Hi all, I am typesetting a 2-staff cello etude with a volta with alternative endings.
I am following the instructions from the documentation: http://lilypond.org/doc/v2.16/Documentation/notation/repeats-in-midi (I.e., write all repeats and voltas in all staffs) And I am using articulate.ly as in the documentation: http://lilypond.org/doc/v2.16/Documentation/notation/the-articulate-script However I can't get the MIDI to do what is expected. Here's a relevant snippet: %%% BEGIN \version "2.16.1" theMusic = \new StaffGroup << \new Staff \with {midiInstrument = #"cello"} { \relative c { \key c \major \time 4/4 \tempo "Cantabile" \clef "bass" \repeat volta 2 { <c-4 e-1>2-\p << { g'4.-4 ( f8 ) } \\ { b,2-3 } >> | % 1 <c!-2 fis-1>4 << { g'2-4 ( f4 ) } \\ { b,-3 a2-1 } >> | % 11 } \alternative { { <c-2 a'-1>2 ( <b g'>4 ) r | } % 12 { << { c'8-4 ( a-1 e-1 cis-3 ) g' ( d ais'-2 b-3 ) } \\ { g,2 g } >> | } % 13 } << { c'8 ( a! e cis ) g' ( d ais' b ) } \\ { g,2 g } >> | % 14 ( = 13) <g f'!>8-\f b'-3 ( d-3-\flageolet ) <g,, f'> ( <gis-1 f'-2> ) b'-3 ( d-3-\flageolet ) <gis,,-1 f'-2> | % 15 \bar "|." } } \new Staff \with {midiInstrument = #"cello"} { \relative g, { \key c \major \clef "bass" \repeat volta 2 { << { g4 ( c ) d ( g, ) } \\ { c,2 g'4 s } >> | % 1 d2 d | % 11 } \alternative { { << { fis'8 ( d e fis ) } \\ { g,2 } >> <g g'>8 ( g f! d ) } | % 12 { e'4 ( c8 a ) b4 ( d8 g ) } | % 13 } e4 ( c8 a ) b4 ( d8 g ) | % 14 (= 13) b r r b ( b ) r r b | % 15 } } >> \score { \theMusic \layout { \context { \Staff \override Fingering #'add-stem-support = ##t \override Fingering #'avoid-slur = #'outside \override TupletBracket #'bracket-visibility = ##t } } } \include "articulate.ly" \score { \unfoldRepeats \articulate << \theMusic >> \midi {} } %%% END If you wonder why I import articulate.ly at the end, it's because of some strange side-effect it has on music expressions even without calling the articulate command, which I posted in another thread: http://lilypond.1069038.n5.nabble.com/Unexpected-side-effect-of-articulate-ly-on-aftergrace-tp137289.html Best regards, Olivier
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