This song was my first attempt at hand writing an ABC. First I made a leadsheet with melody and chords. Then using the lead sheet as a reference, I wrote out ABCs for the two parts (flute and lute). For the lute, I created a strumming pattern using the LOTRO dynamics controls.

Read the rest of this entry »

Come now, the table’s laid with honeycomb and butter… White bread and yellow cream and berries all a-clutter!

A duet for flute and lute. For a fuller sound, you can double clarinet on flute part, and harp on lute part.

Read the rest of this entry »

Bilbo’s Birthday Concert by Eriador Music Society

http://www.youtube.com/watch?v=Ctz4bnQCrtQ

Last night the Eriador Music Society held a concert in honor of Bilbo’s Birthday. We rehearsed for it on Wednesday and it was a good thing we had our act together because quite a few people showed up. Some members of the audience also stepped up for impromptu poetry readings and other performances. I am hoping to post links to youtubes of the event when they become available.

Last week I met some fine musicians from the Eriador Music Society. They are a multi-kin, multi-server society of musicians. One of the fun things they do is get together every Wednesday night on the Elendilmir server and test out songs. I stopped by their meeting last Wed to see what they are about.

I rolled a minstrel alt and leveled to 12, so I’d have access to most of the instruments, and not be too harassed by the boars outside Bree. When I logged in on Wed night, I found 8 members of the EMS rehearsing in a secret location, and was directed to a post on their website to download the list of songs they were testing. Many of their members are skilled composers/arrangers, and create their own ABC files. This is a way for them to hear the song played by a full band and make updates or revisions based on what they hear. The setlist featured about a dozen songs, including Howard Shore music from the LOTR movies.

After the rehearsal was done, everyone hopped on their mounts and rode to Bree. We set up outside the Prancing Pony and performed the songs (the ones that did not need further revising) for the crowd. Since we had already run through the entire list, everyone used the same instruments as before, and it was relatively quick and painless to get ready for each song.

I was really impressed with how well they organized everything, using the forums for coordination. It was pretty easy for a newcomer like me to jump right in.

Their forums can be found here (registration required):

http://s1.zetaboards.com/Songbook_of_Laurelin/index/

I went back and redid the vocals to Scarborough Fair as a 2 part harmony. It took me some tries to find something that worked. At first I tried using 3rds, 4ths, or 5ths that fit somewhere in the chord progression. But it sounded like the melody was somehow getting “lost”. Then I remembered something that I had read about how our ears perceive chords. When we hear a sequence of chords, we will hear the top notes of each chord as the melody line. So this time I redid the harmonization, but making sure the backup singer is always below the main melody line, and not messing it up. Below is how it turned out:

Because of this song being medieval in origin, I tried using lots of 4ths and 5ths. I heard that in medieval music, they did not use the interval of the 3rd as much, as it was considered dissonant. So at the start and end of each phrase, I use 4ths and 5ths as a stable point. 3rds are in the middle, sort of like passing tones.

Now the drum part. I had an idea to use the dynamics markup (+ff+, +pp+, etc) in the abc player to create accents on different beats. I did not use Lilypond to compose this part, because I don’t think it has a good way to transcribe rhythms or accents. Instead I fired up Cubase and created some 1-bar patterns:

Each pattern has 3 levels of loudness (the vertical lines under the notes) depending on where the beat falls. The first beat in the measure is always the loudest, followed by the two quarter notes, and anything on intervals smaller than that gets the weakest beat. The rhythm is just made up by mixing up these patterns in different orders. Here is the order I came up with, with each line representing the start of a line:

1 2 3 4 2
5 1 2 3 4 2 5
1 2 3 4 5
1 2 3 4 2 3 5

You’ll notice its not very regular, but then neither is the structure of the song, what with two lines having 5 bars and the other having 7. The second line I meant to start “1 2 3 4″, but I screwed it up, and I liked the way the mistake version sounded better.

I exported the beginning of this drum track to a midi file, and converted it to abc format using LOTRO midi player. Since the converter doesn’t understand dynamics, I had to hand edit this file to insert them. I made the first beat of every pattern (except 5) a quarter note, so it would be a little easier to pick out each bar in the abc file. Once I had all 5 patterns edited to include the dynamics, I just copy-pasted them to fill out the remaining verses. Below is the first two lines with the dynamics added in.

