The file format being demonstrated here is a "blueprint", and thus subject to change! Nydana, Sweden. All rights reserved until further notice. Nydana Notation's File Format Nydana Notation's file format allows sheet music written in Nydana Notation to be translated into characters which can be stored in a textfile (traditional notation is not supported). It's not just intended to be understood by computers, but is also adapted to humans. Anyone who understands how it works will be able to translate sheet music, by hand, into this new format, or vice versa. The format could also be useful when to feed in musical symbols in notation software applications. The file format would also allow various notation software applications to exchange sheet music files between them. Further editing could be done in one of these applications before saving the file in the application's native format. Nydana Notation's file format is case sensitive. No default values are assumed. Computer programs can nevertheless have default settings which may be altered by the user. Nydana Notation's file format simply consists of a number of commands yielded one after another. Commands begin with a letter or a number. Commands are generally separated by blanks, but sometimes the blank is replaced with an underline sign ( _ ). When commands are tied together with an underline, they happen at the same time; that is, they will be vertically aligned on the staff. The order in which such associated commands are written will not have any effect on how they should be interpreted. So, for instance, p_q would be the same as q_p. It is, however, recommended to always put a note/chord command first in a line of associated commands. If a command is not associated, then it's usually valid until the end of the measure (or until the command is stated again, with % added directly after it). There are some commands that control graphical objects that extend horizontally. The slur command is one of these. Such commands have a colon added to show that they begin, and a semicolon to show when they end. Global commands begin with a capital letter and are not specifically related to any one particular staff. Let's begin with an example of what this format may look like and then walk through it step by step. The example being used is an excerpt from the musical piece which can be downloaded from the Nydana website. The First Three Measures of Summer Song: Nydana/1 Title(Summer Song) Ra(W. Peterson-Berger) Staff2(1-2) Brace(1-2) Bar(1-2) 0.1 g kb b time2h_tx(<t><>Andante con moto</t><n><it>dolce cantando) /q 4c_p 0.2 f b time2h /q r 1.1 /q 3acf_cr: 4cfa 4fac 4acf 1.2 /h 2ff_s: 2ee 2.1 /q 5cfa_cr; /E 4acg 4acf /q 4fac 4cfa 2.2 /h 2dd 2cc 3.1 /q 4dfd /E 4dfc 4dfB /q 4df 3Bd 3.2 /h 1BB 1aa_s; The Summer Song example step by step: Nydana/1 Title(Summer Song) Ra(W. Peterson-Berger) The first command tells us that it's a Nydana file - version 1. The second command yields the title; and the third writes out the name of the composer. The text is passed like an argument inside parentheses. Staff2(1-2) Brace(1-2) Bar(1-2) The command Staff2 means that staves with double staffbands will be used. (1-2) tells us that staves 1-2 will be of this kind. The next command assigns curly braces; and the third command tells us that staves 1-2 have joined barlines. 0.1 g kb b time2h_tx(<t><>Andante con moto</t><n><it>dolce cantando) /q 4c_p The 0 indicates which measure is about to be described (here set to 0 since the measure is not a complete measure). The number that follows after the dot is the staff number. The treble clef is represented by g. The key signature symbol is represented by kb. The flat staff signature is represented by b. The time command yields the time signature. A text command follows after that. The text is written inside parentheses. Tags can be added in a text. The <t> indicates a tempo text. The empty tag, <>, is an alignment pointer. The text will thus start above the time signature. </t> switches off the tempo text mode; <n> is a line break; and <it> means: switch to italic. Command /q tells us to use quarter notes. Then comes the first note. Note and chord commands always begin with a number. The number represents the octave in which it is placed. The c represents the note C (the natural notes, A B C D E F G, have small letters). Finally, p is the piano dynamics sign. The underline sign between command 4c and p puts the piano dynamics sign below note C4. 