| I've been tackling this issue in my suite. My current solution is that each
buffer in gvim holds a "sequence", where each line is a step. Then when this
is converted to a score, an "arrange" file will be used to specify starting,
ending, repetitions, and instrument number for the sequence. This works
already, but I don't think I'll have the time to make a working simple
example and post it anywhere till later this week If somebody wants to look
at the dev files, I can post 'em online with minimal commentary sooner.
My planned extension to this is a configuration class that can be edited
directly from gvim or through the arrange file to specify things like
timebase for each sequence, so you can say t1_seq1.seq is to be interpreted
as being in 12/8 with each line being a sixteenth, and some other file can
be interepreted differently. This should make editing polyrhythms a breeze.
The class will also allow one to set things like track by track quantizing
for shuffle, or micro timing offsets for pushing/lagging a beat, etc.
I also plan on adding many useful functions for editing. Currently the only
working ones are directly editing cells and filling intelligently selected
blocks of cells. Multi clipboard copy and paste is next, followed by some
ramping functions. I'm curious to hear what functions other people find they
use ( or would use! ) the most when editing scores, using spreadsheets, or
using conventional multi-trackers. Pipe up!
Oh yeah, another in the pipeline is a grid based numerical patch editor for
csound instruments that use tables to hold patch data. Under linux I should
be able to get it so that editing a cell sends a message to a running
instance of csound to update the table in real time. I suppose this could be
done under windows too, but currently would require some midi hopscotch
instead of a simple score statement sent via pipes.
Iain
> In the past was using a spreadsheet to help me create scores. However,
> I've been interested in polyrhythmic music so my spreadsheet hasn't been
> of much use lately because it only works for linear music in 4/4 time.
> So now I've been working without any sort of visual reference, only perl
> and csound code. I've been studying African music. I noticed that in
> African music they don't have measures. Instead, a unit of time is
> used. This unit of time is often marked by a repeating bell pattern.
> The cool thing about using code is that polyrhythms can be programmed.
> Many sequencers are based on western theory so they don't make
> programming polyrhythms easy. At least that has been my experience. A
> great paper on African music with sounds samples is available here:
>
> http://smt.ucsb.edu/mto/issues/mto.00.6.1/mto.00.6.1.anku.html
>
> At the bottom of the article, it says that you can purchase full
> transcripts of the articles. "Structural Set Analysis of African
> Music*. Vol. 1: Adowa" and "Structural Set Analysis of African Music*.
> Vol. 2: Bawa" by Willie Anku. I've tried contacting Professor Anku and
> several universities to acquire the full transcripts, but I haven't had
> any luck. Does anyone on this list have access to the full transcripts?
> ~ If so, please email me off-list.
>
> - --
> gerald wenzel
> music: http://apspec.com
> linux & code: http://geraldwenzel.com
>
>
>
>
>
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