From db54236c06a5e74a9755171bce4b81c16c13c279 Mon Sep 17 00:00:00 2001 From: Stuart D. Gathman Date: Aug 06 2020 22:59:23 +0000 Subject: Finished article? --- diff --git a/Makefile b/Makefile index 9752171..0064e82 100644 --- a/Makefile +++ b/Makefile @@ -1,4 +1,4 @@ -.SUFFIXES: .abc .ps .pdf .mid +.SUFFIXES: .abc .ps .pdf .mid .md .html .abc: abcm2ps $* @@ -7,3 +7,9 @@ ps2pdf Out.ps $*.pdf .abc.mid: abc2midi $*.abc -o $*.mid +.md.html: + echo '' >$*.html + echo '' >>$*.html + echo '' >>$*.html + pandoc abcmusic.md >>$*.html + echo '' >>$*.html diff --git a/abcmusic.md b/abcmusic.md new file mode 100644 index 0000000..c7e5263 --- /dev/null +++ b/abcmusic.md @@ -0,0 +1,260 @@ +# Rendering music notation with ABC + +## What is ABC? + +ABC is a [human readable ascii representation](https://abcnotation.com) +of music notation. Unlike [MusicXML](https://www.musicxml.com), which is +designed for exchanging music between score editing and performance +applications, it is designed to be directly edited by humans. I can type a +score in ABC with vim much faster than by fiddling with a mouse in a GUI score +editor. Unlike other formats ABC works well with version control such as git. +As with [Latex](https://fedoramagazine.org/latex-typesetting-part-1/), +what you see is *not* what you get. But the notation is intuitive, +the learning curve is pretty short, and the benefits are awesome. + +While often touted as the standard for folk music, it works perfectly +for Jazz lead sheets and does full scores as well. Some GUI score editors +can import/export ABC notation. I used +[noteedit](https://en.wikipedia.org/wiki/NoteEdit) for a GUI +editor until it was abandoned upstream, but was able to export as ABC. +The [result](https://pagure.io/abcmusic/raw/master/s/se_tu.abc) is reasonably +human readable - letting me continue to edit in ABC notation, +and serving as an example of a more complete score. + +## Ancient 4th Century Hymn + +As a folk tune example, we will do a simple arrangement of a 4th century hymn, +from a medieval era tune. +"O Lux Beata Trinitas" is one of the twelve hymns which the Benedictine editors +regarded as undoubtedly the work of +[St. Ambrose](https://en.wikipedia.org/wiki/Ambrose). It is cited as by St. +Ambrose by Hinemar of Rheims in his treatise De unâ et non trinâ Deitate, 857. +[Hymnary.org](https://hymnary.org/text/o_lux_beata_trinitas) + +The hymn was still popular in the Gregorian Chant era. +[Here](https://www.youtube.com/watch?v=5MUWjxoOhLg) you can see the medieval +notation and hear a performance as historically accurate as you will find +today. + +## 20th Century Interpretations + +The medieval notation was updated in hymnals to +[more modern notation](https://hymnary.org/tune/o_lux_beata_trinitas#media), +This is our starting point. As reflected in those hymnals, there were no +measures or bar lines in the medieval period. + +Here are the basics of ABC: + +- Comments are lines beginning with `%`. +- Notes beginning with "middle C" are entered as CDEFGABcdefgab. +- Following a note with a number multiplies the timevalue by that number. +- Notes that are next to each other are joined together whenever possible. + This is the only way spaces are significant. +- Parenthesis are used to tie or slur notes together. +- The tune begins with X: 1, where 1 is the tune number. There can be + multiple tunes in a file. Folk tunes are often collected + into a file. For instance, we could collect all 12 known works of St. + Ambrose into a single file named `ambrose.abc`. +- The title is given with T: +- The