0.2 f b time2h /q r Staff number 2 begins. A bass clef (f) and a flat staff signature (b) follows, and then comes the time signature. The note value for staff 2 is set to quarter notes. The letter r represents a rest, and it will consequently be a quarter rest. And so measure number 1 begins: 1.1 /q 3acf_cr: 4cfa 4fac 4acf The first staff begins, and after a note value indication, a chord is written. Chords begin with a number which tells us what octave the lowest note in the chord belongs to. In this case it's the third octave. Then the actual notes in the chord follow, and they are consequently A, C and F. When they are written with lower case letters, they represent white noteheads. The underline sign associates the chord command with command cr, which tells us that at the same time as the chord is written, a crescendo wedge begins (the colon means begin). Finally, three other chords follow. 1.2 /h 2ff_s: 2ee Staff number two begins a new measure. The first chord starts in octave number 2 and uses half notes. At the same time a slur (s) begins from this chord. Yet another chord finishes this measure. And so the second measure begins: 2.1 /q 5cfa_cr; /E 4acg 4acf /q 4fac 4cfa At the first chord, the crescendo wedge, which was started in the first measure, is ended (the semicolon means end). The note value is then set to beamed eight notes (/E) for the two chords to follow. After two additional quarter note chords, staff 2 is yielded: 2.2 /h 2dd 2cc And so the third measure begins: 3.1 /q 4dfd /E 4dfc 4dfB /q 4df 3Bd In the third and fifth chord, the note B is written with a capital letter, yielding black noteheads for these notes. Staff 2 shouldn't need any further explanation: 3.2 /h 1BB 1aa_s; Nydana Notation's File Format Commands Version Write Nydana/1 to show that the file is compatible with version number 1 of the format. Measure/Staff/Part Indication Step 1: Write the measure number. Begin with 0 if it's the first measure and it's not a complete measure. Measures are always yielded in numerical ascending order; either from 0 and upwards, or from 1 and upwards, without omitting any number inbetween. Step 2: Add a dot follwed by the staff number. Staves are always yielded in numerical ascending order; always from 1 and upwards, without omitting any number inbetween. Step 3: If needed, add a dot followed by a part number. Example: 1.2.3 means measure 1, staff 2, part 3. Barlines will be drawn automatically. Staff Definition Step 1: Write Staffline for a single-line staff. Write Staff1 for a single-band staff. Write Staff2 for a double-band staff; and so on. Step 2: Add <s> for a small staff. Step 3: Add the staff number(s) in parentheses. Example: Staff1(2-3,5-6) means that staves 2 to 3, and 5 to 6, will be single-band staves. Brackets Step 1: Write Bracket followed by the affected staff numbers in parentheses. Example: Bracket(1-2,4-8) means that staves 1 to 2 share a vertical bracket ( [ ), and staves 4 to 8 share another vertical bracket. Brackets can also overlap. Example: Bracket(1-4,1-2,3-4) Braces Step 1: Write Brace followed by the affected staff numbers in parentheses. Example: Brace(1-2,4-8) means that staves 1 to 2 share a vertical brace ( { ), and staves 4 to 8 share another vertical brace. Braces can also overlap. Example: Brace(1-4,1-2,3-4) Staff Labels Step 1: Write L followed by the staff number. Step 2: Add the instrument name in parentheses. Example: L1(Flute) means that Flute is written to the left of staff 1. L1-4(Strings) means that Strings is written to the left of staves 1 to 4 (centered between staves 2 and 3). Route Step 1: Write Route when making changes to how staves are arranged. Step 2: Add, in parentheses, how staves/parts should be routed to other staves/parts. This can, for instance, be used for assigning which staff/part should take over a tie when moving on to the next measure. Example: Route(1>2) means that staff 1 is continued as staff 2. Route(1>2,2>3) means that staff 1 continues as staff 2, and staff 2 is continued as staff 3. Route(2>2.2) means that staff 2 becomes staff 2/part 2 in the next measure. Write x after a staff/part that is discontinued. Route(2>1,2x) means that staff 2 becomes staff 1, and that staff 2 is discontinued. Joined Barlines Write Bar followed by the affected staff numbers in parentheses. Example: Bar(1-2,4-8) means that staves 1 to 2, and 4 to 8 have joined barlines. Specific Barlines Step 1: Write Bp to adress the latest barline of the previous measure. Write Bn to address the beginning barline of the next measure. Step 2: Add d for a double barline. Add e for a double, ending barline. Add r for a repeat bar (dots on left side for the previous measure, and dots on the right side for the next measure). Add i for an invisible barline. Example: Bpd turns the latest barline of the previous measure into a double barline. Step 3: If needed, add the affected staves in parentheses. Example: Bnd(1-4,6-8) means that the next barline should be a double line for staves 1 to 4, and 6 to 8. New Line Write Line if the music is intended to begin on a new line. New Page Write Page if the music is intended to continue on a new page. Staff