Podcast Bumper Music

Strings in 9/8 - moving forward

2012-02-01T16:16:00.000-08:00

This is a work in progress. I added a bridge for a palette cleanser. The main part of the song is in Bb minor on the undertone scale. The bridge moves it up to C minor, D minor, E major, F+ major, G minor, Ab major, Bb minor. In ratios, it's 7:4, 1:1, 9:8, 5:4, 11:8, 3/2, 13/8, 7/4. The majors use the overtone scale, and the minors use the undertones to the 15 limit.

I think I'm going to have to go back and retune the trombone and oboe. They don't sound like their are right on the pitches. But this is a good start.Play it here

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Strings in 9/8 - now with percussion

2012-01-31T17:15:00.001-08:00

This is a work in progress. I added some balloon drum and shaker percussion parts, and enhanced the deep bass spring. This is the one I wound last month. You can see me in the picture holding the magnetic transducer to the spring in the photo above. I also added the option to trill on some notes of the theme. Also left more things to chance, including the octave played.

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Strings in 9/8

2012-01-30T16:53:00.001-08:00

This is a work in progress. Last month I made some long string samples on a bench, and I've started working on a piece that uses them. I also include trombone, and oboe samples from the McGill University collection. The tuning is the undertone series to the 15 limit. The strings sound banjo-like sometimes, and sometimes like a pedal steel. The pedal steel sound is made with a a glissando in Csound using gen06. This subroutine will generate a function comprised of segments of cubic polynomials, spanning specified points three at a time. After a bit of experimenting, I discovered that this is close to the way slide guitarists play. They start their slide slow, speed up in the middle, and slow down at the end as they near their note. And once they get there, they use the slide to make a vibrato.

Here's a picture of the function table that generates the slide:

I also manipulate the choice of samples to deliberately pick one that was made with a lower note, then brought up to the correct pitch by Csound. That's what gives some of the notes that superbright timbre at the 43 second point in the piece. I've heard it referred to as munchkinization.

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Strings in 9/8

2012-01-30T16:53:00.000-08:00

This is a work in progress. Last month I made some long string samples, and bass finger piano samples on a bench, and I've started working on a piece that uses them. I also include trombone, and oboe samples from the McGill University collection. The tuning is the undertone series to the 15 limit. The strings sound banjo-like sometimes, and sometimes like a pedal steel. The pedal steel sound is made with a a glissando in Csound using gen06. This subroutine will generate a function comprised of segments of cubic polynomials, spanning specified points three at a time. After a bit of experimenting, I discovered that this is close to the way slide guitarists play. They start their slide slow, speed up in the middle, and slow down at the end as they near their note. And once they get there, the use the slide to make a vibrato. Here's a picture of the slide:

I also manipulate the choice of samples to deliberately pick one that was made with a lower note, then brought up to the correct pitch by Csound. That's what gives some of the notes that superbright timbre at the 43 second point in the piece. I've heard it referred to as munchkinization.

Play it here

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Making Some Balloon Flute Samples

2012-01-23T11:15:00.000-08:00

A Balloon Flute is made of PVC sprinkler pipe with balloons over each end, and a 3/8" hole drilled into the middle. They are ridiculously simple the make. I made two today, and recorded some samples. One uses 2" pipe, and the other 1". The pitch is dependent on the flexibility of the balloons, which is variable by pressing on each end. Glissandi are possible, as are quick switches of pitch. They sound more like a whistle than a flute.

Bass balloon flute A2 25 cents sharp:

Soprano balloon flute B4 6 cents flat.

New String samples from Music wire

2012-01-10T16:12:00.000-08:00

I made a new set of string samples on a bench today from G3 to D#6. Here's the A3, which is 13 cents flat. I place the pickup very close to the end of the string for a brighter sound. I imagine it might have a telecaster feel when I start to use it. Who knows?

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More Bass Spring Samples

2012-01-09T14:46:00.000-08:00

I wound some 15" long springs with 0.29" music wire on a 3/16" rod, using a magnetic transducer as a pickup. This is what one sounded like. Play it here

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Source code to Drums in 12/8

2012-01-09T11:51:00.001-08:00

I send code through a pre-processor to generate Csound code. Here's the source:



@profile ..\tc.pro
l; name: drum2 12/28/11 1:15 pm
l;
l; Orchestra:
l;   Alto flute, clarinet, finger piano, balloon drums, dry spring, heavy spring,
l
l
l
l-W -G -m2 -+y -o sflib\drum2.wav
l
l
l
l      sr     = 44100
l      ksmps  = 10; any higher than 10 and I hear clicks - use 1 for final take
l;                         typically save 5x processing time by increasing ksmps by 10x
l      nchnls =     2
l      instr   1
l
l; p1 is always 1
l; p2 start time
l; p3 duration
l; p4 velocity, 60-80 works best
l; p5 tone - which tone is this note - 1-100 for Partch scale - maxequal in samples.pas 6/15/06
l; p6 Octave
l; p7 voice
l; p8 stereo - pan from left = 0 to right = 16
l; p9 envelope - one of several function tables for envelopes 1 - 16
l; p10 glissando - one of several function tables to modify pitch
l; p11 upsample - use a sample higher (>0) or lower (<256) than normal
l; p12 envelope for right channel - if blank, use the left channel envelope for both channels
l;
l     ifunc    table   p7,1             ; find the location of the sample wave tables
l     ioct     =       p6+1
l     iwavchan table   p7,2             ; is it mono (iwavchan = 1) or stereo sample file (iwavchan = 2)
l                                       ; or are sustain points in separate table iwavchan=3
l     inum     =       12*(ioct) + int(p5/6) ; convert from octave/pitch to a MIDI note number to pick ftable (root is 72, 72/12 = 6)
l     ifno2    table   inum, ifunc      ; map midi note number to the correct ftable for that note
l     ifno     =       ifno2 + (p11 < 128 ? p11 : p11-256) ; up or down sample by parameter 11 modulo 256
l     iamp     =       ampdb(p4)                ; velocity input is 60-80 - convert to amplitude
l     i9       =       298-p9                   ; valid envelope table number are 298, 297, 296, 295 etc. - left channel
l     i12      =       298-p12                  ; valid envelope table number are 298, 297, 296, 295 etc. - right channel
l     i10      =       301+p10                  ; valid glissando table number are  301, 302, etc
l;         kamp_l   poscil  iamp, 1/p3, i9           ; create a precise long envelope from a function table for left channel
l;         kamp_r   poscil  iamp, 1/p3, i12          ; create a precise long envelope from a function table for right channel
l     kamp_l   oscil  iamp, 1/p3, i9           ; create an envelope from a function table for left channel
l     kamp_r   oscil  iamp, 1/p3, i12          ; create an envelope from a function table for right channel
l     kpan_l   tablei  p8/16, 4, 1,0,1          ; pan with a sine wave using f table #4 - 2st value is reduced to max 1, normalized
l     kpan_r   tablei  1.0 - p8/16, 4, 1,0,1    ; inverse of kpan_l
l     ibasno   table   ifno-(3+ifunc), 1  + ifunc     ; get midi note number the sample was recorded at
l     icent    table   ifno-(3+ifunc), 2  + ifunc     ; get cents to flatten each note
l     iloop    table   ifno-(3+ifunc), 3  + ifunc     ; get loop or not
l     ibasoct  =       ibasno/12     ; find the base octave
l     ibascps  =       cpsoct(ibasoct+(icent/1200))
l     ipitch   table   p5, 3  ; convert note number 0-71 to oct.fract format - hand made table 3 of fractions
l     inote    =       cpspch(ioct + ipitch) ; note plus the decimal fraction of a note from table - how precise is this?
l ;    print p5, p6, p7, p11, ifno, icent
l     kcps     =       cpspch(ioct + ipitch)  ; convert oct.fract to Hz
l     kcpsm    oscili  1, 1/p3, i10 ; create an set of shift multiplicands from table - glissandi
l     kcps2    =       kcps * kcpsm     ; shift the frequency by values in glissando table
l ;  Four choices: Mono looping, stereo looping, mono no-loop, stereo no-loop
l             if iwavchan = 4 goto akaimono
l             if iloop = 0 goto noloops
l ;  Stereo with loop
l             a3,a4   loscil  1, kcps2, ifno, ibascps; stereo sample with looping
l             goto skipstereo
l         noloops:
l ;  Stereo without looping
l             a3,a4   loscil  1, kcps2, ifno, ibascps,0,1,2 ; stereo sample without looping - note that 1,2 is bogus workaround
l             goto skipstereo
l         akaimono:
l             if iloop = 0 goto noloopm
l ;  Mono with looping
l             a3      loscil  1, kcps2, ifno, ibascps ; mono sampling with loop
l             a4 = a3
l             goto skipstereo
l         noloopm:
l ;  Mono without looping
l             a3      loscil  1, kcps2, ifno, ibascps,0,1,2 ; mono AIFF sample without loop
l             a4 = a3
l
l         skipstereo:
l ; start comparison sine wave oscillator for fine tuning adjustment testing
l  ;      ihertz = cpspch(ioct+ipitch) ; what frequency are you trying to make
l  ;      a1  oscili 1, kcps*8, 500   ;  sine wave to compare the sample frequency to
l  ;      a5 = a1 ; + a3                ; add the sample to the sine wave right
l  ;      a6 = a4  + a3                ; and left
l  ;      a3 = a5
l  ;      a4 = a6
l ; end comparison sine wave oscilator
l ; start of resonant filter for tuning purposes
l           ;a1 reson a3,kcps*4,20,2
l           ;a2 reson a4,kcps*4,20,2
l            a1 = a3 * kamp_l
l            a2 = a4 * kamp_r
l;
l            outs     a1 * kpan_l ,a2 * kpan_r
l     endin
l
l;     instr 99
l;       kamp   poscil  1, 1/p3, 1           ; create an envelope from a function table
l;       a6, a7 soundin "sflib/drum2.wav"
l;       outs a6 * kamp, a7 * kamp
l;     endin
l
l
l
; cents for each step in the scale
; just equivalent to 72 EDO
@lf3 0 128 -2 0
@l 0.001673 0.003362 0.005327 0.007067 0.008447 0.011173 0.011944 0.013857 0.015064 0.016500 0.018240
@l 0.020391 0.021669 0.023117 0.024774 0.026687 0.028921 0.030185 0.031564 0.034248 0.034741 0.036481
@l 0.038631 0.040011 0.041751 0.043508 0.044927 0.047078 0.051955 0.049804 0.051955 0.053338 0.055132
@l 0.056872 0.058251 0.059022 0.061749 0.063662 0.068045 0.056872 0.065318 0.070196 0.059022 0.073338
@l 0.090587 0.077263 0.078249 0.077263 0.081369 0.076492 0.085259 0.086696 0.088436 0.090587 0.091672
@l 0.093313 0.094970 0.096883 0.098331 0.099609 0.101760 0.103500 0.104936 0.106676 0.108827 0.110105
@l 0.111688 0.113341 0.115123 0.117849 0.115123 0.120000
@; 72 EDO
lf3 0 128 -2
l 0 0.0016667 0.0033333 0.0050000 0.0066667 0.0083333 0.0100000 0.0116667 0.0133333 0.0150000 0.0166667
l 0.0183333 0.0200000 0.0216667 0.0233333 0.0250000 0.0266667 0.0283333 0.0300000 0.0316667 0.0333333
l 0.0350000 0.0366667 0.0383333 0.0400000 0.0416667 0.0433333 0.0450000 0.0466667 0.0483333 0.0500000
l 0.0516667 0.0533333 0.0550000 0.0566667 0.0583333 0.0600000 0.0616667 0.0633333 0.0650000 0.0666667
l 0.0683333 0.0700000 0.0716667 0.0733333 0.0750000 0.0766667 0.0783333 0.0800000 0.0816667 0.0833333
l 0.0850000 0.0866667 0.0883333 0.0900000 0.0916667 0.0933333 0.0950000 0.0966667 0.0983333 0.1000000
l 0.1016667 0.1033333 0.1050000 0.1066667 0.1083333 0.1100000 0.1116667 0.1133333 0.1150000 0.1166667
l 0.1183333 0.12
@ 53 EDO
@lf3 0 128 -2
@l 0 0.0022642 0.0045283 0.0067925 0.0090566 0.0113208 0.0135849 0.0158491 0.0181132 0.0203774
@l 0.0226415 0.0249057 0.0271698 0.0294340 0.0316981 0.0339623 0.0362264 0.0384906 0.0407547 0.0430189
@l 0.0452830 0.0475472 0.0498113 0.0520755 0.0543396 0.0566038 0.0588679 0.0611321 0.0633962 0.0656604
@l 0.0679245 0.0701887 0.0724528 0.0747170 0.0769811 0.0792453 0.0815094 0.0837736 0.0860377 0.0883019
@l 0.0905660 0.0928302 0.0950943 0.0973585 0.0996226 0.1018868 0.1041509 0.1064151 0.1086792 0.1109434
@l 0.1132075 0.1154717 0.1177358 0.1200000
@ Just tonality diamond
@ lf3 0 128 -2 0.0 0.0070672 0.0084467 0.0111731 0.0119443 0.0128298 0.0138573 0.0150637 0.0155140 0.0165004
@ l 0.0182404 0.0203910 0.0231174 0.0247741 0.0266871 0.0289210 0.0315641 0.0347408 0.0359472 0.0378602
@ l 0.0386314 0.0417508 0.0427373 0.0435084 0.0454214 0.0470781 0.0498045 0.0536951 0.0551318 0.0563382
@ l 0.0582512 0.0609776 0.0617488 0.0636618 0.0648682 0.0653185 0.0663049 0.0694243 0.0701955 0.0737652
@ l 0.0745786 0.0764916 0.0772627 0.0782492 0.0813686 0.0840528 0.0849383 0.0852592 0.0857095 0.0884359
@ l 0.0910790 0.0925418 0.0933129 0.0952259 0.0968826 0.0996090 0.1017596 0.1034996 0.1049363 0.1061427
@ l 0.1071702 0.1080557 0.1088269 0.1172736 0.1200000
@ old limited diamond - only notes that are in the diamond
@ lf3 0 128 -2 0.0 0.0111731 0.0119443 0.0128298 0.0138573 0.0150637 0.0165004
@ l0.0182404 0.0203910 0.0231174 0.0247741 0.0266871 0.0289210 0.0315641 0.0315641
@ l0.0347408 0.0359472 0.0386314 0.0386314 0.0417508 0.0435084 0.0454214 0.0498045
@ l0.0498045 0.0498045 0.0536951 0.0551318 0.0563382 0.0582512 0.0617488 0.0636618
@ l0.0648682 0.0663049 0.0701955 0.0701955 0.0701955 0.0745786 0.0764916 0.0782492
@ l0.0813686 0.0813686 0.0840528 0.0852592 0.0884359 0.0884359 0.0910790 0.0933129
@ l0.0952259 0.0968826 0.0996090 0.1017596 0.1034996 0.1049363 0.1061427 0.1071702
@ l0.1080557 0.1088269 0.1200000
lf4 0 1025 9 .25 1 0 ;The first quadrant of a sine for panning
lf500 0 256 10 1
@lf9 0 1025 9 1 .5 2 .25 3 .125 4 .125 0 ; a sort of sawtooth sine wave
;lf9 0 256 10 1 ; sine wave
@lf2 0 256 10 1
; c4 = 72 = middle C = 60 is MIDI standard number
; g3 = 67
; something is wrong with function table 300
;               1st take 2nd take 3rd take 4th take 5th take 6th take sum of takes = size of table
; these are useful for taking a note up or down an octave without moving the sample up or down - built in munchkinization
lf301 0 256 -7   1   256   1                                   ; g0 = no change;
lf302 0 256 -7   1.125 256 1.125                               ; g1 up 9/8
lf303 0 256 -7   1.25  256 1.25                                ; g2 up 5/4
lf304 0 256 -7   1.3333 256 1.3333                             ; g3 up 4/3
lf305 0 256 -7   1.5    256 1.5                                ; g4 up 3/2
lf306 0 256 -7  .875    256 .875                               ; g5 down 7/8
lf307 0 256 -7  .5      256 .5                                 ; g6 down 1 octave
lf308 0 256 -7  .25     256 .25                                ; g7 down 2 octaves
lf309 0 256 -7  .125    256 .125                               ; g8 down 3 octaves
@  minor up and down and back (for example, F G-- D++)
@ f#  t size ty s for e t up a ratio for stay there   down to  stay there   end
lf310 0 1024 -7 1 512 1 0 1.125      256 1.125      0 .9000000 256 .9000000 0 ; g9  4 5 3 = A#  C   Ab
lf311 0 1024 -7 1 512 1 0 1.14285714 256 1.14285714 0 .8888889 256 .8888888 0 ; g10 5 6 4 = 11:8 -> 11:7 -> 11:9
@ slide down for gong
lf312 0 256 -7 1 256 1.0625; g11 glide up 17/16
lf313 0 256 -7 1 256 .9375; g12 glide down 15/16
; Glissando up tables min points mid pts max pts mid pts max pts mid pts min mid max mid min mid max ; glide number Ratio
lf314 0 256 -7 1 48 1 128 1 80 1  ; 1:1 g13 up 0
; Glides optimized for 72 tone stepsize:   1.0096735 0.9904191
lf 315  0 256  -7 1 64 1 128 1.0096735 64 1.0096735 ; 104:103 g14 up 1
lf 316  0 256  -7 1 64 1 128 1.0194406 64 1.0194406 ; 52:51 g15 up 2
lf 317  0 256  -7 1 64 1 128 1.0293022 64 1.0293022 ; 35:34 g16 up 3
lf 318  0 256  -7 1 64 1 128 1.0392592 64 1.0392592 ; 26:25 g17 up 4
lf 319  0 256  -7 1 64 1 128 1.0493125 64 1.0493125 ; 21:20 g18 up 5
lf 320  0 256  -7 1 64 1 128 1.0594631 64 1.0594631 ; 16:15 g19 up 6
lf 321  0 256  -7 1 64 1 128 1.0697118 64 1.0697118 ; 15:14 g20 up 7
lf 322  0 256  -7 1 64 1 128 1.0800597 64 1.0800597 ; 14:13 g21 up 8
lf 323  0 256  -7 1 64 1 128 1.0905077 64 1.0905077 ; 12:11 g22 up 9
lf 324  0 256  -7 1 64 1 128 1.1010568 64 1.1010568 ; 11:10 g23 up 10
lf 325  0 256  -7 1 64 1 128 1.1117079 64 1.1117079 ; 10:9  g24 up 11
lf 326  0 256  -7 1 64 1 128 1.1224620 64 1.1224620 ; 9:8   g25 up 12
lf 327  0 256  -7 1 64 1 128 1.1333202 64 1.1333202 ; 17:15 g26 up 13
lf 328  0 256  -7 1 64 1 128 1.1442834 64 1.1442834 ; 8:7   g27 up 14
lf 329  0 256  -7 1 64 1 128 1.1553527 64 1.1553527 ; 15:13 g28 up 15
lf 330  0 256  -7 1 64 1 128 1.1665290 64 1.1665290 ; 7:6   g29 up 16
lf 331  0 256  -7 1 64 1 128 1.1778135 64 1.1778135 ; 13:11 g30 up 17
lf 332  0 256  -7 1 64 1 128 1.1892071 64 1.1892071 ; 25:21 g31 up 18
lf 333  0 256  -7 1 64 1 128 1.2007109 64 1.2007109 ; 6:5   g32 up 19
lf 334  0 256  -7 1 64 1 128 1.2123261 64 1.2123261 ; 17:14 g33 up 20
lf 335  0 256  -7 1 64 1 128 1.2240535 64 1.2240535 ; 11:9  g34 up 21
lf 336  0 256  -7 1 64 1 128 1.2358945 64 1.2358945 ; 21:17 g35 up 22
lf 337  0 256  -7 1 64 1 128 1.2478499 64 1.2478499 ; 5:4   g36 up 23
lf 338  0 256  -7 1 64 1 128 1.2599210 64 1.2599210 ; 29:23 g37 up 24
lf 339  0 256  -7 1 64 1 128 1.2721089 64 1.2721089 ; 14:11 g38 up 25
lf 340  0 256  -7 1 64 1 128 1.2844147 64 1.2844147 ; 9:7   g39 up 26
lf 341  0 256  -7 1 64 1 128 1.2968396 64 1.2968396 ; 13:10 g40 up 27
lf 342  0 256  -7 1 64 1 128 1.3093846 64 1.3093846 ; 55:42 g41 up 28
lf 343  0 256  -7 1 64 1 128 1.3220510 64 1.3220510 ; 41:31 g42 up 29
lf 344  0 256  -7 1 64 1 128 1.3348399 64 1.3348399 ; 4:3   g43 up 30
lf 345  0 256  -7 1 64 1 128 1.3477525 64 1.3477525 ; 31:23 g44 up 31
lf 346  0 256  -7 1 64 1 128 1.3607900 64 1.3607900 ; 49:36 g45 up 32
lf 347  0 256  -7 1 64 1 128 1.3739536 64 1.3739536 ; 11:8  g46 up 33
lf 348  0 256  -7 1 64 1 128 1.3872446 64 1.3872446 ; 43:31 g47 up 34
lf 349  0 256  -7 1 64 1 128 1.4006642 64 1.4006642 ; 7:5   g48 up 35
lf 350  0 256  -7 1 64 1 128 1.4142136 64 1.4142136 ; 17:12 g49 up 36
lf 351  0 256  -7 1 64 1 128 1.4278940 64 1.4278940 ; 10:7  g50 up 37
lf 352  0 256  -7 1 64 1 128 1.4417068 64 1.4417068 ; 13:9  g51 up 38
lf 353  0 256  -7 1 64 1 128 1.4556532 64 1.4556532 ; 16:11 g52 up 39
lf 354  0 256  -7 1 64 1 128 1.4697345 64 1.4697345 ; 25:17 g53 up 40
lf 355  0 256  -7 1 64 1 128 1.4839520 64 1.4839520 ; 46:31 g54 up 41
lf 356  0 256  -7 1 64 1 128 1.4983071 64 1.4983071 ; 3:2   g55 up 42
lf 357  0 256  -7 1 64 1 128 1.5128010 64 1.5128010 ; 59:39 g56 up 43
lf 358  0 256  -7 1 64 1 128 1.5274351 64 1.5274351 ; 55:36 g57 up 44
lf 359  0 256  -7 1 64 1 128 1.5422108 64 1.5422108 ; 37:24 g58 up 45
lf 360  0 256  -7 1 64 1 128 1.5571295 64 1.5571295 ; 14:9  g59 up 46
lf 361  0 256  -7 1 64 1 128 1.5721924 64 1.5721924 ; 11:7  g60 up 47
lf 362  0 256  -7 1 64 1 128 1.5874011 64 1.5874011 ; 27:17 g61 up 48
lf 363  0 256  -7 1 64 1 128 1.6027568 64 1.6027568 ; 8:5   g62 up 49
lf 364  0 256  -7 1 64 1 128 1.6182612 64 1.6182612 ; 34:21 g63 up 50
lf 365  0 256  -7 1 64 1 128 1.6339155 64 1.6339155 ; 13:8  g64 up 51
lf 366  0 256  -7 1 64 1 128 1.6497212 64 1.6497212 ; 33:20 g65 up 52
lf 367  0 256  -7 1 64 1 128 1.6656798 64 1.6656798 ; 5:3   g66 up 53
lf 368  0 256  -7 1 64 1 128 1.6817928 64 1.6817928 ; 37:22 g67 up 54
lf 369  0 256  -7 1 64 1 128 1.6980617 64 1.6980617 ; 73:43 g68 up 55
lf 370  0 256  -7 1 64 1 128 1.7144880 64 1.7144880 ; 12:7  g69 up 56
lf 371  0 256  -7 1 64 1 128 1.7310731 64 1.7310731 ; 45:26 g70 up 57
lf 372  0 256  -7 1 64 1 128 1.7478187 64 1.7478187 ; 7:4   g71 up 58
lf 373  0 256  -7 1 64 1 128 1.7647263 64 1.7647263 ; 30:17 g72 up 59
lf 374  0 256  -7 1 64 1 128 1.7817974 64 1.7817974 ; 16:9  g73 up 60
lf 375  0 256  -7 1 64 1 128 1.7990337 64 1.7990337 ; 9:5   g74 up 61
lf 376  0 256  -7 1 64 1 128 1.8164367 64 1.8164367 ; 20:11 g75 up 62
lf 377  0 256  -7 1 64 1 128 1.8340081 64 1.8340081 ; 11:6  g76 up 63
lf 378  0 256  -7 1 64 1 128 1.8517494 64 1.8517494 ; 24:13 g77 up 64
lf 379  0 256  -7 1 64 1 128 1.8696624 64 1.8696624 ; 15:8  g78 up 65
lf 380  0 256  -7 1 64 1 128 1.8877486 64 1.8877486 ; 17:9  g79 up 66
lf 381  0 256  -7 1 64 1 128 1.9060098 64 1.9060098 ; 61:32 g80 up 67
lf 382  0 256  -7 1 64 1 128 1.9244477 64 1.9244477 ; 102:53 g81 up 68
lf 383  0 256  -7 1 64 1 128 1.9430639 64 1.9430639 ; 35:18 g82 up 69
lf 384  0 256  -7 1 64 1 128 1.9618602 64 1.9618602 ; 51:26 g83 up 70
lf 385  0 256  -7 1 64 1 128 1.9808383 64 1.9808383 ; 103:52 g84 up 71
lf 386  0 256  -7 1 64 1 128 0.9904191 64 0.9904191 ; 103:104 g85 down 1
lf 387  0 256  -7 1 64 1 128 0.9809301 64 0.9809301 ; 51:52 g86 down 2
lf 388  0 256  -7 1 64 1 128 0.9715319 64 0.9715319 ; 34:35 g87 down 3
lf 389  0 256  -7 1 64 1 128 0.9622238 64 0.9622238 ; 25:26 g88 down 4
lf 390  0 256  -7 1 64 1 128 0.9530049 64 0.9530049 ; 20:21 g89 down 5
lf 391  0 256  -7 1 64 1 128 0.9438743 64 0.9438743 ; 15:16 g90 down 6
lf 392  0 256  -7 1 64 1 128 0.9348312 64 0.9348312 ; 14:15 g91 down 7
lf 393  0 256  -7 1 64 1 128 0.9258747 64 0.9258747 ; 13:14 g92 down 8
lf 394  0 256  -7 1 64 1 128 0.9170040 64 0.9170040 ; 11:12 g93 down 9
lf 395  0 256  -7 1 64 1 128 0.9082184 64 0.9082184 ; 10:11 g94 down 10
lf 396  0 256  -7 1 64 1 128 0.8995169 64 0.8995169 ; 9:10  g95 down 11
lf 397  0 256  -7 1 64 1 128 0.8908987 64 0.8908987 ; 8:9   g96 down 12
lf 398  0 256  -7 1 64 1 128 0.8823631 64 0.8823631 ; 15:17 g97 down 13
lf 399  0 256  -7 1 64 1 128 0.8739094 64 0.8739094 ; 7:8   g98 down 14
lf 400  0 256  -7 1 64 1 128 0.8655366 64 0.8655366 ; 13:15 g99 down 15
lf 401  0 256  -7 1 64 1 128 0.8572440 64 0.8572440 ; 6:7   g100  down 16
lf 402  0 256  -7 1 64 1 128 0.8490309 64 0.8490309 ; 11:13 g101  down 17
lf 403  0 256  -7 1 64 1 128 0.8408964 64 0.8408964 ; 21:25 g102  down 18
lf 404  0 256  -7 1 64 1 128 0.8328399 64 0.8328399 ; 5:6   g103  down 19
lf 405  0 256  -7 1 64 1 128 0.8248606 64 0.8248606 ; 14:17 104  down 20
lf 406  0 256  -7 1 64 1 128 0.8169577 64 0.8169577 ; 9:11 105  down 21
lf 407  0 256  -7 1 64 1 128 0.8091306 64 0.8091306 ; 17:21 106  down 22
lf 408  0 256  -7 1 64 1 128 0.8013784 64 0.8013784 ; 4:5 107  down 23
lf 409  0 256  -7 1 64 1 128 0.7937005 64 0.7937005 ; 23:29 108  down 24
lf 410  0 256  -7 1 64 1 128 0.7860962 64 0.7860962 ; 11:14 109  down 25
lf 411  0 256  -7 1 64 1 128 0.7785647 64 0.7785647 ; 7:9 110  down 26
lf 412  0 256  -7 1 64 1 128 0.7711054 64 0.7711054 ; 10:13 111  down 27
lf 413  0 256  -7 1 64 1 128 0.7637176 64 0.7637176 ; 42:55 112  down 28
lf 414  0 256  -7 1 64 1 128 0.7564005 64 0.7564005 ; 31:41 113  down 29
lf 415  0 256  -7 1 64 1 128 0.7491535 64 0.7491535 ; 3:4 114  down 30
lf 416  0 256  -7 1 64 1 128 0.7419760 64 0.7419760 ; 23:31 115  down 31
lf 417  0 256  -7 1 64 1 128 0.7348672 64 0.7348672 ; 36:49 116  down 32
lf 418  0 256  -7 1 64 1 128 0.7278266 64 0.7278266 ; 8:11 117  down 33
lf 419  0 256  -7 1 64 1 128 0.7208534 64 0.7208534 ; 31:43 118  down 34
lf 420  0 256  -7 1 64 1 128 0.7139470 64 0.7139470 ; 5:7 119  down 35
lf 421  0 256  -7 1 64 1 128 0.7071068 64 0.7071068 ; 12:17 120  down 36
lf 422  0 256  -7 1 64 1 128 0.7003321 64 0.7003321 ; 7:10 121  down 37
lf 423  0 256  -7 1 64 1 128 0.6936223 64 0.6936223 ; 9:13 122  down 38
lf 424  0 256  -7 1 64 1 128 0.6869768 64 0.6869768 ; 11:16 123  down 39
lf 425  0 256  -7 1 64 1 128 0.6803950 64 0.6803950 ; 17:25 124  down 40
lf 426  0 256  -7 1 64 1 128 0.6738762 64 0.6738762 ; 31:46 125  down 41
lf 427  0 256  -7 1 64 1 128 0.6674199 64 0.6674199 ; 2:3 126  down 42
lf 428  0 256  -7 1 64 1 128 0.6610255 64 0.6610255 ; 39:59 127  down 43
lf 429  0 256  -7 1 64 1 128 0.6546923 64 0.6546923 ; 36:55 128  down 44
lf 430  0 256  -7 1 64 1 128 0.6484198 64 0.6484198 ; 24:37 129  down 45
lf 431  0 256  -7 1 64 1 128 0.6422074 64 0.6422074 ; 9:14 130  down 46
lf 432  0 256  -7 1 64 1 128 0.6360545 64 0.6360545 ; 7:11 131  down 47
lf 433  0 256  -7 1 64 1 128 0.6299605 64 0.6299605 ; 17:27 132  down 48
lf 434  0 256  -7 1 64 1 128 0.6239250 64 0.6239250 ; 5:8 133  down 49
lf 435  0 256  -7 1 64 1 128 0.6179472 64 0.6179472 ; 21:34 134  down 50
lf 436  0 256  -7 1 64 1 128 0.6120268 64 0.6120268 ; 8:13 135  down 51
lf 437  0 256  -7 1 64 1 128 0.6061630 64 0.6061630 ; 20:33 136  down 52
lf 438  0 256  -7 1 64 1 128 0.6003555 64 0.6003555 ; 3:5 137  down 53
lf 439  0 256  -7 1 64 1 128 0.5946036 64 0.5946036 ; 22:37 138  down 54
lf 440  0 256  -7 1 64 1 128 0.5889067 64 0.5889067 ; 43:73 139  down 55
lf 441  0 256  -7 1 64 1 128 0.5832645 64 0.5832645 ; 7:12 140  down 56
lf 442  0 256  -7 1 64 1 128 0.5776763 64 0.5776763 ; 26:45 141  down 57
lf 443  0 256  -7 1 64 1 128 0.5721417 64 0.5721417 ; 4:7 142  down 58
lf 444  0 256  -7 1 64 1 128 0.5666601 64 0.5666601 ; 17:30 143  down 59
lf 445  0 256  -7 1 64 1 128 0.5612310 64 0.5612310 ; 9:16 144  down 60
lf 446  0 256  -7 1 64 1 128 0.5558540 64 0.5558540 ; 5:9 145  down 61
lf 447  0 256  -7 1 64 1 128 0.5505284 64 0.5505284 ; 11:20 146  down 62
lf 448  0 256  -7 1 64 1 128 0.5452539 64 0.5452539 ; 6:11 147  down 63
lf 449  0 256  -7 1 64 1 128 0.5400299 64 0.5400299 ; 13:24 148  down 64
lf 450  0 256  -7 1 64 1 128 0.5348559 64 0.5348559 ; 8:15 149  down 65
lf 451  0 256  -7 1 64 1 128 0.5297315 64 0.5297315 ; 9:17 150  down 66
lf 452  0 256  -7 1 64 1 128 0.5246563 64 0.5246563 ; 32:61 151  down 67