composer or source is given with C: +- The key (default is C major) is given with K: + +Here is a simple transcription of our tune into ABC: + + X: 1 + T: O lux beata Trinitas + C: Plainsong, Mode VIII + K: D + % Fedora Magazine example + (AB) (AGFG) EFG (AB) (BA) A4 + (AB) (AGFG) EFG (AB) (BA) A4 + (AB) d (cd) B (AG) (AB) (AGF) F4 + (GA) (AGFG) EFG (AB) (BA) A4 + +We are going to do our work in a terminal emulator. +Enter this with your favorite text editor (bonus points if that is cat) into a +file named `lux.abc`. +Or [download lux.abc](https://pagure.io/abcmusic/raw/master/f/lux.abc) +with all the tunes for this lesson. +To format and view this, we need ghostscript, xreader, and abcm2ps. +You probably have ghostscript and xreader (or other PDF viewer) already +installed on a desktop, but it doesn't hurt to ask again. + + $ sudo dnf install ghostscript xreader abcm2ps make + +I had you install make so a simple makefile can simplify rendering: + + .SUFFIXES: .abc .ps .pdf .mid + .abc: + abcm2ps $* + .abc.pdf: + abcm2ps $* + ps2pdf Out.ps $*.pdf + .abc.mid: + abc2midi $*.abc -o $*.mid + +Enter or [download](https://pagure.io/abcmusic/raw/master/f/Makefile) that as +a file named `Makefile`. Now format and view our tune: + + $ make lux.pdf + $ xreader lux.pdf & + +I had you run xreader in the background, so you can switch back to your +terminal. Xreader will update the view whenever lux.pdf is updated. +If you are just reading this article, you can also view the output +[here](https://pagure.io/abcmusic/raw/master/f/lux.pdf). + +## Adding Lyrics + +Lyrics are entered with `w:` under the tune line they go with. Words +are hyphenated to show how the syllables go with the notes. Use `*` to +use additional notes for the last syllable. + +Append tune 2 to the lux.abc file, it is the same tune with lyrics: + + X: 2 + T: O lux beata Trinitas + C: Words: St. Ambrose 4th century + C: Plainsong, Mode VIII + K: D + % Fedora Magazine example + (AB) (AGFG) EFG (AB) (BA) A4 + w: O* lux*** be-a-ta trin-* ni-* tas, + (AB) (AGFG) EFG (AB) (BA) A4 + w: et* prin-*** ci-pa-lis U-* ni-* tas, + (AB) d (cd) B (AG) (AB) (AGF) F4 + w: i-* am sol* re-ce-* dit* i-*gne-us, + (GA) (AGFG) EFG (AB) (BA) A4 + w: in-* fun-*** de lu-men cor-*di-* bus. + +Now `make lux.pdf` and see the results in your xreader window. +Both tunes are rendered to the PDF. + +## Adding Measures + +So, historical authenticity is all very fine, but I want to make a modern +version. The first step for modern ears is to divide the tune into +equal sized measures. My ear says that 7/8 is an excellent +time signature for this tune. + +- `M: 7/8` specifies a default meter of 7/8 +- `L: 1/8` specifies a default note length of 1/8 of a whole note. This + was already the default, but now it is documented. +- `Q: 1/4=80` specifies a suggested speed: 80 quarter notes per minute. +- Measures are separated by bar lines represented by `|`. +- There will be multiple verses, so `:|` adds a repeat bar line. +- A final bar line is `||', but we don't use it for this example. +- It is good practice for debugging to divide the lyrics into measures + as well, and not rely on automatic distribution. +- Note that additional spaces can be added for readability. +- Lining up the bar lines is not required, but can make it more readable. + +Here is tune 3 with bar lines (appended to lux.abc): + + X: 3 + T: O lux beata Trinitas (3) + C: Words: St. Ambrose 4th century + C: Plainsong, Mode VIII + M: 7/8 + L: 1/8 + Q: 1/4=80 + K: D + % Fedora Magazine example + z(AB) (AGFG) | EFG (AB) (BA) | A3-A4 | + w: O* lux***|be-a-ta trin-* ni-*| tas, | + z(AB) (AGFG) | EFG (AB) (BA)| A3-A4 | + w: et* prin-***|ci-pa-lis U-* ni-*| tas, | + (AB) d (cd) B (A |G) (AB) (AGF) F-| F7| + w:i-* am sol* re-ce-|* dit* i-*gne-us,| * | + z(GA) (AGFG) | EFG (AB) (BA) | A3-A4 :| + w:in-* fun-***| de lu-men cor-*di-*|bus. | + +## Bass Line and Chords + +Now we begin the real departure in our interpretation. First, chords +are added to assist in improvising from a "lead sheet". Then +we add a suggested bass line. + +- `V:1` and `V:2` switches between voices. +- Chords are entered in double quotes in the tune line, and are rendered + above the following note. +- Each comma after a note lowers it by an octave. +- `C:` can also be used to document arranger and license. +- Addition verses are added as additional lyric lines under a tune line. +- Verse numbers can be added by using `~` to join them to the next word + with a non-break space. Otherwise they would be counted as words. +- `%%MIDI` these are magic comments that are used in the next section! + +Here is our final tune for this lesson: + + X: 4 + T: O lux beata Trinitas (4) + C: Words: St. Ambrose 4th century + C: Plainsong, Mode VIII + C: Arranged: Stuart D. Gathman + C: Copyright 2012: Creative Commons Attribution-ShareAlike 2.0 + M: 7/8 + L: 1/8 + Q: 1/4=80 + K: D + %%MIDI gchord c3c4 + %%MIDI program 75 + V:1 + "D"z(AB) (AGFG) | "A7"EFG (AB) (BA) | "Dsus"A3-"D"A4 | + w:i.~O* lux*** |be-a-ta trin-* ni-*| tas, | + w:ii.~Te* ma-***|ne lau-dum car-*mi-*| ne, | + w:iii.~De-* o***|Pa-tri sit glo-*ri-*| a, | + V:2 + D,3 A,2 A,2 | E,3 A,2 A,2 | D,3 A,2 A,2 | + V:1 + "D"z(AB) (AGFG) | "A7"EFG (AB) (BA) | "Dsus"A3-"D"A4 | + w: et* prin-***|ci-pa-lis U-* ni-*| tas, | + w: te* de-*** |pre-ce-mur ves-*pe-*|re: | + w: ei-* us-*** |que so-li Fi-*li-*| o, | + V:2 + D,3 A,2 A,2 | E,3 A,2 A,2 | D,3 A,2 A,2 | + V:1 + "G"(AB) d (cd) B (A |"Em"G) (AB) (AGF) F-|"D"F7 | + w: i-* am sol* re-ce-|* dit* i-*gne-us,| * | + w: te* nos-tra* sup-plex|* glo-*ri-**a | * | + w: cum* Spi-ri-*tu Pa-|* ra-*cli-**to, | * | + V:2 + G,3 B,2 B,2 | D,3 B,2 B,2 | D,3 A,2 A,2 | + V:1 + "A7"z(GA) (AGFG) | "A7"EFG (AB) (BA) | "Dsus"A3-"D"A4 :| + w: in-* fun-*** | de lu-men cor-*di-*| bus. | + w: per* cunc-*** | ta lau-det sae-*cu-*| la. | + w: et* nunc,*** | et in per-pe-*tu-* | um | + V:2 + E,3 A,2 A,2 | C,3 A,2 A,2 | D,3 A,2 A,2 :| + +## Rendering to MIDI + +Rendering that makes a nice lead sheet! What does it sound like? +You will need the abc to MIDI translator and a MIDI renderer. +Fedora comes with a number of MIDI synthesizer and rendering +options, but we will use timidity - a simple command line utility +that can render to audio files or play on your speakers. + +Install abcMIDI and timidity: + + $ sudo dnf install abcMIDI timidity++ + +If you have been following the examples, you have 4 tunes in lux.abc. +Render them to midi with the abc2midi utility: + + $ abc2midi lux.abc + +This creates four midi files, one for each tune: lux1.mid .. lux4.mid. +Use timidity to play each file to your speakers: + + $ timidity lux1.mid + +When you play `lux4.mid`, you will hear what the `%%MIDI` directives did. +You can read more about abc2midi and its directives +[here](https://ifdo.ca/~seymour/runabc/abcguide/abc2midi_guide.html). +You can also hear me +[singing and playing piano](https://gathman.org/music/ogg/LUX%20MIX_1.ogg) +from the lead sheet and totally butchering the Latin. + +There is a lot more, but this has hopefully been a fun introduction! diff --git a/abcmusic.txt b/abcmusic.txt deleted file mode 100644 index 