Indentation Step 1: Write Indent, before the next measure is about to begin, for an arbitrary staff indentation. Write Indent0 if there should be no indentation. Step 2: If needed, add the desired staff indentation in staff units (specifies how much the first line of music will be indented in comparison to the following lines of music; measured between points at which staff lines begin). This command is only necessary when to override the interpreting computer program's preset indentation. Example: Indent45 Staff Space Write Staffdistance followed by the distance between the previously yielded staff and the next staff, expressed in staff units (the height of a notehead equals two staff units) and measured between the closest staff lines of two neighbouring staves. Example: Staffdistance35 creates a space of 35 staff units between the staves. Rehearsal Measure Numbers Step 1: Write I to put the rehearsal number, according to the file format's measure number, above the barline. Write Ib for a rehearsal number in a box. Write Io for a rehearsal number in an oval. Write these commands just before the affected measure is about to be described. Step 2: Add a number if the rehearsal number is different from the file format's measure number. Alternatively, add a letter or a combination of two letters, in parentheses. Example: I10 puts rehearsal number 10 above the barline. Ib(AB) puts AB in a box above the barline. Volta Brackets Step 1: Write Vb for a single volta bracket that will embrace all staves yielded after the command, during the next measure. Step 2: If necessary, add a number (from 2 and up) that describes the number of measures that the bracket should embrace. Step 3: Add text in parentheses. Font Definition Step 1: Write Font followed by a font number. This defines a font that can be set by adding an appropriate tag in a text. If font 0 is defined, it will be used as the default font. Step 2: Add the font name in parentheses. Example: Font2(Times) means that the times font can later be set with tag <f2>. Font Size Step 1: Write Fontsize followed by a font number. Step 2: Add vertical text size in staff units (including decimals if needed) in parentheses. Example: Fontsize2(2.3) Dedicated Text Areas Ltop Mtop Rtop Title La Ma Ra Lb Mb Rb Lc Mc Rc (room for music) Lx Mx Rx Ly My Ry Lz Mz Rz Lbot Mbot Rbot Step 1: Choose the desired text area from the table above. The table represents the page layout. Step 2: Add text in parentheses. Example: Title(Summer Song) Ra(W. Peterson-Berger) Lbot(Copyright<co>Nydana) The following example writes out a complete verse (with its verse number to be printed to the left of the verse, and in an upper position): Mx(<vh>2</vh>It was a sunny morning<n>It was in early May) A text can continue to the right, over into the next area, if that area is not being used. Likewise, a table row is allowed to expand downwards. Comments Comments are written between ___and ___ (three underline signs in a row). Example: ___This is a comment!___ It's also possible to have more than one comment line: ___ This is a comment! ___ Any signs can be written within a comment, except for the combination of two or more underline signs written together. Clefs Step 1: Write g for a treble clef. Write f for a bass clef. Step 2: If needed, add a plus sign or a minus sign followed by an octave number if it's an octave transposing clef. Example: g+1 Step 3: Add <s> for a clef that is smaller than the usual. Key Signature Symbols Step 1: Write k# for a sharp key signature symbol. Write kb for a flat key signature symbol. Write kn for a natural key signature symbol. Step: If needed, add a number in the range from 2 to 7. Example: k#3 yields a sharp sign followed by the Roman numeral III in superscript. Staff Signatures Write # for a sharp staff signature. Write b for a flat staff signature. Time Signatures Write time4q for a 4:4 time signature. Write time2h for a 2:2 time signature. Write time3q for a 3:4 time signature, and so on (q = quarter note, h = half note, e = eight note, etc). It's also possible to construct more complicated time signatures by introducing plus signs. Example: time2+3+3q yields 2+3+3:4. It's also possible to write double time signatures: time3h time2h writes the two time signatures in succession. Note Value The note value is valid for notes, chords and rests that follow on the particular staff (or for an individual part on a staff). The note value is no longer valid when a measure has ended. Step 1: Use one of the follwing: /g Grace note; /d Double whole note; /w Whole note; /h Half note; /q Quarter note; /e Eight note; /s Sixteenth note; /t 1/32; /i 1/64; /x 1/128; /y 1/256; /z 1/512; /k 1/1024. For beamed notes, use one of the following: /E /S /T /I /X /Y /Z /K. If beams are to be continued from any preceding beamed notes, use