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Messages - hoodsmom

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Introductions / Re: Greetings from France!
« on: January 04, 2019, 06:13:42 am »

Aujourd'hui j'ai découvert votre musique bretonne sur le forum MO et j'aime beaucoup celui-ci - merci!

Où se trouve des collections de musique bretonne?

(Mon français est très mauvais mais j'essaie de pratiquer parce que nous allons à Paris chaque année).

General Discussion / Re: Adding tabs to MuseScore2 scores
« on: January 03, 2019, 09:25:23 pm »
It's done!

Honestly, I don't think you really need to add tabs to an entire score for CODA if you're an experienced MO player, so I wrote the tutorial to show how to make a plugin that adds tabs for a G-MO ocarina played as a nontransposing instrument. Therefore it made sense to post the link to the tutorial files at the MO forum as well as here on the CODA forum. Included in the tutorial files is my tablature font for playing a G-MO ocarina as a nontransposing instrument.

I've written several MuseScore tab plugins, but to be honest, I use my MuseScore tab plugins for a few scores while learning a new instrument. After I get comfortable with the instrument, I don't add tabs to the entire score. I just add a couple of tabs manually without a plugin to remind myself about fingerings I have a hard time remembering. I didn't even think I'd be using a plugin that adds chromatics to a score for CODA, but I wrote one (included in the zip file) as a technical exercise.

General Discussion / Re: Tips on playing the lower chamber C and C#?
« on: January 03, 2019, 09:01:40 pm »
Thanks for the hints, Karl.

But no matter what Karl says, I think it's going to be a **very** long time before I can do D-C#-D quickly in the lower chamber (and I really wanted to play "The Place I'll Return To Someday," which has this sequence). Even worse is C-C#. I discovered that I can change my embrochure while playing with D fingering to sound a C# (or a reasonable facsimile thereof), allowing me to play D-C#-D without actually changing fingering. Ubizmo's method of tipping CODA down works even better - and I do better tipping down for D-C#-D and C-C#-D than I do for C-B-C. It's easier for me to sound the low B by changing embrochure.

Suggestions / Re: belt clip
« on: January 03, 2019, 08:53:35 pm »
Karl said
By the way, when you remove the clip, you will uncover a conical-shaped tuning hole on the bottom of Coda. Just keep ignoring that hole as you did when the clip was on Coda.

I was thinking of moving my clip, but when I asked Karl about it, he said "don't" because while you can remove the clip, you shouldn't move it, lest you change the position of the clip relative to that hole, which is a tuning hole.

Share your musical journey / Mist Covered Mountains
« on: December 29, 2018, 09:33:34 pm »
I just asked for a subforum to post music. Meantime, I thought I'd post Mist Covered Mountains, which is one of those things I always try on a new instrument.  I tried two keys - G, which is easier to play and which is the one I usually play on my other ocarinas and tin whistle, and C. I actually like sound of the one in C better, but it's harder to play because of all the chamber switches.

Link to better-quality pdf:

Suggestions / Subforum to post music
« on: December 29, 2018, 09:21:49 pm »
May we please have a subforum to post music (I think you can lump public domain links, abc and public domain pdf/jpg together) like we do on the MO forum?

Meantime, I'm posting Mist Covered Mountains in the Share Your Musical Journey forum.

Suggestions / Re: belt clip
« on: December 27, 2018, 04:47:36 pm »
@MusicLover10 - thanks for sharing your cautionary tale. How about attaching a (neck) cord to the clip and then attaching the cord to a carabiner on your belt loop?

Share your musical journey / Re: Hint for learning to cover tone holes
« on: December 27, 2018, 04:41:45 pm »
If you read Karl's patent application documents, you learn that the centermost tone hole of each bifurcated hole is the hole for the upper chamber and the outermost the hole for the lower chamber (try completely covering vs. not quite covering the centermost tone hole of the "high" B on the lower chamber and you'll see what I mean). My fingering errors usually result when I try to play upper chamber notes without completely covering one of the centermost holes. I'm a lot better now that I anticipate the need to really cover certain centermost holes when playing upper chamber notes - especially after some sort of major fingering switch.

One thing I really like about the CODA is that the uppermost and lowermost notes in both chambers are not as sensitive to breath pressure as they are in my MO's. I've spent ages futzing with breath pressure and embrochure when I play my MO's - as a CODA newbie, it's great not to have to worry so much about that.