303e000..0000000 --- a/abcmusic.txt +++ /dev/null @@ -1,222 +0,0 @@ -# Rendering music notation with ABC - -## What is ABC? - -ABC is a [human readable ascii representation](https://abcnotation.com) -of music notation. Unlike [MusicXML](https://www.musicxml.com), which is -designed for exchanging music between score editing and performance -applications, it is designed to be directly edited by humans. I can type a -score in ABC with vim much faster than by fiddling with a mouse in a GUI score -editor. Unlike other formats ABC works well with version control such as git. -As with [Latex](https://fedoramagazine.org/latex-typesetting-part-1/), -what you see is *not* what you get. But the notation is intuitive, -the learning curve is pretty short, and the benefits are awesome. - -While often touted as the standard for folk music, it works perfectly -for Jazz lead sheets and does full scores as well. Some GUI score editors -can import/export ABC notation. I used -[noteedit](https://en.wikipedia.org/wiki/NoteEdit) for a GUI -editor until it was abandoned upstream, but was able to export as ABC. -The result is reasonably human readable, letting me continue to edit -in ABC notation. - -## Ancient 4th Century Hymn - -As a folk tune example, we will do a simple arrangement of a 4th century hymn, -from a medieval era tune. -"O Lux Beata Trinitas" is one of the twelve hymns which the Benedictine editors -regarded as undoubtedly the work of -[St. Ambrose](https://en.wikipedia.org/wiki/Ambrose). It is cited as by St. -Ambrose by Hinemar of Rheims in his treatise De unâ et non trinâ Deitate, 857. -[Hymnary.org](https://hymnary.org/text/o_lux_beata_trinitas) - -## Medieval Interpretations - -The hymn was still popular in the Gregorian Chant era. -[Here](https://www.youtube.com/watch?v=5MUWjxoOhLg) you can see the medieval -notation and hear a performance as historically accurate as you will find -today. - -## 20th Century Interpretations - -The medieval notation was updated in hymnals to -[more modern notation](https://hymnary.org/tune/o_lux_beata_trinitas#media), -and the timing adapted to modern tastes. This is our starting point. As -reflected in those hymnals, there were no measures or bar lines in the -medieval period. Here are the absolute basics of ABC: - -- Comments are lines beginning with `%`. -- Notes beginning with "middle C" are entered as CDEFGABcdefgab. -- Following a note with a number multiplies the timevalue by that number. -- Parenthesis are used to tie or slur notes together. -- The tune begins with X: 1, where 1 is the tune number. There can be - multiple tunes in a file. -- The title is given with T: -- The composer or source is given with C: -- The key (default is C major) is given with K: - -Here is a simple transcription of our tune into ABC: - - X: 1 - T: O lux beata Trinitas - C: Plainsong, Mode VIII - K: D - % Fedora Magazine example - (AB) (AGFG) EFG (AB) (BA) A4 - (AB) (AGFG) EFG (AB) (BA) A4 - (AB) d (cd) B (AG) (AB) (AGF) F4 - (GA) (AGFG) EFG (AB) (BA) A4 - -We are going to do our work in a terminal emulator. -Enter this with your favorite text editor (bonus points if that is cat) into a -file named `lux.abc`. -Or [download lux.abc](https://pagure.io/abcmusic/raw/master/f/lux.abc) -with all the tunes for this lesson. -To format and view this, we need ghostscript, xreader, and abcm2ps. -You probably have ghostscript and xreader (or other PDF viewer) already -installed on a desktop, but it doesn't hurt to ask again. - - $ sudo dnf install ghostscript xreader abcm2ps make - -I had you install make so a simple