Laura Conrad wrote -
Currently, the abc2midi transposer only understands the key
signature. So if I have a piece in D dorian, and I transpose it up 3
half notes, the transposed output is in Ab. It should be in F dorian.
This is an inevitable consequence of using tonic/mode in the K: command.
Laurie Why does transposition need to understand the mode?
Laura Currently, the abc2midi transposer only understands the key
signature. So if I have a piece in D dorian, and I transpose it up 3 half
notes, the transposed output is in Ab. It should be in F dorian.
Oh, is that all?
I would
Laurie Why does transposition need to understand the mode?
Laura Currently, the abc2midi transposer only understands the key
signature. So if I have a piece in D dorian, and I transpose it up 3 half
notes, the transposed output is in Ab. It should be in F dorian.
Oh, is that all?
I would
:! We need:
:! * transposition (which understands the mode of what's being
:! transposed)
: Why does transposition need to understand the mode?
I had in mind a problem with the way BarFly used to transpose. If the
tune is *strictly* in a mode it worked okay, but if you transposed a
| Of course if a key signature had a note flatted and the music had it
| double-sharped then (1) a triple-sharp would be needed and (2) the input
| file is silly anyway so who cares?
|
| No (1) is wrong because accidentals are absolute, rather than relative.
Beg to differ. If it was flatted in
Jack == Jack Campin [EMAIL PROTECTED] writes:
Currently, the abc2midi transposer only understands the key
signature. So if I have a piece in D dorian, and I transpose
it up 3 half notes, the transposed output is in Ab. It should
be in F dorian.
This is an inevitable
:! We need:
:! * transposition (which understands the mode of what's being
:! transposed)
: Why does transposition need to understand the mode?
I had in mind a problem with the way BarFly used to transpose. If the
tune is *strictly* in a mode it worked okay, but if you transposed a
I've begun to make a true type font for renaissance music, and I
hope to adapt it soon for Abcm2ps, or other applications.
It can be useful to recreate historical manuscripts, like the
Playford one and those of the Village Music Project.
The problem is that I can't extract fonts used by abcm2ps
On 22 Jun 2002, Laura Conrad wrote:
laurie == laurie griffiths Laurie writes:
laurie Why does transposition need to understand the mode?
Currently, the abc2midi transposer only understands the key
signature. So if I have a piece in D dorian, and I transpose it up 3
half notes, the
| laurie == laurie griffiths Laurie writes:
|
| laurie Why does transposition need to understand the mode?
|
Well, I have a little perl script that I use a lot to transpose
fragments (that may not include a K: line). It's convenient, but I do
have to watch its accidentals. For
One reason for preferring sharps for guitar chords is that if they are
actually to be played on a *guitar*, you can always move a shape up the neck
by a fret, so that I can immediately think of several ways to play A#. Of
course they need barlocks, but there's not always a way round that. On
Forgeot Eric wrote:
I've begun to make a true type font for renaissance music,...
Great work, Eric. Any chance of a Mac version? I used to have a program
for porting TrueType fonts between MAc and Windows, but it seems I've
mislaid it.
Frank Nordberg
http://www,musicaviva.com
To
Frank Nordberg [EMAIL PROTECTED] wrote:
I used to have a program
for porting TrueType fonts between MAc and Windows, but it seems I've
mislaid it.
TT Converter usually works for Windows-to-Mac:
http://www.acidfonts.com/fontutilities.htm
I've used it with about 80% success, but it may work
How should a program handle this:
M:3/4
L:1/4
A5 A| ...
I think what the author was intending was:
A4- AA|
but since there is no '1/2 dot' in music that I know of, there is really no note head
that corresponds to A5. Since beaming in ABC is defined by the music and not the
program, I had
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