To get your copy of the 1.0 spec, send a $2 check to:
International Midi Association
5316 West 57th Street
Los Angeles, CA 90056
(415) 321-MIDI
Make your checks payable to the IMA. BYW, the 1.0 spec is technically
identical to the .06 spec, but the description has been re-written.
Since the spec has been offically approved, there shouldn't be any
problem with posting this summary of the .06 spec:
[This document is Dave Oppenheim's current version of the MIDI file
specification, as sent to those who have participated in its
development. The consensus seems to be to submit this to the MIDI
Manufacturers' Association as version 1.0. I apologize for any loss of
clarity that might have occurred in the conversion from a Microsoft Word
document to this pure text file. I have removed some of the discussion
about recent changes to the specification in order to keep the file size
reasonable.--Doug Wyatt]
Standard MIDI Files 0.06 March 1, 1988
0 Introduction
This describes a proposed standard MIDI file format. MIDI files contain
one or more MIDI streams, with time information for each event. Song,
sequence, and track structures, tempo and time signature information,
are all supported. Track names and other descriptive information may be
stored with the MIDI data. This format supports multiple tracks and
multiple sequences so that if the user of a program which supports
multiple tracks intends to move a file to another one, this format can
allow that to happen.
This spec defines the 8-bit binary data stream used in the file. The
data can be stored in a binary file, nibbleized, 7-bit-ized for
efficient MIDI transmission, converted to Hex ASCII, or translated
symbolically to a printable text file. This spec addresses what's in
the 8-bit stream.
1 Sequences, Tracks, Chunks: File Block Structure
Sequence files are made up of chunks. Each chunk has a 4-character type
and a 32-bit length, which is the number of bytes in the chunk. On the
Macintosh, data is passed either in the data fork of a file, or on the
Clipboard. (The file type on the Macintosh for a file in this format
will be "Midi".) On any other computer, the data is simply the contents
of the file. This structure allows future chunk types to be designed
which may easily be ignored if encountered by a program written before
the chunk type is introduced. Your programs should expect alien chunks
and treat them as if they weren't there.
This proposal defines two types of chunks: a header chunk and a track
chunk. A header chunk provides a minimal amount of information
pertaining to the entire MIDI file. A track chunk contains a sequential
stream of MIDI data which may contain information for up to 16 MIDI
channels. The concepts of multiple tracks, multiple MIDI outputs,
patterns, sequences, and songs may all be implemented using several
track chunks.
A MIDI file always starts with a header chunk, and is followed by one or
more track chunks.
MThd <length of header data>
<header data>
MTrk <length of track data>
<track data>
MTrk <length of track data>
<track data>
...
Track Data Format (MTrk chunk type)
The MTrk chunk type is where actual song data is stored. It is simply a
stream of MIDI events (and non-MIDI events), preceded by delta-time
values.
Some numbers in MTrk chunks are represented in a form called a variable-
length quantity. These numbers are represented 7 bits per byte, most
significant bits first. All bytes except the last have bit 7 set, and
the last byte has bit 7 clear. If the number is between 0 and 127, it
is thus represented exactly as one byte.
Here are some examples of numbers represented as variable-length
quantities:
Number (hex) Representation (hex)
00000000 00
00000040 40
0000007F 7F
00000080 81 00
00002000 C0 00
00003FFF FF 7F
00004000 81 80 00
00100000 C0 80 00
001FFFFF FF FF 7F
00200000 81 80 80 00
08000000 C0 80 80 00
0FFFFFFF FF FF FF 7F
The largest number which is allowed is 0FFFFFFF so that the variable-
length representation must fit in 32 bits in a routine to write
variable-length numbers. Theoretically, larger numbers are possible,
but 2 x 108 96ths of a beat at a fast tempo of 500 beats per minute is
four days, long enough for any delta-time!