makefile can simplify rendering: - - .SUFFIXES: .abc .ps .pdf .mid - .abc: - abcm2ps $* - .abc.pdf: - abcm2ps $* - ps2pdf Out.ps $*.pdf - .abc.mid: - abc2midi $*.abc -o $*.mid - -Enter or [download](https://pagure.io/abcmusic/raw/master/f/Makefile) that as -a file named `Makefile`. Now format and view our tune: - - $ make lux.pdf - $ xreader lux.pdf & - -I had you run xreader in the background, so you can switch back to your -terminal. Xreader will update the view whenever lux.pdf is updated. -If you are just reading this article, you can also view the output -[here](https://pagure.io/abcmusic/raw/master/f/lux.pdf). - -## Adding Lyrics - -Lyrics are entered with `w:` under the tune line they go with. Words -are hyphenated to show how the syllables go with the notes. Use `*` to -use additional notes for the last syllable. Here is tune 2 with lyrics: - - X: 2 - T: O lux beata Trinitas - C: Words: St. Ambrose 4th century - C: Plainsong, Mode VIII - K: D - (AB) (AGFG) EFG (AB) (BA) A4 - w: O* lux*** be-a-ta trin-* ni-* tas, - (AB) (AGFG) EFG (AB) (BA) A4 - w: et* prin-*** ci-pa-lis U-* ni-* tas, - (AB) d (cd) B (AG) (AB) (AGF) F4 - w: i-* am sol* re-ce-* dit* i-*gne-us, - (GA) (AGFG) EFG (AB) (BA) A4 - w: in-* fun-*** de lu-men cor-*di-* bus. - -Now `make lux.pdf` and see the results in your xreader window. - -## Adding Measures - -So, historical authenticity is all very fine, but I want to make a modern -version. The first step for modern ears is to divide the tune into -equal sized measures. My ear says that 7/8 is an excellent -time signature for this tune. - -- `M: 7/8` specifies a default meter of 7/8 -- `L: 1/8` specifies a default note length of 1/8 of a whole note. This - was already the default, but now it is documented. -- `Q: 1/4=80` specifies a suggested speed: 80 quarter notes per minute. -- Measures are separated by bar lines represented by `|`. -- There will be multiple verses, so `:|` adds a repeat bar line. -- A final bar line is `||', but we don't use it for this example. -- It is good practice for debugging to divide the lyrics into measures - as well, and not rely on automatic distribution. -- Note that additional spaces can be added for readability. -- Lining up the bar lines is not required, but can make it more readable. - -Here is tune 3: - - X: 3 - T: O lux beata Trinitas (3) - C: Words: St. Ambrose 4th century - C: Plainsong, Mode VIII - M: 7/8 - L: 1/8 - Q: 1/4=80 - K: D - z(AB) (AGFG) | EFG (AB) (BA) | A3-A4 | - w: O* lux***|be-a-ta trin-* ni-*| tas, | - z(AB) (AGFG) | EFG (AB) (BA)| A3-A4 | - w: et* prin-***|ci-pa-lis U-* ni-*| tas, | - (AB) d (cd) B (A |G) (AB) (AGF) F-| F7| - w:i-* am sol* re-ce-|* dit* i-*gne-us,| * | - z(GA) (AGFG) | EFG (AB) (BA) | A3-A4 :| - w:in-* fun-***| de lu-men cor-*di-*|bus. | - -## Bass Line and Chords - -Now we begin the real departure in our interpretation. First, chords -are added to assist in improvising from a "lead sheet". Then -we add a suggested bass line. - -- `V:1` and `V:2` switches between voices. -- Chords are entered in double quotes in the tune line, and are rendered - above the following note. -- Each comma after a note lowers it by an octave. -- `C:` can also be used to document arranger and license. -- Addition verses are added as additional lyric lines under a tune line. -- Verse numbers can be added by using `~` to join them to the next word - with a non-break space. Otherwise they would be counted as words. -- `%%MIDI` these are magic comments that are used in the next secion! - - X: 4 - T: O lux beata Trinitas (4) - C: Words: St. Ambrose 4th century - C: Plainsong, Mode VIII - C: Arranged: Stuart D. Gathman - C: Copyright 2012: Creative Commons Attribution-ShareAlike 2.0 - M: 7/8 - L: 1/8 - Q: 1/4=80 - K: D - %%MIDI gchord c3c4 - %%MIDI program 75 - V:1 - "D"z(AB) (AGFG) | "A7"EFG (AB) (BA) | "Dsus"A3-"D"A4 | - w:i.