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 &dDmusical part&d@ 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 "score," whereas the Oboe I and Oboe II parts by themselves would belong to the group called "parts" (but not to score). 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). &dDHeader Format&d@ 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] of [number in group] record 13: ... ... (as needed) &dCNote&d@: In the typesetting process, a part name (record 9) can be forced onto two lines by inserting "//" 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 &dEcontrol code&d@, 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-three 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 aside for labeling 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 aside 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 original 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 &dAfourteen&d@ 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. &dEThe CCARH Autoset program requires&d@ 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. &dEThe CCARH Autoset program requires&d@ 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. &dEThe CCARH Autoset program requires&d@ 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. &dEThe CCARH Autoset program requires&d@ 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, &dEThe CCARH Autoset program requires&d@ 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. &dDData Format&d@ -- control code in column one &dA &d@ 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 (K:) 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. (T:) 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: T:1/1 = common time T:0/0 = alla breve T:2/0 = simple 2 T:3/0 = simple 3 Other codes with a 0 denominator may be devised by the encoder to represent special time notations. For example, the following codes have been devised to represent some of the most common mensural signs. Mensural sign Humdrum (modern) MuseData ------------- ------- -------- -------- circle *met(O) 3/1 T:11/0 circle w/colon *met(O:) 3/1 T:12/0 circle w/dot *met(O.) 9/2 T:21/0 circle w/dots(2+1) *met(O:.) 9/2 T:22/0 C *met(C) 2/1 T:31/0 C w/dot *met(C.) 6/2 T:41/0 reverse C *met(Cr) 2/0(4/1) T:51/0 C w/cut *met(C|) 2/1 T:61/0 C+2 *met(C2) 2/0(4/1) T:71/0 circle + 2 *met(O2) 3/0(6/1) T:81/0 circle w/cut *met(O|) 3/1 T:91/0 C w/cut + 3 *met(C|3) 3/1 T:101/0 simple 3 *met(3) 3/1 T:102/0 3 over 2 *met(3/2) 3/1 T:103/0 C w/cut + 2 *met(C|2) 2/0(4/1) T:111/0 simple 2 *met(2) 2/0(4/1) T:112/0 circle w/small-o *met(Oo) 3/1 T:121/0 (Q:) 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. (C:) 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 (X:) 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.) (S:) 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. (I:) 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. (D:) 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. &dA &d@ 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: * &dE &d@ 7. rehearsal numbers or letters in a box &dE &d@ R = rehearsal number or letter &dE &d@ This generates a "D" type record with &dE &d@ a box around it. The font size and the &dE &d@ length of the string determine the size of &dE &d@ 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. &dE &d@ 9. tie terminators &dE &d@ X = tie terminator (generates a Mark object) &dE &d@ The pitch of the tie being terminated appears starting &dE &d@ 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 type H: space between dashes (units = length of the text font hyphen) 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 p Starting record: GE 15 f Ending record: FG 0 p 3. p Starting record: E 0 Ending record FG 15 p &dA &d@ 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 The following flags for starting and stopping slurs on bar lines are technically not part of the format for S-files, because such slurs have no musical meaning. The purpose of these flags is to enable the typesetting of music entered through the scanning process. This music will often have partial slurs starting or ending at arbitrary system breaks. ( = open slur1 ) = close slur1 [ = open slur2 ] = close slur2 { = open slur3 } = close slur3 z = open slur4 x = close slur4 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 &dDMinuet&d@ 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. &dA &d@ 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) &dE &d@ Note: Normally a note with a tie must be followed &dE &d@ immediately by another note of the same pitch &dE &d@ (in that pass). It can happen that a tie goes &dE &d@ nowhere (e.g. in first endings or da capos). &dE &d@ In this case you must use an "X" type musical &dE &d@ direction to terminate the tie. If the non- &dE &d@ terminated tie crosses a measure line, that &dE &d@ 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) Note: One possible use for this column is to request a color other than black. Conventions for this use are as follows: rR = display in red gG = display in green bB = display in blue Small letter = display only the note head and accidentals Capital letter = display note head, stem, (beam), accidentals, and ornaments 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 M,L,b,w,h,q,e,s,t,x,y,z (Longa to 256th note) B,W,H,Q,E,S,T,X,Y,Z (Breve to 256th note, old style) 9,8,7,6,5,4,3,2,1 (Whole 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. When not printing rests in the old style, the use of capital letters with &dErests&d@ will cause the music typesetter to treat these rests as "removable." Whole measure rests (a space in column 17) are, by definition, removable; but we may want a partial measure (pickups, etc.) to be removable also. If a part has only removable rests (and no musical pitches) in a particular system, and the part inclusion flag at that point in that part = 1, that part will be omitted from the system. This feature is especially useful for scores with parts that "rest" for extended periods of time. (See section 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 (/\) (&dA04/22/08&d@) J = overhand back tie/slur V = vertical accent (\/) (&dA04/22/08&d@) 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 &dA01/07/06&d@) 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 &dA01/07/06&d@) 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 ? = dead space (do not assign) 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 hyphens to the next text word on that line. "-" alone continues hyphens. "_" 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" &dA &d@ 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 &dA &d@ 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 &dA &d@ 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 horizontal 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 &dA &d@ 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 &dA &d@ 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. &dA &d@ 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). &dA &d@10. Continuation line control code = a column 1: a = append to previous line columns 2-16: blanks columns 17-80: continuation of previous line &dA &d@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. &dEException;&d@ If a record within comment mode begins with "/END" or "/eof", this record will &dEnot be&d@ interpreted as a comment. This condition is added to prevent a "run-away" situation, where the encoder omitted the matching "&" at the end of a comment. &dA &d@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 assigned 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 concatenation of two numbers in the form <1st number> * 100 + <2nd number> The format for assigning instrument numbers is this: @ SCORECON instrument 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: 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 &dCpitch transposing interval&d@. 