> Richard> Basically, I think the original abc2mtex model was a good
> Richard> and helpful way to look at it - go through the file
> Richard> replacing each individual tune with something that a
> Richard> typesetter can treat as a tune, and then hand the whole
> Richard> issue
Sorry, don't know what to say ...
> >
> > I've no idea what he looked like, even.
> >
> There's a picture of him here:
>
> http://www.musements.co.uk/muse/CV.html
>
Thank you for the picture
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Claire Curtis wrote:
> I too have tried to unsubscribe, to no avail.
> I looked at the source of the web page, and may have found
> the problem.
> (Those of you who are programmers, please double check).
> ...
I've just tried the html-code (from IE on WNT to Apache on WNT).
There's nothing wrong
Jon wrote:
> Tenor sets can be very hard to find in the UK too.
> As I mentioned before, I opt for singles but your type
> of solution is quite common - I used to do that too.
So it's not my invention ;-)
> If you wanted to try ordering sets from the UK, you could try
> Redwing Strings from Mally
Frank Nordberg wrote:
> Jon Freeman wrote:
> >
> > You will probably get better answers but I would suggest scale
length and
> > frets are the clue with the tenor running from somewhere round about
20" for
> > a short scale 17 fret job to maybe 23" for a 19 fretter compared to,
I think
> > around
Don't you think it's time to change the subject-line of this thread?
Toni
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Laurie wrote:
> ... but we need to understand what this might mean.
>
> X:0
> T:Three blind mice
> L:1/8
> M:4/4
> K:Gmaj
> Q:1/4=240
> [B4 d]fed [A4c]edc | [G8 B/]c/B/c/ B/c/B/c/ B4 ||
> w:Three blind mice
>
> My understanding is that "Three" would matches "B4" and
> therefore "fed"
> would ge
Starling [mailto:[EMAIL PROTECTED]] wrote:
> Toni Schilling <[EMAIL PROTECTED]> writes:
> : Question: applies the n to all notes in the chord as a multiplier or
> : only to those which have no length modifier?
>
> Guh, definitely not a multiplier.
Until now I prefered &
Henrik Norbeck wrote:
> Toni Schilling wrote:
> > but something like this:
> > ABCD | EFGa | b/a/b/a/ d/c/d/c/
> [A2B2][C2D2] | DCBA |
> > meaning
> >"start local voice one"
> >"start or continue local voice two"
> >&qu
My vote is: first=melody shortest=length.
Why:
1) gives you two bits of syntx to write two bits of info
2) shortest can't be the melody, because the accompaniment could be
shorter
3) shortes is ok to give the length, because you can add a rest after
the chord, to delay the following note.
** H
Jack Campin wrote:
> Or did I get the semantics wrong? I'd expect [d6z2]2 to mean the same
> as [d12z4] (whatever *that* meant)
Sorry, you are wrong. If the ]2 is just multiplied to the length
of the notes inside the chord, there would be no benefit of the [..]2
notation.
You can write better th
Bryan Creer wrote:
>
> However, I am a bit confused by -
>
> >So if you need the A4 as first listed note in the chord
> >for some other reason (e.g. to indicate the melody),
> >you can give the chord an other length whith ]2
>
> I had assumed the number after the chord was intended to
> re
> Laurie wrote:
> ...
> To summarise it so you can see it at a glance, here it is as
> a table. The
> final sequence is the first two chords in reverse order e.g. G7=>C.
>
> K:Cmaj CG7 F
> K:Ddor Dm E (G, Bm)
> K:Ephr EFmaj7 G7 Am
> K:Gmix GF (C)
> K:Aaeo
Sorry, for posting again on this subject.
>From time to time there were people who could not unsubscribe from the
list.
The answer was in most cases to search for the correct subscribed
address
in the email-header and then unsubscribe with this address.
Today I found that the header from abcuser
Laura Conrad wrote
> Atte> Or better (IMHO): an interface that works the way lily
> Atte> works. That is the note is asumed to be the closed to the
> Atte> previous one.
>
> I disagree -- that makes the notes too context dependant, so you can't
> just cut and paste a snippet into an
Atte Andre Jensen wrote
> *formatting is seperated from the music itself
*anything else* is separated from the music information itself.
I would say, this is the most important thing. All other resons
are based on this one in some way.
The information is now a kind of stream-format which open
> Jeff Bigler wrote:
> ...
