hum2mid manpage

COMMAND

hum2mid -- Convert Humdrum files into standard MIDI files.

hum2mid [input] [options] [-o output.mid | > output.txt]

Hum2mid converts Humdrum files containing **kern data into Standard MIDI Files. There are many options, but the most important one is the -o which specifies the name of the file into which Standard MIDI File output data from the program will be stored. If you do not specify an output filename with -o, a text-based version of the MIDI data will be output (this may later change to **MIDI data output in the Humdrum file syntax):

hum2mid scale.krn -o scale.mid **kern *MM240 4c 4d 4e 4f 4g 4a 4b 2cc *-

hum2mid scale.krn > scale.txt ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Number of Tracks: 2 Time method: 1 (Absolute timing) Divisions per Quarter Note: 120 Track 0 +++++++++++++++++++++++++++++++++++++++++++++++++++ 0 0xff 81 3 3 208 144 1200 0xff 47 0 Track 1 +++++++++++++++++++++++++++++++++++++++++++++++++++ 0 0x90 60 64 120 0x80 60 64 120 0x90 62 59 240 0x80 62 59 240 0x90 64 65 360 0x80 64 65 360 0x90 65 67 480 0x80 65 67 480 0x90 67 71 600 0x80 67 71 600 0x90 69 62 720 0x80 69 62 720 0x90 71 71 840 0x80 71 71 840 0x90 72 66 1080 0x80 72 66 1199 0x90 0 0 1200 0xff 47 0 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

Timbre selection

Tandem interpretations starting with *I and followed by a timbre code (typically five characters) are understood by hum2mid. These codes are converted into MIDI timbre messages. Here is a list of the Humdrum instrumental codes which hum2midi can understand: humdrumidi.pdf. The first column in the list contains the Humdrum instrumental code which follows "*I" in a **kern column. The second column in the table lists the General MIDI instrument which maps to that Humdrum instrumental code, and the third column lists the full name of the instrument. Below are example uses of timbre interpretations in **kern data and their results in MIDI files. Click on filenames ending in .mid to download/listen to the resulting MIDI files.

hum2mid timbre1.krn -o timbre1.mid **kern *MM60 *Icemba 4c *Iclest 4d *Iorgan 4e *IsaxA 4f *Ipiano 4g 4CC 4E 4cc 4gg *-

hum2mid timbre2.krn -o timbre2.mid **kern **kern *MM144 *MM144 *Iclars *Icemba 4c 4e 4GG 4d 4f 4AA 4e 4g 4BB 4f 4a 4C 4g 4b 4D 4a 4cc 4E 4b 4dd 4F 4cc 4ee 4G 4dd 4ff 4A *- *-

The -f option can be used to force all **kern data to be played with a particular timbre, overriding any instrumental codes found within the data. The -f option requires an integer in the range from 0 to 127.

hum2mid timbre1.krn -f 19 -o timbre1f.mid **kern *MM60 *Icemba 4c *Iclest 4d *Iorgan 4e *IsaxA 4f *Ipiano 4g 4CC 4E 4cc 4gg *-

hum2mid timbre2.krn -f 42 -o timbre2f.mid **kern **kern *MM144 *MM144 *Iclars *Icemba 4c 4e 4GG 4d 4f 4AA 4e 4g 4BB 4f 4a 4C 4g 4b 4D 4a 4cc 4E 4b 4dd 4F 4cc 4ee 4G 4dd 4ff 4A *- *-

If you are playing the resulting MIDI files back on a General-MIDI compatible synthesizer, the instrument numbers will have a fixed mapping to particular timbres which are listed in the table below. Click on the name of the timbre to hear a sample MIDI file playing a C major scale in using that timbre.

Piano Timbres:  0 Acoustic Grand Piano  1 Bright Acoustic Piano  2 Electric Grand Piano  3 Honky-tonk Piano  4 Rhodes Piano  5 Chorused Piano  6 Harpsichord  7 Clavinet	Chromatic Percussion:  8 Celesta  9 Glockenspiel 10 Music Box 11 Vibraphone 12 Marimba 13 Xylophone 14 Tubular Bells 15 Dulcimer	Organ Timbres: 16 Hammond Organ 17 Percussive Organ 18 Rock Organ 19 Church Organ 20 Reed Organ 21 Accordion 22 Harmonica 23 Tango Accordion	Guitar Timbres: 24 Acoustic Nylon Guitar 25 Acoustic Steel Guitar 26 Electric Jazz Guitar 27 Electric Clean Guitar 28 Electric Muted Guitar 29 Overdriven Guitar 30 Distortion Guitar 31 Guitar Harmonics
Bass Timbres: 32 Acoustic Bass 33 Fingered Electric Bass 34 Plucked Electric Bass 35 Fretless Bass 36 Slap Bass 1 37 Slap Bass 2 38 Synth Bass 1 39 Synth Bass 2	String Timbres: 40 Violin 41 Viola 42 Cello 43 Contrabass 44 Tremolo Strings 45 Pizzicato Strings 46 Orchestral Harp 47 Timpani	Ensemble Timbres: 48 String Ensemble 1 49 String Ensemble 2 50 Synth Strings 1 51 Synth Strings 2 52 Choir "Aah" 53 Choir "Ooh" 54 Synth Voice 55 Orchestral Hit	Brass Timbres: 56 Trumpet 57 Trombone 58 Tuba 59 Muted Trumpet 60 French Horn 61 Brass Section 62 Synth Brass 1 63 Synth Brass 2
Reed Timbres: 64 Soprano Sax 65 Alto Sax 66 Tenor Sax 67 Baritone Sax 68 Oboe 69 English Horn 70 Bassoon 71 Clarinet	Pipe Timbres: 72 Piccolo 74 Flute 74 Recorder 75 Pan Flute 76 Bottle Blow 77 Shakuhachi 78 Whistle 79 Ocarina	Synth Lead: 80 Square Wave Lead 81 Sawtooth Wave Lead 82 Calliope Lead 83 Chiff Lead 84 Charang Lead 85 Voice Lead 86 Fifths Lead 87 Bass Lead	Synth Pad: 88 New Age Pad 89 Warm Pad 90 Polysynth Pad 91 Choir Pad 92 Bowed Pad 93 Metallic Pad 94 Halo Pad 95 Sweep Pad
Synth Effects:   96 Rain Effect   97 Soundtrack Effect   98 Crystal Effect   99 Atmosphere Effect 100 Brightness Effect 101 Goblins Effect 102 Echoes Effect 103 Sci-Fi Effect	Ethnic Timbres: 104 Sitar 105 Banjo 106 Shamisen 107 Koto 108 Kalimba 109 Bagpipe 110 Fiddle 111 Shanai	Sound Effects: 112 Tinkle Bell 113 Agogo 114 Steel Drums 115 Woodblock 116 Taiko Drum 117 Melodic Tom 118 Synth Drum 119 Reverse Cymbal	Sound Effects: 120 Guitar Fret Noise 121 Breath Noise 122 Seashore 123 Bird Tweet 124 Telephone Ring 125 Helicopter 126 Applause 127 Gun Shot

If you want to reassign the mapping of Humdrum instrumental codes to different MIDI timbres (because you want to use a different timbre, or you are using a non-General-MIDI synthesizer), then use the -i option followed by a list of the remappings. The remapping string contains a list of the instrument code followed by a colon (:) and then the new MIDI timbre number. Multiple remappings can be separated by spaces within the remapping string. For example, to cause the *Ivox tandem interpretation to sound like a French horn in the output MIDI file use the setting -i "vox:60".

hum2mid vox.krn -o vox.mid **kern *Ivox 4c 4d 4e 4f 4g 4a 4b 4cc *-

hum2mid -i "vox:60" vox.krn -o newvox.mid **kern *Ivox 4c 4d 4e 4f 4g 4a 4b 4cc *-

The -i option can also be used to assign MIDI timbre mappings for non-standard instrumental codes. If an unknown instrumental code is found in the Humdrum input data, it will be ignored. This causes the default timbre of the synthesizer (typically the grand piano timbre) to be used. The following example demonstrates how to map an unknown instrumental code to a particular MIDI timbre number:

hum2mid cuckoo.krn -o piano.mid **kern *Icuckoo 8r 8dd 4f *-

hum2mid -i "cuckoo:123" cuckoo.krn -o tweet.mid **kern *Icuckoo 8r 8dd 4f *-

To prevent Humdrum instrumental codes from being processed and stored in the output MIDI file as timbre messages, use the -I option to ignore them.

hum2mid violin.krn -o violin.mid **kern *Ivioln 4c 4d 4e 4f 4g 4a 4b 2cc *-

hum2mid -I violin.krn -o noviolin.mid **kern *Ivioln 4c 4d 4e 4f 4g 4a 4b 2cc *-

Tempo control

There are many methods to control the tempo in the output MIDI file. The most basic method is to encode a tempo marking within the score in a tandem interpretation recording starting with *MM and followed by the number of quarter notes per minute in the desired tempo, such as *MM180 for 180 quarter notes per minute. If no tempo is given in the data, hum2mid will use a tempo of 120 quarter notes per minute (Actually, hum2mid will not store a tempo marking in the MIDI file in this case, but most MIDI playback programs use 120 as the default tempo). If the beat is different than a quarter note (such as in a compound meter like 6/8 or cut time), the metronome marking is still expressed in terms of quarter notes, so you must have to multiply a dotted-quarter-note tempo marking by 1.5, or a cut-time tempo marking by 2, to get the correct playback tempo within the MIDI file.

hum2mid tempo.krn -o tempo.mid **kern 4c 4d 4e 4f 4g 4a 4b 2cc *-

hum2mid tempo180.krn -o tempo180.mid **kern *MM180 4c 4d 4e 4f 4g 4a 4b 2cc *-

Only one tempo can be active at a time, so if different tempo markings occur in different spines at the same time, one of them will be ignored. However, the tempo can be changed at any point in the score by placing another *MM tempo marking in the music:

hum2mid tempochange.krn -o tempochange.mid
**kern *MM40 4c 4d *MM60 4e 4f *MM80 4g 4a *MM112 4b 4cc *MM144 4dd 4ee 2ff *-

To change the tempo without altering the contents of a Humdrum file, you can use the -t option to scale the tempo values found within the input data. A factor of 2 will double the tempo marking, making the music sound twice as fast. Likewise, a tempo scaling value of 0.5 will halve the tempo marking, making the tempo twice as slow. If there is no tempo marking in the file, a default tempo marking of 100 quarter notes per minute will be used as the base tempo to be scaled (note that this is different from the default playback tempo of 120 if there is no tempo marking -- the default of 120 is defined by the MIDI playback program in that case).

