Sandbox

General principles
The Manual of Style is a guide applicable to all TTA contents. It presents TTA's house style, and is intended to help editors to produce contents with language, layout, and formatting that are consistent, clear, and precise. The goal is to make the whole archive easier and more intuitive to use.

The Traditional Tune Archive is a core knowledge base of curated, semantic data which means that the subject of the contents is related, as the title imply, to the traditional music in particular the music of North America, British Isles and Ireland.

It also means that the contents, as they are represented, are not automatically rendered by an algorithm but accurately entered following few simple and clear typographical style guidelines.

Finally the semantic attribute refers to the possibility to get queried and aggregated information otherwise inaccessible in traditional wiki that are only good for storing and retrieving individual facts.

In the Traditional Tune Archive, information relating to a piece of music are of type master (the semantic properties) and descriptive (Annotation). The addition of semantic properties is quite simple because the user is guided through the process by a form, while adding annotation to a tune requires, at least, a bit of musical and historical knowledge Given that, to insert a note one is required to comply with some simple rules to give the data an internal consistency (if only typographical) and write his notes in a blank edit page related (linked) to the tune entered in the form mentioned above.

Foreword
In addition to the music itself, each tune has properties or characteristics, which one will be asked to identify in the first tab of an "ADD TUNES" form, called "TUNE FIELDS". The more characteristics or properties that can be identified and entered about a melody, then the more rich is the semantic environment created. Furthermore, the more rich the environment, then the more robust will be the outcome of queries presented to the archive. The property headings in the "Tune Fields" section are explained below, followed by explanations of the contents of subsequent tabs and the style-guide that apply. One need not to enter all of the fields, but enter as many as one can accurately record. If uncertain of the veracity of information, please do not add it to the tune fields, although one may enter it (with qualifications about its factuality) in the descriptive (annotation) section.

Title
The name of the tune being entered. This is a summary of the policy governing the titles of TTA's tune. It applies to the titles of TTA tune, not of external tune that are cited.
 * Tune titles should conform to TTA's Tune titles, including the use of English language.
 * Titles other than in English are to be entered in the original language, except where the translated title has been disseminated and has currency in English, in which case the English title is preferred.
 * The initial letter of each title word is capitalized (except the a, an, the or of when not the first word).
 * Do not use a, an, or the as the first word (Absent Minded Man (The), not The Absent Minded Man), unless by convention it is an inseparable part of a name.
 * Avoid special characters such as the slash (/), plus sign (+), braces ({ }), and square brackets ([ ]), unless by convention it is an inseparable part of a name (Aggie Whyte's (Jig)) ; use and instead of an ampersand (&), unless the ampersand is an accepted part of a name (Emerson, Lake & Palmer).
 * The final visible character of a title should not be a punctuation mark, unless the punctuation is part of a name (A-tiocfad ty sios go Lyunbeac?), an abbreviation is used, or a closing round bracket or quotation mark is required ('A' Polka (2)).

Also Known As
The alternate titles associated with the tune, including alternate spellings and variants of the title under which the tune is entered (e.g. "Mrs. Brown" for "Miss Brown").
 * English translations of titles may be included in this field.
 * Tunes cognate in only one strain, but not other strains, may be entered provided an explanation of the relatedness of the various strains is included in the descriptive (annotation) section.
 * More than one alternate title can be entered separated by commas.
 * All of the guidance in Tune title immediately above applies to Also Known As headings as well.

Composer
The name of the composer of the melody, if known. Tunes attributed to an individual, albeit composition credit not ascertained or disputed, may also be entered when there is ample indication in the historical record or a body of lore that links them. However, such attributions must be explained in the commentary section. Reminder: you may only enter music notation in the Traditional Tunes Archive that is in the public domain. Original melodies or specific arrangements of traditional tunes under copyright are not to be entered without the permission of the composer/arranger. Any questions regarding copyrighted material should be immediately directed to the site directors for resolution.

Region
Country of origin, and/or country where the melody has entered traditional repertoire. Check all that apply. However, demonstrated dissemination of the melody in regional tradition must be established qualify for multiple checks. For example, the strathspey "Athole Brose" was originally composed in Scotland, but Canada may also be checked as it has been in dissemination among musicians in the Maritime provinces.