Here is the syntax of an MTrk chunk:
<track data> = <MTrk event>+
<MTrk event> = <delta-time> <event>
<delta-time> is stored as a variable-length quantity. It represents the
amount of time before the following event. If the first event in a
track occurs at the very beginning of a track, or if two events occur
simultaneously, a delta-time of zero is used. Delta-times are always
present. (Not storing delta-times of 0 requires at least two bytes for
any other value, and most delta-times aren't zero.) Delta-time is in
some fraction of a beat (or a second, for recording a track with SMPTE
times), as specified in the header chunk.
<event> = <MIDI event> | <sysex event> | <meta-event>
<MIDI event> is any MIDI channel message. Running status is used:
status bytes may be omitted after the first byte. The first event in a
file must specify status. Delta-time is not considered an event
itself: it is an integral part of the specification. Notice that
running status occurs across delta-times.
<meta-event> specifies non-MIDI information useful to this format or to
sequencers, with this syntax:
FF <type> <length> <bytes>
All meta-events begin with FF, then have an event type byte (which is
always less than 128), and then have the length of the data stored as a
variable-length quantity, and then the data itself. If there is no
data, the length is 0. As with sysex events, running status is not
allowed. As with chunks, future meta-events may be designed which may
not be known to existing programs, so programs must properly ignore
meta-events which they do not recognize, and indeed, should expect to
see them. New for 0.06: programs must never ignore the length of a
meta-event which they do recognize, and they shouldn't be surprised if
it's bigger than they expected. If so, they must ignore everything past
what they know about. However, they must not add anything of their own
to the end of a meta-event.
<sysex event> is used to specify a MIDI system exclusive message, or as
an "escape" to specify any arbitrary bytes to be transmitted.
Unfortunately, some synthesizer manufacturers specify that their system
exclusive messages are to be transmitted as little packets. Each packet
is only part of an entire syntactical system exclusive message, but the
times they are transmitted at are important. Examples of this are the
bytes sent in a CZ patch dump, or the FB-01's "system exclusive mode" in
which microtonal data can be transmitted. To be able to handle
situations like these, two forms of <sysex event> are provided:
F0 <length> <bytes to be transmitted after F0>
F7 <length> <all bytes to be transmitted>
In both cases, <length> is stored as a variable-length quantity. It is
equal to the number of bytes following it, not including itself or the
message type (F0 or F7), but all the bytes which follow, including any
F7 at the end which is intended to be transmitted. The first form, with
the F0 code, is used for syntactically complete system exclusive
messages, or the first packet an a series Q that is, messages in which
the F0 should be transmitted. The second form is used for the remainder
of the packets within a syntactic sysex message, which do not begin with
F0. Of course, the F7 is not considered part of the system exclusive
message. Of course, just as in MIDI, running status is not allowed, in
this case because the length is stored as a variable-length quantity
which may or may not start with bit 7 set.
(New to 0.06) A syntactic system exclusive message must always end with
an F7, even if the real-life device didn't send one, so that you know
when you've reached the end of an entire sysex message without looking
ahead to the next event in the MIDI file. This principle is repeated
and illustrated in the paragraphs below.
The vast majority of system exclusive messages will just use the F0
format. For instance, the transmitted message F0 43 12 00 07 F7 would
be stored in a MIDI file as F0 05 43 12 00 07 F7. As mentioned above,
it is required to include the F7 at the end so that the reader of the
MIDI file knows that it has read the entire message.
For special situations when a single system exclusive message is split
up, with parts of it being transmitted at different times, such as in a
Casio CZ patch transfer, or the FB-01's "system exclusive mode", the F7
form of sysex event is used for each packet except the first. None of
the packets would end with an F7 except the last one, which must end
with an F7. There also must not be any transmittable MIDI events in-
between the packets of a multi-packet system exclusive message. Here is
an example: suppose the bytes F0 43 12 00 were to be sent, followed by
a 200-tick delay, followed by the bytes 43 12 00 43 12 00, followed by
a 100-tick delay, followed by the bytes 43 12 00 F7, this would be in
the MIDI File:
F0 03 43 12 00
81 48 200-tick delta-time
F7 06 43 12 00 43 12 00
64 100-tick delta-time
F7 04 43 12 00 F7
The F7 event may also be used as an "escape" to transmit any bytes
whatsoever, including real-time bytes, song pointer, or MIDI Time Code,
which are not permitted normally in this specification. No effort
should be made to interpret the bytes used in this way. Since a system
exclusive message is not being transmitted, it is not necessary or
appropriate to end the F7 event with an F7 in this case.
