UserWiki:Theme Code Index

 The system used in this index for identifying musical themes is based on the work of the late Breandan Breathnach, the great Irish traditional music expert, editor of "Ceol Rince na hEireann", a collection of Irish dance music published in 1963 and of much else besides. The editors of Ihe Scottish Fiddle Music Index acknowledge with gratitude the efficiency of the Numerical Representation system when applied to traditional music sharing the same ancestry. HOW TO READ AND SET THE MUSICAL THEME CODES
 * FlRST: establish the "Key Note"
 * SECOND: estabiish the Time Signature
 * THIRD: build the Theme Code, based upon Key and Time Signatures

Establishing the Key Note and setting out the Code The Key Note is that to which the music returns naturally (as when finishing the phrase with a chord). In the majority of cases, this would normally be a simple matter of checking the key signature against the last note of the firsl eight bars of music(*). Last Note: A Key Note: A               Last Note: A Key Note: A                Last Note: C Key Note: C                Last Note: F Key Note: F etc., etc. THE KEY NOTE IS REPRESENTED BY THE FlGURE "1" This means that the CODE remains the same, no matter how many different keys the music may have been arranged in over the years. (*)Where the first section of a melody does not return to the Key Note, thus producing doubt as to key, the best test is to try the "finishing chord". Among the older collections, there are examples of keys which can, literally, be "disputed"; however, these are rare.
 * For example:
 * 3 Sharps (Key of A Major)
 * No Sharps (Key of A Minor or C Major)
 * 1 Flat (Key of F Major)

Numbering the first note of the music

Now turn to the FIRST BEAT NOTE of the music. If it happens also to be the Key Note, it receives the coding "1". If it does not, it will receive the coding 2,3,4,5,6 or 7 ascending the scale. Music set in the octave,starting at Middle C (or ascending, to B Natural) are represented by the figures 1 to 7. For example: Key of C Major: Key Note C = 1 (Note 7 = B Natural) Key of D Major: Key Note D = 1 (Note 7 = C Sharp) ... and so on A note which falls in the octave BELOW this central octave (eg: in C Major, below middle C), is followed by the letter "L" (1L to 7L); two octaves below, by the letter "F" (1F to 7F). A note which falls in the octave ABOVE (eg: in C Major, the C above Middle C, ascending) is followed by the letter "H" (1H to 7H); two octaves above, by the letter "T" (1T to 7T). In the MINOR MODE, the altered notes are indicated by a flat symbol (here represented as a lower case b). If an accidental occurs on the beat of the music, interrupting the natural progression of the scale, it is indicated by a # or a b.

Grouping the codes according to Time Signature The Musical Theme Code uses ONLY THE BEAT NOTES in the music. Though it may be decorated with quavers or many more notes of values less than a crotchet, the Code uses only the note which falls on the beat. If a beat note is of LONGER DURATION than a crotchet, each beat within it is represented by the SAME FIGURE (eg: two beats to a minim, etc.) If a beat falls on a rest in the music, it is indicate~ by "0" (Zero). The number of BEATS used in the Musical Theme Code varies according to the Time Signature, but the code itself always fall into two groups

| CODE A |    &      | CODE B | CODES GROUPED IN FOURS: 4/4 time has 4 beats to the bar and uses the first 2 bars of the melody 2/2 time (or C| ) may be regarded as the same as 4/4 for this purpose 2/4 time has 2 beats to the bar and uses the first 4 bars of the melody 6/8 time should be treated in the same way as 2/4 time (use 4 bars) CODES GROUPED IN THREES: 3/4 time has 3 beats to the bar and uses the first 2 bars of the melody 9/8 time should be treated in the same way as 3/4 time (use 2 bars) LESS FAMILIAR TIME SIGNATURES: 12/8 time with 4 beats to the bar uses the first two bars (Fours) 3/8 time with (in effect) one beat uses the first 6 bars (Threes) 6/4 time (in effect double 3/4 time) uses the first bar only (Threes)

Reading Theme Codes Each melody in the Main Index has been given a Theme Code. Once having mastered the rules above, it should be possible to use the Theme Codes for cross- referencing. The various purposes to which these can be put are explained in the following section "Using the Theme Code Index".

Setting out Theme Codes Wilh a suitable photocopy of the music to hand, the numbers can be written under the beat notes directly. If the music is not in written form, it is as well to scribble down the first 8 bars of the music on manuscript and work from that. If the piece is in the Index, it can then be traced against the Theme Code Index (to give its title/s) and in the A-Z Index for its source.

USING THE THEME CODE INDEX Once you have cracked the coding system, the THEME CODE INDEX can be brought fully into play. It has three purposes: 1. To facilitate a search for any tune of which the title is unknown or temporarily forgotten. Just the first two bars, a Key Note and Time Signature are all it is necessary lo remember. 2. To create a cross-referencing system whereby tunes wilh a shared melody can be found listed together. Many of the older traditional tunes have been published under one or more titles, sometimes, it has been argued. for not entirely innocent reasons (For example, lhe Gows are alleged to have "borrowed" a number of lunes by Marshall and others and republished them under different titles). In the case of some of the most familiar vocal melodies, short titles and first lines are virtually interchangeable and this has led to confusion in the past. 3. To indicate, by means of the letter prefix (I) or (II), if a tune has been re-published in the later period (from about 1844 onwards). They are left in duplicate for a practical reason: When obtaining copies from library editions of books long out of print, the rule lends to be that pre-1800 volumes are stored on microfiche or film and are expensive to reproduce, whereas later colleclions may normally be photocopied for a fraction of lhe cost. It is always as well to ascertain how lhe material is stored. THE PROGRESSION is numerical, beginning al the lowest CODE A coding (1L1L1L1L) and ending with the highest (1T1T3T1T) without any sub- division. Use the title and the letter prefix (I) or (ll) to return to tne appropriate A-Z section.

EXAMPLES OF THEME CODES

X:1 T:Ossian's Hall (first 4 bars) C:Collection: John Anderson N:3565227b2 M:C| K:A e | cAec fde=c | B=GBd =g2 Bd | cAec fded | cAce a2 e || %  3 5  6 5     2  2   7b 2

X:2 T:Sr. Adam Ferguson's Reel C:John Riddell of Ayr N:5L1124L7bL7bL1 M:C K:Em B,EEF E/F/G FE | A,DDE D/E/F ED | GFED EFGA | Bedc B2 E2 || %5L 1 1     2    4L 7bL 7bL   1

X:3 T:My Bonny Laddie has my Heart C:William Christie N:151417bL M:3/4 K:Em B, | E>F B2 E>F | AF E2 D2 | E>F B2 A>B | df e2 e>f | g>f e2 dB | %   1   5  1     4  1  7bL BF d2 B2 | AF E2 ||

X:4 T:Kiss me Fast C:James Aird N:13241313 M:6/8 K:D D2 A F2 A | E2 F GFE | D2 A F2 A | D2 A F2 A | G2 B F2 A | E2 F GFE | %1   3      2    4     1    3      1    3 dcB AFA | D2 F AFD ||