Style
Sometimes called "genre" (the words are often used interchangeably), and despite arguments for use of one or another of the terms, they are both popularly employed to identify the overarching characteristics of playing style of traditional musicians. Although the majority of tunes will belong to one style or another, some will have "crossover" designation, and more than one style box may be checked. Thus, a tune may be a part of the core Irish repertory and played in an "Irish" style, but may also be played in "Québécois" style, as with the reel "Julia Delaney" and its stylistic counterpart "Reel des sorcieres," or by musicians for contra dancing.

Historical Geographical Allegiances
Traditional tunes are often extremely difficult to trace to an individual composer, although, of course, someone is always responsible for the original composition, despite the vicissitudes rendered by the "folk processing" that comes afterward. It is sometimes less difficult to determine the "Historical Geographical Allegiances"; meaning a regional or subregion in which the tune has been absorbed into traditional repertoire. A great many tunes will have become so aged and so widely disseminated that they transcend attempts to assign a geographic allegiance. Be judicious in your identifications, and make a check only when you are sure a melody can be historically attributed to a regional repertoire (even though it may have since gained wider circulation). Multiple selections may be made, depending on the historical record.

Meter/Rhythm
The organizing meter or rhythm of a melody is divided into two sections, duple time and triple time, then further identified by the name given to the characteristic rhythm. More than one meter/rhythm may be identified if the tune is rendered in various ways in the historical record. For example, it is common to find hornpipes played as reels, or jigs to be played as quickstep marches, and for older-form jigs to be rendered in 6/4 while modern versions are converted to 6/8.

Key
The key or mode in which a melody is written. The correct mode of the tune should be identified, and not the "shorthand" convention of naming a key that contains the correct number of sharps or flats. For example, it is not uncommon to find in abc notation a key identified as 'D' major (two sharps), when the piece has the very different sound of 'E' dorian (two sharps). However, it is also not uncommon in traditional music to have melodies that shift between modes or tonal centers, and these may be identified by the "Mixed mode" selection, and explained in the accompanying text box. Some melodies, particularly in march, quadrilles and waltz styles, have a marked key change between parts. This may be indicated by following the "Multiple mode/key" selections in which each part may be identified with a key selection.

Form and Structure
The overwhelming majority of traditional tunes are written in binary (two strain) form, often with a repeat of each section before the next is played. This is denoted by the letters AABB. It is quite common, however, for one or more parts to be played without repetition (form AB), or for multiple parts to be played in other ordered combinations. Thus, the forms AAB, AABC, AABBCCDD, ABCB or other combinations may also be appropriate in describing traditional tune strain combinations. Occasionally a traditional tune will have different ending measure(s) on the second repetition, and that may be indicated by use of an apostrophe (AA'BB'). Strains which are musically identical except for introductory or 'pick-up' notes, syncopated ties ('anticipated notes'), or similar small differences do not meet the threshold for an apostrophic mark, which should be reserved for more significant melodic differences. More than one repetition schema can be entered separated by commas

Following the TUNE FIELDS section of the ADD TUNES tab is

Score
As the name identifies, "Score" is the section for music notation. Tunes in the popular computer-based format called ABC notation may be "copied-and-pasted" into this section for translation into standard notation. In particular the editor (the music engraver) will find an edit box pre-filled with this simple template to complete/replace with the ABC notation (if any) for the tune entered in the form above:

 REPLACE THIS LINE WITH THE ABC CODE OF THIS TUNE |Tune Discussion

Upon completion/replacement, once saving the ADD TUNES form, the score will appear as follow:

X:1 T:Adam Buckhan O! M:C L:1/8 R:Air S: Bruce & Stokoe - Northumbrian Minstrelsy (1882) Z:AK/Fiddler's Companion K:D G|FA (Ac) (dA) (AF)|GB Bc d3z|ce ef (ge) (ed)|cA Bc d3|| Z|{d/e/}f2 ed cA (Ac)|{B/c/}d2 cB AF (FA)|{G/A/}B2 AG FA (dA)| Bg (ec) d2||

Tune Discussion

In case no ABC code exists for this Tune, the ADD TUNES form will show only a request for replacement like this:

REPLACE THIS LINE WITH THE ABC CODE OF THIS TUNE

Tune Discussion

TUNE BOOK tab
This tab identifies sources in print in which the tune may be found, either in manuscript or publication.