Tempo scaling behavior when no tempo marking is found in the score (using 100 as the default tempo):

hum2mid -t 2 tempo.krn -o 200.mid

hum2mid -t 0.5 tempo.krn -o 50.mid

Tempo scaling behavior when there is a tempo marking of 180 quarter notes per minute in the input data:

hum2mid -t 2 180.krn -o 360.mid

hum2mid -t 0.5 180.krn -o 90.mid

If tempo changes occur often in the music (such as for every note in an actual performance), the tempo values can be stored in a separate spine rather than in tandem interpretations. Add the --ts option to use the first **tempo spine found within the file as the tempo control for the music. If there is a **tempo spine in the file, it will be ignored if the --ts option is not given.

hum2mid --ts tempospine.krn -o accel.mid **tempo **kern 40 4c . 4d 60 4e . 4f 80 4g . 4a 112 4b . 4cc 144 4dd . 4ee . 2ff *- *-

hum2mid tempospine.krn -o flat.mid **tempo **kern 40 4c . 4d 60 4e . 4f 80 4g . 4a 112 4b . 4cc 144 4dd . 4ee . 2ff *- *-

The time2tempo program can be used to convert absolute time values into a tempo spine:

time2tempo -p time.krn > tempo.krn **time **kern *u=sec * 0 4c 1.0 4d 1.8 4e 2.6 4f 3.0 4g 3.25 4a 3.5 4b 5.0 4cc *- *-

hum2mid tempo.krn --ts -o timetempo.mid **tempo **time **kern * *u=sec * 60 0 4c 75 1.0 4d . 1.8 4e 150 2.6 4f 240 3.0 4g . 3.25 4a 40 3.5 4b . 5.0 4cc *- *- *-

Alternatively, a **time spine can directly control the timings of notes without converting it first into a **tempo spine. When using the --time option, note durations and onset times are stored as SMPTE frames (25 frames/second with 40 sub-frames per frame) with each SMPTE tick equivalent to a millisecond. Some (lower-quality) MIDI playback programs cannot play MIDI files which are encoded with SMPTE timing values, so MIDI files using the --time option are less portable than using the --tempo method described above.

hum2mid time.krn --time -o time.mid
**time **kern *u=sec * 0 4c 1.0 4d 1.8 4e 2.6 4f 3.0 4g 3.25 4a 3.5 4b 5.0 4cc *- *-

Dynamics

Hum2mid will parse **dynam spines found in the input file. Currently the program will ignore **dyn spines. The first **dynam spine found to the right of a **kern spine will be applied to the notes of the **kern spine.

hum2mid loudsoft.krn -o loudsoft.mid **kern **dynam *MM120 *MM120 4c f 4d p 4e f 4f p 4g f 4a p 4b f 4cc p 4dd f *- *-

hum2mid loudsoft2.krn -o loudsoft2.mid **kern **dynam **kern **dynam *Ivioln *Ivioln *Iclars *Iclars *MM80 *MM80 *MM80 *MM80 4c pp 4e ff 4d . 4f pp 4e ff 4g . 4f . 4a ff 4g pp 4b . 4a . 4cc pp 4b ff 4dd . 4cc . 4ee ff 2dd pp 2ff . *- *- *- *-

**kern spines will share **dynam spines if any **kern spine does not have its own local **dynam spine to its right before the next **kern spine.

hum2mid sharedynam.krn -o sharedynam.mid
**kern **kern **dynam *Icemba *Iflt * 4C 4e p 4D 4B . 4E 4g ff 4F 4d . 4G 4e mp 4A 4d . 4B 4g mf 4c 4a . 4d 4f fff 2e 2g ppp *- *- *-

Crescendos and decrescendos are be processed in **dynam spines as gradual increases or decreases in loudness. The loudness interpolation occur between the current dynamic at the start of the mark, and continue to the next dynamic found in the spine.

hum2mid cresc.krn -o cresc.mid **kern **dynam 4c pp 4d < 4e . 4f . 4g . 4a . 4b ff 4cc > 4dd . 4ee . 4ff . 2gg pp *- *-

If the associated dynamics spines are not in the conventional order, staff assignment interpretations can be used to map **kern spines to specific **dynam spines. Currently, all staff assignments must occur on the same line before any data lines in the file.

hum2mid staffdyn.krn -o staffdyn.mid
**dynam **dynam **kern **kern **kern *staff2 *staff1/3 *staff3 *staff2 *staff1 pp ff 4c 8r 4e < > . 4GG . . . 4d . 4f . . . 4AA . . . 4e . 4g . . . 4BB . . . 4f . 4a . . . 4C . . . 4g . 4b . . . 4D . . . 4a . 4c . . . 4E . . . 4b . 4d . . . 4F . . . 4cc . 4e . . . 4G . . . 4dd . 4f . . . 4A . . . 4ee . 4g . . . 4.B . ff pp 4ff . 4a . . 2r 2c 2r *- *- *- *- *-

Metric accentuation

The --mv (metric volume) option will emphasize beats with louder notes on the beats.

"Humanized" accentuation

The --hv (humanized volume) option will apply a random variation to the note-attacks within the range of the number given with the option.

Articulations

Several **kern articulation marks will be interpreted by hum2mid when realizing a MIDI file:

'     staccato Shortens sounding duration of note by 50% ` staccatissimo    Shortens sounding duration of note by 50% " pizzicato    Shortens sounding duration of note by 50% s spiccato    Shortens sounding duration of note by 50% ^ accent Increases loudness of note by 30% z sforzando Increases loudness of note by 50%

hum2mid accent.krn -o accent.mid **kern *MM54 12c^ 12d 12c 12d^' 12c' 12d' 12ez 12f' 12gz 12a' 12bz 12cc 4c *-

If you do not want the output MIDI file to have realized articulations (for example, if you are importing the MIDI file into a notation program for printing), use the -p option (for plain) to suppress the articulation realization.

hum2mid accent.krn -o accent.mid
hum2mid -p accent.krn -o noaccent.mid


Altered Tunings

There are two methods of generating altered tunings using hum2mid. By default, MIDI synthesizers are usually tuned in equal temperament. Some, but not all, synthesizers can be adjusted to tune each key individually into other temperaments or micro-tonal tunings. hum2mid simulates altered tunings by using the pitch bend MIDI message. This kernscores page gives examples of altered tunings which can be heard in the converted MIDI files generated on-demand at the website.

Method 1: Alter tunings of individual notes

The first method of generating microtonal adjustments to equal-tempered pitches is accomplished by placing a tandem spine, **Dcent, to the right of **kern spines in a Humdrum file. This additional spine represents the deviation in cents from equal-temperament for the pitch. For example, here is the note A4 played unaltered at 440 Hz, Then played 50 cents sharp (quarter-tone sharp), then 50 cents flat (quarter-tone flat), and finally back to the default equal-tempered frequency:
hum2mid --bend 200 quartertones.krn -o quartertones.mid
**kern **Dcent *MM60 * 2a 0 8r . 2a +50 8r . 2a -50 8r . 2a 0 *- *-

To generate a MIDI file which utilizes the **Dcent spine, you must include the option --bend 200. This indicates to hum2mid that the **Dcent is to be searched for tuning alterations while storing notes in the MIDI file and also specifies the depth of the pitch bend. In general, 200 should be used since most synthesizers use this as a default pitch-bend depth.

To determine if the value 200 is correct for your synthesizer, use the following test file:

hum2mid --bend 200 calibration.krn -o calibration.mid
**kern **Dcent 4c 0 4c +100 4c -100 2c 0 4r . = = !! The previous four notes !! should sound like the !! following four notes: 4c 0 4d- 0 4B 0 2c 0 4r . *- *- If you convert this file into MIDI with the --bend option, the first four notes should sound exactly like the second four notes if the pitch-bend depth of your synthesizer is set to an equal-tempered wholetone (200 cents). If the two sets of notes do not sound equivalent, then your pitch-bend depth is not set to a wholetone. Try one of these other range settings to determine the current settings for your synthesizer:

--bend

100 200 300 400 500 600 700 800 900 1000 1100 1200

Note that if the pitch-bend depth of your synthesizer is set to a wholetone (2 half-steps, or 200 cents), then the maximum cents deviation which you can use in the **Dcent spine is +/- 200 cents. If you specify a deviation of 250 cents in this case, the deviation will be clipped to 200 cents. You can set the pitch-bend depth up to +/- an octave for most synthesizers. How to change the pitch-bend range is device dependent. If you change the pitch-bend range to an octave, then you can have values in the **Dcent spine ranging from +/- 1200 cents. In general, deviations up to 100 cents in the **Dcent spine should be used, since all frequencies can be specified between MIDI note numbers using this range.

If you want to play more than one pitch with an independent tuning at the same time, then you will have to place each note in a separate spine with a separate companion **Dcent spine. By default, hum2mid will place these notes in separate channels, and each MIDI channel can have one unique pitch-bend setting at a time. Here is an example of controlling the tuning of multiple notes simultaneously:

hum2mid --bend 200 multitune.krn -o multitune.mid
**kern **Dcent **kern **Dcent **kern **Dcent **kern **Dcent 4c 10 2g 12 2cc 5 4c 10 4e 4 . . . . 4e -5 4g -10 2b -30 2dd -16 4g 5 4f# 18 . . . . 4f# 12 4g 12 4b 30 1cc 5 4g -18 4b 2 4d 5 . . 4b 20 4c -4 4e -16 . . 4c 25 *- *- *- *- *- *- *- *-

Here is a collection of intervals sorted from small to large which utilize this method to control the tuning of notes in the resulting MIDI files.

Method 2: Temperaments

Method 1 cannot be used independently to alter two or more pitches using the same MIDI channel at the same time. If you need to tune chord notes independently to a fixed temperament of 12 notes per octave, then Method 2 can be used. In this case an auxiliary temperament file is needed to specify the deviation for each 12-tone pitch class in the output MIDI file. Here is an example of standard meantone temperament:
!!!OTL: Meantone: 1/4 Syntonic comma **kern **Dcent 4c 0 4c# -24.0 4d -6.8 4d# +10.3 4e -13.7 4f +3.4 4f# -20.5 4g -3.4 4a- -27.4 4a -10.3 4b- +6.8 4b -17.1 *- *-
meantone.mid

To apply this temperament to a file, use the --temperament option for hum2mid:

    hum2mid -f 19 --temperament meantone.krn chorale11.krn -o chorale11-meantone.mid
 

Compare to the same music using equal temperament:

    hum2mid -f 19 chorale11.krn -o chorale11-eq.mid
 

Also, listen to the same music transposed to C-sharp major, but still using the meantone tuning optimized for C major. This will cause the thirds to fall onto cracks in the temperament (such as using diminished fourths instead of major thirds):

    transpose -k 'C#' chorale11.krn > chorale11-csharp.krn
    hum2mid -f 19 --temperament meantone.krn chorale11-csharp.krn -o chorale11-csharp.mid
 

The order of pitches in temperament definition files is irrelevant. If any pitch-classes are not specified in the temperament file, then the cent deviation for that pitch-class will be 0, and the default equal-temperament frequencies will be used for those pitch classes. Rhythm values are not required in the **kern spine of the temperament file, but are included in the above example temperament so that the chromatic scale in that file can be head by processing the file through hum2mid itself. If you specify tunings for enharmonic pitch classes (such as C-sharp, and D-flat), only the last setting in the file will be used. The octave of the pitch-class value is also ignored.

