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New International Manual of Braille Music Notation by the Braille Music Subcommittee World Blind Union
1 New International Manual Of Braille Music Notation by The Braille Music Subcommittee World Blind Union Compiled by Bettye Krolick ISBN 90 9009269 2 1996 2 Contents Preface................................................................................ 6 Official Delegates to the Saanen Conference: February 23-29, 1992 .................................................... 8 Compiler’s Notes ............................................................... 9 Part One: General Signs .......................................... 11 Purpose and General Principles ..................................... 11 I. Basic Signs ................................................................... 13 A. Notes and Rests ........................................................ 13 B. Octave Marks ............................................................. 16 II. Clefs .............................................................................. 19 III. Accidentals, Key & Time Signatures ......................... 22 A. Accidentals ................................................................ 22 B. Key & Time Signatures .............................................. 22 IV. Rhythmic Groups ....................................................... 25 V. Chords .......................................................................... 30 A. Intervals ..................................................................... 30 B. In-accords .................................................................. 34 C. Moving-notes ............................................................ -
Sibelius Artwork Guidelines Contents
Sibelius Artwork Guidelines Contents Conditions of use ...........................................................................................................................3 Important information ..................................................................................................................4 Product names and logos.............................................................................................................5 Example copy..................................................................................................................................6 Endorsees ........................................................................................................................................7 Reviews............................................................................................................................................8 Awards...........................................................................................................................................11 House Style ...................................................................................................................................12 Conditions of use Who may use this material Authorized Sibelius distributors and dealers are permitted to reproduce text and graphics on this CD in order to market Sibelius products or PhotoScore, but only if these guidelines are adhered to, and all artwork is used unmodified and cleared by Sibelius Software before production of final proofs. Acknowledge trademarks Please -
Why and How I Use Lilypond Daniel F
Why and How I Use LilyPond Daniel F. Savarese Version 1.1 Copyright © 2018 Daniel F. Savarese1 even with an academic discount. I never got my money's Introduction worth out of it. At the time I couldn't explain exactly why, but I was never productive using it. In June of 2017, I received an email from someone using my classical guitar transcriptions inquiring about how I Years later, when I started playing piano, I upgraded to use LilyPond2 to typeset (or engrave) music. He was the latest version of Finale and suddenly found it easier dissatisfied with his existing WYSIWYG3 commercial to produce scores using the software. It had nothing to software and was looking for alternatives. He was im- do with new features in the product. After notating eight pressed with the appearance of my transcription of Lá- original piano compositions, I realized that my previous grima and wondered if I would share the source for it difficulties had to do with the idiosyncratic requirements and my other transcriptions. of guitar music that were not well-supported by the soft- ware. Nevertheless, note entry and the overall user inter- I sent the inquirer a lengthy response explaining that I'd face of Finale were tedious. I appreciated how accurate like to share the source for my transcriptions, but that it the MIDI playback could be with respect to dynamics, wouldn't be readily usable by anyone given the rather tempo changes, articulations, and so on. But I had little involved set of support files and programs I've built to need for MIDI output. -
Musical Notation Codes Index
Music Notation - www.music-notation.info - Copyright 1997-2019, Gerd Castan Musical notation codes Index xml ascii binary 1. MidiXML 1. PDF used as music notation 1. General information format 2. Apple GarageBand Format 2. MIDI (.band) 2. DARMS 3. QuickScore Elite file format 3. SMDL 3. GUIDO Music Notation (.qsd) Language 4. MPEG4-SMR 4. WAV audio file format (.wav) 4. abc 5. MNML - The Musical Notation 5. MP3 audio file format (.mp3) Markup Language 5. MusiXTeX, MusicTeX, MuTeX... 6. WMA audio file format (.wma) 6. MusicML 6. **kern (.krn) 7. MusicWrite file format (.mwk) 7. MHTML 7. **Hildegard 8. Overture file format (.ove) 8. MML: Music Markup Language 8. **koto 9. ScoreWriter file format (.scw) 9. Theta: Tonal Harmony 9. **bol Exploration and Tutorial Assistent 10. Copyist file format (.CP6 and 10. Musedata format (.md) .CP4) 10. ScoreML 11. LilyPond 11. Rich MIDI Tablature format - 11. JScoreML RMTF 12. Philip's Music Writer (PMW) 12. eXtensible Score Language 12. Creative Music File Format (XScore) 13. TexTab 13. Sibelius Plugin Interface 13. MusiXML: My own format 14. Mup music publication program 14. Finale Plugin Interface 14. MusicXML (.mxl, .xml) 15. NoteEdit 15. Internal format of Finale (.mus) 15. MusiqueXML 16. Liszt: The SharpEye OMR 16. XMF - eXtensible Music 16. GUIDO XML engine output file format Format 17. WEDELMUSIC 17. Drum Tab 17. NIFF 18. ChordML 18. Enigma Transportable Format 18. Internal format of Capella (ETF) (.cap) 19. ChordQL 19. CMN: Common Music 19. SASL: Simple Audio Score 20. NeumesXML Notation Language 21. MEI 20. OMNL: Open Music Notation 20. -
