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lachenal74693

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Everything posted by lachenal74693

  1. Thanks for that! In the specific case I outlined, the user and I agreed that accidentals would not be shown in the score (unless they were explicit accidentals). However, it would be pretty easy to tweak my software to do exactly what you have done. Maybe I need to think about offering either option? 'On-the-fly' key changes are handled, but like you, I can't handle mid-line key changes­čśó Thanks for the explanation about the non-availability of the 'modified' ABC. Reading between the lines, that's what I had thought the answer might be. What I didn't say (and should have done!) is that this is a pretty nice tool! What you (but not necessarily others), almost certainly know is that there's a bit of a discussion going on on melodeon.net about finding 'The Perfect ABC Editor'. The underlying abcjs software used in this program goes a long way towards providing just exactly that. Thank you for providing it.
  2. Points/questions arising: I guess everyone has their own definition of 'complex'? For me, it's anything which can't be done in the context of an ABC w: line. Most of my (locally-hosted) programs generate modified ABC - the modifications go into the w: lines. The w: lines don't take cognisance of grace notes (as far as I know), therefore my stuff doesn't handle grace notes. Your converter seems to gobble 'em up with no problem whatsoever - I even threw a couple of pipe tunes at it (lots of grace notes there), and it seemed to thrive on this diet. So there are different perceptions of what's complex, and what isn't... 3-4 years ago, I provided modified scores (note-names only) to a whistle teacher in Vermont. We agreed that in the key of G (say), Fs would be designated as F, not F# - because on the score it's written as F, even though in absolute terms it is an F#. I notice that your converter marks 'em up as F#. So my question is: Is there a convention when using note-name tablature to either mark the notes relative to the key signature, or in absolute terms? I hope that made sense? Final question: Somewhere along the line, your converter generates 'stuff' for the modified score. Is that 'stuff' rendered as ABC? If yes, is there any way of making the modified ABC code available to your 'umble servant... Ta.
  3. Australian music is the dog's wotsits! The Australian Traditional Music Archive is a bonzer place to visit... Here's one of my favourite Australian tunes - a bit late for this year's Australia Day, but next year... RogersTuneBook-AustraliaDayWaltz.abc RogersTuneBook-AustraliaDayWaltz.pdf
  4. Yes, I take your point, and that was my point really. I'm sometimes a little bothered that new/prospective players might not take this on board at first (I didn't when I very first started). Maybe I'm being a little over-cautious... ____ Maybe I'm not. 'Different differences', if you see what I mean, but moderately critical? I can remember two instances where someone was trying to learn Anglo after rotating the thing through 180 degrees in the horizontal plane, and one instance where someone appeared to be quite happily setting out to learn to play a 30-button English using the tutor for a 30-button Anglo.
  5. I'm a little confused. A/D and D/G concertinas have been mentioned, but I can't remember ever coming across these configurations. Are D/A and G/D meant here, or am I missing something?
  6. Indeed. See https://www.concertina.info/tina.faq/images/salv.htm. I too have a 26-Button George Jones Ab/Eb Salvation Army Anglo (Serial No. 25105). It has the SA crest stamped/embossed on the RH end, and the SA initials worked into the fretwork. Very nice it is too...
  7. That's interesting. I sometimes use the 'tap technique', in a fairly unstructured way, to achieve a 'pseudo-staccato' effect. First time I can recall it being mentioned...
  8. Deleted. I just answered my own question! Sorry folks!
  9. Well, I tried it - spent 6-8 hours on it so far. A simple text-based 'Lilypond tune creation tool' running in a command window. Hard work, and not a lot of progress so far. As a comparison, I tried the same with ABC - a simple text-based creation tool for writing ABC tunes. Got the whole thing working in prototype form in ~90 minutes. Good enough that I may well pursue the matter and develop a more sophisticated version. Quick and easy when away from home with a small, slow machine, which can only run [Easy]ABC slowly... The comparison isn't completely fair because my familiarity with ABC syntax means that the ABC tool was 'easier', but to my mind, it's a striking difference...
