An example of the dynamic function is cmn staff treble c4 q dynamic "fffffff". The spacing-data affects the internal glyph spacing — cmn treble c4 q dynamic "fffspz" list. The vertical line for subito is "I" or "subito":. The long example in the introduction uses most of these marks. Little-swell takes an optional dynamic mark.
Marcato and the pizzicatoes take the optional message thickness. See also accent. Each of these has an optional sign ornament-sign. Trill takes several addditional messages — the main issue here is how to display the details of the trill. The options are:. Wavy-line's argument can be t, nil, or a list; if the latter, the arguments are considered ' dx0 dy0 dx1 dy1 to make it easier to extend the line in various ways. These articulation marks apply primarily to chords. The arpeggio mark can have an arrow at the top or bottom.
No-arpeggio is a bracket on the left side of the chord. Fingering takes, in addition to the usual arguments, any number of numbers which are then displayed in a vertical stack above or below the object.
The arguments to fingering can also be strings or text objects. Text is a form of mark like staccato. The text can be in any available font, and, as usual, scaled, rotated, etc. The default font is given by the slot text-font. The font-related messages are:. In addition to the default justification :none , the text can be left justified :left , centered :center or right justified :right — text "hi" justification :right.
Connected text is handled by text- and friends discussed below. Text placement normally is anchored to the owning object the c4 in our previous example , but this can cause endless positioning headaches for lyrics and whatnot.
For special cases, use the messages x and y. These are either nil the default or a lambda form that completely over-rides normal positioning decisions. The form is apply'd to the text mark, the owning object, the current score, and whatever other arguments were passed to the display procedure. Examples can be found in the various. See also prolog. To position lyrics, one possibility is the following see also lyrics.
To display a particular glyph from a font using the character's location in the font, use the glyph function see cmn-ex. In postscript the default , this means that the postscript interpreter must be able to find the font somehow. On some systems, there's a file named Fontmap or Fontmap. GS on my machine that contains a list of names and the associated font:. If you give some unknown font name, the text will likely be rendered as a series of question marks. There are a number of marks that apply to more than one note — ties, slurs, beams, and so on.
That is, the last one to begin is the first one to end — marks can be nested without problem. In cmn, this is done with tags. Here is an example of the simple form:.
The tag is simply a variable give it any name you like. In the example given above the tag was unnecessary, but consider this example:. Here the line connecting the words has to know where the next word in its sentence is, and without the tags upper-text, lower-text , that task could be relatively difficult.
These take any number of arguments, one of which should be either a string or a text object. The connecting pattern is the list text-connecting-pattern which defaults to a simple line between the pieces of text that is ' 10 0. To get a dashed line,. The level vertical position of the pattern can be set with connecting-pattern-level.
Other possible patterns are :dash centered between words and :arrow long right-arrow. The score-slot connecting-pattern-thickness or the message thickness sets the thickness of the connecting-line. If the text- call encounters the x or y message, the associated lambda form is applied across the entire connected text sequence see joh.
For a purely local change of connecting pattern, use the message to text- et al connecting-pattern. See also the comments in cmn3. These create the line connecting two notes with optional text sitting on the slanted line.
The line is normally straight; use the message wavy-line to get a curvy connecting line. Use the message thickness or score slot glissando-thickness to adjust the thickness of the straight glissando-line. These create the wedges sometimes used to mark crescendos and diminuendos. The wedge starts at the current note and ends either at the note that contains the end-crescendo or wherever its duration falls. The wedge can start anywhere — the message to delay the wedge beginning is onset-offset.
The message width controls how wide the wedge gets. You can specify the dynamics mark to be placed at the beginning or end of the wedge either by passing the mark to the begin-crescendo function, or by using begin-dynamic and end-dynamic. The always-dyn-up macro places these marks and dynamics above the staff. If you use the function begin-crescendo or begin-diminuendo , end it with the function end-crescendo end-diminuendo , not the variable form.
Ties are handled like glissandos. Tie-direction sets which way the tie curves, either :up or :down. Tie-curvature controls how much the tie curves; the default is the score slot tie-curvature. The argument to dashed is a list length-of-pattern length-of-white-space. Unless you indicate otherwise by setting automatic-ties to nil , cmn puts in ties wherever it deems necessary. See also ring. Slurs are like ties, but can cover any number of notes.
