. X (exit from edit mode)
82. 14 6 20 1 9 (create bracket on Piano line)
83. SA STFB.SYM (now save bottom half of system)
These two half-systems now look as follows.
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Example 13a.
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Example 13b.
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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 12 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 14
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First an edit file containing all the motivic material will
be created. On the top line (Flute) of Example 14 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 8 (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 7 (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 6 (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 5 (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.)
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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.
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Example 15
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.
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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
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Example 16
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.
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JUST
<L=LINE UP, V=VERTICAL JUST., H=HORIZONTAL JUST.>
<CHOOSE LETTERS, OR A = DO ALL AT ONCE.>
L H
<TYPE FIRST INPUT NAME.EXT AND NUMBER OF FILES --> SYAAA.SYM 2
<TYPE FIRST OUTPUT NAME.EXT --> SYAAA.SS
<POS.1, POS.2 -> 20 200
<****** LINING UP ******>
<STAFF 1.>
<STAFF 2.>
<STAFF 3.>
<STAFF 4.>
<STAFF 5.>
<STAFF 6.>
<STAFF17.>
<STAFF18.>
<STAFF19.>
<STAFF20.>
<STAFF21.>
<STAFF22.>
<*** HORIZONTAL JUST ***>
<SYAAA.SS>
<SYAAB.SS>
<Exit>
For JUST to work properly your file names must be set so
that the last three letters of five-letter names are in alpha-
betical order. Also the extension name (at least two characters)
for all files of a given system must be the same. JUST will
automatically create alphabetical output names based on the name
you give for the first output file. In the example above the
five-letter portion of the file names is kept the same but the
name extension is changed from SYM to SS. "POS.1, POS.2" refer
to the left and right position numbers which limit the area to be
justified. In the above case it is very important that the
proper numbers be given. This music is indented to position 20
so there will be room for instrument names. If no numbers were
given, the default values (0 200) would have been used. This
would probably cause the start of the line to move to some
position to the left of 20 since JUST would think there was
plenty of free space there.
As the alignment process works, the numbers of all the
staves are printed. The numbering proceeds upward from the
bottom staff in the bottom file (SYAAB.SYM). When the second
file (SYAAA.SYM) is reached, all the staff numbers have sixteen
added to them. (This is why there is gap between six and
seventeen in this example.) If there were a third input file,
its staff numbers would have thiry-two added to them, etc.
When the justifying process begins to work the program may
type out numbers which indicate in a general way how much moving
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of notes is required. In such a case there will probably still
be some overlapping of notes, accidentals, etc. The only way to
correct this is to edit parameter five of each staff to decrease
its size. When this is done all the notes, rests, etc. become
smaller and thus there is a better chance of avoiding overlaps.
After all the justifying is complete the names of the new
files appear as they are written to the disk. If the new files
prove to be satisfactory they may be renamed to their original
names or the files with the old names may be deleted. The
commands for renaming and deleting files are given in the general
computer system information documents.
After being processed by JUST, this score portion should be
printed out so that detailed proof reading may be done. The
printed copy should look like the following page.
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Example 17
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Example 17 proves to be rather widely spaced from the
vertical point of view - the typeout from the printing portion of
the program told us the height of the excerpt is 9.11 inches.
(The examples in this section are reduced in size by 10% to fit
this page format.) The JUST program may be used to scale down
the spacing between the staves of large scores.
JUST
<L=LINE UP, V=VERTICAL JUST., H=HORIZONTAL JUST.>
<CHOOSE LETTERS, OR A = DO ALL AT ONCE.>
V
<TYPE VERTICAL SIZE IN INCHES --> 6
<TYPE FIRST INPUT NAME.EXT AND NUMBER OF FILES --> SYAAA.SS 2
<TYPE FIRST OUTPUT NAME.EXT --> SYAAA.SYM
<**** VERTICAL JUST ****>
<SYAAA.SYM >
<SYAAB.SYM >
<Exit>
In this run of the program only the letter V is typed in
answer to the first prompt. This brings on the next prompt
concerning vertical size. The size number given will be the
approxmate distance from a little below the bottom line of the
bottom staff up to a little above the top line of the top staff.
The actual size of the printed copy will be somewhat greater when
notes are found below or above these points. Here "SYM" is used
as the extension for the output names. This will cause the
earlier versions of these files to be written over, but this does
not matter since the latest versions to this point have the
name extension "SS". Now the layout will be much closer to the
norm for score segments such as this.
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Example 18
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