one of the following: /Ec /Sc /Tc /Ic /Xc /Yc /Zc /Kc. The vertical positions of the beams' ends could be controlled by stem length commands. Example: /E 4a 4a /S 4a 4a means that the first two notes are beamed together with one beam; and the next two notes are beamed together with two beams; but there is no beam between the second and third note. /S 4a 4a /S 4a 4a means that the first two notes are beamed together with two beams; and the next two notes are beamed together with two beams; but there is no beam between the second and third note. /E 4a 4a /Sc 4a 4a means that the first two notes are beamed together with one beam; and the next two notes are beamed together with two beams; but there is also one beam connecting the second and third note. /S 4a 4a /Sc 4a 4a means that the first two notes are beamed together with two beams; and the next two notes are beamed together with two beams; but there is also one beam connecting the second and third note. Step 2: Add a dot for a dotted note. Add two dots for a double dotted note, etc. Example: /E.. Notes/chords Noteheads in a chord are analysed from bottom to top; that is, according to how the noteheads are positioned on the staff, regardless of pitch. The noteheads that belong to a specific octave, range from positions C up to B. Step 1: Begin with the octave number for a notehead (in a chord it refers to the lowest notehead). Middle C belongs to octave 4. The octave number always reflects the actual sounding octave, even when all'ottava is used. Step 2: Add a note (a b c d e f g A B C D E F G). Small letters represent naturals. Capital letters represent altered notes. The current staff signature, or any accidental, will decide how it's altered. Step 3: If needed, add a dot for a sharp accidental sign. Add a comma for a flat accidental sign. Add x for a double sharp sign. Add w for a double flat sign. Example: 2A. yields A#2; 2A, yields Ab2; 2Ax yields Ax2; 2Aw yields Aw2. Step 4: Add ' if the gap to the next notehead is more than seven staff-steps above the previous notehead. Add '' (write two single quotes in a row) if the gap to the next notehead is more than 14 staff-steps above the previous notehead, and so on. This generally means that ' will be used when the interval between two neighbouring notes in a chord exceeds one octave. Example: 2c'd means C2 D3, not C2 D2. Step 5: Repeat steps 2-4 for chords. Join Notes/Chords with Horizontal Brackets If two noteheads in a chord occupy the same vertical position on the staff, a second note/chord, that is to be played on the same beat, can be added to a preceding note/chord. The two notes/chords will be joined by a horizontal bracket. Write j in association with the second note/chord. The second note/chord will thus be played at the same time as the first note/chord. Example: 4a j_4A Rests Step 1: Write r for a rest sign that corresponds to the note value being set. Write r<i> for an invisible rest. Step 2: Optionally, add a number for a multi-rest that will last for as many measures as specified by the number. Example: r3 is a multi-rest that lasts three measures. Slurs Step 1: Write s for a slur. Step 2: Add tags if needed. Example: s<4a> means that the position of the slur at this moment is the same as that of a notehead A4 on the staff. Another example: s<u> indicates a slur that arches upwards. Step 3: Add : if the slur begins. Add ; if the slur ends. Don't add anything if the command is only being used for showing the vertical position of the slur between endpoints. Example: 4a_s<u>: 4g_s<5b> 4c_s; is an upwards arching slur with a vertical position B5 over note G4. Ties All notes (or as many as possible) in a chord will be tied. Step 1: Write t for a tie. Step 2: Add tags if needed. Example: td<4a> means that the position of the tie at this moment is the same as that of a notehead A4 on the staff (used only with single ties). t<d> indicates a tie that arches downwards (used only with single ties). Step 3: Add : if the tie begins. Add ; if the tie ends (ties will continue to be applied to consequtive notes/chords until the ending command is yielded). Don't add anything if the command is only being used for showing the vertical position of the tie between endpoints. The tie can also be ended directly after a note/chord, without reaching all the way to its destination. Example: 4a_t: t; 4a instead of 4a_t: 4a_t; Dynamics Marks Step 1: Write p for piano. Write pp for pianissimo, and so on. Write f for forte. Write ff for fortissimo, and so on. Write mf for mezzoforte. Write sf for sforzando. Wite sfp for sforzandopiano. Write sfz for sforzato. Write fz for forzando/forzato. Write rf for rinforzando. Write rfz for rinforzato. Write fzp for forzatopiano. Other options: ffz, fffz, ffffz, sff, sfff, sffff. Step 2: If needed, add a vertical position tag. Example: 4a_p<2a> It is also possible to write the dynamics mark in a text message (cf. tag <cd>). Example: 4a_tx(<!