FORMAT FOR CCARH S-FILES (source files)
---------------------------------------
Version 4.02
(05/03/2003)
(revised 4-26-05)
(revised 1-06-06)
(revised 4-22-08)
(revised 1-11-09)
A CCARH S-file is organized as a set of variable length
records. Each S-file describes the music in one musical part
of a musical work. A musical part may consist of one or more
lines of music. For example, Oboe I and Oboe II may be
combined on one staff and therefore be considered as one
musical part (Oboes). Music on the grand staff may be
considered as one or two parts. If musical notation or
symbols cross between the staves of the grand staff, then the
music on the grand staff must be treated as one musical
part.
An S-file has three sections: a header, the main section
containing the primary musical data, and an auxiliary section
containing footnote data. The third section of the S-file is
optional.
The first nine records of the S-file header provide infor-
mation on the encoding process (date and encoder), the musical
work (work and movement numbers and titles), and the source of the
data. Record 10 identifies the part groups to which this part
belongs. For example, there may be files for Oboe I, Oboe II and
Oboe I,II combined. Oboe I,II would belong to the group called
"fullscore," whereas the Oboe I and Oboe II parts by themselves
would belong to the group called "parts" (but not to fullscore).
In addition, if the Oboe parts are musically independent, they
might belong to a group called "tracks." The names and arrange-
ments of the groups and parts is left to the encoder. For each
group to which a part belongs, there is a record (starting with
record 12) giving the group name and the sequence number of that
part in that group. The arrangement of the parts into various
groups allows flexibility in printing full scores, short scores,
and individual instrumental parts. It makes possible the repre-
sentation of vocal soloist parts both as separate parts (for
analysis) and combined with other soloists (e.g., as in recitatives).
It makes possible the representation of keyboard works both as
single files (for printing) and as separate tracks (for analysis).
Header Format
record 1: free
record 2: free
record 3: free
record 4: [date] [encoder]
record 5: WK#:[work number] MV#:[movement number]
record 6: [source]
record 7: [work title]
record 8: [movement title]
record 9: [name of part]
record 10: free (we put in [mode], [movement type] and [voice])
record 11: Group memberships: [name1] [name2] ...
record 12: [name1]: part [x] or [number in group]
record 13: ...
... (as needed)
Note: In the typesetting process, a part name (record 9) can be
forced onto two lines by incerting "//" at the desired
break.
The main section of an S-file follows directly after the
header. The end of the main section is marked by a special
end-of-movement record consisting of the five characters,
"/FINE". All records between the header and the /FINE record
are data records (with the exception of records between comment
designator flags). The order of these records is an integral
part of the information contained in the file. The first
character in each data record functions as a control code,
describing the type of information contained in the record.
For certain data types, such as notes, the first character also
contains data information. This system of describing record
types with a control code allows for significant future
expansion of the the S-file format. At the moment, there are
twenty-one control codes and fourteen data types.
The optional footnote section begins after the /FINE
record. The end of an S-file is marked by a special end-of-file
record consisting of the four characters, "/END". If there is
no footnote section, the /FINE record may be omitted. The
format of the footnote section is left up to discretion of the
encoder. The footnote section may contain musical data. In
this case, a record with an exclamation mark (!) in column one
is used to signal that records in the musical data format will
follow. A second record with an (!) in column one will signal
that the the following records are no longer in the musical data
format.
S-file data may come from several sources. There may
be more than one original source, and there may also be one
or more levels of editorial additions/corrections to the musical
data. It is important that the S-file format be able to dis-
tinguish between these various sources and levels of information.
Because of the complicated nature of this problem, several
methods are provided for tagging data according to source.
1. Level numbers
The principal technique for distinguishing between sources
and/or levels of editing are the level numbers. Each data record
has a column set asside for labelling that record as belonging to
a particular level. In this manner, any musical attributes (e.g.
time signature, key, tempo designation), any musical directives
(e.g. dynamics, tempo changes, etc.), any musical notes or bar
lines may be identified with a particular source or level of
editing. In addition, a wide variety of musical notations which
are attached to a note such as ornaments, articulations, slurs,
phrase markings, fingerings, local dynamics, etc., may assigned a
level number. In this way, the same note may have editorial
markings from several different levels attached to it. There are
35 possible levels, and the assignment of meaning to these levels
is the responsibility of the encoder.
2. Footnotes
Every data record has a column set asside for specifying
a footnote. The set of characters used in the footnote column
and the assignment of their meaning is left to the discretion of
the encoder. The purpose of the footnotes is to provide the
encoder the opportunity to add additional information at various
points in the data file. Such information might include
alternate readings, additional measures of music, written out
ornaments, or any discussion of the sources or the editorial
process.
3. Font designators
One way that editions distinguish between the various
levels of editing is by using different fonts. For example,
upright as opposed to italic fonts may be used to indicate
designations which appear in the orignal source. Source
distinctions may also be indicated through the use of different
font sizes. The S-file font designator provides a method of
specifying different fonts and thereby distinguishing the
sources of information. The font designator is a one digit
number, the interpretation of which is left up to the encoder.
In cases where the font designator is introduced as part of a
line of ASCII data (e.g., "un poco f", with the "f" being in a
different font from the "un poco"), the character "!" followed
immediately by the font number is used (e.g., un poco !1f, where
1 in this example might be the encoder's designator for the
standard music font).
Data Types
At the moment there are fourteen data types:
1. musical attributes
2. musical directions
3. bar lines
4. regular notes and rests
5. extra note in a regular chord
6. grace notes and cue notes
7. extra grace/cue note in a chord
8. figured harmony
9. forward or back space in time
10. continuation line
11. comments
12. end of music/end of file
13. sound directions
14. print suggestions
Special concepts and requirements for CCARH music printing
In addition to the formal structure of the S-file, there are some
extra rules that must be followed in order for the CCARH Autoset program
to process the files for display and printing.
1. Concept of division pointer
S-files are a set of ordered records; roughly speaking, the order
is chronological. The time keeper is an invisible pointer called
the division pointer. The division pointer is set to 1 at the
beginning of each measure. Duration values in columns 6-8 (regular
notes and rests, irests and backups) advance or backup the division
pointer. The division pointer should not be backed up to less than
one. You cannot backup over a measure boundary. The time length
of a measure is defined by the greatest value attained by the
division pointer. The CCARH Autoset program requires that the
final value of the division pointer be equal to its greatest value.
2. Concept of the figure division pointer
Whereas figured harmonies are normally located on a division
pointer boundary, it sometimes happens that we would like figured
harmonies to be offset (forward) from a division pointer. In this
case, the offset value is determined by the figure division pointer.
For each advance of the division pointer, the figure division
pointer is set to zero. The figure division pointer is advanced
by figured harmony data by the amount specified in columns 6-8.
The CCARH Autoset program requires that the sum of a division
pointer and its associated figure division pointer must always be
less than the final value of the division pointer (time length
of the measure).
3. Concept of the musical direction offset
Musical directions are normally located on a division pointer
boundary, but there are occasions when we would like musical
directions to be offset (forward) from a division pointer.
In this case, the offset value is contained in columns 6-8.
The CCARH Autoset program requires that the sum of a division
pointer any musical direction offset associated with it must
always be less than the final value of the division pointer
(time length of the measure).