lf 453  0 256  -7 1 64 1 128 0.5196296 64 0.5196296 ; 53:102  152  down 68
lf 454  0 256  -7 1 64 1 128 0.5146511 64 0.5146511 ; 18:35 153  down 69
lf 455  0 256  -7 1 64 1 128 0.5097203 64 0.5097203 ; 26:51 154  down 70
lf 456  0 256  -7 1 64 1 128 0.5048368 64 0.5048368 ; 52:103  155  down 71
@ end of glissandi
@ get save.txt
@ edit save.txt
l;Trills in 72 EDO
lf 457 0 256 -7 1 16 1 0 1.1665290 16 1.1665290 0 1 16 1 0 1.1665290 16 1.1665290
l 0 1 16 1 0 1.16652904 16 1.16652904 0 1 16 1 0 1.16652904 16 1.16652904
l 0 1 16 1 0 1.16652904 16 1.16652904 0 1 16 1 0 1.16652904 16 1.16652904
l 0 1 16 1 0 1.16652904 16 1.16652904 0 1 16 1 0 1.16652904 16 1.16652904
l ; 7:6 156 up & down .trl7:6 g156
lf 458 0 256 -7 1 16 1 0 1.1442834 16 1.1442834 0 1 16 1 0 1.1442834 16 1.1442834
l 0 1 16 1 0 1.144283433 16 1.144283433 0 1 16 1 0 1.144283433 16 1.144283433
l 0 1 16 1 0 1.144283433 16 1.144283433 0 1 16 1 0 1.144283433 16 1.144283433
l 0 1 16 1 0 1.144283433 16 1.144283433 0 1 16 1 0 1.144283433 16 1.144283433
l ; 8:7 157 up & down .trl8:7 g157
lf 459 0 256 -7 1 16 1 0 1.1224620 16 1.1224620 0 1 16 1 0 1.1224620 16 1.1224620
l 0 1 16 1 0 1.122462048 16 1.122462048 0 1 16 1 0 1.122462048 16 1.122462048
l 0 1 16 1 0 1.122462048 16 1.122462048 0 1 16 1 0 1.122462048 16 1.122462048
l 0 1 16 1 0 1.122462048 16 1.122462048 0 1 16 1 0 1.122462048 16 1.122462048
l ; 9:8 158 up & down .trl9:8 g158
lf 460 0 256 -7 1 16 1 0 1.1117079 16 1.1117079 0 1 16 1 0 1.1117079 16 1.1117079
l 0 1 16 1 0 1.111707905 16 1.111707905 0 1 16 1 0 1.111707905 16 1.111707905
l 0 1 16 1 0 1.111707905 16 1.111707905 0 1 16 1 0 1.111707905 16 1.111707905
l 0 1 16 1 0 1.111707905 16 1.111707905 0 1 16 1 0 1.111707905 16 1.111707905
l ; 10:9 159 up & down .trl10:9 g159
lf 461 0 256 -7 1 16 1 0 1.1010568 16 1.1010568 0 1 16 1 0 1.1010568 16 1.1010568
l 0 1 16 1 0 1.101056795 16 1.101056795 0 1 16 1 0 1.101056795 16 1.101056795
l 0 1 16 1 0 1.101056795 16 1.101056795 0 1 16 1 0 1.101056795 16 1.101056795
l 0 1 16 1 0 1.101056795 16 1.101056795 0 1 16 1 0 1.101056795 16 1.101056795
l ; 11:10 160 up & down .trl11:10 g160
lf 462 0 256 -7 1 16 1 0 1.0905077 16 1.0905077 0 1 16 1 0 1.0905077 16 1.0905077
l 0 1 16 1 0 1.090507733 16 1.090507733 0 1 16 1 0 1.090507733 16 1.090507733
l 0 1 16 1 0 1.090507733 16 1.090507733 0 1 16 1 0 1.090507733 16 1.090507733
l 0 1 16 1 0 1.090507733 16 1.090507733 0 1 16 1 0 1.090507733 16 1.090507733
l ; 12:11 161 up & down .trl12:11 g161
lf 463 0 256 -7 1 16 1 0 1.0905077 16 1.0905077 0 1 16 1 0 1.0905077 16 1.0905077
l 0 1 16 1 0 1.090507733 16 1.090507733 0 1 16 1 0 1.090507733 16 1.090507733
l 0 1 16 1 0 1.090507733 16 1.090507733 0 1 16 1 0 1.090507733 16 1.090507733
l 0 1 16 1 0 1.090507733 16 1.090507733 0 1 16 1 0 1.090507733 16 1.090507733
l ; 13:12 162 up & down .trl13:12 g162
lf 464 0 256 -7 1 16 1 0 1.0769231 16 1.0769231 0 1 16 1 0 1.0769231 16 1.0769231
l 0 1 16 1 0 1.076923077 16 1.076923077 0 1 16 1 0 1.076923077 16 1.076923077
l 0 1 16 1 0 1.076923077 16 1.076923077 0 1 16 1 0 1.076923077 16 1.076923077
l 0 1 16 1 0 1.076923077 16 1.076923077 0 1 16 1 0 1.076923077 16 1.076923077
l ; 14:13 163 up & down .trl14:13 g163
lf 465 0 256 -7 1 16 1 0 1.0800597 16 1.0800597 0 1 16 1 0 1.0800597 16 1.0800597
l 0 1 16 1 0 1.080059739 16 1.080059739 0 1 16 1 0 1.080059739 16 1.080059739
l 0 1 16 1 0 1.080059739 16 1.080059739 0 1 16 1 0 1.080059739 16 1.080059739
l 0 1 16 1 0 1.080059739 16 1.080059739 0 1 16 1 0 1.080059739 16 1.080059739
l ; 15:14 164 up & down .trl15:14 g164
lf 466 0 256 -7 1 16 1 0 1.2240535 16 1.2240535 0 1 16 1 0 1.2240535 16 1.2240535
l 0 1 16 1 0 1.224053543 16 1.224053543 0 1 16 1 0 1.224053543 16 1.224053543
l 0 1 16 1 0 1.224053543 16 1.224053543 0 1 16 1 0 1.224053543 16 1.224053543
l 0 1 16 1 0 1.224053543 16 1.224053543 0 1 16 1 0 1.224053543 16 1.224053543
l ; 11 : 9 165 up & down .trl11:9 g165
l;   Envelopes
l; autoscale all following tables to 1
l;#7  0 siz
l;#6  0 siz exp min values mid val  max   vals mid vals min val mid val max
lf298 0 1025 6  0     1     .5  1   1     496  1   496  1    15 .5   15 0.0 ; e0 - Attack and sustain with a relatively sharp ending
lf297 0 1025 6  0     1     .9  1   1     486  1   486  1    25 .5   25 0.0 ; e1 - Attack and sustain with a relatively sharp ending
l;#5 0 siz exp start take reach take reach
lf296 0 513  5  1024 512     1                                     ; e2 - exponential - dead piano
l;#6  0 siz exp min values mid val max val mid val  min val mid val max val mid val min
lf295 0 1025  6  0     64    .5   64   1  128  .6  128   .3  128  .5  128  .6   192 .3   192  0 ; e3  big hump, small hump
lf294 0 1025  6  0     64    .15  64  .3  128  .25 128   .2  128  .6  128  1    192 .5   192  0 ; e4  small hump, big hump
lf293 0 1025 6  0     1    .5   1   1  447 .99 447 .98  64 0.5  64  0 ;e5 default woodwind envelope
lf292  0 1025 6 0   1   0.50 1   1.00  447  0.60 447 0.20 32   0.21 32  0.22 32  0.11 32  0.00 ; e6 moving away slowly
lf291  0 1025 6 0   1   0.50 1   1.00  128   0.60 128  0.20 256   0.15 254  0.10 128  0.05 128  0.00 ; e7 moving away faster
lf290 0 1025 6  0     2    .5   2   1  501 .6  483 .3   18   .15 18  0 ; e8  hit and drop most
lf289 0 1025 6  0     1    .3   1  .6  479 .8  479  1   32  .5  32 0 ; e34  Start moderately and build, abrupt end
lf288 0 1025 6  0    64    .40 448  1  448 .6  64   0                ; e10  One long hump in the middle
lf287 0 1025 6  0     1    .5   1   1  368 .99 368 .98  16 .5 16 0 127 0 127 0 ; e11  hit and sustain 3/4 the normal length
lf286 0 1025 6  0     1    .5   1   1  303 .99 303 .98  16 .5 16 0 192 0 192 0 ; e12  hit and sustain 2/3 the normal length
lf285 0 1025 6  0     1    .5   1   1  255 .99 255 .98  16 .5 16 0 240 0 240 0 ; e13  hit and sustain 1/2 the normal length
lf284 0 1025 6  0    64    .4   64  1  127 .99 255 .98  16 .5 16 0 240 0 240 0 ; e14  gradual in with 1/2 sustain
lf283 0 1025 6  0    384   .5  384  1   128 .5  128  0                ; e15  one hump towards the end
lf282 0 1025 6  0     2    .2   2  .4  477 .7  479  1   32  .5  32 0 ; e16  sustain piano sound
lf281 0 1025 6  0     1    .1   1  .2  479 .6  479  1   32  .5  32 0 ; e17  sustain guitar sound
lf280 0 1025 6  1  64  .7  64  .4 64  .4 64  .4 384 .7  352  1 16 .5 16 0  ; e18  Sharp attack, then less quiet, build to end
lf279 0 1025 6  0  1 .5  1  1.0 128  .7 228  .4 128 .4  28 .4 128 .5  128 .6 128 .3 126 0  ; e19  Moderate attack, then slightly quiet, build to end
@      85   170  255  340  425  510  595  680  765  850  935  1024
lf278 0 1025 6 0 85 0.40 85 0.80 85 0.65 85 0.50 85 0.75 85 1.00 85 0.75 85 0.50 85 0.65 85 0.8 85 0.4 89 0.0 ; e20 3 humps - biggest in middle
lf277 0 1025 6 0 85 0.50 85 1.00 85 0.75 85 0.50 85 0.65 85 0.80 85 0.65 85 0.50 85 0.65 85 0.8 85 0.4 89 0.0 ; e21 3 humps - biggest early
lf276 0 1025 6 0 85 0.40 85 0.80 85 0.65 85 0.50 85 0.65 85 0.80 85 0.65 85 0.50 85 0.75 85 1.0 85 0.5 89 0.0 ; e22 3 humps - biggest late
@ 1 85 169 253 337 421 505 589 673 757 841 1024
lf275 0 1025 6 0 1 0.01 84 0.80 84 0.65 84 0.50 84 0.75 84 1.00 84 0.75 84 0.50 84 0.65 84 0.8 84 0.4 183 0.0 ; e23 3 humps - early biggest in middle
lf274 0 1025 6 0 1 0.01 84 1.00 84 0.75 84 0.50 84 0.65 84 0.80 84 0.65 84 0.50 84 0.65 84 0.8 84 0.4 183 0.0 ; e24 3 humps - early biggest early
lf273 0 1025 6 0 1 0.01 84 0.80 84 0.65 84 0.50 84 0.65 84 0.80 84 0.65 84 0.50 84 0.75 84 1.0 84 0.5 183 0.0 ; e25 3 humps - early biggest late
@ relatively slow rise, sustain, slow decline
lf272 0 1025 6  0   64  .5  64   1  256 1 512 1 64 .5  64   0                ; e26  slow rise, sustain, slow drop
l;               min pts mid  pts max   pts  mid  pts min  pts  mid  pts max  pts mid  pts min
l;p1    2 3    4 5   6   7    8   9     10   11   12  13   14   15   16  17   18  19   20  21   ;
lf265  0 1025 6 0   32  0.20 32  0.40  32   0.30 32  0.20 432  0.60 432 1.00 16  0.50 16  0.00 ; e33 channel one moving in gradually
lf264  0 1025 6 0   206 0.03 206 0.06  205  0.06 205 0.05 85   0.53 85  1.00 16  0.50 16  0.00 ; e34 channel 2 moving in at the end
l;#6  0 siz exp min values mid val max val mid val  min val mid val max val mid val min
lf263 0 1025 6  0     2    .2   2  .6   4  .4   4   .3  500  .6 500  1   6   .5   7    0 ; e35 low bass piano inverse of h48 and above
lf262 0 1025 6  0     2    .2   2  .6   4  .4   4   .3  500  .32 500  .33 6   .2   7    0 ; e36 low bass piano inverse of h48
@lf261 e37
@lf260 e38
@lf259 e39
@lf258 e40
@lf257 e41
@ higher the number the faster the tempo
@ tempo
@ the last is the final tempo and cannot be a time, must be a tempo
f; This is the post processor that takes as input a function table with volume points and alters the overall volume
f
f
f-W -G -m2 -+y -o sflib\drum2a.wav
f
f
f
f sr = 44100
f ksmps = 2; any higher than 10 and I hear clicks - use 1 for final take
f; typically save 5x processing time by increasing ksmps by 10x
f nchnls = 2
f
f instr 99
f   kamp poscil 1, 1/p3, 1 ; create a set of volume points from a function table that lasts as long as the input file
f   a6, a7 soundin "sflib/drum2.wav"
f   outs a6 * kamp, a7 * kamp
f endin
f
f
f
@ also change lt0 designator at the same time
@1.31641%        2000    1973.671714
@2.63283%        2000    1947.343428
@3.94924%        2000    1921.015142
@5.26566%        2000    1894.686856
@6.58207%        2000    1868.35857
@7.89849%        2000    1842.030284
@9.21490%        2000    1815.701998
@10.53131%       2000    1789.373712
@11.84773%       2000    1763.045426
@ note names using Sagittal font locations
@ What should I call them? by ratio for now:
@ if this gets bigger than 59, need to modify the samples.pas program to update the "root" variable.
@
@ McGill University Master Sample Set
@
@ Instruments available
@
@ 2 HARP-HARMONC     3 HARP            4 HARPSIC-STOP   5 HARPSI-4 FT      6 HARPSI-4+8FT  7 HARPSI-8 FT
@ 8 MARIMBA          9 OBOE-BAROQUE   10 OBOE          11 PIPES-CORNET    12 PIPES-fLUTE  13 PIPE-PEDALS
@14 PIPES-PLENUM    16 PIPES-PRINZ    17 PIPES-REEDS   20 GRAND PIANO FF 107 GRAND PIANO MF
@21 PEDAL PIANO FF 107 PEDAL PIANO MF 23 PIANO HARMON  24 PLUCKEDPIANO    25 PICCOLO W-VB
@26 PICCOLO         27 RECRDER-ALTO   28 RECRDER-BARQ  29 SOP.BRQ.RDRQ    30 BASSINETT    31 BASS RECORDR
@32 RECRDR-QUART    33 SOPRANO RCRD   34 SHAWM-ALTO    35 TROMBONE-BS     36 TROMBONE-MTD 37 TROMBONE-ALT
@38 TROMBONE-TNR    39 TRUMPET-BACH?? 40 TRUMPET-C     41 TUBA            42 TUBULAR BELL 43 TYMPANI-HARD
@45 TYMPANI-SOFT    46 TYMPANI-WOOD   47 VIBRAPHONE    48 BASS VIOL       49 TREBLE VIOL  50 VIOLA-BOWED
@51 VIOLA-MARTEL    52 VIOLA-PIZZ     53 VIOLA W-VIB   54 VIOLIN-BOWnovib 55 VIOLIN-HARM  56 VIOLIN-MART
@57 VIOLIN-PIZZ     58 VIOLIN W-VIB   60 VIOLIN ENSM   61 VIOL.ENS.HRM    62 VIOL.ENS.MRT 63 VIOL.ENS.PIZ
@65 XYLOPHONE       66 Piano MF       67 Piano FF      68 Oberheim        70 ARCHLUTE     71 BASSOON
@72 CELESTA         73 CELLOMARTELE   74 CELLO PIZZ    75 CELLO W-VIB     76 BS. CLARINET 77 B- CLARINET
@78 E- CLARINET     79 C. CLARINET    80 CLASS.GTR.HM  81 PONTICEL.GTR    82 SULTASTO GTR 83 CLASS.GUITAR
@84 CONTf.BASSOON   85 TRBL.CORNETT   87 CROTALES      88 CRUMHORNS       90 DBL.BS.MRTLE 91 DB.BASS PIZZ
@92 DOUBLE BASS     93 ENGLISH HORN   94 A.FLUTE W-VB  95 ALTO FLUTE      96 B.FLUTE W-VB 97 BASS FLUTE
@98 FLUTTERFLUTE    99 FLUTE W-VIB   100 FLUTE NO-VIB 101 FR.HORN-MUTE   102 FRENCH HORN 103 GLOCKENSPIEL
@104 gongs
@ 154 sine wave
@ instrument names
@ 1 is velocity and tempo purposes only, no sound
n1m98
@ HandDrum1
n2m116
n3m155
n4m156
n5m157
n6m158
@ finger piano
n7m112
n8m159
@ alto flute
n9m95
@ Bb clarinet
n10m77
@ instrument definitions
.vel c1a1w0v1s8e0g0h0z0r16&all-pva.&vel-vel*.t0o1
.hnd1 c2a0u0&hnd1-vel*.&sid*.&hnd1-env*.&hnd1-ran*.g0w0&hnd1-z*.&all-pva.&hnd1-oct*.
.hnd2 c3a0u0&hnd1-vel*.&sid*.&hnd1-env*.&hnd1-ran*.g0w0&hnd1-z*.&all-pva.&hnd1-oct*.
.hnd3 c4a0u0&hnd1-vel*.&sid*.&hnd1-env*.&hnd1-ran*.g0w0&hnd1-z*.&all-pva.&hnd1-oct*.
.hnd4 c5a0u0&hnd1-vel*.&sid*.&hnd1-env*.&hnd1-ran*.g0w0&hnd1-z*.&all-pva.&hnd1-oct*.
.hnd5 c6a0u0&hnd1-vel*.&sid*.&hnd1-env*.&hnd1-ran*.g0w0&hnd1-z*.&all-pva.&hnd1-oct*.
.fin1 c7a0u0&fin1-vel*.&sid*.&fin1-env*.&fin1-ran*.g0w0&fin1-z*.&all-pva.&fin1-oct*.
.fin2 c8a0u0&fin2-vel*.&sid*.&fin1-env*.&fin2-ran*.g0w0&fin1-z*.&all-pva.&fin2-oct*.
.flu1 c9a0u0&flu1-vel*.&sid*.&flu1-env*.&flu1-ran*.g0w0&flu1-z*.&all-pva.&flu1-oct*.
.cla1 c10a0u0&cla1-vel*.&sid*.&cla1-env*.&cla1-ran*.g0w0&cla1-z*.&all-pva.&cla1-oct*.
.all-vel v76
.all-pva p16
.cla1-env e1
.cla1-ran r14
.cla1-oct4 o4u0
.cla1-z0 z0
.cla1-vel1 &all-vel.v-10
.flu1-env e1
.flu1-ran r14
@.flu1-oct4 o4u0
.flu1-oct5 o5u0
.flu1-z0 z0
.flu1-vel1 &all-vel.v-3
.fin1-env e1
.fin1-ran r14
.fin2-ran r14
.fin1-oct3a o3u0
.fin1-oct4a o4u0
.fin1-oct4b o4u255
.fin1-oct4c o4u254
.fin2-oct2 o1u0
.fin1-z0 z0
.fin1-vel1 &all-vel.v-4
.fin2-vel1 &all-vel.v+5
.hnd1-env e1
.hnd1-ran r14
.hnd1-oct4 o4u0
.hnd1-z0 z0
.hnd1-z2 z2
.hnd1-z4 z4
.hnd1-z6 z6
.hnd1-z8 z8
.hnd1-vel1 &all-vel.v-2
.vel-vel8 a255
@
@cvdhotrsepgzu
.sido-1 s1
.sido-2 s2
.sido-3 s3
.sido-4 s4
.sido-12 s12
.sido-13 s13
.sido-14 s14
.sido-15 s15
.sidm-8 s8
@ munchkinization factors
@ u3 = most mellow
@ u2 = more mellow
@ u1 = a little more mellow
@ u0 = normal sample
@ u255 = take a sample designed for a lower note and use it for a higher note - munchkinize it
@ u254 = very nasal
@ u253 = Most nasal
@ - limitations: High octaves get in trouble if u > 0
@ - low octaves can't handle u < 0 (255)
@ - can't set it to non-zero if the whole range of a sample is used.
@
@ extent of repeatability:
@   p0 - try to never repeat
@   p1 - random choice but try to pick something else first
@   p8 - statisticaly random choice (white noise)
@   p16 - lots of repeats, but gradually changes
@   p25 - almost always the same thing
@   p32 - same always.
@   p33 - step through the alternatives one by one forward
@   p34 - step through the alternatives one by one backward
@ deg n/d
@ note names
@    dry spring 1
@    &dsp.d8&awhee.
@    &bark1. &bark2. &bark3.
@    &bassdrum1. &bassdrum2. &bassdrum3. &bassdrum4. &bassdrum5. &bassdrum6.
@    &begood. &brush1. &brush2. &brush3. &brush4. &brush5. &brush6. &brush7. &brush8.
@    &chop1. &chop2. &chipchop1. &crash1. &crash2.
@    &draw1. &rock1. &rock2. &roll1.
@    dry spring 2
@    &ds2.d8
@    &scrape1. &scrape2. &scrape3. &scrape4. &scrape5.
@    &scrape6. &scrape7. &scrape8. &scrape9. &scrape10.
@    &scrape11. &scrape12. &scrape13. &scrape14. &scrape15. &scrape16. &scrape17. &scrape18.
@    &scrape19. &scrape20. &scrape21. &scrape22. &scrape23. &swirl1. &swirl2. &swirl3. &tap1. &tap2.
@    &tom1. &tom2. &cookie1. &cookie2.
@ 130 dry spring
@ give them some names after you calculate the points
@ start playing
@c/    /@   /*m
@.start-dur d0h64
@.mid-dur h64
@.end-dur d64h0
@ 3 4 6 7 9
@
@
@c/    /@   /*m
@ moving from one side to another during the note:
@ 745
@ revert
@ pick a tempo. Pick a slow one for the short segments, and a fast one for the long segments
@ could we use the Golden Ratio to set tempi?\
@ a + b = c
@ a:b as c: a
@ a = 3
@ b = 1.618033989
@ a + b = c
@ if c = 1800
@ then a = 1112.46118
@ and b = 687.5388203
@ and so forth:
@  424.9223595
@  262.6164608
@  162.3058988
@  100.310562
@   61.99533676
@   38.31522526
@.tempos1 q768
@.tempos2 q1024
.tempos2 q1152
@.tempos3 q1280
.tempom1 q1080
.tempom2 q1100
.tempof1 q1120
.tempof2 q1140
@ don't forget to comment the following three out!
@.samet q1200
@.tempos &samet.
@.tempom &samet.
@.tempof &samet.
@
@ c/    /@   /m*
@
.gls1:1 g13
.gls104:103 g14
.gls52:51 g15
.gls35:34 g16
.gls26:25 g17
.gls21:20 g18
.gls16:15 g19
.gls15:14 g20
.gls14:13 g21
.gls12:11 g22
.gls11:10 g23
.gls10:9 g24
.gls9:8 g25
.gls17:15 g26
.gls8:7 g27
.gls15:13 g28
.gls7:6 g29
.gls13:11 g30
.gls25:21 g31
.gls6:5 g32
.gls17:14 g33
.gls11:9 g34
.gls21:17 g35
.gls5:4 g36
.gls29:23 g37
.gls14:11 g38
.gls9:7 g39
.gls13:10 g40
.gls55:42 g41
.gls41:31 g42
.gls4:3 g43
.gls31:23 g44
.gls49:36 g45
.gls11:8 g46
.gls43:31 g47
.gls7:5 g48
.gls17:12 g49
.gls10:7 g50
.gls13:9 g51
.gls16:11 g52
.gls25:17 g53
.gls46:31 g54
.gls3:2 g55
.gls59:39 g56
.gls55:36 g57
.gls37:24 g58
.gls14:9 g59
.gls11:7 g60
.gls27:17 g61
.gls8:5 g62
.gls34:21 g63
.gls13:8 g64
.gls33:20 g65
.gls5:3 g66
.gls37:22 g67
.gls73:43 g68
.gls12:7 g69
.gls45:26 g70
.gls7:4 g71
.gls30:17 g72
.gls16:9 g73
.gls9:5 g74
.gls20:11 g75
.gls11:6 g76
.gls24:13 g77
.gls15:8 g78
.gls17:9 g79
.gls61:32 g80
.gls102:53 g81
.gls35:18 g82
.gls51:26 g83
.gls103:52 g84
.gls103:104 g85
.gls51:52 g86
.gls34:35 g87
.gls25:26 g88
.gls20:21 g89
.gls15:16 g90
.gls14:15 g91
.gls13:14 g92
.gls11:12 g93
.gls10:11 g94
.gls9:10 g95
.gls8:9 g96
.gls15:17 g97
.gls7:8 g98
.gls13:15 g99
.gls6:7 g100
.gls11:13 g101
.gls21:25 g102
.gls5:6 g103
.gls14:17 g104
.gls9:11 g105
.gls17:21 g106
.gls4:5 g107
.gls23:29 g108
.gls11:14 g109
.gls7:9 g110
.gls10:13 g111
.gls42:55 g112
.gls31:41 g113
.gls3:4 g114
.gls23:31 g115
.gls36:49 g116
.gls8:11 g117
.gls31:43 g118
.gls5:7 g119
.gls12:17 g120
.gls7:10 g121
.gls9:13 g122
.gls11:16 g123
.gls17:25 g124
.gls31:46 g125
.gls2:3 g126
.gls39:59 g127
.gls36:55 g128
.gls24:37 g129
.gls9:14 g130
.gls7:11 g131
.gls17:27 g132
.gls5:8 g133
.gls21:34 g134
.gls8:13 g135
.gls20:33 g136
.gls3:5 g137
.gls22:37 g138
.gls43:73 g139
.gls7:12 g140
.gls26:45 g141
.gls4:7 g142
.gls17:30 g143
.gls9:16 g144
.gls5:9 g145
.gls11:20 g146
.gls6:11 g147
.gls13:24 g148
.gls8:15 g149
.gls9:17 g150
.gls32:61 g151
.gls53:102 g152
.gls18:35 g153
.gls26:51 g154
.gls52:103 g155
@ some other ratios needed that duplicate those above
.gls54:55 g86
.gls77:72 g20
.gls33:28 g30
.gls33:32 g16
.gls21:22 g89
.gls81:88 g93
.gls13:12 g21
.gls11:9 g34
.gls12:13 g92
.gls36:35 g16
.gls25:24 g17
.gls49:48 g15
.gls72:77 g91
.gls35:36 g87
.gls24:25 g88
.gls48:49 g86
.gls32:33 g87
.gls143:144 g14
.gls144:143 g85
@ trills
@ 72 edo steps
@
.trl3 g110
.trl4 g111
.trl5 g112
.trl6 g113
.trl7 g114
.trl8 g115
.trl9 g116
.trl10 g117
.trl11 g118
.trl12 g119
.trl13 g120
.trl14 g121
.trl7:6 g156
.trl8:7 g157
.trl9:8 g158
.trl10:9 g159
.trl11:10 g160
.trl12:11 g161
@ same for 12:11 and 13:12 - How far do I have to go to make that distinction?
.trl13:12 g162
.trl14:13 g163
.trl15:14 g164
.trl11:9 g165
@ steps in 72 EDO instead of ratios
@ different speeds of movement
@c/    /@   /*m
@   .glup3a g14
@   .glup4a g15
@   .glup5a g16
@   .glup6a g17
@   .glup7a g18
@   .glup8a g19
@   .glup9a g20
@   .glup10a g21
@   .glup11a g22
@   .glup12a g23
@   .glup13a g24
@   .gldown3a g25
@   .gldown4a g26
@   .gldown5a g27
@   .gldown6a g28
@   .gldown7a g29
@   .gldown7a g30
@   .gldown8a g31
@   .gldown9a g32
@   .gldown10a g33
@   .gldown11a g34
@   .gldown12a g35
@   .gldown13a g36
@   .gldown14a g37
@   .glup3b g38
@   .glup4b g39
@   .glup5b g40
@   .glup6b g41
@   .glup7b g42
@   .glup8b g43
@   .glup9b g44
@   .glup10b g45
@   .glup11b g46
@   .glup12b g47
@   .glup13b g48
@   .glup14b g49
@   .gldown3b g50
@   .gldown4b g51
@   .gldown5b g52
@   .gldown6b g53
@   .gldown7b g54
@   .gldown8b g55
@   .gldown9b g56
@   .gldown10b g57
@   .gldown11b g58
@   .gldown12b g59
@   .gldown13b g60
@   .gldown14b g61
.glup3c g62
.glup4c g63
.glup5c g64
.glup6c g65
.glup7c g66
.glup8c g67
.glup9c g68
.glup10c g69
.glup11c g70
.glup12c g71
.glup13c g72
.glup14c g73
.gldown3c g74
.gldown4c g75
.gldown5c g76
.gldown6c g77
.gldown7c g78
.gldown8c g79
.gldown9c g80
.gldown10c g81
.gldown11c g82
.gldown12c g83
.gldown13c g84
.gldown14c g85
@ how long
.fin-hol2a h12
.fin-hol4a h16
.fin-hol2b h8
.fin-hol4b h12
.fin-hol2c h4
.fin-hol4c h8
.fin-hol2d h3
.fin-hol4d h5
.hol2a h3
.hol4a h5
.hol6a h7
.hol8a h9
.hol12a h13
.hol16a h18
.holh24 h24
.hol32a h32
.holh48a h49
.holh48b h44
.holh48c h40
.holh64 h64
.holh72 h72
.holh96a h92
.holh96b h84
.holh96c h80
.holh192 h180
.holh384 h360
@ ideas:
@ e13 is hit and only last 1/2 the hold value. Keeps the vibrato at the same tempo for 16 & 32 holds
@ major scale increments in 72 EDO
.maj1-a1 t+0
.maj1-b2 t+12
.maj1-a3 t+23
.maj1-b4 t+33
.maj1-a5 t+42
.maj1-c6 t+50
.maj1-b7 t+58
.maj1-c8 t+65
.maju-1-1 t+0
.maju-1-2 t+12
.maju-1-3 t+23
.maju-1-4 t+33
.maju-1-5 t+42
.maju-1-6 t+50
.maju-1-7 t+58
.maju-1-8 t+65
.maju-2-1 t+60
.maju-2-2 t+0
.maju-2-3 t+11
.maju-2-4 t+21
.maju-2-5 t+30
.maju-2-6 t+38
.maju-2-7 t+46
.maju-2-8 t+53
.maju-3-1 t+49
.maju-3-2 t+61
.maju-3-3 t+0
.maju-3-4 t+10
.maju-3-5 t+19
.maju-3-6 t+27
.maju-3-7 t+35
.maju-3-8 t+42
.maju-4-1 t+39
.maju-4-2 t+51
.maju-4-3 t+62
.maju-4-4 t+0
.maju-4-5 t+9
.maju-4-6 t+17
.maju-4-7 t+25
.maju-4-8 t+32
.maju-5-1 t+30
.maju-5-2 t+42
.maju-5-3 t+53
.maju-5-4 t+63
.maju-5-5 t+0
.maju-5-6 t+8
.maju-5-7 t+16
.maju-5-8 t+23
