Re: Emacs lilypond-mode

[Laura Conrad]

>>>>> "David" == David Kastrup <address@hidden> writes:

    David> What it does do is trying to track the current "tonality".
    David> That's an interesting idea but requires an editing mode that
    David> will _propagate_ corrections in order to work nicely.  Of
    David> course, the same will be needed in order to have automatic
    David> note length recognition cooperate nicely with manual
    David> corrections, fixing later durations based on corrections on
    David> earlier ones.

I'm not that interested in note length.  I'm not a good enough keyboard
player to be able to enter notes with very accurate lengths.  I use the
left hand to play the  MIDI keyboard and the right hand on the keypad to
do the lengths.  I'm pretty fast this way, and pretty accurate, except
for the silly accidentals midi-input-mode makes up.   The problem is
when entering long note values, which are common in early 16th century
music, I have to leave the keypad to type \breve and \longa.

    >>> It works but has the major disadvantage that it doesn't play the MIDI
    >>> notes as well as reading them.
    >> 
    >> The current version of lily-midi.el which I still need to fold into
    >> the LilyPond repository does not do so either.

    David> You probably mean not as much playing while entering (your
    David> MIDI keyboard should do that) as you mean playing while
    David> editing.

No, I mean playing while entering.  My USB MIDI keyboard doesn't have
any sounds -- it needs the computer to do the playing.  If I work hard
with Linux audio, I can get Jack and a synthesizer to play sounds when I
play, but midi-input-mode won't talk to Jack.

    David> midi-kbd.el retains the full timing information.  So it is
    David> prepared for more complex editing modes that make use of
    David> them, the simplest of course being just replay of the current
    David> region exactly as entered (what to do with manual
    David> insertions/corrections?  No idea).  Again, this is not yet
    David> done.  And I'm not quite sure how to best do it: one would
    David> likely need to open a (raw?) MIDI output device for it as
    David> well.

I'm not sure how useful emacs deciding what you want to hear would
be. Something like midi-play-region would be nice.


-- 
Laura   (mailto:address@hidden)
<https://plus.google.com/u/0/116029698292079786511>
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
<http://www.laymusic.org/> <http://www.serpentpublications.org>

Mr. Barenboim recalled observing Mr. Boulez lead Schoenberg's "Pelleas
und Melisande" with the BBC Symphony in the early 1960s.

"I sat with the score during the rehearsal," he said. "At the
beginning there is quite a lot of chromaticism, and at a certain point
there was a chord out of tune and Pierre said, 'No, no, this is sharp,
this is flat.' I was amazed.

"As a pianist I had no idea how he heard all that. I mean, when I
thought my piano was out of tune, I just called the tuner. So I asked
Pierre how he did it. I was starting to conduct, and I wanted to know
if this was something I could learn.

"Pierre said: 'You have to have the courage to say what you hear and
think when you conduct. Either the player will correct you and say
it's not me out of tune, it's the second oboe, or you will be
right. But in any case you will learn. Don't put your ego above the
music. Do what you have to do for the sake of the music, and only in
that way will you make progress.' "

Quoted by Michael Kimmelman in the New York Times, January 10, 2010