4. Concept of the cue note pointer
Cue notes do not advance the division pointer; they have their
own time pointer, the cue note pointer. Any advance of the
division pointer sets the cue note pointer to zero. The cue note
pointer is advanced by the note value of the cue note. In this
respect, cue notes are not as flexible as regular notes; i.e.,
the set of possible lengths is limited to what regular notation
allows. Autoset converts the cue note duration (e.g., eighth note)
into a fixed number of divisions, and this amount is added to
the division pointer to determine the location of the cue note.
The CCARH Autoset program requires that the final value of the
cue note pointer + the division pointer must always be less than
the final value of the division pointer (time length of the
measure).
5. Grace notes
Grace notes take their logical position from the value of the
division pointer. As far as Autoset is concerned, grace notes
are "piled on top of" whatever regular musical object comes next
in the file. Space is later made for them to precede that object.
Graces note normally precede regular notes; but they may also
precede rests or a measure line.
6. Order of objects at the end of a measure
When the division pointer is at its greatest (final) value, it
is still possible to place objects of the types: musical attributes
and musical directions. When both types occur at the end of a
measure, The CCARH Autoset program requires that musical attributes
(i.e., records starting with $) be placed first, followed by
musical directions (i.e., records starting with *). Left
unexplained at this point is where grace notes fit into this order
(since grace notes can also occur at the end of a measure).
I don't know the answer.
Data Format -- control code in column one
1. Musical attributes: control code = $
column 1: "$"
column 2: level number (optional)
column 3: footnote column
columns 4--80: attribute fields
record may contain one or more fields; fields are
initiated by the field identifier and terminated by a
blank. In the case of clefs and directives, the
field identifier may contain a number, which is the
staff (1 or 2 at the moment) to which the clef or
directive belongs. The absence of a number indicates
staff number one.
field field
field type identifier data type
---------------------- ---------- ---------
key K: integer (integer)
divisions per quarter note Q: pos. int.
time designation T: two integers
clef C: integer
clef C#: integer
transposing part X: integer
number of staves for part S: integer (def = 1)
number of instruments represented I: integer (def = 1)
directive (last field on line) D: ASCII string
directive (last field on line) D#: ASCII string
example: K:-2 Q:8 T:3/8 C:4 C2:22
D:Allegro ma non troppo
key code: The numbers -7 to +7 are reserved for standard
key signatures. Minus numbers are for flats;
Positive numbers are for sharps.
It is possible to specify accidentals in
editorial brackets. Sharps may be added as a
positive number in parentheses; flats may be
added as a negative number in parentheses.
Examples: K:2(+1) K:0(+2) K:0(-1) K:-2(-1)
Not allowed: K:2(-1) K:-1(+1)
Other integer codes may be assigned at the
discretion of the encoder.
time designation: Time designation is given by two non-
negative integers separated by a slash (/).
The first integer is normally the time numerator
and the second integer is normally the time
denominator. Special codes for time signatures
are shown below:
1 1 = common time
0 0 = alla breve
2 0 = simple 2
3 0 = simple 3
Other codes with a 0 denominator may be devised
by the encoder to represent special time
notations.
divisions per quarter note: This parameter can only be
specified at the beginning of a piece or directly
after a controlling bar line. Specifying it
at other locations makes it difficult to combine
separate parts for printing and for MIDI output.
clef code: The standard clefs are represented by a positive
integer between 1 and 85. The tens digit of the
code specifies the clef sign and the ones digit
specifies the staff line to which the clef sign
refers.
clef sign codes: 0 = G-clef
1 = C-clef
2 = F-clef
3 = G-clef transposed down
(modern clef for tenors)
4 = C-clef " down
5 = F-clef " down
6 = G-clef " up
7 = C-clef " up
8 = F-clef " up
line numbers: 1 = highest line
5 = lowest line
note: a clef code = 0 denotes a single line staff
for use with certain percussion instruments
transposing part: This integer (positive or negative)
indicates a transposing interval, if there is
one, and/or a doubling of the part an octave
lower. The base-40 system is used. 23 means
the music sounds a fifth higher than it is
written; -23 means the music sounds a fifth
lower than it is written. Adding 1000 to the
number indicates a doubling of the part an
octave lower (e.g., vc and bass on the same
part or 8' and 16' sound on an organ pedal
line.)
number of staves: This integer (1 or 2 at the moment)
indicates the number of staves the part or
parts will be written on. This number can
change within a movement. The number of staves
will automatically be set to 2 if a "C2:" or
a "D2:" is encountered.
number of instruments represented: This integer (1 or more)
indicates the number of independent instruments
represented by the parts. If this number is more
than one, certain printing conventions will hold.
(1) notes with the same stem direction will be
combined into one chord
(2) if more than one voice is represented in a
measure on a staff, then each voice will
follow its own set of accidentals within
the measure.
directive: This ASCII string data group is terminated by
the end of the record. For this reason, if
a record contains a directive, the directive
must be the last field of the record. Directives
may contain font designators.
2. Musical directions: control code = *
column 1: "*"
columns 2-5: blank
columns 6-8: optional forward offset (measured in units of
duration and right justified in the field).
Use of this field allows the encoder to
place a musical direction at a division
that does not otherwise contain a musical
record.
columns 9-12: blank
columns 13-15: footnote and level information
column 13: footnote flag (blank = none)
column 14: level number (optional)
column 15: track number (necessary if two or more wedges,
sets of dashes, 8va transpositions, etc.)
column 16: blank
columns 17-18: type of direction (one or two letters)
1. rehearsal numbers/letters
A = segno sign
2. directions expressed in words
B = right justified ASCII string
C = centered ASCII string
D = left justified ASCII string
(may be combined with types E,F,G,H,J)
3. wedges
E = begin wedge
F = end wedge
(may be combined with types B,C,D,G)
4. letter dynamics
G = letter dynamics (given in ASCII string)
(may be combined with types B,C,D,E,F,H,J)
5. dashes ( - - - - - )
H = begin dashes (after words)
J = end dashes
(may be combined with types B,C,D,G)
6. pedal (pianoforte)
P = begin pedal: Ped.
Q = release pedal: *
7. rehearsal numbers or letters in a box
R = rehearsal number or letter
This generates a "D" type record with
a box around it. The font size and the
length of the string determine the size of
the box.
8. octave shifts (in the printing process)
U = shift notes up (usually by 8va)
V = shift notes down (usually by 8va)
W = stop shift
Notes that are difficult to notate because they are
very low (usually in bass clef) are shifted up; notes
that are difficult to notate because they are very
high (usually in treble clef) are shifted down.
9. tie terminators
X = tie terminator (generates a Mark object)
The pitch of the tie being terminated appears starting
in column 25.
Note: For the moment, the following arcane rule should be
observed in order to make the software work properly:
If a tie terminator is used to terminate a tie from
the previous measure, the previous "measure" record
should be so marked with a "&" flag.
column 19: location flag (optional)
' ' = indication below line
+ = indication above line
(may be used by types A,B,C,D,E,F,G,H)
column 20: blank
columns 21-23: numerical parameter (optional)
for types E and F: wedge spread
for types U and V: shift size (when not 8va)
Wedge spread is measured in tenths of staff line
space. 10 units = space between two staff lines
column 24: staff number (' ' = 1)
Used in the case of music represented on more than
one staff.
columns 25..: ASCII word string used in A,B,C,D,G and X
Examples:
1. cresc. - - - - - - - - ff
Starting record: DH cresc.