I totally agree with all.
And if we handle it like this the only problem
is to find out if the _writer_ knows what ties and slurs are.
Toni
To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
> Could be that you are subscribed, or posting using an
> alias. Since I
> turned on the option that allows only list members to post,
> some people
> who have aliases have been having problems posting.
Can you hear me on ABC?
(Sorry, it seems it's getting quiet on ABC.
Or am I boring
> John Chambers wrote:
> ...
> Would you want to use a non-printing rest in a drum part? If so, we
> might want to discuss what do do with this use of 'x'. It might not
> be too late to change it. I've wondered if a better solution might be
> to have a general "don't print the next symbol" m
> Hmmm ... Y'know; that might not be too difficult. For the "x" note
> heads, it would have been nice if 'x' hadn't been already taken up as
> an invisible rest; it would have made an intuitively-correct modifier
> for this purpose. Maybe we could use '*' for this purpose, so the *e
Why not u
>
> When practicing I always have the problem to remember or to write down
> (hopefully) nice ideas. And two days later I start again from scratch,
> trying different sticks/fingers, patterns, rolls, colors of sound
> (sorry, is this english?), playing short or long sounding, ...
>
> I can note
Hi.
A little bit of this thread ..
Are there any Bodhran-players out there?
And do you have any suggestions to notate *nice* bodhran-playing?
If you do not only play (in a simple way) to reels,jigs,.. but also to
any folk,jazz,swing and what ever you want or if you think of people
like J.J.Kelly y
> On Fri, 17 May 2002, Toni Schilling wrote:
>
> > I think that anyone who writes to list should be intrested
> > in getting response. So it's no problem, if only subscribers
> > can post to the list
>
> Is that a "yes"-vote?
> --
oh so
Bryan wrote:
> This morning I had one junk email from the abcusers list and
> seven talking
> about it (here's another). Just delete junk and forget it.
You whouldn't have get those seven emails and this one
without the junk mail.
I think that anyone who writes to list should be intrested
in
> From: Laurie (ukonline) [mailto:[EMAIL PROTECTED]]
...
> My own guess is that D/A means "any combination of the notes
> D F# and A in
> any octaves, so long as it contains at least one of each note
> and the lowest
> note of all of them is an A in some octave".
Nice. This should be enough for
Thank you!
> -Original Message-
> From: John Walsh [SMTP:[EMAIL PROTECTED]]
> Sent: Saturday, February 02, 2002 22:15
> To: [EMAIL PROTECTED]
> Subject: Re: [abcusers] ties and accidentals
>
> This thread keeps going on, but I have the feeling that there
> has
> been agreeme
John writes:
> Well, now; I'm not sure I'd agree with that. Granted, I'd like to see
> such a computerized notation, and I suspect that both the lilypond
> and MusicML people are making good progress toward such a goal. But I
> don't think that we should push ABC in this direction. ABC's nich
> ABC is not a pseudo-staff-notation, nor a pseudo-MIDI-format: it is a
> standalone music notation. The problem with ties and accidentals is
> easily solved; it's just to make a decision in either direction. Let's
> say we hereby decide that
...
> The important thing is that there is no doubt abo
Hi,
I had the same problem last year. I could not unsubscribe.
For a couple of weeks I just ignored the list than it became
interresting for me again.
So I did not try to unsubscribe anymore. Don't know if it works now.
Toni
> -Original Message-
> From: Cynthia [SMTP:[EMAIL PROTECTED]]
>
-Original Message-
From: Laurie Griffiths [SMTP:[EMAIL PROTECTED]]
Sent: Wednesday, December 19, 2001 1:39 AM
To: [EMAIL PROTECTED]
Subject:Re: [abcusers] Initial repeats
> I think it's a bit late for that.
May be that's true, but ...
> Although there are some problems t
Why not use |: and :| for onbar-repeats and /: and :/ for inbar-repeats.
Surrounded with whitespace a parser could handle this as separate
tokens and it will not conflict with the A/2 syntax.
Also you can be explicith now if needed:
| /: abc abc | abc abc :/ | abc /: abc | abc :/ abc |
Ton
This Toni Schilling (35, programmer, musician)
from Jena in Germany. I'm new on the abcusers list.
Hallo to you all!
I heart about abc years before, but never took the time to check it.
Now I did, and ... it's great.
Could you give me a hint where to find the new abc standard you
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