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Table 7. Interpretation rules for stringed-instrument tablatures
Structural contexts before
recognition - Hand-drawn
strokes
Structural contexts
after recognition - Re-
transcribed symbols
Interpretation rules
Fret
(Stroke s)
DCV:
TablatureLine[in,all]s.
SCV:
.
SR:
Numeral .
DCC:
this[above,extremity]Connexion
1
,
this[below,top]Stem
1
.
Connexion
(Stroke s)
DCV:
Fret→ firstFret[above,left]s ,
Fret →lastFret[above,right]s ,
firstFret ≠ lastFret .
SCV:
.
SR:
GeometricalShapes , {CircularArc} .
DCC:
this[above,all]PlayingMode
1
.
Stem (Stroke s)
DCV:
Fret[below,top]s ,
Staff[below,bottom]s ,
SCV:
.
SR:
GeometricalShapes , {VerticalSeg} .
DCC:
this[below,extremity]Beam
1
Beam
(Stroke s)
DCV:
Stem→firstStem[below,left]s ,
Stem→lastStem[below,right]s ,
firstStem ≠ lastStem .
SCV:
.
SR:
GeometricalShapes , {HorizontalSeg} .
DCC: .
develop a system as usable and as intuitive as
possible, professional musicians have guided us,
in particular in the process of interpretation rule
writing. Figure 13 presents two screenshots of the
same musical score document: on the left only the
user hand-drawn strokes are visible, and on the
right the elements of the document are in their
neatly retranscribed aspect (in order to lighten
the screenshots, selection dots and document
structural contexts are not shown).
Among the available symbols, the user can
draw clefs (F-Clefs and G-Clefs), notes (from
whole-notes to sixty-fourth notes) with uprising
or descending stems, accidentals (flats, naturals,
sharps, double-flats, double sharps) and durational
dots. Beams are also available. Silences (from
rests to sixty-fourth rests), bar lines (simple and
double bar lines) can be drawn on the staves, and
dynamics (crescendo, decrescendo, pppp, ppp, pp,
p, mp, mf, f, ff, fff, ffff) can be drawn under them.
Table 3 presents some of these available symbols
and some of their corresponding interpretation
rules used in the developed system: it highlights
in particular how the rules model that a flag or
a beam can only be added to a quarter-note, and
not to a half-note. The reader can also notice how
the beam rule models that such a symbol must
have its left and right points on the extremity
(top or bottom) of two different quarter-notes of
a same staff.
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