Ending record: JG ff
2. f <decreasing wedge> p
Starting record: GE 15 f
Ending record: FG 0 p
3. <increasing wedge> p
Starting record: E 0
Ending record FG 15 p
3. Bar line: control code = m
column 1: "m"
columns 2-7: "easure" = regular bar line
"dotted" = dotted bar line
"double" = (light) double bar line
"heavy1" = heavy bar line
"heavy2" = light-heavy double bar
"heavy3" = heavy-light double bar
"heavy4" = heavy-heavy double bar
column 8: empty
columns 9-12: optional bar number for this bar
(left justified)
columns 13-15: footnote and level information
column 13: footnote flag (blank = none)
column 14: level number (optional)
column 15: blank
column 16: blank
columns 17-80: flags: * = non-controlling bar line
~ = continue ~~~ across bar line
& = signals a non-terminated tie in previous bar
A = segno sign at bar
F = fermata sign over bar line
E = fermata sign under bar line
start-end# = start ending #
stop-end# = stop ending #
disc-end# = discontinue ending # line
:| = repeat backward
|: = repeat forward
Bar lines are divided into two types: controlling and
non-controlling. Controlling bar lines are lines which
run through an entire score. In this respect, they
mark the beginning of a new global measure. Non-
controlling bar lines need not have this property.
Non-controlling bar lines may not serve for line
breaks or page breaks. The designation of a bar line
as non-controlling is to some extent left to the
discretion of the encoder, e.g., in the case of a
double bar in the middle of a normal measure, this
could be controlling or non controlling. However, in
a case such as the Minuet from the Mozart opera "Don
Giovanni," where the score uses three different meters
simultaneously, the non-aligned bar lines must be
designated as non-controlling.
4. Regular note/rest control code = A,B,C,D,E,F,G or r
columns 1-4: pitch or rest, Cff0 to B##9, C4 = middle C
column 5: blank
columns 6-8: duration (right justified)
column 9: tie flag " " = no tie
"-" = tie
From the data in columns 1 to 9, (i.e., pitch and
duration), it is possible to reproduce aural output
of the musical part)
Note: Normally a note with a tie must be followed
immediately by another note of the same pitch
(in that pass). It can happen that a tie goes
nowhere (e.g. in first endings or da capos).
In this case you must use an "X" type musical
direction to terminate the tie. If the non-
terminated tie crosses a measure line, that
measure line should be flagged with a "&" flag.
columns 10-12: blanks
columns 13-15: footnote and level information, track #
column 13: footnote flag (blank = none)
column 14: level number (optional)
column 15: track number (optional)
Where more that one musical line is represented in
a part (e.g., Oboe I,II or keyboard music), it is
essential for purposes of analysis to know for each
note (or chord) the musical line or "track" to which
the note belongs. In some cases this is "interpretive"
information, provided as a service by the encoder.
column 16: blank
columns 17-22: note description
column 17: note type
L,b,w,h,q,e,s,t,x,y,z (Longa to 256th note)
H,Q,E,S,T,X,Y,Z (Half to 256th note)
B,A,9,8,7,6,5,4,3,2,1 (Longa to 256th cue-size)
When the control code = "r" (rest), column 17
may be blank. This signals the music typesetter
that the rest is to be represented as a centered
whole rest, regardless of its duration.
For half notes and smaller, both upper and lower
case letters will work, but in general the upper
case alternative should NOT be used. In the case
of notes, it makes absolutely no difference, but
with rests, using an upper case letter will cause
the music typesetter to replace the letter with a
blank when the part inclusion flag (General print
suggestion x) = 1. The part will be omitted from
a system when there are only whole rests in that
part in that system (See 14. Print Suggestions:
section 11).
column 18: dot flag " " = no dot
"." = single dot
":" = double dot
";" = triple dot
"!" = quadruple dot
column 19: actual accidental flag
# = sharp X = sharp-sharp
n = natural & = flat-flat
f = flat S = natural-sharp
x = double sharp F = natural-flat
columns 20-22: designation of time modification
Two digits, separated by a colon (:)
For standard cases, such as triplets (3:2),
the colon and the second digit are usually
omitted. The numbers 10--35 are
represented by the letters A--Z.
column 23: stem direction
d = down
u = up
" " = no stem
column 24: staff number (" " = 1)
Used in the case of music represented on more than
one staff.
column 25: blank
columns 26-31: beams (up to six levels = 256th note)
[ = start beam
= = continue beam
] = end beam
/ = forward hook
\ = backward hook
column 26 is for eighth beams,
27 for sixteenth,
...
columns 32-43: other notations
Codes are read from left to right. The character "&",
followed by a digit (1..9,A..Z), is used to indicate
a specified data level. All codes to the left of
the first "&" belong to the base data level.
The following codes are somewhat arbitrary. They
have been chosen for representing common musical
notation for Western music from the 16th through
the 19th centuries. The encoding scheme is not
complete but may be augmented and/or altered to
meet the special requirements of the music being
encoded.
for more on ties and slurs, see type 14, "print suggestions"
Ties, Slurs, Tuples Articulations and Accents
-------------------- --------------------------
- = tie A = vertical accent (/\)
(04/22/08) J = overhand back tie/slur V = vertical accent (\/)
(04/22/08) K = underhand back tie/slur > = horizontal accent
( = open slur1 . = staccato
) = close slur1 _ = legato
[ = open slur2 = = line with dot
] = close slur2 under it
{ = open slur3 i = spiccato
} = close slur3 , = breath mark
z = open slur4
x = close slur4
* = start tuplet Accidentals on ornaments (must
! = stop tuplet follow directly after ornament)
--------------------------------
Ornaments s = sharp (ss = double sharp)
---------- h = natural
t = tr. b = flat (bb = double flat)
r = turn u = next accidental is below
k = delayed turn rather than above ornament.
w = shake In case accidentals appear
~ = wavy line (trill) above and below ornament,
c = continue wavy line the accidental above should
M = mordant be encoded first.
j = slide U = next accidental follows
T = tremulo (New 01/07/06) tr. on same line (used only
with trills)
Technical Indications Other Indications and Codes
--------------------- ---------------------------
v = up bow S = arpeggiate (chords)
n = down bow F = upright fermata
o = harmonic E = inverted fermata
0 = open string G = G. P. (grand pause)
Q = thumb position (cello) p = piano (pp, ppp, etc.)
1,2,3,4,5 = fingering f = forte (ff, fff, etc., fp)
: = next fingering is a m = mezzo (mp, mf)
substitution e.g., Z = sfz (also sf)
5:42:1 = 5-4 Zp = sfp
2-1 R = rfz
^ = accidental above note
+ = cautionary/written
out accidental
Notations sorted by ASCII number
====================================
A = vertical accent (/\) a = unassigned
B = unassigned b = flat (bb = double flat) (for ornaments)
C = unassigned c = continue wavy line
D = unassigned d = unassigned
E = inverted fermata e = unassigned
F = upright fermata f = forte (ff, fff, etc., fp)
G = G. P. (grand pause) g = unassigned
H = unassigned h = natural (for ornaments)
I = unassigned i = spiccato
J = overhand back tie/slur j = slide
K = underhand back tie/slur k = delayed turn
L = unassigned l = unassigned
M = mordant m = mezzo (mp, mf)
N = unassigned n = down bow
O = unassigned o = harmonic
P = unassigned p = piano (pp, ppp, etc.)