When that happens, you will have to edit the slur-data by hand, and that's not easy. The data is a list of two lists, each a set of 6 points. These are the controlling points of the two Bezier curves that outline the slur. There are a variety of messages to begin-slur to help edit slurs:. Dashed for slurs is the same as for ties.
There are two kinds of tremolo: unmeasured and measured. In addition, there are a number of stylistic choices involving beams, slashes, slurs, and note heads, not all of them entirely logical.
For example, one book on music notation says half note tremolos should have one beam and two slashes, quarter note tremolos should have no beams and three slashes, and eighth note tremolos should have one beam and two slashes, but filled in note heads, since otherwise there would be no way to tell them from half note tremolos.
The logical way would be to put no beams and three slashes on both half note and quarter note tremolos. To try to sort out the various possibilities, there are first:. The begin and end forms apply to those cases where there are two notes in the tremolo. The others unmeasured-tremolo, etc are for single note tremolos.
Paranoid-tremolo includes the word "trem. These take the additional messages:. Beams can be handled automatically or by hand. If the score slot automatic-beams is t the default , automatic beaming follows the current meter if it can. Any explicit beams over-ride automatic beaming.
Explicit beams are handled by:. The first two are like begin-slur and end-slur and apply to all notes on the staff between the begin-beam and end-beam. Beam- and friends are like text- and friends. Here's an example of all three possibilities:. The numbers marking irregular beat subdivisions are kept as simple as possible — cmn adds the bracket only if there is something peculiar in the grouping.
To deal with these explicitly use:. These take the additional messages subdivision a number, string, or text object and bracketed. The latter can be t the default , nil, :up, or :down. The details of the bracket can be changed with the messages dx, dy, dx0, dy0, dx1, dy1, and bracket-type see cmn-ex. If the beamed notes fall on different staves, start the beam on the higher staff even if the notes on that staff come later in the beam:. If the onsets are given explicitly, the notes being beamed are sorted out automatically.
Wedged "feathered" beams as used by Bartok and others are implemented in wedge. The function rqq in rqq. See the comments and examples in that file for details; here's an example of rqq:.
These two set the current metronome marking and as shown above a change of beat. Change-beat takes two arguments, the old beat and the new beat. Normally the metronome marking is a parenthetical addition to the tempo indication. See just above under "segno" for an example. The repeat-measure mark is centered between bar lines and has a metrical value equal to a measure.
As a function it accepts an optional number to be displayed over the mark. Octave transposition signs are added automatically to very high or low passages unless you set the score slot automatic-octave-signs to nil.
If you like the Italian persiflage of "va" and "ma" or, God forbid, "bassa" , set the appropriate score structure slot use-italian-octave-signs, add-bassa-to-octave-signs. Explicit octave signs are handled with:. These act like the tie and slur messages. Octave-up and friends apply only to one note; no-octave-sign and friends turn off the automatic octave signs for short passages. The note pitch values within the octave signs are the displayed values, not the true values:.
These take the messages vertical-separation , font-name, font-scaler, and octave-sign-pattern. Rehearsal marks are either numbers or letters, optionally boxed or circled, and normally attached to a bar line. The cmn entities are:. The frame can be nil the default , :none, :box, or :circle. It need be set only on the first rehearsal mark. Each mark after the first normally increments the mark letter or number "Z" goes to "AA", and "I" is skipped , but you can reset the mark to be anything by passing it as an argument to rehearsal-number or whatever.
Other messages are: rehearsal-frame-width and rehearsal-frame-white-space. Page-mark is an explicit end-of-page mark. Line-mark is an explicit end-of-line mark.
Line-mark takes the additional messages dx and dy. In this context, these refer to the positioning and justification of the upcoming line. There are cases where one line, or a staff within a line needs to be moved vertically to avoid collisions. Similarly, the justification decisions within a line are sometimes suboptimal. In a sense, the dx and dy messages provide you with a horizontal and vertical ruler to guide the positioning process to whatever level of detail you like.
The argument to dx in this case is a list of lists, each inner list a pair of numbers: ' beat dx-position where the beats actually quarter-notes, not beats are numbered from 1, and the dx-position is in the normal staff-based units use in-inches, if you like.
If more than one line-mark applies to a given line via multiple staves, all being explicit about line breaks , all the dx and dy messages are merged before being applied to the justification of that line. Vertical staff positioning is handled by dy. Its argument can be a number, or a list of lists. Daniel British. Libby British. Mia British. Karen Australian. Hayley Australian.