.maju-6-1 t+22
.maju-6-2 t+34
.maju-6-3 t+45
.maju-6-4 t+55
.maju-6-5 t+64
.maju-6-6 t+0
.maju-6-7 t+8
.maju-6-8 t+15
.maju-7-1 t+14
.maju-7-2 t+26
.maju-7-3 t+37
.maju-7-4 t+47
.maju-7-5 t+56
.maju-7-6 t+64
.maju-7-7 t+0
.maju-7-8 t+7
.maju-8-1 t+7
.maju-8-2 t+19
.maju-8-3 t+30
.maju-8-4 t+40
.maju-8-5 t+49
.maju-8-6 t+57
.maju-8-7 t+65
.maju-8-8 t+0
.majd-1-1 t-72
.majd-1-2 t-60
.majd-1-3 t-49
.majd-1-4 t-39
.majd-1-5 t-30
.majd-1-6 t-22
.majd-1-7 t-14
.majd-1-8 t-7
.majd-2-1 t-12
.majd-2-2 t-72
.majd-2-3 t-61
.majd-2-4 t-51
.majd-2-5 t-42
.majd-2-6 t-34
.majd-2-7 t-26
.majd-2-8 t-19
.majd-3-1 t-23
.majd-3-2 t-11
.majd-3-3 t-72
.majd-3-4 t-62
.majd-3-5 t-53
.majd-3-6 t-45
.majd-3-7 t-37
.majd-3-8 t-30
.majd-4-1 t-33
.majd-4-2 t-21
.majd-4-3 t-10
.majd-4-4 t-72
.majd-4-5 t-63
.majd-4-6 t-55
.majd-4-7 t-47
.majd-4-8 t-40
.majd-5-1 t-42
.majd-5-2 t-30
.majd-5-3 t-19
.majd-5-4 t-9
.majd-5-5 t-72
.majd-5-6 t-64
.majd-5-7 t-56
.majd-5-8 t-49
.majd-6-1 t-50
.majd-6-2 t-38
.majd-6-3 t-27
.majd-6-4 t-17
.majd-6-5 t-8
.majd-6-6 t-72
.majd-6-7 t-64
.majd-6-8 t-57
.majd-7-1 t-58
.majd-7-2 t-46
.majd-7-3 t-35
.majd-7-4 t-25
.majd-7-5 t-16
.majd-7-6 t-8
.majd-7-7 t-72
.majd-7-8 t-65
.majd-8-1 t-65
.majd-8-2 t-53
.majd-8-3 t-42
.majd-8-4 t-32
.majd-8-5 t-23
.majd-8-6 t-15
.majd-8-7 t-7
.majd-8-8 t-72
@
.maj3-u-a135 &maj1-a1. &maju-1-3. &maju-3-5.
.maj3-u-a351 &maj1-a3. &maju-3-5. &maju-5-1.
.maj3-u-a513 &maj1-a5. &maju-5-1. &maju-1-3.
.maj3-d-a531 &maj1-a5. &majd-5-3. &majd-3-1.
.maj3-d-a315 &maj1-a3. &majd-3-1. &majd-1-5.
.maj3-d-a153 &maj1-a1. &majd-1-5. &majd-5-3.
.maj3-u-b247 &maj1-b2. &maju-2-4. &maju-4-7.
.maj3-u-b472 &maj1-b4. &maju-4-7. &maju-7-2.
.maj3-u-b724 &maj1-b7. &maju-7-2. &maju-2-4.
.maj3-d-b742 &maj1-b7. &majd-7-4. &majd-4-2.
.maj3-d-b427 &maj1-b4. &majd-4-2. &majd-2-7.
.maj3-d-b274 &maj1-b2. &majd-2-7. &majd-7-4.
@
@
.maj4-u-147 &maj1-a1. &maju-1-4. &maju-4-7.
.maj4-u-251 &maj1-b2. &maju-2-5. &maju-5-1.
.maj4-u-362 &maj1-a3. &maju-3-6. &maju-6-2.
.maj4-u-372 &maj1-a3. &maju-3-7. &maju-7-2.
.maj4-u-483 &maj1-b4. &maju-4-8. &maju-8-3.
.maj4-u-473 &maj1-b4. &maju-4-7. &maju-7-3.
.maj4-u-514 &maj1-a5. &maju-5-1. &maju-1-4.
.maj4-u-625 &maj1-c6. &maju-6-2. &maju-2-5.
.maj4-u-725 &maj1-b7. &maju-7-2. &maju-2-5.
.maj4-u-736 &maj1-b7. &maju-7-3. &maju-3-6.
.maj4-u-836 &maj1-c8. &maju-8-3. &maju-3-6.
.maj4-u-147 &maj1-a1. &maju-1-4. &maju-4-7.
@
.maj4-d-741 &maj1-b7. &majd-7-4. &majd-4-1.
.maj4-d-152 &maj1-a1. &majd-1-5. &majd-5-2.
.maj4-d-273 &maj1-b2. &majd-2-7. &majd-7-3.
.maj4-d-374 &maj1-a3. &majd-3-7. &majd-7-4.
.maj4-d-384 &maj1-a3. &majd-3-8. &majd-8-4.
.maj4-d-415 &maj1-b4. &majd-4-1. &majd-1-5.
.maj4-d-526 &maj1-a5. &majd-5-2. &majd-2-6.
.maj4-d-527 &maj1-a5. &majd-5-2. &majd-2-7.
.maj4-d-637 &maj1-c6. &majd-6-3. &majd-3-7.
.maj4-d-638 &maj1-c6. &majd-6-3. &majd-3-8.
.maj4-d-741 &maj1-b7. &majd-7-4. &majd-4-1.
@
.slid-maj3-u-a135 &maj1-a1.&gls9:8. &maju-1-3.&gls11:10. &maju-3-5.&gls7:6.
.slid-maj3-u-a351 &maj1-a3.&gls11:10. &maju-3-5.&gls7:6. &maju-5-1.&gls9:8.
.slid-maj3-u-a513 &maj1-a5.&gls7:6. &maju-5-1.&gls9:8. &maju-1-3.&gls11:10.
.slid-maj3-u-b247 &maj1-b2.&gls10:9. &maju-2-4.&gls12:11. &maju-4-7.&gls8:7.
.slid-maj3-u-b472 &maj1-b4.&gls12:11. &maju-4-7.&gls8:7. &maju-7-2.&gls10:9.
.slid-maj3-u-b724 &maj1-b7.&gls8:7. &maju-7-2.&gls10:9. &maju-2-4.&gls12:11.
@
.slid-maj3-d-a135 &maj1-a1.&gls7:8. &majd-1-3.&gls9:10. &majd-3-5.&gls11:12.
.slid-maj3-d-a351 &maj1-a3.&gls9:10. &majd-3-5.&gls11:12. &majd-5-1.&gls7:8.
.slid-maj3-d-a513 &maj1-a5.&gls11:12. &majd-5-1.&gls7:8. &majd-1-3.&gls9:10.
.slid-maj3-d-b247 &maj1-b2.&gls8:9. &majd-2-4.&gls10:11. &majd-4-7.&gls6:7.
.slid-maj3-d-b472 &maj1-b4.&gls10:11. &majd-4-7.&gls6:7. &majd-7-2.&gls8:9.
.slid-maj3-d-b724 &maj1-b7.&gls6:7. &majd-7-2.&gls8:9. &majd-2-4.&gls10:11.
@
.tril-maj3-u-a135 &maj1-a1.&trl9:8. &maju-1-3.&trl11:10. &maju-3-5.&trl7:6.
.tril-maj3-u-a351 &maj1-a3.&trl11:10. &maju-3-5.&trl7:6. &maju-5-1.&trl9:8.
.tril-maj3-u-a513 &maj1-a5.&trl7:6. &maju-5-1.&trl9:8. &maju-1-3.&trl11:10.
.tril-maj3-u-b247 &maj1-b2.&trl10:9. &maju-2-4.&trl12:11. &maju-4-7.&trl8:7.
.tril-maj3-u-b472 &maj1-b4.&trl12:11. &maju-4-7.&trl8:7. &maju-7-2.&trl10:9.
.tril-maj3-u-b724 &maj1-b7.&trl8:7. &maju-7-2.&trl10:9. &maju-2-4.&trl12:11.
@
.tril-maj3-d-a531 &maj1-a5.&trl7:6. &majd-5-3.&trl11:10. &majd-3-1.&trl9:8.
.tril-maj3-d-a315 &maj1-a3.&trl11:10. &majd-3-1.&trl9:8. &majd-1-5.&trl7:6.
.tril-maj3-d-a153 &maj1-a1.&trl9:8. &majd-1-5.&trl7:6. &majd-5-3.&trl11:10.
.tril-maj3-d-b742 &maj1-b7.&trl8:7. &majd-7-4.&trl12:11. &majd-4-2.&trl10:9.
.tril-maj3-d-b427 &maj1-b4.&trl12:11. &majd-4-2.&trl10:9. &majd-2-7.&trl8:7.
.tril-maj3-d-b274 &maj1-b2.&trl10:9. &majd-2-7.&trl8:7. &majd-7-4.&trl12:11.
@
@ minor scale increments in 72 EDO
.min1-a1 t+0
.min1-b2 t+9
.min1-a3 t+19
.min1-b4 t+30
.min1-a5 t+42
.min1-c6 t+49
.min1-b7 t+56
.min1-c8 t+64
.minu-1-1 t+0
.minu-1-2 t+9
.minu-1-3 t+19
.minu-1-4 t+30
.minu-1-5 t+42
.minu-1-6 t+49
.minu-1-7 t+56
.minu-1-8 t+64
.minu-2-1 t+63
.minu-2-2 t+0
.minu-2-3 t+10
.minu-2-4 t+21
.minu-2-5 t+33
.minu-2-6 t+40
.minu-2-7 t+47
.minu-2-8 t+55
.minu-3-1 t+53
.minu-3-2 t+62
.minu-3-3 t+0
.minu-3-4 t+11
.minu-3-5 t+23
.minu-3-6 t+30
.minu-3-7 t+37
.minu-3-8 t+45
.minu-4-1 t+42
.minu-4-2 t+51
.minu-4-3 t+61
.minu-4-4 t+0
.minu-4-5 t+12
.minu-4-6 t+19
.minu-4-7 t+26
.minu-4-8 t+34
.minu-5-1 t+30
.minu-5-2 t+39
.minu-5-3 t+49
.minu-5-4 t+60
.minu-5-5 t+0
.minu-5-6 t+7
.minu-5-7 t+14
.minu-5-8 t+22
.minu-6-1 t+23
.minu-6-2 t+32
.minu-6-3 t+42
.minu-6-4 t+53
.minu-6-5 t+65
.minu-6-6 t+0
.minu-6-7 t+7
.minu-6-8 t+15
.minu-7-1 t+16
.minu-7-2 t+25
.minu-7-3 t+35
.minu-7-4 t+46
.minu-7-5 t+58
.minu-7-6 t+65
.minu-7-7 t+0
.minu-7-8 t+8
.minu-8-1 t+8
.minu-8-2 t+17
.minu-8-3 t+27
.minu-8-4 t+38
.minu-8-5 t+50
.minu-8-6 t+57
.minu-8-7 t+64
.minu-8-8 t+0
.mind-1-1 t-72
.mind-1-2 t-63
.mind-1-3 t-53
.mind-1-4 t-42
.mind-1-5 t-30
.mind-1-6 t-23
.mind-1-7 t-16
.mind-1-8 t-8
.mind-2-1 t-9
.mind-2-2 t-72
.mind-2-3 t-62
.mind-2-4 t-51
.mind-2-5 t-39
.mind-2-6 t-32
.mind-2-7 t-25
.mind-2-8 t-17
.mind-3-1 t-19
.mind-3-2 t-10
.mind-3-3 t-72
.mind-3-4 t-61
.mind-3-5 t-49
.mind-3-6 t-42
.mind-3-7 t-35
.mind-3-8 t-27
.mind-4-1 t-30
.mind-4-2 t-21
.mind-4-3 t-11
.mind-4-4 t-72
.mind-4-5 t-60
.mind-4-6 t-53
.mind-4-7 t-46
.mind-4-8 t-38
.mind-5-1 t-42
.mind-5-2 t-33
.mind-5-3 t-23
.mind-5-4 t-12
.mind-5-5 t-72
.mind-5-6 t-65
.mind-5-7 t-58
.mind-5-8 t-50
.mind-6-1 t-49
.mind-6-2 t-40
.mind-6-3 t-30
.mind-6-4 t-19
.mind-6-5 t-7
.mind-6-6 t-72
.mind-6-7 t-65
.mind-6-8 t-57
.mind-7-1 t-56
.mind-7-2 t-47
.mind-7-3 t-37
.mind-7-4 t-26
.mind-7-5 t-14
.mind-7-6 t-7
.mind-7-7 t-72
.mind-7-8 t-64
.mind-8-1 t-64
.mind-8-2 t-55
.mind-8-3 t-45
.mind-8-4 t-34
.mind-8-5 t-22
.mind-8-6 t-15
.mind-8-7 t-8
.mind-8-8 t-72
@
.min3-u-a135 &min1-a1. &minu-1-3. &minu-3-5.
.min3-u-a351 &min1-a3. &minu-3-5. &minu-5-1.
.min3-u-a513 &min1-a5. &minu-5-1. &minu-1-3.
.min3-d-a531 &min1-a5. &mind-5-3. &mind-3-1.
.min3-d-a315 &min1-a3. &mind-3-1. &mind-1-5.
.min3-d-a153 &min1-a1. &mind-1-5. &mind-5-3.
.min3-u-b247 &min1-b2. &minu-2-4. &minu-4-7.
.min3-u-b472 &min1-b4. &minu-4-7. &minu-7-2.
.min3-u-b724 &min1-b7. &minu-7-2. &minu-2-4.
.min3-d-b742 &min1-b7. &mind-7-4. &mind-4-2.
.min3-d-b427 &min1-b4. &mind-4-2. &mind-2-7.
.min3-d-b274 &min1-b2. &mind-2-7. &mind-7-4.
@
@
.min4-u-147 &min1-a1. &minu-1-4. &minu-4-7.
.min4-u-148 &min1-a1. &minu-1-4. &minu-4-8.
.min4-u-251 &min1-b2. &minu-2-5. &minu-5-1.
.min4-u-362 &min1-a3. &minu-3-6. &minu-6-2.
.min4-u-473 &min1-b4. &minu-4-7. &minu-7-3.
.min4-u-514 &min1-a5. &minu-5-1. &minu-1-4.
.min4-u-625 &min1-c6. &minu-6-2. &minu-2-5.
.min4-u-736 &min1-b7. &minu-7-3. &minu-3-6.
.min4-u-847 &min1-c8. &minu-8-4. &minu-4-7.
@
.min4-d-841 &min1-c8. &mind-8-4. &mind-4-1.
.min4-d-152 &min1-a1. &mind-1-5. &mind-5-2.
.min4-d-263 &min1-b2. &mind-2-6. &mind-6-3.
.min4-d-374 &min1-a3. &mind-3-7. &mind-7-4.
.min4-d-415 &min1-b4. &mind-4-1. &mind-1-5.
.min4-d-526 &min1-a5. &mind-5-2. &mind-2-6.
.min4-d-637 &min1-c6. &mind-6-3. &mind-3-7.
.min4-d-748 &min1-b7. &mind-7-4. &mind-4-8.
.min4-d-741 &min1-b7. &mind-7-4. &mind-4-1.
@
.slid-min3-u-a135 &min1-a1.&gls12:11. &minu-1-3.&gls10:9. &minu-3-5.&gls8:7.
.slid-min3-u-a351 &min1-a3.&gls10:9. &minu-3-5.&gls8:7. &minu-5-1.&gls12:11.
.slid-min3-u-a513 &min1-a5.&gls8:7. &minu-5-1.&gls12:11. &minu-1-3.&gls10:9.
.slid-min3-u-b247 &min1-b2.&gls11:10. &minu-2-4.&gls9:8. &minu-4-7.&gls7:6.
.slid-min3-u-b472 &min1-b4.&gls9:8. &minu-4-7.&gls7:6. &minu-7-2.&gls11:10.
.slid-min3-u-b724 &min1-b7.&gls7:6. &minu-7-2.&gls11:10. &minu-2-4.&gls9:8.
@
.slid-min3-d-a135 &min1-a1.&gls6:7. &mind-1-3.&gls10:11. &mind-3-5.&gls8:9.
.slid-min3-d-a351 &min1-a3.&gls10:11. &mind-3-5.&gls8:9. &mind-5-1.&gls6:7.
.slid-min3-d-a513 &min1-a5.&gls8:9. &mind-5-1.&gls6:7. &mind-1-3.&gls10:11.
.slid-min3-d-b247 &min1-b2.&gls11:12. &mind-2-4.&gls9:10. &mind-4-7.&gls7:8.
.slid-min3-d-b472 &min1-b4.&gls9:10. &mind-4-7.&gls7:8. &mind-7-2.&gls11:12.
.slid-min3-d-b724 &min1-b7.&gls7:8. &mind-7-2.&gls11:12. &mind-2-4.&gls9:10.
@
.tril-min3-u-a135 &min1-a1.&trl12:11. &minu-1-3.&trl10:9. &minu-3-5.&trl8:7.
.tril-min3-u-a351 &min1-a3.&trl10:9. &minu-3-5.&trl8:7. &minu-5-1.&trl12:11.
.tril-min3-u-a513 &min1-a5.&trl8:7. &minu-5-1.&trl12:11. &minu-1-3.&trl10:9.
.tril-min3-u-b247 &min1-b2.&trl11:10. &minu-2-4.&trl9:8. &minu-4-7.&trl7:6.
.tril-min3-u-b472 &min1-b4.&trl9:8. &minu-4-7.&trl7:6. &minu-7-2.&trl11:10.
.tril-min3-u-b724 &min1-b7.&trl7:6. &minu-7-2.&trl11:10. &minu-2-4.&trl9:8.
@
.tril-min3-d-a531 &min1-a5.&trl8:7. &mind-5-3.&trl10:9. &mind-3-1.&trl12:11.
.tril-min3-d-a315 &min1-a3.&trl10:9. &mind-3-1.&trl12:11. &mind-1-5.&trl8:7.
.tril-min3-d-a153 &min1-a1.&trl12:11. &mind-1-5.&trl8:7. &mind-5-3.&trl10:9.
.tril-min3-d-b742 &min1-b7.&trl7:6. &mind-7-4.&trl9:8. &mind-4-2.&trl11:10.
.tril-min3-d-b427 &min1-b4.&trl9:8. &mind-4-2.&trl11:10. &mind-2-7.&trl7:6.
.tril-min3-d-b274 &min1-b2.&trl11:10. &mind-2-7.&trl7:6. &mind-7-4.&trl9:8.
.key o+0
.C1/1 t0
.C13/12 t8
.C15/14 t7
.C28/15 t64
.D10/9 t10
.D11/10 t9
.D12/11 t9
.D14/13 t7
.D15/13 t14
.D16/15 t6
.D8/7 t13
.D9/8 t12
.E11/9 t20
.E13/11 t17
.E16/13 t21
.E5/4 t23
.E6/5 t18
.E7/6 t16
.E9/7 t26
.F10/7 t37
.F11/8 t33
.F13/10 t27
.F14/11 t25
.F15/11 t32
.F18/13 t33
.F4/3 t29
.F4/3 t30
.G11/7 t46
.G13/9 t38
.G16/11 t38
.G20/13 t44
.G22/15 t39
.G3/2 t42
.G7/5 t34
.A12/7 t55
.A13/8 t50
.A14/9 t45
.A18/11 t51
.A22/13 t54
.A5/3 t53
.A8/5 t48
.B11/6 t62
.B13/7 t64
.B15/8 t65
.B16/9 t59
.B20/11 t62
.B24/13 t63
.B26/15 t57
.B7/4 t58
.B9/5 t61
@c/   /@   /m*
@ balloon drum parts
.drum-18-a1 &key.&maj1-a*.d6h8 &key.&maj1-a*.d3 &key.&maj1-a*.d6 &key.&maj1-a*.d3
.drum-18-a2 &key.&maj1-a*.d9h8 v-6&key.&maj1-a*.d9
.drum-18-a3 &key.d3h8&maj3-u-b*. &key.&maj1-a*.d9
.drum-18-a4 &key.d3h8&maj3-u-a*. &key.&maj1-b*.d9
.drum-18-a5 r0d10 &hnd1-ran*.v-16s-1&key.d1h8 v+2s-1&maju-1-2. v+2s-1&maju-2-3. v+2s-1&maju-4-5. v+2s-1&key.&maju-5-6. v+2s-1&maju-6-7. v+2s-1&maju-7-8. v+2s-1&maju-8-1.
.drum-18-a6 r0d10 &hnd1-ran*.v-16s+1&key.d1h8 v+2s+1&maju-1-2. v+2s+1&maju-2-3. v+2s+1&maju-4-5. v+2s+1&key.&maju-5-6. v+2s+1&maju-6-7. v+2s+1&maju-7-8. v+2s+1&maju-8-1.
.drum-18-a6 &key.o-1v+6d15h32 v-6d3&majd-1-7.
.drum-18-a8 &key.o-1v+6d12h32 v-6d3&maju-1-2. d3&maju-2-7.
.drum-18-a9 r0d6 &hnd1-ran*.v+6&key.&maju-1-5.o-2d9h32 v-6o+2d3&maju-5-7.
.drum-18-a10 r0d9 &hnd1-ran*.v+6&key.&maju-1-5.o-2d6h32 v-6o+2d3&maju-5-7.
.drum-18-a11 r0d6 &hnd1-ran*.v-3o-1d0h32&key.&nice4-u-*.d6 v+3d6
.drum-18-a12 r0d6 &hnd1-ran*.v-3o-1d0h32&key.&nice4-u-*.d6 v+3d6
.drum-18-b1 d3h4e8&key.&maj3-u-a1*. &key.&maj3-d-b2*.
.drum-18-b2 d3h4e8&key.&maj3-u-a3*. &key.&maj3-d-b2*.
.drum-18-b3 d3h4e8&key.&maj3-u-a5*. &key.&maj3-d-b4*.
.drum-18-c1 v+12&key.d10 v-20s-1&key.d1h8 v+2s-1&maju-1-2. v+2s-1&maju-2-3. v+2s-1&maju-4-5. v+2s-1&key.&maju-5-6. v+2s-1&maju-6-7. v+2s-1&maju-7-8. v+2s-1&maju-8-1.
.drum-18-c2 v+12&key.d10 v-20s+1&key.d1h8 v+2s+1&maju-1-2. v+2s+1&maju-2-3. v+2s+1&maju-4-5. v+2s+1&key.&maju-5-6. v+2s+1&maju-6-7. v+2s+1&maju-7-8. v+2s+1&maju-8-1.
.drum-18-d1 v+12&key.d18o-1
.drum-18-d2 v+12&key.d18o-2
.drum-18-d3 v+12&key.d18o-2
@
.hnd1-18-a1 &hnd1.&drum-18-a*.
.hnd2-18-a1 &hnd2.&drum-18-a*.
.hnd3-18-a1 &hnd3.&drum-18-a*.
.hnd4-18-a1 &hnd4.&drum-18-a*.
.hnd5-18-a1 &hnd5.&drum-18-a*.
@
.hnd1-18-b1 &hnd1.&drum-18-b*.
.hnd2-18-b1 &hnd2.&drum-18-b*.
.hnd3-18-b1 &hnd3.&drum-18-b*.
.hnd4-18-b1 &hnd4.&drum-18-b*.
.hnd5-18-b1 &hnd5.&drum-18-b*.
@
.hnd1-18-c1 &hnd1.&drum-18-c*.
.hnd2-18-c1 &hnd2.&drum-18-c*.
.hnd3-18-c1 &hnd3.&drum-18-c*.
.hnd4-18-c1 &hnd4.&drum-18-c*.
.hnd5-18-c1 &hnd5.&drum-18-c*.
@
.hnd1-18-d1 &hnd1.&drum-18-d*.
.hnd2-18-d1 &hnd2.&drum-18-d*.
.hnd3-18-d1 &hnd3.&drum-18-d*.
.hnd4-18-d1 &hnd4.&drum-18-d*.
.hnd5-18-d1 &hnd5.&drum-18-d*.
@
.hnd1-72-a1 &hnd1-18-a*. &hnd1-18-a*. &hnd1-18-a*. &hnd1-18-a*.
.hnd2-72-a1 &hnd2-18-a*. &hnd2-18-a*. &hnd2-18-a*. &hnd2-18-b*.
.hnd3-72-a1 &hnd3-18-a*. &hnd3-18-a*. &hnd3-18-a*. &hnd3-18-a*.
.hnd4-72-a1 &hnd4-18-a*. &hnd4-18-a*. &hnd4-18-a*. &hnd4-18-b*.
.hnd5-72-a1 &hnd5-18-a*. &hnd5-18-a*. &hnd5-18-a*. &hnd5-18-c*.
@ combine
.vel-vel8 a255
&vel.d8&tempos*. &hnd1.d8r0 &hnd2.d8r0 &hnd3.d8r0 &hnd4.d8r0 &hnd5.d8r0 &fin1.d8r0 &fin2.d8r0 &flu1.d8r0 &cla1.d8r0
.key t0
.cla1-ran r14
.flu1-ran r14
.hnd1-ran r12
.fin1-ran r14
.fin2-ran r14
@
.nice4-u-a &maj4-u-251.
.nice4-u-b &maj4-u-736.
.nice4-u-c &maj4-u-473.
@.nice4-u-d &maj4-u-372.
@.nice4-u-e &maj4-u-725.
@ 736 251 473
.maj-chain7a &maj4-u-736. &key.o+1&maj4-u-251. &key.&maj4-u-473.
.maj-chain7b o+4&maj4-d-374. &key.&maj4-d-152. &key.o-1&maj4-d-637.
.maj-chain7c &maj3-u-a*. &key.&maj3-u-b*. &key.&maj3-u-a*.
.maj-chain7d o+4&maj3-d-a*. &key.o-1&maj3-d-b*. &key.&maj3-d-a*.
@
.fin1-arp z4
.fin1-18-a1 &fin1.d9r0 d0h7&fin1.&key.&fin1-arp.&nice4-u-*.d9
.fin1-18-a2 &fin1.d0h19&fin1.&key.&fin1-arp.&nice4-u-*.d18
.fin1-18-a3 &fin1.d9r0 &fin1.d1h18o-1&key.&maj-chain7*.
.fin1-18-a4 &fin1.d18r0
@
.fin1-72-a1 &fin1.d72h72&key.o-1
.fin1-72-a2 &fin1.d72r0
.fin1-72-a3 &fin1-18-a*. &fin1-18-a*. &fin1-18-a*. &fin1-18-a*.
.fin1-72-a4 &fin1.d18r0 &fin1.d6h18o-1&key.&maj-chain7*.
@
.fin2-18-a1 &fin2.d9h10&key.&maj3-u-a*.d0h0
.fin2-18-a2 &fin2.d6h7e8&key.&maj3-u-a*.d3h4 d3o+1v-6
.fin2-18-a3 &fin2.d18h20&key.v+3
.fin2-18-a4 &fin2.e8d3h4&key.&maj3-u-a*. &key.&maj3-d-b*.
.fin2-18-a5 &fin2.e8d3h4&key.o+1&maj3-d-a*. &key.&maj3-u-b*.
@
.fin2-72-a1 &fin2.d72h74&key.v+3
.fin2-72-a2 &fin2.d36h37&key.v+3&maj1-b7.&gls8:7.o-1 &key.g0o+1
.fin2-72-a3 &fin2-18-a*. &fin2-18-a*. &fin2-18-a*. &fin2-18-a*.
.fin2-72-a4 &fin2.e8d6h8&key.&maj3-u-a*.d12h13 &key.d6h7&maj3-d-b*.d12h13 &key.d6h7&maj3-u-a*.d12h13
.fin2-72-a5 &fin2.e8d9h10&key.&maj3-u-a*. &key.d9h10&maj3-d-b*. &key.d9h10&maj3-u-a*.d0
.fin2-72-a6 &fin2.d18h19&key.&slid-maj3-*.d36h37
.fin2-72-a7 &fin2.d18h19&key.o+1&slid-maj3-*.d36h37
@    1894
.cla1-18-a1 &cla1.e8d3h4&key.&maj3-u-a*. &key.&maj3-d-b*.
.cla1-18-a2 &cla1.e8d3h4&key.o+1&maj3-d-a*. &key.&maj3-u-b*.
.cla1-18-a3 &cla1.e8d18h19&key.&maj1-a*.o+1
.cla1-18-a4 &cla1.d9r0 &cla1.e8d9h10&key.&maj1-a*.
.cla1-18-a5 &cla1.d0h19v-6&slid-maj3-*.d18
.cla1-18-a6 &cla1.d0h19v-6&tril-maj3-*.d18
.cla1-18-az &cla1.d18r0
.cla1-18-b1 &cla1.o+1d3h4e8&key.&maj3-u-a1*. &key.&maj3-d-b7*.
.cla1-18-b2 &cla1.o+1d3h4e8&key.&maj3-u-a3*. &key.&maj3-d-b2*.
.cla1-18-b3 &cla1.o+1d3h4e8&key.&maj3-u-a5*. &key.&maj3-d-b4*.
@
.cla1-72-a1a &cla1-18-a*. &cla1-18-a*. &cla1-18-a*. &cla1-18-a*.
.cla1-72-a1b &cla1-18-a*. &cla1-18-a*. &cla1-18-a*. &cla1-18-a*.
.cla1-72-a2 &cla1.o+2d12h13e8&key.&maj1-a3. d3h4&majd-3-7. &majd-7-4. d12h13&maju-4-1. d3h4&majd-1-5. &majd-5-2. d9h10&maju-2-6. d6h7&majd-6-3. d3h4&majd-3-7. d6h7&maju-7-1. &maju-1-3. &maju-3-5.
.cla1-72-a3 &cla1.d18h19&key.&maj3-u-*.d36h37
.cla1-72-a5 &cla1.d18h19&slid-maj3-*. &cla1-18-a*.
.cla1-72-a6 &cla1.d18h19&tril-maj3-*. &cla1-18-a*.
@
.flu1-18-a1 &flu1.d3h4e8&key.&maj3-u-a*. &key.&maj3-d-b*.
.flu1-18-a2 &flu1.d3h4e8&key.o+1&maj3-d-a*. &key.&maj3-u-b*.
.flu1-18-a3 &flu1.e8d18h19&key.&maj1-a*.o+1
.flu1-18-a4 &flu1.d9r0 &flu1.e8d9h10&key.&maj1-a*.
.flu1-18-a5 &flu1.d0h19v-6&slid-maj3-*.d18
.flu1-18-a6 &flu1.d0h19v-6&tril-maj3-*.d18
.flu1-18-az &flu1.d18r0
.flu1-18-b1 &flu1.o+1d3h4e8&key.&maj3-u-a1*. &key.&maj3-d-b2*.
.flu1-18-b2 &flu1.o+1d3h4e8&key.&maj3-u-a3*. &key.&maj3-d-b2*.
.flu1-18-b3 &flu1.o+1d3h4e8&key.&maj3-u-a5*. &key.&maj3-d-b4*.
@
.flu1-72-a1a &flu1-18-a*. &flu1-18-a*. &flu1-18-a*. &flu1-18-a*.
.flu1-72-a1b &flu1-18-a*. &flu1-18-a*. &flu1-18-a*. &flu1-18-a*.
.flu1-72-a2 &flu1.o+2d12h13e8&key.&maj1-a3. d3h4&majd-3-7. &majd-7-4. d12h13&maju-4-1. d3h4&majd-1-5. &majd-5-2. d9h10&maju-2-6. d6h7&majd-6-3. d3h4&majd-3-7. d6h7&maju-7-1. &maju-1-3. &maju-3-5.
.flu1-72-a3 &flu1.d18h19&key.&maj3-u-a*.d36h37
.flu1-72-a5 &flu1.d18h19&slid-maj3-*. &flu1-18-a*.
.flu1-72-a6 &flu1.d18h19&tril-maj3-*. &flu1-18-a*.
@
.play18 &hnd1-18-a*. &hnd2-18-a*. &hnd3-18-a*. &hnd4-18-a*. &hnd5-18-a*. &fin1-18-a*. &flu1-18-a*. &cla1-18-a*. &fin2-18-a*. &vel.d18
.play72 &hnd1-72-a*. &hnd2-72-a*. &hnd3-72-a*. &hnd4-72-a*. &hnd5-72-a*. &fin1-72-a*. &flu1-72-a*. &cla1-72-a*. &fin2-72-a*. &vel.d72
.play72a &hnd1-72-a*. &hnd2-72-a*. &hnd3-72-a*. &hnd4-72-a*. &hnd5-72-a*. &fin1-72-a4. &flu1-72-a2. &cla1-72-a2. &fin2-72-a4. &vel.d72
.intro18-c &hnd1-18-c*. &hnd2-18-c*. &hnd3-18-c*. &hnd4-18-c*. &hnd5-18-c*. &fin1.r0d18 &flu1.r0d18  &cla1.r0d18  &fin2.r0d18 &vel.d18
.intro18-b &hnd1-18-b*. &hnd2-18-b*. &hnd3-18-b*. &hnd4-18-b*. &hnd5-18-b*. &fin1.r0d18 &flu1-18-b*. &cla1-18-b*. &fin2.r0d18 &vel.d18
.intro18-d &hnd1-18-d*. &hnd2-18-d*. &hnd3-18-d*. &hnd4-18-d*. &hnd5-18-d*. &fin1.r0d18 &flu1.r0d18  &cla1.r0d18  &fin2.r0d18 &vel.d18
@
.all-pva p34
@ c/    /@   /*m
.vel-vel8 a220
&intro18-d. &intro18-c. &intro18-b. &intro18-b.
&play72a. &play72a. &play72. &play72.
&play72. &play72. &play72. &play72.
&play72. &play72. &play72. &play72a.
.vel-vel8 a255
.all-pva p28
.key &C1/1.
&play18.
.key &G3/2.
&play18.
.key &A8/5.
&play18.
.key &F4/3.
&play18.
.key &G3/2.
&play18.
.key &E6/5.
&play18.
.key &F4/3.
&play18.
.key &D12/11.
&play18. &play18.
.key &C1/1.
&play18. &play18. &play18.
@
.all-pva p16
&play72. &play72. &play72. &play72.
&play72. &play72. &play72. &play72.
.all-pva p25
&play18. &play18.
.all-pva p28
.key &C1/1.
&play18.
.key &G3/2.
&play18.
.key &A8/5.
&play18.
.key &F4/3.
&play18.
.key &G3/2.
&play18.
.key &E6/5.
&play18.
.key &F4/3.
&play18.
.key &D12/11.
&play18. &play18.
.key &C1/1.
&play18. &play18. &play18.
.all-pva p12
&play72. &play72. &play72. &play72.
&play72. &play72. &play72. &play72.
.all-pva p25
&play18. &play18.
.vel-vel8 a200
@
.all-pva p28
.key &C1/1.
&play18.
.key &G3/2.
&play18.
.key &A8/5.
&play18.
.key &F4/3.
&play18.
.key &G3/2.
&play18.
.key &E6/5.
&play18.
.key &F4/3.
&play18.
.vel-vel8 a255
.key &D12/11.
&play18. &play18.
.key &C1/1.
&play18. &play18. &play18.
.all-pva p33
&play72. &play72. &play72. &play72.
&play72. &play72. &play72. &play72.
.all-pva p25
&play18. &play18.
@
.all-pva p28
.key &C1/1.
&play18.
.key &G3/2.
&play18.
.key &A8/5.
&play18.
.key &F4/3.
&play18.
.key &G3/2.
&play18.
.key &E6/5.
&play18.
.key &F4/3.
&play18.
.key &D12/11.
&play18. &play18.
.key &C1/1.
&play18. &play18. &play18.
.all-pva p16
&play72. &play72. &play72. &play72.
&play72. &play72. &play72. &play72.
.all-pva p25
&play18. &play18.
.all-pva p28
.key &C1/1.
&play18.
.key &G3/2.
&play18.
.key &A8/5.
&play18.
.key &F4/3.
&play18.
.key &G3/2.
&play18.
.key &E6/5.
&play18.
.key &F4/3.
&play18.
.key &D12/11.
&play18. &play18.
.key &C1/1.
&play18. &play18. &play18.
@
.all-pva p2
&play72. &play72. &play72. &play72.
&play72. &play72. &play72. &play72.
.all-pva p25
.vel-vel8 a180
&play18. &play18.
.all-pva p28
.key &C1/1.
&play18.
.key &G3/2.
&play18.
.key &A8/5.
&play18.
.key &F4/3.
&play18.
.key &G3/2.
&play18.
.key &E6/5.
&play18.
.key &F4/3.
&play18.
.vel-vel8 a255
.key &D12/11.
&play18. &play18.
.key &C1/1.
&play18. &play18. &play18.
@
.all-pva p20
&play72. &play72. &play72. &play72.
&play72. &play72. &play72. &play72.
.all-pva p25
&play18. &play18.
.all-pva p28
.key &C1/1.
&play18.
.key &G3/2.
&play18.
.key &A8/5.
&play18.
.key &F4/3.
&play18.
.key &G3/2.
&play18.
.key &E6/5.
&play18.
.key &F4/3.
&play18.
.key &D12/11.
&play18. &play18.
.key &C1/1.
&play18. &play18. &play18.
@
.all-pva p34
&play72. &play72. &play72. &play72.
&play72a. &play72a. &play72. &play72.
.all-pva p30
.vel-vel8 a255
&play18.
.vel-vel8 a220
&play18.
.vel-vel8 a200
&play18.
.vel-vel8 a150
&play18.
.vel-vel8 a80
&play18.
.vel-vel8 a60
&play18.
.vel-vel8 a50
&play18.
.vel-vel8 a40
&play18.
.vel-vel8 a30
&play18.
.vel-vel8 a20
&play18.
.vel-vel8 a10
&play18.
.vel-vel8 a0
@   @   @
@c/    /@   /*m
&vel.d8&tempos*. &hnd1.d8r0 &hnd2.d8r0 &hnd3.d8r0 &hnd4.d8r0 &hnd5.d8r0 &fin1.d8r0 &fin2.d8r0 &flu1.d8r0 &cla1.d8r0

