Frank Nordberg writes:
| John Chambers wrote:
| > One of my favorite test cases for music software is the tune at:
| >
| > http://ecf-guest.mit.edu/~jc/music/abc/Intl/tune/JovanoJovanke_D.abc
| > http://ecf-guest.mit.edu/~jc/music/abc/Intl/tune/JovanoJovanke_E.abc
|
| Nice one :-)
Yeah; it's a pretty tune. I oughta get the words and include them,
too. Of course, then we get into the fun of trying to get the proper
Cyrillic spelling from equipment sold in the USA ...
| I made a quick Finale file out of the first one. You can see the results
| (PDF) at:
|
| http://www.musicaviva.com/jovano-jovanke/jovano-jovanke.pdf
|
| (sorry about the typo)
Yeah; I noticed, and checked to see if that's the way it was in my tune.
| and hear it at:
|
| http://www.musicaviva.com/jovano-jovanke/jovano-jovanke.mid
One quibble: It should have one of the instrumental interludes, but
not both. Or maybe alternate between them. And a quibble with my
transcription: I've heard a number of recordings of the tune, and
most don't repeat the first phrase. Of course, that's the sort of
thing that people do however they feel like at the time, like
optional stretched endings of the phrases. I'm not sure which repeat
pattern would be best to put "in writing", but maybe I'll change it.
Or not.
| I made one change: isn't there supposed to be a C minor chord in bar 19?
Hmmm ... I'm not sure how you're counting measures. In any case, the
chords at several places are quite variable. In particular, the hejaz
endings (on D) typically would have Cm chords, but exactly where is
somewhat a matter of taste, and I'd guess that's what you mean. I
don't think I'd play the endings the same twice in a row.
| I'm not sure about all the details (tempo, which order and in which
| octaves are the key sig. supposed to be notated etc.)
The tempo should be about half the speed of the midi; a measure takes
1.5 to 2 seconds. It's not fast. As for the key signatures, their
looks aren't totally standardized. The _B_e^f that you used isn't
common, probably because the _e and _f bump up against each other.
I've seen both _B_e^F and ^f_B_e, and I'd guess that the reason for
those is the more aesthetic layout. What I have my abc2ps clone do is
take literally what you give in the K: line. So JovanoJovanke_D.abc
has K:Dphr^F, which gives _B_e^F as the signature. My main reason for
doing this is so that I can handle signatures that have different
accidentals on the same note in different octaves. There was an
example some time back of K:G^f=F, meaning that the high f's were all
sharp and the low F's were all natural. My code would accept this K
line and produce a sharp on the top line and a natural on the bottom
space. There are a number of musical traditions that require this.
| Oh - and yes. I didn't bother to post a version ransposed to E - that's
| no challenge at all to Finale ;-)
I do see a lot of output from music software that does silly things
like, when transposing to G, writing all the ^F's as _G's. I'm not
sure how a program would get it so wrong, but I've seen this far too
often. I don't know what software does it, though.
| Btw, the ABC applications I have didn't do to good a job on these files.
| BarFly got it mostly right - except it notated a sharp in front of every
| F instead of incorporating it in ther key signature, while abc2ps and
| yaps didn't show any key signatures or accidentals at all.
Yeah; while I've gotten a lot of positive responses from my
suggestions for explicit lists of accidentals in key signatures, I
don't know of anyone else who has actually implemented it. The
positive responses come from people who want to use it, of course,
and it's possible that I'm the only implementer in that set. Such
feechurs are why we need a new standard. (Or a new language that can
handle music other than western European. ;-)
The Barfly interpretation is consistent with the description of
"global accidentals" in the 1.6 standard. There does seem to be some
agreement that this was a bit of a mistake, with the qualification
that as an option it could be useful at times. (And the same
qualification would imply a second option to spread the entire key
signature through the music.)
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