>> Voice overlay
>> The & operator may be used to temporarily overlay several voices
>> within one measure. The & operator separates these voices from
>> each other.
> My take on it is that the & operator sets the time point
> of the music back to the previous bar line, and the notes
> which follow it form a temporary voice in parallel with
> the preceding one. I suspect that this should only be used
> to add one complete bar's worth of music for each &.
Assuming you would only ever want to do this in music with barlines?
Really? Surely there are monophonic chants where voices split for a
brief imitative Alleuia or Amen, for example? Or unmeasured guitar
music? - I'd expect guitar and lute pieces to see the largest use of
this feature.
Why not some explicit start point? - paralleling the not-anchored-to-
a-barline repeat syntax, use [& maybe? And perhaps a terminator to
help sanity-checker utilities work out that the same duration had been
provided for each voice, maybe ]& ?
I don't see why it needs to be unreadable; just overlap the voices
vertically. Using the example given, removing barlines and adding
a bit on the end:
A2 E2 G2 A2 [&[& A B c d e f g a &\
A A A A A A A A &\
A G F E D C B, A, ]& D2 E2 A2 ...
(I'm assuming each & needs a separate matching explicitly stated
start point - it also allows for a bit more generality as they
needn't coincide).
-----------------------------------------------------------------------------
Jack Campin: 11 Third Street, Newtongrange, Midlothian EH22 4PU; 0131 6604760
<http://www.purr.demon.co.uk/jack> * food intolerance data & recipes,
Mac logic fonts, Scots traditional music files, and my CD-ROM "Embro, Embro".
------> off-list mail to "j-c" rather than "abc" at this site, please <------
To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