2 Header Chunk
The header chunk at the beginning of the file specifies some basic
information about the data in the file. The data section contains three
16-bit words, stored high byte first (of course). Here's the syntax of
the complete chunk:
<chunk type> <length> <format> <ntrks> <division>
As described above, <chunk type> is the four ASCII characters 'MThd';
<length> is a 32-bit representation of the number 6 (high byte first).
The first word, format, specifies the overall organization of the file.
Only three values of format are specified:
0 the file contains a single multi-channel track
1 the file contains one or more simultaneous tracks (or MIDI
outputs) of a sequence
2 the file contains one or more sequentially independent
single-track patterns
The next word, ntrks, is the number of track chunks in the file. The
third word, division, is the division of a quarter-note represented by
the delta-times in the file. (If division is negative, it represents
the division of a second represented by the delta-times in the file, so
that the track can represent events occurring in actual time instead of
metrical time. It is represented in the following way: the upper byte
is one of the four values -24, -25, -29, or -30, corresponding to the
four standard SMPTE and MIDI time code formats, and represents the
number of frames per second. The second byte (stored positive) is the
resolution within a frame: typical values may be 4 (MIDI time code
resolution), 8, 10, 80 (bit resolution), or 100. This system allows
exact specification of time-code-based tracks, but also allows
millisecond-based tracks by specifying 25 frames/sec and a resolution of
40 units per frame.)
Format 0, that is, one multi-channel track, is the most interchangeable
representation of data. One application of MIDI files is a simple
single-track player in a program which needs to make synthesizers make
sounds, but which is primarily concerned with something else such as
mixers or sound effect boxes. It is very desirable to be able to
produce such a format, even if your program is track-based, in order to
work with these simple programs. On the other hand, perhaps someone
will write a format conversion from format 1 to format 0 which might be
so easy to use in some setting that it would save you the trouble of
putting it into your program.
Programs which support several simultaneous tracks should be able to
save and read data in format 1, a vertically one-dimensional form, that
is, as a collection of tracks. Programs which support several
independent patterns should be able to save and read data in format 2, a
horizontally one-dimensional form. Providing these minimum capabilities
will ensure maximum interchangeability.
MIDI files can express tempo and time signature, and they have been
chosen to do so for transferring tempo maps from one device to another.
For a format 0 file, the tempo will be scattered through the track and
the tempo map reader should ignore the intervening events; for a format
1 file, the tempo map must (starting in 0.04) be stored as the first
track. It is polite to a tempo map reader to offer your user the
ability to make a format 0 file with just the tempo, unless you can use
format 1.
All MIDI files should specify tempo and time signature. If they don't,
the time signature is assumed to be 4/4, and the tempo 120 beats per
minute. In format 0, these meta-events should occur at least at the
beginning of the single multi-channel track. In format 1, these meta-
events should be contained in the first track. In format 2, each of the
temporally independent patterns should contain at least initial time
signature and tempo information.
We may decide to define other format IDs to support other structures. A
program reading an unfamiliar format ID should return an error to the
user rather than trying to read further.
3 Meta-Events
A few meta-events are defined herein. It is not required for every
program to support every meta-event. Meta-events initially defined
include:
FF 00 02 ssss Sequence Number
This optional event, which must occur at the beginning of a track,
before any nonzero delta-times, and before any transmittable MIDI
events, specifies the number of a sequence. The number in this track
corresponds to the sequence number in the new Cue message discussed at
the summer 1987 MMA meeting. In a format 2 MIDI file, it is used to
identify each "pattern" so that a "song" sequence using the Cue message
to refer to the patterns. If the ID numbers are omitted, the sequences'
locations in order in the file are used as defaults. In a format 0 or 1
MIDI file, which only contain one sequence, this number should be
contained in the first (or only) track. If transfer of several
multitrack sequences is required, this must be done as a group of format
1 files, each with a different sequence number.
