MusicDevelopments

BlackWinny · Post by **BlackWinny** » Wed Mar 26, 2014 12:16 am

Hmmm... Attila... while I'm at it... Changing the content of the field "Title" has no effect if made after a first "Save".

(I crosspost to the "Bug report" thread where you will see an attachment, it is here).

tonedef71 · Post by **tonedef71** » Wed Mar 26, 2014 1:03 am

BlackWinny wrote:Don't imagine that it is a large collection... It is just a little collection that I make as a little exercise in C major of :
Eight perfect cadences (IV-V-I, IVr1-V-I, IIm-V-I, IImr1-V-I, VIm-V-I, VImr1-V-I, IIIm-V-I, IIImr1-V-I) by order of preference in the theory of music.

Six plagal cadences (VIm-IV-I8, VIm-IV-I, I6-IV-I8, I6-IV-I, I-IV-I8, I-IV-I) by order of preference in the theory of music.

Eight imperfect cadences (V-Ir1, V-Ir2, Vr1-I, Vr1-Ir1, Vr1-Ir2, Vr2-I, Vr2-Ir1, Vr2-Ir2)

Eight half cadences (IV-V, IVr1-V, IIm-V, IImr1-V, VIm-V, VImr1-V, I-V, Ir1-V) by order of preference in the theory of music.

Ten deceptive cadences (IV-V-VIm, IVr1-V-VIm, IIm-V-VIm, IImr1-V-VIm, VIm-V-VIm, VImr1-V-VIm, IIIm-V-VIm, IIImr1-V-VIm, I-V-VIm, Ir1-V-VIm) by order of preference in the theory of music.
That's all.

Of course all that is far easier to read in the RC files. So... here they are in attachment...

Thank you for sharing your "little" collection of 40 cadences! They just might inspire me to revisit the theory behind cadences. Using the C Major/Ionian scale is a good home tonic to work from (all white keys to start with). By representing these cadential chords in their Roman numeral form, they are essentially key-agnostic; it should be straight-forward to transpose to another key any chord progression that includes these cadences.

I, too, am an amateur/hobbyist composer -- music was only a minor for me back in college. You are likely more experienced than myself. I would be interested in hearing a recent composition of yours -- even if is just something academic.

BlackWinny · Post by **BlackWinny** » Wed Mar 26, 2014 1:35 am

Just a minute ago, before I saw your post just above, I published an example here:
http://www.kvraudio.com/forum/viewtopic ... 8#p5689978

tonedef71 · Post by **tonedef71** » Wed Mar 26, 2014 5:00 am

BlackWinny wrote:

Just a minute ago, before I saw your post just above, I published an example here:
http://www.kvraudio.com/forum/viewtopic ... 8#p5689978

I just listened to your composition, "Le Printemps Approche" -- I like it!

Thank you for sharing!

BlackWinny · Post by **BlackWinny** » Wed Mar 26, 2014 2:05 pm

Thank you Tony, it's encouraging

lulukom · Post by **lulukom** » Fri Mar 28, 2014 3:49 pm

Hi, Attila and all participants in the Forum!
PAIR PROPOSALS ...
- MIDI BATCH CONVERTER
My technology converting midi files is as follows:
1.I move the midi files to my custom folder is (Documents/RapidComposerv2/CustomPhrases)
2. The setting is selected in the "Convert Midi Files To Phrases" (Well, new group, of course)
3. Browser again choose to freshen it up.
4. What is missing ?
Not enough to midi converter 'automatically erased midi files from custom Folder!
Then everything is logical and will not need to constantly change the directory location for custom phrases! Throw phrases in your custom folder is and rejoice!

-PHRASES IN COMPOSITION
Yes, very nice new features split phrases in the timeline!
But not enough of another!
Immersed phrases often empty (without notes) segments before the first note and after the last note (left and right), and (especially if the track is long) must cut these empty areas ...
Now this can be done only split phrases (and one each).
It would be good to add to the timeline functions "Cut to empty areas phrases before the first and after the last note"
Little things often prevent us live! )))
Thank you!

BlackWinny · Post by **BlackWinny** » Sun Mar 30, 2014 2:29 pm

I'd like to make a suggestion which is not a new feature but a simplification which would probably please everybody : all the musicians but also Attila (simply by the removing of a little part of the code).

I don't know if it is the same for you all but I have noticed that I never use the most simple presentation of the chord selector when at the "Scale degrees" tab. Each time that I open the tab "Scale degrees" I must click (at least once) the button "More chords" to have at least the "sus2", "sus4", "add2", "add4" and all the 6th's under my eyes. Having immediately under the eyes these four note chords in addition to the three notes chords is the minimal for a composition (even for a nursery rhyme). The most elementary presentation which shows only the buttons "I - II - III - IV - V - VI - VII" of three note chords is probably never used by anybody. And by the bye... we can see that in the "List" tab and in the "Palette" tab, the most elementary presentation is already with these minimal chords of four notes (which of course provide also the chords of three notes).

Each time I open the tab "Scale Degrees" I must also do another click to have at least the four note chords in addition under the eyes since they are used quite everywhere in a composition. And it doesn't take much more surface on the screen.

So I suggest that Attila removed from his code the presentation showing only the three note chords in this "Scale degrees" tab to be in coherence with the two other tabs... and to simplify our life of composers.

Would you agree if it doesn't disturb anybody?

BlackWinny · Post by **BlackWinny** » Sun Mar 30, 2014 3:06 pm

Another suggestion:

When we open the chord selector by a right click on the name of the chord on the upper line, this name gets the blue color.