Method 2 is designed for single-timbre scores, since it requires 12 channels to play the notes in the MIDI file (which can use a maximum of 16 channels). If you have multiple instruments, or instruments other than piano for the first spine of **kern data, the timbres will be independent of the spines, and instead map onto particular pitch-classes. It is recommended to use the -f option to force a particular MIDI timbre for all channels when using Method 2. For example, -f 19 uses the organ timbre for all channels (as given in the example above). The number after the -f option is a General MIDI instrument number, starting with 0 for grand piano.

The --bend option can be used in conjunction with the --temperament option, but only the tuning-depth will be used, and **Dcent data will be ignored in the Humdrum file being converted into MIDI. By default a pitch-bend depth of 200 is used for the --temperament option, but by using --bend you can change this to a different value.

A collection of temperaments to use as input to hum2mid can be found here. You can listen to a Bach prelude played in various transpositions in various temperaments here.

Stereo panning

Hum2mid will convert tandem interpretations in the form of *pan=# into left/right panning messages within the output MIDI file. The panning values run either from 0.0 to 1.0 for left to right as floating-point values, or integers from 0 to 127 if you prefer a more MIDI-centric specification for the stereo panning location.

Below are two examples of panning. The first example on the left has a melody gradually move from left to right, and the second example on the right demonstrates a static panning of voices to specific points in the stereo field. In this case the first violin is panned to hard left (*pan=0.0 or *pan=0, the cello to hard right (*pan=1.0 or *pan=127), and the inner parts are distributed evenly in the stereo field: second violin (*pan=0.33) and viola (*pan=0.67).

hum2mid pan.krn -o pan.mid **kern *Iorgan *MM240 *pan=0.00 4c 4d 4c *pan=0.10 4d *pan=0.20 4e *pan=0.30 4f *pan=0.40 4g *pan=0.50 4a *pan=0.60 4b *pan=0.70 4cc *pan=0.80 4b *pan=0.90 4a *pan=1.00 4g 4f 4g *-

