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  1. I just came across a rather strange specification of a triplet. It can be seen in the following code: X:7961 T:Tom Kinsella's M:4/4 L:1/8 Q:1/4=130 R:March K:Gmaj dc|:B>A Bc dG Bd|eG ce d2 g>f|e>f ge dB GE|A2 AB A2 dc| B>A Bc dG Bd|eG ce d2 g>f|(3:2:1e(3:2:1f(3:2:1g d>B cA FD|1 G2 GF G2 dc:|2 G2 GF G2 ef|] |:gd Bd eG ce|d>e dB G3 B|Ad fa ge ^ce|d>^c de/d/ =cA FD| B>A Bc dG Bd|eG ce d2 g>f|(3:2:1e(3:2:1f(3:2:1g d>B cA FD|1 G2 GF G2 ef:|2 G2 GF G4|] The format is (3:2:1x(3:2:1y(3:2:1z and they appear in the score as a 'triplet' with a '3' below each note in the triplet. They seem to sound as a conventional triplet on playback, and I have replaced them with (3xyz with no apparent deleterious effect. I think the '3:2:1' is saying something like: 'play 3 notes in the time of 2 notes for the next 1 note' which doesn't make much sense? Question: Is there something about this 'odd' way of specifying a triplet which I have completely missed? Thanks.
  2. This is a short review of the book 'There was None of this Lazy Dancing' by Bob Ellis. The book is about the music played at dances in the Yorkshire Dales. There are a lot of good (folk) tune books. There is a smaller but significant number of books dealing with the social history of (folk) music. There are very few books which deal with both the music and the social history of the music. This book is a significant addition to that small sub-genre. The book is a collection of tunes played at dances in the Yorkshire Dales. The tunes are presented in a way which describes and discusses their use by placing them in the context of the social events at which the tunes were played, and by using short biographies of some of the musicians who played the music. The tunes themselves are a mix of the familiar and the not-so-familiar. Where necessary, tunes in 'unfriendly' keys are also supplied in transpositions to a 'friendly' key, usually G, so the tunes should be easily accessible to G/D and C/G concertina players? (Note however, that the book is not concertina-specific, and as far as I am aware, is not intended to be Dance instructions are also included, as are comprehensive cross-referenced indexes of both the tunes and the dances. This is an absolutely splendid mix of academic rigour, relevance and readability. The book is also well-illustrated and well made (hard cover, stitched signatures, lay-flat binding). The fortunate purchaser of the book will also receive a password giving access to ABC transcriptions of all the tunes. The author asks, (very reasonably), that this password not be passed on to those who have not purchased the book. The ABC code appears to be of original transcriptions by the author. The style of coding is consistent, concise (minimalist, if you prefer), unambiguous and correct. As with the printed text, where the original of the tune was in an 'unfriendly' key, the author has provided a transcription into a 'friendly' key. In brief, this is a superb book! The only irritating thing about the book is that there is a picture of the author on page 5. I'm sure I know the man from somewhere, and can't for the life of me remember where or when I encountered him. Bloody infuriating!
  3. Recently I have come across several instances of M:4/4l in ancient ABC transcriptions. For example: X:2104 T:Coffee and Tea C:Trad S:Northumbrian Minstrelsy M:4/4 O:England F:England K:G "C"ef| "G"g2 d2 BGdB| "G"Gggf ~g2 ed| "G"g2 d2 BGdB| "D7"Aefg ~f2 ed|\ M:4/4l "G"g4 d2c2 B2G2 BcdB|\ M:4/4 "G"Gggf ~g2 ed|\ M:4/4l "G"g4 d2c2 B2G2 BcdB|\ M:4/4 "D7"Aefg ~f2:: ed| "G"BgBg (3def gd| "G"BgBg ~f2 ed| "G"BgBg (3dgf gd| "D7"Aegf gfed|\ M:4/4l "G"B2g2B2g2 fgfe g2d2|\ M:4/4 "G"BgBg ~f2 ed|\ M:4/4l "G"B2g2B2g2 fgfe g2B2|\ M:4/4 "D7"Aefg ~f2| The context is different in different examples. For instance, in the above, the bars following the M:4/4l all appear to be 'overfull', but replacing each instance of M:4/4l with L:1/16, and the following M:4/4 with L:1/8 would supply a 'fix' (of some sort). However I have seen an example (can't find it now) where the 'fix' would be to replace M:4/4l with L:1/4 which is in some sense, exactly the opposite approach. I'm deeply puzzled... Does anyone have any idea what this means please? I've looked at some 'early' ABC documentation and can't find any reference to this sort of stuff. Some additional points: I've also seen examples of M:6/8l and M:3/4l Several of the instances of this seem to be in transcriptions of tunes from Northumbrian Minstrelsy, (though there are others). Is there an ancient transcription of Northumbrian Minstrelsy out there 'in the wild' which has got broken up, and lost any accompanying explanation of what this stuff means? Any advice welcome. Ta.
