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From: Minstrel@vnet.ibm.com (The Minstrel)
Subject: Talk-Line: Music staffs
Date: 1996/01/12
Message-ID: <4d5n8k$kli@miso.wwa.com>#1/1
X-Deja-AN: 134946106
sender: boba@sashimi.wwa.com
references: <4d31l5$1vd@miso.wwa.com>
organization: IBM Austin
newsgroups: rec.arts.ascii


In <4d31l5$1vd@miso.wwa.com>, Rosemary Lyndall Wemm <rosemary@haywire.DIALix.COM> writes:
>
>On 10 Jan 1996, Bob Allison wrote:
>
>>    For some time I have been using this as a sig in music newsgroups.  I 
>> is the result of many diddlings.
>> 
>>                      |\                         __3__              |
>> ____|) ______________|\\ ________| ____________' _| _` __| ________| __| _____
>> ____| ___3_|________@'_\| _|_____| ________|___| _| _| __| |_,@ ___| __| __|__
>> ___/|. __-_|___| _______| _|_____| __,@ ___|__@'_@'_@'___| |_| ___@'___| __|__
>> __( ( ) _4_|___| ______@'__|____O'___| ____|____________@'_|_| _______@'___|__
>> ___`|'_____|___| __________|_________| ____|_______________|_| ____________|__
>>    (|         O'                     |                            boba@wwa.com
> 
>
[Snip]
>Firstly, your bars do not all contain the equivalent of three crotchets: 
>
>   BAR No.   CONTENTS                     BEATS
>                              __ 
>              |              |  |
>     1       O'             @' @'       =    3

This seems to actually contain 2.5 beats (they look like semi-quavers to me)

[Snip]
>
>Secondly,  it is illegal to leap over the octave in a melodic line, 
>especially when the interval is a ninth and it is not resolved onto the 
>octave immediately.
>

These are the rules for (generally) writing four-part (or similar) _vocal_
harmony (simply because it is difficult to sing!).  Otherwise, there's
not a great problem - besides which, the rules were only originally devised
so that examiners had something to assess papers by...

>Thirdly, the piece is written in A minor and you have failed to include a 
>G# in the key signature.

If it was, in fact, written in A Minor (and admittedly it does seem like it),
the G# would not be in the key signature at all, but only exist as an
accidental...

>
>Fourthly, except for the initial minum, all the notes come from the tonic
>chord. 
>
>Fifthly, speaking of the initial mimum, which we were, it comes on a 
>strong beat but the pitch is not a member of the tonic, or even of the 
>dominant chord.  
>

[Minim] Again, if it is actually in A Minor.

>Fifthly, you repeat notes across the bar line without ties.

So?

>Seventhly, as a somewhat minor point [since we were talking about minor
>things), your melody has even less melodic merit than Gregorian Chant. 

I cannot disagree with this...!

>How about the following for slightly more meritorious compositions?
>
>The Blue Da-nube:
>

Hmm...  I've never been one for Strauss - I think I'll stick with Bob's in
preference ;-)

>
>  Original compost-ition.
>

Now, that's not bad.  I would post something of my own, but I can't get any
of it to look right in ASCII....

None of the above comments are intended to cause offense - in fact, I would
be quite eager to discuss any gaps in my knowledge that are probably horribly
obvious in all that I've said...

Yours, striving for perfection,

  S
Who    C
Wants to    O
Live Forever?    P   (Content in the knowledge that he's posting to completely the
                      wrong Newsgroup.  Ah, well...)