lab7/hw8, csc354 Spring 2007, Smith College
March 29, 2007. due Thursday April 3.
The purpose of this lab/hw is to explore more of Belkin's general ideas
for composing within pd.
In each exercise use simple algorithms and some hand codings.
We will break after each of the two parts to hear each others work.
Continue our work in class lab7.pd
Continuity with ostinato
Create a patch that produces a bass line of steady beats, say in octave o2 that moves from first (tonic note), to
third, fifth to eighth (tonic note one octave up). Use a subpatch
that takes in an integer value and how many half steps to add to it.
That way you can produce the bass line for any tonic note.
Use the bass guitar voice.
The subpatch should have an inlet that says how many beats
of bassline to produce. This should be a multiple of four.
And another inlet should tell it how many milliseconds per beat.
- Now try a adding a second voice, using a different instrument.
This new phrase should contain several repetitions of a motive (short melody),
then two repetitions of a different motive, and then several more repetitions of
the first motive. The
result should be the two phrases played in parallel (bass plays first
phrase, new voice plays second).
Make the bass line and new phrase line play for the same amount of time.
As usual, please place this in your web page and be ready to play
it on Thursday.
- Create a short motive that you like, containing a few notes.
Use a third instrument for this voice.
- Repeat the phrase a few times, slightly varying it each time.
- Create a second short motive that you like, but
with a different instrument patch. Make sure this phrase also includes
some rests (perhaps using delays?).
- Create a transition from your old motive and its recapitulations,
to your new phrase using one of the Transition techniques from bottom of page four the Belken summary:
- gradual evolution
- repeat with new turn
- full stop and restart
Finally go back to your original motive, repeating it once or twice, while
slowing it down.