Q = thumb position (cello) q = unassigned
R = rfz r = turn
S = arpeggiate (chords) s = sharp (ss = double sharp) (for ornaments)
T = tremulo (New 01/07/06) t = tr.
U = next accidental follows u = next accidental is below (for ornaments)
V = vertical accent (\/) v = up bow
W = unassigned w = shake
X = unassigned x = close slur4
Y = unassigned y = unassigned
Z = sfz (also sf) z = open slur4
Zp = sfp
Non alphabetic
------------------
33 ! = stop tuplet 54 6
34 " 55 7
35 # 56 8
36 $ 57 9
37 % 58 : = next fingering
38 & = editorial switch 59 ;
39 ' 60 <
40 ( = open slur1 61 = = line with dot under it
41 ) = close slur1 62 > = horizontal accent
42 * = start tuplet 63 ?
43 + = cautionary accidental 64 @ = dead space (do not assign)
44 , = breath mark 91 [ = open slur2
45 - = tie 92 \
46 . = staccato 93 ] = close slur2
47 / 94 ^ = accidental above note
48 0 = open string 95 _ = legato
49 1 = fingering 96 `
50 2 = fingering 123 { = open slur3
51 3 = fingering 124 |
52 4 = fingering 125 } = close slur3
53 5 = fingering 126 ~ = wavy line (trill)
columns 44-80: text: multiple lines of text set off by |
example: Deck|See|Fast
Special text codes: "-" at the end of a word generates
hyphons to the next text word
on that line.
"-" alone continues hyphons.
"_" at the end of a word generates
an extension line to the next word
on that line.
"_" alone continues the extension line.
"&" can be used as "pseudo-text" for the
purpose of ending an extension
line in the situation where there
is no further text (see "_" above).
Otherwise, the extension line may
continue indefinitely. The "&" is
silent; i.e., it generates no text
output.
",.!?;:" punctuation when followed by
"_" will be placed at the end of
the extension line.
"\0+" = word join character
"\+" = used to indicate a "space"
5. Extra note in a chord control code = ' ' (blank)
column 1: blank
columns 2-5: pitch (see regular note)
columns 6-8: blanks
column 9: tie flag
columns 10-42: same as for regular note
6. Grace notes, cue-notes control code = g or c
column 1: g = grace note
c = cue note (grace size, but written in time)
columns 2-5: pitch/rest (see regular note)
columns 6-7: blanks
column 8: note type
0 = eighth note with slash
1 = 256th note
2 = 128th note
3 = 64th note
4 = 32nd note
5 = 16th note
6 = 8th note
7 = quarter note
8 = half note
9 = whole note
A = breve
column 9: blank
columns 10-80: same as regular notes
6a. Arpeggios control code = g
The arpeggio must be represented as a special case of the
grace note class. Unlike other types of ornamentation, which
occupy space above or below the notes to which they apply,
the arpeggio is situated along side a chord (or possibly a
group of chords in the case of the grand staff) and requires
extra horizontal space, but not extra time-space. In this
key respect, it is like a grace note, and unlike any other
type of musical object.
column 1: g = grace note class)
columns 2-5: pitch
Any pitch will work. However the selection of
pitch will effect the amount of horizonal space
allocated for the arpeggio. The spacing rule
follows that used for grace notes. In particular,
a pitch which "bumps up" against the following
chord will be allocated more space.
columns 6-7: blanks
column 8: note type
X = arpeggio
columns 9-12: blanks
columns 13-15: footnote and level information, track #
column 13: footnote flag (blank = none)
column 14: level number (optional)
column 15: track number (optional)
column 16: blank
columns 17-21: vertical parameters for the arpeggio
column 17-18: space on staff where arpeggio begins
0 = space above staff line (G5 in treble clef)
1 = space between first and second lines (E5)
etc.
-1 = treble B5
column 19: double staff flag (grand staff only)
column 20-21: space on staff where arpeggio ends
4 = space above bottom line (F4 in treble clef)
5 = space below bottom line (D4 in treble clef)
etc.
columns 22-23: blanks
column 24: staff number (" " = 1)
Used in the case of music represented on more than
one staff.
columns 25--: not used
7. Extra Grace/Cue note in a chord
column 1: g or c (same as 7 above)
column 2: blank
columns 3-6: pitch (see regular note)
column 7: blank
column 8: note type (same as 7 above)
column 9: blank
columns 10-80: same as other grace and cue notes
8. Figured harmony control code = f
column 1: f = figured harmony
column 2: number of figure fields
columns 3-5: blanks
columns 6-8: advance of figure division pointer
Figures take their position from the first regular
note that follows the figure records. In the case
where the figures change during the duration of a
note, the advancing parameter (columns 6-8) is used
to indicate the elapsed time between changes. In
the case where a figure appears after a note has
sounded, the "blank" figure is used as a place
holder to advance the figure division pointer.
columns 9-12: blanks
columns 13-15: footnote and level information
column 13: footnote flag (blank = none)
column 14: level number (optional)
column 15: blank
column 16: blank
columns 17--: figure fields
The figure fields are set off by one or more blanks.
Figure numbers may extend from 1 to 19. They may be
modified in front by #,n,f, and x. They may be modified
afterward by #,n,f,+,\,/ and x. The #,n,f and x signs
may stand alone as figures. A "b" indicates a blank
figure. This is used as a place holder in a list and
also to start a continuation line with no figure. The
first figure field is for the top of the figure list.
6
For example, in the figure list #4 , the 6 would be
2
represented in the first field.
figures, signs and modifiers:
1 # = sharp
2 n = natural
3 f = flat
4 x = double sharp
5 + = augment (used with fig.
nos. 2,4,5, and 6)
6 \ = diminish (used with fig.
nos. 6 and 7)
7 - = short line in
8 _ = long line from previous figure
9 b = blank
10
...
It is possible to represent editorial figures by placing them
inside parentheses (). No empty space is permitted inside
parentheses.
9. Forward and Back space in time control code = i,b
columns 1-5: "irst " = forward space (invisible rest)
(or "irest")
"back " = backspace
columns 6-8: duration to skip forward or back up
columns 9--12: blanks
columns 13-15: footnote and level information
column 13: footnote flag (blank = none)
column 14: level number (optional)
column 15: blank
column 16: blank
column 17: pass number (optional)
This feature can be used to express parallel action
in the same part (e.g., keyboard music).
10. Continuation line control code = a
column 1: a = append to previous line
columns 2-16: blanks
columns 17-80: continuation of previous line
11. Comments control codes = & and @
column 1: @ = this line is a comment
& = enter comment mode. All subsequent
records are comments until another
record with a & in column 1 appears.
"&" in column one acts like a toggle
switch between "data" mode and "comment"
mode.
11a. Comments used as metacodes
The @ comment line can also be used to send metacodes.
At the moment, we have only one example of this.