FF 01 len text Text Event
Any amount of text describing anything. It is a good idea to put a text
event right at the beginning of a track, with the name of the track, a
description of its intended orchestration, and any other information
which the user wants to put there. Text events may also occur at other
times in a track, to be used as lyrics, or descriptions of cue points.
The text in this event should be printable ASCII characters for maximum
interchange. However, other character codes using the high-order bit
may be used for interchange of files between different programs on the
same computer which supports an extended character set. Programs on a
computer which does not support non-ASCII characters should ignore those
characters.
(New for 0.06 ). Meta event types 01 through 0F are reserved for
various types of text events, each of which meets the specification of
text events(above) but is used for a different purpose:
FF 02 len text Copyright Notice
Contains a copyright notice as printable ASCII text. The notice should
contain the characters (C), the year of the copyright, and the owner of
the copyright. If several pieces of music are in the same MIDI file,
all of the copyright notices should be placed together in this event so
that it will be at the beginning of the file. This event should be the
first event in the first track chunk, at time 0.
FF 03 len text Sequence/Track Name
If in a format 0 track, or the first track in a format 1 file, the name
of the sequence. Otherwise, the name of the track.
FF 04 len text Instrument Name
A description of the type of instrumentation to be used in that track.
May be used with the MIDI Prefix meta-event to specify which MIDI
channel the description applies to, or the channel may be specified as
text in the event itself.
FF 05 len text Lyric
A lyric to be sung. Generally, each syllable will be a separate lyric
event which begins at the event's time.
FF 06 len text Marker
Normally in a format 0 track, or the first track in a format 1 file.
The name of that point in the sequence, such as a rehearsal letter or
section name ("First Verse", etc.).
FF 07 len text Cue Point
A description of something happening on a film or video screen or stage
at that point in the musical score ("Car crashes into house", "curtain
opens", "she slaps his face", etc.)
FF 2F 00 End of Track
This event is not optional. It is included so that an exact ending
point may be specified for the track, so that it has an exact length,
which is necessary for tracks which are looped or concatenated.
FF 51 03 tttttt Set Tempo, in microseconds per MIDI quarter-note
This event indicates a tempo change. Another way of putting
"microseconds per quarter-note" is "24ths of a microsecond per MIDI
clock". Representing tempos as time per beat instead of beat per time
allows absolutely exact long-term synchronization with a time-based sync
protocol such as SMPTE time code or MIDI time code. This amount of
accuracy provided by this tempo resolution allows a four-minute piece at
120 beats per minute to be accurate within 500 usec at the end of the
piece. Ideally, these events should only occur where MIDI clocks would
be located Q this convention is intended to guarantee, or at least
increase the likelihood, of compatibility with other synchronization
devices so that a time signature/tempo map stored in this format may
easily be transferred to another device.
FF 54 05 hr mn se fr ff SMPTE Offset (New in 0.06 - SMPTE Format
specification)
This event, if present, designates the SMPTE time at which the track
chunk is supposed to start. It should be present at the beginning of
the track, that is, before any nonzero delta-times, and before any
transmittable MIDI events. The hour must be encoded with the SMPTE
format, just as it is in MIDI Time Code. In a format 1 file, the SMPTE
Offset must be stored with the tempo map, and has no meaning in any of
the other tracks. The ff field contains fractional frames, in 100ths of
a frame, even in SMPTE-based tracks which specify a different frame
subdivision for delta-times.