+fff+ D/2 +mf+ =C/4 +pp+ ^C/4 +mf+ =C/4 z/4 %% pattern 1
+fff+ D/2       z/4 +pp+ ^C/4 +mf+ =C/4 z/4 %% pattern 2
+fff+ D/2 +mf+ =C/4  z/4 =C/4           z/4 %% pattern 3
+fff+ D/2 +mf+ =C/4 +pp+ ^C/4       C/4 C/4 %% pattern 4
+fff+ D/2       z/4 +pp+ ^C/4 +mf+ =C/4 z/4 %% pattern 2

+fff+ D/4 +pp+ ^C/4 +mf+ =C/8 +pp+ ^C/8 C/8 z/8 +mf+ =C/4 z/4 %% pat 5
+fff+ D/2 +mf+ =C/4 +pp+ ^C/4 +mf+ =C/4 z/4 %% pattern 1
+fff+ D/2       z/4 +pp+ ^C/4 +mf+ =C/4 z/4 %% pattern 2
+fff+ D/2 +mf+ =C/4  z/4 =C/4           z/4 %% pattern 3
+fff+ D/2 +mf+ =C/4 +pp+ ^C/4       C/4 C/4 %% pattern 4
+fff+ D/2       z/4 +pp+ ^C/4 +mf+ =C/4 z/4 %% pattern 2
+fff+ D/4 +pp+ ^C/4 +mf+ =C/8 +pp+ ^C/8 C/8 z/8 +mf+ =C/4 z/4 %% pat 5

There is one last thing I did which was convert all the G notes from the “melodic tom” patch I had used in Cubase. On the LOTRO drum,  the middle D produces a nice frame drum sound, so I changed the notes to D. Additionally, the notes C and C# produce variations on the frame drum, with slightly different sounds. It is a subtle effect compared to the dynamics, but adds to the realism of the sound.

Loudest: +fff+ D (boomier frame drum)
Medium: +mf+ C (medium frame drum)
Softest: +pp+ C# (soft frame drum hit)

I was going to upload a midi of the whole composition, but I am having problems with that. So instead you will have to make do with an mp3 using the cheesy soft synths that came with Cubase.

[scarborough.mp3]

(note I had some problems with this clip being truncated, it should be 30 seconds. rightclick->download might help.)

Last night in the Prancing Pony I happened upon a curious pair. Some sort of salesmen by the look of them. The taller of the two sold me a set of magical lute strings, which as he explained, would allow me to magically create duplicates of myself, and play pieces written for an entire band! I was skeptical at first, but it was a very good deal at only 4 copper pieces. Perhaps these could be of some use at the Magical Mysteries in the Hall of Fire. I can’t wait to see the looks of astonishment on people’s faces!

There is only one small problem… I’ve never re-strung my own lute before. I still have the same strings that came with the instrument when I bought it from Burt Ninetails. Perhaps you’ve seen the fellow, he always stands by the fireplace strumming the same two chords over and over. But I’m sure I’ll find someone to help me attach these new magic strings. Just not Burt. Between you and me, I don’t think he knows what he’s doing. Don’t tell him I said that.

In my last piece (Greensleeves), I tried using simple arpeggios as an accompaniment. The next thing I wanted to explore was a guitar technique called finger picking. This is a more complex arpeggio like pattern that is common in folk music. I decided to try doing Scarborough Fair (the Simon and Garfunkel version) because I really like this song.

First I transcribed the melody, and tried working out my own chords to see what I would come up with:

[scarborough-lyrics.mid]

The Simon and Garfunkel version uses similar chords to this. There is no Bm in the last line, and instead of Em, they alternate between E7sus4 and Esus2 using finger picking. I found a good video on youtube that explains how to play the finger picking pattern.

http://www.youtube.com/watch?v=SV67GgFhWlI

Below is the E7sus4 Esus2 pattern:

A capo is used on the 7th fret to transpose this to the key of E. As you can see you just pluck the same sequence of strings with your right hand, and only move two fingers in the chord your are playing on your left hand. But why do they use E7sus4 and Esus2 instead of plain Em? I think this is a sort of double tonic alternating between they keys of E and D. The E7sus4 chord contains the notes D and A, which forms a D5 chord, while the Esus2 is mostly a doubled E5 chord. And since there is no third in the suspended chords, it creates a droney, medieval sound.

