I used the two chord sequence that Bill Evans repeats in "Peace Piece", transposed that down a major 2nd, and pasted it behind the original chords, to create this four chord sequence. I guessed that this might give attractive soundings results.

Then I used a new version of the Workscore Composer, selected the Short Bell rhythm pattern as my rhythm source, and repeatedly pressed the "Improvise New Idea" button under the "Improvise Idea" tab, deleting the results until good ideas appeared. Then I pressed the "Insert Rest At End" button under the "Enter Rests" tab until a half bar or more of time had elapsed and started the next idea.

It took about 10 minutes to invent this entire 8 bar melody.

The improvisor code adds copies of the original chord sequence to the end of the score to ensure that there is enough harmony available to generate the next idea, so I had to discard that extra stuff before posting.

Here's the score.

Printable GIF image of the score for this tune.

Here's the score as a printable GIF image.

Here's the score rendered as a printable GIF image.

As I wrote this, summer was departing from the Pacific Northwest for 2006, most likely not to return. The mood caused by  that weather change is in this piece.

Printable GIF image of the score for this progresssion.

I copied the chord changes invented by Terry on Saturday that he posted to "Harmony Projects". I followed  the Excerpt Service link at the bottom of his posting, selected his seven bar progression using the controls in the Excerpt page, and pressed the "Add Excerpt Chords" button at the bottom of the page to copy the selection into my empty workscore.

.I did that copy operation at 3:18pm today. By 3:40pm, I had completed this melody line.

To invent this, I chose the "Shuffle-Reverse Shuffle" rhythm pattern and then did "Insert Rest At End" twice to find the beginning attack in the first bar where I wanted the first phrase to begin. I did "Improvise New Idea" to generate a possible first phrase. That phrase created a phrase that ended in the middle of the second bar. I didn't like any of those 2nd bar notes and deleted them by counting how many there were, filled that number in the Delete control group and pressed the Delete button to blow those notes away.

I inserted more spaces, then did Improvise New Idea repeatedly, deleteing what was generated each time until I found something I liked for the second phrase. Again I had to delete notes at the end of the phrase thatI disliked.

For phrase number 3, I tried different combinations of the triplet rhythm patterns scaled by a factor of 2, doing Improvise New Idea and then deleteing inappropriate stuff at the end of the generated phrases.

For the next two phrases, I switched to different rhythm patterns that had duples in them, doing Improvise New Ideas with appropriate Deletes. The last little two notw phrase, I switched the duration to eighth note and used Enter Next Scale Tone twice. The last note didn't seem like it was placed on a satisfactory ending note, so I used "Transpose lst note a half step" up and down a few times till I found the pitch I liked.

At the end I had to delete seven chord from the end of the score, because "Improvise New Idea" replicates the existing chord progression and pastes  another copy of that at the end of score when the improvisor code needs to invent a phrase that is in danger of exhausting the existing chord progression.

Also had to add the last seven beats of rest by doing Insert Rest At End.

A blues I composed so that I could demo Workscore's and SongTrellis Tunetext URLs for a video on the SongTrellisWorkshop channel on kyte.tv.

Perform the piece with swing via this Tunetext URL.

Can’t evaluate the expression because the name “pathArgs” hasn’t been defined.

Can’t evaluate the expression because the name “pathArgs” hasn’t been defined.

Can’t evaluate the expression because the name “pathArgs” hasn’t been defined.

Can’t evaluate the expression because the name “pathArgs” hasn’t been defined.

Can’t evaluate the expression because the name “pathArgs” hasn’t been defined.

Can’t evaluate the expression because the name “pathArgs” hasn’t been defined.

Can’t evaluate the expression because the name “pathArgs” hasn’t been defined.

Can’t evaluate the expression because the name “pathArgs” hasn’t been defined.

I should be able to add a button to the Excerpt Service that launches a blank Tonematrix page that plays an excerpted chord progression as a background sound that is synced to the a Tonematrix whose melody loop is guaranteed to fit those chords.

This demonstrates how a sizeable original composition can be sculpted using the facilities provided by the SongTrellis Tonematrix page.