General Discussion / Re: The Patents: Fascinating reading
« on: December 26, 2018, 02:33:53 pm »
Even better is Google Patents - which has pictures. So now I understand how that bisected toneholes work and why you can get away with sloppy fingering on the lower chamber but not on the upper.

General Discussion / Adding tabs to MuseScore2 scores
« on: December 24, 2018, 06:02:35 pm »
I was asked how to do this - I'll get you started, but a fuller explanation will have to wait at least until after the holidays.

You need to know how to install MuseScore2 plugins (explained at MuseScore <>) and you need a tablature font.
Personally I think plugin handling was much easier in MuseScore1, but I guess that's progress for you.

The plug-in info page at MuseScore doesn't tell you anything about how to write a plug-in for MuseScore. I don't know anything about writing code from scratch, but I know just enough about computer programming so that I can sometimes copy and modify someone else's code. I found a plug-in that adds recorder tabs to scores and essentially copied and modified it - in this case to add a custom tab I made for my 6-hole pendant ocarina. My font was called SixHolePendantTrans.ttf

The plugin document is just a text document with an extension of .qml
You can edit the plug-in in a standard word processor.
Any line beginning with // is a comment and won't be "processed" by MuseScore

Here's the plug-in I made (my notes for my original plugin are in caps; red stuff is new comments I added specifically for this post)
If you want to experiment with installing plugins and seeing how they work, find the recorder tab plugin at the MuseScore site <>. You will also need to install the recorder font that comes with the plugin. Then try some simple edits like changing the tablature font size and position.

A fair amount of fiddling is needed because once the tabs are added to the score, they're tedious to edit. So futzing with the plugin is needed to make sure it is likely to put the tabs down the way you want them on the first go.

plugin begins below the line

import QtQuick 2.0
import MuseScore 1.0

MuseScore {

//NAME THE PLUGIN EXACTLY AS IT IS NAMED IN ~/Library/Application Support/MuseScore/MuseScore2/plugins
//On a Mac the file called "SixHoleTransposing.qml" goes in ~Library/Application Support/MuseScore/MuseScore2
//So where it says menuPath: "" I change xxx to SixHoleTransposing

 menuPath: "Plugins.SixHoleTransposing"
 version: "1.0"
 description: qsTr("Fingering for Six Hole Songbird Pendant Ocarina in G Played as a C Instrument.")
 //based on Hohner Soprano Recorder German Fingering plugin by Juan Pedro Paredes Caballero

//I named it six_hole_fingering You will need the function name further down
 function six_hole_fingering(){

//I made my pendant ocarina font to go from low B (the "index pitch") to high E
//The next line reminds me how the font is mapped, z on keyboard = low B, G on keyboard = low C, etc.

//font mapping: (low B to high E) BCC#DD#EFF#GG#AA#bcc#dd#e = zGgAaBCcDdEFfQqWwR
//then list all the keyboard keys of your font in order
  var fingerings = ["z", "G", "g", "A", "a", "B", "C", "c", "D", "d", "E", "F",
 "f", "Q", "q", "W", "w", "R"];

  var cursor = curScore.newCursor();
  var startStaff;
  var endStaff;
  var endTick;
  var fullScore = false;

  //Check if there are a selector or is apply to full score
  if (!cursor.segment) { // no selection
   fullScore = true;
   startStaff = 0; // start with 1st staff
   endStaff = curScore.nstaves - 1; // and end with last
  } else {
   startStaff = cursor.staffIdx;
   if (cursor.tick == 0) {
    // this happens when the selection includes
    // the last measure of the score.
    // rewind(2) goes behind the last segment (where
    // there's none) and sets tick=0
    endTick = curScore.lastSegment.tick + 1;
   } else {
    endTick = cursor.tick;
   endStaff = cursor.staffIdx;

  console.log(startStaff + " - " + endStaff + " - " + endTick)

  //Walk through the score
  //Only staff 0, to restore commnet next endStaff
  for (var staff = startStaff; staff <= endStaff; staff++) {
   console.log("Staff "+staff);
   //staff = recorder?
   //Only voice 0, to restore 4->1
   for (var voice = 0; voice < 1; voice++) {
    console.log("Voice "+voice);
    cursor.rewind(1); // beginning of selection
    cursor.voice = voice;
    cursor.staffIdx = staff;
    if (fullScore) // no selection
     cursor.rewind(0); // beginning of score
    while (cursor.segment && (fullScore || cursor.tick < endTick)) {
     //console.log("Cursor "+cursor.element.type+" Search "+Element.CHORD);
     if (cursor.element && cursor.element.type == Element.CHORD) {
      var note=cursor.element.notes[0];

