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**solfa)
solfa [-tx] [inputfile ...] [> outputfile.sol]
**solfa
spines -- where pitches are designated by the syllables
do, re, mi, fa, so, la,
and ti -- or their chromatic alterations:
di, da, ri, ra,
etc. (see below).
Tonic solfa syllables can be determined only with reference to some
prevailing key.
For example, the pitch C is the tonic (do) in the key of C major,
but the mediant (mi) in the key of A-flat major.
The
solfa
command expects a tandem interpretation indicating the key of the input passage;
solfa
will adapt to specified changes of key within an input stream.
If no key information is provided prior to the first pitch-related data,
solfa
issues an error message and terminates.
There are various systems for extending the tonic solfa syllables in order to representing chromatic alterations. The system used by solfa is tabulated below. (Pronunciations are indicated in parentheses.)
basic raised lowered do (doe) di (dee) de (day) re (ray) ri (ree) ra (raw) mi (me) my (my) me (may) fa (fah) fi (fee) fe (fay) so (so) si (see) se (say) la (la) li (lee) le (lay) ti (tee) ty (tie) te (tay)
The
solfa
command differs from the
deg
and
degree
commands in that pitches are represented without regard to major or minor
mode.
For example,
in the key of C major,
deg
and
degree
will characterize A-flat as a lowered sixth scale degree,
whereas the same pitch will be a normal sixth scale degree in the
key of C minor.
In the case of
solfa,
the A-flat will be characterized as le
-- whether or not the key is C major or C minor.
As in the case of
deg
and
degree,
the amount of chromatic alteration is not represented;
once a pitch is "raised," raising it further will not
change the output representation.
For example, where the tonic pitch is B-flat, both B-natural
and B-sharp are represented by di.
The
solfa
command is able to translate any of the pitch-related
representations listed below.
For descriptions of the various input representations
(including **solfa) refer to Section 2
(Representation Reference)
of this reference manual.
It is recommended that output files produced by the solfa command should be given names with the distinguishing .sol extension.
**kerncore pitch/duration representation **pitchAmerican National Standards Institute pitch notation (e.g. "A#4") **solfgFrench solfège system (fixed `doh') **TonhGerman pitch system
Options are specified in the command line.
-h displays a help screen summarizing the command syntax -t suppresses printing of all but the first note of a group of tied notes -x suppresses printing of non- **solfa signifiers
The -t option ensures that only a single output value is given for tied notes; the output coincides with the first note of the tie.
In the default operation,
solfa
outputs non-pitch-related signifiers in addition to the degree value.
For example, in the key of D, the **kern
token "4Gz"
will result in the output "4faz" -- that is, after translating
G to fa, the "4...z" 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.
The
-x
option is useful for eliminating non-pitch-related signifiers from the output.
**MIDI)
cannot be processed by
solfa.
In addition, there is one non-pitch-related spines (**embell).
!! `solfa' 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 G4bar 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:
solfa -tx input > output
produces the following result:
Both processed and unprocessed spines are output.
Notice that the tied note at the beginning of measure 2 in the
!! `solfa' example. **solfa **solfa **MIDI **solfa **solfa **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 me fi /60/ me do ct . . /-60/ . . . fa la /62/ le r upt . . /-62/ . . . ra le /70/ so ti ct . . /-70/ . . . ra ti /61/ r do sus . . /-61/ . . . =2 =2 =2 =2 =2 =2 le r . so do mi . . le . fa re fa ct . te /48/ /52/ me ti so ct . . /-48/ . . . . la re /-52/ do re ct =3 =3 =3 =3 =3 =3 r so me . r do . == == == == == == *- *- *- *- *- *- **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).
x_option.awk
is used by this program when the
-x
option is invoked.
**deg (2),
deg (4),
**degree (2),
degree (4),
**kern (2),
kern (4),
**pitch (2),
pitch (4),
**solfa (2),
**solfg (2),
solfg (4),
**Tonh (2),
tonh (4)