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Re: how to hide dynamics? Only solution is to have a dedicated midi musi
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From: |
Ya Gloops |
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Subject: |
Re: how to hide dynamics? Only solution is to have a dedicated midi music variable? |
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Date: |
Tue, 7 Jun 2022 07:17:45 +0000 (UTC) |
May be mix with \set Voice.midiExpression=#1 ...
\version "2.22.2"
% Massenet: Meditation, from "Thais"
global = {
\language "english"
\numericTimeSignature
\time 4/4
\key d \major
\tempo "Andante religioso"
}
\header {
title = "Meditation"
subtitle = "(from \"Thais\")"
composer = "Massenet"
arranger = "arr. David Bruce"
}
animando = ^\markup { \upright \fontsize #3 "animando" }
a_tempo = ^\markup { \upright \fontsize #3 "a tempo" }
espressivo = ^\markup { \upright \fontsize #3 "espressivo" }
papa = ^\markup { \upright \fontsize #3 "poco a poco appassionato" }
pma = ^\markup { \upright \fontsize #3 "piu mosso, agito" }
ppa = ^\markup { \upright \fontsize #3 "poco piu appassionato" }
poco_rit = ^\markup { \upright \fontsize #3 "poco rit." }
rit = ^\markup { \upright \fontsize #3 "rit..." }
up_cresc = ^\markup { \upright \fontsize #3 "cresc..." }
my_cresc = _\markup { \italic "cresc."}
my_dim = _\markup { \italic "dim."}
contrabass = {
\global
\clef bass
R1 | % m01
R1 | % m02
fs2%\mp
~ fs8 d \tuplet 3/2 { a,8(d fs) } | % m03
b2(cs'4 d') | % m04
\break
d4.(e8) \tuplet 5/4 { fs16(g fs e fs) } a8 a, | % m05
b,2. cs8 d | % m06
fs8 e g2 ds8 e | % m07
fs8 g a b b4 b, | % m08
\break
cs2 d4 e16(d cs d) | % m09
e2\rit f | % m10
fs2\a_tempo ~ fs8 d \tuplet 3/2 { a, d fs} | % m11
b2 cs'4 d' | % m12
\break
fs2 ~ fs8. d16 a, d fs a | % m13
c'2 d'4 e' | % m14
fs'2 ~ fs'8 cs' \tuplet 3/2 { b fs ds } | % m15
\tuplet 3/2 { a4 g8 }
\tuplet 3/2 { e8 b, g, }
\tuplet 3/2 { fs4 e8 }
\tuplet 3/2 { b,8 g, e, } | % m16
\break
\tuplet 3/2 { d4 a,8 } \tuplet 3/2 { fs,8 d a,} b,4 cs8 d | % m17
e2 fs4 g | % m18
e4 fs b, e | % m19
<< { d2 cs | } \\ { s8\> s s2\rit s8 s\! } >> % m20
\break
| % m21
| % m22
| % m23
| % m24
\break
| % m25
| % m26
| % m27
| % m28
\break
| % m29
| % m30
| % m31
| % m32
\break
| % m33
| % m34
| % m35
\break
| % m36
| % m37
| % m38
| % m39
\break
| % m40
| % m41
| % m42
| % m43
\break
| % m44
| % m45
| % m46
| % m47
\break
| % m48
| % m49
| % m50
| % m51
\break
| % m52
| % m53
| % m54
| % m55
\break
| % m56
| % m57
| % m58
| % m59
\break
| % m60
| % m61
| % m62
| % m63
\break
| % m64
| % m65
| % m66
| % m67
\break
| % m68
| % m69
| % m70
| % m71
\bar "|."