>f</!> subito) writes f subito, with f displayed in its appropriate font. Crescendo and Diminuendo Step 1: Write cr for a crecendo wedge. Write di for a diminuendo (decrescendo) wedge. Step 2: If needed, add tags. Example: cr<4a> means that the position of the wedge at the moment is the same as that of a notehead A4 on the staff. The vertical position should normally only be yielded for the beginning command unless the wedge is actually tilted. The vertical ending position for a crescendo wedge, or the vertical starting position for a diminuendo wedge, refers to a point centered between wedge lines. Step 3: Add : if the wedge begins with the associated note/chord. Add ; if the wedge ends with (and includes) the associated note/chord. Example: 4a_cr: 4b_cr; General Purpose Text Step 1: Write tx for a general purpose text. Step 2: Add the text in parentheses. Step 3: If needed, add tags. Example: 4a_tx(molto)<a>_tx(forte)<b> places molto above note A4 and forte below the same note. Stretched Text Step 1: Write ts for a stretched text. Dashes will be added automatically between the segments of a phrase. Step 2: If needed, add an id number (2 or higher) after ts if more than one stretched text is to appear simultaneously. Step 3: If needed, add tags. Step 4: Add : if it is the beginning of the stretched text. Add ; if it is the end of the stretched text. Example: 4a_ts(es): 4b_ts(press) 5c_ts(ivo); means that the text is stretched out between notes A4, B4 and C5; like this: es - press - ivo. Another example: 4a_ts(espress):_ts2(rall): 4b_ts(ivo);_ts2(entando); means that espress - ivo and rall - entando begin and end simultaneously. Chord Symbol Write c followed by the chord symbol text in parentheses. Example: c(F#<mj>) yields F#maj7, where maj7, however, is replaced with a triangle. Tag <v> is used for compound chords written on two rows with a horizontal divider line. Example: c(C<v>Dm) puts C over Dm. Lyrics Step 1: Write w for words. Dashes will be inserted automatically when necessary. Step 2: If needed, add a verse number (from 2 and up). Step 3: Add the text in parentheses. Example: 4a_w(hello) writes hello below note A4. Step 4: Add : if it is the beginning of a word. Add ; if it is the end of a word. Example: 4a_w(so): 4b_w(lo) 5c_w(ist); writes so - lo - ist below the notes. Another example: 4a_w2(so): 4b_w2; writes so---- (in a second verse) below the notes. More than one verse number can share the same text. Example: w2-3(evening) means that the word evening is shared by verses 2 to 3, and is thus only written once, and inbetween line 2 and 3. Wavy Line Arpeggio Write ar for a vertical wavy arpeggio line. Write au for a vertical wavy arpeggio line that is specifically marked to be upwards directed. Write ad for a vertical wavy arpeggio line that is specifically marked to be downwards directed. Write aa for a vertical wavy arpeggio line that is to be joined with the arpeggio on the staff above. Write ab for a vertical wavy arpeggio line that is marked to be downwards directed, and that is to be joined with the arpeggio on the staff above. Example: 4abc_ar Straight Line Arpeggio Write ru for a straight vertical arpeggio line with an upwards pointing arrow. Write rd for a straight vertical arpeggio line with a downwards pointing arrow. Write ra for a straight vertical arpeggio line that is to be joined with the arpeggio line on the staff above. Write rb for a vertical arpeggio line with a downwards pointing arrow, and that is to be joined with the arpeggio on the staff above. Example: 4abc_ru Tremolo Bars On a Stem Write tm followed by a number to put as many tremolo bars on the stem of a note as the number indicates. Example: 4a_tm3 puts three tremolo bars on the stem of note A4. The associated command is only valid once. If not associated, the command is valid until the end of the measure, or until a % is added after the command. Tremolo Bars Between Stems Step 1: Write tm followed by a number to assign as many tremolo bars as the number indicates. Step 2: Add : if the tremolo bars begin from the associated note/chord. Add ; if the tremolo bars end at the associated note/chord. Example: 4a_tm2: 4b_tm2; puts two tremolo bars between notes A4 and B4. When needed, tx(trem.) or tx(non trem.) could be added in a separate text command. Flageolets Step 1: Write fo for a flageolet circle. Step 2: If needed, add tags. Example: 4a_sq<b> indicates a flageolet sign below note A4. The associated command is only valid once. If not associated, the command is valid until the end of the measure, or until a % is added after the command. Accents Step 1: Write ma for marcato (>). Write as for a strong accent (^). Write mt for martelato (v). Example: 4a_ma adds a marcato sign to note A4. Step 2: If needed, add tags. Example: 4a_ma<5c> adds a marcato sign to note A4, placed at vertical position C5. The associated command is only valid once. If not associated, the command is valid until the end of the measure, or until a % is added after the command. All'ottava Step 1: Write ao for All'ottava. Write ob for ottava bassa. Step 2: If needed, add the number of octaves (from 2 and up). Step 3: If needed, add tags. Example: oa<4a> means that the position of the dashed all'ottava line at this moment is the same as that of a notehead A4 on the staff. The position should only be yielded for the beginning command. Step 4: Add : if the all'ottava or ottava bassa begins. Add ; if the all'ottava or ottava bassa ends. Example: 4a_ao2<5c>: 4b_ao2; Trills Step 1: Write tr for a trill. The command should be associated with a trill note. Example: 4a_tr Step 2: If needed, add tags. Example: tr<4a> means that the position of the trill sign at this moment is the same as that of a notehead A4 on the staff. The vertical position should not be yielded for an ending command. The vertical position indication refers to the center of the trill sign. Step 3: Add : if a wavy line should begin after the trill sign. Add ; if the wavy line ends. The Trill's Alternating Note Step 1: Write tf for the alternating note of a trill (the alternating note will be written as a stemless notehead inside parentheses). The trill note command and the trill's alternating note command should not be associated with an underline. A complete example: 4e_tr 4f_tf Glissando Lines Step 1: Write gi for glissando line(s). All notes (or as many as possible) in a chord will have glissando lines. Step 2: If needed, add an associated text in parentheses (only needed for the beginning command). Step 3: Add : if the line(s) begin. Add ; if the line(s) end. Example: 4a_gi(gliss.): 4b_gi; Dotted Line Step 1: Write dt for a dotted line. Step 2: If needed, add an associated text in parentheses (only needed for the beginning command). Step 3: Add : if the dotted line begins. Add ; if the dotted line ends. Example: 4a_dt: 4b_dt; Wavy Line Step 1: Write wa for a wavy line. Step 2: If needed, add an associated text in parentheses (only needed for the beginning command). Step 3: Add : if the wavy line begins. Add ; if the wavy line ends. Example: 4a_wa(shake): 4b_wa; Tuplets Step 1: Write n for tuplets (nested tuplets are also possible). Step 2: Add a tuplet number. Do not add a number if the tuplet number should be invisible (the latest yielded tuplet number will be automatically assumed). Step 3: If needed, add tags. Example: n3<4a> means that the position of the tuplet bracket at this moment is the same as that of a notehead A4 on the staff. Step 4: Add : if the tuplet begins. Add ; if the tuplet ends. Example: 4a_n3: 4a 4a_n3; Various Signs Step 1: Write co for Coda. Write fi for Firmata. Write se for Segno. Write cs for Caesura (&). Write gp for a grand pause (//). Write sm for single simile mark (. /.). Write sm2 for a double simile mark (. //.). Write mo for a mordent. Write mi for an inverted mordent. Write tu for a turn. Write tv for a turn with a vertical line in the middle. Step 2: If needed, add tags. For example, add a vertical position tag: co<4a> It is also possible to write the above signs as tags in text messages (cf. tag <!>). Example: 4a_tx(D.C. al <!>co</!> e poi la Coda) writes da capo al, follwed by the actual Coda sign, followed by e poi la Coda. The associated command is only valid once. If not associated, the command is valid until the end of the measure, or until a % is added after the command. Instrument Specific Signs Step 1: Write pz for a left hand pizzicato (+). Write ps for a snap pizzicato. Write bo for Bouché (+). Write ou for Ouvert (o). Write ub for Sull'arco = up bow (V). Write db for Giù arco = down bow. Example: 4a_db gives note A4 a down bow sign. Step 2: If needed, add tags. For example, add a vertical position tag: pz<4a> The associated command is only valid once. If not associated, the command is valid until the end of the measure, or until a % is added after the command. Staccato Write st for a staccato dot. Example: 4a_st. Write si for a staccatissimo wedge. Example: 4a_si. The associated command is only valid once. If not associated, the command is valid until the end of the measure, or until a % is added after the commmand. Tenuto/Portamento Write te for a tenuto dash. Example: 4a_te. The associated command is only valid once. If not associated, the command is valid until the end of the measure, or until a % is added after the command. Piano Pedal Marks Step 1: Write pd for a piano pedal mark. Step 2: Add : if the sostenuto pedal is depressed (a line will follow after the pedal mark). Add ; if the sostenuto pedal