A music notation language and synthesizer written in Rust.
Hum converts *.hum files to playable *.wav files.
This project is in early development, and its public API is possibly subject to breaking changes at any time. If I knowingly make a breaking change, I will update the MINOR version in the semantic versioning scheme, where the version numbers are MAJOR.MINOR.PATCH.
DISCLAIMER: This program produces sound output in the form of *.wav files, and it is not yet considered stable. You should turn down your volume before experimenting with sound output to protect your ears and speakers.
To build the project, use cargo build in the root directory.
To test the project, use cargo run in the root directory.
Hum requires two command-line arguments: 1. the path of the *.hum file 2. the desired path of the *.wav file
To convert the included *.hum file, "daisy.hum," to a file called "daisy.wav," use the following command in the root directory:
cargo run daisy.hum daisy.wav
To install the latest release as a CLI tool, first make sure that you have Cargo installed so that you can download the binary from crates.io:
https://www.rust-lang.org/en-US/install.html
Then run the following command in the terminal:
cargo install hum
Now you can use hum like any other CLI tool. For example, presuming the file daisy.hum exists in the current directory, you could use:
hum daisy.hum daisy.wav
You can also use Hum as a library in your own Rust programs. Right now, there is one method which implements the functionality of the CLI tool:
extern crate hum;
...
hum::convert_to_wav(filename, outfname);
Hum files are regular and procedural in nature. They consist of a series of sentences separated by the "." character. Each sentence consists of two clauses separated by the ":" character. The first clause is the command, and the second clause is the value. I haven't implemented much error handling yet, so if you don't have exactly one ":" for every "."––or you use an unknown command or value pattern––it's very possible that the program will crash or produce unexpected output.
#:
This is the comment command. These sentences are ignored by the synthesizer and are intended for including annotations in the score.
Example: #: This is a comment.
Note that at this time, the ":" and "." character are not supported in comments. Including them will likely cause the program to panic.
Tempo:
This is the tempo command. It sets the tempo of the project. It requires an integer value.
Example: Tempo: 90. (this corresponds to 90 beats per minute)
Key:
This is the key command. It accepts two possible text values: sharps or flats. This just allows you to specify whether you want your score to use sharp notes or flat notes.
Example: Key: sharps.
Note that there is no support for mixing sharps and flats at this time.
Measure:
This is the measure command. It specifies the beginning of a new measure in the score. It requires an integer value corresponding to the number of beats in the measure.
Example: Measure: 3. (this starts a new measure which contains three beats)
Note that the measure command should never come before the tempo or key commands. I need to implement a real parser to ensure that the user can't do this.
Voice:
This is the voice command. It specifies the beginning of notation for a single "instrument" at the beginning of the last declared measure. In other words, a voice is monophonic. To achieve polyphonic sound, you need multiple voice commands under one measure command. See the included daisy.hum file for several examples of this. Every time you create a new voice, notation begins at the beginning of the last declared measure. You can include as many voices as you want per measure, and each measure is not required to have the same number of voices. Be careful about including more than about five or so voices at any given time, though, because I have not implemented volume controls yet, and the base volume of each voice compounds (adds) on top of the others. If you use too many voices at this point, the audio might clip (this essentially means that it will "max out" in volume and become distorted).
The voice command requires a text argument corresponding to the wave type or instrument sound which you want to play the part. Right now, there are three supported voices: sine, square, and sawtooth.
Example: Voice: sine.
Note Commands:
There are currently 96 possible note commands corresponding roughly to the keys on a grand piano. The note commands are formatted like so: {note name}_{octave}. If you set your key value to sharps, then these are the possible note names:
["Cn", "Cs", "Dn", "Ds", "En", "Fn", "Fs", "Gn", "Gs", "An", "As", "Bn"]
If you set your key value to flats, then these are the possible note names:
["Cn", "Df", "Dn", "Ef", "En", "Fn", "Gf", "Gn", "Af", "An", "Bf", "Bn"]
In this style, "n" refers to "natural," "s" refers to "sharp," and "f" refers to "flat." Additionally, the octave part of a note can range from 0 to 7, with the lowest possible note being Cn_0 and the highest possible note being Bn_7.
NOTE: Octave numbers roll over on C natural, so this is how part of the sequence of notes in order of pitch goes: An_4, As_4, Bn_4, Cn_5, Cs_5, Dn_5, etc....
There is also a special note called Rest which corresponds to silence within a single voice.
If you use a note value that is not recognized, the current behavior is to not insert the note, which will throw off the timing of your measure. I will work on fixing this in a later version.
...So that covers the possible note commands. Now for the possible note values:
A note value is simply a fraction in the form {numerator}/{denominator}. It evaluates to a floating point number, and it determines the fraction of the measure that the note should fill. Remember that the first note under a voice command is positioned at the beginning of the measure. Therefore, to fill all of the space in the measure, all of the note values should add up to at least 1.0, else there will be silence at the end of the measure. If the note values exceed 1.0, then the note will bleed over into the next measure, but the notes that actually belong to the next measure will still start at the beginning of that measure. If this is confusing, I encourage you to play around with a couple of simple *.hum files until you get the hang of it.
Putting it all together, here's a simple *.hum file with two measures, one voice per measure playing the melody, and three voices per measure playing a C major chord:
``` Tempo: 60. Key: sharps.
Measure: 3.
Voice: square. Cn4: 1/3. En4: 1/3. Gn_4: 1/3.
Voice: sine. Cn4: 3/3. Voice: sine. En4: 3/3. Voice: sine. Gn_4: 3/3.
Measure: 3. Voice: square. Cn4: 1/3. En4: 1/3. Gn4: 1/3. Voice: sine. Cn4: 3/3. Voice: sine. En4: 3/3. Voice: sine. Gn4: 3/3.
Measure: 3. Voice: square. Cn4: 1/3. Rest: 1/3. Gn4: 1/3. Voice: sine. Cn4: 3/3. Voice: sine. En4: 3/3. Voice: sine. Gn_4: 3/3. ```
I thought it was cool, and I've never programmed a large project in Rust before, so obviously I'm the person for the job 😎. Also, I like the idea of an open music markup language being easily readable by both humans and computers. I think if it's implemented correctly, it might make it easier to preserve musical scores in digital format. This has been a fun project to get started with so far, and I hope that people make awesome music with it.
For more insight on what you currently are and aren't allowed to do with this code, you can read more about the terms of the GPL at the GNU website. If anybody actually starts contributing to or using this code and wants to convince me to release it under an alternative license, then just contact me, and I am open to having a conversation regarding the matter 🙂.