  10. Thanks for that reply. It looks a little as if we both did somewhat similar things somewhere in the dim and distant past. I looked at it in a fairly cursory way, and came away with the idea that it did a pretty good job, but was very verbose (like TeX/LaTeX). Files were simple text, but were likely to be 2.5-5x larger than an equivalent ABC file for the simple tunes I was working with. Like you, I didn't use a front-end, but used it in command-line mode. As a result of a conversation I had with someone a couple of weeks ago, I decided to try it again, this time with a front-end. I installed Frescobaldi/Lilypond on two of my machines yesterday (one I don't connect to the internet), and got it working fairly quickly. Even with the Frescobaldi interface (with an easy-to-use 'score wizard'), it still seems complicated, even for simple tunes. It's probably great for the musical director of a symphony orchestra who wants to provide a full score for Beethoven's 5th, complete with parts for every instrument in the band. For blokes like me who simply want to get 'Three Blind Mice' down on paper in a way which is usable by other folks, it's probably serious over-kill... I'll be pursuing the matter, but at a lowish level. I suspect that if I decide to use Lilypond at all, I'll be building my own 'score wizard', rather in the way I built a simple 'HTML file generator' 20+ years ago... Thanks for the input.
  11. I'm getting bored - time for a new 'project'... Does anyone here have any experience using the TeX/LaTeX-like music type-setting program lilypond? What front-end should I use? frescobaldi? I did try it at a very elementary level about 5 years ago, so I'm familiar with the general approach, but didn't pursue it as I was using [Easy]ABC by then. Always up for something new, though... Thank you. Moderator: If this isn't the correct forum, please feel free to move to the correct one...
  12. Yes. A word of explanation. For those who haven't stumbled across it before, that ABCEdit database is a bewildering collection of ~25000 tunes - containing many (exact!) duplicates; many tunes containing 'wonky' ABC; many strange (and incorrect) key signatures; many bizarre attributions of country of origin; and so on... An encyclopaedia of all the ABC coding practices deprecated in Dr. Gonzato's manual, in fact. There are also many cracking tunes in there (which I haven't seen elsewhere). My (self-appointed) task is to salvage what's salvageable, but that 'Godfather' I posted was at best, on the limits of being salvageable. Here's my take on Gregor's improved version. I separated it into two tunes (for my own 'administrative' reasons), and ditched the second voice in the Waltz (I'm pretty 'insecure' when dealing with Bass clef!). I added chords to the Theme - 'just for ducks'... Later: I forgot to supply a link to GG's manual! Now inserted. godfather-X78.pdf godfather-X78.abc
  13. Crikey, that was quick! Thank you! It works! Bacca Pipes - Headington Time 1: (L05Push, index) Time 721: (L05Push, index) Time 1201: (L09Push, middle) Time 1441: (L05Pull, index) Time 1921: (L05Push, index) Time 2161: (L07Pull, pinky) Time 2881: (L05Push, index) Time 3361: (L07Pull, pinky) Time 3601: (L04Push, middle) Time 4321: (L07Pull, pinky) Time 4801: (L04Push, middle) Time 5041: (L03Pull, ring) Time 5761: (L05Push, index) Time 6481: (L05Push, index) . . . Thanks!
  14. [1] I won't take you up on your kind offer at the moment, because I guess you are up to the earballs getting the whole thing properly sorted out? It's low-priority really, because (presumably) you are working towards providing a complete harmonic tabulation, where actual chords would have rather low priority/importance? Later maybe... [2] Ah, I looked at a MIDI file generated from an ABC file (using EasyABC), and the title was buried somewhere in the MIDI code in text form. I just assumed that (1) 'twould be present in all MIDI files; (2) 'twould be feasible to extract it from the file and place it somewhere in your output. No worries if including title is not practical... Thanks.
  15. You may therefore be interested in: https://fiddle-tunes.nhcountrydance.com/https://fiddle-tunes.nhcountrydance.com/downloads-page/ Fiddle oriented, and I may have mentioned them before, but just in case...
  16. Message deleted - I managed to leave in a single accompaniment chord in my test tune, so it went belly-up! Can I suggest that you add a tune title as the first line of the output, if that is possible?
  17. melodeon.net user 'ak' recently posted details of a web site of North Atlantic Tunes. Looks like an interesting collection - a mixture of ABC, soundfiles, and PDF scores... For more details, see the relevant melodeon.net post.
  18. My internet connection is playing silly buggers at the moment. ABC and PDF attached (I hope!) I'm not sure if it's complete... Later: The two attachments are no longer available - I don't know why? In any case, they've been superseded by 'better' efforts - down below somewhere... RogersTuneBook-Godfather.abc Theme from The Godfather.pdf
  19. Everything Don says is absolutely spot on. I used to supervise the day-to-day update/maintenace of a 500-600 page computer manual. The manual was made up of separate sections which were individually 'perfect' bound, but also punched for insertion in a large ring binder. Up to 20-30 pages is OK, but larger page numbers have a tendency to fall apart very quickly... Properly executed, the spiral binding described by Don is the way to go - particularly for 'print-on-demand'. Plastic 'comb' binding is another option...
