This is a technique of my own invention, with a meaningless name (which, of course, has to do with music). Basically, one makes patches, i.e. segments of 3,4, ... up to 12 notes from the series, in all 4 linear forms. The patches, suitably transposed, are used to interpolate between notes from a ground (some linear form of the series). For instance, if the series is:

A♭  B  C  A  B♭  E♭  D  E  C#  F  F#   G

The parameter anchor reduces the number of patches, roughly by a factor of ten: only initial segments of the linear aspects are considered. Thus, in the example above, ( F C# E D ) would not be allowed(1), but, in order to drop 3 semitones down, one would have to use some transposition of:

(  G  F#  F  C#  E  )   or   (  A♭  B  C  A  B♭  E♭  D  E  C#  F  ),     etc...

Patch interpolation may be used for melodic(2) and rhythmical variation ; for instance, the patch ( C A♭ B A ) above might take the same duration as the original notes ( C A ) – precisely the "divisions on a ground" of 16-17th century.

In this program there is interpolation between any two ground notes, in a regular order: first patches of length 3, then patches of length 4, etc. Some of these are not possible, especially with anchored patches; the program then tries longer or shorter patches, and some rhythmical schemes: inserting rests or repeating notes. It may also create chords out of pairs of notes in the patch.

The composition ends on a melodic cadence, emphasized by a preceding rallentando. It is played by piano (sounding the ground repetitively) and by clarinet, playing the patched melody – the divisions. If the divisions contain chords, as they may, one note is taken by the clarinet and one by the piano (these are strictly two tone chords).

I must also stress that there is no harmony constraint in this composition. Any group of notes may be sounded together. The Bruchollerie is in fact a monophonic, melodic form. It could be used in counterpoint, but...

• bruse.pl

  Builds the complete score, on a file and reports the name of the file,

  score >semi2 ready

  Then enter:

  midi semi2

  That makes the midi file semi2.mid, that you can listen to. There is random dependence on time, so if you say

  midi semi2

  later, you get a different sound file: the same notes, with other dynamics.

  • The program uses a parameter list, of the form

    rand_234   tritone   anchored   melcad   dur_equal/semi/passacaglia   siz_10    ser_8b09a3241567

    This means:
    • initialize random generator with 234
    • use 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

    • forbid tritones in the series if tritone appears

    • generate anchored patches if anchor appears

    • if melcad appears, the series (in all 4 linear forms) must contain some melodic cadences This does not guarantee that the Bruchollerie score will also contain melodic cadences, but is a reasonable precaution, which usually works.

    • dur_ sets the durations in the ground (talea) to accomodate the 12 notes in the series:
      • dur_equal will generate a ground of whole notes
      • dur_semi will generate a ground in which the first and last are half notes, and all the others are whole notes. This is the default if the  dur_  parameter is missing.
      • dur_pas will generate a passacaglia rhythmic pattern (in the traditional 3/4 rhythm, but also in 4/4. The time signature 3/4 or 4/4 is random)
      • siz_ sets the maximum patch length; in the example above, one may replace a pair of notes by 3,4 ... up to 10 notes.

    All parameters are are optional; if ser_ is not specified, the series is generated at random. The score name is generated from dur_ and rand_ parameters; it may be, e.g.

    semi234 or pascg67 or equal666

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    Cadences

    A melodic cadence is one of the following:

    • LA SI DO
    • RE SI DO
    • SI RE DO
    • MI RE DO
    • MI♭ RE DO

    If none of the above can be found in the score (which is generated by interpolating patches), then
    

    • DO SI DO
    • DO RE DO

    
    are also acceptable.

    The current version does not harmonize this melodic cadence; it is only emphasized by long durations, with a general rallentando preceding it.

    Note that such cadences appear by chance in the score – they are not part of the design.

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    original plan

    • generate ground
      • equal durations
      • semi equal:    quarter, 11 halves, quarter
      • unequal:    passacaglia style

    • loop on subdivision (in principle: quarter  —>  2 eights, 3 triolets, etc...)

    • replace pair by subdivision ( sub brucho )
      • which segments to use to fill between the two notes from, to
        • all segments
        • some segments
        • anchored segments
      • notes/chords
        • subdivide into m  —>  precisely m items, some chords
        • subdivide into  —>  n >= m single notes
      • include/exclude to (the last note in segment)
        • from, to  —>  from, 2nd, 3rd, ... ,penult, to   ————  including to
        • from, to  —>  from, 2nd, 3rd, ... , last = note before to
      • who plays the subdivision:
        • piano
        • orch
        • agile solo instrument

    • free voices

    • rhythm section (playing ground)

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    footnotes

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    (1) unless one of the original, mirror, cancer or table form starts with a transposition of (F C# E D). Checking is a job for the computer, which does everythink in a blink.

    (2) provided one recognize the series, and even patches as subsets of series – a very tall order.

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