Transcript DeiszPresentationQ3

Baroque-Era
Algorithmic Composition
Kevin Deisz
1st Step – Keys
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Number all of the
keys on the piano
Everything is in the
key of C
2nd Step – Diatonic Chords
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All of C major’s
diatonic chords
(based off scale
degrees)
findPossibles()
method returns the
number of the keys in
the lowest octave in
the right chord
3rd Step – Secondaries
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Adding in secondary dominants and leading
tones
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Secondary dominants: dominant chord of ii,
iii, IV, V and vi
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Cmaj dominant chord is Gmaj, Gmaj
dominant chord is Dmaj (with an F#)

Secondary leading tones: leading tone chord
of ii, iii, IV, V and vi
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Cmaj IV chord is Fmaj, Fmaj leading tone
chord is Em diminished (E G Bb)
4th Step – Cadence Points
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Cadence points are points in the music that
the motion can momentarily cease to give a
sense of resolution
Currently, for simplicity, music is divided into
four-bar phrases
After a cadence point, the chord progression
can go anywhere, though it generally begins at
I
5th Step – Deceptive
Progressions
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At certain times, the progression can be
resolved in the minor mode, i.e. V → vi
Can also be resolved in the modulated key, i.e.
V/IV → ii
Allows the map to change based off of the
current progression within the piece
6th Step – Rhythmic Variation
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Adding in eighth note passing tones based off
of a probability map determined by scale
degree
Adding in syncopation based off of a certain
probability and proximity to a cadence point
Pyramid of rhythmic diversity based off of all
four parts, i.e. soprano moves much more than
the bass
Output
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Python script translates
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Output from the program (notes): [28, 30, 32,
33, 35, 37, 39, 40]

Converts to lilypond form: [“C”, “D”, “E”, “F”,
“G”, “A”, “B”, “C’”]