hum2mid quartet07-4.krn -o quartet07-4.mid !!!COM: Beethoven, Ludwig van !!!OTL: String Quartet No. 7 in F Major, Op. 59, No. 1 !!!OMV: Mvmt. 4 !!!OMD: Allegro (Thème russe) **kern **dynam **kern **dynam **kern **dynam **kern **dynam *staff4 *staff4 *staff3 *staff3 *staff2 *staff2 *staff1 *staff1 *Icello *Icello *Iviola *Iviola *Ivioln *Ivioln *Ivioln *Ivioln *clefF4 *clefF4 *clefC3 *clefC3 *clefG2 *clefG2 *clefG2 *clefG2 *k[b-] *k[b-] *k[b-] *k[b-] *k[b-] *k[b-] *k[b-] *k[b-] *M2/4 *M2/4 *M2/4 *M2/4 *M2/4 *M2/4 *M2/4 *M2/4 *MM120 *MM120 *MM120 *MM120 *MM120 *MM120 *MM120 *MM120 =1- =1- =1- =1- =1- =1- =1- =1- *pan=0.0 * *pan=0.67 * *pan=0.33 * *pan=0.0 * (4D\ p 2r . 2r . [2cc\ p 8C\L . . . . . . . 16D\L . . . . . . . 16E\JJ) . . . . . . . =2 =2 =2 =2 =2 =2 =2 =2 8F'\L . 2r . 2r . 2cc\_ . 8F'\J . . . . . . . 8G'\L . . . . . . . 8G'\J . . . . . . . =3 =3 =3 =3 =3 =3 =3 =3 (4A\ . 2r . 2r . 2cc\_ . 8c\L) . . . . . . . 16c'\L . . . . . . . 16B-'\JJ . . . . . . . =4 =4 =4 =4 =4 =4 =4 =4 (4A\ . 2r . 2r . 2cc\] . 8.c\L . . . . . . . 16B-\Jk) . . . . . . . =5 =5 =5 =5 =5 =5 =5 =5 (4A\ p 2r . 2r . 4cc\ . 8G\L . . . . . 4cc#\ . 16A\L . . . . . . . 16E\JJ) . . . . . . . =6 =6 =6 =6 =6 =6 =6 =6 8F'\L . 2r . 2r . 4dd\ . 8D'\J . . . . . . . . . . . . . cc#q/LL . . . . . . . ddq/JJ . 8C#'/L . . . . . 4ee\ . 8AA'/J . . . . . . . =7 =7 =7 =7 =7 =7 =7 =7 . . . . . . ddq/LL . . . . . . . eeq/JJ . 8D'\L . 2r . 2r . 8.ff\L . 8F'\J . . . . . . . . . . . . . 32ee\LL . . . . . . . 32dd\JJJ . 8E'\L . . . . . 8.cc#\L . 8A'\J . . . . . . . . . . . . . 32bn\LL . . . . . . . 32cc#\JJJ . =8 =8 =8 =8 =8 =8 =8 =8 (4D\ . 16r p 4r p 4dd\ . . . 16f'\LL . . . . . . . 16e'\ . . . . . . . 16a'\JJ . . . . . [4Cn/) . 8f'\ . 16r . 4r . . . . . 16a'/LL . . . . . 8r . 16f'/ . . . . . . . 16b-'/JJ . . . =9 =9 =9 =9 =9 =9 =9 =9 2C/_ . 8g'\L . 8b-'\L . (4dd\ . . . 8g'\J . 8b-'\J . . . . . 8r . 8r . 8cc\L . . . 8g'\ . 8b-'\ . 16dd\L . . . . . . . 16ee\JJ) . =10 =10 =10 =10 =10 =10 =10 =10 2C/_ . 8r . 8r . 8ff'\L . . . 8f\ . 8a/ . 8ff'\J . . . 8r . 8r . 8gg'\L . . . 8c\ . 8g/ . 8gg'\J . =11 =11 =11 =11 =11 =11 =11 =11 [2C/ . 8r . 8r . (4aa\ . . . 8A/ . 8f/ . . . . . 8r . 8r . 8ccc\L) . . . 8e\ . 8g/ . 16ccc'\L . . . . . . . 16bb-'\JJ . =12 =12 =12 =12 =12 =12 =12 =12 2C/] . 8r . 8r . (4aa\ . . . 8f\ . 8a/ . . . . . 8r . 8r . 8.ccc\L . . . 8e\ . 8g/ . . . . . . . . . 16bb-\Jk) . =13 =13 =13 =13 =13 =13 =13 =13 4C/ . 8r . 8r . (4aa\ p . . 8f\ . 8a/ . . . 4C#/ . 8r . 8r . 8gg\L . . . 8e\ . 8a/ . 16aa\L p . . . . . . 16ee\JJ) . =14 =14 =14 =14 =14 =14 =14 =14 4D\ . 8r . 8r . 8ff'\L . . . 8f\ . 8a/ . 8dd'\J . 4E\ . 8r . 8r . 8cc#'\L . . . 8g\ . 8a/ . 8a'\J . =15 =15 =15 =15 =15 =15 =15 =15 8.F\L . 8r . 8r . 8dd'\L . . . 8f\ . 8a/ . 8ff'\J . 32E\LL . . . . . . . 32D\JJJ . . . . . . . 8.C#/L . 8r . 8r . 8ee'\L . . . 8g\ . 8a/ . 8aa'\J . 32BBn/LL . . . . . . . 32AA/JJJ . . . . . . . =16 =16 =16 =16 =16 =16 =16 =16 (2BB-/ < (4D/ < (4ff\ < 4dd\ . . . 8C/L . 8ee\L . 4r . . . 16D/L . 16ff\L . . . . . 16E/JJ) . 16gg\JJ) . . . =17 =17 =17 =17 =17 =17 =17 =17 4AA/ . 8F'/L . 8aa'\L . 4r < . . 8F'/J . 8aa'\J . . . 4GG/) . 8G'/L . 8bb-'\L . (8ccc\L . . . 8G'/J . 8bb-'\J . 16ddd\L . . . . . . . 16eee\JJ) . =18 =18 =18 =18 =18 =18 =18 =18 (16FF/LL f (4A/ f 8aa\ f 8fff'\L f 16AA/) . . . . . . . (16AA/ . . . 4cc\ . 8fff'\J . 16C/JJ) . . . . . . . (16EE/LL . 8c/L) . . . 8ggg'\L . (16GG/) . . . . . . . 16GG/) . 16c'/L . [8cc\ . 8ggg'\J . 16C/JJ . 16B-'/JJ . . . . . =19 =19 =19 =19 =19 =19 =19 =19 (16FF/LL . (4A/ . 8cc\L] . (4aaa\ . (16AA/) . . . . . . . 16AA/) . . . 8cc\J . . . 16C/JJ . . . . . . . (16CC/LL . 8E/L) . 8ccc\L . 8cccc\L) . 16EE/) . . . . . . . (16GG/ . 16E'/L . 16ccc'\L . 16cccc'\L . 16C/JJ) . 16G'/JJ . 16bb-'\JJ . 16bbb-'\JJ . =20 =20 =20 =20 =20 =20 =20 =20 (16FF/LL . 4F/ . 8aa\ . 4aaa\ . 16AA/) . . . . . . . (16AA/ . . . 4cc\ . . . 16C/JJ) . . . . . . . (16EE/LL . (8.c/L v . . 4r . 16GG/) . . . . . . . (16GG/ . . . [8cc\ . . . 16C/JJ) . 16B-/Jk) . . . . . =21 =21 =21 =21 =21 =21 =21 =21 (16FF/LL . 4A/ . 8cc\L] . 4r . 16AA/) . . . . . . . (16AA/ . . . 8cc\J . . . 16C/JJ) . . . . . . . (16CC/LL v (8.E/L v (8.ccc\L v (8.cccc\L v 16EE/) . . . . . . . 16GG'/ . . . . . . . 16C'/JJ . 16G/Jk) . 16bb-\Jk) . 16bbb-\Jk) . =22 =22 =22 =22 =22 =22 =22 =22 8FF/ ff 16G/LL ff (16bb-\LL ff (16bbb-\LL ff . . 16F/JJ . 16aa\) . 16aaa\) . 4F\ . 4A/ . 16fff'\ . 16aaa'\ . . . . . 16eee'\JJ . 16ggg'\JJ . . . . . (16eee\LL . (16ggg\LL . . . . . 16ddd\) . 16fff\) . [8A\ . [8c\ . 16ddd'\ . 16fff'\ . . . . . 16ccc'\JJ . 16eee'\JJ . =23 =23 =23 =23 =23 =23 =23 =23 (8A\L] . (8c\L] . (16ccc\LL . (16eee\LL . . . . . 16bb-\) . 16ddd\) . 8B-\J) . 8d\J) . 16bb-'\ . 16ddd'\ . . . . . 16aa'\JJ . 16ccc#'\JJ . 4r . 4r . (16aa\LL . (16ccc#\LL . . . . . 16bb-\) . 16ddd\) . . . . . 16bb-'\ . 16ddd'\ . . . . . 16aa'\JJ . 16cccn'\JJ . =24 =24 =24 =24 =24 =24 =24 =24 8r . 8r . (16aa\LL . (16ccc\LL . . . . . 16gg\) . 16bb-\) . 4G\ . 4B-/ . 16gg'\ . 16bb-'\ . . . . . 16ff'\JJ . 16aa'\JJ . . . . . (16ff\LL . (16aa\LL . . . . . 16ee\) . 16gg\) . [8B-\ . [8d\ . 16ee'\ . 16gg'\ . . . . . 16dd'\JJ . 16ff'\JJ . =25 =25 =25 =25 =25 =25 =25 =25 (8B-\L] . (8d\L] . (16dd\LL . (16ff\LL . . . . . 16cc\) . 16ee\JJ) . 8c\J) . 16e\L) p 16ee'\ p 8r . . . 16f'\JJ . 16ff'\JJ . . . 4r . (16f#\LL . (16ff#\LL . 4r . . . 16g\) . 16gg\) . . . . . 16g'\ . 16gg'\ . . . . . 16fn'\JJ . 16ffn'\JJ . . . =26 =26 =26 =26 =26 =26 =26 =26 2r . (16f\LL . (16ff\LL . 4r . . . 16e\) . 16ee\) . . . . . 16e'\ . 16ee'\ . . . . . 16d'\JJ . 16dd'\JJ . . . . . (16d\LL . (16dd\LL . [4ccc\ p . . 16c\) . 16cc\) . . . . . 16c'\ . 16cc'\ . . . . Xp 16Bn'\JJ . 16bn'\JJ . . . =27 =27 =27 =27 =27 =27 =27 =27 8r < (16c\LL < (16cc\LL < (4.ccc\] < . . 16B-\) . 16b-\) . . . (8D\L . (16B-\ . (16b-\ . . . . . 16f\JJ . 16ff\JJ . . . 8E\ > 16g\LL > 16gg\LL > . > . . 16B-\ . 16b-\ . . . 8F\J) . 16A\ . 16a\ . 16aa\LL . . . 16f\JJ) . 16ff\JJ) . 16ccc\JJ) . =28 =28 =28 =28 =28 =28 =28 =28 8r < (16c\LL < (16cc\LL < (4.ccc\ < . . 16B-\) . 16b-\) . . . (8D\L . (16B-\ . (16b-\ . . . . . 16f\JJ . 16ff\JJ . . . 8E\ > 16g\LL > 16gg\LL > . > . . 16B-\ . 16b-\ . . . 8F\J) . 16A\ . 16a\ . 16aa\LL . . . 16f\JJ) . 16ff\JJ) . 16ccc\JJ) . =29 =29 =29 =29 =29 =29 =29 =29 8r Xp (16G/LL Xp (16g\LL Xp 4r Xp . . 16d/JJ) . 16dd\JJ) . . . 8BB-/ . 16r . 16r . . . . . 16d\ . 16dd\ . . . 8r . (16E/LL . (16e/LL . (16fff#\LL . . . 16c/JJ) . 16cc/JJ) . 16ggg\) . 8C/ . 16r . 16r . 16fffn\ . . . 16c\ . 16cc\ . 16eee\JJ . =30 =30 =30 =30 =30 =30 =30 =30 8r < 8r < 8r < (16ddd\LL < . . . . . . 16ccc\) . (8d\L . (8f\L . (8b-\L . (16bb-\ . . . . . . . 16fff\JJ . 8c\ > 8b-\ > 8ee\ > 16ggg\LL > . . . . . . 16bb-\ . 8f\J) . 8a\J) . 8ff\J) . 16aa\ . . . . . . . 16fff\JJ) . =31 =31 =31 =31 =31 =31 =31 =31 8r < 8r < 8r < (16ccc\LL < . . . . . . 16bb-\) . (8DD-/L . (8F/L . (8b-\ . (16bb-\ . . . . . . . 16fff\JJ . 8CC/ > 8E/ > 16gg\LL > 16ggg\LL > . . . . 16b-\ . 16bb-\ . 8FF/J) . 8A/J) . 16a\ . 16aa\ . . . . . 16ff\JJ) . 16fff\JJ) . =32 =32 =32 =32 =32 =32 =32 =32 8r < 8r < 8r < (16gg\LL < . . . . . . 16ddd\JJ) . 8B-\ . 8g\ . 8dd\ . 16r . . . . . . . 16ddd\ . 8r . 8r . 8r . (16ee\LL . . . . . . . 16ccc\JJ) . 8c\ . 8e\ . 8g/ . 16r . . . . . . . 16ccc\ . =33 =33 =33 =33 =33 =33 =33 =33 8r . 8r . 8r . (16ff\LL . . . . . . . 16aa\JJ) . 8A\ . 8f\ . 8cc\ . 16r . . . . . . . 16aa\ . 8r . 8r . 8r . (16a\LL . . . . . . . 16ff\JJ) . 8D\ . 8A/ . 8f/ . 16r . . . . . . . 16ff\ . =34 =34 =34 =34 =34 =34 =34 =34 8r . 8r . 8r . (16g\LL . . . . . . . 16dd\JJ) . 8BB-/ . 8B-/ . 8d/ . 16r . . . . . . . 16dd\ . 8r . 8r . 8r . (16e/LL . . . . . . . 16cc/JJ) . 8C/ . 8G/ . 8e/ . 