Baroque-Era

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