In addition to finger picking, there is a combination of strummed chords, hammer-ons, and “walk downs” (short runs of passing tones between chords). These variations keep the song from becoming monotonous and accentuate important words in the song. For example, there is a little trill or mordent played on the words “true” or “love”.

Because I am writing for the LOTRO ABC player, I tried to make sure the whole thing fit in 3 octaves. Unfortunately, the voice part should ideally be an octave higher to make it stand out, but that would go over 3 octaves. I will try to make it into a duet later, so a flute or clarinet can play the vocal part.

Also I limited the strummed chords to 3 notes, since playing more notes doesn’t seem to improve the sound in LOTRO. Too many notes at once seems to make the song sound muddled, and sometimes laggy.

[scarborough.mid]

X: 1
T: Scarborough Fair [Astleigh of Landroval] (1:16)
Z: Transcribed by LotRO MIDI Player: http://lotro.acasylum.com/midi
%  Original file: scarborough.mid
%  Transpose: -8
L: 1/4
Q: 70
K: C

^G,/4 ^d/4 ^F/4 =F/4 ^c/4 ^F/4 ^C/4 ^d/4 ^F/4 =F/4 ^c/4 ^F/4 B,/4 ^d/4
^F/2 ^A,/2 ^G,/4 ^d/4 ^F/4 =F/4 ^c/4 ^F/4 ^G,/4 ^d/4 ^G/4 ^D/4 ^A/4
^G/4 ^G,/4 ^d/4 ^F/4 =F/4 ^c/4 ^F/4 ^G,/4 ^d/4 ^G/4 ^D/4 ^A/4 ^G/4
[^G^G,/4] ^d/4 ^F/4 =F/4 [^G/2^c/4] ^F/4 [^d/4^G,/4] [^d3/4z/4] ^G/4
^D/4 [^d/2^A/4] ^G/4 [^A3/4^F3/4^C3/4] B/4 ^A/2 [^G3/2^G,/4] ^d/4
^F/4 =F/4 ^c/4 ^F/4 ^G,/4 ^d/4 ^G/4 ^D/4 ^A/4 ^G/4 B,/4 ^d/4
[^d/2^F/4] ^D/4 [^f/2B/4] ^F/4 [^g^G,/4] ^d/4 ^G/4 ^D/4 [^f/2^d/4]
^G/4 [^d/2^D/2^F/2B/2] [=f/2^c/2^G/2=F/2] ^c/2 [^d/4^G,/4] [^d5/4z/4]
^F/4 =F/4 ^c/4 ^F/4 ^G,/4 ^d/4 ^G/4 ^D/4 ^A/4 ^G/4 ^G,/4 ^d/4 ^F/4
=F/4 ^c/4 ^F/4 ^G,/4 ^d/4 ^G/4 ^D/4 [^g/2^A/4] ^G/4 [^g^G,/4] ^d/4
^F/4 =F/4 [^g/2^G/4] ^A/4 [^fB,/4] ^d/4 ^F/4 ^D/4 [^d/2B/4] ^F/4
[^d/2^F/2B/2] ^c/2 B/2 [^A/2^C/4^F/4] ^F/4 [^F/4^C/4] ^F/4
[^D/4^F/2B/4] ^A/4 B/4 z/4 [^C^F^A] [^G/2^G,/4] ^d/4 [^G/2z/4] ^D/4
[^d/2B/4] ^F/4 [^c^F,/4] ^A/4 ^C/4 ^A,/4 [B/2^F/4] ^C/4 [^A/4z/8] B/8
^A/4 ^G/2 ^F/2 [^G3/2^G,/4] ^d/4 ^F/4 =F/4 ^c/4 ^F/4 ^G,/4 ^d/4 ^G/4
^D/4 ^A/4 ^G/4 ^G,/4 ^d/4 ^F/4 =F/4 ^c/4 ^F/4 ^G,/4 ^d/4 ^G/4 ^D/4
^A/4 ^G/4 [^G^G,/4] ^d/4 ^F/4 =F/4 [^G/2^c/4] ^F/4 [^d/4^G,/4]
[^d3/4z/4] ^G/4 ^D/4 [^d/2^A/4] ^G/4 [^A3/4^C3/4^F3/4] B/4 ^A/2
[^G3/2^G,/4] ^d/4 ^F/4 =F/4 ^c/4 ^F/4 ^G,/4 ^d/4 ^G/4 ^D/4 ^A/4 ^G/4
B,/4 ^d/4 [^d/2^F/4] ^D/4 [^f/2B/4] ^F/4 [^g^G,/4] ^d/4 ^G/4 ^D/4
[^f/2^d/4] ^G/4 [^d/2B/2^F/2^D/2] [=f/2=F/2^G/2^c/2] ^c/2 [^d/4^G,/4]
[^d5/4z/4] ^F/4 =F/4 ^c/4 ^F/4 ^G,/4 ^d/4 ^G/4 ^D/4 ^A/4 ^G/4 ^G,/4
^d/4 ^F/4 =F/4 ^c/4 ^F/4 ^G,/4 ^d/4 ^G/4 ^D/4 [^g/2^A/4] ^G/4
[^g^G,/4] ^d/4 ^F/4 =F/4 [^g/2^G/4] ^A/4 [^fB,/4] ^d/4 ^F/4 ^D/4
[^d/2B/4] ^F/4 [^d/2B/2^F/2] ^c/2 B/2 [^A/2^C/4^F/4] ^F/4 [^F/4^C/4]
^F/4 [B/4^F/2^D/4] ^A/4 B/4 z/4 [^C^F^A] [^G/2^G,/4] ^d/4 [^G/2z/4]
^D/4 [^d/2B/4] ^F/4 [^c^F,/4] ^A/4 ^C/4 ^A,/4 [B/2^F/4] ^C/4
[^A/4z/8] B/8 ^A/4 ^G/2 ^F/2 [^G3/2^G,/4] ^d/4 ^F/4 =F/4 ^c/4 ^F/4
^G,/4 ^d/4 ^G/4 ^D/4 ^A/4 ^G/4 ^G,/4 ^d/4 ^F/4 =F/4 ^c/4 ^F/4 ^G,/4
^d/4 ^G/4 ^D/4 ^A/4 ^G/4 ^G,/4 ^d/4 ^F/4 =F/4 ^c/4 ^F/4 ^C/4 ^d/4
^F/4 =F/4 ^c/4 ^F/4 B,/4 ^d/4 ^F/2 ^A,/2 ^G,3/2