Natasha Australian. Veena Indian. Priya Indian. Neerja Indian. Zira US English. Oliver British. Wendy British. Fred US English. Tessa South African. How to say musical notation in sign language? Numerology Chaldean Numerology The numerical value of musical notation in Chaldean Numerology is: 1 Pythagorean Numerology The numerical value of musical notation in Pythagorean Numerology is: 6. Select another language:. Please enter your email address: Subscribe.
In Indian music, there are five referred octaves, with a middle octave and two upper and two lower octaves. The first upper octave is denoted by adding a dot below the music note and the second upper octave denoted by adding two dots below the music note as shown in Fig.
Similarly, the immediate lower octave is denoted by adding a dot above the music note and the next lower octave is denoted by adding two dots above the music note as shown in Fig. A musical note shadja with a mid octave, b lower octave, and c two octaves higher. To denote the duration of a music note, uppercase or lowercase letters with or without comma, semicolon, or with underline or over line are used.
A swara letter in lowercase indicates one aksharakala duration, and an upper case swara letter indicates two aksharakala duration. A comma placed near a music note increases its duration by one aksharakala and a semicolon by two.
Similarly, a single horizontal line over the swara reduces the swara duration to its half and double over or under line reduces it to its quarter. The duration of a rest note is indicated using the necessary number of semicolon or comma symbols placed inside simple parenthesis, e.
In Carnatic music, each music note swara can represent more than one pitch value, usually two, according to the raga followed by the composition. Generally, there are no special signs or symbols to represent the variety of the note. This information is implicitly associated with the raga of the song.
There are a few special symbols used in the notation scheme for denoting some musical features like articulation, ornaments etc. All of them are notated using symbols attached with the swara letter. This includes symbols for an ascending or descending glide, foreign note, stressed note, repeat symbols, and gamaka mark. A complete list of such symbols and the symbol used is given in Table 2. Rarely, some notes which are not part of the raga specification are used, and such notes are represented by an asterisk mark over the swara symbol.
The repeat symbol, usually found at the end of an avarta measure denotes that the portion of music should be repeated. The gamaka mark, represented by a tilde symbol over the swara symbol symbolizes ornamentation which is of utmost importance to Indian music. A music phrase, unlike in western music, represents a set of musical notes which has to be sung together in one breath duration and is symbolized by hyphens at the start and end of the phrase.
The music notes with adjoint symbols are written on a straight line similar to tonic solfa notation in western music. The music notes are then grouped according to the rhythm structure tala of the composition, which is similar to the grouping of notes with time signatures in western music notation.
Here, we explain the grouping mechanism in comparison with grouping in western notation for easy understanding of readers. In western notation, notes are grouped according to the indicated time measure to form equi-measured bars as demonstrated in Fig. In Carnatic music, the grouping or structuring of music notes is done according to the rhythm pattern tala. The tala rhythm specification consists of a set of basic elements angas , each with a specific duration. The basic rhythm pattern repeats over the entire composition.
The music notes are grouped in such a way that the total duration of the music notes is equal to the corresponding anga duration as illustrated in Fig. This shows that Indian music follows variable measured bars as opposed to equi-measured bars in western music.
This is illustrated in Fig. Music representation systems encompass musical information in any of the three levels: sound, music notation, or data for analysis [ 20 ]. Music notations are generally an encoding of abstract representations of music. They contain instructions for performance and representation of sound. Music representation systems can be classified as audio signal representations, resulting from the recording of sound sources or from direct electronic synthesis, and symbolic representations which represent discrete musical events such as notes, rhythm etc.
The proposed system is a symbolic representation, and is content-aware and can relate musical events to formalized concepts of Carnatic music theory. The musical representation systems can also be classified according to the encoding system format used for storing the information.
They can be further classified as record-based, command-based, codes, and LISP-based. Also, many popular score-writing programs like Rhapsody and Sibelius use proprietary formats. Unlike these extensions of western music, the proposed system is a unique approach to representation of South Indian Carnatic music based on Indian music theory. That means we use various Unicode symbols to represent musical entities in Carnatic music.
In this section, we describe the iSargam representation system by explaining its approach, encoding logic, and algorithm. The musical symbols used in Sargam notation are classified as singleton or grouped entity according to whether they have meaning or sense in single form or they make sense only when they combine with another musical entity.