}
rh_one = {
\global
\clef treble
b'2\rest%\ppp
<a fs'>8 <d' a'> <fs' d''>4 | % m01
b'2\rest <a fs'>8 <d' a'> <fs' d''>4 | % m02
b'2\rest <a fs'>8 <d' a'> <fs' d''>4 | % m03
b'2\rest <a fs'>8 <d' a'> <fs' d''>4 | % m04
\break
b'2\rest <a fs'>8 <d' a'> <fs' d''>4 | % m05
b'2\rest <d' b'>8 <g' d''> <b' g''>4 | % m06
b'2\rest <b fs'>8 <e' g'> <g' b'>4 | % m07
b'2\rest <b g'>8 <d' b'> <g' e''>4 | % m08
\break
b'8\rest <g e'> g' cs'' b'\rest <g' d'> g' d'' | % m09
b'8\rest <a g'> a' e'' b'\rest <bf f'> bf' f'' | % m10
b'2\rest <a fs'>8 <d' a'> <fs' d''>4 | % m11
b'2\rest <a fs'>8 <d' a'> <fs' d''>4 | % m12
\break
b'2\rest <a fs'>8 <d' a'> <fs' d''>4 | % m13
b'2\rest <g e'>8 <c' g'> <e' c''>4 | % m14
b'2\rest <b fs'>8 <ds' b'> <fs' ds''>4 | % m15
b'2\rest <b g'>8 <e' b'> <g' e''>4 | % m16
\break
d''1\rest | % m17
b'8\rest b' g' b' g' b' e'' b' | % m18
b'8\rest g' b' g' b'\rest g' b' g' | % m19
b'8\rest g'\> b' g' b'\rest g' b' g'\! | % m20
\break
| % m21
| % m22
| % m23
| % m24
\break
| % m25
| % m26
| % m27
| % m28
\break
| % m29
| % m30
| % m31
| % m32
\break
| % m33
| % m34
| % m35
\break
| % m36
| % m37
| % m38
| % m39
\break
| % m40
| % m41
| % m42
| % m43
\break
| % m44
| % m45
| % m46
| % m47
\break
| % m48
| % m49
| % m50
| % m51
\break
| % m52
| % m53
| % m54
| % m55
\break
| % m56
| % m57
| % m58
| % m59
\break
| % m60
| % m61
| % m62
| % m63
\break
| % m64
| % m65
| % m66
| % m67
\break
| % m68
| % m69
| % m70
| % m71
\bar "|."
}
rh_two = {
\global
\clef treble
s1 | % m01
s1 | % m02
s1 | % m03
s1 | % m04
\break
s1 | % m05
s1 | % m06
s1 | % m07
s1 | % m08
\break
s1 | % m09
s1 | % m10
s1 | % m11
s1 | % m12
\break
s1 | % m13
s1 | % m14
s1 | % m15
s1 | % m16
\break
s1 | % m17
s1 | % m18
s1 | % m19
s1 | % m20
\break
| % m21
| % m22
| % m23
| % m24
\break
| % m25
| % m26
| % m27
| % m28
\break
| % m29
| % m30
| % m31
| % m32
\break
| % m33
| % m34
| % m35
\break
| % m36
| % m37
| % m38
| % m39
\break
| % m40
| % m41
| % m42
| % m43
\break
| % m44
| % m45
| % m46
| % m47
\break
| % m48
| % m49
| % m50
| % m51
\break
| % m52
| % m53
| % m54
| % m55
\break
| % m56
| % m57
| % m58
| % m59
\break
| % m60
| % m61
| % m62
| % m63
\break
| % m64
| % m65
| % m66
| % m67
\break
| % m68
| % m69
| % m70
| % m71
\bar "|."
}
lh_one = {
\global
\clef bass
d,8%\ppp
<a, fs> <d a> <fs d'> d2\rest | % m01
d,8 <a, fs> <d a> <fs d'> d2\rest | % m02
d,8 <a, fs> <d a> <fs d'> d2\rest | % m03
d,8 <a, fs> <d a> <fs d'> d2\rest | % m04
\break
d,8 <a, fs> <d a> <fs d'> d2\rest | % m05
g,8 <d b> <g d'> <b g'> d2\rest | % m06
e,8 <b, g> <e b> <g e'> d2\rest | % m07
e,8 <b, g> <e b> <g e'> d2\rest | % m08
\break
a,4 e b, d | % m09
c8 d\rest g4 c8 d\rest f4 | % m10
d,8 <a, fs> <d a> <fs d'> d2\rest | % m11
d,8 <a, fs> <d a> <fs d'> d2\rest | % m12
\break
d,8 <a, fs> <d a> <fs d'> d2\rest | % m13
e,8 <g, e> <c g> <e c'> d2\rest | % m14
b,,8 <b, d> <ds b> <fs ds'> d2\rest | % m15
e,8 <b, g> <e b> <g e'> d2\rest | % m16
\break
r8 <a fs'> a' d'' r <a d'> g' b' | % m17
r8 a e' a r e' a e' | % m18
r8 e4. r8 e4. | % m19
r8 a4. r8 e'4. | % m20
\break
| % m21
| % m22
| % m23
| % m24
\break
| % m25
| % m26
| % m27
| % m28
\break
| % m29
| % m30
| % m31
| % m32
\break
| % m33
| % m34
| % m35
\break
| % m36
| % m37
| % m38
| % m39
\break
| % m40
| % m41
| % m42
| % m43
\break
| % m44
| % m45
| % m46
| % m47
\break
| % m48
| % m49
| % m50
| % m51
\break
| % m52
| % m53
| % m54
| % m55
\break
| % m56
| % m57
| % m58
| % m59
\break
| % m60
| % m61
| % m62
| % m63
\break
| % m64
| % m65
| % m66
| % m67
\break
| % m68
| % m69
| % m70
| % m71
\bar "|."