16r . . . . . . . [16cc\ . =35 =35 =35 =35 =35 =35 =35 =35 4FF/ ff 8A/L ff 8f/L ff 16cc/LL] ff . . . . . . (16c/ . . . 8A/J . 8c/J . 16A/) . . . . . . . (16f/JJ . (8C\L . 8B-/L . 8c/L . 16g/LL) . . . . . . . (16e/ . 16D\L . 8B-/J . 8c/J . 16c/) . 16E\JJ) . . . . . (16g/JJ . =36 =36 =36 =36 =36 =36 =36 =36 8F'\L . 8A/L . 8c/L . 16a/LL) . . . . . . . (16f/ . 8F'\J . 8A/J . 8c/J . 16c/) . . . . . . . (16a/JJ . 8G'\L . 8B-/L . 8e/L . 16b-/LL) . . . . . . . (16g/ . 8G'\J . 8B-/J . 8e/J . 16e/) . . . . . . . (16b-/JJ . =37 =37 =37 =37 =37 =37 =37 =37 8A\L . 8c\L . 8f/L . 16cc/LL) . . . . . . . (16a/ . 8A\J . 8c\J . 8f/J . 16f/) . . . . . . . (16cc/JJ . 8G\L . 8c\L . 8b-\L . 16ee\LL) . . . . . . . (16b-\ . 8G\J . 8c\J . 8b-\J . 16g\) . . . . . . . (16ee\JJ . =38 =38 =38 =38 =38 =38 =38 =38 8F\L . 8c\L . 8a/L . 16ff\LL) . . . . . . . (16cc\ . 8F\J . 8c\J . 8a/J . 16a\) . . . . . . . (16ff\JJ . 8C/L . 8e\L . 8cc\L . 16gg\LL) . . . . . . . (16ee\ . 8C/J . 8e\J . 8cc\J . 16cc\) . . . . . . . (16gg\JJ . =39 =39 =39 =39 =39 =39 =39 =39 4AA/ . 8f\L . 8cc\L . 16aa\LL) . . . . . . . (16ff\ . . . 8f\J . 8cc\J . 16cc\) . . . . . . . (16aa\JJ . (8CC/L . 8g\L . 8b-\L . 16ccc\LL) . . . . . . . (16gg\ . 16DD/L . 8g\J . 8b-\J . 16ee\) . 16EE/JJ) . . . . . 16ccc'\JJ . =40 =40 =40 =40 =40 =40 =40 =40 8FF/L . 8f\L . 8a/L . 16ccc'\LL . . . . . . . (16aa\ . 8FF/J . 8f\J . 8a/J . 16ff\) . . . . . . . (16ccc\JJ . 4r . (8E/L . (8g#/L . 16eee\LL) . . . . . . . (16bbn\ . . . 16F#/L . 16a/L . 16gg#\) . . . 16G#/JJ) . 16bn/JJ) . 16eee'\JJ . =41 =41 =41 =41 =41 =41 =41 =41 4r . 8A/L . 8cc\L . 16eee'\LL . . . . . . . (16ccc\ . . . 8A/J . 8cc\J . 16aa\) . . . . . . . 16eee'\JJ . (8EE/L . (8g#\L . 8dd\L 8ee\ . 16eee'\LL . . . . . . . (16bbn\ . 16FF#/L . 16a\L . 8dd\J 8ee\ . 16aa-\) . 16GG#/JJ) . 16bn\JJ) . . . 16eee'\JJ . =42 =42 =42 =42 =42 =42 =42 =42 8AA'/L . 8cc'\L . 8cc\L 8ee\ . 16eee'\LL . . . . . . . (16ccc\ . 8AA'/J . 8cc'\J . 8cc\J 8ee\ . 16aa\) . . . . . . . 16eee'\JJ . (8DD/L . (8D/L . 8dd\L 8ff\ . 16fff'\LL . . . . . . . (16ddd\ . 16EE/L . 16E/L . 8dd\J 8ff\ . 16aa\) . 16FF#/JJ) . 16Fn/JJ) . . . 16fff'\JJ . =43 =43 =43 =43 =43 =43 =43 =43 (8GGn/L v [4G/ v 2r . (16fff\LL v . . . . . . 16ddd\) . 16BBn/L . . . . . (16ddd\ . 16D/JJ) . . . . . 16fff\JJ) . 4G\ . (8G/L] . . . (16fff\LL v . . . . . . 16ddd\) . . . 16Bn/L . . . (16ddd\ . . . 16d/JJ) . . . 16fff\JJ) . =44 =44 =44 =44 =44 =44 =44 =44 2r . 4g\ . (8g/L v> (16fff\LL v> . . . . . . 16ddd\) . . . . . 8bn/J . (16ddd\ . . . . . . . 16fff\JJ) . . . 4r . 8dd\L . (16fff\LL . . . . . . . 16ddd\) . . . . . 8ff\J) . (16gg\ . . . . . . . 16ggg\JJ) . =45 =45 =45 =45 =45 =45 =45 =45 8r . 8r . (4ee\ p (16ggg\LL p . . . . . . 16gg\) . 8c\ p 8e\ p . . (16gg\ . . . . . . . 16ggg\JJ) . 8r . 8r . 4bn\ . (16ggg\LL . . . . . . . 16gg\) . 8d\ . 8f\ . . . (16gg\ . . . . . . . 16ggg\JJ) . =46 =46 =46 =46 =46 =46 =46 =46 8r . 8r . 4cc\ . (16ggg\LL . . . . . . . 16gg\) . 8e\ . 8g\ . . . (16gg\ . . . . . . . 16ggg\JJ) . 8r . 8r . 4dd-\ . (16ggg\LL . . . . . . . 16gg\) . 8e\ . 8g\ . . . (16gg\ . . . . . . . 16ggg\JJ) . =47 =47 =47 =47 =47 =47 =47 =47 8r . 8r . 4dd\ . (16ggg\LL . . . . . . . 16gg\) . 8f\ . 8bn\ . . . (16gg\ . . . . . . . 16ggg\JJ) . 8r . 8r . 4ee\ . (16ggg\LL . . . . . . . 16gg\) . 8e\ . 8dd-\ . . . (16gg\ . . . . . . . 16ggg\JJ) . =48 =48 =48 =48 =48 =48 =48 =48 8r . 8r . 2ff\) . (16ggg\LL . . . . . . . 16gg\) . 8d'\ . 8dd\ . . . (16gg\ . . . . . . . 16ggg\JJ) . 8r . 8r . . . (16ggg\LL . . . . . . . 16gg\) . 8c'\ . 8dd\ . . . (16gg\ . . . . . . . 16ggg\JJ) . =49 =49 =49 =49 =49 =49 =49 =49 8r < 8r < (4ff\ < (16ggg\LL < . . . . . . 16gg\) . 8Bn\ . 8dd\ . . . (16gg\ . . . . . . . 16ggg\JJ) . 8r . 8r . 4gg\ . (16ggg\LL . . . . . . . 16gg\) . 8A\ . 8ee\ . . . (16gg\ . . . . . . . 16ggg\JJ) . =50 =50 =50 =50 =50 =50 =50 =50 8r . 8r . 4aa\ . (16ggg\LL . . . . . . . 16gg\) . 8G\ . 8ff\ . . . (16gg\ . . . . . . . 16ggg\JJ) . 8r . 8r . 4bn\ . (16ggg\LL . . . . . . . 16gg\) . 8F\ . 8d\ . . . (16gg\ . . . . . . . 16ggg\JJ) . =51 =51 =51 =51 =51 =51 =51 =51 8r > 8r > 4cc\ > (16ggg\LL > . . . . . . 16gg\) . 8E\ . 8e\ . . . (16gg\ . . . . . . . 16ggg\JJ) . 8r . 8r . 4dd\ . (16ggg\LL . . . . . . . 16gg\) . 8D\ . 8f\ . . . (16gg\ . . . . . . . 16ggg\JJ) . =52 =52 =52 =52 =52 =52 =52 =52 8r . 8r . 4ee\ . (16ggg\LL . . . . . . . 16gg\) . 8C/ . 8g\ . . . (16gg\ . . . . . . . 16ggg\JJ) . 8r . 8r . 4ff\) . (16ggg\LL . . . . . . . 16gg\) . 8GG/ . 8bn\ . . . (16gg\ . . . . . . . 16ggg\JJ) . =53 =53 =53 =53 =53 =53 =53 =53 (4E-\ Xp 8cc\ Xp 8ee-\ Xp (16ggg\LL Xp . . . . . . 16gg\) . . . 4G/ . 4g/ . (16gg\ . . . . . . . 16ggg\JJ) . 4BBn/ . . . . . (16fff\LL . . . . . . . 16gg\) . . . [8G/ . [8g/ . (16gg\ . . . . . . . 16fff\JJ) . =54 =54 =54 =54 =54 =54 =54 =54 4C/ . 8G/] . 8g/] . (4eee-\ . . . 4G/ . 4g/ . . . 4D\ . . . . . 4bbn\ . . . [8G/ . [8g/ . . . =55 =55 =55 =55 =55 =55 =55 =55 4E-\ . 8G/] . 8g/] . 4ccc\ . . . 4G/ . 4g/ . . . 4En\ . . . . . 4ddd-\ . . . [8G/ . [8g/ . . . =56 =56 =56 =56 =56 =56 =56 =56 2F\) . 8G/] . 8g/] . 4ddd\ . . . 4G/ . 4g/ . . . . . . . . . 4eee-\ . . . [8G/ . [8g/ . . . =57 =57 =57 =57 =57 =57 =57 =57 (4F\ < 8G/] < 8g/] < 2fff\) < . . 4G/ . 4g/ . . . 4G\ . . . . . . . . . [8G/ . [8g/ . . . =58 =58 =58 =58 =58 =58 =58 =58 4A-\ . 8G/] . 8g/] . (4fff\ . . . 4G/ . 4g/ . . . 4BBn/ . . . . . 4ggg\ . . . [8G/ . [8g/ . . . =59 =59 =59 =59 =59 =59 =59 =59 4C/ . 8G/] . 8g/] . 4aaa-\ . . . 4G/ . 4g/ . . . 4D\ . . . . . 4bbn\ . . . [8G/ . [8g/ . . . =60 =60 =60 =60 =60 =60 =60 =60 4E-\ > 8G/] > 8g/] > 4ccc\ > . . 4G/ . 4g/ . . . 4D\ . . . . . 4ddd\) . . . [8G/ . [8g/ . . . =61 =61 =61 =61 =61 =61 =61 =61 4C/ . 8G/] . 8g/] . [2eee-\ . . . 4G/ . 4g/ . . . 4BB-/) . . . . . . . . . (8G/ . (8dd-\ . . . =62 =62 =62 =62 =62 =62 =62 =62 [2AA-/ pp [2A-/) pp 2cc\) pp (4eee-\] pp . . . . . . 8bbn\L . . . . . . . 16ccc\L . . . . . . . 16ddd\JJ) . =63 =63 =63 =63 =63 =63 =63 =63 2AA-/_ . 4A-/] . [2f#/ . 8eee-'\L . . . . . . . 8eee-'\J . . . (8Bn\L . . . 8ddd'\L . . . 16c\L . . . 8ddd'\J . . . 16d\JJ) . . . . . =64 =64 =64 =64 =64 =64 =64 =64 2AA-/] . 8e-'\L . 2f#/] . 8ccc'\L . . . 8e-'\J . . . 8ccc'\J . . . 8d'\L . . . (8bbn\L . . . 8d'\J . . . 16ccc\L . . . . . . . 16ddd\JJ) . =65 =65 =65 =65 =65 =65 =65 =65 16GG'/LL ff 2c\ ff 2g/ ff 2eee\ ff 16AA'/ . . . . . . . 16BBn'/ . . . . . . . 16C'/JJ . . . . . . . 16D'\LL . . . . . . . 16E'\ . . . . . . . 16F'\ . . . . . . . 16G'\JJ . . . . . . . =66 =66 =66 =66 =66 =66 =66 =66 2F\ v 16F'/LL . 2c/ v 2f/ 2a/ v . . 16G'/ . . . . . . . 16A'/ . . . . . . . 16Bn'/JJ . . . . . . . 16c'\LL . . . . . . . 16d'\ . . . . . . . 16e'\ . . . . . . . 16f'\JJ . . . . . =67 =67 =67 =67 =67 =67 =67 =67 2D\ . 2F/ 2G/ . 16ff'\LL f 16bn'\LL . . . . . 16ee'\ . 16cc'\ . . . . . 16dd'\ . 16dd'\ . . . . . 16cc'\JJ . 16ee'\JJ . . . . . 16bn'/LL . 16ff'\LL . . . . . 16a'/ . 16gg'\ . . . . . 16g'/ . 16aa'\ . . . . . 16f'/JJ . 16bbn'\JJ . =68 =68 =68 =68 =68 =68 =68 =68 16C/LL . 16e\LL . 16e/LL . 16ccc\LL . 16BBn/ . 16d\ . 16f/ . 16ddd\ . 16AA/ . 16c\ . 16g/ . 16eee\ . 16GG/JJ . 16Bn\JJ . 16a/JJ . 16fff\JJ . 16FF/LL . 16A/LL . 16bn\LL . 16ggg\LL . 16EE/ . 16G/ . 16cc\ . 16aaa\ . 16DD/ . 16F/ . 16dd\ . 16bbbn\ . 16CC/JJ . 16E/JJ . 16ee\JJ . 16cccc\JJ . =69 =69 =69 =69 =69 =69 =69 =69 8FF/ . 8c\ . 8ff\ . 8aaa\ . 8r . 8r . 8r . 8r . 8F\ . 8c\ 8a\ . 8f/ 8a/ . 8f\ 8cc\ 8aa\ . 8r . 8r . 8r . 8r . =70 =70 =70 =70 =70 =70 =70 =70 8G\ . 8c\ 8g\ . 8e/ 8cc/ 8ee/ . 8e\ 8cc\ 8gg\ . 8r . 8r . 8r . 8r . 8GG/ . 8G/ . 8G/ 8f/ . 8G/ 8d/ 8bn/ . 8r . 8r . 8r . 8r . =71 =71 =71 =71 =71 =71 =71 =71 4r . 2r . 2r . 2r . (8BBn/L pp . . . . . . 16C/L . . . . . . . 16D/JJ) . . . . . . . =72 =72 =72 =72 =72 =72 =72 =72 8E-\L . 4r . 4r . 