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’”]