~O* lux*** |be-a-ta trin-* ni-*| tas, | - w:ii.~Te* ma-***|ne lau-dum car-*mi-*| ne, | - w:iii.~De-* o***|Pa-tri sit glo-*ri-*| a, | - V:2 - D,3 A,2 A,2 | E,3 A,2 A,2 | D,3 A,2 A,2 | - V:1 - "D"z(AB) (AGFG) | "A7"EFG (AB) (BA) | "Dsus"A3-"D"A4 | - w: et* prin-***|ci-pa-lis U-* ni-*| tas, | - w: te* de-*** |pre-ce-mur ves-*pe-*|re: | - w: ei-* us-*** |que so-li Fi-*li-*| o, | - V:2 - D,3 A,2 A,2 | E,3 A,2 A,2 | D,3 A,2 A,2 | - V:1 - "G"(AB) d (cd) B (A |"Em"G) (AB) (AGF) F-|"D"F7 | - w: i-* am sol* re-ce-|* dit* i-*gne-us,| * | - w: te* nos-tra* sup-plex|* glo-*ri-**a | * | - w: cum* Spi-ri-*tu Pa-|* ra-*cli-**to, | * | - V:2 - G,3 B,2 B,2 | D,3 B,2 B,2 | D,3 A,2 A,2 | - V:1 - "A7"z(GA) (AGFG) | "A7"EFG (AB) (BA) | "Dsus"A3-"D"A4 :| - w: in-* fun-*** | de lu-men cor-*di-*| bus. | - w: per* cunc-*** | ta lau-det sae-*cu-*| la. | - w: et* nunc,*** | et in per-pe-*tu-* | um | - V:2 - E,3 A,2 A,2 | C,3 A,2 A,2 | D,3 A,2 A,2 :| - -## Rendering to MIDI - -Rendering that makes a nice lead sheet! What does it sound like? diff --git a/se_tu.abc b/se_tu.abc new file mode 100644 index 0000000..068b22a --- /dev/null +++ b/se_tu.abc @@ -0,0 +1,167 @@ +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% % +% ABC music output generated by % +% "noteedit" % +% % +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +% PAGE LAYOUT +% +%%pagewidth 21.0000cm +%%pageheight 27.9000cm +%%scale 0.700000 +%%staffsep 1.40000cm +%%exprabove false +%%measurebox false +% +% -- guitar chords +%%postscript /slw05{0.5 setlinewidth}! +%%postscript /slw06{0.6 setlinewidth}! +%%postscript /slw09{0.9 setlinewidth}! +%%postscript /guitar1{ % usage: x y guitar1 +%%postscript gsave exch 10 sub exch 8 add T +%%postscript slw06 0 24 M 20 0 RL stroke +%%postscript 0 0 M 20 0 RL 0 6 M 20 0 RL +%%postscript 0 12 M 20 0 RL 0 18 M 20 0 RL +%%postscript 0 0 M 0 24 RL 4 0 M 0 24 RL 8 0 M 0 24 RL +%%postscript 12 0 M 0 24 RL 16 0 M 0 24 RL 20 0 M 0 24 RL +%%postscript stroke slw05}! +%%postscript /gx1{28 M -1.3 -1.3 RM 2.6 2.6 RL 0 -2.6 RM -2.6 2.6 RL stroke}! +%%postscript /go1{28 newpath 1.5 0 360 arc stroke}! +%%postscript /frx1{ %usage (x) frx1 +%%postscript -12 24 M /Helvetica-Italics 8 selectfont show}! +%%postscript /guitar2{ % usage: x y guitar2 +%%postscript gsave exch 10 sub exch 8 add T +%%postscript slw06 0 30 M 20 0 RL stroke +%%postscript 0 0 M 20 0 RL 0 6 M 20 0 RL +%%postscript 0 12 M 20 0 RL 0 18 M 20 0 RL 0 24 M 20 0 RL +%%postscript 0 0 M 0 30 RL 4 0 M 0 30 RL 8 0 M 0 30 RL +%%postscript 12 0 M 0 30 RL 16 0 M 0 30 RL 20 0 M 0 30 RL +%%postscript stroke slw05}! +%%postscript /gdot{newpath 1.4 0 360 arc fill}! +%%postscript /gx2{34 M -1.3 -1.3 RM 2.6 2.6 RL 0 -2.6 RM -2.6 2.6 RL stroke}! +%%postscript /go2{34 newpath 1.5 0 360 arc stroke}! +%%postscript /frx2{ %usage (x) frx2 +%%postscript -12 30 M /Helvetica-Italics 8 selectfont show}! +%%postscript /barre{ %usage y w barre +%%postscript 1.8 setlinewidth dup 20 exch sub 2 index M 0 RL stroke pop slw05}! +% +%%postscript /crdc{ % usage: str x y crdc - cresc, decresc, .. +%%postscript /Times-Italic 14 selectfont +%%postscript M -6 4 RM show}! +%%deco rit 6 crdc 20 2 24 ritard. +%%deco acc 6 crdc 20 2 24 accel. + +X: 1 +T: If Thou Lov'st Me +C: Words and Music by Giovanni Gattista Pergolesi +C: English translation