Book/Manuscript Title
The title of the book or manuscript in which the tune is contained.

Editor/Compiler
Denotes the individual(s) who compiled and edited a print collection, or assembled tunes into a manuscript collection.

Year of publication/Date of manuscript:
Record the name and location of publisher for printed works, the date of publication, volume and edition number, ISBN number, and all other identifying information. In the case of manuscript collections, the present location of the original manuscript (if known) should be recorded.

Tune and/or Page number (if any):
Enter the page the tune can be found in the book or manuscript, and, if tunes are enumerated, the number of the tune in the collection.

Theme Code Index
Where possible (the score is available), tunes in this archive are to be indexed using the numerical coding system for identifying initial musical themes as outlined by Charles Gore in The Scottish Fiddle Music Index (The Amaising Publishing House Ltd, Musselburgh, 1994). He acknowledges with gratitude the efficiency of the Numerical Representation system of Irish musical scholar Breandán Breathnach, upon which his system is based. For best utility in the semantic environment, theme codes for each distinct strain should be entered in the appropriate text box. An explanation of Gore's system (written out here for convenience) can be found at the Folk Archive Resource North East - FARNE site, item #6 on the "Search Tips" page.

The two main factors in establishing theme codes are PITCH and RHYTHM.

1/ Numbers
The system is based on a simple numerical code which does not depend on the key of the tune, so that versions of the same tune in different keys will have the same code. For doh, re, mi etc. substitute the numbers 1, 2, 3 up to to 7. The top doh becomes 1H (H for high), and higher notes still are 2H, 3H etc. For notes below the MAIN OCTAVE we use 7L, 6L etc (L for low). A higher octave than H is represented by T, and a lower octave than L by F - both are very rare in traditional tunes.

2/ Main Octave
The main octave is probably easiest for fiddlers to understand - it is the highest octave in the relevant key which can be played in first position. For tunes in C major, C minor or C# minor for example, 1 is third finger on the G-string and 1H is second finger on the A-string. For tunes in Bb major or B minor, 1 is first finger on the A-string and 1H is fourth finger on the E-string. For non-fiddlers, the main octaves of each scale start on middle C (first leger line below treble-clef stave) for tunes in C, on D above middle C for tunes in D, and so on to Bb and B.

3/Accidentals
The numbers 1 to 7 refer to the notes in the Major scale, or Ionian mode (see the section on MODES for more information). If our tune is in A minor, for instance, the 3rd note is C natural rather than the C# of the major scale, so the pair of notes A C is represented by 13b, the b representing the flat sign. The G natural below our main octave is 7bL - G# would be 7L. F natural would be 6b, F# would be 6. If our A minor tune has an exotic D# in the main octave it would be 4#, and so on.

4/Zero
Zero is used when a rest falls on a main beat, and is more common in song tunes than instrumental tunes.

Anomalies
Occasionally when the same tune is found in different keys the theme code will be different because of the registers involved. When this is known to be the case then two versions of the code are given. Key signature is not a reliable way to find the keynote, or 1, of a tune, if the tune is in a mode other than Ionian and Aeolian ('standard' major and 'natural' minor). The keynote must be found through playing the tune or hearing it in ones head. Although often a tune starts and ends on its keynote, this also is not a safe guide, particularly with pipe tunes whose strains frequently end 'up in the air'. Although many tunes are described 'double tonic' this usually only means that they are built on two chords, one of which is definitely felt as the 'home' chord, but a few tunes are ambiguous, and with these two versions of the theme code are given.

Rhythm
The codes are based on the main beats of the first two or four bars of the tune and consist of two groups of either four or three numbers. The notes between the main beats are not counted. If a note takes up more than one beat (e.g. a minim or a dotted crotchet in a 4/4 bar) then it also provides the number for the next beat. Note that some rhythms (3/8, 6/4, 3/2, 9/4) are interpreted differently by Gore, so if using his Index this must be allowed for.