1. Conversion of Musedata to SCORE page data.
a) Musical tracks
The @ comment line can be used to assign musical tracks
to staff numbers. In the SCORE conversion process, this
information is required when there are more than one
musical track in a file.
The convention in files representing two or more
instruments on a single staff is to assign a track
number to the ORed instrument numbers, with
instrument 1 being assigned track 1, instrument 2
being assinged track 2, and instrument 3 being assigned
track 4. Thus following track assignments:
Instrument 1 alone . . . track 1
Instrument 2 alone . . . track 2
Instruments 1 and 2 . . . track 3
Instrument 3 alone . . . track 4
Instruments 1 and 3 . . . track 5
etc.
The format for assigning tracks to staves is this:
@ SCORECON track assignment: (#,#) (#,#) (#,#) ...
where each track in the file is represented by an ordered
pair (#,#). The first # is the track number, and the
second number is the staff number. Even in the case
where there is only one staff, the SCORE conversion process
requires this information whenever there is more than one
track.
The @ SCORECON track assignment: line may appear several
times in a file, but it must always be at the beginning of
a measure before any musical data. NOTE: It is possible
in SCORE for a track to appear on more than one stave of the
grand staff within a measure, but each track must have a
"native" or "home" staff within each measure.
b) Instrument number
The @ comment line may be used to assign the instrument
number to a file. In the simplest case (default), the
instrument number is the same as the part number in the
scrcon group, and comment record is required, But in
certain cases, the instrument numbers will diverge from
the default. If two separate instruments are represented
in the same file, e.g., violoncello and basso, then the
instrument number must be a concatination of two numbers
in the form <1st number> * 100 + <2nd number>
The format for assigning instrument numbers is this:
@ SCORECON instrument number:<number>
c) Instrument transposition
The @ comment line may be used to communicate to the score
conversion a transposing interval. For transposing
instruments, the transposing interval is the difference
between what the instrument reads and what the instrument
sounds. This difference is represented by a base40 number.
For example, Clarinet in B-flat sounds a whole tone lower
read. The whole tone in base40 is represented by the
number 6. So one whole tone down would be -6. Because
of the necessity of representing both negative and positive
numbers, the interval size is expressed by the formula:
size number = (50 + base40-interval)
The format for assigning transpositions is this:
@ SCORECON transposition:<size number>
For Clarinets in B-file, the @ SCORECON record would be:
@ SCORECON transposition:44
d) Pitch transposition
The @ comment line may be used to communicate to the score
conversion a pitch transposing interval. This transposition
is applied on top of, that is, in addition to any instrument
transposition. The interval is represented by a base40 number.
The reason we need a pitch transposing interval in addition
to the instrument transposing interval is that the instrument
transposing interval is fixed at the beginning of a movement
and applies to all notes in a movement, e.g., Horns in E-flat.
But occasionally the instrument transposition interval changes
mid-movement. For example, Beethoven in his Third Symphony, 1st
movement, writes for horns in E-flat. But at measure 412, he
momentarily switches to horns in F. In this case, we have
horns in E-flat and horns in F notated on the same staff line,
so even if we could change the instrument transposition to
"horns in F," and represent this value on the staff line, the
computed note pitches would not all be correct.
The format for assigning pitch transpositions is this:
@ SCORECON pitch transposition:<size number>
where <size number>, a simple base40 value, is the amount
by which we need to alter the notated pitch so that the
correct sound is produced. In our Beethoven example above,
the notes played by the horns in F would be notated a whole
tone higher if they were interpreted as notes to be played
by horns in E-flat. So we need to add a whole step (6 in
base40) to every pitch, while these are notated for horns
in F. When the score switches back to horns in E-flat, the
pitch transposition must be reset to its default, which is
zero.
The @ SCORECON pitch transposition: line may appear several
times in a file, but it must always be at the beginning of
a measure before any musical data.
12. End of music data or end of file control code = /
column 1: /
columns 2-5: "FINE" = end of music data
"END" = end of file
In the case where there is no footnote section, the
"/FINE" record may be omitted.
13. Sound directions
column 1: S
A Sound Direction record can follow any record that produces
a sound or influences time in some way. This includes types
4 to 8: regular notes and rests, extra note in a regular
chord, grace notes and cue notes, extra grace/cue note in a
chord, and figured harmony.
Sound information can be given on a variety of attributes
connected with a note. This is a complicated subject, for
which I am not yet ready to attempt a full description. I
am inclined to suggest the following mechanism, as a first
pass at the problem:
Since sound directions may apply to a wide variety of
musical attributes, e.g., (1) the attack and dynamic
envelope of a note, (2) the time of attack and length of a
note (or rest), and (3) directions for performing ornaments,
it makes sense to use a multiple field system, similar to
the one used for musical attributes ($). In this case, each
field is introduced by a capital "C", followed immediately
by a number and a colon, e.g., "C8:" or "C23:". The meaning
is that the data following this designation (all columns up
to the next field designation or to the end of the record),
will apply to the item in the specified column number of the
previous record. For example, if the previous record were a
note, and there were a trill indicated by a "t" in column 33
of that record, then C33: would indicate a sound direction
field containing data on how that trill should be realized
in a sound file. Of course, each ornament, or pitch, or
duration, will have a different set of needs regarding its
sound specification, and these will have to receive further
definition as the specification for this type of record
develops. At the moment, our specific need relates to
specifying information for the following situations:
1. Onset and length of grace notes
Field designator: C1:
Data elements: p = steal time from previous note
f = steal time from following note
(default)
m = don't steal time; make time
(free cadenzas, etc.)
t<#> Case 1: stealing time
= percentage (0 to 100) of time
to steal for this note. The
time is specified as a
percentage of the duration of
the controlling note, even
though the time may not be
stolen from this note. The
controlling note is the first
regular note following the
grace note. In the case where
the grace note comes just
before a bar line, the first
note in the next measure is
used as the controlling note.
t<#> Case 2: making time
= number of real-time divisions
for this note. There is no
limit to the number used. All
regular notes sounding at this
point will play out their sound
and then wait while these grace
notes "do their thing."
Notes on adding time: If time is added by specifying "m" type
grace notes, there are two limitations that must be observed.
1. The total amount of time added must be representable by
divisions in all parts. For example, if a particular
part has 4 divisions per quarter note and a total of 25
divisions are added to a measure using C1:m records,
then this is the equivalent of adding 25 sixteenth notes.
In this case, all other parts must be able to represent
the time interval of a sixteenth in this measure. If
there is a part which has 2 divisions per quarter, then
a $ Q:4 record must be inserted at the beginning of
this measure, and all durations in the measure must be
doubled. A $ Q:2 record must be inserted at the
beginning of the next measure to restore the original
parameter.
2. A part which has extra time added must be assigned to
its own midi channel. For example, if there are 2 oboes
and the first oboe has a cadenza (as in the first movement
of Beethoven's 5th Symphony), then the oboes may not be
assigned to the same midi channel.