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: where , 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. &dA &d@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. &dA &d@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. &dA &d@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 relevant application letter codes is mandatory. 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). ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿ ³ Special case 1: If column 2 contains a "v", the next four ³ ³ columns will contain the &dEversion number&d@ of autoset for which ³ ³ the print suggestions are valid and have been checked. If ³ ³ the version of autoset running is different from the version ³ ³ number in the stage2 file, (and the version of autoset is ³ ³ 4.00 or higher), a warning message will be displayed. When ³ ³ this happens, it is a good idea to check the output of each ³ ³ print suggestion to make sure that the outcome is the desired ³ ³ one. It is expected that changes and improvements will be ³ ³ made to autoset from time to time. ³ ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿ ³ Special case 2: If column 2 contains an "x", the next three ³ ³ columns may contain certain flags that modify the operational ³ ³ behavior of the &dEautoset&d@ program. ³ ³ ³ ³ If the letter "m" is present, then autoset will report the ³ ³ measures it has completed. This is useful when trying to ³ ³ find data errors. ³ ³ ³ ³ If the letter "d" is present, then autoset will allow the ³ ³ user to enter debug mode at a location specified at run ³ ³ time. This is useful in tracing program operation at a ³ ³ more detailed level. ³ ³ ³ ³ If the letter "s" is present, then autoset will provide ³ ³ additional information to the output i-files, which will ³ ³ allow a compressed search file to be built later in the ³ ³ process. ³ ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ 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 print suggestion 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. 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. Print suggestions may be applied in the following situations: 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 &dEshape&d@ # = 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 allocate 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 improve 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 &dEirest within a set of beamed notes&d@, then the invisible rest (in the second part) should be allocated 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 &dEwedges within a set of beam notes&d@, and there is an irest somewhere in the measure, then this invisible rest (in the second part) should be allocated space. Otherwise the parts will not be combined into chords. Note: If the parts are not fully isorhythmic, then wedge 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) &dANote&d@: Don't use this with staccatos and spiccatos 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 extension 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 &dA04/26/05&d@) For location of slur: Data elements: x<#> = (extra) horizontal displacement from associated &dEstarting note&d@ (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 &dEnot&d@ affected. y<#> = (extra) vertical displacement from associated &dEstarting note&d@ (units 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 &dEnot&d@ 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 &dEending note&d@ (units are in tenths of interline distance) # > 0: right --> # < 0: left <-- Length and shape of slur are affected. y<#> = (extra) vertical displacement from associated &dEending note&d@ (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 curvature. 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 variant 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 stems attached to notes Field designators: C23: or C26: Case I: (C23) change the length of the stem of an isolated note or chord Data elements: y<#> = relative change to the length of the stem, as calculated by autoset. # > 0: make stem longer # < 0: make stem shorter (maximum value of # is 63; units are 1/10ths of staff interline distance) Y(#) = absolute length of the stem. (maximum value of # is 127; units are 1/10ths of staff interline distance) Note: the miminum stem length is two times the staff interline distance. Any length shorter than this will resolve to the minimum. Case II: (C26) change the length of the first stem for a set of notes connected by a beam 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. &dENote:&d@ If the code &dGC25:f0&d@ 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) &dE &d@ j<#> = option to change stem directions (when using I:2) &dE &d@ # = 0: don't change (default) &dE &d@ # = 1: set all stems up &dE &d@ # = 2: set all stems down &dE &d@ # = 3: change stems where appropriate &dE &d@ k<#> = various operational flags (defaults are 0) &dE &dE &d@ bit 0: (for two or more tracks) &dE &d@ 0 = allow overstrike when there is a dot-difference &dE &d@ 1 = do not overstrike &dE &d@ bit 1: (for printing new key signatures) &dE &d@ 0 = don't print a new key signature if it is &dE &d@ the same as the previous one (default) &dE &d@ 1 = always print a key signature &dE &d@ even when it hasn't changed &dE &d@ bit 2: (chords with white and black notes) &dE &d@ 0 = don't allow a mixture of white and black &dE &d@ notes in chords &dE &d@ 1 = allow mixture of white and black notes &dE &d@ bit 3: (for suppression of the key signature) &dE &d@ 0 = normal &dE &d@ 1 = suppress printing of the key signature &dE &d@ (for timpani parts, etc.) &dE &d@ bit 4: (for assigning editorial slurs) &dE &d@ 0 = normal (no assignment) &dE &d@ 1 = "{ }" and "z x" combinations &dE &d@ indicate editorial slurs &dE &d@ bit 5: (for printing new clef signs) &dE &d@ 0 = normal (large clefs, only at start of measure) &dE &d@ 1 = always use large clefs &dE 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 "jump forward" command 1 = treat irest as an "un-printed" rest object Note: setting this bit serves to globalize the "C1:p1" print suggestion, used in multi track situations where an irest is the only member of a time node. See note 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 bit 3: enable the printing of old-style rests 0 = Capital letters in column 17 map to small letters (rests only) (default) 1 = Capital letters in column 17 will generate old style rests. s<#> = space between grand staffs measured in multiples of ledger lines times 10 (e.g. 100 = 10 ledger 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 &dEbeginning&d@ of the measure (i.e., immediately following the previous bar line. Note also: A measure with nothing but a whole rest (empty measure) is processed 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<#> = abbreviated part name flag (type= Y P) # = font number. (0 = flag OFF) (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 &dEbeginning&d@ of the measure (i.e., immediately following the previous bar line. &dDSummary of Control codes&d@ ' ' = 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