Today I experimented a bit with the limitations of the ABC player implemented in LOTRO.

Polyphony

All polyphony in ABCs must be represented as chords since LOTROs ABC player doesn’t support multiple “parts”. Unfortunately, this results in weird and unreadable notation. I created some midis and fed them into LOTRO MIDI Player to see how it would convert them.

What happens when some of the notes in the chord are different durations? You will see something like this:

[c4e3g2]

The notes start at the same time, but have different durations. But when does the following note start? LOTRO seems to start the next note after the shortest duration note in the chord. So the next note starts after the g2 finishes playing. This behavior is not defined in the ABC format. Some ABC editors (such as ABC Explorer) interpret this type of chord differently, and will start the next note following the longest note in a chord. So your tunes may not sound right in those editors.

What happens if I want to start a new note before the previous one has finished? This is how LOTRO MIDI Player converted it:

[c4z] [e3z] g2

Here we see it is using a short duration rest (z) as a “dummy note” in the chord. So the same “shortest note” rule still applies, but it is taking even more liberties by allowing rests as part of a chord.

Shortest note duration

Next I tried to see what is the shortest possible note duration allowed by LOTRO. I tried converting some 8th, 16th, 32nd and 64th notes in the LOTRO MIDI Player:

c/2 e/2 c/2 e/2 c/2 e/2 c/2 e/2
c/4 e/4 c/4 e/4 c/4 e/4 c/4 e/4 c/4
c/8 e/8 c/8 e/8 c/8 e/8 c/8 e/8 c/8 e/8
[e/8c/8] [e/8c/8] [e/8c/8] [e/8c/8] [e/8c/8]

Here c/2 is actually an 8th note since the header L:1/4 means you must multiply every duration by 1/4th. It refused to generate 64th notes, and instead converted them to 32nd note chords. This is probably done so that the rhythm is not broken, and no notes will be missing. It will just sound as if the player “fat fingered” some notes and played them simultaneously.

I tried adding the 64ths back in, but LOTRO refused to play the file due to “note duration too short”. Is the allowed duration based on the tempo? I played around with the tempo of this file, and found that it is.