FF 58 04 nn dd cc bb Time Signature
The time signature is expressed as four numbers. nn and dd represent
the numerator and denominator of the time signature as it would be
notated. The denominator is a negative power of two: 2 represents a
quarter-note, 3 represents an eighth-note, etc. The cc parameter
expresses the number of MIDI clocks in a metronome click. The bb
parameter expresses the number of notated 32nd-notes in a MIDI quarter-
note (24 MIDI Clocks). This was added because there are already
multiple programs which allow the user to specify that what MIDI thinks
of as a quarter-note (24 clocks) is to be notated as, or related to in
terms of, something else.
Therefore, the complete event for 6/8 time, where the metronome clicks
every three eighth-notes, but there are 24 clocks per quarter-note, 72
to the bar, would be (in hex):
FF 58 04 06 03 24 08
That is, 6/8 time (8 is 2 to the 3rd power, so this is 06 03), 32 MIDI
clocks per dotted-quarter (24 hex!), and eight notated 32nd-notes per
MIDI quarter note.
FF 59 02 sf mi Key Signature
sf = -7: 7 flats
sf = -1: 1 flat
sf = 0: key of C
sf = 1: 1 sharp
sf = 7: 7 sharps
mi = 0: major key
mi = 1: minor key
FF 7F len data Sequencer-Specific Meta-Event
Special requirements for particular sequencers may use this
event type: the first byte or bytes of data is a manufacturer ID.
However, as this is an interchange format, growth of the spec proper is
preferred to use of this event type. This type of event may be used by
a sequencer which elects to use this as its only file format;
sequencers with their established feature-specific formats should
probably stick to the standard features when using this format.
4 Program Fragments and Example MIDI Files
Here are some of the routines to read and write variable-length numbers
in MIDI Files. These routines are in C, and use getc and putc, which
read and write single 8-bit characters from/to the files infile and
outfile.
WriteVarLen (value)
register long value;
{
register long buffer;
buffer = value & 0x7f;
while ((value >>= 7) > 0)
{
buffer <<= 8;
buffer |= 0x80;
buffer += (value & 0x7f);
}
while (TRUE)
{
putc(buffer,outfile);
if (buffer & 0x80)
buffer >>= 8;
else
break;
}
}
doubleword ReadVarLen ()
{
register doubleword value;
register byte c;
if ((value = getc(infile)) & 0x80)
{
value &= 0x7f;
do
{
value = (value << 7) + ((c = getc(infile)) & 0x7f);
} while (c & 0x80);
}
return (value);
}
As an example, MIDI Files for the following excerpt are shown below.
First, a format 0 file is shown, with all information intermingled;
then, a format 1 file is shown with all data separated into four tracks:
one for tempo and time signature, and three for the notes. A resolution
of 96 "ticks" per quarter note is used. A time signature of 4/4 and a
tempo of 120, though implied, are explicitly stated.
The contents of the MIDI stream represented by this example are broken
down here:
Delta Time(decimal) Event Code (hex) Other Bytes (decimal)
Comment
0 FF 58 04 04 02 24 08 4 bytes: 4/4 time, 24 MIDI
clocks/click,
8 32nd notes/24 MIDI clocks
0 FF 51 03 500000 3 bytes: 500,000 5sec per quarter-note
0 C0 5 Ch. 1, Program Change 5
0 C0 5 Ch. 1, Program Change 5
0 C1 46 Ch. 2, Program Change 46
0 C2 70 Ch. 3, Program Change 70
0 92 48 96 Ch. 3 Note On C2, forte
0 92 60 96 Ch. 3 Note On C3, forte
96 91 67 64 Ch. 2 Note On G3, mezzo-forte
96 90 76 32 Ch. 1 Note On E4, piano
192 82 48 64 Ch. 3 Note Off C2, standard
0 82 60 64 Ch. 3 Note Off C3, standard
0 81 67 64 Ch. 2 Note Off G3, standard
0 80 76 64 Ch. 1 Note Off E4, standard
0 FF 2F 00 Track End
The entire format 0 MIDI file contents in hex follow. First, the header
chunk:
4D 54 68 64 MThd
00 00 00 06 chunk length
00 00 format 0
00 01 one track
00 60 96 per quarter-note