2. Onset and length of trills, turns, shakes, and wavy lines
Field designator: C32: to C43: (depending on where the
ornament is indicated)
Data elements: u = start on upper note (default)
m = start on main note
w = whole-step trill (default)
h = half-step trill
j = unison trill
e = include a two note turn at
the end of the trill
(whole step)
f = include a two note turn at
the end of the trill
(half step)
a = accelerate trill slightly
n<#> = number of beats (min is 2,
default is 4)
s<#> = percentage point for landing
on second beat of trill
(default is 25)
t<#> = percentage point for landing
on last beat of trill
(default is 75)
The default trill (uwn4s25t75) is a
four note trill starting on the upper
whole step and having four equal
beats.
3. Onset and length of (inverted) mordents
Field designator: C32: to C43: (depending on where the
ornament is indicated)
Data elements: m = start on main note (default)
b = start on note below main note
w = whole-step mordent (default)
h = half-step mordent
a = accelerate mordent slightly
n<#> = number of beats (minimum is 2,
default is 3)
s<#> = percentage point for landing
on second beat of trill
(default is 12)
t<#> = percentage point for landing
on last beat of trill
(default is 24)
The default mordent (mwn3s12t24) is a
three-note snap starting on the main
note and going down a whole step.
4. Alternate instrument (pizz. for strings)
Field designator: C2: (to distinguish it from grace note
information)
Data elements: a = pizzicato for this note (this
designation must be contained
in a sound record which follows
directly after the note in
question.)
A = pizzicato for this note and
every regular note that
follows in the file, until
cancelled.
b = arco (used to cancel A)
5. Da Capo direction and Segno sign and implied |:
Field designator: C0: (because this does not relate to a
column number)
Data elements: d = da capo to beginning of
movement or to Segno sign.
Normally this record would
directly precede the "/END"
or "/FINE" record.
S<#> = segno sign: da capo to
this point in the file.
# = divisions per quarter
(for information of sound
and MIDI generating
programs)
|> = implied forward repeat dots
(usually follows a bar line)
6. Fine signs (written or implied)
Field designator: C8:
Data elements: F<#> = Fine sign (written or implied)
This record should follow any
final note or rest in a
movement which has a "da capo"
direction. # = actual duration
of the final note or rest.
This is needed because some
"fines" are indicated only by a
fermata, and these can be over
notes of different durations in
different parts!
In the case where there is more than
one active track in the measure with
the "Fine" (i.e., there is a backspace
command in the measure), all final
notes must have their durations
specified by a "Fine" sound record.
In the case of chords, the "Fine"
sound record should follow the last
chord tone record.
7. Tempo changes
Field designator: C0: (because this does not relate to a
column number)
Data elements: W<#> = new tempo in quarter notes
per minute. If parameter
<#> = 0, this means that
the sound generating programs
must ask the user for a value
At the time of compiling a
sound (MIDI) file.
Note: This must be the only data
element in this sound record.
8. Changes in dynamics
Field designator: C0: (because this does not relate to a
column number)
Data elements: V<#> = dynamic level (velocity) measured
as a percent of the default
(which is forte). Normally
the programs constructing MIDI
performance files assign a flat
value of 90 to the velocity
byte. Occasionally we may want
to change this value either to
bring out a part or to suppress
a part. MIDI plus compilations
(for data transmission) are
not affected by this feature.
Note: This must be the only data
element in this sound record.
14. Print suggestions
column 1: P
Print suggestions come in two types: General and Specific.
General print suggestions can occur anywhere in body of the
stage2 data and are used to set general print parameters
such as minimum note spacing, default fonts, etc.
Specific print suggestions can follow any record that
contributes to the printed output of the music. This includes
types 2 through 8: musical directions, bar lines, regular
notes and rests, extra notes in a regular chord, grace notes
and cue notes, extra grace/cue notes in a chord, and figured
harmony.
columns 2... until a blank is encountered:
A code string (string of codes containing no blanks)
indicating the classes of situations to which this suggestion
applies. A space " " in column 2 means that the suggestion
is universal; it applies to all printing.
The code string may contain letters and/or numbers. All
numbers must be preceded by the "#" sign.
Numbers refer to the notesize to which the print suggestion
applies. The codes "<" and ">" may be used to indicate all
notesizes "less than" or "greater than" a certain number.
For example, a print suggestion beginning thus, P#>12, would
apply to all notesizes greater than twelve.
Letter codes indicate the application to which a print
suggestion applies.
Codes currently recognized by the software are listed below.
"p" = parts
"s" = score
"k" = skore (conductor's score)
"t" = short score (piano vocal)
"a" = all applications
Note: If there is a code string present, the designation of
notesizes is optional, but the designation of relevent
application letter codes is manditory. The reason for this is
that notesize designation is a process of elimination (i.e.,
don't use this suggestion if the notesize doesn't fit) whereas
application designation is a process of inclusion (i.e., use
this suggestion only if the relevant letter is present in the
code). The code letter "a" can be used to designate all
applications (for a particular set of notesizes).
┌───────────────────────────────────────────────────────────────┐
│ Special case 1: If column 2 contains a "v", the next four │
│ columns will contain the version number of autoset for which │
│ the print suggestions are valid and have been checked. If │
│ the version of autoset running is different from the version │
│ number in the stage2 file, (and the version of autoset is │
│ 4.00 or higher), a warning message will be displayed. When │
│ this happens, it is a good idea to check the output of each │
│ print suggestion to make sure that the outcome is the desired │
│ one. It is expected that changes and improvements will be │
│ made to autoset from time to time. │
└───────────────────────────────────────────────────────────────┘
┌───────────────────────────────────────────────────────────────┐
│ Special case 2: If column 2 contains an "x", the next three │
│ columns may contain certain flags that modify the operational │
│ behavior of the autoset program. │
│ │
│ If the letter "m" is present, then autoset will report the │
│ measures it has completed. This is useful when trying to │
│ find data errors. │
│ │
│ If the letter "d" is present, then autoset will allow the │
│ user to enter debug mode at a location specified at run │
│ time. This is useful in tracing program operation at a │
│ more detailed level. │
│ │
│ If the letter "s" is present, then autoset will provide │
│ additional information to the output i-files, which will │
│ allow a compressed search file to be built later in the │
│ process. │
└───────────────────────────────────────────────────────────────┘
Print suggestions, like sound directions, use a multiple
field system. Each field is introduced by a capital "C",
followed immediately by a number and a colon, e.g., "C8:" or
or "C23:". The meaning is that the data following this
designation (all columns up to the next field designation or
to the end of the record), will apply to the item in the
specified column number of the previous (non-Sound) record.
For example, if the previous record were a note, and there were
a slur starting on that note indicated by a "(" in column 33
of that record, then C33: would start a field containing one
or more suggestions on how that slur should be printed. At
the moment, we can give print suggestions in the following
situations:
The type of printing for which a suggestion applies (columns 2...)
may also be specified in a "C" field. In this case, the selective
number and letter codes(s) described above should follow the column
number and precede the colon. For example, "C33sp:" would
indicate a print suggestion applied to the datum in column 33
from the previous record and applied only to the printing of a
score or a part (and not to a short score). This feature
allows greater selectivity for print suggestions than the use of
selective codes starting in column 2.
A print suggestion which has a code C0: is a general suggestion
and not related to any specific column in a previous record.
1. Position of slurs
Field designator: C32: to C43: (depending on location of
slur)
Data elements: o = place slur over the note in
question
u = place slur under the note in
question
These suggestions are needed only when the standard
algorithms fail to place the slur properly, as sometimes
happens with multiple parts on a stave or with double
stops in the strings.