This generates Csound code. Here's the first few lines of the result:

; name: drum2 12/28/11 1:15 pm 
; name: drum2 12/27/11 2:56 pm 
; name: drum2 12/19/11 1:53 pm 
; name: drum2 12/16/11 3:15 pm 
; name: drum2 12/14/11 8:06 pm 
; name: drum1 12/07/11 11:42am 
; name: drum1 11/27/11 9:36am 
; name: drum1 10/30/11 11:02am 
; name: inton 10/29/11 12:09pm 
; name: inton 10/23/11 12:09pm 
; name: inton 3/01/11 11:19am 
; name: inton 11/16/10 11:17am 
; name: inton 11/03/10 4:20pm 
; name: inton 9/01/10 5:21pm 
; 
; Orchestra: 
; Alto flute, clarinet, finger piano, balloon drums, dry spring, heavy spring, 
 
 
 
-W -G -m2 -+y -o sflib\drum2.wav 
 
 
 
 sr = 44100 
 ksmps = 10; any higher than 10 and I hear clicks - use 1 for final take 
; typically save 5x processing time by increasing ksmps by 10x 
 nchnls = 2 
 instr 1 
 
; p1 is always 1 
; p2 start time 
; p3 duration 
; p4 velocity, 60-80 works best 
; p5 tone - which tone is this note - 1-100 for Partch scale - maxequal in samples.pas 6/15/06 
; p6 Octave 
; p7 voice 
; p8 stereo - pan from left = 0 to right = 16 
; p9 envelope - one of several function tables for envelopes 1 - 16 
; p10 glissando - one of several function tables to modify pitch 
; p11 upsample - use a sample higher (>0) or lower (<256) than normal 
; p12 envelope for right channel - if blank, use the left channel envelope for both channels 
; 
 ifunc table p7,1 ; find the location of the sample wave tables 
 ioct = p6+1 
 iwavchan table p7,2 ; is it mono (iwavchan = 1) or stereo sample file (iwavchan = 2) 
 ; or are sustain points in separate table iwavchan=3 
 inum = 12*(ioct) + int(p5/6) ; convert from octave/pitch to a MIDI note number to pick ftable (root is 72, 72/12 = 6) 
 ifno2 table inum, ifunc ; map midi note number to the correct ftable for that note 
 ifno = ifno2 + (p11 < 128 ? p11 : p11-256) ; up or down sample by parameter 11 modulo 256 
 iamp = ampdb(p4) ; velocity input is 60-80 - convert to amplitude 
 i9 = 298-p9 ; valid envelope table number are 298, 297, 296, 295 etc. - left channel 
 i12 = 298-p12 ; valid envelope table number are 298, 297, 296, 295 etc. - right channel 
 i10 = 301+p10 ; valid glissando table number are 301, 302, etc 
; kamp_l poscil iamp, 1/p3, i9 ; create a precise long envelope from a function table for left channel 
; kamp_r poscil iamp, 1/p3, i12 ; create a precise long envelope from a function table for right channel 
 kamp_l oscil iamp, 1/p3, i9 ; create an envelope from a function table for left channel 
 kamp_r oscil iamp, 1/p3, i12 ; create an envelope from a function table for right channel 
 kpan_l tablei p8/16, 4, 1,0,1 ; pan with a sine wave using f table #4 - 2st value is reduced to max 1, normalized 
 kpan_r tablei 1.0 - p8/16, 4, 1,0,1 ; inverse of kpan_l 
 ibasno table ifno-(3+ifunc), 1 + ifunc ; get midi note number the sample was recorded at 
 icent table ifno-(3+ifunc), 2 + ifunc ; get cents to flatten each note 
 iloop table ifno-(3+ifunc), 3 + ifunc ; get loop or not 
 ibasoct = ibasno/12 ; find the base octave 
 ibascps = cpsoct(ibasoct+(icent/1200)) 
 ipitch table p5, 3 ; convert note number 0-71 to oct.fract format - hand made table 3 of fractions 
 inote = cpspch(ioct + ipitch) ; note plus the decimal fraction of a note from table - how precise is this? 
 ; print p5, p6, p7, p11, ifno, icent 
 kcps = cpspch(ioct + ipitch) ; convert oct.fract to Hz 
 kcpsm oscili 1, 1/p3, i10 ; create an set of shift multiplicands from table - glissandi 
 kcps2 = kcps * kcpsm ; shift the frequency by values in glissando table 
 ; Four choices: Mono looping, stereo looping, mono no-loop, stereo no-loop 
 if iwavchan = 4 goto akaimono 
 if iloop = 0 goto noloops 
 ; Stereo with loop 
 a3,a4 loscil 1, kcps2, ifno, ibascps; stereo sample with looping 
 goto skipstereo 
 noloops: 
 ; Stereo without looping 
 a3,a4 loscil 1, kcps2, ifno, ibascps,0,1,2 ; stereo sample without looping - note that 1,2 is bogus workaround 
 goto skipstereo 
 akaimono: 
 if iloop = 0 goto noloopm 
 ; Mono with looping 
 a3 loscil 1, kcps2, ifno, ibascps ; mono sampling with loop 
 a4 = a3 
 goto skipstereo 
 noloopm: 
 ; Mono without looping 
 a3 loscil 1, kcps2, ifno, ibascps,0,1,2 ; mono AIFF sample without loop 
 a4 = a3 
 
 skipstereo: 
 ; start comparison sine wave oscillator for fine tuning adjustment testing 
 ; ihertz = cpspch(ioct+ipitch) ; what frequency are you trying to make 
 ; a1 oscili 1, kcps*8, 500 ; sine wave to compare the sample frequency to 
 ; a5 = a1 ; + a3 ; add the sample to the sine wave right 
 ; a6 = a4 + a3 ; and left 
 ; a3 = a5 
 ; a4 = a6 
 ; end comparison sine wave oscilator 
 ; start of resonant filter for tuning purposes 
 ;a1 reson a3,kcps*4,20,2 
 ;a2 reson a4,kcps*4,20,2 
 a1 = a3 * kamp_l 
 a2 = a4 * kamp_r 
; 
 outs a1 * kpan_l ,a2 * kpan_r 
 endin 
 
; instr 99 
; kamp poscil 1, 1/p3, 1 ; create an envelope from a function table 
; a6, a7 soundin "sflib/drum2.wav" 
; outs a6 * kamp, a7 * kamp 
; endin 
 
 
 