Then, the track chunk. Its header, followed by the events (notice that
running status is used in places):
4D 54 72 6B MTrk
00 00 00 3B chunk length (59)
Delta-time Event Comments
00 FF 58 04 04 02 18 08 time signature
00 FF 51 03 07 A1 20 tempo
00 C0 05
00 C1 2E
00 C2 46
00 92 30 60
00 3C 60 running status
60 91 43 40
60 90 4C 20
81 40 82 30 40 two-byte delta-time
00 3C 40 running status
00 81 43 40
00 80 4C 40
00 FF 2F 00 end of track
A format 1 representation of the file is slightly different. Its header
chunk:
4D 54 68 64 MThd
00 00 00 06 chunk length
00 01 format 1
00 04 four tracks
00 60 96 per quarter-note
First, the track chunk for the time signature/tempo track. Its header,
followed by the events:
4D 54 72 6B MTrk
00 00 00 14 chunk length (20)
Delta-time Event Comments
00 FF 58 04 04 02 18 08 time signature
00 FF 51 03 07 A1 20 tempo
83 00 FF 2F 00 end of track
Then, the track chunk for the first music track. The MIDI convention
for note on/off running status is used in this example:
4D 54 72 6B MTrk
00 00 00 10 chunk length (16)
Delta-time Event Comments
00 C0 05
81 40 90 4C 20
81 40 4C 00 Running status: note on, vel = 0
00 FF 2F 00 end of track
Then, the track chunk for the second music track:
4D 54 72 6B MTrk
00 00 00 0F chunk length (15)
Delta-time Event Comments
00 C1 2E
60 91 43 40
82 20 43 00 running status
00 FF 2F 00 end of track
Then, the track chunk for the third music track:
4D 54 72 6B MTrk
00 00 00 15 chunk length (21)
Delta-time Event Comments
00 C2 46
00 92 30 60
00 3C 60 running status
83 00 30 00 two-byte delta-time, running status
00 3C 00 running status
00 FF 2F 00 end of track
5 MIDI Transmission of MIDI Files
Since it is inconvenient to exchange disks between different computers,
and since many computers which will use this format will have a MIDI
interface anyway, MIDI seems like a perfect way to send these files from
one computer to another. And, while we're going through all the trouble
to make a way of sending MIDI Files, it would be nice if they could send
any files (like sampled sound files, text files, etc.)
Goals
The transmission protocol for MIDI files should be reasonably efficient,
should support fast transmission for computers which are capable of it,
and slower transmission for less powerful ones. It should not be
impossible to convert a MIDI File to or from an arbitrary internal
representation on the fly as it is transmitted, but, as long as it is
not too difficult, it is very desirable to use a generic method so that
any file type could be accommodated.
To make the protocol efficient, the MIDI transmission of these files
will take groups of seven 8-bit bytes and transmit them as eight 7-bit
MIDI data bytes. This is certainly in the spirit of the rest of this
format (keep it small, because it's not that hard to do). To
accommodate a wide range of transmission speeds, files will be
transmitted in packets with acknowledge -- this allows data to be stored
to disk as it is received. If the sender does not receive a response
from a reader in a certain amount of time, it can assume an open-loop
situation, and then just continue.
The last edition of MIDI Files contained a specialized protocol for
sending just MIDI Files. To meet a deadline, unfortunately I don't have
time right now to propose a new generalized protocol. This will be done
within the next couple of months. I would welcome any proposals anyone
else has, and would direct your attention to the proposal from Ralph
Muha of Kurzweil, available in a recent MMA bulletin, and also directly
from him.
--
Michael S. Czeiszperger | "The only good composer is a dead composer"
Systems Analyst | Snail: 2015 Neil Avenue (614)
The Ohio State University | Columbus, OH 43210 292-
ARPA:czei@accelerator.eng.ohio-state.edu PAN:CZEI 0161