Athematic Dodecaphonic Piano Concerto

rand_666   tritone_1   noise_self/default/default7/triadic/345   bridge_30   hocket_10,15,25   size_70   ser_8b09a3241567

All items are optional.

• rand: is the seed for the random number generator

• tritone: if specified, forbids series with tritones between two consecutive notes

• noise: classifies chords as consonant, or dissonant (noise)
  • default

    This is an approximation to basic triadic harmony. Thirds and sixths get very high grades, fifth and octaves somewhat lower grades, major seconds are bad, minor seconds worst... Chords are graded by averaging all the intervals they contain.

  • triadic

    Only triads and their subsets are consonant.

  • default7

    Like triadic, but V7 and some of its subsets are consonant.

  • self

    This means that only groups of 1,2,3 and 4 notes from the series, transposed or inverted will be considered consonant.

    For instance, if the series is:

    
    it should be harmonized only by the chords:
    
    with their transpositions and inversions.

  • 345

    A code like this means that the intervals of 3,4 and 5 semitones and their inversions are consonant. Unisons/octaves are always consonant (according to Schoenberg they should be dissonant) .
    All the other intervals are dissonant.

• bridge: probability, in percents of extending notes across rests (suspensions, may create dissonance)

• hocket: three numbers, separated by commas (no blanks). These are used as limits for generating hockets, i.e. splitting, in certain cases, notes longer than the limits into shorter notes and rests. Default: 10,15,20

• size: how many phrases to generate (default: 100)

• ser: the code 8b09a3241567 specifies the series:

  	8	11	0	9	10	3	2	4	1	5	6	7	( in the parameter ser,   a=10  and  b=11 )
  i.e.	A♭	B	C	A	B♭	E♭	D	E	C#	F	F#	G

  If ser is missing, the series is generated at random.

Defines the series

writes PARM.txt which contains the input parameters and the series, e.g.:

{
SRAND 666
SER 8 3 1 6 7 4 10 2 9 5 11 0 0 11 5 9 2 10 4 7 6 1 3 8 4 9 11 6 5 8 2 10 3 7 1 0 0 1 7 3 10 2 8 5 6 11 9 4
NOISE SELF
BRIDGE 30
HOCKET 10,15,25
SIZE 70
}

Modifies the phrases generated by newathnj by bridging notes over rests

• Does not bridge if bridge_0 is specified in the parameter;
• does not bridge over general pauses;
• otherwise, if two chords contain the same note, and there are rests in some voice in every position between the two chords, those rests get replaced by the common note. This is actually random, with probabability increasing with the parameter bridge and the number of chords between the identical notes.

Definitely spoils harmony (creates suspensions)

The results are written on three files:

Reads files PARM.txt tail.txt

Writes file pass.txt

Program structure:

Reads files PARM.txt,  pass.txt

Writes score file scorb.txt

Program structure:

Reads files PARM.txt,  mid.txt

Writes score file scorc.txt

Program structure:

• initialization:    pcinit,  setparms,  defineconso,  ingestcad
• read data from mid.txt:    readphr

  Each phrase gets analyzed for cadences, and two versions are saved: @ASIS (phrase as is) and @BYTON (phrase scrambled so identical tones appear in the same voice )

• write the score scorc.txt:    makescore

  Phrases which are allowed by the routine accephr are emitted using one of:

  toxcor:	toccata score; piano toccata, accompanied
  orxtyp:	pure orchestral, no piano, smooth rhythm, voices in counterpoint
  tortyp:	orchestral toccata – the various instruments play toccata rhythms. Uses percussion, which I cannot otherwise fit in my dodecaphony: there are no tones for drums and such.
  cad:	cadential phrases
  coda:	the final, "most definitive" cadence

