Paul,
On 2014-01-16 01:58, Paul Morris wrote:
Philip Rhoades wrote
It occurred to me that the next step would be to generate something
that
is a little more melodic or musical
One simple thing you can do is to only work with the notes from one key
at a
time. And I think this makes sense in terms of learning as well as
sounding
more musical. (Unless you aspire to play only atonal music...)
The following modifies David's snippet so it only selects notes from
the key
of C major (and extends the range to two octaves), then you can use
\transpose to change to a different key when you are ready to move on
to
another key.
\version "2.18.0"
randomNotes =
{
$@(let ((notes (ly:music-property #{ <e f g a b c' d' e' f' g' a' b'
c'
d'> #}
'elements)))
(map (lambda (x) (list-ref notes (random (length notes)))) (iota
400)))
}
\new Voice {
\transpose c c {
\randomNotes
}
}
What I was thinking of was something a little more sophisticated than
the Ruby script I wrote which simply selected a note within [+/-]1 of
the value of the current note, and on occasions, selected a note within
[+/-]2 of the value of the current note, and rarely jumped to a
completely random note. This gave some mildly interesting runs of notes
and sounded vaguely melodic or musical. I had thought that there might
be a number of people here with much more sophisticated algorithms
written in Scheme . . it seems Scheme has been used for this sort of
thing quite a bit. I have just spent a fair bit of time looking for
stuff outside Lilypond but still written in Scheme but couldn't find
anything of immediate interest. I guess I was just thinking of the next
step past the basics . .
FWIW, I think using something like this to practice guitar (especially
at a
beginner level) would be more effective if you didn't play it straight
through, but repeated each measure several times (maybe 8?) before
moving on
to the next one. That repetition will be more helpful for learning
than
constantly giving your fingers/mind something new to figure out. As
you
progress you can reduce the number of repetitions until you're playing
it
straight through.
The exercises that I am redoing with David's script are string by
string, and then two strings at a time, then three etc etc but it does
get a bit uninteresting - that's why I thought something that sounded a
little better, because there was actually some theory behind it, would
be nice . .
Regards.
Phil.
--
Philip Rhoades
GPO Box 3411
Sydney NSW 2001
Australia
E-mail: p...@pricom.com.au
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