is released. Write rd between a pd: and a pd; for a release/depress. Example: 4a_pd: rd 4b_pd; Dashed Barline Write bd for a dashed barline. Microtonal Signs Step 1: Write u for a microtonal up sign (>). Write d for a microtonal down sign (<). All notes in a chord are affected if step 3 is not followed through. Step 2: If needed, add a number representing the number of signs (not necessary if just one sign is desired). The number can also have decimal 5 added (after a dot) if the half-comma sign is desired. Example: u_4a raises note A4 one comma (=23 cents). d0.5_4a lowers note A4 by half a comma. d3_4a lowers note A4 three commas. u2.5_4a raises note A4 by two and a half comma. Step 3: If needed, add index numbers in parentheses if individual noteheads in a chord are targeted. Example: 4abcde_u(1-3,5) means that notes A4, B4, C5 and E5 are raised one comma. The associated command is only valid once. If not associated, the command is valid until the end of the measure, or until a % is added after the command. Asterisks Step 1: Write a for an asterisk. All notes in a chord are affected if step 2 is not followed through. Example: 4a_a means that note A4 gets an asterisk. Step 2: If needed, add index numbers in parentheses if individual noteheads in a chord are targeted. Example: 4abcde_a(1-3,5) means that notes A4, B4, C5 and E5 get asterisks. Define what the asterisk means in a separate text command, like so: tx(*1<dm>) The associated command is only valid once. If not associated, the command is valid until the end of the measure, or until a % is added after the command. Fingering Numbers For single notes: Write v followed by the finger number that the note will get. Associate with a note. Example: 4a_v3 means that finger number 3 will be applied to note A4. Use two finger numbers separated by a plus sign for finger switches. Example: 4a_v2+3 means that note A4 gets finger numbers 2 and 3, with a small tie between the numbers. For chords: Write v followed by the finger numbers one after another (0 = circle with small wedge). Example: 4abc_v234 means that A4 gets finger number 2, B4 gets finger number 3, and C5 gets finger number 4. Write * instead of a finger number if no finger number is to be yielded for a particular note in a chord. Example: 4abc_v2*4 will not give a finger number to note B4. Use two finger numbers separated by a plus sign for finger switches. The two numbers will be assigned to a single note in the chord. Example: 4ab_v23+4 means that note A4 gets finger number 2, and note B4 gets finger numbers 3 and 4, with a small tie between the numbers. Parenthesized Noteheads For single notes: Write pa in association with a note command. Example: 4a_pa means that note A4 will be written inside parentheses. For chords: Write pa followed by numbers representing the affected notes, in parentheses, separated by commas. Example: 4abc_pa(1,2) means that notes A4 and B4 will be parenthesized. Horizontal Brackets Step1: Write sq for a (square) horizontal bracket. Step2: If needed, add an id number (2 or higher) when more than one bracket is used simultaneously. Step 3: If needed, add an associated text in parentheses (only necessary for the beginning command). Step 4: If needed, add tags. Example: 4a_sq<b> indicates a bracket below note A4. Step 5: Add : if the bracket begins. Add ; if the bracket ends. Example: 4a_sq(dolce)<b>:_sq2(cantando)<a>: 4b_sq;_sq2; puts a horizontal bracket above notes A4 and B4 with text dolce, and also a horizontal bracket below the same notes with text cantando. Flex Notes Step 1: Write fx for a flex note. Example: 4ceg fx Step 2: If needed, add a number that tells how many flex notes are desired. Example: 4ceg fx3 is the same as 4ceg fx fx fx Repeat the Latest Command Step 1: Write x to repeat the latest command. Step 2: If needed, add a number that describes how many times the command should be repeated. Example: 4ceg x3 is the same as 4ceg 4ceg 4ceg 4ceg Transfer Up Function Step 1: Write up to transfer a note (or all notes in a chord) to the next staff above. Example: 4a_up puts note A4 on the next staff above (in a system of staves). Step 2: If needed, add a number if a maximum number of notes should be transferred up. Example: 4abc_up2 puts notes B4 and C5 on the next staff above. The associated command is only valid once. If not associated, the command is valid until the end of the measure, or until a % is added after the command. Transfer Down Function Step 1: Write dn to transfer a note (or all notes in a chord) to the next staff below. Example: 2a_dn puts note A2 on the next staff below (in a system of staves). Step 2: If needed, add a number if a maximum number of notes should be transferred down. Example: 2abc_dn2 puts notes A2 and B2 on the next staff below. The associated command is only valid once. If