separation of closely-adjacent notes
 

Hallo

I'm working with a midi file from the Internet which is clearly a midi-recording, not a keyboard entry file - trying to derive a score to play from myself.
The piece makes a feature of hammering-on in the melody, and sometimes in the chording. The two notes are always clearly not simultaneous, though very close. Composer always (ie with any variation of controls I've been able to find) renders them as simultaneous in the staff notation.
Given there is actually a sequential element somewhere in the midi record (or we would hear them as simultaneous ?) is there a setting in the transcription or quantise options that will produce a visual separation in the notation ?

Many thanks

Ian G.

Re: separation of closely-adjacent notes
 

Hi Ian,

For this specific case a posted file would be helpful.

There are some things you can try to play around with to see if it gives you the transcription you want.

In Setup/Transcription Options:

• check the "Remove Overlaps of Notes" option.
• under "Remove Rests Smaller Than..." check the "Do Not Remove Rests".
• under "Transcribe Ornaments", check "Grace notes."
• near the bottom, check the box for "Two-notes chords in a staff that has mostly solo notes should be sequenced as two separated notes."

If those don't help, you can then try using Format/Convert to solo notes, and select the staves that you want to use the command on.


If those don't help, please do post the file or a part of it for us to take a look at it.


ttfn,
Sherry

Re: separation of closely-adjacent notes
 

Thanks for your reply, Sherry. The first three I had tried. The fourth ("Two-notes chords in a staff that has mostly solo notes should be sequenced as two separated notes.") I hadn't, but it doesn't seem to have any effect. Since it's one screen back from the action (as you say, available by the Setup route, but not in the Format>retranscribe screen), I can't tell whether it is actually in effect.

The 'Convert to solo notes' (actually on the Staff menu) does work, but rather patchily. Sometimes I am able to isolate/select a single instance and it retranscribes correctly as a grace note and main note. Sometimes it doesn't. And on other occasions again, I am asked to select the staff, and it then processes the whole staff too enthusiastically, rendering some straight notes as grace notes.

To be fair, it is a very 'dirty' bit of playing. Clearly the player has in places not released notes promptly, and my impression is that the resulting ties complicate the 'conversion'. So probably you shouldn't waste much time on it - it is one of those instances where slow manual editing instance by instance is the only way. You can also see that though the pulse is correct, the time-signature isn't, and I have made a start of re-editing that but not completed the process. I think the whole thing should really be in 6/8 - ie a sort of blues shuffle.

Cheers

Ian

Re: separation of closely-adjacent notes
 

Hi Ian,

Have you tried using the ReBar feature? That may help the transcription as well. You can see a Tutorial Video on how to use it at http://notation.com/TutorialVideos.php (cleverly titled "Rebar" ;) ). You can also read more about it in Help/Users Guide, and use the Index to look up "Rebar".

ttfn,
Sherry

Re: separation of closely-adjacent notes
 

Hallo again, Sherry, and thanks for your further reply. I'm posting a *.not of the edit I've achieved.

Ian

Re: separation of closely-adjacent notes
 

Hi Ian,

Nothing to do with your questions, but I love the chord progressions in the piece you selected. The moving lines are beautiful. Do you know who the composer is?

Ralph Rayner

Re: separation of closely-adjacent notes
 

Well, the actual piece does have a traceable existence other than this midi-file - try looking it up on You Tube for some instances. But I first knew it through this midi-file which I found online some ten years ago, and which contains no 'internal' information that I can discover. On an earlier transcription attempt I credited it as 'possibly by Al Massari', though I don't now remember what that was based on, and a recent attempt to clarify by Google wasn't very helpful.

As you can see/hear, the midi file has the single great advantage that its pulse (bpm) fits the playing, but the barring doesn't match the stresses, and there are a lot of empty staves, which makes me think someone probably simply played live into a file that was originally something else entirely.

And so to the harmonies. I agree, it's a piece I keep coming back to at intervals. (The fact that it never subsides rhythmically into a simple shuffle is also important). I take it that a lot of it circles round the G#/Ab enharmonic in the hammer-ons, but I certainly still don't entirely understood the harmonic logic. Notation Composer's transcriptions require me/you to do quite a lot of enharmonic attributions, and there are still some chords that I'm not sure which way to 'go' on.

Sincerely

Ian