Music in Theory and Practice
CHAPTER 4 Chords Harmony Primary Triads Roman Numerals TOPICS Chord Triad Position Simple Position Triad Root Position Third Inversion Tertian First Inversion Realization Root Second Inversion Macro Analysis Major Triad Seventh Chords Circle Progression Minor Triad Organum Leading-Tone Progression Diminished Triad Figured Bass Lead Sheet or Fake Sheet Augmented Triad IMPORTANT In the previous chapter, pairs of pitches were assigned specifi c names for identifi cation CONCEPTS purposes. The phenomenon of tones sounding simultaneously frequently includes group- ings of three, four, or more pitches. As with intervals, identifi cation names are assigned to larger tone groupings with specifi c symbols. Harmony is the musical result of tones sounding together. Whereas melody implies the Harmony linear or horizontal aspect of music, harmony refers to the vertical dimension of music. A chord is a harmonic unit with at least three different tones sounding simultaneously. Chord The term includes all possible such sonorities. Figure 4.1 #w w w w w bw & w w w bww w ww w w w w w w w‹ Strictly speaking, a triad is any three-tone chord. However, since western European music Triad of the seventeenth through the nineteenth centuries is tertian (chords containing a super- position of harmonic thirds), the term has come to be limited to a three-note chord built in superposed thirds. The term root refers to the note on which a triad is built. “C major triad” refers to a major Triad Root triad whose root is C. The root is the pitch from which a triad is generated. 73 3711_ben01877_Ch04pp73-94.indd 73 4/10/08 3:58:19 PM Four types of triads are in common use. -
Figured Bass and Tonality Recognition
Figured Bass and Tonality Recognition Jerome Barthélemy Alain Bonardi Ircam Ircam 1 Place Igor Stravinsky 1 Place Igor Stravinsky 75004 Paris France 75004 Paris France 33 01 44 78 48 43 33 01 44 78 48 43 [email protected] [email protected] ABSTRACT The aim of the figured bass was, in principle, oriented towards interpretation. Rameau turned it into a genuine theory of tonality In the course of the WedelMusic project [15], we are currently with the introduction of the fundamental concept of root. Successive refinements of the theory have been introduced in the implementing retrieval engines based on musical content th automatically extracted from a musical score. By musical content, 18 , 19th (e.g., by Reicha and Fetis) and 20th (e.g., Schoenberg we mean not only main melodic motives, but also harmony, or [10, 11]) centuries. For a general history of the theory of tonality. harmony, one can refer to Ian Bent [1] or Jacques Chailley [2] In this paper, we first review previous research in the domain of harmonic analysis of tonal music. Several processes can be build on the top of a harmonic reduction We then present a method for automated harmonic analysis of a • detection of tonality, music score based on the extraction of a figured bass. The figured • recognition of cadence, bass is determined by means of a template-matching algorithm, where templates for chords can be entirely and easily redefined by • detection of similar structures the end-user. We also address the problem of tonality recognition Following a brief review of systems addressing the problem of with a simple algorithm based on the figured bass. -
Tantacrul Pain Points Addressed in This Document
Note Input Bar Redesign Tantacrul Pain Points Addressed in this Document • The NOTE INPUT BUTTON requires unnecessary steps when notating, which complicates the first time experience • There are too many options at the outset • Customisation is difficult to discover • Certain icons are hard to read (mainly ‘Note input’, ’Tie’ and ‘Flip direction’) • There are some inefficiencies with adding rests Out of Scope • Shortcuts Overview A brief description of visual & layout changes Workspace: Default Customise Note input 3 1 2 Palettes Inspector Add more palettes Accidentals More Clefs More Duet no.9 Time signatures More Key signatures More Grace notes More Grace notes More Bar lines More Text This is the proposed default layout of the Note Input Bar Workspace: Default Customise Note input 3 1 2 Palettes Inspector Add more palettes Only two voices (more can be accessed More descriptive Note Input button from the ‘Customise’ button on the far left) (New icon TBD) Accidentals * This particular suggested optimisation should not be More done without seeking wider approval Clefs ‘Customise’ is a button that triggers the existing ‘Customise String Quartet no.9 Toolbars’ dialog More A new Tuplet dropdown Time signatures More Redesigned icons for ‘Tie’ and ‘Flip direction’ Key signatures More (These are not final & ‘Flip direction’ needs to be tested) Grace notes More Less cluttered rest icon Grace notes More Bar lines More Text The Note Input Button Unlike Sibelius, Finale and Dorico, MuseScore requires the user to click a Note Input button before you can actually enter notes. Where the other notation apps have the same concept, they allow the user to immediately enter this mode by clicking on a note duration. -
Music Braille Code, 2015
MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS .............................................................. -
Dorico 3.5.10 Version History