In this instance, a 16 measure tonematrix is broken into 4 measure segments. When you click on the tonematrix image to launch its animation, you'll see that the animation flows from one submatrix to its successor and then wraps back to the beginning of the first when all have been visited.

The 16 measures of the tonematrix generates one melody for the first 16 measures of harmony, and then generates a different but similar melody for the second half of the progression.

This posting also demonstrates how the Tonematrix interface has been extended to handle changes of chord in mid-measure. Until recently, a tonematrix would only change its pitch set at measure boundaries, which caused it to ignore mid-measure chord changes.

Composed using the Improvise New Idea, Insert Rest At End, Delete Last Idea, Enter Next Note On Scale, and Enter Notes on Pitches operators of the Workscore Composer.

This tune has a wistful, dreamy quality about it. After I wrote it, it brought to mind someone slowly walking about a late summer garden, absorbing all the beauty around, realizing it will all die soon. I almost called it "Beautiful Wonders, Dying".

Here's the score.

Composed this morning, 10/11/02. This is a complete arrangement, with full rhythm accompaniment (and a thought out ending). I wasn't thinking of hips and their wiggle until I invented the rhythm accompaniment after the melody was finished. The rhythm also brought to mind an accordian sound which explains the instrument eventually chosen for the main melody. I wrote the melody originally using the standard MIDI violin patch.

Here's the lead sheet.

I took the last 8 measures of Charlie Parker's solo on Yardbird Suite and encoded that melody using the new Tunetext Melodic Motion operators. Then I extracted that Tunetext specification and pasted that into the melody voice of a Tunetext score whose Chord voice regenerates with different chords everytime the Tunetext is refreshed.

The chords that generate are many times quite dissonant so many times the melody that is generated is quite dissonant. Despite that, I was able to find different renditions of the idea as I refreshed this page, which resolved nicely at the last instant. As I discovered these, I submitted them to today's Public Ideas list.

This is an improv on the "Blue Daniel" changes in 4/4. The meter of "Blue Daniel" is 3/4.

This was another 10 minute effort with my Workscore. I'm going to save this to my Mac using the Download link, open it with SongTrells Editor For Mac, apply a swing feeling to the melody and submit a swung version of this.

Improvisation composed using the improvisation module of the SongTrellis music editing application several years ago. Found it this afternoon (5/10/00) and cleaned it up for public consumption.

Hear Giant Steps chord progression alone.

Page 1 and Page 2 of the score for this progresssion.

This tune mourns the loss of life that occurs whenever war overtakes human kind.

Here's the score for the tune.

Box notation for Ensemble Rhythm: Mandjiane

This still has a few glitches in the implementation, but is quite useable. If you get into an unexpected situation, you can always go back to the previous Workscore implementation (http://www.songtrellis.com/workscoreComposer2) or to an intermediate version I never published (http://www.songtrellis.com/workscoreComposer3).

All of the versions operate upon the same copy of your workscore. Only the interfaces differ.

I invented these changes a few hours ago:

You are listening to a melody I just invented that fits this progression.

Listen to the changes by themselves.

Composed in an hour by repeatedly adding sequences of ch,s,r,ru and rd tunetext operators to a tunetext edit form page that was loaded with a chord progression that I selected. Each operator specifies a rule that adds one note or rest to the score.

Thischange log shows how the score grew as each set of new operators was added to the score. I would audition the results and decide what to change next depending upon what I heard during the last edit attempt.

I completed the score 57 minutes after I started.

Printable GIF image of the score for this progresssion.

In the third and fourth bar of this tune I inadvertently quoted from the old tune from the 1890's I Don't Want To Play In Your Yard (lyrics). I had heard it in Warren Beatty's film "Reds". It apparently made an impression.

This tune as far as I know had been totally erased from popular memory until Beatty's movie revived it briefly, so my tune which quotes it is titled Old And Forgotten.

Printable GIF image of the tune's score.

I had the feeling that there were more interesting compositions that could be written on that harmony.

