Quoting conrad berhörster <beat.siegel.v...@gmx.de>:
maybe this helps
http://welltemperedstudio.wordpress.com/code/lemma/
lemma looks cool. I will definitely give it a try as soon as I get my
daw back from the repair shop...
and take a look at
impro-visor
http://www.cs.hmc.edu/~keller/jazz/improvisor/
I also worked with impro-visor a lot. Basically it has too many
features for my requirements. I just want an easy-to-use tool to
provide a playback track for practice sessions for those of us that
lack the skill or the extra hands to accompany themselves on the piano
during practice. I remember the playback quality to be very good,
though. I never got to use all the melody-centered functionalities,
it's a different use-case really. That's also one of my design goals -
focus on the central requirement, keep everything out that's not
absolutely necessary, make it as easy to use as possible, and in the
end really focus on the quality of the output (i.e. the music that can
be heard).
And maybe you can explain a little bit about your ideas about the
pattern-less approach
Happy to, though it might get a bit longish from here on. Bear with
me. My reasoning goes like this: Take the bass part of a very
simplistic straight 4-beat groove. In a fictional
pseudo-pattern-defining-format you may specify something like this:
-) Play the bass note of the chord on beat 1.
-) Play the bass note of the chord on the off-beat after 2.
-) Play the bass note of the chord on beat 3.
-) Play the bass note of the chord on the off-beat after 4.
This will sound fine on straight-forward one-chord-per-bar tunes. Even
if you change chord every two beats it will sound reasonably good. But
what of bars with a chord change on every beat, such as happens often
in Jazz, especially in turnarounds and the like? The bass player will
miss every other chord! Sure, you could add a rule like
-) In addition, play the bass note of the chord at every chord change.
assuming your pseudo-pattern-defining-format allows this. But then the
notes on the off-beats defined earlier will not sound too good. A real
life bass player would in such turnaround bars probably play a single
note on every chord change and leave out the off-beat notes. Or
consider off-beat chord changes, also a common thing. Just think about
what a typical pattern definition will make of them, and what a real
player would play.
Still, it's possible to express all this in a pattern definition. But
always provided the engine reading the pattern files supports it! And
I think that sooner rather than later you reach the point where
understanding the syntax of a sufficiently powerful pattern format and
actually writing good patterns in it is not that much easier than
programming in any well-structured contemporary programming language.
Bottom line: I think everyone able to define patterns so complex that
they actually sound really good is just as able to program them given
a well-structured framework to work in.
What you gain by actually programming a groove is that you are no
longer limited by the abilities of the pattern interpreter, but have
the full expressive power of the programming language at your
disposal. Random elements, variations in timing and volume to make it
sound more human, even the occasional wrong note, all that is possible
without any changes to the engine itself.
BTW, the same holds for the voicing of chords. Consider the ugly but
simple progression D7 C9 Bb6. By defining for the bass to
-) Play the root note of the chord in octave #3
will give you a not only ugly but also quite unrealistic jump of a
seventh up at the last change. It gets worse if the voicing of the
pianists right hand just builds the chords up from the root. Playing
the above progression with all the chords in root position will not
only violate a lot of voicing rules, it will also sound pretty crappy.
A real-life pianist would probably play all three chords with the D at
the bottom, or maybe even move up through D E F or something similar.
Actually programming such rules is doable, defining them in a
declarative fashion is much much harder.
So how does this actually work? At the lowest (and most convenient)
level you just define your Groove as a number of Players, each
representing typically one instrument. In your Player you have two
hook methods, one that gets called once for every bar and one that
gets called once for every chord change. Within these methods you
define (actually you program) what notes should be added to the final
music. For that you have not only methods to actually add notes to the
track, but also a (hopefully still growing) number of convenience
methods, for example to get the proper notes for the current chord
from a voicing engine or to get not only the current chord but also
the previous and next chord(s) (for example to program cool walking
bass lines you need the full context) as well as their suggested
voicings, etc. In addition you can do basically everything that can be
programmed.
In the most simple case, programming in that layer is not harder than
defining patterns. The simple pattern from above would look something
like this:
void createEvents(Bar bar) {
addNote(getVoicing(getChordAt(0.0)).get(0), 0.0, 1.0, 0.35);
addNote(getVoicing(getChordAt(0.375)).get(0), 0.375, 1.0, 0.12);
addNote(getVoicing(getChordAt(0.5)).get(0), 0.5, 1.0, 0.35);
addNote(getVoicing(getChordAt(0.875)).get(0), 0.875, 1.0, 0.12);
}
The difference is that you are not limited anymore. You can even skip
the convenience layer and directly implement your own Player object,
in which you receive a list of music information (Bars, Chord changes,
Volume changes, Tempo changes), an assigned MIDI channel number and
the set MIDI resolution, and must return simply an arbitrary list of
MIDI events.
To everyone who made it this far: Thanks for listening ;-)
Mike
--
Michael Niemeck
Krausegasse 4-6/3/6
1110 Wien
mich...@niemeck.org
+43 1 9417017
+43 660 9417017
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