For example, anumandra, the octave specification symbol makes sense only when it is joined with a musical note Swara. Singleton musical entities are always found independent in the notation and have semantics of their own. This classification among music symbols is required due to difference in encoding single and group entities, where group entity symbols can be encoded together only and not individually.
A music constituent is the most basic unit of music. Here, it consists of a pitch symbol swara , a sthayi octave , and duration information. It may be noted that a rest note does not have pitch and octave but has duration. Thus, the basic constituent elements are swara and rest.
So, the general syntax of a pitched music constituent can be defined as. It may be noted that the swara syllable alone is a complete musical constituent since it already contains octave and duration information. The basic element can be grouped according to some rhythmic pattern or it can be further augmented with additional symbols or other music notes, forming various grouped entities.
In our approach, the former is called rhythmic group and the latter is called notational grouping. This latter is again classified into intra notational and inter notational group entities.
Inter notational groupings are always associated with music constituents. Intra notational grouping occurs when the music constituent is further augmented by adding parameters which apply in a single note level. This is denoted by adding extra signs or symbols to the base syllable. In case of inter notational grouping, multiple musical notes are grouped together, mostly to give a musical expression such as a musical phrase and ascending or descending glides.
Having defined the basic terminologies, now we attempt to present our encoding logic. Initially, our system maps every Sargam notation symbol to a Unicode symbol. The chosen Unicode character resembles the Sargam notation symbol used. Each symbol is also assigned a priority number. The encoding logic depends on whether the music symbol is a singleton or grouped entity. So, for encoding of a notated composition, we take every symbol and check if it can be further split into different characters as illustrated in Fig.
This is done by checking the baseline and upperline of the character. An atomic symbol is a singleton entity and it is directly mapped to its representation Unicode symbol. If the character is a grouped entity, then it might be a Swara symbol indicating a pitched note or it is a rest note, where both are music constituents. We process the constituent symbols together with a priority queue [ 35 ]. The priority queue orders them according to the preassigned symbol priority and thus produces unambiguous encoding.
A pseudo code for the proposed encoding scheme is given in Table 3. The iSargam system chooses the unique numbers carefully so as to make sure that the corresponding Unicode character almost fully resembles the actual music notation in appearance, even in the case of the grouping or joining of music notation symbols. The advantage here is that Unicode symbols appear discrete in encoding, which favors easy identification of music entities for music processing, but in appearance, it appears joined, resembling the original notation.
Also, it may be noted that in such a representation, a combined notation can be easily split to its constituent basic music entities. We use Unicode full width forms for standalone music elements like swara syllable or duration, and Unicode combining diacritical marks for adjunct symbols like octave, stress, foreign note indication, duration symbols which symbolize duration less than one unit, etc.
More specifically, all the intra notational symbols and violin marks are represented by combining diacritical marks. Additionally, we use Unicode full width symbols for representing symbols in the rhythmic group like anga, avarta symbols, which are analogous to measure and bar markings for western music, and other rhythm-specific elements like laghu, plutum etc.
Having said encoding logic, we now attempt to illustrate our encoding approach for each music entity, illustrated with an example, as given in Table 4. The encoded file consists of various sections, viz, the header, rhythm markup, and actual composition, explained as follows. The header section accompanies every music notation. It mainly consists of two sections, viz, a compulsory part and an optional part. The compulsory part is known as the music description part, and it specifies the most important elements for interpreting the notation.
These most important fields are raga name and tala name. The header elements are considered as keywords which are case-insensitive and are separated by a colon character. These values are case-sensitive. The tala section marks the rhythm pattern of the composition. Usually, a rhythm pattern is defined as a combination of its basic elements called angas, as described in the previous section.
This section contains the notation of the actual composition. It consists of music constituents along with required signs and symbols with notational and rhythmic grouping. The encoding of the actual music notation is illustrated in the following subsections. The music notes are grouped according to the tala specification, splitting them into many anga and avarta as described in the previous section.
Sometimes, a repeat symbol is inserted in front of the avarta end to denote repetition of an avarta. The encoding strategy followed for a pitched music note and an unpitched note is different. The encoding logic for an unpitched note is straightforward like a singleton entity.
But a pitched note is regarded as a grouped entity and we use priority-based encoding for this set as illustrated in Fig. Unlike the encoding strategy used for singleton entities, encoding for grouped entities is done together and not as individual elements.
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