Version history Known issues & solutions July 2020 Steinberg Media Technologies GmbH Contents Dorico 3.5.10 ....................................................................................................................................................................................................... 3 Improvements .................................................................................................................................................................................................. 3 Issues resolved ............................................................................................................................................................................................. 11 Dorico 3.5 ........................................................................................................................................................................................................... 19 New features ................................................................................................................................................................................................. 19 Pitch before duration in note input ...................................................................................................................................................... 19 Expression maps ..................................................................................................................................................................................... 22 Line style editors -
RECITATIVE STYLE and the FIGURFD BASS THESIS Presented
/O i0 A COURSE IN KEYBOAIO AIMOBy BASED ON THE RECITATIVE STYLE AND THE FIGURFD BASS THESIS Presented to the Graduate Council of the North Texas State Teachers College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By George S. Thompson, B. M. 158610 Garland, Texas August, 1948 158610 TABLE OF CONTENTS LIST OF ILLUSTFAJTIO.S., Page . 9 , 9 0 v Chapter I. INTRODUCTION . * , " 4 4 . , Statement of the Problem Need for the Study Sources and Validity of Data Method of Presentation II. YIGUREDBASS . * 0 g , * ." 4 III. RECITATIVE . IV. TRIADS . * 0 0* * , I * 13 Root Position of Triads First Inversion of Triads Second Inversion of Triads Modulation V. NON-IARMONIC TONES * * , 9 a 9 , 0 , . The Passing Tone The Suspension The Neighboring Tone The Anticipation The Escape Tone The Appoggiatura The Pedal Point VI. SEVENTH CHORDS . * . * * * . , 43 The Dominant Seventh Chord The Supertonic Seventh Chord The Leading Tone Seventh Chord in Minor The Subdominant Seventh Chord The Tonic Seventh Chord in Major VII* ALTERED CHORDS. .. Altered Chords in Minor Altered Chords in Major 6ii Chapter Page VIII. THE CHORD OF TIE AUGEEIN SIXTH . 58 IX. MODULATIONTO FOREIGNaYS . 61 x. REVIEW . 64 BIBLIOGRAPHY . 67 iv LIST OF ILLUSTRATIONS Figure Page 1. Example of the Figurations for the Triad in Root Position . 14 2. Example of the Figurations for the First Inversion of Triads . 21 3. Example of the Figurations for the Second Inversion of Triads . 24 4. Example of the Figurations for the Passing Tone . 29 5. Example of the Figurations for the Suspension . , . 32 6. -
Beyond PDF – Exchange and Publish Scores with Musicxml
Beyond PDF – Exchange and Publish Scores with MusicXML MICHAEL GOOD! DIRECTOR OF DIGITAL SHEET MUSIC! ! APRIL 12, 2013! Agenda • Introduction to MusicXML • MusicXML status and progress in the past year • Possible future directions for MusicXML • Interactive discussions throughout What is MusicXML? • The standard open format for exchanging digital sheet music between applications • Invented by Michael Good at Recordare in 2000 • Developed collaboratively by a community of hundreds of musicians and software developers over the past 13 years • Available under an open, royalty-free license that is friendly for both open-source and proprietary software • Supported by over 160 applications worldwide What’s Wrong With Using PDF? • PDF: Portable Document Format • The standard format for exchanging and distributing final form documents • High graphical fidelity • But it has no musical knowledge – No playback – No alternative layouts – Limited editing and interactivity • PDF duplicates paper – it does not take advantage of the interactive potential for digital sheet music MusicXML Is a Notation Format • Music is represented using the semantic concepts behind common Western music notation • Includes both how a score looks and how it plays back • Includes low-level details of the appearance of a particular engraving, or the nuances of a particular performance – Allows transfer of music between applications with high visual fidelity – Also allows the visual details to be ignored when appropriate – The best display for paper is often not the best for -
Recordare Case Study
Recordare Case Study Recordare Case Study An Altova customer uses XMLSpy and DiffDog to develop MusicXML-based “universal translator” plugins for popular music notation programs. Overview Recordare® is a technology company focused on and Sibelius®. The list of MusicXML adopters also providing software and services to the musical includes optical scanning utilities like SharpEye or community. Their flagship products, the Dolet® capella-scan, music sequencers like Cubase, and plugin family, are platform-independent plugins beyond. Dolet increases the MusicXML support in for popular music notation programs, facilitating all of these programs and promotes interoperability the seamless exchange and interaction of sheet and the sharing of musical scores. music data files by leveraging MusicXML. In creating the Dolet plugins, Recordare used Dolet acts as a high quality translator between Altova's XML editor, XMLSpy, for editing and the MusicXML data format and other applications, testing the necessary MusicXML XML Schemas enabling users to work with these files on any con- and DTDs, and its diff/merge tool, DiffDog, for ceivable system, including industry leading notation regression testing. and musical composition applications Finale® The Challenge Music interchange between applications had Since its original release by Recordare in January traditionally been executed using the MIDI of 2004 (version 2.0 was released in June 2007), (Musical Instrument Digital Interface) file format, MusicXML has gained acceptance in the music a message transfer protocol that has its roots in notation industry with support in over 100 leading electronic music. MIDI is not an ideal transfer products, and is recognized as the de facto XML format for printed music, because it does not take standard for music notation interchange.