; cents for each step in the scale 
; just equivalent to 72 EDO 
f3 0 128 -2 
 0 0.0016667 0.0033333 0.0050000 0.0066667 0.0083333 0.0100000 0.0116667 0.0133333 0.0150000 0.0166667 
 0.0183333 0.0200000 0.0216667 0.0233333 0.0250000 0.0266667 0.0283333 0.0300000 0.0316667 0.0333333 
 0.0350000 0.0366667 0.0383333 0.0400000 0.0416667 0.0433333 0.0450000 0.0466667 0.0483333 0.0500000 
 0.0516667 0.0533333 0.0550000 0.0566667 0.0583333 0.0600000 0.0616667 0.0633333 0.0650000 0.0666667 
 0.0683333 0.0700000 0.0716667 0.0733333 0.0750000 0.0766667 0.0783333 0.0800000 0.0816667 0.0833333 
 0.0850000 0.0866667 0.0883333 0.0900000 0.0916667 0.0933333 0.0950000 0.0966667 0.0983333 0.1000000 
 0.1016667 0.1033333 0.1050000 0.1066667 0.1083333 0.1100000 0.1116667 0.1133333 0.1150000 0.1166667 
 0.1183333 0.12 
f4 0 1025 9 .25 1 0 ;The first quadrant of a sine for panning 
f500 0 256 10 1 
;lf9 0 256 10 1 ; sine wave 
; c4 = 72 = middle C = 60 is MIDI standard number 
; g3 = 67 
; something is wrong with function table 300 
; 1st take 2nd take 3rd take 4th take 5th take 6th take sum of takes = size of table 
; these are useful for taking a note up or down an octave without moving the sample up or down - built in munchkinization 
f301 0 256 -7 1 256 1 ; g0 = no change; 
f302 0 256 -7 1.125 256 1.125 ; g1 up 9/8 
f303 0 256 -7 1.25 256 1.25 ; g2 up 5/4 
f304 0 256 -7 1.3333 256 1.3333 ; g3 up 4/3 
f305 0 256 -7 1.5 256 1.5 ; g4 up 3/2 
f306 0 256 -7 .875 256 .875 ; g5 down 7/8 
f307 0 256 -7 .5 256 .5 ; g6 down 1 octave 
f308 0 256 -7 .25 256 .25 ; g7 down 2 octaves 
f309 0 256 -7 .125 256 .125 ; g8 down 3 octaves 
f310 0 1024 -7 1 512 1 0 1.125 256 1.125 0 .9000000 256 .9000000 0 ; g9 4 5 3 = A# C Ab 
f311 0 1024 -7 1 512 1 0 1.14285714 256 1.14285714 0 .8888889 256 .8888888 0 ; g10 5 6 4 = 11:8 -> 11:7 -> 11:9 
f312 0 256 -7 1 256 1.0625; g11 glide up 17/16 
f313 0 256 -7 1 256 .9375; g12 glide down 15/16 
; Glissando up tables min points mid pts max pts mid pts max pts mid pts min mid max mid min mid max ; glide number Ratio 
f314 0 256 -7 1 48 1 128 1 80 1 ; 1:1 g13 up 0 
; Glides optimized for 72 tone stepsize: 1.0096735 0.9904191 
f 315 0 256 -7 1 64 1 128 1.0096735 64 1.0096735 ; 104:103 g14 up 1 
f 316 0 256 -7 1 64 1 128 1.0194406 64 1.0194406 ; 52:51 g15 up 2 
f 317 0 256 -7 1 64 1 128 1.0293022 64 1.0293022 ; 35:34 g16 up 3 
f 318 0 256 -7 1 64 1 128 1.0392592 64 1.0392592 ; 26:25 g17 up 4 
f 319 0 256 -7 1 64 1 128 1.0493125 64 1.0493125 ; 21:20 g18 up 5 
f 320 0 256 -7 1 64 1 128 1.0594631 64 1.0594631 ; 16:15 g19 up 6 
f 321 0 256 -7 1 64 1 128 1.0697118 64 1.0697118 ; 15:14 g20 up 7 
f 322 0 256 -7 1 64 1 128 1.0800597 64 1.0800597 ; 14:13 g21 up 8 
f 323 0 256 -7 1 64 1 128 1.0905077 64 1.0905077 ; 12:11 g22 up 9 
f 324 0 256 -7 1 64 1 128 1.1010568 64 1.1010568 ; 11:10 g23 up 10 
f 325 0 256 -7 1 64 1 128 1.1117079 64 1.1117079 ; 10:9 g24 up 11 
f 326 0 256 -7 1 64 1 128 1.1224620 64 1.1224620 ; 9:8 g25 up 12 
f 327 0 256 -7 1 64 1 128 1.1333202 64 1.1333202 ; 17:15 g26 up 13 
f 328 0 256 -7 1 64 1 128 1.1442834 64 1.1442834 ; 8:7 g27 up 14 
f 329 0 256 -7 1 64 1 128 1.1553527 64 1.1553527 ; 15:13 g28 up 15 
f 330 0 256 -7 1 64 1 128 1.1665290 64 1.1665290 ; 7:6 g29 up 16 
f 331 0 256 -7 1 64 1 128 1.1778135 64 1.1778135 ; 13:11 g30 up 17 
f 332 0 256 -7 1 64 1 128 1.1892071 64 1.1892071 ; 25:21 g31 up 18 
f 333 0 256 -7 1 64 1 128 1.2007109 64 1.2007109 ; 6:5 g32 up 19 
f 334 0 256 -7 1 64 1 128 1.2123261 64 1.2123261 ; 17:14 g33 up 20 
f 335 0 256 -7 1 64 1 128 1.2240535 64 1.2240535 ; 11:9 g34 up 21 
f 336 0 256 -7 1 64 1 128 1.2358945 64 1.2358945 ; 21:17 g35 up 22 
f 337 0 256 -7 1 64 1 128 1.2478499 64 1.2478499 ; 5:4 g36 up 23 
f 338 0 256 -7 1 64 1 128 1.2599210 64 1.2599210 ; 29:23 g37 up 24 
f 339 0 256 -7 1 64 1 128 1.2721089 64 1.2721089 ; 14:11 g38 up 25 
f 340 0 256 -7 1 64 1 128 1.2844147 64 1.2844147 ; 9:7 g39 up 26 
f 341 0 256 -7 1 64 1 128 1.2968396 64 1.2968396 ; 13:10 g40 up 27 
f 342 0 256 -7 1 64 1 128 1.3093846 64 1.3093846 ; 55:42 g41 up 28 
f 343 0 256 -7 1 64 1 128 1.3220510 64 1.3220510 ; 41:31 g42 up 29 
f 344 0 256 -7 1 64 1 128 1.3348399 64 1.3348399 ; 4:3 g43 up 30 
f 345 0 256 -7 1 64 1 128 1.3477525 64 1.3477525 ; 31:23 g44 up 31 
f 346 0 256 -7 1 64 1 128 1.3607900 64 1.3607900 ; 49:36 g45 up 32 
f 347 0 256 -7 1 64 1 128 1.3739536 64 1.3739536 ; 11:8 g46 up 33 
f 348 0 256 -7 1 64 1 128 1.3872446 64 1.3872446 ; 43:31 g47 up 34 
f 349 0 256 -7 1 64 1 128 1.4006642 64 1.4006642 ; 7:5 g48 up 35 
f 350 0 256 -7 1 64 1 128 1.4142136 64 1.4142136 ; 17:12 g49 up 36 
f 351 0 256 -7 1 64 1 128 1.4278940 64 1.4278940 ; 10:7 g50 up 37 
f 352 0 256 -7 1 64 1 128 1.4417068 64 1.4417068 ; 13:9 g51 up 38 
f 353 0 256 -7 1 64 1 128 1.4556532 64 1.4556532 ; 16:11 g52 up 39 
f 354 0 256 -7 1 64 1 128 1.4697345 64 1.4697345 ; 25:17 g53 up 40 
f 355 0 256 -7 1 64 1 128 1.4839520 64 1.4839520 ; 46:31 g54 up 41 
f 356 0 256 -7 1 64 1 128 1.4983071 64 1.4983071 ; 3:2 g55 up 42 
f 357 0 256 -7 1 64 1 128 1.5128010 64 1.5128010 ; 59:39 g56 up 43 
f 358 0 256 -7 1 64 1 128 1.5274351 64 1.5274351 ; 55:36 g57 up 44 
f 359 0 256 -7 1 64 1 128 1.5422108 64 1.5422108 ; 37:24 g58 up 45 
f 360 0 256 -7 1 64 1 128 1.5571295 64 1.5571295 ; 14:9 g59 up 46 
f 361 0 256 -7 1 64 1 128 1.5721924 64 1.5721924 ; 11:7 g60 up 47 
f 362 0 256 -7 1 64 1 128 1.5874011 64 1.5874011 ; 27:17 g61 up 48 
f 363 0 256 -7 1 64 1 128 1.6027568 64 1.6027568 ; 8:5 g62 up 49 
f 364 0 256 -7 1 64 1 128 1.6182612 64 1.6182612 ; 34:21 g63 up 50 
f 365 0 256 -7 1 64 1 128 1.6339155 64 1.6339155 ; 13:8 g64 up 51 
f 366 0 256 -7 1 64 1 128 1.6497212 64 1.6497212 ; 33:20 g65 up 52 
f 367 0 256 -7 1 64 1 128 1.6656798 64 1.6656798 ; 5:3 g66 up 53 
f 368 0 256 -7 1 64 1 128 1.6817928 64 1.6817928 ; 37:22 g67 up 54 
f 369 0 256 -7 1 64 1 128 1.6980617 64 1.6980617 ; 73:43 g68 up 55 
f 370 0 256 -7 1 64 1 128 1.7144880 64 1.7144880 ; 12:7 g69 up 56 
f 371 0 256 -7 1 64 1 128 1.7310731 64 1.7310731 ; 45:26 g70 up 57 
f 372 0 256 -7 1 64 1 128 1.7478187 64 1.7478187 ; 7:4 g71 up 58 
f 373 0 256 -7 1 64 1 128 1.7647263 64 1.7647263 ; 30:17 g72 up 59 
f 374 0 256 -7 1 64 1 128 1.7817974 64 1.7817974 ; 16:9 g73 up 60 
f 375 0 256 -7 1 64 1 128 1.7990337 64 1.7990337 ; 9:5 g74 up 61 
f 376 0 256 -7 1 64 1 128 1.8164367 64 1.8164367 ; 20:11 g75 up 62 
f 377 0 256 -7 1 64 1 128 1.8340081 64 1.8340081 ; 11:6 g76 up 63 
f 378 0 256 -7 1 64 1 128 1.8517494 64 1.8517494 ; 24:13 g77 up 64 
f 379 0 256 -7 1 64 1 128 1.8696624 64 1.8696624 ; 15:8 g78 up 65 
f 380 0 256 -7 1 64 1 128 1.8877486 64 1.8877486 ; 17:9 g79 up 66 
f 381 0 256 -7 1 64 1 128 1.9060098 64 1.9060098 ; 61:32 g80 up 67 
f 382 0 256 -7 1 64 1 128 1.9244477 64 1.9244477 ; 102:53 g81 up 68 
f 383 0 256 -7 1 64 1 128 1.9430639 64 1.9430639 ; 35:18 g82 up 69 
f 384 0 256 -7 1 64 1 128 1.9618602 64 1.9618602 ; 51:26 g83 up 70 
f 385 0 256 -7 1 64 1 128 1.9808383 64 1.9808383 ; 103:52 g84 up 71 
f 386 0 256 -7 1 64 1 128 0.9904191 64 0.9904191 ; 103:104 g85 down 1 
f 387 0 256 -7 1 64 1 128 0.9809301 64 0.9809301 ; 51:52 g86 down 2 
f 388 0 256 -7 1 64 1 128 0.9715319 64 0.9715319 ; 34:35 g87 down 3 
f 389 0 256 -7 1 64 1 128 0.9622238 64 0.9622238 ; 25:26 g88 down 4 
f 390 0 256 -7 1 64 1 128 0.9530049 64 0.9530049 ; 20:21 g89 down 5 
f 391 0 256 -7 1 64 1 128 0.9438743 64 0.9438743 ; 15:16 g90 down 6 
f 392 0 256 -7 1 64 1 128 0.9348312 64 0.9348312 ; 14:15 g91 down 7 
f 393 0 256 -7 1 64 1 128 0.9258747 64 0.9258747 ; 13:14 g92 down 8 
f 394 0 256 -7 1 64 1 128 0.9170040 64 0.9170040 ; 11:12 g93 down 9 
f 395 0 256 -7 1 64 1 128 0.9082184 64 0.9082184 ; 10:11 g94 down 10 
f 396 0 256 -7 1 64 1 128 0.8995169 64 0.8995169 ; 9:10 g95 down 11 
f 397 0 256 -7 1 64 1 128 0.8908987 64 0.8908987 ; 8:9 g96 down 12 
f 398 0 256 -7 1 64 1 128 0.8823631 64 0.8823631 ; 15:17 g97 down 13 
f 399 0 256 -7 1 64 1 128 0.8739094 64 0.8739094 ; 7:8 g98 down 14 
f 400 0 256 -7 1 64 1 128 0.8655366 64 0.8655366 ; 13:15 g99 down 15 
f 401 0 256 -7 1 64 1 128 0.8572440 64 0.8572440 ; 6:7 g100 down 16 
f 402 0 256 -7 1 64 1 128 0.8490309 64 0.8490309 ; 11:13 g101 down 17 
f 403 0 256 -7 1 64 1 128 0.8408964 64 0.8408964 ; 21:25 g102 down 18 
f 404 0 256 -7 1 64 1 128 0.8328399 64 0.8328399 ; 5:6 g103 down 19 
f 405 0 256 -7 1 64 1 128 0.8248606 64 0.8248606 ; 14:17 104 down 20 
f 406 0 256 -7 1 64 1 128 0.8169577 64 0.8169577 ; 9:11 105 down 21 
f 407 0 256 -7 1 64 1 128 0.8091306 64 0.8091306 ; 17:21 106 down 22 
f 408 0 256 -7 1 64 1 128 0.8013784 64 0.8013784 ; 4:5 107 down 23 
f 409 0 256 -7 1 64 1 128 0.7937005 64 0.7937005 ; 23:29 108 down 24 
f 410 0 256 -7 1 64 1 128 0.7860962 64 0.7860962 ; 11:14 109 down 25 
f 411 0 256 -7 1 64 1 128 0.7785647 64 0.7785647 ; 7:9 110 down 26 
f 412 0 256 -7 1 64 1 128 0.7711054 64 0.7711054 ; 10:13 111 down 27 
f 413 0 256 -7 1 64 1 128 0.7637176 64 0.7637176 ; 42:55 112 down 28 
f 414 0 256 -7 1 64 1 128 0.7564005 64 0.7564005 ; 31:41 113 down 29 
f 415 0 256 -7 1 64 1 128 0.7491535 64 0.7491535 ; 3:4 114 down 30 
f 416 0 256 -7 1 64 1 128 0.7419760 64 0.7419760 ; 23:31 115 down 31 
f 417 0 256 -7 1 64 1 128 0.7348672 64 0.7348672 ; 36:49 116 down 32 
f 418 0 256 -7 1 64 1 128 0.7278266 64 0.7278266 ; 8:11 117 down 33 
f 419 0 256 -7 1 64 1 128 0.7208534 64 0.7208534 ; 31:43 118 down 34 
f 420 0 256 -7 1 64 1 128 0.7139470 64 0.7139470 ; 5:7 119 down 35 
f 421 0 256 -7 1 64 1 128 0.7071068 64 0.7071068 ; 12:17 120 down 36 
f 422 0 256 -7 1 64 1 128 0.7003321 64 0.7003321 ; 7:10 121 down 37 
f 423 0 256 -7 1 64 1 128 0.6936223 64 0.6936223 ; 9:13 122 down 38 
f 424 0 256 -7 1 64 1 128 0.6869768 64 0.6869768 ; 11:16 123 down 39 
f 425 0 256 -7 1 64 1 128 0.6803950 64 0.6803950 ; 17:25 124 down 40 
f 426 0 256 -7 1 64 1 128 0.6738762 64 0.6738762 ; 31:46 125 down 41 
f 427 0 256 -7 1 64 1 128 0.6674199 64 0.6674199 ; 2:3 126 down 42 
f 428 0 256 -7 1 64 1 128 0.6610255 64 0.6610255 ; 39:59 127 down 43 
f 429 0 256 -7 1 64 1 128 0.6546923 64 0.6546923 ; 36:55 128 down 44 
f 430 0 256 -7 1 64 1 128 0.6484198 64 0.6484198 ; 24:37 129 down 45 
f 431 0 256 -7 1 64 1 128 0.6422074 64 0.6422074 ; 9:14 130 down 46 
f 432 0 256 -7 1 64 1 128 0.6360545 64 0.6360545 ; 7:11 131 down 47 
f 433 0 256 -7 1 64 1 128 0.6299605 64 0.6299605 ; 17:27 132 down 48 
f 434 0 256 -7 1 64 1 128 0.6239250 64 0.6239250 ; 5:8 133 down 49 
f 435 0 256 -7 1 64 1 128 0.6179472 64 0.6179472 ; 21:34 134 down 50 
f 436 0 256 -7 1 64 1 128 0.6120268 64 0.6120268 ; 8:13 135 down 51 
f 437 0 256 -7 1 64 1 128 0.6061630 64 0.6061630 ; 20:33 136 down 52 
f 438 0 256 -7 1 64 1 128 0.6003555 64 0.6003555 ; 3:5 137 down 53 
f 439 0 256 -7 1 64 1 128 0.5946036 64 0.5946036 ; 22:37 138 down 54 
f 440 0 256 -7 1 64 1 128 0.5889067 64 0.5889067 ; 43:73 139 down 55 
f 441 0 256 -7 1 64 1 128 0.5832645 64 0.5832645 ; 7:12 140 down 56 
f 442 0 256 -7 1 64 1 128 0.5776763 64 0.5776763 ; 26:45 141 down 57 
f 443 0 256 -7 1 64 1 128 0.5721417 64 0.5721417 ; 4:7 142 down 58 
f 444 0 256 -7 1 64 1 128 0.5666601 64 0.5666601 ; 17:30 143 down 59 
f 445 0 256 -7 1 64 1 128 0.5612310 64 0.5612310 ; 9:16 144 down 60 
f 446 0 256 -7 1 64 1 128 0.5558540 64 0.5558540 ; 5:9 145 down 61 
f 447 0 256 -7 1 64 1 128 0.5505284 64 0.5505284 ; 11:20 146 down 62 
f 448 0 256 -7 1 64 1 128 0.5452539 64 0.5452539 ; 6:11 147 down 63 
f 449 0 256 -7 1 64 1 128 0.5400299 64 0.5400299 ; 13:24 148 down 64 
f 450 0 256 -7 1 64 1 128 0.5348559 64 0.5348559 ; 8:15 149 down 65 
f 451 0 256 -7 1 64 1 128 0.5297315 64 0.5297315 ; 9:17 150 down 66 
f 452 0 256 -7 1 64 1 128 0.5246563 64 0.5246563 ; 32:61 151 down 67 
f 453 0 256 -7 1 64 1 128 0.5196296 64 0.5196296 ; 53:102 152 down 68 
f 454 0 256 -7 1 64 1 128 0.5146511 64 0.5146511 ; 18:35 153 down 69 
f 455 0 256 -7 1 64 1 128 0.5097203 64 0.5097203 ; 26:51 154 down 70 
f 456 0 256 -7 1 64 1 128 0.5048368 64 0.5048368 ; 52:103 155 down 71 
;Trills in 72 EDO 
f 457 0 256 -7 1 16 1 0 1.1665290 16 1.1665290 0 1 16 1 0 1.1665290 16 1.1665290 
 0 1 16 1 0 1.16652904 16 1.16652904 0 1 16 1 0 1.16652904 16 1.16652904 
 0 1 16 1 0 1.16652904 16 1.16652904 0 1 16 1 0 1.16652904 16 1.16652904 
 0 1 16 1 0 1.16652904 16 1.16652904 0 1 16 1 0 1.16652904 16 1.16652904 
 ; 7:6 156 up & down .trl7:6 g156 
f 458 0 256 -7 1 16 1 0 1.1442834 16 1.1442834 0 1 16 1 0 1.1442834 16 1.1442834 
 0 1 16 1 0 1.144283433 16 1.144283433 0 1 16 1 0 1.144283433 16 1.144283433 
 0 1 16 1 0 1.144283433 16 1.144283433 0 1 16 1 0 1.144283433 16 1.144283433 
 0 1 16 1 0 1.144283433 16 1.144283433 0 1 16 1 0 1.144283433 16 1.144283433 
 ; 8:7 157 up & down .trl8:7 g157 
f 459 0 256 -7 1 16 1 0 1.1224620 16 1.1224620 0 1 16 1 0 1.1224620 16 1.1224620 
 0 1 16 1 0 1.122462048 16 1.122462048 0 1 16 1 0 1.122462048 16 1.122462048 
 0 1 16 1 0 1.122462048 16 1.122462048 0 1 16 1 0 1.122462048 16 1.122462048 
 0 1 16 1 0 1.122462048 16 1.122462048 0 1 16 1 0 1.122462048 16 1.122462048 
 ; 9:8 158 up & down .trl9:8 g158 
f 460 0 256 -7 1 16 1 0 1.1117079 16 1.1117079 0 1 16 1 0 1.1117079 16 1.1117079 
 0 1 16 1 0 1.111707905 16 1.111707905 0 1 16 1 0 1.111707905 16 1.111707905 
 0 1 16 1 0 1.111707905 16 1.111707905 0 1 16 1 0 1.111707905 16 1.111707905 
 0 1 16 1 0 1.111707905 16 1.111707905 0 1 16 1 0 1.111707905 16 1.111707905 
 ; 10:9 159 up & down .trl10:9 g159 
f 461 0 256 -7 1 16 1 0 1.1010568 16 1.1010568 0 1 16 1 0 1.1010568 16 1.1010568 
 0 1 16 1 0 1.101056795 16 1.101056795 0 1 16 1 0 1.101056795 16 1.101056795 
 0 1 16 1 0 1.101056795 16 1.101056795 0 1 16 1 0 1.101056795 16 1.101056795 
 0 1 16 1 0 1.101056795 16 1.101056795 0 1 16 1 0 1.101056795 16 1.101056795 
 ; 11:10 160 up & down .trl11:10 g160 
f 462 0 256 -7 1 16 1 0 1.0905077 16 1.0905077 0 1 16 1 0 1.0905077 16 1.0905077 
 0 1 16 1 0 1.090507733 16 1.090507733 0 1 16 1 0 1.090507733 16 1.090507733 
 0 1 16 1 0 1.090507733 16 1.090507733 0 1 16 1 0 1.090507733 16 1.090507733 
 0 1 16 1 0 1.090507733 16 1.090507733 0 1 16 1 0 1.090507733 16 1.090507733 
 ; 12:11 161 up & down .trl12:11 g161 
f 463 0 256 -7 1 16 1 0 1.0905077 16 1.0905077 0 1 16 1 0 1.0905077 16 1.0905077 
 0 1 16 1 0 1.090507733 16 1.090507733 0 1 16 1 0 1.090507733 16 1.090507733 
 0 1 16 1 0 1.090507733 16 1.090507733 0 1 16 1 0 1.090507733 16 1.090507733 
 0 1 16 1 0 1.090507733 16 1.090507733 0 1 16 1 0 1.090507733 16 1.090507733 
 ; 13:12 162 up & down .trl13:12 g162 
f 464 0 256 -7 1 16 1 0 1.0769231 16 1.0769231 0 1 16 1 0 1.0769231 16 1.0769231 
 0 1 16 1 0 1.076923077 16 1.076923077 0 1 16 1 0 1.076923077 16 1.076923077 
 0 1 16 1 0 1.076923077 16 1.076923077 0 1 16 1 0 1.076923077 16 1.076923077 
 0 1 16 1 0 1.076923077 16 1.076923077 0 1 16 1 0 1.076923077 16 1.076923077 
 ; 14:13 163 up & down .trl14:13 g163 
f 465 0 256 -7 1 16 1 0 1.0800597 16 1.0800597 0 1 16 1 0 1.0800597 16 1.0800597 
 0 1 16 1 0 1.080059739 16 1.080059739 0 1 16 1 0 1.080059739 16 1.080059739 
 0 1 16 1 0 1.080059739 16 1.080059739 0 1 16 1 0 1.080059739 16 1.080059739 
 0 1 16 1 0 1.080059739 16 1.080059739 0 1 16 1 0 1.080059739 16 1.080059739 
 ; 15:14 164 up & down .trl15:14 g164 
f 466 0 256 -7 1 16 1 0 1.2240535 16 1.2240535 0 1 16 1 0 1.2240535 16 1.2240535 
 0 1 16 1 0 1.224053543 16 1.224053543 0 1 16 1 0 1.224053543 16 1.224053543 
 0 1 16 1 0 1.224053543 16 1.224053543 0 1 16 1 0 1.224053543 16 1.224053543 
 0 1 16 1 0 1.224053543 16 1.224053543 0 1 16 1 0 1.224053543 16 1.224053543 
 ; 11 : 9 165 up & down .trl11:9 g165 
; Envelopes 
; autoscale all following tables to 1 
;#7 0 siz 
;#6 0 siz exp min values mid val max vals mid vals min val mid val max 
f298 0 1025 6 0 1 .5 1 1 496 1 496 1 15 .5 15 0.0 ; e0 - Attack and sustain with a relatively sharp ending 
f297 0 1025 6 0 1 .9 1 1 486 1 486 1 25 .5 25 0.0 ; e1 - Attack and sustain with a relatively sharp ending 
;#5 0 siz exp start take reach take reach 
f296 0 513 5 1024 512 1 ; e2 - exponential - dead piano 
;#6 0 siz exp min values mid val max val mid val min val mid val max val mid val min 
f295 0 1025 6 0 64 .5 64 1 128 .6 128 .3 128 .5 128 .6 192 .3 192 0 ; e3 big hump, small hump 
f294 0 1025 6 0 64 .15 64 .3 128 .25 128 .2 128 .6 128 1 192 .5 192 0 ; e4 small hump, big hump 
f293 0 1025 6 0 1 .5 1 1 447 .99 447 .98 64 0.5 64 0 ;e5 default woodwind envelope 
f292 0 1025 6 0 1 0.50 1 1.00 447 0.60 447 0.20 32 0.21 32 0.22 32 0.11 32 0.00 ; e6 moving away slowly 
f291 0 1025 6 0 1 0.50 1 1.00 128 0.60 128 0.20 256 0.15 254 0.10 128 0.05 128 0.00 ; e7 moving away faster 
f290 0 1025 6 0 2 .5 2 1 501 .6 483 .3 18 .15 18 0 ; e8 hit and drop most 
f289 0 1025 6 0 1 .3 1 .6 479 .8 479 1 32 .5 32 0 ; e34 Start moderately and build, abrupt end 
f288 0 1025 6 0 64 .40 448 1 448 .6 64 0 ; e10 One long hump in the middle 
f287 0 1025 6 0 1 .5 1 1 368 .99 368 .98 16 .5 16 0 127 0 127 0 ; e11 hit and sustain 3/4 the normal length 
f286 0 1025 6 0 1 .5 1 1 303 .99 303 .98 16 .5 16 0 192 0 192 0 ; e12 hit and sustain 2/3 the normal length 
f285 0 1025 6 0 1 .5 1 1 255 .99 255 .98 16 .5 16 0 240 0 240 0 ; e13 hit and sustain 1/2 the normal length 
f284 0 1025 6 0 64 .4 64 1 127 .99 255 .98 16 .5 16 0 240 0 240 0 ; e14 gradual in with 1/2 sustain 
f283 0 1025 6 0 384 .5 384 1 128 .5 128 0 ; e15 one hump towards the end 
f282 0 1025 6 0 2 .2 2 .4 477 .7 479 1 32 .5 32 0 ; e16 sustain piano sound 
f281 0 1025 6 0 1 .1 1 .2 479 .6 479 1 32 .5 32 0 ; e17 sustain guitar sound 
f280 0 1025 6 1 64 .7 64 .4 64 .4 64 .4 384 .7 352 1 16 .5 16 0 ; e18 Sharp attack, then less quiet, build to end 
f279 0 1025 6 0 1 .5 1 1.0 128 .7 228 .4 128 .4 28 .4 128 .5 128 .6 128 .3 126 0 ; e19 Moderate attack, then slightly quiet, build to end 
f278 0 1025 6 0 85 0.40 85 0.80 85 0.65 85 0.50 85 0.75 85 1.00 85 0.75 85 0.50 85 0.65 85 0.8 85 0.4 89 0.0 ; e20 3 humps - biggest in middle 
f277 0 1025 6 0 85 0.50 85 1.00 85 0.75 85 0.50 85 0.65 85 0.80 85 0.65 85 0.50 85 0.65 85 0.8 85 0.4 89 0.0 ; e21 3 humps - biggest early 
f276 0 1025 6 0 85 0.40 85 0.80 85 0.65 85 0.50 85 0.65 85 0.80 85 0.65 85 0.50 85 0.75 85 1.0 85 0.5 89 0.0 ; e22 3 humps - biggest late 
f275 0 1025 6 0 1 0.01 84 0.80 84 0.65 84 0.50 84 0.75 84 1.00 84 0.75 84 0.50 84 0.65 84 0.8 84 0.4 183 0.0 ; e23 3 humps - early biggest in middle 
f274 0 1025 6 0 1 0.01 84 1.00 84 0.75 84 0.50 84 0.65 84 0.80 84 0.65 84 0.50 84 0.65 84 0.8 84 0.4 183 0.0 ; e24 3 humps - early biggest early 
f273 0 1025 6 0 1 0.01 84 0.80 84 0.65 84 0.50 84 0.65 84 0.80 84 0.65 84 0.50 84 0.75 84 1.0 84 0.5 183 0.0 ; e25 3 humps - early biggest late 
f272 0 1025 6 0 64 .5 64 1 256 1 512 1 64 .5 64 0 ; e26 slow rise, sustain, slow drop 
; min pts mid pts max pts mid pts min pts mid pts max pts mid pts min 
;p1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 ; 
f265 0 1025 6 0 32 0.20 32 0.40 32 0.30 32 0.20 432 0.60 432 1.00 16 0.50 16 0.00 ; e33 channel one moving in gradually 
f264 0 1025 6 0 206 0.03 206 0.06 205 0.06 205 0.05 85 0.53 85 1.00 16 0.50 16 0.00 ; e34 channel 2 moving in at the end 
;#6 0 siz exp min values mid val max val mid val min val mid val max val mid val min 
f263 0 1025 6 0 2 .2 2 .6 4 .4 4 .3 500 .6 500 1 6 .5 7 0 ; e35 low bass piano inverse of h48 and above 
f262 0 1025 6 0 2 .2 2 .6 4 .4 4 .3 500 .32 500 .33 6 .2 7 0 ; e36 low bass piano inverse of h48 
f5 0 128 -17 0 9 73 10 75 11 78 12 80 13 82 14 84 15 86 16 88 17 90 18 92 19 94 20 96 21 98 22 127
f6 0 64 -2 0  72  74  77  79  81  83  85  87  89  91  93  95  97  99 
f7 0 64 -2 0 0   0   0   0   0   0   0   0   0   0   0   0   0   0   
f8 0 64 -2 0 1 1 1 1 1 1 1 1 1 1 1 1 1 1 
f23 0 128 -17 0 27 127
f24 0 64 -2 0  36 
f25 0 64 -2 0 -20 
f26 0 64 -2 0 0 
f28 0 128 -17 0 32 127
f29 0 64 -2 0  61 
f30 0 64 -2 0 -45 
f31 0 64 -2 0 0 
f33 0 128 -17 0 37 127
f34 0 64 -2 0  61 
f35 0 64 -2 0 -45 
f36 0 64 -2 0 0 
f38 0 128 -17 0 42 127
f39 0 64 -2 0  55 
f40 0 64 -2 0 +13 
f41 0 64 -2 0 0 
f43 0 128 -17 0 47 127
f44 0 64 -2 0  54 
f45 0 64 -2 0 +26 
f46 0 64 -2 0 0 
f48 0 128 -17 0 52 25 53 29 54 32 55 34 56 37 57 39 58 42 59 44 60 46 61 49 62 51 63 53 64 56 65 58 66 61 67 63 68 65 69 66 70 68 71 73 72 75 73 78 74 80 75 82 76 127
f49 0 64 -2 0  24  28  31  33  36  38  41  43  45  48  50  52  55  57  60  62  64  65  67  72  74  77  79  81  84 
f50 0 64 -2 0 0   0   0   0   0   0   -1  +1  +1  +1  -4  +4  +1  +2  0   0   +1  +2  0   -1  0   0   -1  0   0   
f51 0 64 -2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 
f77 0 128 -17 0 81 20 82 21 83 23 84 25 85 27 86 32 87 34 88 37 89 39 90 41 91 43 92 46 93 47 94 49 95 51 96 54 97 57 98 59 99 63 100 67 101 70 102 127
f78 0 64 -2 0  19  20  22  24  26  31  33  36  38  40  42  45  46  48  50  53  56  58  62  66  69  74 
f79 0 64 -2 0 +3  -37 -24 -13 +7  +18 +22 -13 -38 +14 +17 -32 -4  +14 +46 -32 -1  +41 -10 +0  +32 -41 
f80 0 64 -2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 
f103 0 128 -17 0 107 69 108 71 109 73 110 75 111 77 112 79 113 81 114 83 115 127
f104 0 64 -2 0  68  70  72  74  76  78  80  82  84 
f105 0 64 -2 0 +4  -11 +8  +9  +6  +14 +12 +4  +13 
f106 0 64 -2 0 1 1 1 1 1 1 1 1 1 
f116 0 128 -17 0 120 63 121 65 122 67 123 69 124 71 125 73 126 77 127 79 128 81 129 83 130 85 131 87 132 89 133 91 134 93 135 95 136 97 137 127
f117 0 64 -2 0  62  64  66  68  70  72  76  78  80  82  84  86  88  90  92  94  96  98 
f118 0 64 -2 0 -1  +7  +4  +3  +5  -2  -3  -2  -3  +3  +2  -1  0   +1  +5  -1  0   -2  
f119 0 64 -2 0 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 
f9 0 0 1 "McGill/Partition B/FLUTTERFLUTE/FLUTTERC4.aif" 0 4 0
f10 0 0 1 "McGill/Partition B/FLUTTERFLUTE/FLUTTERD4.aif" 0 4 0
f11 0 0 1 "McGill/Partition B/FLUTTERFLUTE/FLUTTERF4.aif" 0 4 0 ; should not be required - uncomment if needed 2-28-2009
f12 0 0 1 "McGill/Partition B/FLUTTERFLUTE/FLUTTERG4.aif" 0 4 0 ; should not be required - uncomment if needed 2-28-2009
f13 0 0 1 "McGill/Partition B/FLUTTERFLUTE/FLUTTERA4.aif" 0 4 0 ; should not be required - uncomment if needed 2-28-2009
f14 0 0 1 "McGill/Partition B/FLUTTERFLUTE/FLUTTERB4.aif" 0 4 0 ; should not be required - uncomment if needed 2-28-2009
f15 0 0 1 "McGill/Partition B/FLUTTERFLUTE/FLUTTRC#5.aif" 0 4 0 ; should not be required - uncomment if needed 2-28-2009
f16 0 0 1 "McGill/Partition B/FLUTTERFLUTE/FLUTTRD#5.aif" 0 4 0 ; should not be required - uncomment if needed 2-28-2009
f17 0 0 1 "McGill/Partition B/FLUTTERFLUTE/FLUTTERF5.aif" 0 4 0 ; should not be required - uncomment if needed 2-28-2009
f18 0 0 1 "McGill/Partition B/FLUTTERFLUTE/FLUTTERG5.aif" 0 4 0 ; should not be required - uncomment if needed 2-28-2009
f19 0 0 1 "McGill/Partition B/FLUTTERFLUTE/FLUTTERA5.aif" 0 4 0 ; should not be required - uncomment if needed 2-28-2009
f20 0 0 1 "McGill/Partition B/FLUTTERFLUTE/FLUTTERB5.aif" 0 4 0 ; should not be required - uncomment if needed 2-28-2009
f21 0 0 1 "McGill/Partition B/FLUTTERFLUTE/FLUTTRC#6.aif" 0 4 0 ; should not be required - uncomment if needed 2-28-2009
f22 0 0 1 "McGill/Partition B/FLUTTERFLUTE/FLUTTRD#6.aif" 0 4 0 ; should not be required - uncomment if needed 2-28-2009
f27 0 0 1 "samples/Balloon Drums/balloondrum-c2.wav" 0 4 0
f32 0 0 1 "samples/Balloon Drums/HandDrum1.wav" 0 4 0
f37 0 0 1 "samples/Balloon Drums/MediumHandDrum1.wav" 0 4 0
f42 0 0 1 "samples/Balloon Drums/SmallBalloonDrum5.wav" 0 4 0
f47 0 0 1 "samples/Balloon Drums/MediumBalloonDrum2.wav" 0 4 0
f52 0 0 1 "McGill/Partition I/FingerP/c1.aif" 0 4 0
f53 0 0 1 "McGill/Partition I/FingerP/e1.aif" 0 4 0 ; should not be required - uncomment if needed 2-28-2009
f54 0 0 1 "McGill/Partition I/FingerP/g1.aif" 0 4 0 ; should not be required - uncomment if needed 2-28-2009
f55 0 0 1 "McGill/Partition I/FingerP/a1.aif" 0 4 0 ; should not be required - uncomment if needed 2-28-2009
f56 0 0 1 "McGill/Partition I/FingerP/c2.aif" 0 4 0
f57 0 0 1 "McGill/Partition I/FingerP/d2.aif" 0 4 0
f58 0 0 1 "McGill/Partition I/FingerP/f2.aif" 0 4 0
f59 0 0 1 "McGill/Partition I/FingerP/g2.aif" 0 4 0
f60 0 0 1 "McGill/Partition I/FingerP/a2.aif" 0 4 0
f61 0 0 1 "McGill/Partition I/FingerP/c3.aif" 0 4 0
f62 0 0 1 "McGill/Partition I/FingerP/d3.aif" 0 4 0
f63 0 0 1 "McGill/Partition I/FingerP/e3.aif" 0 4 0
f64 0 0 1 "McGill/Partition I/FingerP/g3.aif" 0 4 0
f65 0 0 1 "McGill/Partition I/FingerP/a3.aif" 0 4 0
f66 0 0 1 "McGill/Partition I/FingerP/c4.aif" 0 4 0
f67 0 0 1 "McGill/Partition I/FingerP/d4.aif" 0 4 0
f68 0 0 1 "McGill/Partition I/FingerP/e4.aif" 0 4 0
f69 0 0 1 "McGill/Partition I/FingerP/f4.aif" 0 4 0
f70 0 0 1 "McGill/Partition I/FingerP/g4.aif" 0 4 0
f71 0 0 1 "McGill/Partition I/FingerP/c5.aif" 0 4 0
f72 0 0 1 "McGill/Partition I/FingerP/d5.aif" 0 4 0
f73 0 0 1 "McGill/Partition I/FingerP/f5.aif" 0 4 0
f74 0 0 1 "McGill/Partition I/FingerP/g5.aif" 0 4 0
f75 0 0 1 "McGill/Partition I/FingerP/a5.aif" 0 4 0
f76 0 0 1 "McGill/Partition I/FingerP/c6.aif" 0 4 0
f81 0 0 1 "McGill/PARTIT~1/BASSFI~1/Piano0~2.aif" 0 4 0
f82 0 0 1 "McGill/PARTIT~1/BASSFI~1/Piano0~3.aif" 0 4 0
f83 0 0 1 "McGill/PARTIT~1/BASSFI~1/Piano0~1.aif" 0 4 0
f84 0 0 1 "McGill/PARTIT~1/BASSFI~1/Piano1~2.aif" 0 4 0
f85 0 0 1 "McGill/PARTIT~1/BASSFI~1/Piano1~3.aif" 0 4 0
f86 0 0 1 "McGill/PARTIT~1/BASSFI~1/Piano1~4.aif" 0 4 0
f87 0 0 1 "McGill/PARTIT~1/BASSFI~1/Piano1~1.aif" 0 4 0
f88 0 0 1 "McGill/PARTIT~1/BASSFI~1/Piano2~3.aif" 0 4 0
f89 0 0 1 "McGill/PARTIT~1/BASSFI~1/PI906D~1.aif" 0 4 0
f90 0 0 1 "McGill/PARTIT~1/BASSFI~1/Pi8D41~1.aif" 0 4 0
f91 0 0 1 "McGill/PARTIT~1/BASSFI~1/PiCAC2~1.aif" 0 4 0
f92 0 0 1 "McGill/PARTIT~1/BASSFI~1/Piano2~1.aif" 0 4 0
f93 0 0 1 "McGill/PARTIT~1/BASSFI~1/Piano2~2.aif" 0 4 0
f94 0 0 1 "McGill/PARTIT~1/BASSFI~1/Piano3~2.aif" 0 4 0
f95 0 0 1 "McGill/PARTIT~1/BASSFI~1/Piano3~3.aif" 0 4 0
f96 0 0 1 "McGill/PARTIT~1/BASSFI~1/Piano3~4.aif" 0 4 0
f97 0 0 1 "McGill/PARTIT~1/BASSFI~1/Pi0e24~1.aif" 0 4 0
f98 0 0 1 "McGill/PARTIT~1/BASSFI~1/Piano3~1.aif" 0 4 0 ; should not be required - uncomment if needed 2-28-2009
f99 0 0 1 "McGill/PARTIT~1/BASSFI~1/Piano4~2.aif" 0 4 0 ; should not be required - uncomment if needed 2-28-2009
f100 0 0 1 "McGill/PARTIT~1/BASSFI~1/Piano4~3.aif" 0 4 0 ; should not be required - uncomment if needed 2-28-2009
f101 0 0 1 "McGill/PARTIT~1/BASSFI~1/Piano4~1.aif" 0 4 0 ; should not be required - uncomment if needed 2-28-2009
f102 0 0 1 "McGill/PARTIT~1/BASSFI~1/Piano5~1.aif" 0 4 0
f107 0 0 1 "McGill/Partition B/ALTO FLUTE/A.FLUTE G#3.aif" 0 4 0
f108 0 0 1 "McGill/Partition B/ALTO FLUTE/A.FLUTE A#3.aif" 0 4 0
f109 0 0 1 "McGill/Partition B/ALTO FLUTE/A.FLUTE C4.aif" 0 4 0
f110 0 0 1 "McGill/Partition B/ALTO FLUTE/A.FLUTE D4.aif" 0 4 0
f111 0 0 1 "McGill/Partition B/ALTO FLUTE/A.FLUTE E4.aif" 0 4 0
f112 0 0 1 "McGill/Partition B/ALTO FLUTE/A.FLUTE F#4.aif" 0 4 0
f113 0 0 1 "McGill/Partition B/ALTO FLUTE/A.FLUTE G#4.aif" 0 4 0
f114 0 0 1 "McGill/Partition B/ALTO FLUTE/A.FLUTE A#4.aif" 0 4 0
f115 0 0 1 "McGill/Partition B/ALTO FLUTE/A.FLUTE C5.aif" 0 4 0
f120 0 0 1 "McGill/Partition A/B- CLARINET/CLARBB D3-f.aif" 0 4 0
f121 0 0 1 "McGill/Partition A/B- CLARINET/CLARBB E3-f.aif" 0 4 0
f122 0 0 1 "McGill/Partition A/B- CLARINET/CLARBB F#3-f.aif" 0 4 0
f123 0 0 1 "McGill/Partition A/B- CLARINET/CLARBB G#3-f.aif" 0 4 0
f124 0 0 1 "McGill/Partition A/B- CLARINET/CLARBB A#3-f.aif" 0 4 0
f125 0 0 1 "McGill/Partition A/B- CLARINET/CLARBB C4-f.aif" 0 4 0
f126 0 0 1 "McGill/Partition A/B- CLARINET/CLARBB E4-f.aif" 0 4 0
f127 0 0 1 "McGill/Partition A/B- CLARINET/CLARBB F#4-f.aif" 0 4 0
f128 0 0 1 "McGill/Partition A/B- CLARINET/CLARBB G#4-f.aif" 0 4 0
f129 0 0 1 "McGill/Partition A/B- CLARINET/CLARBB A#4-f.aif" 0 4 0
f130 0 0 1 "McGill/Partition A/B- CLARINET/CLARBB C5-f.aif" 0 4 0
f131 0 0 1 "McGill/Partition A/B- CLARINET/CLARBB D5-f.aif" 0 4 0
f132 0 0 1 "McGill/Partition A/B- CLARINET/CLARBB E5-f.aif" 0 4 0
f133 0 0 1 "McGill/Partition A/B- CLARINET/CLARBB F#5-f.aif" 0 4 0
f134 0 0 1 "McGill/Partition A/B- CLARINET/CLARBB G#5-f.aif" 0 4 0
f135 0 0 1 "McGill/Partition A/B- CLARINET/CLARBB A#5-f.aif" 0 4 0
f136 0 0 1 "McGill/Partition A/B- CLARINET/CLARBB C6-f.aif" 0 4 0
f137 0 0 1 "McGill/Partition A/B- CLARINET/CLARBB D6-f.aif" 0 4 0
f1 0 64 -2 0 5 23 28 33 38 43 48 77 103 116 
f2 0 64 -2 0 5  5  5  5  5  5  4  4  5  5 
;Inst Start        Dur  Vel    Ton   Oct   Voice Stere Envlp Gliss Upsamp R-Env;Channel
;p1   p2           p3   p4     p5    p6    p7    p8    p9    p10   p11   R-Env;Channel
i1  0.0000000000     8     1     0     1     1     8     0     0     0     0 ;      1
i1  8.0000000000    18     1     0     1     1     8     0     0     0     0 ;      1
i1 26.0000000000    18     1     0     1     1     8     0     0     0     0 ;      1
i1 44.0000000000    18     1     0     1     1     8     0     0     0     0 ;      1
i1 62.0000000000    18     1     0     1     1     8     0     0     0     0 ;      1
i1 80.0000000000    72     1     0     1     1     8     0     0     0     0 ;      1
i1 152.0000000000    72     1     0     1     1     8     0     0     0     0 ;      1
i1 224.0000000000    72     1     0     1     1     8     0     0     0     0 ;      1
i1 296.0000000000    72     1     0     1     1     8     0     0     0     0 ;      1
i1 368.0000000000    72     1     0     1     1     8     0     0     0     0 ;      1
i1 440.0000000000    72     1     0     1     1     8     0     0     0     0 ;      1
i1 512.0000000000    72     1     0     1     1     8     0     0     0     0 ;      1
i1 584.0000000000    72     1     0     1     1     8     0     0     0     0 ;      1
i1 656.0000000000    72     1     0     1     1     8     0     0     0     0 ;      1
i1 728.0000000000    72     1     0     1     1     8     0     0     0     0 ;      1
i1 800.0000000000    72     1     0     1     1     8     0     0     0     0 ;      1
i1 872.0000000000    72     1     0     1     1     8     0     0     0     0 ;      1
i1 944.0000000000    18     1     0     1     1     8     0     0     0     0 ;      1
i1 962.0000000000    18     1     0     1     1     8     0     0     0     0 ;      1
i1 980.0000000000    18     1     0     1     1     8     0     0     0     0 ;      1

