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
>
>
>

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