Phil Taylor wrote:
>
> Bruce Olson wrote:
> >>
> >> Phil Taylor wrote:
> >> >
> >>
> >> >
> >> > The other scale that I can't find any examples for is the pentatonic
> >> > Pi-5. I suspect that there aren't any, as that scale involves dropping
> >> > the fifth, and it's hard to i
Bruce Olson wrote:
>>
>> Phil Taylor wrote:
>> >
>>
>> >
>> > The other scale that I can't find any examples for is the pentatonic
>> > Pi-5. I suspect that there aren't any, as that scale involves dropping
>> > the fifth, and it's hard to imagine a tune without a fifth in it.
>>
Bruce Olson wrote:
>
> Phil Taylor wrote:
> >
>
> >
> > The other scale that I can't find any examples for is the pentatonic
> > Pi-5. I suspect that there aren't any, as that scale involves dropping
> > the fifth, and it's hard to imagine a tune without a fifth in it.
> >
> > P
I think it was Bryan that wrote
"Whichever you like as long as you specify all the notes unambiguosly."
It has just occurred to me that the notion that the notes are in some way
more fundamental than the mode is actually wrong. It assumes that the tune
is always played/sung the same way. That d
Phil Taylor wrote:
>
>
> The other scale that I can't find any examples for is the pentatonic
> Pi-5. I suspect that there aren't any, as that scale involves dropping
> the fifth, and it's hard to imagine a tune without a fifth in it.
>
> Phil Taylor
>
Pi-5 is pretty rare.
Bruce Olsen wrote:
>Phil Taylor wrote:
>>
>>
>> I played through and edited all the tunes I used to make sure
>> that the scoring mode and tune mode were the same.
>>
>
>
>I'm impressed. That's a lot of work. Over half the time it takes me to
>stressed note code a tune is spent on figuring out wh
Phil Taylor wrote:
>
>
> I played through and edited all the tunes I used to make sure
> that the scoring mode and tune mode were the same.
>
I'm impressed. That's a lot of work. Over half the time it takes me to
stressed note code a tune is spent on figuring out which are the
significant not
email address:
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-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED]] On Behalf Of Bruce Olson
Sent: Tuesday, July 23, 2002 6:06 AM
To: [EMAIL PROTECTED]
Subject: Re: [abcusers] Key/Mode algorithm
Robert Bley-Vroman wrote:
>
>
Robert Bley-Vroman wrote:
>
> On Sun, 21 Jul 2002 17:09:00 -0400 Bruce Olson <[EMAIL PROTECTED]> wrote:
>
> >Mode distribution: Highest 31 modes (of 179) of the 6601 tunes
> >stressed coded in file Comcode.TXT on my website.
>
>
>
> This table is wonderful! Thank you. I've been wanting somet
Robert Bley-Vroman writes:
|
| Bruce wrote, in passing, that if abc eliminates key+mode in K:,
|
| >we can cut out ambiguity in
| >notation and put it into interpretation where it belongs.
|
| It seems to me that as long as abc uses any kind of key signature (with
| sharps or flats), the chief amb
On Sun, 21 Jul 2002 17:09:00 -0400 Bruce Olson <[EMAIL PROTECTED]> wrote:
>Mode distribution: Highest 31 modes (of 179) of the 6601 tunes
>stressed coded in file Comcode.TXT on my website.
This table is wonderful! Thank you. I've been wanting something like this.
It give some sort of non-spec
Bruce Olsen wrote:
>I must admit that I didn't use it, because I don't think that a
>statistical approach is needed here. [I did actually program that
>data collection into my ABC player program, but didn't have the
>patience to run through a large number of tunes in a variety of
>modes and colle
Laurie wrote:
>I note that you don't distinguish between Aeolian and minor - whereas I'd
>expect a piece in A minor to attract some E7 harmonies with ^g leading
>notes - and indeed even ^f g^ double leading notes.
No, I only distinguished those modes which are used in the K: field of
abc. Thos
For what it's worth I have implemented this in Muse2 (which I do hope to get
out the door soon).
I've used Phil's numbers exactly.
I note that you don't distinguish between Aeolian and minor - whereas I'd
expect a piece in A minor to attract some E7 harmonies with ^g leading
notes - and indeed e
Phil Taylor wrote:
>
> John Walsh wrote:
>
> > Which brings up a thought: this list would be a good forum for
> >developers to publish algorithms and little bits of code of which they're
> >particularly proud---or maybe just links to them. Then other developers
> >could use it, and, out of p
This is how the algorithm I'm testing at the moment works.
First I collected together a file of about 350 tunes, taken
mostly from Henrik Norbeck's site and from Jack Campin's
mode tutorial (because those people are careful with their
transcriptions and their key assignments are generally
correct
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