  20. I don't routinely use this program (because I don't connect my 'workhorse' machine to the internet), but I said it was nice when you first announced the program - it still is! It's very satisfying when you improve the performance of a program! I recently halved the execution time of several of my programs by the addition of a single line of code! I haven't had a chance to check out all the improvements, but this is clearly a great step forward - congratulations!
  21. Sorry, we've gone a little off-topic, and it's my fault (again!). Yes, thanks for those links! My question was based partially on the idea that my goal is to produce 'consistent' and 'playable' ABC - which is why I've highlighted what is (to me) the vital point in PH's post. I work mostly with 'legacy' ABC files (as opposed to original MSS), and the different ABC coding styles in these files can be bewildering (and confusing for new ABC users). I've 'developed' my own coding style which some folks don't like, but which works for me. ___________ A little brown-nosing­čśŐ: More recent ABC compilations such as those cited earlier, or Mr. Hardy's own tune books require little or no editing - they are 'consistent and playable' and can be used pretty much 'straight out of the tin'...
  22. Good! That's pretty much what I'm doing. I shall carry on in the same vein! I see/hear a lot of tunes which seem not to finish 'correctly', and there is usually an obvious way to end them 'nicely' - I will be a little less hesitant about doing this in future... I also see tunes in which the key sig. is a little 'odd' to put it mildly (eg: X instead of possibly Xmin). There are usually obvious solutions - which I will be applying in future (there are also instances where it's not so obvious - klezmer for instance - proceed with caution). Thanks!
  23. I'm always on the look-out for 'tunes I never heard of before' and I downloaded that collection to investigate further, so thanks for the heads-up about the possible errors in the scores. I spotted the under-full bar in the featured tune when I ABC'd it, and did what I usually do in such circumstances - which is to either stick in a rest, or double (or halve) the duration of a note (usually at the start/end of the relevant 'part' of the music). I also spotted and fixed the missing dots. It's encouraging to know that the real experts do the same sort of thing as a numptie like me. I see lots of such 'errors', sometimes in the score (as in this instance) but more often in 'legacy' ABC files. I have learned to recognise a long list of what I see as ABC transcription errors which may have been present in the original score, but which I speculate are usually transcription errors. Sometimes, the errors are so 'obvious' that I can spot different copies of the same transcription in different downloaded ABC files because they have exactly the same errors.[1] A general question: How does one decide what the error is, and what are the 'forensic' skills needed to fix them? Is it a purely mechanical process, or does one need an extensive knowledge of musical theory to fix stuff like this in an 'authoritative' way? How does one decide (for instance) that in this case, bars 7 and 8 should look like bars 15 and 16? Thanks _____________________________ [1] I've seen as many as seven copies of exactly the same transcription (with errors) in different places...
  24. I agree that using acids is scary. I've successfully used dilute oxalic acid to help strip the varnish from wooden sailing dinghies, and dilute acetic acid to clean vintage chess boards, but I don't think I'd go anywhere near a concertina with any form of acid. I agree that over-restoring can damage the 'ambience' of a vintage instrument. I very occasionally give the wooden ends of my instruments a polish with a good-quality beeswax based polish - very little polish - and only a moderate amount of elbow grease. Works for me. Comments from the experts? Am I doing it right? Ta. ______________________ I also use a top-quality oil-based polish on my chess pieces, but I don't think I'd go near a concertina with a liquid-based polish...
  25. My other programs (1. generating 'statistics' for large ABC files; 2. extracting tunes from an ABC file, using Unix-style Regular Expressions as the extraction criteria; 3. re-formatting a file, and doing some optimisation of ABC code) simply treat the whole exercise as simple manipulation of a text file. It's ABC files, but it could be knitting patterns(!). Effectively, I am 'parsing' the ABC file, but at a very simple level. I'm sitting a long way downstream from the programs which do fully parse ABC code, and I wouldn't want to take it any further... Heh! I think my model is using button 8 because even my (hard-wired) so-called 'cross-row' mappings stick with 'along-the-row' button allocations for the left-hand! Something else I need to address when I try to incorporate 'intelligent' button selection into the program(s)...
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