by Dr. Theodore Baker +C: Jazz Arrangement by Stuart D. Gathman +C: Copyright 2005: Creative Commons Attribution-ShareAlike 2.0 +M: 5/8 % time signature +L: 1/4 % default length +%%staves S1 | { (S2V1 S2V2) | (S3V1 S3V2) } +V: S1 clef=treble +V: S2V1 clef=treble +V: S2V2 +V: S3V1 clef=bass +V: S3V2 +K: Bb % key signature +% +%%MIDI program 1 66 % Tenor Sax +%%MIDI program 2 0 % Piano 1 +%%MIDI program 3 0 % Piano 1 +%%MIDI program 4 0 % Piano 1 +%%MIDI program 5 0 % Piano 1 +% +% 1 +[V: S1] [Q:1/4=70] z2 z/ | z2 z/ | z2 z/ | z2 z/ |: +[V: S2V1] [D3/4F3/4G3/4B3/4] [D3/4F3/4G3/4B3/4] [EGBc] | [F3/4G3/4B3/4d3/4][F3/4G3/4B3/4d3/4] [EGBc] | [C3/2^F3/2] [DGB] | [^F,3/2C3/2] !fermata![B,D] |: +[V: S2V2] x2 x/ | x2 x/ | B3/4A3/4 x | =F E/ x2 |: +[V: S3V1] G,,/A,,/B,,/C,/E,/ | G,/F,/E,/C,/B,,/ | D,/=E,/^F,/ [_E,G,B,] | [D,,3/2C,3/2] !fermata![G,,D,^F,] |: +[V: S3V2] x2 x/ | x2 x/ | B,3/2 x | x2 x/ |: +% 5 +[V: S1] [Q:1/4=70] d3/2 {G/} c | c3/2 {F/} B | B A c/ | B G/ B/G/ | +w: If thou lov'st me, and sigh- est ev- er But for +[V: S2V1] [D3/2F3/2G3/2B3/2] [CEGB] | [C3/2^F3/2] [DGB] | [G,3/4B,3/4E3/4G3/4][G,3/4B,3/4E3/4G3/4] [^F,CF] | [=B,3/2F3/2_B3/2] [CFB] | +[V: S2V2] x3/2 | B A/ x | x2 x/ | x2 x/ | +[V: S3V1] B,,/C,/D,/ [C,B,] | D,/=E,/^F,/ [_E,B,] | C,/D,/E,/ [D,,C,] | [G,,3/2F,3/2] [F,,C,E,] | +[V: S3V2] G,3/2 x | A,3/2 x | x2 x/ | x2 x/ | +% 9 +[V: S1] B G/ F/E/ | D2 z/ |[Q:1/4=70] d3/4G3/4G/c/ | c3/4=B3/4d/c/ | +w: me, O gen- tle swain. Sweet I find thy lov- ing fa- vor, +[V: S2V1] [C3/2E3/2B3/2] [D/F/][C/E/] | z2 z/ | [D3/2^F3/2A3/2] [EGAc] | [F3/2_A3/2] [EGc] | +[V: S2V2] z3/2 G, | x2 x/ | d3/4G3/4 x | c3/4=B3/4 x | +[V: S3V1] [E,,3/2B,,3/2C,3/2] [E,,B,,D,] | !arpeggio![D,,2A,,2E,2_G,2A,2D2] z/ | [=B,,3/2G,3/2] [C,=F,A,] | [D,3/2_A,3/2=B,3/2] [E,_B,C] | +[V: S3V2] x2 x/ | x2 x/ | x2 x/ | x2 x/ | +% 13 +[V: S1] c3/4F3/4F/B/ | B3/4A3/4(c/B/) | B3/4 g//f//e// d/c/ | c3/4 f//e//d// c/B/ | +w: Pi- ti- ful I feel thy pain. * Should'st * thou * think tho', that * de * mure- ly +[V: S2V1] [E3/2G3/2] [DF] | [E3/2G3/2] [FA] | [G3/2B3/2d3/2] [EFAc] | [F3/2A3/2c3/2] [EGB] | +[V: S2V2] c3/4B3/4A/c/ | c3/4B3/4d/c/ | E3/4E3/4 x | D3/4D3/4 x | +[V: S3V1] [A,,3/2F,3/2] [B,,A,] | [C,3/2B,3/2] [D,B,] | [E,3/2B,3/2D3/2] [E,A,C] | [D,3/2A,3/2C3/2] [D,G,B,] | +[V: S3V2] x2 x/ | x2 x/ | x2 x/ | x2 x/ | +% 17 +[V: S1] B3/4 e//d//c// B3/8A/// c/- | c B/ A |[Q:1/4=70] d3/4A3/4B/G/ | d3/4A3/4B/G/ | +w: I * on * thee a- lone * may smile, Sim- ple shep- herd, thou art sure- ly +[V: S2V1] [C3/2G3/2B3/2] [CD^FA] | [B,3/4D3/4F3/4G3/4][B,3/4D3/4F3/4G3/4] [^F,C=F] | [C3/4D3/4^F3/4A3/4][C3/4D3/4^F3/4A3/4] [D=FGB] | [E3/4^F3/4A3/4c3/4][E3/4^F3/4A3/4c3/4] [D=FGB] | +[V: S2V2] E3/4E3/4 x | x3/4 x3/2 x// | x3/4 x3/2 x3/4 | x3/2 x3/2 | +[V: S3V1] [G,3/2B,3/2] [^F,A,] | G,,/A,,/B,,/ [D,,C,] | ^F,,/G,,/A,,/B,,/D,/ | ^F,/G,/A,/B,/G,/ | +[V: S3V2] C,3/2 C,/D,/ | x2 x/ | x2 x/ | x2 x/ | +% 21 +[V: S1] e3/4c3/4=B/_B/ | A3/4G3/4 G | d3/4A3/4B/G/ | d3/4A3/4B/G/ | +w: Prone thy sens- es to be- guile; Sim- ple shep- herd, thou art sure- ly +[V: S2V1] [E3/4G3/4B3/4e3/4][E3/4G3/4B3/4e3/4]([D/^F/=B/d/][E/G/_B/e/]) | [D3/4^F3/4A3/4d3/4] [D3/4^F3/4B3/4d3/4] C/B,/ | [C3/4D3/4^F3/4A3/4][C3/4D3/4^F3/4A3/4] [D=FGB] | [E3/4^F3/4A3/4c3/4][E3/4^F3/4A3/4c3/4] [D=FGB] | +[V: S2V2] x3/2 | C3/4C3/4 [DG] | x3/4 x3/2 x3/4 | x3/2 x3/2 | +[V: S3V1] C,/D,/E,/[=B,,/^F,/A,/][C,/G,/B,/] | D,/=E,/^F,/G,/G,,/ | ^F,,/G,,/A,,/B,,/D,/ | ^F,/G,/A,/B,/G,/ | +[V: S3V2] [G,3/2B,3/2] x | x2 x/ | x2 x/ | x2 x/ | +% 25 +[V: S1] A3/4c3/4^f/e/ | A3/4B3/4 G | A3/4c3/4^f/e/ |1 A3/4B3/4 G | +w: Prone thy