An example of notes rearrangement, when a pattern is created in actino.pl:

phrase 54 before storing pattern 54,6,8 in PATS:	phrase 54: tones without duration, tones with durations in pattern	phrase 54 after clober: K54,6,8 identifies the pattern, all the plain 'K' ignored
0 4 .. .. 1 5 8 .. 2 8 11 .. 3 2 .. .. 4 4 9 .. 5 3 6 .. 6 6 7 .. 7 1 5 10 8 1 6 9 9 1 .. .. 10 1 2 7 11 1 4 .. 12 5 .. .. 13 3 8 11 14 2 .. .. 15 7 .. .. 16 1 .. .. 17 1 10 .. 18 1 10 .. 19 9 .. .. 20 9 .. .. 21 3 6 11	0 4 .. .. 1 5 8 .. 2 8 11 .. 3 2 .. .. 4 4 9 .. 5 3 6 .. 54,6,8, 6 5/16 1 1/16 5 1/16 10 1/16 6 1/4 9 1/4 1 1/4 1 1/4 9 1 .. .. 10 1 2 7 11 1 4 .. 12 5 .. .. 13 3 8 11 14 2 .. .. 15 7 .. .. 16 1 .. .. 17 1 10 .. 18 1 10 .. 19 9 .. .. 20 9 .. .. 21 3 6 11	phrase 54 0 4 .. .. 1 5 8 .. 2 8 11 .. 3 2 .. .. 4 4 9 .. 5 3 6 .. 6 K54,6,8 K K 7 K K K 8 K K K 9 1 .. .. 10 1 2 7 11 1 4 .. 12 5 .. .. 13 3 8 11 14 2 .. .. 15 7 .. .. 16 1 .. .. 17 1 10 .. 18 1 10 .. 19 9 .. .. 20 9 .. .. 21 3 6 11

Notice that the notes in pattern more or less fit the order in the rows 6..8, but not exactly. The note 7 (g or sol) in row 6 has disappeared from the pattern. It is still saved, in row 6, in the table BYTON. Also notice the "romanze rhythm"

 

	.
	.
15		0		3		8
16		0		9		..
17		0		9		4
	.
	.

Phrase 62 is expanded from 3 to 7 voices, and two new patterns Kaby, Kaca are recognized, with corresponding basses Baby, Baca (the basses may be empty).
The pattern K62,17,19 is one of the five original patterns created in actino.pl

phrase 62

embellished 62:

0 2 .. .. 1 3 .. .. 2 3 8 .. 3 11 .. .. 4 5 .. .. 5 1 4 .. 6 2 7 .. 7 2 7 .. 8 .. .. .. 9 6 9 .. 10 6 10 .. 11 6 .. .. 12 6 .. .. 13 .. .. .. 14 5 10 .. 15 8 11 .. 16 8 .. .. 17 K62,17,19 K K 18 K K K 19 K K K

0 2 -1 -1 2 2 2 2 1 3 -1 -1 3 3 3 3 2 Kaby,2,5 Baby,2,5 K K K K K 3 K K K K K K K 4 K K K K K K K 5 K K K K K K K 6 2 7 -1 2 2 2 2 7 2 7 -1 7 2 7 2 8 -1 -1 -1 -1 -1 -1 -1 9 6 9 -1 6 6 9 6 10 6 10 -1 6 10 6 6 11 6 -1 -1 6 6 6 6 12 Kaca,12,15Baca,12,15 K K K K K 13 K K K K K K K 14 K K K K K K K 15 K K K K K K K 16 8 -1 -1 8 8 8 8 17 K62,17,19 K K -1 -1 -1 -1 18 K K K -1 -1 -1 -1 19 K K K -1 -1 -1 -1

precadry:		rhythm modification
preregscor:		emit the regular segment (similar to regseg )
precadscor:		emit the cadential segment (similar to cadseg )

• violin playing chords

  This has necessitated a full library vnlib.pl to define fingering of chords, their use and translation into score notation. I am really curious what a real violinist would think of my fingerings.
  There are also some violin trills. Other typical effects, glissando and flautando, are not available on my midi. Pizzicato sounds rather weak, but I could add that.

• clarinet alternating between chalumeau register and clarino+altissimo