I used a similar workflower earlier, but without Frescobaldi. I coded a small script years ago that would convert MIDI-input to keystrokes, but at some point I lost track of maintaining it (didn't do much with Lilypond for a time then). But I remember using the pitch up/down buttons on my Korg nanoKey for switching between sharps and flats. (I also did a second pass for durations then.)
If anyone's interested I can try and look whether I find it somewhere, but what I can read here, Frescobaldis system should be more sophisticated and as I was using Xorg to emulate the keystrokes it's probably Linux-only. All the best Christian Kieren MacMillan <kieren_macmil...@sympatico.ca> schrieb am So., 14. März 2021, 19:24: > Hi Peter, > > > How do you manage enharmonics? Is the black key between C and D a C > sharp or D flat? Unless the music is completely tonal, I'd have thought you > spent more time adjusting the accidentals than simply inputting the music > from the computer keyboard. But I may be wrong. Certainly in the song I was > transcribing both accidentals are used in profusion. > > Most songs I transcribe are heavily tonal, and the accidentals tend to be > consistent enough that Frescobaldi’s input setting (use the key signature > whenever possible, favour sharps or favour flats when outside the k.s.) > keeps outliers in the <5% range (and often literally zero!). Where I do > have to adjust, I do it in the second/proofreading pass, and that change is > very quick to implement. > > That being said, I’ve also used my workflow on Second Viennese School > transcriptions, and while obviously slower than tonal music it’s still > impressively fast to crank out that kind of note-code. > > > how does it manage durations? > > I just “plunk” each note out one by one, with no particular care about > durations; in the “second half” of the input process, I pass through and > add durations. My workflow is more finessed than that — e.g. if I come up > to a large run of 16th notes, I’ll stop the playing process to add a “16” > after the first one — but I do find that multi-tasking slows me down, so I > tend to just play all the notes through in a single pass (using the MIDI > keyboard, ignoring durations), then add durations (using the computer > keyboard/numberpad) as a second pass. I can usually “code” the pitch > portion of an entire vocal line of a standard (~3') musical theatre song in > less than 30s; “running string lines” can be played at maximum speed (n.b. > my undergrad degree was in piano performance), so I can get dozens or > hundreds of notes from a string part into pitch-code form in less than a > minute; etc. > > There is a “QuickKeys” plug-in somewhere that lets you trigger durations > with one hand (on the keypad) while playing in the notes using the other > hand (on the MIDI keyboard)… but my current workflow is so fast that any > potential speed gain (and it isn’t immediately obvious to me there would be > one!) is countered by the learning/coordination curve I’d have to climb. > > > And can one input a piano piece (as opposed to a single voice)? Two > hands, lots of splitting into separate voices. > > 1. Chords are wicked fast, obviously: just play all the notes (it doesn’t > even have to be "exactly together"!), and Frescobaldi does the right thing. > > 2. The way my code is formatted, every voice has its own variable — so I > just play each voice into the right variable, and combine them later in the > score block. > > Naturally, every tune is different in terms of the challenges to get the > data-entry done. But now that I’ve found this “MIDI -> pitch code, then add > durations” workflow, I’m kicking my 12-year-ago-self that it took me so > long to get on board with Frescobaldi+MIDI. > > Hope that helps! > Kieren. > ________________________________ > > Kieren MacMillan, composer (he/him/his) > ‣ website: www.kierenmacmillan.info > ‣ email: kie...@kierenmacmillan.info > > >