sens- es to be- guile, prone thy sens- es to be- guile. +[V: S2V1] [E3/4G3/4B3/4e3/4][E3/4G3/4B3/4e3/4]([D/^F/=B/d/][E/G/_B/e/]) | [D3/4^F3/4A3/4d3/4] [D3/4^F3/4B3/4d3/4] C/B,/ | [E3/4G3/4B3/4e3/4] [E3/4G3/4B3/4e3/4] ([D/^F/=B/d/] [E/G/_B/e/]) |1 [C3/4D3/4^F3/4A3/4d3/4][C3/4D3/4^F3/4B3/4d3/4] [B,DG] | +[V: S2V2] x3/2 | C3/4C3/4 [DG] | x2 x/ |1 x2 x/ | +[V: S3V1] C,/D,/E,/[=B,,/^F,/A,/][C,/G,/B,/] | D,/=E,/^F,/G,/G,,/ | C,/D,/E,/[=B,,/^F,/A,/][C,/G,/B,/] |1 D,/=E,/^F,/G,/G,,/ | +[V: S3V2] [G,3/2B,3/2] x | x2 x/ | [G,3/2B,3/2] x |1 x2 x/ | +% 29 +[V: S1] B3/4B3/4B/B/ | B3/4A3/8G3/8A/F/ | _A3/4A3/4A/A/ | _A3/4G3/8F3/8 G | +w: As a fair red rose, a * lov- er Fain might Syl- via choose to * day, +[V: S2V1] B3/2 B | B3/4A3/8G3/8A/F/ | _A3/2 A | _A3/4G3/8F3/8 G | +[V: S2V2] [D3/4F3/4][D3/4F3/4][C/=E/G/][C/=E/G/] | [C3/2F3/2] [C_E] | [C3/4E3/4][C3/4E3/4][D/F/][D/F/] | [B,3/2E3/2] [=B,E] | +[V: S3V1] B,,/C,/D,/C,/=E,/ | F,,/C,/=E,/F,,/C,/ | _A,,/B,,/C,/B,,/D,/ | E,,/B,,/E,/ [G,,F,] | +[V: S3V2] A,3/2 B, | F,3/2 _E, | F,3/2 [F,_A,] | x2 x/ | +% 33 +[V: S1] c3/4d3/4 =B/G/ | B3/4c3/4 A/F/ | c3/4e3/4 d/f/ | e3/4d3/4 c | +w: Hap- ly if he thorns dis- cov- er 'Tis to- mor- row thrown a- way, +[V: S2V1] [C3/2E3/2c3/2] [DFG=B] | [_D3/2_B3/2] [CE=A] | [C3/2E3/2] [CDF] | [E3/4G3/4_B3/4c3/4] [D3/4F3/4G3/4=B3/4] [EG_Bc] | +[V: S2V2] _A3/4F3/4 x | _G3/4E3/4 F | _A3/2 A/=B/ | x2 x2 | +[V: S3V1] _A,,/ B,,/ C,/ G,, | _G,,/_A,,/B,,/ F,, | E,,3/2 F,, | G,,/=A,,/=B,,/C,/E,,/ | +[V: S3V2] [E,3/2G,3/2] F, | E,3/2 E, | C,/D,/E,/ D, | E, D,/ B, | +% 37 +[V: S1] d3/4f3/4 e/c/ | G3/4 =B3/4 c | B3/4B3/4B/B/ | B3/4B3/4B/B/ | +w: 'Tis to- mor- row thrown a- way. All men say of maid- en fol- ly +[V: S2V1] [C3/4D3/4F3/4_A3/4] [C3/4D3/4F3/4_A3/4] [B,CEG] | [=B,3/4D3/4F3/4G3/4] [=B,3/4D3/4F3/4G3/4] [G,_B,CE] | [F,3/4A,3/4D3/4][F,3/4A,3/4D3/4] [E,G,B,D] | [F,3/4A,3/4D3/4][F,3/4A,3/4D3/4] [E,G,B,D] | +[V: S2V2] x3/4 x// | x3/4 x3/2 x// | x3/4 x3/4 x | x2 x2 | +[V: S3V1] F,,/G,,/_A,,/C,/E,/ | G,,/=A,,/=B,,/ C,/C,,/ | B,,,/B,,/B,,,/E,,/F,,/ | B,,,/B,,/B,,,/E,,/F,,/ | +[V: S3V2] x2 x/ | F,3/2 x2 | x2 | x2 | +% 41 +[V: S1] G3/4G3/4G/G/ | G3/4G3/4 G | c3/4c3/4e/e/ | d3/4A3/4B/G/ | +w: Finds no fa- vor in mine eyes, Nor be- cause I love the lil- y +[V: S2V1] [F,3/4G,3/4=B,3/4D3/4][F,3/4G,3/4=B,3/4D3/4] [G,_B,CE] | [F,3/4G,3/4=B,3/4D3/4][F,3/4G,3/4=B,3/4D3/4] [G,_B,CE] | [E3/4G3/4A3/4c3/4] [E3/4G3/4A3/4c3/4] z/ [E/G/B/e/] | [C3/4D3/4^F3/4A3/4d3/4][C3/4D3/4F3/4A3/4] [D=FGB] | +[V: S2V2] x3/4 x3/4 | x2 | x3/4 x/// x3/2 x/// | x2 x/ | +[V: S3V1] =B,,,/=B,,/B,,,/C,,/E,,/ | =B,,,/=B,,/B,,,/C,,/E,,/ | A,,//A,3/4A,,/G,,/G,/ | ^F,,/G,,/A,,/B,,/G,,/ | +[V: S3V2] x2 x/ | x3/2 x2 | x2 | x2 | +% 45 +[V: S1] c3/4c3/4e/e/ | d3/4B3/4 A |[Q:1/4=70] z2 z/ | z2 z/ | +w: Shall I oth- er flow'rs de- spise. +[V: S2V1] [E3/4G3/4A3/4c3/4] [E3/4G3/4A3/4c3/4] z/ [E/G/B/e/] | [C3/4D3/4^F3/4A3/4d3/4] [D3/4=F3/4G3/4B3/4] [CD^FA] | [c3/4^f3/4a3/4c'3/4][c3/4^f3/4a3/4c'3/4] {a/} b/g/ | [c3/4^f3/4a3/4c'3/4][c3/4^f3/4a3/4c'3/4] {a/} b/g/ | +[V: S2V2] x3/4 x/// x3/2 x/// | x2 x2 | x3/4 x3/4 | x2 | +[V: S3V1] A,,//A,3/4A,,/G,,/G,/ | ^F,,/G,,/B,,/ D, | ^F,/G,/A,/G,/B,/ | ^F,/G,/A,/G,/B,/ | +[V: S3V2] x/ x x2 | x2 | x2 | x/ x x2 | +% 49 +[V: S1] z2 z/ | z2 z/ :|2 A3/2 d | !invertedfermata!a2 z/ |] +w: to be- guile! +[V: S2V1] c'//b//a//g//=f//e//d//c//B//c// | [^F2B2d2] z/ :|2 [C3/2D3/2^F3/2A3/2d3/2] [CD^FBd] | !fermata![=B,2E2G2_B2] z/ |] +[V: S2V2] x2 x2 | x2 :|2 x/ x/ | | +[V: S3V1] [C,2G,2B,2] z/ | [D,2C2] z/ :|2 D,// A,/ D,// A,/ z/ D,,/ | !fermata![G,,2=F,2] z/ |] +[V: S3V2] z/ | :|2 | | +% 53