4r . 8E-\J . . . . . . . 8E-\L . (8A/L pp (8a\L pp (8ff#\L pp 8E-\J . 16G/L . 16bn\L . 16gg\L . . . 16F#/JJ) . 16cc\JJ) . 16aa\JJ) . =73 =73 =73 =73 =73 =73 =73 =73 8.E\L < 8.G/L < 16cc\LL < 16gg\LL < . . . . 16ee\J . 16gg\J . . . . . [8ee\J . [8gg\J . 16G'\Jk . 16c'/Jk . . . . . 8.G\L . 8.c\L . 16ee\LL] . 16gg\LL] . . . . . 16ee\J . 16gg\J . . . . . [8ee\J . [8gg\J . 16c'\Jk . 16e'\Jk . . . . . =74 =74 =74 =74 =74 =74 =74 =74 8.c\L . 8.e\L . 16ee\LL] . 16gg\LL] . . . . . 16ee\J . 16gg\J . . . . . [8ee\J . [8gg\J . 16e\Jk . 16g\Jk . . . . . (16e\LL . (16g\LL . 16ee\LL] . 16gg\LL] . 16c\) . 16e\) . 16ee\ . 16gg\ . 16G'\ . 16c'\ . 16ee\ . 16gg\ . 16E'\JJ . 16G'\JJ . 16ee\JJ . 16gg\JJ . =75 =75 =75 =75 =75 =75 =75 =75 8.D\L . 8.F/L . 16ff\LL . 16gg\LL . . . . . 16ff\J . 16gg\J . . . . . [8ff\J . [8gg\J . 16F'\Jk . 16Bn'/Jk . . . . . 8.F\L . 8.B\L . 16ff\LL] . 16gg\LL] . . . . . 16ff\J . 16gg\J . . . . . [8ff\J . [8gg\J . 16Bn'\Jk . 16d'\Jk . . . . . =76 =76 =76 =76 =76 =76 =76 =76 8.Bn\L . 8.d\L . 16ff\LL] . 16gg\LL] . . . . . 16ff\J . 16gg\J . . . . . [8ff\J . [8gg\J . 16d\Jk . 16f\Jk . . . . . 16d\LL . 16f/LL . 16ff\LL] . 16gg\LL] . 16B\ . 16d/ . 16ff\ . 16gg\ . 16F\ . 16Bn/ . 16ff\ . 16gg\ . 16D\JJ . 16F/JJ . 16ff\JJ . 16gg\JJ . =77 =77 =77 =77 =77 =77 =77 =77 16C\LL f 16G/LL f 8.ee\L f 8.gg\L f 16c\J . 16e/J . . . . . [8c\J . [8e/J . . . . . . . . . 16gg'\Jk . 16ccc'\Jk . 16c\LL] . 16e\LL] . 8.gg\L . 8.ccc\L . 16c\J . 16e\J . . . . . [8c\J . [8e\J . . . . . . . . . 16ccc'\Jk . 16eee'\Jk . =78 =78 =78 =78 =78 =78 =78 =78 16c\LL] . 16e\LL] . 8.ccc\L . 8.eee\L . 16c\J . 16e\J . . . . . [8c\J . [8e\J . . . . . . . . . 16eee'\Jk . 16ggg'\Jk . 16c\LL] . 16e\LL] . (16eee\LL . (16ggg\LL . 16c\ . 16e\ . 16ccc\) . 16eee\) . 16c\ . 16e\ . 16gg'\ . 16ccc'\ . 16c\JJ . 16e\JJ . 16ee'\JJ . 16gg'\JJ . =79 =79 =79 =79 =79 =79 =79 =79 16d\LL . 16f\LL . 8.dd\L . 8.ff\L . 16G\J . 16d\J . . . . . [8G\J . [8d\J . . . . . . . . . 16ff'\Jk . 16bbn'\Jk . 16G\LL] . 16d\LL] . 8.ff\L . 8.bb\L . 16G\J . 16d\J . . . . . [8G\J . [8d\J . . . . . . . . . 16bbn'\Jk . 16ddd'\Jk . =80 =80 =80 =80 =80 =80 =80 =80 16G\LL] . 16d\LL] . 8.bbn\L . 8.ddd\L . 16G\J . 16d\J . . . . . [8G\J . [8d\J . . . . . . . . . 16ddd'\Jk . 16fff'\Jk . 16G\LL] . 16d\LL] . (16ddd\LL . (16fff\LL . 16G\ . 16d\ . 16bb\) . 16ddd\) . 16G\ . 16d\ . 16ff'\ . 16bbn'\ . 16Bn\JJ . 16d\JJ . 16dd'\JJ . 16ff'\JJ . =81 =81 =81 =81 =81 =81 =81 =81 16c\LL p 16e\LL p 8.cc\L p 8.ee\L p 16c\J . 16e\J . . . . . [8G\J . [8f\J . . . . . . . . . 16bn'\Jk . 16dd'\Jk . 16G\LL] . 16f\LL] . 8.cc\L . 8.ee\L . 16c\J . 16e\J . . . . . [8A\J . [8g\J . . . . . . . . . 16cc#'\Jk . 16ee'\Jk . =82 =82 =82 =82 =82 =82 =82 =82 16A\LL] . 16g\LL] . 8.dd\L . 8.ff\L . 16d\J . 16f\J . . . . . [8A\J . [8g\J . . . . . . . . . 16cc#'\Jk . 16ee'\Jk . 16A\LL] . 16g\LL] . 8.dd\L . 8.ff\L . 16d\J . 16f\J . . . . . 8G\J . 8f\J . . . . . . . . . 16bn'\Jk . 16dd'\Jk . =83 =83 =83 =83 =83 =83 =83 =83 16c\LL < 16e/LL < 8.cc\L < 8.ee\L < 16C\JJ . 16E/JJ . . . . . [8GG/ . [8F/ . . . . . . . . . 16dd'\Jk . 16bbn'\Jk . 16GG'/LL] . 16F/LL] . 8.ee\L . 8.ccc\L . 16C/J . 16E/J . . . . . [8AA/J . [8G/J . . . . . . . . . 16ee'\Jk . 16ccc#'\Jk . =84 =84 =84 =84 =84 =84 =84 =84 16AA/LL] . 16G/LL] . 8.ff\L . 8.ddd\L . 16D/J . 16F/J . . . . . [8AA/J . [8G/J . . . . . . . . . 16ee\Jk . 16ccc#\Jk . 16AA/LL] . 16G/LL] . 8.ff\L . 8.ddd\L . 16D/J . 16F/J . . . . . [8GG/J . [8f/J . . . . . . . . . 16dd\Jk . 16bbn\Jk . =85 =85 =85 =85 =85 =85 =85 =85 16GG/LL] . 16f\LL] . 8.ee\L . 8.eee\L . 16C/J . 16e\J . . . . . [8BBn/J . [8d\J . . . . . . . . . 16gg\Jk . 16ggg\Jk . 16BB/LL] . 16d\LL] . 8.cc\L . 8.cccn\L . 16AA/J . 16c\J . . . . . [8GG/J . [8Bn\J . . . . . . . . . 16ee\Jk . 16eee\Jk . =86 =86 =86 =86 =86 =86 =86 =86 16GG/LL] . 16B/LL] . 8.a\L . 8.aa\L . 16FF/J . 16A/J . . . . . [8DD/J . [8F/J . . . . . . . . . 16dd\Jk . 16ddd\Jk . 16DD/LL] . 16F/LL] . 8.cc\L . 8.ccc\L . 16GG/J . 16G/J . . . . . [8GG/J . [8G/J . . . . . . . . . 16bn\Jk . 16bbn\Jk . =87 =87 =87 =87 =87 =87 =87 =87 16GG/LK] . 16G/LK] . 16ee'\LK f 16eee'\LK f 8C/ f 8e/ f 8.gg\J v 8.ggg\J v [16BBn/Jk . [16d/Jk . . . . . 16BB/LK] . 16d\LK] . 16cc'\LK . 16ccc'\LK . 8AA/ . 8c\ . 8.ee\J . 8.eee\J . [16GG/Jk . [16Bn\Jk . . . . . =88 =88 =88 =88 =88 =88 =88 =88 16GG/LK] . 16B/LK] . 16a'\LK . 16aa'\LK . 8FF/ . 8A/ . 8.dd\J . 8.ddd\J . [16DD/Jk . [16F/Jk . . . . . 16DD/LK] . 16F/LK] . 16cc'\LK . 16ccc'\LK . 8GG/ . 8G/ . 8.bn\J . 8.bbn\J . 16GG/Jk . 16G/Jk . . . . . =89 =89 =89 =89 =89 =89 =89 =89 16CC/ ff 16C/ 16c/ ff 8cc\ ff 16ccc'\LL ff (16CC/LL . (16C/LL . . . (16c\ . 16DD/) . 16D/) . 8r . 16d\) . (16EE/JJ . (16E/JJ . . . (16e\JJ . 16FF/LL) . 16F/LL) . 16r . 16f/LL) . (16GG/ . (16G/ . (16G/LL . (16g/ . 16AA/) . 16A/) . 16A/) . 16a/) . (16BBn/JJ . (16Bn/JJ . (16Bn/JJ . (16bn/JJ . =90 =90 =90 =90 =90 =90 =90 =90 16C\LL) . 16c\LL) . 16c/LL) . 16cc\LL) . (16D\ . (16d\ . (16d/ . (16dd\ . 16E\) . 16e\) . 16e/) . 16ee\) . (16F\JJ . (16f\JJ . (16f/JJ . (16ff\JJ . 16G\LL) . 16g\LL) . 16g/LL) . 16gg\LL) . (16A\ . (16A\ . (16a/ . (16aa\ . 16Bn\) . 16Bn\) . 16bn/) . 16bbn\) . (16c\JJ . (16c\JJ . (16cc/JJ . (16ccc\JJ . =91 =91 =91 =91 =91 =91 =91 =91 16d\LL) . 16d\LL) . 16dd\LL) . 16ddd\LL) . (16E\ . (16e\ . (16ee\ . (16eee\ . 16F\) . 16f\) . 16ff\) . 16fff\) . (16E'\JJ . (16g'\JJ . (16gg'\JJ . (16ggg'\JJ . 8F'\L) . 8a'\L) . 8aa'\L) . 8aaa'\L) . 8G'\J . 8G'\J 8f'\ . 8dd'\J 8bbn'\ . 8bbbn'\J . =92 =92 =92 =92 =92 =92 =92 =92 16C/LL . 16G/LL 16e/ . 16ee\LL 16ccc\ . 16cccc\LL . (16C/ . (16E/ . (16eee\ . (16ggg\ . 16BBn/) . 16D/) . 16fff\) . 16aaa\) . (16D/JJ . (16F/JJ . (16ddd\JJ . (16fff\JJ . 16C/LL) . 16E/LL) . 16eee\LL) . 16ggg\LL) . (16C/ . (16E/ . (16ccc\ . (16eee\ . 16BB/) . 16D/) . 16ddd\) . 16fff\) . (16D/JJ . (16F/JJ . (16bbn\JJ . (16ddd\JJ . =93 =93 =93 =93 =93 =93 =93 =93 16C\LL) . 16E/LL) . 16ccc\LL) . 16eee\LL) . (16E\ . (16G/ . (16ee\ . (16ccc\ . 16D\) . 16F/) . 16ff\) . 16ddd\) . (16F\JJ . (16A-/JJ . (16dd\JJ . (16bbn\JJ . 16E\LL) > 16G/LL) > 16ee\LL) > 16ccc\LL) > (16E\ . (16c/ . (16ee\ . (16gg\ . 16D\) . 16Bn/) . 16ff\) . 16aa\) . (16F\JJ . (16d/JJ . (16dd\JJ . (16ff\JJ . =94 =94 =94 =94 =94 =94 =94 =94 16E\LL) . 16c\LL) . 16ee\LL) . 16gg\LL) . (16G\ . (16e\ . (16cc\ . (16ee\ . 16F\) . 16d\) . 16dd\) . 16ff\) . (16A-\JJ . (16f\JJ . (16bn\JJ . (16dd\JJ . 16G\LL) . 16e\LL) . 16cc\LL) . 16ee\LL) . (16c\ . (16e\ . (16ee\ . (16cc\ . 16Bn\) . 16d\) . 16ff\) . 16dd\) . (16d\JJ . (16f\JJ . (16dd\JJ . (16bn\JJ . =95 =95 =95 =95 =95 =95 =95 =95 16c\LL) . 16e\LL) . 16ee\LL) . 16cc\LL) . (16e\ . (16g\ . (16dd\ . (16bn\ . 16d\) . 16f\) . 16ff\) . 16dd\) . (16f\JJ . (16a-\JJ . (16dd\JJ . (16b\JJ . 16e\LL) . 16g\LL) . 16ee\LL) . 16cc\LL) . (16e\ . (16g\ . (16dd\ . (16b\ . 16d\) . 16f\) . 16ff\) . 16dd\) . (16f\JJ . (16a-\JJ . (16dd\JJ . (16b\JJ . =96 =96 =96 =96 =96 =96 =96 =96 16e\LL) p 16g\LL) p 16ee\LL) p 16cc\LL) p 16c\ > (16d\ > (16f\ > (16bn\ > 16c\ . 16f\ . 16a-\ . 16dd\ . 16c\JJ . 16d\JJ . 16f\JJ . 16b\JJ . 16c\LL . 16e\LL . 16g/LL . 16cc\LL . 16c\ . 16d\ . 16f/ . 16b\ . 16c\ . 16f\ . 16a-/ . 16dd\ . 16c\JJ . 16d\JJ . 16f/JJ . 16b\JJ . =97 =97 =97 =97 =97 =97 =97 =97 16c\LL . 16e\LL . 16g/LL . 16cc\LL . 16c\ . 16d\ . 16f/ . 16bn\ . 16c\ . 16f\ . 16a-/ . 16dd\ . 16c\JJ . 16d\JJ . 16f/JJ . 16b\JJ . 16c\LL . 16e\LL . 16g/LL . 16cc\LL . 16c\ . 16d\ . 16f/ . 16b\ . 16c\ . 16f\ . 16a-/ . 16dd\ . 16c\JJ . 16d\JJ) . 16f/JJ) . 16b\JJ) . =98 =98 =98 =98 =98 =98 =98 =98 8c\ pp 8e\ pp 8g/ pp [2cc\ pp 8r . 8r . 8r . . . 4r . 4r . 4r . . . =99 =99 =99 =99 =99 =99 =99 =99 2r . 2r . 2r . 2cc\] . =100:|! =100:|! =100:|! =100:|! =100:|! =100:|! =100:|! =100:|! *- *- *- *- *- *- *- *-