not associated, the command is valid until the end of the measure, or until a % is added after the command. Ledger Band Control Step 1: Write b followed by an octave number (the octave number is always the actual sounding octave). Step 2: Add : if the ledger band should begin. Add ; if the ledger band should end. Example: 4a_b2: means that a ledger band begins with the associated note. 4a_b2 lets the note have a short ledger band of its own. Stem Control Step 1: Write hu for an upwards directed stem. Write hd for a downwards directed stem. Example: 4a_hu means that the stem of note A4 is upwards directed. Step 2: If needed, add a number that represents the desired staff length in staff units. Example: 4a_hu12 means that note A4 will have an upwards directed stem with a staff length that equals 12 staff units. The associated command is only valid once. If not associated, the command is valid until the end of the measure, or until a % is added after the command. The stem length will be applied to the first and last note/chord in a group of beamed notes/chords. For beams, the stem is said to end at the midth of the beam. If there is more than one beam, then it's the beam that is the most distant from the associated notehead(s) that counts. For whole notes, half notes and double whole notes, the stem is said to end at a level where also the curved parts of the stem are included. Tags Tags are written inside angular parentheses (cf. html) and can be part of a command. Tags are also sometimes inserted in a text. For example, <*4> will yield a quarter note (notes inserted in a text like this will be written with solid black noteheads). A font, being defined with command Font, can be invoked like this: <f2>. Tags inserted in a text are no longer valid when the text (or stretched text) has been completed. The empty tag, <>, points to where an associated note/chord/rest etc will be situated in relation to the text (if not used, then the text will be centered around an associated note/chord/rest). Write a slash to reset a tag that has been inserted in a text. For example, to reset italic, write </i>. Describing vertical positions of signs etc is not necessary in this file format, but is often possible by using tags. For example, if <4a> is added to a command, it indicates the same vertical position as that of a notehead being written as 4a in this file format. For signs, the vertical position indication refers to the center of the smallest rectangle which encloses a sign. If a dot follows a vertical position number, it means that the object is moved upwards by half a staff unit (a staff unit equals half the height of a notehead). For example, to place a sign exactly in the middle of a double band staff equipped with a treble clef, write <4b.>. Conversely, a comma sign will lower an object by half a staff unit. Thus, <5c,> is equal to <4b.>. Capital letters are not used in tags. For octave positions lower than 0, a minus sign can be used. A position for the note A, one octave below octave 0, could thus be written <-1a>. Please note that clefs and all'ottava will alter how vertical positions relate to the staff. The total length tag indicates (in staff units) the aquired length at the point where the tag is inserted. Total length tags can thus be yielded several times in a text to show the total length being reached at various points. In order to leave, for example, 15 staff units of space horizontally to the next occurence of a graphical object (like a note, for instance), write for exampe: 4a<15> 4b which leaves 15 staff units of space between the two notes. It is sometimes meaningful to have a command inside a text. It makes it possible to integrate various signs or dynamics marks in texts. For example: tx(D.C. al <!>co</!> e poi la Coda) inserts the actual Coda sign that the command co yields, in the text. <> center is here <!> use command <20> 20 staff units of space <4a> or <3g.> etc vertical position <=30> total length in staff units <n> line break <i> make invisible <ce> text centered <co> copyright sign <ga> text adjusted left <at> at sign <dr> text adjusted right <+> right <sm> straight margins <-> left <sp> superscript <+2> two staff units right etc <sb> subscript <-2> two staff units left etc <bo> bold <as> above staff <it> italic <bs> below staff <un> underline <a> above <)> ) <b> below <(> ( <u> up <si> < <d> down <de> > <s> small <mj> maj7 triangle <t> tempo text <dm> dim7 circle <v> compound chord divider <ne> not equal sign <f2> or <f14> etc set a font <vy> write vertically <vh> verse-number header <sc25> scale to 25% <*d> double whole note <*i> 1/64 note <*w> whole note <*x> 1/128 note <*h> half note <*y> 1/256 note <*q> quarter note <*z> 1/512 note <*e> eight note <*k> 1/1024 note <*s> sixteenth note <.> note value dot <*t> 1/32 note <ti> tie