The rest of the 9000+ notes are omitted.

Making some bass finger piano samples

2012-01-02T10:58:00.000-08:00

I took the time last week to make a new set of bass finger piano samples from some spring steel inside a plumber's snake. The material is about 1/4" wide, and somewhere around 0.40" thick. One of the least known things about thumb piano tongues is that they have a prominent overtone that is just under an octave above the fundamental. If you add solder to the ends, you can lower the fundamental, without changing the prominent overtone as much. For example, if a 3" long tongue has a fundamental around C 1, but an overtone around Bb 3, the tongue will sound out of tune. But if you add some rosen core solder to the tip, it will lower the fundamental to around A 1, while the overtone drops only a half step to A 3. If you do it just right, you can end up with the overtone exactly two octaves above the fundamental. Add more solder, or file off the excess until the two notes converge. This sample library has about two dozen notes from G 0 to D 5. Each is a bit out of tune to the 12 TET scale, but by calibrating the cents from 12, Csound is able to tune them back up. These are the samples used in the last complete piece, Drums in 12/8 from last week. Here's the G 0 four cents sharp from 12 TET.

A picture of the rig. Low notes need more solder than high ones. Once I made the first low note in tune, it was mostly shaving off solder with the file, about three strokes per cent flat for the fundamental.

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Here's another sample, F# 2 17 cents sharp:

Making some long string samples

2012-01-01T17:21:00.000-08:00

As long as I had the music wire and the transducer set up, I made some long string samples too. Here's a B in octave 1 13 cents sharp. Play it here

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Making some spring samples

2012-01-01T17:13:00.000-08:00

Today I made some spring samples. First I wound some 12" springs on a drill out of 0.24 music wire. Then I grabbed one of my magnetic transducers, and connected it to the computer. Then I played the spring. This note is a C in octave 1 41 cents sharp. I'll tune it in Csound before using it in a piece.
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Drums in 12/8 - version 8

2012-01-01T17:10:00.000-08:00

This one is finished now. I will name it later. Play it here

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Drums in 12/8 - more gliss & trills

2011-12-30T09:18:00.000-08:00

This is a work in progress. Play it here

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Drums in 12/8 - more

2011-12-28T15:49:00.001-08:00

This is a work in progress.

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Drums in 12/8

2011-12-27T16:51:00.000-08:00

This is a work in progress.

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Drums in 9/8 - again

2011-10-30T14:54:00.001-07:00

This is a work in progress.

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Another take.

Drums in 9/8

2011-10-30T14:41:00.000-07:00

This is a work in progress.

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Drums

2011-10-29T13:24:00.000-07:00

This is a work in progress.

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Lots of fun with a sewer pipe and Csound.

Doxology

2011-05-29T17:01:00.000-07:00

This is a work in progress.
Doxology, a song of praise.

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Jesus, All My Gladness - take 10

2010-08-28T11:03:00.001-07:00

Take 10 is remixed with a bit less high brass, shorter holds, and more tuba. I like tuba.

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Jesus, All My Gladness - take 9

2010-08-27T09:34:00.001-07:00

This is the final version of the piece. I've made a few small changes to the durations of some of the long and short notes. The long half notes can now end a bit early, leaving some space in the sonority, and the short mallet instrument notes last longer.

As I said when I started this hymn, the intonation I'm using is not attempting to be historically accurate. Dear JS would roll in his grave at the heavy use of the 7/4 ratio, for example. There is no evidence that he ever considered the interval in any way useful or musical.

I chose ratios with the single goal of using the lowest possible integers in each chord. Take a look at the first phrase below, where I use two different ratios for the tenor Ab, first 8/5 in chord number 3, then 14/9 in chord number 7, 3 72-EDO steps down:

In chord numbers 8 & 9, I switch from G on 3/2 to 40/27, in order to harmonize with the D 10/9, which was forced by the chord number 7. No sane composer would have a melody haphazardly change from one version of a note to another in a melody. But when you slow everything down, it makes sense harmonically. At least to me.

I used a spreadsheet to multiply all the ratios in a chord by all the other ratios, and then minimized the integers inside the chord. See the following chart for the first ten chords. Click it to make it bigger.

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Jesus, All My Gladness - take 8

2010-08-26T13:34:00.000-07:00

This is a work in progress. The tuba had the wrong octave in take 6, so I removed it. I also added the ability to select a sample up or down from the one that matches the note, to allow more changes of timbre.

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Jesus, All My Gladness - take 5

2010-08-24T11:11:00.000-07:00

This version is more or less complete. I'll need to do some balance checks on different speakers to make sure the levels are correct.
Click to make the image bigger and see the note numbers in 72-EDO.

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Jesus, All My Gladness - another approach

2010-08-23T17:26:00.000-07:00

This is a work in progress. Today's version attempts to get back to some basics after wandering far afield over the past few weeks.

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Jesus, All My Gladness - retuned & arpeggiated

2010-08-16T19:26:00.000-07:00

This is a work in progress. Arpeggios mask the tuning. You'd hardly know it was 7-limit just.

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Jesus, All My Gladness - retuned

2010-08-08T14:01:00.000-07:00

Today's post is the complete hymn retuned to 7-limit just intonation, approximated by 72 EDO. I think I may have to do this again in true just, because there are some chords that beat. My goal was to have no interval in a chord beyond 7-limit, but I had to fudge a few. This is in no way a claim that Bach would have liked this. It's just an experiment in some odd harmonies. Click to enlarge the picture and see the 72-EDO notes chosen.

The next step is some transformations of using slides and trills.

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Jesus, All My Gladness

2010-08-03T19:11:00.000-07:00

This is a work in progress.

Today's post is an arrangement of the first two lines of a hymn called Jesus, All My Gladness. It was harmonized by J.S. Bach. I can't say that I remember it from my days as a soprano in the boy choir. I sang in St. Peter's Episcopal Church in Albany, NY, from around the 3rd to the 6th grade. We must have screeched through it a time or two.

This is a very challenging tune to render in 72 EDO, 7 limit just intonation. I went through it and bent all the notes I had to to make it sound good vertically. I was merciless, and ended up with some very strange horizontal ratios, including 50/27, 40/27, and 35/27, which were necessary to keep the D at 9/10 and still have a decent minor chord. We are basically sinking down a step in 72 EDO to keep the notes sounding in tune, then just arbitrarily coming back up a step to return to the notes we started at.

The numbers in the image above in blue are the chord numbers, from 1 to 22. The numbers in green are the 72 EDO note numbers. I'll add the ratios later if I can find room. I'm still considering what to do about the chord changes. I've used 18 pitches in what would typically be rendered in 12 EDO in only 9 different pitches. I have to be able to do better than that, I would think.

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Amazing Grace - transformation #13

2010-07-17T09:11:00.000-07:00

I generally create many versions of a piece, and then listen to find one that has something special. Today's post is the 13th pass through the algorithm, and it has a few new sounds to recommend it.

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Amazing Grace - Transformation #8

2010-07-13T10:43:00.000-07:00

I fixed up a few erroneous sustain timings and created a few more versions. This one is take #8, and has a nice busy opening with a Conlon Nancarrow feel to it. That is, it would if Nancarrow had better access to a slide player piano with a whammy bar. The intonation is in 72 equal divisions of the octave. As before, we go through the melody seven times with different levels of variation each time. There are lots of slides from the 7:9:11 to 4:5:6, at various speeds, including slides with pitch vibrato.

I take advantage of some new envelopes I created to enable longer sustain, and even crescendos of piano notes. For example, the normal piano sound has a characteristic waveform that starts loud and gets quickly softer. Here is the waveform of a grand piano played fortissimo on a G at the bottom of the bass clef:

And here is an envlope that will attempt to smooth it out:

And the result, when Csound is told to modify the sample by the chosen envelope:

The result is a note that not only has some serious sustain, but in many cases it will actually crescendo as it sits on the note for a while. The effect is much like that of an electric guitar player using the combination of sustain and feedback to allow a note to grow as it's held.

There are many other possible envelopes that are applied at different times, resulting in sharp attacks and soft ones, depending on the choices available to each note in the piece.

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Amazing Grace - transformed

2010-07-10T17:58:00.000-07:00

Today's post is the first "final" version. At this stage I generate multiple passes through the algorithm looking for one that has something special. This one has some nice slides with shakes. Imagine a pair of grand pianos with bottle slides and special sustain pedals that allow the notes to resonate especially long. This version gets fast and slow. It has seven times through the melody, with various levels of alteration along the way.

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Amazing Grace - now with a macro inside a macro

2010-07-05T08:21:00.000-07:00

Today's post was made using a new function in my pre-processor, which reads a text file and generates Csound source code. The new function makes it possible to change the name of a macro each time it is called. For example, I've always been able to make a different macros, and call them explicitly by name:


.pian c1v67
.any01-1-a1 d12t42
&pian.&any01-1-a1.

This snippet would produce a line like this:


c1v67d12t42

Which would in turn produce a Csound score line like this:


i1 0    42    67    42

Csound would interpret each parameter as time to start, duration, loudness, pitch, etc. There are parameters for many other note characteristics, but that's enough for this example.

I can call a macro by name, or I can let the preprocessor pick one that meets a "wild card" match. For example:
.pian c1v67 .any01-1-a1 d12t42 .any01-1-a2 d12t3 &pian.&any01-1-a*.
This would either call any01-1-a1 or any01-1-a2, chosen by one randomization method or another. That was the limit to the preprocessor up until today. This meant that I would have to generate choices for all the measures in a hymn transformation. In one case, that was over 60 different sets of possible chords to choose from. The transformation of Now Thank We All Our God had over 8000 lines of source code, all done my hand. It was very tedious, and prone to error if I missed a letter or two. And if I discovered one particularly useful way to manipulate a chord near the end of my composition process, I couldn't retrofit it to all the other measures.

The new method allows me to call a macro and change which one I call using simple indirection. For example:
.pian c1v67 .any01-1-a1 d12t42 .any02-1-a1 d12t3 .num 01 &pian.&any&num.-1-a*. .num 02 &pian.&any&num.-1-a*.
The macro name is resolved inside out: first &num. is resolved to 01, then &any01-1-a* is resolved to d12t42 or d12t3. With recursion, any number of indirections are possible. Gotta love that 1980's Turbo Pascal compiler.

This allows me to chose a different macro for each chord at execution time, but set up a massive number of variations for all chords, without coding each measure individually. That's a 60:1 savings on code size and tedium. All good.

Today's example is the first five chords of Amazing Grace, repeated seven times. The variation is set to maximum, so there are some strange slips and slides, and trills that your ordinary piano can't do. Mine can. It still sounds like a piano, just one that has some extra mechanical do-dads inside.

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Amazing Grace - up & down

2010-06-22T18:29:00.000-07:00

Today's post uses a Csound function table to make trills and slides. At any given time, the notes can either be played straight, trilled up to the target, from the target to the next note, slid up to the target, or down to the target note. This makes for some frantic movements at first. This is just a few measures of one chord, and there are 35 in Amazing Grace.

Here's the code for a trill up 16 steps in 72 EDO, which is a good approximation of a 7:6. The trill is 8 times up and down.
f 457 0 256 -7 1 16 1 0 1.1665290 16 1.1665290 0 1 16 1 0 1.1665290 16 1.1665290 0 1 16 1 0 1.16652904 16 1.16652904 0 1 16 1 0 1.16652904 16 1.16652904 0 1 16 1 0 1.16652904 16 1.16652904 0 1 16 1 0 1.16652904 16 1.16652904 0 1 16 1 0 1.16652904 16 1.16652904 0 1 16 1 0 1.16652904 16 1.16652904 ; 7:6 156 up & down .trl7:6 g156

Graphically it looks like this:

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Amazing Grace - slip sliding away

2010-06-19T13:07:00.000-07:00

Today's entry has each not choosing to either slide to the next note or not, and the duration before the slide starts varies from 1/3 to 1/10th the duration of the note. For example, if I need to slide up 6 72 EDO steps, I code the following in csound:


lf 315 0 256 -6 1 218 1.0000000 12 1.0000000 12 1.0297315 12 1.0594631 1 1.0594631 1 1.0594631 ; 14 up 6 a 
lf 363 0 256 -6 1 110 1.0000000 48 1.0000000 48 1.0297315 48 1.0594631 1 1.0594631 1 1.0594631 ; 14 up 6 c

This gives me one function table that rises fast, and another that's slower.
The fast one:

The slow one:

The preprocessor chooses either one, or one that doesn't slide at all.

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Amazing Grace - sketches for a transformation

2010-06-02T17:01:00.000-07:00

This is a work in progress. Today's sketches use my microtonal slide piano. The chords can slide from a 7:9:11 to 4:5:6, in various inversions. Csound allows for any function table to control the pitch, so I used several that are similar to this one:

The Csound code looks like this:


f 471 0 129 -6 1 4 1 4 1 16 1.0400 16 1.0801 4 1.0676 4 1.0551 4 1.0676 4 1.0801 4 
1.0676 4 1.0551 4 1.0676 4 1.0801 4 1.0676 4 1.0551 4 1.0676 4 1.0801 4 1.0676 4 
1.0551 4 1.0676 4 1.0801 4 1.0676 4 1.0551 4 1.0676 4 1.0801 4 1.0676 4 1.0551

The function starts at 1 and rises to 1.0801, which is 8 steps in 72 EDO, approximately a 13:12. I have a few dozen of these for the most common intervals. It falls by a single 72 EDO step and goes back up for 8 cycles or so. I think it sounds like a guitar whammy bar.

I'm not sure what this has to do with Amazing Grace, except that the first chord of the song is a G major. Just like Amazing Grace!

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Amazing Grace - untransformed

2010-05-26T17:06:00.000-07:00

This is a work in progress.

I have some ideas about transforming Amazing Grace, probably the most transformed hymn in the history of music. I especially like Ben Johnston's 4th string quartet, which uses the material as a jumping off point into definitely non-hymnic areas. Today's post is just a simple version of the hymn on a spinet sample.

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Drei Equale

2010-04-13T21:38:00.000-07:00

This is a work in progress. I've made a few updates to the ratios of some of the notes to take the advice of some microtonalists. My ratios are shown on the JPG below in blue, Marcel de Velde's in black. I tried to eliminate the wolfs. The differences are small to Marcel's choices, a 7/6 instead of an 6/5 at chord 12 to enable the 7th overtone, and several choices that are 81/80 or 64/63 different. What's a 225/224 among friends? (chord 27: I like the 7/5, he has 43/32. I'm trying to make sure that when you hear a 3/2, it is a 3/2, and not a 20/27 or a 45/64, or something like it. That's my rule for now. See measure 5, where I've changed the 9/8's to 10/9, to keep a 3/2 instead of the 20/27.

Click to make it bigger.

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O Sacred Head, Now Wounded - #14

2010-04-05T19:51:00.000-07:00

For this version, I switched from 72-EDO to pure just, to hear the effect. The samples I use are as in well tuned as I can get them, but I still hear beats in some chords, even with pure just intonation. Some of the samples move around in pitch as they transition from the attack to sustain. I can imagine those poor guys in a room playing into a microphone trying to hit a pitch. There's only so much you can do with human beings, I guess.

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Drei Equale - Beethoven Trombone Quartet

2010-04-04T11:36:00.000-07:00

This is a work in progress. Marcel de Velde has asked several microtonalists to apply our intonation efforts to retuning Ludwig Von Beethoven's Drei Equale for trombone quartet. Here's my first pass at the first 21 measures. I used Csound and a trombone sample from the McGill University Master Samples library. I don't have any midi tools available.

I've used some strange ratios, especially for the diminished triads. Measure 12 starts with a D minor, which I use 10/9 4/3 5/3. In the next chord, the A becomes an Ab to make a diminshed triad. I chose the ratio of 14/9. That makes a 5:6:7 ratio, as in the otononality scale. How else to chose? Where did the diminished triad originate?

There is another diminshed triad in measure 17, last note. I chose 6:11:13 here, and it really sticks out. Maestro LVB would not approve. Any better ideas?

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Now Thank We All Our God #9

2010-04-03T08:03:00.000-07:00

This is a work in progress. This is the current ninth take. It's shorter than the others, at just under eight minutes. The algorithm chooses how long to stay on each chord from a list of choices, one to five beats, then repeats it zero to two times. That way, it can be as short as one beat to as long as fifteen beats on each chord.

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Now Thank We All Our God

2010-04-02T15:36:00.000-07:00

This is a work in progress. Today's version is mostly complete. I've generated four and will pick one as the final version.

This version is another of my Transformed Hymns, which take a familiar hymn tune and stretch it out a bit. Each chord of the hymn becomes a measure or several measures of the transformation. Now Thank We All Our God is a Felix Mendelssohn harmonization of a 17th century tune. There are many unusual chord voicings in the arrangement I have, from the Center for Church Music. There are sevenths in the bass and other unusual arrangements. There are also some challenging comma issues, which I work through by switching from one note to another to preserve the harmony. My goal is to make a good just chord, and so I sacrificed melodic consistency sometimes. If a note starts out as a 16/9 to go with a 4/3, then drifts down to a 7/4 as the 7th in a major chord, it does it. No questions asked. Listen at around 1:45 in this version for the gradual 2 step in 72EDO fall in the Bb. Here it is in score form:

Here is a chart of the notes that I used in the piece. Notice how often the C, F, G, A, Bb are used, and that lonely G# passing tone as a major third to the E natural.

The piece is scored for flutes, clarinets, french horns, trombone, tuba, finger pianos, regular pianos, harp, marimba, and vibraphone.

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Nosing around some more with ratios

2010-03-28T14:28:00.000-07:00

Nosing around further, I noticed that there was no requirement to use the Bb at ratio 16/9 in chord number 38. 7/4 is much nicer, and gets more exposure to the true 7th. I keep the G at 40/27 glides to 3/2. To clarify the tones, I switched out the horns for sine waves.

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Now Thank We All Our God - find those commas!

2010-03-28T11:56:00.000-07:00

I'm still working my way through this one. I've found a few errors in my note choices today. At one point the score calls for a D and a G, and I used the D at ratio of 10/9 instead of the 9/8 to go with the G at 3/2. Not so nice.

At one point in chords 35 - 39 I need a G to go with the D at 10/9 and the Bb at 16/9, and with a C 1/1 E 5/4. So I chose a G 40/27 that drifts up by a step in 72 EDO to a G at 3/2 when it needs to match the C1/1. See the chart for the details. This section is heard at the end of today's excerpt. Find those commas to solve the wolf problems.

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Now Thank We All Our God - quite the crowd

2010-03-16T20:07:00.000-07:00

This is a work in progress. Tonight, as I was enjoying my evening alone in the Salt Lake City Hilton near the airport, Omar showed up with his spinet, a blind guy who played the vibes, and a one armed marimba player. Next thing you know, the guy in the room down the hall knocked on the door. He said he could play four clarinets at once. In 72 EDO! I have never seen that before. So I had to record one more take of the first seven chords of Now Thank We All Our God. Heavenly. Fake but accurate...

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Now Thank We All Our God - loud piano

2010-03-16T17:03:00.000-07:00

This is a work in progress. I used the FF piano samples this time. I need to figure out a way to chose the samples based on the volume.

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Now Thank We All Our God

2010-03-15T17:24:00.000-07:00

This is a work in progress. I'm just starting up this one, for piano, harp, finger piano, brass, and flutes.

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A Mighty Fortress Is Our God - Transformed take 9

2010-03-12T10:39:00.000-08:00

I retuned the instrument samples using a much more accurate tool (my ears). The high flute samples were out of tune before. Now they sound much better. I also fixed a bug in the hold values for the flute part in the last section, so that they don't get chopped off early. This version should be the last one posted.

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A Mighty Fortress Is Our God - Transformed take 5

2010-03-10T16:18:00.000-08:00

This version is much tighter now, and I think it's finished. The hymn tune was written by Martin Luther in 1529, and harmonized by Bach in 1740 or so. This version stretches each chord in a variety of ways. Each chord can be 2, 3, 4, or 5 times longer than normal, and is repeated 1, 2, or 3 times before moving on to the next chord. There is a variable repetition scheme that includes stepping through the choices of arpeggios in sequence, forward and backward, and staying put for a while. The tempo shifts constantly, as does the volume.

The intonation system is chosen from the 72 EDO scale. The notes include the following:

Notice how many more times C, E, G, and A are played. The two D's are less than half as common, and that lonely 7/4 is only played 7 times. See if you can hear it, towards the end.

This version is scored for vibraphone, marimba, finger piano, tuba, trombone, French horn, and flutes.

Here is a link to a nice PDF of the file on the Center for Church Music site. It's not the one I used, but it's close.

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A Mighty Fortress Is Our God - Transformed

2010-03-10T13:46:00.000-08:00

This is a work in progress. It's a bit long now. I'll have to figure out a way to shorten it up a bit.

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A Mighty Fortress Is Our God

2010-03-06T08:34:00.000-08:00

This is a work in progress.

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Martin Luther is credited with this hymn in 1529. Today i present a simple statement of the opening few notes. Familiar? I can't decide if the penultimate chord, on the word "Our" should be


D 10/9 - F# 25/18 - A 5/3

or
D 9/8 - F# 45/32 - A 27/16.
Decisions, decisions. Here it is as the latter.

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2010-03-04T06:29:00.000-08:00

I just noticed this video of a 60x60 concert in NYC with my short piece for
bassoon, bent wire spring, and percussion board.

60x60 Dance (2008 International Mix) performed at the World Financial Center Winter Garden in New York City on Friday, November 14, 2008. Music: Prent Rodgers Dance: Elana B Cohen

The rules stipulate that all compositions be no more than 60 seconds in length, which are assembled into concerts of 60 at a time. The whole operation is run by Robert Voisey. More information here: http://www.VoxNovus.com

For this 2008 performance, Robert enlisted a group of very talented dancers. More here.