  4. In this old thread there was some discussion (a side-bar to the main topic) about what mechanism to use to insert tablature (tabs, note-names, ABC-names) to a score. At the time I said that my preferred option was to use text annotations to do this. Fairly soon after this, I changed my mind, and started using lyrics (w:) lines as the vehicle for carrying the tablature, and have done so for some time now. I also wondered if symbol (s:) lines were a viable third option but didn't do anything about it. As a result of recent discussions, I finally got my act together and tried this. It seems to work, although there are up-sides and down-sides to this. Here's an example of what it looks like (not very good quality, I'm afraid): This is the only practical presentation as far as I can see. The accompaniment chords and s: lines seem to be tied together, they both use the same font, and moving them below the staff results in the accompaniment chords and tabs becoming mis-aligned, so it's limited - It looks 'better than I thought it did at first', though Question: Has anyone else here tried using ABC symbol (s:) lines as a way of adding tablature to a score? How d'ye think it looks? Ta. (Moderators, please move to more appropriate forum if necessary - I couldn't decide...) ______________________________ At present, I haven't actually modified my program(s) to do this, but am using an edit 'macro' to convert a file using lyrics (w:) lines to a a file using symbol (s:) lines... 1,2,3,4.abc
  5. I've recently come across a load of Hungarian tunes in some (very?) old ABC files and I'm trying to 'rescue' some of them. They all make reference to HTML2ABC, which presumably was an Awk script for converting HTML to ABC. However, the results seem a little spotty. Here's an example: X:7 T:Ablakomba, ablakomba O:Hungary A:szab\'o N:Elhagyott a bab\'am Z:HTML2ABC - AWK script M:2/4 L:1/8 Q:120 K:Gmaj 4-4 EGFE | B2 e2 d2 B2 | ABAF | G E3 E2 z2 | EGFE | B2 e2 d B3 | ABAF | G E3 E2 z2 | g2 F2 e f3 | e3 dB d3 | e2 c2 A c3 | d2 B2 G E3 | EGFE | B2 e2 d B3 | ABAF | G E3 E2 z2 || As you can see, several of the bars are too long for 2/4, and the whole thing doesn't seem sure about whether its 2/4 or 4/4 (that's how I interpret the '4-4' just after the key sig.). Anyone have any experience with this mystery Awk script, or in a position to comment on the validity of the ABC code it generates? I've done a rudimentary search for HTML2ABC and come up with zilch. Ta.
  6. Sometimes, (usually in older ABC transcriptions which I've found on the internet), I see something like this: I:abc-charset utf-8 %%measurenb 1 X:100 T:Kelly of Killane C:P. J. McCall M:2/4 L:1/8 Q:120 R:March K:Dmaj (D2 F2) | "D" A4 F2 A2 | "G" d4 c2 B2 | "D" A4 F2 D2 | "G" B,4 D2 E2 | "D" F4 (E2 F2) | "A7" A2 G2 E2 C2 | "D" D8- | "D" D4 :| A2 A2 | "G" B4 G2 B2 | "G" d4 c2 B2 | "D" A4 "G" d2 B2 | "D" A4 "E7" A2 A2 | "G" B4 G2 B2 | "E7" d4 c2 B2 | "A7" A8- | "A7" A4 D2 F2 | "D" A4 F2 A2 | "G" d4 c2 B2 | "D" A4 F2 D2 | "G" B,4 D2 E2 | "D" F4 (E2 F2) | "A7" A2 G2 E2 C2 | "D" D8- | "D" D4 |] As I understand it, if it's really 2/4, there are bar lines 'missing' in there, or the bar lines are 'correct', and the time sig. should be 4/4 (or 2/2?). Am I missing something, or is there really something wrong here? If there is something wrong, which is it: missing bar lines, or an incorrect time sig? How do I tell which? Is it something to do with the tune having been transcribed using a now-long-gone piece of ABC software which behaved differently from (say) EasyABC? My own thoughts tend to make me wonder if the tune has been written down 'oddly' in the first place (not by the ABC transcriber, but in the original source), but I dunno - which is why I'm asking the question... Any thoughts welcome - this one is doing my head in... Thanks in advance.