2. Orientation of ties
Field designator: C32: to C43: (depending on location
of tie)
Data elements: o = over-hand tie (tips down)
u = under-hand tie (tips up)
These suggestions are needed only when the standard
algorithms fail to place the tie properly, as sometimes
happens with multiple parts on a stave or with double
stops in the strings.
3. Tuplet and tuplet bracket (default is no bracket)
Case I: For use with start tuplet "*" code
Field designator: C32: to C43: (depending on location
of tuplet starter)
Data elements: [ = use continuous square bracket
( = use continuous slur bracket
: = use square bracket and break
in the middle
; = use slur bracket and break
in the middle
i = place tuplet number inside bracket
(below, if tips are down; above if
tips are up). Default is outside.
i has meaning only when combined with [ or (
Case II: For use with stop tuplet "!" code. Note: The reason the
shift parameters must be used with the stop code is
that the tuplet super-object is generated when the
the stop code is encountered.
Field designator: C32: to C43: (depending on location
of tuplet stopper)
Data elements: x<#> = shift x position of tuplet (units
are in tenths of interline distance)
# > 0: right -->
# < 0: left <--
y<#> = shift y position of tuplet (units
are in tenths of interline distance)
# > 0: down
# < 0: up
4. Suggestions modifying the printing of note, rest and
figure objects
Field designator: C1:
Data elements: x<#> = shift default x position (units are
in tenths of interline distance)
# > 0: right -->
# < 0: left <--
X<#> = x position relative to primary
horizontal position of notes (where
most notes line up) (units are in
tenths of interline distance)
y<#> = shift default y position (units are
in tenths of interline distance)
# > 0: down
# < 0: up
Y<#> = y position relative to staff line.
(units are in tenths of interline
distance)
s<#> = note head shape
# = 0: regular (default)
# = 1: x note (e.g. cymbal crash)
# = 2: normal stem diamond
(up to 15 non-regular types)
p<#> = printout modifier
# = 0: (default)
no-print suggestions
# = 1: leave space, don't print
note or dot
# = 2: leave space, print only
a dot
suggestions extending note length
# = 3: print note, no dot
# = 4: print note, add extension
dot
# = 5: double note length, no dot
# = 6: double note length, print
dot
# = 7: quadruple note length, no
dot
Note: (1) In certain special cases, an invisible rest (irest)
will require the allocation of physical space in order
for mskpage to run properly. This condition is encountered
in multi-track situations where using an irest creates
an isolated time node in a measure. Use the print
suggestion "P C1:p1" after the offending irest to
allowcate the necessary physical space. For a "global"
method of dealing with this problem, see Section 11:
General print suggestions, suggestion r<#>.
(2) There is a special case where the allocation of
space for an invisible rest will improving the layout
of the music. When there are two instruments on a
staff (e.g. oboes 1 and 2), and these parts are
isorhythmic, with stems in the same direction so
they should be printed as chords, if there is an
irest within a set of beamed notes, then the
invisible rest (in the second part) should be
allowcated space. Otherwise the parts will not
be combined into chords.
(3) A third special case has turned up where the
allocation of space for an invisible rest will
improving the layout of the music. When there are
two instruments on a staff (e.g. oboes 1 and 2), and
these parts are isorhythmic, with stems in the same
direction so they should be printed as chords, if
there are wedges within a set of beam notes, and
there is an irest somewhere in the measure, then
this invisible rest (in the second part) should be
allowcated space. Otherwise the parts will not be
combined into chords. Note: If the parts are not
fully isorhythmic, then wedges boundaries within a
set of beamed notes will always prevent these notes
being combined into chords.
5. Suggestions for location of notations attached to notes
Field designator: C18: for extension dots
C19: for accidentals
C32: to C43: (depending on column location
of the notation)
Data elements: x<#> = shift default x position (units are
in tenths of interline distance)
# > 0: right -->
# < 0: left <--
X<#> = x position relative to note object
(units are in tenths of interline
distance)
y<#> = shift default y position (units are
in tenths of interline distance)
# > 0: down
# < 0: up
Y<#> = y position relative to note object.
(units are in tenths of interline
distance)
Note: Don't use this with staccato
and spiccate
L<#> = (ties only) change end point of a
tie (+ or -). (units are in tenths
of interline distance)
a = place notation above note object
(over-ride default)
b = place notation below note object
(over-ride default)
Notations for which this works
------------------------------
ornaments: turns, trills, shakes, mordents,
wavy lines (trill)
articulations: spiccato, staccato, line over dot, legato,
horizontal accent, vertical accents
technical: up bow, down bow, string harmonic,
thumb position, open string, fingerings
dynamics: combinations of letter dynamics
other: fermatas, ties
In the case of ties, the x-shift applies
only to the left end of the tie. This
can be used to avoid a clash between
extention dots and the tie.
Notations for which this feature doesn't work (at the moment)
-------------------------------------------------------------
arpeggiated chords, tuplets, ped *
(slurs are dealt with below)
6. Suggestions for shape and location of slurs
Field designator: C32: to C43: (depending on column location
of the notation)
Case I: Start slur "(", "[", "{", "z"
To suppress printing of slur:
Data element: * = suppress printing of slur. This is
used when the slur occurs in conjunction
with a tuple (New 04/26/05)
For location of slur:
Data elements: x<#> = (extra) horizontal displacement
from associated starting note (units
are in tenths of interline distance)
# > 0: right -->
# < 0: left <--
Length and shape of slur are
affected.
X<#> = post adjustment to x-position of slur
negative = left; positive = right
(units are in tenths of interline
distance). Length and shape of slur
are not affected.
y<#> = (extra) vertical displacement from
associated starting note (unis are
in tenths of interline distance)
# > 0: down
# < 0: up
Length and shape of slur are
affected.
Y<#> = post adjustment to y-position of slur
negative = up; positive = down
(units are in tenths of interline
distance). Length and shape of slur
are not affected.
Note: The suggestion may contain any combination of the four
data elements
Case II: End slur ")", "]", "}", "x"
Data elements: x<#> = (extra) horizontal displacement from
associated ending note (units are in
tenths of interline distance)
# > 0: right -->
# < 0: left <--
Length and shape of slur are affected.
y<#> = (extra) vertical displacement from
associated ending note (units are in
tenths of interline distance)
# > 0: down
# < 0: up
Length and shape of slur are affected.
h<#> = post adjustment to curvature. This
works within limits. positive = more
curvature; negative = less curvative.
Shape is affected, but length should
not be (if it is, then the value of #
is out-of-bounds).
7. Suggestions for representing beamed notes with repeaters
Field designator: C26: or C27:
Data elements: a = use repeater for next beam only.
A = use repeaters for all beams
which follow.
b = return to normal beaming
(used to cancel A)
c = use repeater for next beam only, and
add dot to note value. This varient
of "a" is useful for cases where the
repeater is on a triplet (or some
multiple of a triplet), and the
encoder wishes to avoid having to
display the tuple number. The
actual duration of the note for
spacing purposes is not altered
Note: Print suggestions for beams normally
follow the beginning of beams. If the
field designator is C26:, this indicates
that the maximum use of repeaters is
desired; if the field designator is
C27:, then the "top" beam should not
be represented as a repeater.