He has also worked with Aaron Krister Johnson on a microtonal 60x60, which I think has been assembled for a concert in Chicago that Aaron is organizing for April 27th MCA Chicago 60x60/UnTwelve mix.

Prent Rodgers

Update: Here is a picture of the "Bent Wire Spring", an instrument I built back in the 70's. It is a block of birch, about 3/4" by 4" by 10", with a groove cut out for an angle iron fabrication with mid-gauge piano wires coming out. In the middle of the angle iron is a hand wound magnetic pickup that goes to an amplifier. The piano wires are bent into random shapes. You pluck the wires and each makes its own enharmonic spectrum with deep bass tones and an assortment of harmonics. Click the photo to enlarge.

The Music of the Hoh River Valley CD now up on iTunes

2010-03-02T17:10:00.000-08:00

I worked with CDBaby (and paid them $45) to put my last CD up on iTunes. It took a few weeks, but you can find it now on iTunes. It's an experiment.

O Sacred Head, Now Wounded - take 12

2010-02-28T15:39:00.001-08:00

This is a final version of this piece

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O Sacred Head, Now Wounded is one of my favorite hymns. It started life in the 11th century as a poem, later set to music. Bach harmonized it around 1734.

This version is scored for mallet instruments and woodwinds, specifically marimba, vibraphone, finger piano, flute, oboe, clarinet, bassoon, and sine waves. The basic idea is to keep the marvelous Bach harmonies but stretch it out a bit. Each chord is repeated or held and arpeggiated before moving to the next one.

The tuning is low integer just, approximated in 72 EDO. You can see the specific ratios used in the chart above. Click on the image to make it bigger.

O Sacred Head, Now Wounded - take 1

2010-02-27T12:06:00.000-08:00

This is a work in progress.

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I've finished the first run through of the piece. It's not quite ready, but I've run out of time to create the CD, so it's what gets burned there.

O Sacred Head, Now Wounded - deconstruction begins

2010-02-25T12:18:00.000-08:00

This is a work in progress.

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This still needs a lot of work, but the basic outline is done. This piece has 63 chords, compared the the previous one with only 37. The specific deconstruction technique I'm using doesn't scale very well: it takes lots of keystrokes to do each manipulation. The basic idea is allowing a chord to arpeggiate for as long as it wants to before moving to the next one. Scored for woodwind quartet and mallet instruments for now.

O Sacred Head, Now Wounded

2010-02-21T22:22:00.001-08:00

This is a work in progress.

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O Sacred Head, Now Wounded

2010-02-20T15:39:00.001-08:00

This is a work in progress.

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This is a famous Bach harmonization of an 11th century song attributed to Bernard of Clairvaux (1091-1153).

Lo, How a Rose E'er Blooming - #15

2010-02-19T09:07:00.000-08:00

This is a work in progress.

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Revised to increase the variability of the attack time. There's a variable in each note that adds a few random milliseconds on to the start times of notes. I had it in place for the marimba, and now it's in place for the vibe, finger piano, and harp as well.

Lo, How a Rose E'er Blooming

2010-02-18T15:49:00.000-08:00

This is a work in progress. Take 13.

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The piece is pretty much complete now. I'm running several iterations and picking the one that sounds the most interesting now.

I'm calling these pieces "Transformed Hymns", since they are derived from traditional protestant hymns. This is the first, based on a 15th century German carol. Each note is allowed to stretch out for one to five notes, at varying tempos and volume.

This version is scored for finger piano, harp, marimba, vibraphone, and balloon drum. The tuning is 72 equal divisions of the octave using these notes:

C 1/1

D 10/9

D 9/8

E 5/4

F 4/3

F 25/18

G 3/2

A 5/3

A 27/16

B 16/9

B 9/5

B 15/8

First Stanza

2010-02-16T13:31:00.000-08:00

This is a work in progress. This is the first stanza of the hymn with some deconstruction. Each chord is repeated an indeterminate number of times, playing faster or slower, with different types of arpeggiated alternatives.

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The rest of the bridge

2010-02-15T18:02:00.000-08:00

This is a work in progress.

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The Bridge

2010-02-12T17:53:00.001-08:00

This is a work in progress. Or most of it...

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Lo rambles on

2010-02-10T20:19:00.000-08:00

This is a work in progress. I sped it up a bit and you can almost hear the melody now. I still have a lot of work to do before I finish. Did this on the train from Portland to Seattle tonight. Uploaded in Olympia!

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A few more measures of the hymn

2010-02-09T20:05:00.000-08:00

This is a work in progress.

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Slowing it down a bit - Lo

2010-02-09T10:42:00.000-08:00

This is a work in progress. Based on a hymn.

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More work on Lo, How a Rose E'er Blooming

2010-02-07T08:52:00.000-08:00

This is a work in progress.

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Hymn Transformations - Lo How a Rose

2010-02-06T17:20:00.000-08:00

This is a work in progress.

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The idea is to take a while to work my way through one stanza of a hymn. This is the first chord of Lo How A Rose E're Blooming.

RPM Challenge 2010

2010-01-24T11:13:00.000-08:00

It's time again for the RPM Challenge. It's an annual call for all musicians to get off the couch and make a CD of 10 songs or 35 minutes of music in one month. I've done it for the past two years, and it really does help focus the mind on getting it down on paper (or computer) and getting it done.

From the web site:

2010 RPM Challenge Sign-ups are NOW OPEN!

New bands: please REGISTER HERE!

Past participants: just log-in, go to your 'Edit' menu, select 'Update your Details' and there you will see the 2010 sign-up checkbox in the 'About' tab! Check that puppy and save your changes! :)

2010 is the 5th anniversary of RPM. Celebrate with us by making music!

Join our Facebook Page - Follow us on Twitter - Become a friend on MySpace or for the really good stuff - Hang out in our Forums!

Not clear on what this is all about?? This is the challenge: record an album in 28 days, just because you can.

That’s 10 songs or 35 minutes of original material recorded during the month of February. Go ahead… put it to tape.

Don't wait for inspiration - taking action puts you in a position to get inspired. You'll stumble across ideas you would have never come up with otherwise, and maybe only because you were trying to meet a day’s quota of (song)writing. Show up and get something done, and invest in yourself and each other.

Anyone can come up with an excuse to say “no,” so don’t. You have your orders - now let's get this party started!!

Want to get involed?? We are always looking for help! Promotion (online and print), web design/development (PHP, Joomla, MySQL, CSS, etc) and grass-roots regional organizers!! Email Mosfet - lotim@yahoo.com

Music of the Hoh River Valley

2010-01-04T11:58:00.001-08:00

I've completed the CD for the Music of the Hoh River Valley. I'm working to put it up on iTunes via CD Baby. Today I've posted some liner notes. All the pieces are available on my web site, but I'm not sure where at this point. I really do need to organize them better.

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Lo, How a Rose E'er Blooming

2010-01-03T10:47:00.000-08:00

This is a work in progress. Finger Piano plays the 15th century German carol. One of my favorite hymns. In very simple just intonation approximated by 72 EDO.

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Slow Dance #3b

2009-12-29T10:46:00.000-08:00

This is a work in progress.

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Slow Dance #3

2009-12-29T06:55:00.000-08:00

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This is a work in progress...

This is a palette cleanser for between two tracks of more complex material. Same scales as Winding out to the Pacific, but in thirds.

Winding out to the Pacific - take 17

2009-12-28T09:47:00.000-08:00

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This piece is pretty much finished now.

Winding out to the Pacific is the second to last piece in the Music of the Hoh River Valley series. This one is scored for vibraphone, marimba, harp, finger piano, and sine waves. The intonation system is 72 equal divisions of the octave. There are four chords derived from four scales used throughout the piece, and they are played in succession:

Subminor with a root on the 26th tone in 72 EDO
Minor on 23
Major on 19
Super Major on 16
Major on 19
Minor on 23

This sequence is repeated three times. These four scales are derived from the Partch tonality diamond to the 15th limit. Click on the images below to make them bigger.

In the diamond above, purple is the major scale, 4:5:6:7:9:11:13:15. Green is the minor scale: 12/8:10:12:7:9:11:13:15. Subminor is a mode of the major scale, shown in pink, and yellow is the supermajor, a mode of the minor. Laid out as vertical scales, they look like this:

The orange rows are the primary notes of the scale, making the major or minor sounding chords. Green is for the alternative chords, and white are the really strange ones. I construct fourth chords from these scales, and either play the chord outright, or arpeggiate it up and down. The fourths are constructed starting at the 7th note of the chord in the bass, and going up by approximately 30 steps of the 72 EDO, attempting to go up 60 steps every other note until it repeats. Here are the scale degrees of the fourth chords for each scale.


sub 726 158 473
min 736 251 473
maj 736 251 472
sup 726 148 372

The piece uses indeterminacy heavily. Each instrument has a set of choices for what to play. In this version, the choices random, but weighted towards not picking a choice if it has already been played before.

This version is the 17th run through the algorithm. The 12th and 13th are nice as well, and I might post them some time.

The length of time to stay on one of the four chords is variable from one to eight measures, also chosen with a weighted random selection method.

The tempo is continuously variable, but it tends to go faster on those chords that are played more measures, and slower when the number of measures is low. The transition from one tempo to another is gradual. Here's a nice picture of the mouth of the Hoh River as it enters the ocean, about 56 miles from its source.

Winding out to the Pacific

2009-12-24T13:29:00.000-08:00

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I'm at the stage of generating multiple runs through the piece and picking the one to save as the final version. This one is take 12 of 18.

Winding out to the Pacific 8

2009-12-23T12:35:00.000-08:00

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This is a work in progress...

So I took the time this morning while my wife and daughter were out shopping to code the tempo as a continuously variable speed that can be set inside the piece, instead of imposed externally with a hand coded Csound tempo command. Now, every note or phrase can have its own tempo. The speed gradually changes from one tempo to another in this version.

I can't believe I waited this long to implement such a simple function. In this version, I let the program choose from among 5 possible tempos. The choice is made when it chooses to play a measure of 96 to 240 beats, so that longer sections have faster tempo and shorter ones play slower.

Winding out to the Pacific 7

2009-12-23T07:24:00.000-08:00

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This is a work in progress...

Playing with the tempo. I'd really like the ability to set the overall tempo the way I set the overall volume: as a continuously variable speed that can change with each note. Csound allows that, I just need to code the preprocessor to support it. Today I hand code it thusly:
t0 480 200 840 300 1280 600 800 700 240 900 1200 2000 1300
Where starting at time zero the tempo is 480 beats per minute, until time 200, when it reaches 840 bpm, then speeds up to 1280 at beat 300, then slows down to 800 at beat 600, and so on.
But that means I have to know when the tempo change is supposed to happen, and that varies depending on the chosen route through the piece. Simple matter of programming...

Winding out to the Pacific 7

2009-12-22T16:18:00.001-08:00

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This is a work in progress...

Trimmed the algorithm down to fit in 60 seconds. I still need to work on showing the drift from sub-minor, minor, major, supermajor.

Winding out to the Pacific 6

2009-12-22T11:34:00.001-08:00

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This is a work in progress...

Winding out to the Pacific 5

2009-12-21T20:28:00.000-08:00

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This is a work in progress...

Here we have an intermix of the minor scale with the subminor. I can't hear the difference with this set of instruments and patterns. I may have to go back to the drawing board. My goal is to showcase the movement from subminor to minor to major to supermajor. But this musical material may not be appropriate for that idea. Oh well. It sounds good anyway.


@ play them
@
&all-t23min-48-*. &all-t23min-48-*. &all-t23min-48-*. &all-t23min-48-*.
.vel-vel a235
&all-t23min-48-*. &all-t23min-48-*. &all-t23min-48-*. &all-t23min-48-*.
.vel-vel a200
&all-t26sub-48-*. &all-t26sub-48-*. &all-t26sub-48-*. &all-t26sub-48-*.
.vel-vel a100
&all-t26sub-48-*. &all-t26sub-48-*. &all-t26sub-48-*. &all-t26sub-48-*.
.vel-vel a230
&all-t23min-48-*. &all-t23min-48-*. &all-t23min-48-*. &all-t23min-48-*.
.vel-vel a255

Winding Out to the Pacific 4

2009-12-20T15:03:00.000-08:00

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This is a work in progress...

Adding some complexity, but this will diminish later.

Winding out to the Pacific 3

2009-12-19T15:40:00.001-08:00

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This is a work in progress...

I've added some new instruments and backed off to just the subminor fourths for now.

Winding out to the Pacific 2

2009-12-17T17:08:00.000-08:00

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This is a work in progress...

Sub-minor to minor to major to supermajor in fourths. Click to enlarge.

Winding out to the Pacific

2009-12-16T15:16:00.000-08:00

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This is a work in progress...

Fourths based on a sub-minor scale.

Through Western Bog Laurel - take 20

2009-07-24T15:10:00.000-07:00

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This is the last version for now, I think. I slow the piece down by a small amount every 40 seconds until it is running around 11% slower at the end. Each of the 12 tempo reductions are done by the ratio of 2^(1/72), which is the 72nd root of two (1.0096735332). The beats per minute are divided by that number 12 times. Coincidentally, that's the same as the ratio of one note to the next in 72-EDO, the tuning the piece is realized in. I can't figure out how that happened, but there it is.

Csound takes care of tempo with the t tempo statement.
t0 1200 800 1200 896 1188 1592 1188 1688 1176 2376 1176 2472 1164 3152 1164 3248 1152 3920 1152 4016 1140 4680 1140 4776 1129 5432 1129 5528 1118 6177 1118 6273 1107 6915 1107 7011 1096 7645 1096 7741 1085 8368 1085 8464 1074 9084 1074 9180 1063 9792 1063 9888 1052 10493 1052 10589
The t0 makes it a tempo statement. The next number is the beats per minute, in this case 1200. A quarter note is about 8 beats when there are 1200 beats a minute. The next number after beats per minute is the number of beats where the next tempo marker is found, in this case 1200. So it stays at 1200 beats a minute for 800 beats, about 100 eighth notes. The next number 896 is the beat marker, and 1188 is the beats per minute. 1200 / 1.0096735332 is 1188, approximately. Over the next 96 beats or 12 eighth notes, it slows down from 1200 to 1188 beats per minute. Then at beat 1592 it starts to slow down to 1176 beats per minute, arriving at that speed at beat 1688. The overall effect is a gradual slowing down, sometimes noticably, sometimes imperceptively, until it stops.

Through Western Bog Laurel - take 19

2009-07-24T10:15:00.000-07:00

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This is another take on the same piece I've been working on for a while. This version includes adjustments to the tuning of the samples. There were some intonation problems with the marimba, harp, vibes, flute, and balloon drum. To determine pitch I used Cooledit (now called Adobe Audition) and its FFT option. You basically load a sample file and select Analyze-FFT and it puts up a Fast Fourier Transfer window showing the most prominent frequencies, with the pitch in note/cents from 12-EDO for the most prominent frequency. For most non-bass notes that is the fundamental. Here's one for the harp D#6, 4 cents flat at a point about half a second into the harp sample.

My Csound preprocessor allows me to put -4 into a list of samples, and Csound adjusts the sample when it's used in the synthesis instrument. Four cents is not noticiable, for the most part. Anything over 10 is not good.

Most of these samples, from the McGill University Master Samples CDROM library, are not very in tune, and they don't necessarily hold the same pitch for the whole note. Many go up and down by a few cents from the start to finish.

This is the first time I have systematically used the Cooledit frequency analysis to fine tune the samples. I previously tuned them by ear to a reference sine wave. It was a time consuming process, and error prone. The harp sample was particularly out tune, with one note 43 cents off, and others 10-20 off. The flute was also way out of tune, with the highest note 31 cents sharp. Here's C6 31 cents sharp one second into the sample. Typical flute player getting excited that he can hit such a high note. I back that sample down by 31 cents and we are good to go.

Through Western Bog Laurel - take 11

2009-07-17T13:06:00.000-07:00

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This is a version of the finished work. It is scored for flutes, marimba, vibe, finger piano, harp, balloon drums, and a percussion board with a contact microphone. The latter instrument includes several rocks, toothbrushes, and pieces of wood, glass, and rocks glued to the surface of a piece of sitka spruce. If you hear something that sounds like a monkey chant, it's probably the percussion board.

The intonation is 72-equal divisions of the octave (72-EDO) approximating the Partch tonality diamond to the 15 limit. There are many glissandi and trills employed. The marimba and vibe are given many opportunities to trill and slide around their pitches. The triad is the basic melodic element, either 4:5:6 or 7:9:11 or their inversions in the major scale, and comparable chords in the sub-minor and minor modes.

The piece starts out in B 16/9, with a scale based on the overtone series. As shown on the chart below, it modulates around the tonality diamond from there. Click on the chart for a larger version. The yellow colored blocks are the B 16/9 major scale. The subminor D 12/11 is in orange, the subminor G 3/2 is in pink, the C 1/1 minor is green, and the F 4/3 major is in blue. I use glissandi to slide from one chord to another.

As with all my works, there is a great deal of indeterminacy. Each instrument has many choices to make, subject to constraints about repeatability and change. Imagine a band improvising from a set of approved riffs.

Fridge over Bob Launer

2009-07-08T16:17:00.000-07:00

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This is a work in progress...

Another time through with a different mix of patterns for the instruments to choose from.

The Bridge over Western Bog Laurel

2009-07-07T17:36:00.000-07:00

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This is a work in progress...

The bridge has the changes referred to earlier.

Another Sketch for TWBL

2009-06-29T14:32:00.001-07:00

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This is a work in progress...

Here's another step along the way towards the Western Bog Laurel piece. Today's sketch uses semi-unison lines in the harp, finger piano, vibe, marimba, bass finger piano, and balloon drums. I say semi-unison because each instrument can change alter his line by a few notes. There is a variable randomness setting in the software. The balloon drum part has more notes than the others, but that's because his sustain is so limited.

Each chord can have a variety of alterations: straight, trill, or slide. The trills and slides move each note in a triad up or down by a step in the otonality scale. Bb 16/9 can go up a 9:8 to C 1/1 or down a 7:8 to Ab 14/9. The D 10/9, which is a 5:4 above the Bb 16/9 can go up an 11:10 to Eb 11/9 or down a 9:10 to C 1/1. And the F 4/3 a 3:2 above Bb 16/9 can go up a 7:6 to Gb 13/9 or down a 11:12 to an Eb 11/9. The slides are nice and sweet. Here is the glissando up a 12:11 in Csound:

f 323 0 256 -7 1 64 1 128 1.0905077 64 1.0905077 ; 12:11 22 up 9

And here it is graphically, as rendered by Csound to a PDF file:

Sketch for Western Bog Laurel

2009-06-24T21:47:00.001-07:00

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The subminor scale is my name for a minor scale built from overtones, but with the root of the scale starting on the 3:2 instead of the 1:1. For example, consider an overtone series on F. The 3:2 above F is C. If the scale is based on a mode starting on C, as shown in the graph above, you have the subminor scale.

As with all overtone series, a cluster of notes above a certain pitch will always generate a difference tone. But even though the scale designed to favor the root at C, the difference tone will always be F. I will have to take that into consideration when I add low notes. They will have to resolve that F to C, and choose notes carefully to minimize the difference tone prominence.

Through Western Bog Laurel

2009-06-15T14:06:00.000-07:00

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Listen to the difference tones move around in this set of changes.

B 16/9 major
D 12/11 sub minor
G 3/2 sub minor
C 1/1 minor
F 4/3 major
B 16/9 major

In this case, major is an otonality based 4:5:6 triad. Sub minor is otonality based also, but on the 6:7:9 overtones. Think of a G minor using G Bbb D. Minor is utonality minor 6/6:5:4. When I slide from one chord to another, the difference tones go in strange directions. They will probably disappear as I add more instruments to the mix. Today is sounds like a nice barbershop harmony tune that could have been taken from a hymnal.

72 EDO Sagittal

2009-05-13T08:58:00.000-07:00

Does this look right? It is supposed to show the steps of 72 Equal Divisions of the Octave in the Saggital font. I seem to remember I had the wrong accidentals a while back. Click on the image to see full size.

Floating the Lower Hoh Take 5

2009-04-25T15:05:00.000-07:00

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This version includes several mirror functions. Where earlier sections used predominantly the utonality triad 5/(4:5:6), which is a standard just minor chord in A, there are now complementary sections that use 10/(7:9:11), higher up the utonality diamond.

The overtone series can be thought of as overtones 4:5:6 making up a major chord, and higher up overtones 7:9:11 extending that out. The undertone series is the opposite of overtone series. Other mirror functions have the choice of notes to play proceed sequentially, then backwards.

The piece is scored for sine waves. This is the first time I haven't used orchestral samples in a piece. No more jokes about fake but accurate. The intonation is 53 tone equal divisions of the octave approximating just.

Source Code

Csound Score
Macro Preprocessor Source Code
Pascal Source code

Floating the Lower Hoh Take 2

2009-04-25T10:48:00.000-07:00

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The lower reaches of the Hoh have dense vegetation on both sides of the river. This section gets upwards of 240 inches of rain a year. Every storm that hits the Northwest passes over this region, dropping moisture by the bucketful. Cool, damp, quiet, and relentlessly moving towards the ocean to start the cycle again.

Floating the Lower Hoh

2009-04-22T19:18:00.000-07:00

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45 seconds into the work, we have some changes on the way.

Sines

2009-04-20T15:28:00.000-07:00

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Tobiah wrote on the Csound mailing list a challenge to write a score for a very simple Csound orchestra file.

I have an idea for a brief informal contest. Given a simple,
one-oscillator orchestra, provide a score which produces the
most beautiful piece.

I offer an orchestra that I crafted for the purpose
of this event. One can make use of very limited
envelope an pan controls. Obviously, the craft will
be in the score generation program (although one is
welcome to hand edit her entry!).

If there is interest, I suggest a seven day window
for this challenge. Only the scores should be
submitted at first. We can look at source code
later. For large scores, a URL might be best. I can host
scores if you send them to me in an archive format.

Thanks,

Toby

sr = 44100
ksmps = 1
nchnls = 2

giSineFunc ftgen 1, 0, 65536, 10, 1

instr 1

;***** INIT SECTION *****
iDur init p3
iVol init p4
iStartPitch init p5
iEndPitch init p6

iAttack init p7
iDecay init iDur - iAttack

iPanStart init p8
iPanEnd init p9

;***** SYNTH SECTION *****
kEnv linseg 0, iAttack, iVol, iDecay, 0
kPitch expseg iStartPitch, iDur, iEndPitch
aSig oscili kEnv, kPitch, giSineFunc

kPan linseg iPanStart, iDur, iPanEnd

aLeft = aSig * kPan
aRight = aSig * (1 - kPan)

outs aLeft, aRight

endin

Never one to shirk a contest, I made some modifications to my Csound preprocessor to write the fields that his orchestra expects, and the results sounded kind of like all my other music made with my Csound preprocessor. The input to the preprocessor is here, and the Csound score is here. There are lots of debugging messages in the score as comments. When I've had more time to work on it, I'll remove them. I had to make one modification to the sine wave generator function. I replaced giSineFunc ftgen 1, 0, 65536, 10, 1 with an equivalent ftable entry f1 0 65536 10 1 .

My version of Csound is 4.19, which is many levels back from the current version. It doesn't support giSineFunc. But since I wrote the preprocessor in Turbo Pascal, which is still running today with a last touched date of May 2, 1989, I can't complain. Software currency is for losers.

Slow Dance #2

2009-03-22T11:42:00.000-07:00

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There was an earlier Slow Dance that took two otonality triads and slid them in opposite directions, so I thought it would be useful to do the same with two utonality triads. The original took a chord of 8:10:12 and slid it up to 9:11:14, while sliding a 9:11:14 triad down to 8:10:12. This one takes the 12:(12,10,8) up to 12:(11,9,14) and visa versa. There is a point in the middle of the slide when a minor chord can be heard, midway between the two. The utonality triads are much less settled than the otonality ones.

Rafting the Middle Fork - Take 11

2009-03-21T15:27:00.000-07:00

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It sometimes takes the guys a few tries before they get it right. And no, there really isn't a middle fork of the Hoh River in Washington. There's a south fork, but that doesn't sound right for a song title.

Rafting the Middle Fork

2009-03-18T16:56:00.000-07:00

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This piece rapidly changes pace from fast to slow, alternative the finger piano, marmiba, and slide vibraphone parts from sixteenth notes to eighth notes, with several 3 against 4 against 6 against 8 rhythms. The tempo also shifts, very gradually, from one tempo to another, by about 30% up and down. It ends about 60% slower than it started.

The pitch also shifts. It starts in the key of A minor, but drops by one 53-TET step every 30-60 seconds. The shifts are difficult to perceive. It's as if you suddenly notice that you are not where you thought you were. Over the course of the ten minutes the tonality drops by 22 steps, to a fourth below A, ending at E.

The tonality is the utonality to the 15 limit. In ratios, they are 24/(16,20,24,14,15,18).

The vibraphone, marimba, and finger pianos play repetitive rhythmic patterns,
while the french horn, clarinet, and oboe play a descending melody, answered by a inverse melody later in the piece.

The overall theme is of descending a river, with fast and slow sections, some complex, some serene, but always moving downhill.

Sketch for Rafting the Middle Fork

2009-03-14T09:53:00.001-07:00

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I've added a marimba part and modified the vibraphone a bit. More to come later.

Sketch for "Rafting"

2009-03-13T17:01:00.000-07:00

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Just finger piano and vibraphone for now.