The fastest tempo you can play a 32nd note (c/8) is Q:125. At Q:126 32nd notes become “too short” and the file won’t play. You can also drop the tempo down to Q:62 and be able to use 64th notes (c/16), but this does not buy you anything, since the notes are the same absolute duration.

Longest note duration

The longest allowed note duration appears to be about 3 whole notes(c13) at Q:100. Longer notes will result in an “note too long” error. This is also linked to the tempo. For ABCs of bagpipe music, it looks like drone notes must be restarted every few bars.

Arpeggiating a chord

Using what we learned above, we can manually tweak an ABC file to produce an “arpeggiated” chord. If you look at the last chord in my Greensleeves arrangement, there is a squiggly vertical line. This means that the chord should be played (on a piano) with a rolling motion, so the notes play like a fast arpeggio. This notation did not get translated by Lilypond to the midi file, since the “arpeggio” effect does not have an exact duration and is subject to interpretation, much like grace notes.

Original ending chord:

[c3/4^d3/4g3/4c'3/4]

Arpeggiated ending chord:

[c3/4z/11] [^d3/4z/11] [g3/4z/11] c’3/4

I have broken the notes into separate chord “doublets” consisting of the original note plus a short duration rest. The song is at Q:90, so I found through trial and error that z/11 (a 44th note!) is about the fastest duration note allowed at that tempo. You can use longer duration rests to tune the speed of the arpeggio to your taste.

Hello, friends! Today I played around with the Greensleeves progression from my earlier post and made a full song out of it. I made the accompaniment chords more interesting by turning them into arpeggios. Arpeggio means to break up the chord into separate notes. For the most part I use simple up/down runs. There are several bars where a single chord plays through the entire bar. It sounded boring to repeat the same arpeggio twice, so the second half of those bars has a slightly different pattern.

I think this arrangement sounds pretty good on a harp or lute. Actually I did not know this until recently, but “arpeggio” actually means “to play like a harp”, or something like that. Let me know what you think!

greensleeves4.mid

X: 1
T: Greensleeves [Astleigh of Landroval] (1:05)
Z: Transcribed by LotRO MIDI Player: http://lotro.acasylum.com/midi
%  Original file: greensleeves4.mid
%  Transpose: -12
L: 1/4
Q: 90
K: C

