[HANASHIR:1535] Re: code for melodies -Reply -Reply

[Michelle Katz <MICHKATZ...>]

I agree that this system more closely mirrors standard notation, and
provides a mechanism to denote dotted notes (which would address
Rich's comment about showing syncopated rhythms), although I am not
sure it's easier. Perhaps the next time one of us is asked to "hum a few
bars"  we could try out one or the other of these methods. 

 Except for Rick of course, who may keep using his direct brain to
keyboard technology. ;-)

>>> Judy Caplan Ginsburgh <jerd (at) centuryinter(dot)net> 10/22/98 01:11pm
>>>
Here is an example of the tablature we use on this other list.  I find it a 
little
easier to de-code.

1  =  whole note
2  =  half note
2. =  dotted half note
4  =  quarter note
4. =  dotted quarter note
8  =  eighth note
8. =  dotted eighth note
9  =  sixteenth note
9. =  dotted sixteenth note


ALL THROUGH THE NIGHT

4/4 Time
>From the Welsh

NOTES USED:  midC Db Eb F G Ab Bb C+ Db+ Eb+ F+
                     *  * * *  *  *  *   *   *


 4.       8    4    4           4.    8     4     4
 Ab    G    F    Ab        Bb  Ab    G    Eb
Sleep, my child, and  |  peace at - tend thee,  |


 2     4.     8          1
 F     G     G       Ab
All through the  |  night;  |


  4.      8   4       4       4.      8     4    4
  Ab     G  F     Ab      Bb   Ab   G    Eb
Guard - ian an - gels  |  God will send thee,  |


 2     4.    8          1
 F     G     G        Ab
All through the  |  night.  |


4        4     4        4         4      4       4         4
Db+  C+  Db+    Eb+     F+   Eb+  Db+    C+
Soft the drow - sy  |  hours are creep - ing,  |


4        4      4    4         4.      8     4        4
Db+  C+   Bb  Ab      C+    Bb   Ab      G
Hill and vale in  |  slum - ber steep - ing,  |


4.    8  4    4         4.      8   4      4
Ab G  F    Ab      Bb    Ab  G     Eb
I my lov - ing  |  vig - il keep - ing,  |


 2     4.     8         1
 F     G     G       Ab
All through the  |  night.  ||

Judy : )




Michelle Katz wrote:

> I'm not really active on this list, but I've been intrigued by the idea of
finding
> a low tech way to transcribe notation.  I am currently sitting in my office
in
> the middle of writing a brief (I am a musician by avocation, alas, not
> vocation) and I was able to "sight read" this melody in about 5 minutes.
> The first three minutes were spent making sure I understood the notation
> method.
>
> This is surprisingly easy.
>
> >>> "Bailey, Kent R., Ph.D."  Kent Bailey <baileyk (at) mayo(dot)edu> 10/22/98
> 10:48am >>>
>
> Here is an example of a well-known Shabbat melody in the code
> I described in my other message.
>
> It uses C8 to represent an octave higher than the starting C.
> One count is an 1/8 note in this example.  Time signature is 4/4
> Key signature is 1 flat, but if you write out all the notes you
> don't really need the key signature for accuracy, just for
> insight.
>
> It uses dashes in an inconsistent way.  One could use those
> to go with the musical patterns, or to link words together,
> or just to emphasize the rhythmic patterns.
>
> One way to represent notes carried across a measure bar might be to
> put the note in both measures, but enclose it in parentheses in the
> second measure, to show there is no new attack.
>
> It took very little time to jot this down, particularly with the copy
> and paste function in my mail tool.
>
> R(7) C(1) M  C(1)-F(1)-F(1)-G(1) A(2) Bf(1)-G(1) M
>
> C8(2) Bf(1)-Bf(1) A(2) G(2) M
>
> C(1)-F(1)  F(1)-G(1) A(2) Bf(1)-G(1) M
>
> A(8) M
>
> C8(3)-D8(1) Bf(1)-A(1)-Bf(2) M
>
> A(3)-Bf(1) G(1)-F(1)-G(2) M
>
> C(1)-F(1)-F(1)-G(1) A(2) Bf(1)-G(1) M
>
> F(2) E(2) F(4)  M
>
> C8(3)-D8(1) Bf(1)-A(1)-Bf(1) Bf(1) M
>
> A(1 1/2)-A(1/2) A(1)-Bf(1) G(1)-F(1)-G(2) M
>
> C(1)-F(1)-F(1)-G(1) A(2) Bf(1)-G(1) M
>
> F(2) E(1)-E(1) F(3)
>
> C(1) M  C(1)-F(1)-F(1) G(1)-A(2) Bf(1)-G(1) M
>
> C8(2) Bf(1)-Bf(1) A(2) G(2) M
>
> C(1)-F(1) F(1) G(1) A(2)-Bf(1) G(1) M
>
> C8(1) C8(1) D8(2) C8(4) M
>
> C8(3) D8(1) Bf(1)-A(1)-Bf(2) M
>
> A(3) Bf(1)-G(1)-F(1)-G(2) M
>
> C(1)-F(1)-F(1)-G(1)-A(2) Bf(1)-G(1) M
>
> -F(2)-E(2)-F(4)  M
>
> (opt. repeat)
>
> C8(3)-D8(1) Bf(1)-A(1)-Bf(2) M
>
> A(3)-Bf(1) G(1)-F(1)-G(2) M
>
> C(1)-F(1)-F(1)-G(1) A(2) Bf(1)-G(1) M
>
> F(2) E(2) F(4)  M
>
> Would someone who didn't know this tune be able to figure it out
>  from this representation? Reactions?
>
> Kent Bailey
> Rochester, MN
> baileyk (at) mayo(dot)edu