Four-Number Groups
If the tune is in 4/4 or 2/2 then the bar is divided into four and the note which falls on each beat is given a number, as in our Keel Row example. Two bars are numbered. If it is in 2/4 then each bar has two beats, so four bars are numbered to give the two groups. 6/8 is treated like 2/4 with two beats per bar: the first note of each quaver triplet, dotted crotchet or other half-bar group is numbered and four bars are numbered to give the two groups. One bar of 12/8 counts as two 6/8 bars and gives four numbers. 6/4 is an older way of spelling 6/8 and is treated in the same way as 6/8, two beats ber bar, though beware of incorrect time signatures - sometimes 6/4 is mistakenly written for 3/2 which is treated differently, see below.

Three-Number Groups
These are used for 3/2, 3/4, 3/8, 9/8 and 9/4 rhythms. In each case the bar is divided into three to find the numbers of the notes which begin each beat. The advantage in using the same division for all tunes in 3/2, 3/4 and 3/8 is that matches will be found whether a waltz is written in 3/8 or 3/4 and whether a triple-time hornpipe is written in 3/4 or 3/2.

Anomalies
If a reel or hornpipe is written in 2/4 (mainly semiquavers) rather than 2/2 or 4/4 (mainly quavers) then it will have a different theme code. When tunes are known to have more than one rhythmic spelling then both codes are given.

RECORDED SOURCES tab
Separate fields are available to enter the:
 * 1) Artist: name(s) of the primary musician(s) playing on the sound recording
 * 2) Title of recording: title of the recording
 * 3) Record Label/Catalogue number: record label and identification number of the recording (e.g. Rounder CD 0437, or Bluebird 89770)
 * 4) Year recording: date of the recording

Tune Discussion
This piece of information must be entered after saving the ADD TUNES form, in a dedicated edit canvas (the Talk:page) accessible from the "tune discussion" tab of the page (top-left) which, if the tune is a new entry, is a red link. This page, dedicated to host the descriptive information of the tune, can be accessed also using the red link at the end of the score section (even if the score doesn't exist) or using the red link of the title in the Teal Area of the Tune Title. Once accessed, the tune discussion page shows a template like the following:

 |Tune properties and standard notation  | Tune properties and standard notation

that the editor have to fill (substituting the line indicated by the comment) with the following information in the form indicated in [#Annotation Format|Format] obtain something like this:

Tune properties and standard notation

ACORN STOMP. Old‑Time, Country Ragtime. F Major. Standard tuning. ABCD (Silberberg): ABBCCDD (Phillips). This two-tune medley has been attributed to East Texas Serenaders' fiddler Huggins Williams in the early 20th century, recorded in Dallas, Texas, on October 25th, 1928. However, variants of the 2nd melody were earlier printed as "Essence of Sugar Cane" in Ryan's Mammoth Collection (1883), and also as "Darky's Dream." See also the Irish barndance derivative "Offally Favorite." Recordings: County 410, "The East Texas Serenaders, 1927-1936" (1977). DOCD 8031, The East Texas Serenaders. Marimac 9008, The Lazy Aces String Band - "Still Lazy After All These Years" (1986). Run of the Mill String Band - "Along the Way ." Print Sources: Phillips (Traditional American Fiddle Music), vol. 2, 1995; pg. 13. Silberberg (Tunes I Learned at Tractor Tavern), 2002, pg. 2.