  7. We don't have a separate ABC 'subject' on concertina.net? I'll stick this here... I don't think this has been mentioned here before, but there is a new web site dealing with New Hampshire fiddle tunes. It also includes ABC and PDF downloads for all the tunes. It is fiddle oriented, but it might be of interest to folks here... It's also possible to download a complete PDF tune book x-posted to melodeon.net.
  8. I just stumbled across a whole series of videos by Chris Walshaw, describing the use of ABC. I haven't seen these mentioned anywhere, but apologies if they have already been mentioned. They are all of fairly recent 'vintage'. They may be of interest to some? They can be found here. x-posted to melodeon.net.
  9. A new version of Guido Gonzato's "Making Music with ABC 2" manual is now available. It can be downloaded as a .zip file (includes midi and mp3 sound files) from: https://sourceforge.net/projects/abcplus/files/Abcplus/abcplus_en-2021-10-18.zip/download
  10. I hope this is the right place for this... The other day, while indulging my hobby of plundering 'legacy' ABC files for good new tunes, I came across a whole directory of files which I had no memory of ever downloading. A little searching revealed the source: Tom Buchanan's Scottish Tome That link directs you to a web page which has over 1100 Scottish/Irish tunes in ABC sub-collections (jigs, reels, etc.), and individually in ABC, PDF and page scan formats. There is also a (PDF) document explaining how the project originated (on The Session ) and how it was implemented. Very interesting - if you are a computer nerd like me... It worked for me - first shot out of the box, I found a tune I had been looking for for ~3 months, (and I'm such a dozy git that I hadn't even realised I'd been looking for it...😎) I don't think this collection has been mentioned here before - apologies for the duplication if it has, but it might be worth a look... I think I'll x-post this to melodeon.net...
  11. A very simple question about ABC usage. I sometimes see two different notes joined by a "-". Can't be a tie because the notes are different. I don't think it can be intended to be a slur because itdoesn't appear as such in the generated score.Any ideas please on what the intended purpose of this "-" might be? The standard is clear about what constitutes a tie or a slur - this usage seems to contradict both these definitions.There are three examples in the short ABC script below.Thank you.---------------------------------------------------------------------X:1T:Rights of Man, TheM:4/4L:1/8Q:1/4=130K:Em|: GA | "Em" (3BcB (3ABA (3GAG (3FGF | EFGA B2 e-f | gfed edcB | "Am" cBAG "B7" A2 GA | "Em" (3BcB (3ABA (3GAG (3FGF | EFGA B2 e-f | gfed "B7" Bg (3fgf | "Em" e2 E2 E2 :||: ga | "Em" babg efga | babg e2 fe | "D" d^cde fefg | afdf a2 g-f | "Em" eBeg "D" fdfa | "Em" gfga bgef | gfed "B7" Bg (3fgf | "Em" e2 E2 E2:|
  12. A simple question (I hope). Some folks use 'below-the-staff' note names as an aid to learning staff notation. Is there a convention for notating accidentals? That is, are accidentals depicted as (say) #C and #F, as they would appear in the score, or as C# and F#? I did a simple implementation of this scheme a while ago for a whistle class, and the accidentals problem did not occur because of the limited scope of a whistle. I now wish to generalise the implementation to include all notes. Thanks.
  13. Does any reader of this forum know of any ABC collections of tunes suitable for a 2-row (20-button) concertina? This is for a new player who only has a 20-button, and who is looking for 'more tunes'. I'll build a small selection for him myself if push comes to shove, but I hope there's already something suitable out there... Thanks.
  14. I guess this should go in 'Tunes'? It should be of interest to some members of this forum? Here's a new website from a well-known U.K. melodeon/concertina duo. Their new website features a music section where there is a rapidly growing selection of tunes in PDF, ABC and YouTube video formats. Featured instruments are usually English concertina and melodeon, but Anglo, cello, banjo, vocals feature on some tracks.