8. Suggestion for changing the length of the first stem on
beamed notes
Field designator: C26:
Data element: y<#> = change length of first stem for a
set of beamed notes, as calculated
by mskpage or mkpart. (units are
in tenths of interline distance)
# > 0: make stem longer
# < 0: make stem shorter
Suggestions apply to up and down
stems.
9. Suggestions for musical directions
Field designator: C17: or C18: (depending on location of
the musical direction)
Data elements: x<#> = shift default x position (units are
in tenths of interline distance)
# > 0: right -->
# < 0: left <--
X<#> = x position relative to staff line.
(units are in tenths of interline
distance)
y<#> = shift default y position (units are
in tenths of interline distance)
# > 0: down
# < 0: up
Y<#> = y position relative to staff line.
(units are in tenths of interline
distance)
Field designator: C25: and greater (depending on location of
the font change). Multiple font
changes are allowed in the same
line.
f<#> = font number for ASCII text in the
specified column and subsequent
columns to the right (until a
new change is encountered). Used
with direction types A,B,C,D,G.
The use of this suggestion will
remove the need to place the
font number in the ASCII string
of the musical direction.
Note: If the code C25:f0 is used, i.e., "set the initial font
to zero," this will cause the directive to BLANK,
that is, not to print. This feature can be used,
for example, to blank directives which are present
(and needed) in all parts but which in the full
score are needed only at the bottom. The print
suggestion in this case would be:
Ps C25:f0 --> Apply this suggestion only when
typesetting the i-files for a score,
and don't include the directive
above this suggestion.
10. Suggestions for treatment of whole measures
Field designator: C1:
Suggestion codes: n = do not expand the spacings in the
following measure in the left-edge
alignment process.
] = use system justification to force
this bar line to the end of a system.
f = breakup a multi-measure rest. This
applies only to the typesetting of parts.
If this barline is also to be a system
break, then the suggestion "P C1:f"
should come first, followed by the
suggestion "P C1:]"
11. General print suggestions
Field designator: C0:
Suggestion codes: a<#> = placement of articulations
bit 0 set: attach staccato to note head
bit 1 set: attach legato to note head
bit 2 set: attach spiccato to note head
bit 3 set: attach all other articulations to note head
bit 4 set: place staccato and/or legato above note
bit 5 set: and above the staff lines.
bit 6 set: place spiccato above note
bit 7 set: place all other articulations above note
c<#> = continuo line
# = 0: normal operation
# = 1: blank out rests
d<#> = default height for time words and
other musical designations.
# is measured in scale steps above
the top line of the staff. Default
is 6 scale steps.
f<#> = default font for musical directions in
"*" records
F<#> = font for musical directives in "$" records
g<#> = slur adjustment flag
# = 0: default; automatic adjustment of slur
# = 1: turn off automatic adjustment
h<#> = alter the minimum allowed space between notes
# = percentage of default size (hpar(29))
(100 = default)
j<#> = option to change stem directions (when using I:2)
# = 0: don't change (default)
# = 1: set all stems up
# = 2: set all stems down
# = 3: change stems where appropriate
k<#> = various operational flags (defaults are 0)
bit 0: (for two or more tracks)
0 = allow overstrike when there is a dot-difference
1 = do not overstrike
bit 1: (for printing new key signatures)
0 = don't print a new key signature if it is
the same as the previous one (default)
1 = always print a key signature
even when it hasn't changed
bit 2: (for printing chords with mixed colors)
0 = don't allow mixed colors in chords
principle duration color
1 = allow mixed colors in chords
bit 3: (for suppression of the key signature)
0 = normal
1 = suppress printing of the key signature
(for timpani parts, etc.)
bit 4: (for assigning editorial slurs)
0 = normal (no assignment)
1 = "{ }" and "z x" combinations
indicate editorial slurs
bit 5: (for printing new clef signs)
0 = normal (large clefs, only at start of measure)
1 = always use large clefs
m<#> = multi-rest flag
# = 0: do not generate multi-rests (default for score)
# = 1: generate multi-rests (default for parts)
n<#> = numbering measures
# = 0: stop numbering measures
# > 0: start numbering measures
with <#>
p<#> = minimum distance between notes
(expressed as percent of the
default).
q<#> = duration which is assigned the
minimum distance
0 = recompute default (from this
point onward)
1 = whole notes
... . . .
8 = eighth notes
16 = sixteenth notes, etc
r<#> = rest options flag
bit 0: placement of rests
0 = use default placement
1 = always place on middle line
bit 1: treatment of irests.
0 = use irest as a simple "backup" command
1 = treat irest as an "un-printed" rest object
Note: setting this bit serves to globalize the
"C1:p1" print suggustion, used in multi track
situations where an irest is the only member
of a time node. See note under under section 4:
Suggestions modifying the printing of note, rest
and figure objects.
bit 2: treatment of irests.
0 = collapse isorhymic rests in the
two instrument case (default)
1 = do not collapse isorhythmic rests
s<#> = space between grand staffs measured
in multiples of leger lines times 10
(e.g. 100 = 10 leger lines).
t<#> = global tuplet placement
# = 0: use default
# = 1: place tuplet near note
heads
# = 2: place tuplet near note
stems (beams)
# = 3: place all tuplets above
notes
# = 4: place all tuplets below
notes
v<#> = location of text below music
# = number of scale steps (x 10)
(default approx. 150)
x<#> = part inclusion flag
# = 0: include part in every
system (default)
# = 1: leave part out of system
when there are only
whole rests in the part
y<#> = line control flag (type = Y U)
# = 0: turn all line control
tags off (default)
# = 1: generate a line control
(type=Y U) type-1 tag
(suppresses dominant
representation)
# = 2: generate a line control
(type=Y U) type-2 tag
(suppresses non-dominant
representation)
Note: type-y general print suggestions
are written to the output file by
AUTOSET as soon as they are
encountered. This means that any
such suggestion encountered during
the processing of a measure of
data will be put out at the
beginning of the measure (i.e.,
immediately following the previous
bar line.
Note also: A measure with nothing but a
whole rest (empty measure) is processsed
somewhat differently by AUTOSET, which
can cause any type-y general print
suggestions in such a measure to be
ignored (technically this is a fault
of AUTOSET).
z<#><string> = abbreviated part name flag
(type= Y P)
# = font number. (0 = flag OFF)
<string> (when # > 0) = the
abbreviated part name. Use the
"_" character to indicate a blank.
Use the "/" character to indicate
a second instrument.
Start with "(g)" if the instrument
is displayed on the grand staff
Note: type-z general print suggestions
are written to the output file by
AUTOSET as soon as they are
encountered. This means that any
such suggestion encountered during
the processing of a measure of
data will be put out at the
beginning of the measure (i.e.,
immediately following the previous
bar line.
Summary of Control codes
' ' = extra note in chord
$ = controlling musical attributes
& = comment mode toggle switch
* = musical directions
A = regular note
B = " "
C = " "
D = " "
E = " "
F = " "
G = " "
/ = end of music or end of file
@ = single line comment
a = append to previous line
b = backspace in time
c = cue size note
f = figured harmony
g = grace note
i = invisible rest
m = bar line
r = regular rest
S = sound directions
P = print suggestions