Re: [TeX-music] pmx - grouping beamed xtuplets
sorry, i was to fast in sending the example: bij replacing the 'XS-7' by
'\bsk\bsk\bsk\' the beam shortening is ok.
Andre
- Original Message -
From: "Andre Van Ryckeghem" <[EMAIL PROTECTED]>
To: "Typesetting music with TeX"
Sent: Wednesday, September 20, 2006 7:52 AM
Subject: [TeX-music] pmx - grouping beamed xtuplets
In trying to split beamed notes in xtuplets, using the new feauture '][',
i saw that the effect of this symbol not is: 'decrease multiplicity', but
is: 'bring multiciply to 1'
I showed this in the lower staff (this are not xtuplets).
In the last 5-tuplet of the example, i managed to split it in 2 and 3
notes, by shortening the beam, ending on a rest, by using XS-7 (= let
Don's pmx do the work). I suppose there is no other way than by trial (as
it is now: making the line longer messed up the beam)?
214 4 0 6 0 4
1 1 20 .08
bt
./
ArbdI.85
Apl
w200m
\\let\qbsav\qb\
[ c34 c ][ c c ][ c6 c c c ][ c c c c ]
rb4 [ c14 c ][ c c ]
[ c43x5n g+ rb rb
\def\qb#1#2{\let\qb\qbsav\qb{#1}{*}}\
XS-7 d+ ] /
c44x5n s d e g c s
g-x5n s c e g d+ s
c-x5n sh d e g e+ s
rbx5n suH-22-3.5 rb e- g \slurtext{\roff{5}}\ d+ s+6 /
Thanks again for the help
Andre
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[TeX-music] pmx - grouping beamed xtuplets
In trying to split beamed notes in xtuplets, using the new feauture '][', i
saw that the effect of this symbol not is: 'decrease multiplicity', but is:
'bring multiciply to 1'
I showed this in the lower staff (this are not xtuplets).
In the last 5-tuplet of the example, i managed to split it in 2 and 3 notes,
by shortening the beam, ending on a rest, by using XS-7 (= let Don's pmx do
the work). I suppose there is no other way than by trial (as it is now:
making the line longer messed up the beam)?
214 4 0 6 0 4
1 1 20 .08
bt
./
ArbdI.85
Apl
w200m
\\let\qbsav\qb\
[ c34 c ][ c c ][ c6 c c c ][ c c c c ]
rb4 [ c14 c ][ c c ]
[ c43x5n g+ rb rb
\def\qb#1#2{\let\qb\qbsav\qb{#1}{*}}\
XS-7 d+ ] /
c44x5n s d e g c s
g-x5n s c e g d+ s
c-x5n sh d e g e+ s
rbx5n suH-22-3.5 rb e- g \slurtext{\roff{5}}\ d+ s+6 /
Thanks again for the help
Andre
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[TeX-music] MusiXTeX Key Signature Question -- Thanks
Thanks, Olivier, for your suggested method for setting up key signatures. It is exactly what I need to get going. As mentioned in the original post, the idea of including a key signature in a piping score is mostly a courtesy to non-pipers. I suppose "non-pipers" also include software packages intended for general musical use, such as abc . Despite its drawbacks, I have found MusiXTeX to be adequate for use in setting pipe scores in what pipers call "ceol beag" (light music) -- marches, dance tunes, and so forth. Legato being impossible on pipes, there is no need for slurs. On the other hand, special consideration needs to be given to the many gracenotes in any pipe tune. While single gracenotes occur often, many ornamentations (known as "movements") in a piece will consist of multiple gracenotes tied together with triple beams. The melody itself often consists of beamed groups with many dots and cuts. Macro definition is thus a necessity. In addition to macros for all the possible gracenote clusters, I define macros for beamed groups which take as arguments such things as beam slope, note pitches, and ornamentation names. These in turn are used for building up all the measures of a piece. For a tunebook project, I was able to manage the explosion of macro names by redefining measure names as needed in each tune. As a result, at tunebook level, I can input each tune, and then select whether to show harmony on bottom staff, as a separate part, and so on. Again, thanks for the help. -- Doug MacKenzie ___ TeX-music mailing list TeX-music@icking-music-archive.org http://icking-music-archive.org/mailman/listinfo/tex-music