  15. Can any expert ABC user please tell me a fool-proof method for inserting Unicode characters into the text generated by an ABC file? I want to insert sharp, flat, natural, and (occasionally) double sharp and double-flat into the w: line(s) of an ABC file. The escape sequences given in Guido Gonzato's manual (\201, \202, \203, \204, \205) work for sharp, flat and natural, but not for double-sharp and double-flat. This is as per ABC standard as far as the first three go, but unless I missed it, the standard is silent on the subject of double-sharp and double-flat in text (as opposed to music) If I use Unicode hex escape sequences (\u266d, \u266e, \u266f, \u2670, \u2671), again, they work for flat, natural and sharp, but not for double-sharp and double-flat. I can fudge the whole thing by just using two instances of the appropriate symbol for flat or sharp, or even just using the nearest keyboard characters ( ##, bb), but it would be nice to do it 'right'. I'm aware that there are different ways of encoding Unicode character escape sequences, but I am happy to admit that I do not fully understand how some of these are constructed, and may be using 'incorrect' sequences. I'm using EasyABC rather than explicitly using any of the abc??? family of programs - that may be the root cause of the problem? Any advice appreciated. Ta.
  16. I've just com across a slightly strange meter specification in an old ABC file. It is M:4/4l (that's a lower case 'l', not the digit '1'). As far as I can see, this has no effect on the score or on the MIDI playback. I can't find anything about this in the documentation. Anyone have an idea what this might be for? Thank you.
  17. I am using EasyABC on a HP machine running Windoze 10. I have a problem with correct representation of numeric values in the Q: field. Briefly, any value above 127 produces an incorrect value both in the display, and in the generated PDF file. Here's an example: X:1 T:Newcastle M:4/4 L:1/8 Q:1/4=150 K:G |: A2 | "G" B2 d2 "D7" G2 A2 | "G" G3 A G2 D2 | "G" B2 d2 G2 d2 | "C" e2 g4 fe | "G" d2 B2 A2 G2 | "C" E2 e4 dc | "G" d2 B2 "D7" A3 G |1 "G" G4 G2 :|2 "G" G6 |] |: ef | "G" gfed g3 B | "Am" A2 g4 A2 | "Em" G3 A "Bm" B2 F2 | "Em" E2 e4 f2 | "G" gfed g3 B | "Am" A2 A2 c3 d | "C" e2 B2 "D7" A3 G | "G" G6 :| I've attached the PDF generated by this ABC code - the metronome marking which should be 150 is shown as -106. A value of 127 works fine; a value of 128, yields -128; a value of 129 yields -127; and so on... (*) I'm baffled by this - particularly as on my other W10 machine, it all works fine. Any ideas? Thank you. (I thought I had already asked this question, but I can't find any trace...) Roger (*) It hasn't escaped my attention that 127=(2**7)-1, and that the value produced is a discontinuous function of the input Q: value: f(x)1:127=x; f(x)128:256=x-256 which just shows that I'm a right smarty-knickers, but which doesn't get me much forrader... ? Newcastle.pdf
  18. There seem to be two ways to specify grace notes in ABC - {n} and {/n}. These are for Acciaccatura and Appoggiatura (*). The latter form produces a note with a stroke through the vertical bar. What I'd like to ask is: For 'folk/traditional music', does it matter which form is used? I tried both forms in a tune, and on playback, simply couldn't tell the difference... Ta. Roger (*) Highly technical, eh? - not sure I understand the difference, to be honest!
  19. I just came across this ABC reference card. http://www.stephenmerrony.co.uk/uploads/ABCquickRefv0_6.pdf I can't see it flagged anywhere in this forum. It may be of use to some readers? Roger
  20. I just came across an ABC file in which there are E: fields in the headers - eg: E:10. I had a look at the ABC specification, Guido Gonzatos manual and Steve Mansfields tutorials and could find no mention of an E: field. Any ideas as to what it might be for? Thank you. Roger.