//Here's where you set the index (lowest) pitch
      var index=note.pitch-59;
      //console.log("Index "+ index);
      if(index >= 0 && index < fingerings.length){
       console.log("Index "+index+" Letter "+ fingerings[index]);
       var text=newElement(Element.STAFF_TEXT);

//This bit is tricky. The tablature font face name has to be exactly what MuseScore thinks it is
//or the plugin won't work
//I installed the font on my system and then determined exactly what MuseScore called the font
//In this case MuseScore "thought" that the font's name was what I had named it because I made some
//edits in a font editor that ensured that my computer programs and I agreed on what the font name was.
//However, I have found that font names can sometimes get screwed up by the font editor that created the font
//so the font name "seen" by MuseScore may not be what you think it is

//Also tricky. You need to play with the tablature font size and position so that your tablature
//is unlikely to overlap your music and is also big enough to see without getting crowded
//You also have to know enough about MuseScore to know how to change the spacing between lines of music
//so there will be enough room for your tabs

       text.text="<font size=\"42\"><font face=\"SixHolePendantTrans\">"+fingerings[index]+"</font></font>";

     } // end if CHORD;
    } // end while segment
   } // end for voice
  } // end for staff

 onRun: {
  if (typeof curScore !== 'undefined') {
 } // end onRun

General Discussion / Re: Font for CODA chromatics
« on: December 24, 2018, 05:27:02 pm »
I went back to fonstruct and there is a way to use alternate keys but the font map ends up being totally ridiculous. And, though I can produce a font that works on a Mac keyboard, I'm not sure the unicode mapping is the same on Mac and Windows keyboards. Anyway since I was there, I finished off the font to include the diatonics.

I figure most people will end up not needing the intuitive diatonic fingerings, so I assigned the diatonics to numbers and shift + numbers. The chromatics are mapped the same as in the original download (

The map for the diatonics in CodaStandard is very easy

Lower chamber: C=1, D=2, E=3, etc. up to high d = 9
Upper chamber: hold shift key for all, then B = shift + 0 [so )], C = shift + 1 [so !], D = shift + 2, etc. up to high c' = shift + 8 [so *]

General Discussion / Re: Font for CODA chromatics
« on: December 24, 2018, 02:50:53 pm »
I used and they don't have any options for using extra keys. I adopted the keyboard map that I did to correspond with ABC notation, which I use a lot and can therefore remember - in ABC notation caps are low notes and lowercase letters are high notes.

I didn't make a font for the diatonics because the fingering is so intuitive, but I can if there's interest. It would probably have to be a separate font because fonstruct doesn't have that many options, so the keyboard map could get very difficult to remember if I tried to put everything into one font.

Share your musical journey / Hint for learning to cover tone holes
« on: December 23, 2018, 12:54:29 pm »
Maybe this will help someone learn to cover the tone holes.

I could not figure out why my notes were slightly off (I used a tuner to check) - especially in the upper register.

I tried futzing with angling my finger pads in various ways and finally "got it" by playing the high C (in each register) and walking down the scale. I think starting by covering one tone hole on the top of the instrument and gradually increasing the number of covered tone holes makes it easier to tell what you're doing wrong. When you start at the bottom of the scale, you've got many tone holes covered and it's hard to tell which hole might be improperly covered.

Suggestions / Re: Toward a More Coda Christmas
« on: December 23, 2018, 11:00:35 am »
Here's one for you: The Holly and the Ivy

It's written in the key of G, but doesn't actually have any chromatics and there are easy chamber switches from low G to high E and back down in a way you can choose  - so it's a great beginner tune. (Also very fun to play on an MO or tin whistle).

Happy Holidays to all!

Suggestions / Re: Business Card Fingering Charts
« on: December 23, 2018, 10:39:31 am »
Here's my solution - which allows for aging eyes  :o

The diatonic fingerings are pretty intuitive, so how about putting only the chromatics on a 3x5?
(or 4x6 for those of us with even older eyes)

I made my own font (posted in "general")

After reading this thread, I managed to get the chromatics onto a 3x5 card.
The attached pdfs have 3 copies of the 3x5 on one sheet and 2 copies of 4x6 on the other - print and cut on cardstock

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