Re: [TeX-music] MusiXTeX Key Signature Question
On Mon, 18 Sep 2006, [EMAIL PROTECTED] wrote: Hello -- A not-so-recent posting by "Siska, Adam" mentions "weird" key signatures. I have been wondering about this myself, but looking in the MusiXTeX sources has not shed any light. Can anyone explain the idea behind the way converting from a number to a group of sharps or flats is done? What I would like to do is produce a key signature with a natural in place of the third (i.e., last) sharp. Why? Because bagpipes are tuned to a scale which might be described as A-major (three sharps) with a flattened G#. Since G would normally be the third sharp, it seems accurate to write a natural in the key signature. In the normal piping repertoire, chromatic notes are never used, so pipers refer to notes as F and C, rather than F# and C#. In fact, piping scores usually omit the key signature altogether. (If this were not confusing enough, the instruments are tuned about a half-step sharp. In scores from Brittany, the notes are actually written a degree higher on the staff.) At this point, I cannot figure out what builds up the macro which gets invoked anytime a key signature is needed. A complete explanation would likely be of wide interest, but I would be grateful for just a hint on how this trick works. -- Doug MacKenzie | | WARNING: DON'T READ THIS REPLY (forget it) if all you're | interested in is the technical aspects !!! My reply is | irrelevant for you! | One of the pleasures of following the discussions on this list is that you always learn something new about music itself --- and this is one of the more interesting little items I have heard in a long time. Some time ago, we had some extended discussions about horn music and the notational subtleties involved (and which, by the way, create insurmountable hurdles for PMX!), as distinguished, e.g., from clarinet music, in particular in popular and jazz music. That probably was weird enough to the pianists among us; but what we now learn about the bag pipe is really fascinatingly exotic, even to another double reed player - oboe - like me (the bag pipe is, after all, a double reed instrument). So thanks very much, Doug, for this wonderful lesson in musicology! ccn. -- . Prof.Dr. Cornelius C. Noack Phones: Inst. f. Theor. Physik FB 1 office : +49 (421) 218-2427 Universit"at Bremen secretary: -2422 Otto-Hahn-Allee Fax : -4869 D - 28334 Bremen home : +49 (421) 34 22 36 Fax: 346 7872 E-mail: noack at itp.uni-bremen.de or ccnoack at mailaps.org WWW-page: www.itp.uni-bremen.de/~noack . ___ TeX-music mailing list TeX-music@icking-music-archive.org http://icking-music-archive.org/mailman/listinfo/tex-music
[TeX-music] MusiXTeX Key Signature Question
Hi Doug, As I go every holyday in Scotland, I have to help you with your problem. Here is a very dirty solution, but it produces what you want. Olivier 8< --- \input musixtex \makeatletter [EMAIL PROTECTED]@s=\z@ \else [EMAIL PROTECTED]@lii [EMAIL PROTECTED]>\z@ [EMAIL PROTECTED]@n [EMAIL PROTECTED]@[EMAIL PROTECTED]@n [EMAIL PROTECTED]@[EMAIL PROTECTED]@[EMAIL PROTECTED] [EMAIL PROTECTED]@@[EMAIL PROTECTED] [EMAIL PROTECTED]@ur\fiv@ [EMAIL PROTECTED]@\nin@ [EMAIL PROTECTED]@[EMAIL PROTECTED] [EMAIL PROTECTED]@l [EMAIL PROTECTED]<\z@ [EMAIL PROTECTED]@ [EMAIL PROTECTED]@ne\nin@ [EMAIL PROTECTED]@\fiv@ [EMAIL PROTECTED]@@[EMAIL PROTECTED] [EMAIL PROTECTED]@[EMAIL PROTECTED] [EMAIL PROTECTED]@[EMAIL PROTECTED]@n [EMAIL PROTECTED]@\thr@@\fi \fi} [EMAIL PROTECTED]@s>[EMAIL PROTECTED]@[EMAIL PROTECTED] \makeatother --- 1 1 4 4 0 6 0 3 1 2 20 0 t ./ Abr a43 b c d | e f g a | b c d e | f g a g / f e d c | b a g f | e d c b | a0 / 8< ___ TeX-music mailing list TeX-music@icking-music-archive.org http://icking-music-archive.org/mailman/listinfo/tex-music