If we choose another chordname on the same line, the behavior of the application follows correctly and colors now the new one.

But... if we click anywhere else, the chordname which was colored in blue gets back to its black color. Although the chord selector is still open. So... after simply two or three new manipulations (for any retouches) we can't anymore remember on which chord on the line the selector is pointing. My suggestion is that as long as the selector is opened, the chordname which it points might stay in blue even when we do other manipulations elsewhere.

BlackWinny · Post by **BlackWinny** » Sun Mar 30, 2014 5:31 pm

Another suggestion

When we come from the phrase browser (and why not whatever the situation as far as there is a previous and/or a next), it would be awesome to have these two buttons at the bottom of the phrase editor:

Suggestion for 'See previous' and 'See next' in the phrase editor.png

I ask for this, because that... it doesn't tell anything to anybody:

Phrase browser which doesn't talk anything.jpg

musicdevelopments · Post by **musicdevelopments** » Mon Mar 31, 2014 12:13 pm

Yes, why not, all chords including the 7th could be shown initially when you open the 'Scale Degrees'. This is already fixed, a new beta will be uploaded soon.

'Set Previous' and 'Set Next' buttons would be great! You are right that a name does not tell you much. It would be good to show the phrases graphically in the inspector...

Thanks,
Attila

BlackWinny · Post by **BlackWinny** » Thu Apr 10, 2014 8:02 pm

Hello Attila!

Would you agree if we began to discuss all together about a feature which is very important in the living aspect of a composition? I mean: the pitch bend, and largo sensu... the glissando and more especially the portamento.

I think it should be nice to discuss all together about possible methods which could satisfy everybody (the musicians... AND the developer) while staying simple to implement. A sort of pleasant and friendly brainstorming all together on a very important aspect in the composition work in absolutely all the styles...

musicdevelopments · Post by **musicdevelopments** » Fri Apr 11, 2014 6:50 pm

Hi BlackWinny,

yes, let's talk about it.
Using pitch bend is a pain because each MIDI channel can have one pitch bend value, and when there are two phrases using pitch bending at the same time, the result won't be satisfying.
In theory more than one MIDI channels could be used to have multiple independent pitch bends but this is very complicated.

Portamento is done by using MIDI CC messages, if the instrument/preset supports it.

Visually it would be good to show any pitch bend effects on the notes themselves, instead of having a separate CC envelope below the track/phrase as most DAWs present pitch bending. I'll try to make mock-up screenshots.

On the other hand I have no idea if there is a standard way to handle portamento/glissando, e.g. in some sample libraries these are activated by designated keys on the MIDI keyboard. I may be wrong though.

yellukhan · Post by **yellukhan** » Fri Apr 11, 2014 7:02 pm

Hi ,
i want to re suggest
allow to select multiple phrases/generators with a key combo (for example Ctrl+Shift+Click)
while "inhibit phrase selection in multiple tracks" is "active".
bypassing this feature temporarily and selecting multiple generators and regenerating at once and then de selecting all via single click to the empty area,
this would be really time saver and also helpful to avoid mistakes if you working on complex arrangement

Warm Regards
Yıldırım.

BlackWinny · Post by **BlackWinny** » Fri Apr 11, 2014 7:11 pm

I'd like to make a new suggestion about the "Join notes".

It would be nice to have an option to prevent the joining of certain notes. Notably in order to respect the cadences that we insert in the composition. Here is an example in attachment where I see that the joining affects deeply the rendering of the cadences. Of course it is possible to do it with some subtle methods, but it would be great to have simply in the menu a command such as "Do not join here".

Possible?

The example is here:

BlackWinny · Post by **BlackWinny** » Fri Apr 11, 2014 8:32 pm

For the MIDI Continuous Controls (portamento and any other) I thought of something very simple, and probably managed by a unique method.

Think of how comments are applied by listeners to the tracks in Soundcloud. At a position on the timeline, you click to be able to insert a comment, exactly at the place clicked. It opens a little text editor where you write your message. I think to something like that, not less not more.

Imagine...

You create a new line (dedicated to the MIDI controls of the composer) just below the timeline at the top of the master track.

It could be possible to the composer to click exactly at the place he wants. It opens a little text editor (of only one line) where he has just to insert one CC command and its parameter(s), one... or even several being separated by a separator, e.g. a ";". And so on for all the CC desired by the composer.

At the beginning, as a first release, it would resolve the problem de facto for ALL the MIDI CC messages used for expressions like glissando, portamento, sostenuto, pan, tremolo, vibrato (celeste), etc. which are referenced in the language of MIDI controllers.

Example (for the portamento) if I have correctly understood the principle:

At the instant t0 the composer writes the message to choose the MIDI channel which will be affected.
At the instant t1 (which follows immediately) he writes the message (#5 or #37) to set the duration.
At the instant t2 he set the portamento on.
At the instant t3 he set the portamento off.

All that can be made regard or regardless the actual state of the notes... as it doesn't affect any "note on" and "note off".

It's sure that it is not an optimal method, but in the wait of better... it can bring an help to many composers. And all that takes a look a bit similar to the timeline just below the sound tracks in Soundcloud...

This line just below the timeline in RC would be dedicated to all the CC placed by the composer for his glissando, portamento, sostenuto, pan, tremolo, vibrato (celeste), etc.

(and it is sure also that it must be still discussed for the implementation, of course)

And all that could be of course widely improved by dialog boxes, but later, much later, when the time is there for that, knowing that in the meanwhile all the composers would have a first solution for all the imaginable CC messages.

MusicDevelopments

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