  21. I guess this is one for the ABC experts. As an aid to learning the tunes, I'm transposing some Playford tunes into ABC, and am including chords (these are from another players 'personal' scores). In ABC terms, the tunes are M:C| or M:6/4. The default chord profile for M:C| seems to be %%MIDI gchord fzczfzcz. There doesn't seem to be a default profile for M:6/4 so I have cribbed a profile of %%MIDI gchord fzcfzc from somewhere (*). Both of these profiles produce an 'oom-pah' style chord accompaniment when played back through my ABC editor/player (I am using EasyABC). As I'm only learning the tunes, this is OK, but I'd like to try and vary the accompaniment to make the playback a bit more 'interesting'. However, despite having studied the relevant part of Guido Gonzato's manual (p.88-ish), I really can't get my head around these MIDI fbcz sequences which control the sound of the chordal accompaniment. Can any kind person out there suggest alternative sequences for M:C| or M:6/4 which might make my playbacks sound a little more interesting? I don't really know if this is even possible, but my own attempts have been abysmal. Thank you. Roger (*) I was quite surprised that what I thought of as common time signatures do not seem to have default chord profiles defined as an integral part of the abc2midi program.
  22. Writing code in ABC2Win (not Barfly, this time), I've successfully used the P field to indicate parts. ABABCAB, etc. However, now I'm working on something where it's 'sort of' ABACA, but it ends with a 'tag' or whatever that is a mix and variation of A and B. It seems like it would be weird to call it 'D,' a new part. I can give the example later...not at the moment...but just in case anyone has run into the same problem, I'm asking what to try to do. Maybe just use repeats where necessary and write in the 'D.C. Al Segno' And 'Fine' and all that?
  23. I've just had occasion to use a triplet for the first time in an ABC script, ie: (3ABc It looks OK in the score, but sounds rotten when I play back the MIDI representation [I'm using EasyABC] - the three notes are not the same duration. If I 'fudge' it - (3AB<c - it is better, but still not good [and strictly is not 'correct' ABC? As I understand it, the notes are intended to be the same length, and should be specified as such in the code]. As far as I can see, using the full form of tuplet specification: (a:b:c wouldn't help here. Any suggestions for ensuring that the three notes of a triplet can be forced to be of the same duration on playback? Or is this just a 'feature' of EasyABC? Thank you. Roger
  24. I've been looking over the chart for English concertina fingering as given here: http://www.concertina.com/fingering/ The first chart, English Concertina Keyboard -- http://www.concertina.com/fingering/images/english48-W842H736.gif has me wondering why it's shown as starting an octave above Middle C. This isn't 'wrong' but I can't figure out if it's actually 'correct' and I would in fact be somehow wrong to show the chart with the lowest C being notated with a capital C, not the small c. So, I would have started with the low G being lower, notated as G, -- then continue up going G#, Ab, Bb, B, C -- etc --- simply an octave lower than it's given on the chart. Sound-wise, the chart is more correct, maybe? But as far as what I'd want to read or write on the musical staff, I think I'd want to go with the lower octave start. Am I missing something...?
  25. Some of you may remember earlier postings of mine, refering you to the ‘Lusthof der Muziek’ or ‘Garden of Musical Delights’ (http://lusthof-der-muziek.blogspot.com/) [lusthof-der-muziek.blogspot.com/], our website for the dissemination of rare musical sources from the Netherlands and Flanders from the 16th to the 20th century. Over de last couple of months, a lot of new material has been added. Both famous and obscure sources from our folk (and ‘burgher’) history are now available online, often in various digital formats (abc, pdf, mp3, xml) and all free of charge. To give you a taster, some names and titles that will do ring a bell with people who are familiar with the tradition are Balmer, Hanekuijk, Kiers, Speets, de Gruijtters, De Hollantsche Schouburgh and De Nieuwe Hollandsche Schouwburg. Also included are some treasures which until recently had escaped everyones attention, such as three manuscripts bij the family Van Bolhuis, a charming manuscript for keyboard by a guy named Mentjot (a suitable source for arrangements on the concertina, I suspect), the manuscript ‘Musicq Boek 1740’, and several presumably lost volumes and fragments from famous music series that were published in Amsterdam. I hope to reach any Dutch musicians on this forum, but maybe also people who trace their ancestry to the Low Lands, and of course anyone else who might be interested. Please have a look and take advantage of the efforts of our industrious volunteers who produced these transcriptions. The writing is in Dutch, but we installed the Google translator, which should at least give you an inkling of what each source is about (and the dots can do without, obviously). Thanks, Mark
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