ABC(plus) tune page

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I am a keen exponent of the ABC(plus) method of music notation. This section of my website tries to showcaces some of its possibilities.

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Viewing score and abc source of 'The_Nine_Note_Tune_Book_X20'

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% Jack Campin's Nine-Note Tune Book                                version 55
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% Tunes with the range CDEFGABcd, maybe with a few sharps or flats.  This
% was originally meant for the simple non-overblowing clarinet in C sold
% for the educational market by several European makers under different
% names: the "chalumeau" by SANS in Catalonia; "saxonett" by Jupiter as
% sold by Bernard Loffet in France; "clarineau" by Kunath, "chalumeau" by
% Tupian and "pocket clarinet" by Hohner, all in Germany; and "chalumeau"
% by Hanson in England.  Of these, the plastic Hanson is the cheapest, but
% Tupian have the widest choice of different types and seem most committed
% to the idea.  A discontinued British design of a similar instrument was
% the aluminium "Highland Hornpipe", which you can still find second-hand.
% The Maui Xaphoon is a similar-looking instrument with a saxophone-like
% bore: it has a wider range, but poor intonation and inferior tone to the
% more clarinet-like instruments.  It also takes a lot of breath pressure.
% The tunes also work on the Italian-type 10-hole ocarina in C, crumhorns,
% simple melodeons, psalteries, tuned-bar percussion, mediaeval bagpipes
% and hurdy-gurdies.  The Armenian duduk, Turkish mey and Azeri balaban
% will also work but may need a few notes adjusted by embouchure changes.
% With appropriate transposition, they will also work on any two adjacent
% strings of the violin in first position.  If anybody teaches the violin
% two strings at a time, they might have a use for this.
% The tunes use a variety of keys and modes, but rarely need half-holing.
% Many of these tunes are transposed from the keys they are most commonly
% played in.  In some traditions, where tunes are usually played solo or
% by unpredictable combinations of instruments, that doesn't matter, but
% it matters for instrumental music from the British Isles: if tunes don't
% fit the fiddle, flute or melodeon, you won't get other players joining
% in.  So for these traditions, I've indicated when I've given the tune in
% the "right" key; otherwise I'll have transposed it, and you'll need to
% warn other players that you're doing something different.
% I haven't transposed any Highland pipe tunes, which all have a nine-note
% range.  These are easy to find in many sources and in Scottish practice
% they're always played in the original key (either at concert A or B flat
% pitch).
% Some tunes here have an eight-note range and can be played in either of
% two keys.
% In a few places I've shifted notes of the tune up into the 9-note range.
% If you see a 2-note "chord", the lower note is the original and the upper
% one is mine.
% I'm serious about the tempo indications, which are usually the practical
% dancing or singing speed for the tune.
% As in many songbooks and hymnbooks, I've tried to avoid breaking phrases
% across lines.  This means a lot of lines begin with an upbeat and end
% with an incomplete bar, which instrumentalists may find unusual.
% The tunes vary a lot in difficulty.  Just because a tune uses a limited
% range, that doesn't make it simple.  I've tried to include music with the
% widest possible variety of mode, rhythm and idiom.
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% == Scottish Gaelic songs ==================================================
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% == Scottish Highland instrumental tunes ===================================
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% == Lowland Scots songs and slow airs ======================================
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X:20
T:Drowzy Lane
Z:Jack Campin, http://www.campin.me.uk/
F:Jack Campin's Nine-Note Tunebook
% last edit 03-02-2013
S:Blaikie MS (NLS MS.1578) p20
N:Blaikie #59
M:6/8
L:1/8
Q:3/8=90
K:DMin
G|A2c A2F|A2c A2F|(E