The value 1 cannot be used in the integer panning system, but you can use 1.1 to represent 1 since the fractional part is is ignored. The *pan= interpretation can be used independently in multiple channels as shown in the above string-quartet example. Typically each spine of a Humdrum file will be performed in a separate MIDI channel. For large orchestral files, different spines with the same instrument must share MIDI channels, and then only one of the panning commands would be used. In other words, in MIDI there is only one panning message active in a single MIDI channel at any given time. Since there are only 16 MIDI channels, files with large spine counts will have to share channels, and thus the panning information cannot be fully realized for spines which have to share the same channel.

Multi-track versus Single-track MIDI files

Standard MIDI files can come in three different formats:
• "type-0" which means all notes are stored in a single "track" within a MIDI file.
• "type-1" which means that more than one parallel track can be found in the MIDI file.
• "type-2" which means that more than one serial track can be found in the MIDI file. (This is a very rare type which was intended to be used to store multiple movements/songs within a single MIDI file). This format cannot be output by hum2mid currently, but may be added in the future.

By default, hum2mid will output a MIDI file in the type-1 format, with one track for each **kern spine in the input data. In these cases, the very first track of a MIDI file is reserved for special messages such as tempo markings which affect all tracks equally. The following tracks map sequentially to spines within the input Humdrum data.

When using the -0 (or -O to avoid orthographic confusion) option, the output MIDI file will be in the single-track type-0 format, with the data from all spines collapsed into a single track. Below is a demonstration of what the output of a type-0 and type-1 MIDI file (in ASCII representation) looks like for the following Humdrum input:

**kern **text **kern **text 4c This 4cc Here 4d is 4dd is 4e some 4ee some 4f text 4ff more 4g to 4gg text 4a place 4aa for 4b in 4bb track 4cc track 4ccc 4. 2c 2. 2cc . *- *- *- *-

hum2mid track.krn > track.txt ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Number of Tracks: 5 Time method: 1 (Absolute timing) Divisions per Quarter Note: 120 Track 0 +++++++++++++++++++++++++++++++++++++++++++++++++++ 1320 0xff 47 0 Track 1 +++++++++++++++++++++++++++++++++++++++++++++++++++ 0 0x90 60 68 120 0x80 60 68 120 0x90 62 59 240 0x80 62 59 240 0x90 64 62 360 0x80 64 62 360 0x90 65 61 480 0x80 65 61 480 0x90 67 66 600 0x80 67 66 600 0x90 69 63 720 0x80 69 63 720 0x90 71 62 840 0x80 71 62 840 0x90 72 64 960 0x80 72 64 960 0x90 60 72 1200 0x80 60 72 1319 0x90 0 0 1320 0xff 47 0 Track 2 +++++++++++++++++++++++++++++++++++++++++++++++++++ 0 0xff TEXT [This] 120 0xff TEXT [is] 240 0xff TEXT [some] 360 0xff TEXT [text] 480 0xff TEXT [to] 600 0xff TEXT [place] 720 0xff TEXT [in] 840 0xff TEXT [track] 960 0xff TEXT [2.] 1319 0x90 0 0 1320 0xff 47 0 Track 3 +++++++++++++++++++++++++++++++++++++++++++++++++++ 0 0x92 72 68 120 0x82 72 68 120 0x92 74 60 240 0x82 74 60 240 0x92 76 62 360 0x82 76 62 360 0x92 77 69 480 0x82 77 69 480 0x92 79 64 600 0x82 79 64 600 0x92 81 60 720 0x82 81 60 720 0x92 83 66 840 0x82 83 66 840 0x92 84 67 960 0x82 84 67 960 0x92 72 66 1200 0x82 72 66 1319 0x90 0 0 1320 0xff 47 0 Track 4 +++++++++++++++++++++++++++++++++++++++++++++++++++ 0 0xff TEXT [Here] 120 0xff TEXT [is] 240 0xff TEXT [some] 360 0xff TEXT [more] 480 0xff TEXT [text] 600 0xff TEXT [for] 720 0xff TEXT [track] 840 0xff TEXT [4.] 1319 0x90 0 0 1320 0xff 47 0 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

hum2mid -0 track.krn > track0.txt ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Number of Tracks: 1 Time method: 1 (Absolute timing) Divisions per Quarter Note: 120 Track 0 +++++++++++++++++++++++++++++++++++++++++++++++++++ 0 0x90 60 63 0 0x92 72 64 0 0xff TEXT [This] 0 0xff TEXT [Here] 120 0x80 60 63 120 0x82 72 64 120 0x90 62 69 120 0x92 74 65 120 0xff TEXT [is] 120 0xff TEXT [is] 240 0x80 62 69 240 0x82 74 65 240 0x90 64 62 240 0x92 76 66 240 0xff TEXT [some] 240 0xff TEXT [some] 360 0x80 64 62 360 0x82 76 66 360 0x90 65 60 360 0x92 77 69 360 0xff TEXT [text] 360 0xff TEXT [more] 480 0x80 65 60 480 0x82 77 69 480 0x90 67 66 480 0x92 79 62 480 0xff TEXT [to] 480 0xff TEXT [text] 600 0x80 67 66 600 0x82 79 62 600 0x90 69 63 600 0x92 81 64 600 0xff TEXT [place] 600 0xff TEXT [for] 720 0x80 69 63 720 0x82 81 64 720 0x90 71 64 720 0x92 83 66 720 0xff TEXT [in] 720 0xff TEXT [track] 840 0x80 71 64 840 0x82 83 66 840 0x90 72 61 840 0x92 84 60 840 0xff TEXT [track] 840 0xff TEXT [4.] 960 0x80 72 61 960 0x82 84 60 960 0x90 60 70 960 0x92 72 62 960 0xff TEXT [2.] 1200 0x80 60 70 1200 0x82 72 62 1319 0x90 0 0 1320 0xff 47 0 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