c/2 [^dC/4] ^D/4 G/4 c/4 [f/2G/4] ^D/4 [g3/4^D/4] G/4 ^A/4 [a/4^d/4]
[g/2^A/4] G/4 [f^A,/4] =D/4 F/4 ^A/4 [=d/2F/4] D/4 [^A3/4G,/4] ^A,/4
D/4 [c/4G/4] [d/2D/4] ^A,/4 [^dC/4] ^D/4 G/4 c/4 [c/2G/4] ^D/4
[c3/4^G,/4] C/4 ^D/4 [B/4^G/4] [c/2^D/4] C/4 [=d=G,/4] B,/4 =D/4 =G/4
[B/2D/4] B,/4 [Gz/4] D/4 B,/4 D/4 [c/2B,/4] G,/4 [^dC/4] ^D/4 G/4 c/4
[f/2G/4] ^D/4 [g3/4^D/4] G/4 ^A/4 [a/4^d/4] [g/2^A/4] G/4 [f^A,/4]
=D/4 F/4 ^A/4 [=d/2F/4] D/4 [^A3/4G,/4] ^A,/4 D/4 [c/4G/4] [d/2D/4]
^A,/4 [^d/2^G,/4] C/4 [=d/2^D/4] ^G/4 [c/2^D/4] C/4 [B/2=G,/4] B,/4
[=A/2=D/4] =G/4 [B/2D/4] B,/4 [c3/4C/4] ^D/4 G/4 [c3/4z/4] G/4 ^D/4
[cC/2] ^D/4 G/4 c/2 [^a3/2^D/4] G/4 ^A/4 ^d/4 ^A/4 G/4 [^a3/4^D/4]
G/4 ^A/4 [^g/4G/4] [=g/2^A/4] ^d/4 [f/2^A/4] =d/4 [f/2z/4] ^a/4
[d/4f/4] d/4 [^A/4G/4] [^A/2z/4] d/4 [c/4g/4] [d/2z/4] ^A/4 [^d/4c/4]
[^d3/4z/4] g/4 c’/4 [c/2g/4] ^d/4 [c/4^G/4] [c/2z/4] ^d/4 [B/4^g/4]
[c/4^d/4] c/4 [=d/2=G/4] B/4 [d/2z/4] =g/4 [B/4d/4] B/4 [G5/4g/4] d/4
B/4 d/4 B/4 G/4 [^a3/2^D/4] G/4 ^A/4 ^d/4 ^A/4 G/4 [^a3/4^D/4] G/4
^A/4 [^g/4G/4] [=g/2^A/4] ^d/4 [f^A,/4] =D/4 F/4 ^A/4 [=d/2F/4] D/4
[^A3/4G,/4] ^A,/4 D/4 [c/4G/4] [d/2D/4] ^A,/4 [^d/2^G,/4] C/4
[=d/2^D/4] ^G/4 [c/2^D/4] C/4 [B/2=G,/4] B,/4 [=A/2=D/4] =G/4
[B/2D/4] B,/4 [c3/4C/4] ^D/4 G/4 [c3/4z/4] G/4 ^D/4 [cC/2] ^D/4 G/4
c/2 [^dC/4] ^D/4 G/4 c/4 [f/2G/4] ^D/4 [g3/4^D/4] G/4 ^A/4 [=a/4^d/4]
[g/2^A/4] G/4 [f^A,/4] =D/4 F/4 ^A/4 [=d/2F/4] D/4 [^A3/4G,/4] ^A,/4
D/4 [c/4G/4] [d/2D/4] ^A,/4 [^dC/4] ^D/4 G/4 c/4 [c/2G/4] ^D/4
[c3/4^G,/4] C/4 ^D/4 [B/4^G/4] [c/2^D/4] C/4 [=d=G,/4] B,/4 =D/4 =G/4
[B/2D/4] B,/4 [Gz/4] D/4 B,/4 D/4 [c/2B,/4] G,/4 [^dC/4] ^D/4 G/4 c/4
[f/2G/4] ^D/4 [g3/4^D/4] G/4 ^A/4 [a/4^d/4] [g/2^A/4] G/4 [f^A,/4]
=D/4 F/4 ^A/4 [=d/2F/4] D/4 [^A3/4G,/4] ^A,/4 D/4 [c/4G/4] [d/2D/4]
^A,/4 [^d/2^G,/4] C/4 [=d/2^D/4] ^G/4 [c/2^D/4] C/4 [B/2=G,/4] B,/4
[=A/2=D/4] =G/4 [B/2D/4] B,/4 [c3/4C/4] ^D/4 G/4 [c3/4z/4] G/4 ^D/4
[cC/2] ^D/4 G/4 c/2 [^a3/2^D/4] G/4 ^A/4 ^d/4 ^A/4 G/4 [^a3/4^D/4]
G/4 ^A/4 [^g/4G/4] [=g/2^A/4] ^d/4 [f/2^A/4] =d/4 [f/2z/4] ^a/4
[d/4f/4] d/4 [^A/4G/4] [^A/2z/4] d/4 [c/4g/4] [d/2z/4] ^A/4 [^d/4c/4]
[^d3/4z/4] g/4 c’/4 [c/2g/4] ^d/4 [c/4^G/4] [c/2z/4] ^d/4 [B/4^g/4]
[c/4^d/4] c/4 [=d/2=G/4] B/4 [d/2z/4] =g/4 [B/4d/4] B/4 [G5/4g/4] d/4
B/4 d/4 B/4 G/4 [^a3/2^D/4] G/4 ^A/4 ^d/4 ^A/4 G/4 [^a3/4^D/4] G/4
^A/4 [^g/4G/4] [=g/2^A/4] ^d/4 [f^A,/4] =D/4 F/4 ^A/4 [=d/2F/4] D/4
[^A3/4G,/4] ^A,/4 D/4 [c/4G/4] [d/2D/4] ^A,/4 [^d/2^G,/4] C/4
[=d/2^D/4] ^G/4 [c/2^D/4] C/4 [B/2=G,/4] B,/4 [=A/2=D/4] =G/4
[B/2D/4] B,/4 [c5/4C/4] ^D/4 G/4 ^D/4 G/4 c/4 [c9/8C3/8] ^D3/8 G3/8
[c9/8z3/8] ^d3/8 g3/8 [c3/4^d3/4g3/4c'3/4]