}
lh_two = {
\global
\clef bass
s1 | % m01
s1 | % m02
s1 | % m03
s1 | % m04
\break
s1 | % m05
s1 | % m06
s1 | % m07
s1 | % m08
\break
s1 | % m09
s1 | % m10
s1 | % m11
s1 | % m12
\break
s1 | % m13
s1 | % m14
s1 | % m15
s1 | % m16
\break
a,2 a, | % m17
a,1 | % m18
a,2 a, | % m19
a,2 a | % m20
\break
| % m21
| % m22
| % m23
| % m24
\break
| % m25
| % m26
| % m27
| % m28
\break
| % m29
| % m30
| % m31
| % m32
\break
| % m33
| % m34
| % m35
\break
| % m36
| % m37
| % m38
| % m39
\break
| % m40
| % m41
| % m42
| % m43
\break
| % m44
| % m45
| % m46
| % m47
\break
| % m48
| % m49
| % m50
| % m51
\break
| % m52
| % m53
| % m54
| % m55
\break
| % m56
| % m57
| % m58
| % m59
\break
| % m60
| % m61
| % m62
| % m63
\break
| % m64
| % m65
| % m66
| % m67
\break
| % m68
| % m69
| % m70
| % m71
\bar "|."
}
\score {
<<
\new Staff \with { instrumentName = "Contrabass" } \contrabass
\new PianoStaff \with { instrumentName = "Piano" }
<<
\new Staff << { \rh_one } \\ { \rh_two } >>
\new Staff << { \lh_one } \\ { \lh_two } >>
>>
>>
\layout {}
}
\score {
<<
\new Staff {
\set Staff.midiInstrument = "contrabass"
\set Voice.midiExpression=#1 \contrabass
}
\new Staff {
\set Staff.midiInstrument = "acoustic grand"
\set Voice.midiExpression=#0.8 << { \rh_one } \\ { \rh_two } >>
}
\new Staff {
\set Staff.midiInstrument = "acoustic grand"
\set Voice.midiExpression=#0.8 << { \lh_one } \\ { \lh_two } >>
}
>>
\midi {
\tempo 4=100
}
}
Le mardi 7 juin 2022, 06:19:37 UTC+2, Kenneth Wolcott
<kennethwolcott@gmail.com> a écrit :
HI;
Frequently I have engraved music that doesn't sound good when the
corresponding midi is played, usually with regards to two (or more)
instruments that are overwhelmed by one of them.
In this case, I have a piece which has a Contrabass with Piano
accompaniment, with two different kinds of unwanted domination. In
the first case I have to specify the dynamics for the right hand and
the left hand separately (a human pianist would not need this).
Secondly, the left hand encounters polyphony about fifteen bars into
the piece. Then, these notes are played at mezzo forte or forte when
I want them to be the same dynamic as previously (ppp). I can't have
the Contrabass and the Piano playing at piano dynamics because the
Contrabass is completely dominated by the Piano.
I guess I could solve this problem by having four variables for the
left hand (lh_one, lh_two, lh_one_midi and lh_two_midi), but that
seems quite a bit of work.
Am I the only one that would like to have the midi output sound at
least somewhat pleasant? Or am I the only one who has this problem
with the midi dynamics being wonky?
See attached files for details.
Mac Mini
Lilypond 2.22.2 (from home brew)
Fluidsynth (from home brew)
Thanks,
Ken Wolcott