Thanks VERY much for posting these files. It's interesting on several levels.
Regarding PMX: I used the wonderful old program MidiNotate to analyze the MIDI file. When it creates its version of the score from the MIDI, there is no visual offset between voices. And at normal speed I could not hear any offset. But this is harpsichord music, which I'm so used to hearing played staggered that I might not have noticed anyhow. However when I slow it way down, to 1/10 normal speed, I can very clearly hear the offset. I guess the amount of offset is less than the granularity of MidiNotate's notational sensibilities. Regarding the music itself (which interests me greatly because I'm a harpsichordist): I've played some pretty obscure stuff (Weckmann, LeRoux, Galuppi, Storace [which I've also published]...) but never tackled any Royer. I'm not a bad player, but the technical requirements of his stuff are often beyond me. I can't figure out why he made it so incredibly hard to play, and when I do hear it played properly, I can't decide whether I should be more impressed with the music or with the technique required to play it. In this particular piece, one puzzlement is with the 128th notes...did he really think anyone could play this at a sensible tempo and make the distinction between them and the preceeding 64ths? I also wonder about how to divide between the hands the notes in bars 14-15, 34, and 36-37. There are certainly no hints in the way you've typeset it. Are there any hints in your source? Are the beam directions in the source the same as in the PMX? Are the notes all in the same staff, as they are in the PMX? The passages could both clearly be done straightforwardly with two hands, but I don't see anything that tells that to the performer. In my Storace, I adhered religiously to the disposition between staves in the facsimile, which in that case obviously dictated the disposition between hands. As to your question about slur directions on graces, I'm afraid there simply aren't any options (yet) for adjusting their positions. (I did a double take in bars 31-32 until I realized that the upper slur really applies to the lower notes and vice versa.) Your best bet for now is to enter the slurs with inline TeX. You can both start and stop the slur on the main note by using \loffset for the start. Let me know if you want an example. --Don Simons > -----Original Message----- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] Behalf Of Hermann > Hinsch > Sent: Friday, June 15, 2007 11:34 AM > To: Werner Icking Music Archive > Subject: Re: [TeX-Music] 128th notes within PMX > > > Am Freitag, 15. Juni 2007 16:23 schrieb Don Simons: > > Hermann, could you send me the score and or the MIDI? I'm > curious to know > > whether the mismatch is audible. > > > > Just for the record, I misstated the length of the guarter in > MIDI tics in > > PMX...it's 240, not 120. But I think everything else I said is > accurate. I > > did a few more tests since then, and reminded myself that the special > > corrections I had programmed apply only to half-note and quarter-note > > septuplets, but not eighth-note septuplets or any 9-tuplets (unless the > > 9-tuplets are on dotted notes, e.g., cd05x9 ... ). > > > > I wonder if Score/Finale/Sibelius have any of these same issues. > > > > --Don Simons > > > Don, you may find my score enclosed together with the MIDI-file. > > May I ask an additional question: Using grace notes would be possible to > define the direction of the slur independent of the direction of > the stem? As > you may see in my score that rather often grace notes are placed > too narrow > together. In this case I suppressed the slur for clarity. > > Hermann > _______________________________________________ TeX-music mailing list [EMAIL PROTECTED] http://mailman.daimi.au.dk/mailman/listinfo/tex-music
