Jack Campin wrote:
>> Secondly, it is MUCH easier for a staff-notation generator to suppress
>> the drawing of P: fields in every voice other than V:1 than it would
>> be for a player program to locate P: fields outside of the voice that
>> it is currently parsing and then figure out which point
>> It would look damn silly to have
>> "Scherzo" or other section marker repeated in every single voice;
> you can't use "Scherzo" to control part order - you've got
> to use 'A'..'Z' as specified in the standard which you quote above.
That's a limitation which should have been fixed long ago. O
Laurie wrote:
>Phil asked in passing "(Do any player programs other than BarFly currently
>implement part-order playing in multivoice tunes? If so, how do they do
>it?)"
>
>Muse doesn't. When I wrote the playing stuff I couldn't figure out how P:
>was supposed to interact with repeat structures
Phil asked in passing "(Do any player programs other than BarFly currently
implement part-order playing in multivoice tunes? If so, how do they do
it?)"
Muse doesn't. When I wrote the playing stuff I couldn't figure out how P:
was supposed to interact with repeat structures, let alone voices -
Jack Campin wrote:
>What the 1.6 standard says is
>
>: P - parts; can be used in the header to state the order in which
>: the tune parts are played, i.e. P:ABABCDCD, and then inside the
>: tune to mark each part, i.e. P:A or P:B.
>
>Parts of a voice are not parts of a tune.
The way BarFly impl
>>> You have to put each P: field in all of the voices if you want
>>> to control playing order.
>>> Same goes for M: and K: fields (assuming that you want all the
>>> voices to change metre and key at the same point).
>> The latter pair is actually useful for some picese.
> Yes, even Bach did it.
Jeff Bigler wrote:
>> You have to put each P: field in all of the voices if you want to
>> control playing order.
>>
>> Same goes for M: and K: fields (assuming that you want all the voices
>> to change metre and key at the same point).
>
>The latter pair is actually useful for some picese. To g
> Date: Mon, 3 Jun 2002 19:56:25 +0100
> From: [EMAIL PROTECTED] (Phil Taylor)
>
> You have to put each P: field in all of the voices if you want to
> control playing order.
>
> Same goes for M: and K: fields (assuming that you want all the voices
> to change metre and key at the same point).
T
Jack Campin wrote:
>> All fields in the tune (except possibly those which come before the first
>> V: field) are voice dependent. After the first V: there is nowhere to
>> put a field which is not within a voice, so all fields apply only to the
>> voice in which they are located.
>
>How on earth
> All fields in the tune (except possibly those which come before the first
> V: field) are voice dependent. After the first V: there is nowhere to
> put a field which is not within a voice, so all fields apply only to the
> voice in which they are located.
How on earth does that let you control
Thank you for the answer you were very clear.
Kind regards,
Luis Pablo Gasparotto
Jean-Francois Moine wrote:
TTY-Grin-jef-3CFA49A8.77A49C64@jef">
On Mon, 27 May 2002 17:03:17 +0100, [EMAIL PROTECTED] (Phil Taylor) wrote:
Luis Pablo Gasparotto wrote:
Is the P: field voice d
On Mon, 27 May 2002 17:03:17 +0100, [EMAIL PROTECTED] (Phil
Taylor) wrote:
>Luis Pablo Gasparotto wrote:
>
>>Is the P: field voice dependent or not?
>
>All fields in the tune (except possibly those which come before the first
>V: field) are voice dependent. After the first V: there is nowhere to
Luis Pablo Gasparotto wrote:
>Is the P: field voice dependent or not?
All fields in the tune (except possibly those which come before the first
V: field) are voice dependent. After the first V: there is nowhere to
put a field which is not within a voice, so all fields apply only to the
voice in
Hi,
Is the P: field voice dependent or not?
If the answer is not, why abc2abc extracts it only for the last voice?
Kind regards,
Luis Pablo Gasparotto
To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
14 matches
Mail list logo