Notice in the above example that, when a type-0 MIDI file is created, the text spine data are stored in the same track, and become irreversibly mixed together. If you do not want to store non-**kern data spines as text meta-messages in the output MIDI data (either type-0 or type-1 MIDI files), use the -T option to suppress preserving text messages:

hum2mid -0 track.krn > track0.txt ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Number of Tracks: 1 Time method: 1 (Absolute timing) Divisions per Quarter Note: 120 Track 0 +++++++++++++++++++++++++++++++++++++++++++++++++++ 0 0x90 60 63 0 0x92 72 64 0 0xff TEXT [This] 0 0xff TEXT [Here] 120 0x80 60 63 120 0x82 72 64 120 0x90 62 69 120 0x92 74 65 120 0xff TEXT [is] 120 0xff TEXT [is] 240 0x80 62 69 240 0x82 74 65 240 0x90 64 62 240 0x92 76 66 240 0xff TEXT [some] 240 0xff TEXT [some] 360 0x80 64 62 360 0x82 76 66 360 0x90 65 60 360 0x92 77 69 360 0xff TEXT [text] 360 0xff TEXT [more] 480 0x80 65 60 480 0x82 77 69 480 0x90 67 66 480 0x92 79 62 480 0xff TEXT [to] 480 0xff TEXT [text] 600 0x80 67 66 600 0x82 79 62 600 0x90 69 63 600 0x92 81 64 600 0xff TEXT [place] 600 0xff TEXT [for] 720 0x80 69 63 720 0x82 81 64 720 0x90 71 64 720 0x92 83 66 720 0xff TEXT [in] 720 0xff TEXT [track] 840 0x80 71 64 840 0x82 83 66 840 0x90 72 61 840 0x92 84 60 840 0xff TEXT [track] 840 0xff TEXT [4.] 960 0x80 72 61 960 0x82 84 60 960 0x90 60 70 960 0x92 72 62 960 0xff TEXT [2.] 1200 0x80 60 70 1200 0x82 72 62 1319 0x90 0 0 1320 0xff 47 0 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

hum2mid -0 -T track.krn > track0notext.txt ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Number of Tracks: 1 Time method: 1 (Absolute timing) Divisions per Quarter Note: 120 Track 0 +++++++++++++++++++++++++++++++++++++++++++++++++++ 0 0x90 60 62 0 0x92 72 59 120 0x80 60 62 120 0x82 72 59 120 0x90 62 62 120 0x92 74 68 240 0x80 62 62 240 0x82 74 68 240 0x90 64 65 240 0x92 76 64 360 0x80 64 65 360 0x82 76 64 360 0x90 65 69 360 0x92 77 62 480 0x80 65 69 480 0x82 77 62 480 0x90 67 69 480 0x92 79 63 600 0x80 67 69 600 0x82 79 63 600 0x90 69 66 600 0x92 81 60 720 0x80 69 66 720 0x82 81 60 720 0x90 71 72 720 0x92 83 65 840 0x80 71 72 840 0x82 83 65 840 0x90 72 60 840 0x92 84 68 960 0x80 72 60 960 0x82 84 68 960 0x90 60 70 960 0x92 72 66 1200 0x80 60 70 1200 0x82 72 66 1319 0x90 0 0 1320 0xff 47 0 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

By default, Humdrum comments are also preserved in the MIDI file (so, for example, the MIDI file is self-documented with embedded reference records). To prevent Humdrum comments from being stored in the output MIDI data, use the -C option:

hum2mid comment.krn > comment.txt ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Number of Tracks: 2 Time method: 1 (Absolute timing) Divisions per Quarter Note: 120 Track 0 +++++++++++++++++++++++++++++++++++++++++++++++++++ 0 0xff TEXT [!!!ONB: This is a reference record] 0 0xff TEXT [!! This is a global comment] 720 0xff 47 0 Track 1 +++++++++++++++++++++++++++++++++++++++++++++++++++ 0 0x90 60 65 120 0x80 60 65 120 0x90 62 60 240 0x80 62 60 240 0x90 64 69 360 0x80 64 69 360 0x90 65 64 480 0x80 65 64 480 0x90 67 72 600 0x80 67 72 719 0x90 0 0 720 0xff 47 0 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

hum2mid -C comment.krn > no-comment.txt ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Number of Tracks: 2 Time method: 1 (Absolute timing) Divisions per Quarter Note: 120 Track 0 +++++++++++++++++++++++++++++++++++++++++++++++++++ 720 0xff 47 0 Track 1 +++++++++++++++++++++++++++++++++++++++++++++++++++ 0 0x90 60 68 120 0x80 60 68 120 0x90 62 64 240 0x80 62 64 240 0x90 64 63 360 0x80 64 63 360 0x90 65 66 480 0x80 65 66 480 0x90 67 69 600 0x80 67 69 719 0x90 0 0 720 0xff 47 0 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

Local comments are currently not stored in the output MIDI data, but this will probably change in the future.

A comment string can be added to the output MIDI file by using the -n option. This comment can be used, for example, to store the date on which the MIDI file was created.

hum2mid -n "embedded comment" comment.krn > ecomment.txt
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Number of Tracks: 2 Time method: 1 (Absolute timing) Divisions per Quarter Note: 120 Track 0 +++++++++++++++++++++++++++++++++++++++++++++++++++ 0 0xff TEXT [embedded comment] 0 0xff TEXT [!!!ONB: This is a reference record] 0 0xff TEXT [!! This is a global comment] 720 0xff 47 0 Track 1 +++++++++++++++++++++++++++++++++++++++++++++++++++ 0 0x90 60 69 120 0x80 60 69 120 0x90 62 62 240 0x80 62 62 240 0x90 64 62 360 0x80 64 62 360 0x90 65 65 480 0x80 65 65 480 0x90 67 68 600 0x80 67 68 719 0x90 0 0 720 0xff 47 0 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

MIDI Plus extensions

MIDI data does not allow for musical spelling of pitches to be encoded. Instead the MIDI protocol, and MIDI files by extension, store pitch information as a note number (integer) value in the range from 0 to 127. For example, the pitch C-sharp a half-step above middle C is the number 61. D-flat a half-step above middle C is also the number 61 (as is B-double-sharp a half-step above middle C). Therefore, the diatonic pitch spelling of the MIDI note number 61 is ambiguous (as are all note numbers). When standard MIDI file data is loaded into a music notation program, the program must decide how the pitch 61 is to be diatonically spelled. The program can use a simple algorithm (such as always use C-sharp for 61, or use C-sharp or D-flat depending on the prevailing key), or more complex algorithms which take into account melodic and harmonic contexts for the note. In any case, no algorithm can produce 100% correct spellings (consider for example the case where the composer intentionally misspells a diatonic note name).

There are several non-standard extensions to the MIDI file format which allow for diatonic spellings of note numbers to be preserved. Three basic possibilities exist:

1. store the pitch name as a meta message
2. store the pitch name as an exclusive message
3. store the pitch name within the low-order bits of the note attack volume.

The MIDI Plus extension to MIDI uses the third method. This guarantees that the note spelling does not get detached from the note if the MIDI data is manipulated (such as multiple tracks sorted into a single list). The --plus option activates the MIDI Plus extension within the output MIDI file data.

MIDI Plus pitch spelling codes

MIDI note-on messages contain three bytes: (1) A command byte which indicates a note-on and which MIDI channel to play the note on, (2) the MIDI note number (0-127), and (3) the attack velocity which will control how loud the note is played (also 0-127). The attack-velocity byte contains 7 bits of information. In the MIDI Plus system, the least-significant two bits of this value are used to store the diatonic spelling, allowing up to double-sharp/double-flat spellings.

The four states represented by these two bits are:

1. 00 = No MIDI Plus spelling information stored for note.
2. 01 = Use the flattest possible diatonic spelling
3. 10 = Use the middle possible diatonic spelling.
4. 11 = Use the sharpest possible diatonic spelling.

Examples: For MIDI note 60, if the attack velocity lowest two bits are 00 then no spelling information is stored and the diatonic spelling is undefined. 01 means that note number 60 maps to the diatonic spelling D-double-flat; 02 means that the note number 60 maps to C-natural; and 03 means that the note number 60 maps to B-sharp. One triple-sharp is allowed in the border case of the system: MIDI note number 68 can be: 01=A-flat, 02=G-sharp, or 03=F-triple-sharp.

MIDI Plus slur markings are partially implemented in hum2mid as well (only at the first phrase level).

Rhythmic-scaling option

If you have music written in 3/16 meter, for example, and you want the MIDI file to be used to identify beats, an easy method is to scale the rhythmic durations by 4 so that the 3/16 meter appears as if it is in 3/4 in the converted MIDI file. To do this, use the -r option:

      hum2mid -r 4 file.krn -o file.mid
 

Fractional values can be used. For example, 6/8 could be mapped to 2/4 in the output MIDI file using a rhythmic scaling value of 0.666667 (two-thirds):

      hum2mid -r 0.666667 file.krn -o file.mid
 

Miscellaneous options

No padding

By default, the hum2mid program will add an extra note-off at the end of the tracks to prevent some MIDI playback programs from clipping the duration of the last note in the MIDI file. This feature can be turned off by using the -P option.

hum2mid -0 pad.krn > pad.txt ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Number of Tracks: 1 Time method: 1 (Absolute timing) Divisions per Quarter Note: 120 Track 0 +++++++++++++++++++++++++++++++++++++++++++++++++++ 0 0x90 66 64 120 0x80 66 64 239 0x90 0 0 240 0xff 47 0 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

hum2mid -P -0 pad.krn > nopad.txt ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Number of Tracks: 1 Time method: 1 (Absolute timing) Divisions per Quarter Note: 120 Track 0 +++++++++++++++++++++++++++++++++++++++++++++++++++ 0 0x90 66 68 120 0x80 66 68 240 0xff 47 0 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

No initial rests

By default, any initial rests in the input Humdrum file will cause a delay of the first notes in the output MIDI file. If these initial rests are not wanted, the pause can be removed from the MIDI file by using the --no-rest option.

hum2mid rest.krn -o rest.mid hum2mid --no-rest rest.krn -o norest.mid


**kern 0r 4c 4d 4e 4f 4g 4a 4b 2cc *-

Input arguments or piped data which are expected to be Humdrum files can also be web addresses. For example, if a program can process files like this:

       program file.krn

It can also read the data over the web:

       program http://www.some-computer.com/some-directory/file.krn

Piped data works in a somewhat similar manner:

       cat file.krn | program

is equivalent to a web file using ths form:

       echo http://www.some-computer.com/some-directory/file.krn | program

Besides the http:// protocol, there is another special resource indicator prefix called humdrum:// which downloads data from the kernscores website. For example, using the URI humdrum://brandenburg/bwv1046a.krn:

      program humdrum://brandenburg/bwv1046a.krn

will download the URL:

http://kern.humdrum.org/cgi-bin/ksdata?file=bwv1046a.krn&l=/brandenburg&format=kern
Which is found in the Musedata Bach Brandenburg Concerto collection.

This online-access of Humdrum data can also interface with the classical Humdrum Toolkit commands by using humcat to download the data from the kernscores website. For example, try the command pipeline:

      humcat humdrum://brandenburg/bwv1046a.krn | census -k

• humplay: real-time MIDI performance of Humdrum files.
• time2tempo: convert **time spines into **tempo spines which can be used to control the tempo using the --ts option.

Currently ornaments (trills, turns, mordents, arpeggiation) are ignored. Future enhancements to hum2mid may include ornament realization.

Another future enhancement is using the General MIDI pizzicato timbre for string instrument when the pizzicato articulation is used.

The compiled hum2mid program can be downloaded for the following platforms:
• Linux (i386 processors) (dynamically linked) compiled on 28 Jun 2012.
• Windows compiled on 29 Jun 2012.
• Mac OS X/i386 compiled on 13 Nov 2013.
• Mac OS X/PowerPC (version 10.2 and higher) compiled on 13 May 2009.

The source code for the program was last modified on 11 Dec 2013. Click here to go to the full source-code download page.