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**degree)
degree [k|K key] [-tx] [inputfile ...] [> outputfile.dgr]
**degree
spines -- where scale degrees are indicated by the numbers 1 (tonic)
to 7 (leading tone).
Scale degree information can be determined only with reference to some
prevailing key.
For example, the pitch C4 is the tonic (1) in the key of C major, but the
submediant (6) in the key of E minor.
The
degree
command expects a tandem interpretation indicating the key of the input passage;
degree
will adapt to specified changes of key within an input.
If no key information is provided prior to the first pitch-related data,
degree
issues an error message and terminates.
The degree command differs from the (related) deg command in that it outputs absolute (rather than relative) pitch-height information. Along with the scale degree, the octave number is represented -- the two values being separated by a slash (/). Hence the token `1/4' means the first scale degree (tonic) in octave `4'. As in the case of deg, plus and minus signs indicate whether a pitch has been chromatically raised or lowered. For example, the pitch A-flat is designated `6-' in the key of C major, but `6' in the key of C minor. The harmonic minor scale is assumed for all minor keys. Thus, B-flat is considered a "lowered" seventh degree in C minor, whereas B natural is considered the "normal" (rather than "raised") seventh degree. For some applications, this interpretation of the minor-scale seventh degree may cause difficulties.
The
degree
command is able to translate any of the pitch-related
representations listed below.
For descriptions of the various input representations
(including **degree) refer to Section 2
(Representation Reference)
of this reference manual.
It is recommended that output files produced using the dgr command should be given names with the distinguishing `.dgr' extension.
**kerncore pitch/duration representation **pitchAmerican National Standards Institute pitch notation (e.g. "A#4") **solfgFrench solfège system (fixed `doh') **TonhGerman pitch system Input representations processed by degree.
Options are specified in the command line.
-h displays a help screen summarizing the command syntax -k key specify default key -K key specify override key -t suppresses printing of all but the first note of a group of tied **kern notes-x suppresses printing of non- **degree signifiers
The
-t
option ensures that only a single output value is given for tied **kern notes;
the output coincides with the first note of the tie.
In the default operation,
degree
outputs non-pitch-related signifiers in addition to the degree value.
For example, in the key of D major, the **pitch
token "G5zzz"
will result in the output "4/5zzz" -- that is, after translating
G5 to 4/5, the "zzz" signifiers are retained in the output.
For some applications, echoing non-pitch-related signifiers in the output
is useful.
However, in other situations, the result can prove confusing --
especially, when the non-pitch-related signifiers are numbers.
Consider the case of the **kern
token "4f#" in the key of D minor;
after translating `f#' to `3+/4' (i.e. raised third
degree in octave 4),
the preceding non-pitch-related signifier `4' will also be output,
hence the value 43+/4 -- which may cause confusion.
The
-x
option is useful for eliminating non-pitch-related signifiers from the output.
For most **kern inputs, the
-x
option is recommended.
**MIDI)
cannot be processed by
degree.
In addition, there is one non-pitch-related spines (**embell).
!! `degree' example. **kern **Tonh **MIDI **solfg **pitch **embell *M2/4 *M2/4 *M2/4 *M2/4 *M2/4 *M2/4 *C: *d: *G#: *a: *F: *F: =1 =1 =1 =1 =1 =1 8ee- Gis2 /60/ do3 F4foo ct . . /-60/ . . . 8f H2 /62/ fa3 r upt . . /-62/ . . . 8dd- B2 /70/ mi3 E4 ct . . /-70/ . . . 8d-- Cis4 /61/ r F4 sus . . /-61/ . . . =2 =2 =2 =2 =2 =2 [4a- r . mi~b3 F4 A4 . . Heses2 . re3 G4 Bb4 ct 4a-] C3 /48/ /52/ do3 E4 C5 ct . . /-48/ . . . . H2 E3 /-52/ la3 G4 ct =3 =3 =3 =3 =3 =3 r A2 F3 . r F4 . === === === === === === *- *- *- *- *- *-
Executing the command:
degree -tx input > output.dgr
produces the following result:
Both processed and unprocessed spines are output.
Notice that the tied note at the beginning of measure 2 in the
!! `degree' example. **degree **degree **MIDI **degree **degree **embell *M2/4 *M2/4 *M2/4 *M2/4 *M2/4 *M2/4 *C: *d: *G#: *a: *F: *F: =1 =1 =1 =1 =1 =1 3-/5 4+/2 /60/ 3/3 1/4 ct . . /-60/ . . . 4/4 6+/2 /62/ 6/3 r upt . . /-62/ . . . 2-/5 6/2 /70/ 5/3 7/4 ct . . /-70/ . . . 2-/4 7/4 /61/ r 1/4 sus . . /-61/ . . . =2 =2 =2 =2 =2 =2 6-/4 r . 5-/3 1/4 3/4 . . 6-/2 . 4/3 2/4 4/4 ct . 7-/3 /48/ /52/ 3/3 7/4 5/5 ct . . /-48/ . . . . 6+/2 2/3 /-52/ 1/3 2/4 ct =3 =3 =3 =3 =3 =3 r 5/2 3/3 . r 1/4 . === === === === === === *- *- *- *- *- *- **kern
spine has been rendered as a single note rather than as two notes
(due to the
-t
option).
Also notice that the non-pitch-related signifiers (e.g. foo)
in the first notes of the **pitch spine have been
stripped away (due to the
-x
option).
Note that the plus and minus signs merely indicate that a scale
degree has been raised or lowered, but not by how much.
Hence both the D-flat and D double-flat in measure 1 of the first
(**kern) spine are rendered as degree `2-'.
x_option.awk
is used by this program when the
-x
option is invoked.
**deg (2),
deg (4),
**degree (2),
**kern (2),
kern (4),
**pitch (2),
pitch (4),
**solfg (2),
solfg (4),
**Tonh (2),
tonh (4)