The intro, which repeats ever longer excerpts of the tune's initial phrase, gave me the impression of a crew breaking the wall between sections of a tunnel that were dug separately. When the main melody finally plays it feels like they have freedom to move. By time the end is reached, it feels like they've walked into open air.

Printable GIF image of the score for this progresssion.

The first half of the tune is triplet-ty and the last half uses quintuplets (divisions of the beat and of the bar by 5) extensively. Since I don't know of another piece of music that uses these rhythmic ideas in this way, the tune is called Own Time.

Here's the score for Own Time.

The last four bars brought the title to mind. I remembered a high school friend who poured a beer out of an open car door and needed to be pulled back in before he lost balance and tumbled out. There's some feeling there of careening, losing balance and then regaining it with the assistance of a strong pull.

Printable GIF image of the tune's score.

When this tunetext button was first created, it caused a Eb7(13) chord to be added to a tunetext score followed by a B7(b9B13) chord. Every time this page loads and anytime you refresh it, two different chords will be displayed within the button

Whenever you click on the button, two entirely new chords will be generated, each with a randomly chosen root and type, and those chords will be displayed and performed for you within a newly launched tunetext window.

If you click repeatedly on this button, you can audition many new harmonic ideas extremely quickly. If you don't like a result that comes up in these tunetext window, refresh the URL, and in a second or so later you'll have a new idea to listen to.

Printable GIF image of the score for this progresssion.

The melody and its rhythm accompaniment are kind of hard to grasp at first. The melody wriggles about eel-like near the end of each section of the tune.

The chord progression is an experiment in using minor harmonies. It uses the sounds of major 6th, half-diminished 7th, 7b9, 7sus4, and minor Major 7th chords in unhackneyed patterns.

The melody line alternates phrases that use convoluted rhythms with answering phrases in a very fast but simpler rhythm. This brought to mind the idea of straightening a crooked path.

I harvested one of the scores generated by my last posting, which stretched ideas found in a famous Charlie Parker solo over randomly generated harmony. I fixed two dissonances that occurred at the end of the two main phrases that were generated. Then I experimented with time shifting the melody that was generated.

I found that I liked it when it was shifted to the right by seven eighth note and then by three quarter notes with respect to the background harmony. With these transformations of the idea applied, it's starting to be hard to recognize that I rode on Bird's shoulders to find this new music.

I like this a lot when it's played in a loop.

Printable GIF image of the score for this song.

Printable GIF image of this tune's score..

I reprise a small chunk of the eighth note melody at the end, which sounds cool when it wraps around to the beginning.

I doubled the entire melody an octave lower and then transposed the melody in the second copy so that it sometimes plays a major 11th, major 10th, or major 9th interval below the main melody in small episodes, adding a discordance which I enjoy hearing.

The parameters of this Tunetext Button contain Chord Variation operators. Those will generate a new chord progression for this score when this page is refreshed.

Then once the chord progression is set during the course of interpreting the Button's Tunetext description, Melodic Motion operators, which specify how the melody is supposed to move by chord and scale step, generate a melody which fits the newly generated harmony.

The Melodic Motion operators recorded within the button's melody description will cause the "Row Row Row Your Boat" melody to be accurately performed when the the original chords of the song are played.

The parameters of this Tunetext Button contain Chord Variation operators. Those will generate a new chord progression for this score when this page is refreshed.

Then once the chord progression is set during the course of interpreting the Button's Tunetext description, Melodic Motion operators, which specify how the melody is supposed to move by chord and scale step, generate a melody which fits the newly generated harmony.

The Melodic Motion operators recorded within the button's melody description will cause the "Row Row Row Your Boat" melody to be accurately performed when the the original chords of the song are played.

I composed this melody in 12 minutes in 44 transactions using the SongTrellis Workscore Composer starting at 1:23AM PST and completing it at 1:35AM PST. After I had the melody, I did several minutes of edits to cleanup the score.

The rhythms of the melody are derived from several rhythm phrases extracted from one of Charlie Parker's solos on Scrapple From the Apple.

Page 1 and Page 2 of the score for this tune.