Tune properties and standard notation

Annotation Format
Each entry consists of the title of the tune, followed by alternate titles (AKA = also known as...) and prompts (AKA and see...) referring the reader to information contained under other titles. Tunes with foreign titles are usually retained under those titles unless the tune has been disseminated under its English translation, in which case the English title is the one preferred. I have sought to include an English translation of a title, whether the title is known by its English title or not. For the most complete information on a tune and its variants all alternate titles may be referenced by the reader, as this will provide the scope of the tune family as well as more complete source and variant information. In general, I subscribe to the theory that the more alternate titles a tune possesses, then the older it is or the more popular it has been, or both. Following a title and its alternates appears the tune's genre and type; given, for example, as Irish, Slip Jig. Often the genre consists of a nationality, such as English, Irish or Scottish, however, North American tune genres are listed as Old-Time, New England, French-Canadian, Texas Style or Cajun, which account for distinct broad regional styles each with definitive influences beyond the scope of this work to identify. In addition, some tunes are identified as American or Canadian, which identify fiddlers' pieces which have currency beyond regional boundaries and which can be considered products of the North American 'melting pot' of traditional music. Shetland is given as a genre rather than 'Scottish', even though the islands fall within the borders of Scotland, because of it's distinctive and rich fiddling tradition which incorporates both British Isles and Scandinavian influences (Shetland appears in the singular, as per local usage). The term 'Old-Time' is not strictly synonymous with 'Southern' as a name for the particular genre of early rural American country music, and encompasses a number of regional or sub-regional styles including those of the Mid-West, east Texas, the Deep South, north Georgia, the Galax/Mt. Airy complex, Kentucky/West Virginia, Cumberland Plateau, etc. Tunes that are specifically styled Bluegrass compositions have not generally been included in this index except where there was crossover with traditional fiddling. Bluegrass, a highly improvisational genre, is considered outside the scope of this index. The field following that of 'genre and style' records a tune's historical geographical allegiances, rendered by nation(s) where the tune either originated or was assimilated into traditional usage, and then further by state or province (in the case of North American pieces) or by county (for British Isles pieces). Where a regional allegiance can be further defined, as, for instance, by USA; Cumberland Plateau or Scotland; Isle of Skye, it has been included. Salient musical items are presented following geographical references. A tune's key is listed first; major, minor or modal, or in combination, since many fiddle tunes shift during the course of the piece between keys and modes. This shift is recorded with the device of a slash between the appropriate tonalities, as in: A Major/Mixolydian, denoting a melody which is played primarily in the key of A Major, but which employs a 'g' natural note  occasionally in place of a 'g' sharp in the course of the tune. Pieces written in more than one key have each key identified by section, as: D Major ('A' part) & B Minor ('B' part). Violin string tunings are given next, with Standard referring to the normal tuning of a fiddle in fifths, GDAE from low to high. 'Cross' tunings, or non-standard fiddle tunings, are always listed low to high. Tuning information is followed by structural information. The majority of fiddle tunes are written in two-part form with both sections repeated once, denoted commonly by the letters AABB. It is quite common, however, for tunes to have additional parts, for one or more parts to be played without repetition, or for other orders of parts to prevail, thus AAB, AABC, AABBCCDD, ABCB or other combinations may readily be found. Frequently, various printings or recordings of a given tune will have different patterns repetition of parts or will have added or deleted parts compared with other versions of the same melody, depending on a number of factors including regional variations and the whims of individual musicians. Thus the patterns of parts in the index are represented and identified by source, as AABB (O'Neill): AABB (Breathnach), unless the tune is consistently played with one particular pattern. Repetitions of tunes which end in different cadences, have different leading or transitional notes, or feature other variations are recorded by the convention of an apostrophe: AA'BB'. Anecdotes, identifying or clarifying information, examples of attached lyrics and miscellaneous information regarding a melody appear next, followed by a notation regarding the source of a given printed version when such a source was identified (i.e. Source for notated version: Bill Driver (Mo.) [Christeson]) in the original manuscript. Source information is always given by the name of the source, where he or she resided, and the author of the manuscript in which the source is cited. The next-to-last informational fields consist of citations regarding printed and recorded sources. Printed sources give author's name, title, year of publication, page number where the melody is printed, and/or the number the tune is listed under. Under this scheme Hunter, 1988; No. 305, pg. 68 would denote tune number 305 on page 68 of James Hunter's Fiddle Music of Scotland, a 1988 reprinting of the original 1979 work. Recorded sources are listed alphabetically by the recording company label, followed by the name of the artist or group, title of the album, and, if known, the year of release. Thus, Rounder 0194, John W. Summers - "Indiana Fiddler" (1984) denotes Rounder Records album number 0194, by John W. Summers, entitled "Indiana Fiddler," released in 1984. All recorded sources appear in blue ink for easy reference. Information regarding sources for a particular musician’s particular recorded version is given parenthetically.