Presentation video of Counterpoint Composer and LinnStrument
Just a note that a presentation on Counterpoint Composer that I gave to a wonderful audience at the J-Fall conference in Holland has been published. Here’s the video, in which I play the LinnStrument to help convey concepts discussed in the presentation. And, yes, I did butcher Bach’s Prelude in C. Definitely need to do more woodshedding 🙂
Here’s the abstract for the presentation: Leveraging the power of Cloud Services, this session demonstrates how music can be analyzed and composed in real-time to augment musical performance with a futuristic instrument. This session contains an introduction to relevant cloud services, and an introduction to music theory and composition. This session also has musical demonstrations and code snippets scattered throughout.
In the Domo Arigato Tempo Rubato article we discussed that each note pad on the LinnStrument playing surface has three dimensions of musical expression: Moving your finger along the X-axis varies pitch, moving it on the Y-axis influences timbre, and varying its pressure on the Z-axis controls loudness. Given that each note pad has three dimensions of control, and each dimension has a resolution of 128 values, there is much expressiveness to be explored in each note being played. Because LinnStrument is a polyphonic instrument, you can play several notes simultaneously which further increases the potential for expressiveness. The trade-off is that the more fingers you’re simultaneously employing, the less focused you can be on the expressiveness of a given note.
Logic Pro Scripter API quick reference
The following tables in this quick reference includes information gleaned from the Apple Logic Pro Effects manual, example scripts such as Guitar Strummer included with Logic Pro, and the following file from the Logic Pro X installation on my Mac.
/Applications/Logic Pro X.app/Contents/Frameworks/
Scripter – Global attributes and functions
Defining NeedsTimingInfo as true at the global scope enables the GetTimingInfo() function
Sets UI controls to default values
This function is called each time a MIDI event is received by the plug-in, and is required to process incoming MIDI events. If you do not implement this function, events pass through the plug-in unaffected.
This function is called once per “process block,” which is determined by the host’s audio settings (sample rate and buffer size). This function is often used in combination with the TimingInfo object to make use of timing information from the host application. To enable the GetTimingInfo feature, add NeedsTimingInfo = true at the global script level.
This function is called each time one of the plug-in’s parameters is set to a new value. It is also called once for each parameter when you load a plug-in setting.
This function is called when the plugin is reset
Prints a message to the console that represents the supplied value of any type
Retrieves a TimingInfo object, which contains timing information that describes the state of the host transport and the current musical tempo and meter.
Returns a given parameter’s current value. GetParameter() is typically called inside the HandleMIDI() or ProcessMIDI() functions.
Event – Base class for all events
Send the event
Send the event after the specified value has elapsed
Send the event at a specific beat in the host’s timeline
Similar to sendAtBeat(), but uses the beat value as a delay in beats from the current position.
Prints the event to the plug-in console
Returns a string representation of the event
Sets MIDI channel 1 to 16. Note: Event.channel is an event property, rather than a method, so it may be used in expressions such as (evt.channel == 1) where evt is an instance of Event)
Note – Base class for note events
Returns a String representation of the Note event.
NoteOn – Represents a note on event
Pitch from 1–127
Velocity from 0–127. A velocity value of 0 is interpreted as a note off event, not a note on.
NoteOff – Represents a note off event
Pitch from 1–127
Velocity from 0–127
PolyPressure – Represents a Polyphonic aftertouch event
Pitch from 1–127
Pressure value from 0–127
Returns a String representation of the PolyPressure event.
ControlChange – Represents a ControlChange event
Controller number from 0–127.
Controller value from 0–127.
Returns a String representation of the ControlChange event.
ProgramChange – Represents a ProgramChange event
Program change number from 0–127
Returns a String representation of the ProgramChange event.
ChannelPressure – Represents a ChannelPressure event
Aftertouch value from 0–127
Returns a String representation of the ChannelPressure event.
PitchBend – Represents a PitchBend event
14-bit pitch bend value from -8192–8191. A value of 0 is center.
Returns a String representation of the PitchBend event.
Fader – Represents a Fader event
Fader value from 0–127
Returns a String representation of the Fader event.
TimingInfo – Contains timing information that describes the state of the host transport and the current musical tempo and meter
Value is true when the host transport is running
Indicates the beat position at the start of the process block
Indicates the beat position at the end of the process block
Indicates the length of the process block in beats.
Indicates the host tempo.
Indicates the host meter numerator
Indicates the host meter denominator.
Value is true when the host transport is cycling
Indicates the beat position at the start of the cycle range
Indicates the beat position at the end of the cycle range
Contains names such as C and G# for all 128 MIDI notes
Contains names such as Expression and Sustain for all 128 MIDI controller numbers
Returns the MIDI note number for a given note name. For example: C3 or B#2. Flats not permitted.
Returns the name for a given MIDI note number.
Returns the controller name for a given controller number
Sends the all notes off message on all MIDI channels
Normalizes a value to the safe range of MIDI status bytes (128–239)
Normalizes a value to the safe range of MIDI channels (1–16)
Normalizes a value to the safe range of MIDI data bytes (0–127)
Sends a given event to all MIDI channels
Leveraging Logic Pro Scripter for accompaniment
(click to see larger view)
Using the Guitar Strummer script that comes with Logic Pro as a starting point, I made modifications that achieve behavior including the following:
Allow selection of a music key signature and keyboard split point (see image of UI nearby)
Allow chord mode selection via a switch on LinnStrument (or pedal) that maps to a control change message. Primary modes currently consist of vanilla (major/minor/dim) vs. jazzy (maj7/min7/dom7/half dim7) chords.
When a single note below the split point is pressed, that note is output. In addition, a chord is output whose root is that note and appropriate to the chosen key signature. The chord is voiced (inversion, etc.) in a manner that assures minimal movement from the previous chord.
When two notes in the same octave below the split point are pressed, the higher note is the root of the chord output, and the lower note is output as well. This technique facilitates playing so-called slash chords.
When two notes an octave apart below the split point are pressed, the tonality toggles in most cases from major to minor and minor to major.
As a demonstration of the features outlined above, here’s a one-minute video of the first few measures of Feels So Good by Chuck Mangione. The LinnStrument is split, with a grand piano synth on the left and a trumpet synth on the right.
An overview of musical expression, and some corresponding expressive capabilities of LinnStrument.
Image from wikipedia.org
“The bow can express the affections of the soul: but besides there being no signs that indicate them, such signs, even were one to invent them, would become so numerous that the music, already too full of indications, would become a formless mass to the eyes, almost impossible to decipher.”
One of the great joys of playing an instrument is expressing thoughts and feelings through it. When played in solitude, a musical instrument can act as a relief valve for accumulated stress. When played in public, it can serve as a medium for expressing musical ideas and emotions. Music played expressively can even elicit emotional responses in the listener.
Of course, instruments vary in their capabilities for expressiveness, and there are many facets of musical expression. Let’s take a look at some of these facets.
Understanding musical expression
As Giuseppe Cambini articulated in the quote cited previously, it’s not practical or even desirable to notate all the “affections of the soul” in written music. I would add that expressing ones own soul, and often the soul of the composer, is the joy and privilege of the performer. Facets of this expression include pitch variations, dynamics, timbre, and phrasing.
On instruments that support it, one very effective means of expression is the act of varying of a note’s pitch while it’s being played. Common examples of this include portamento (pitch bending and sliding), and vibrato (pulsating change of pitch). In a recent conversation with Roger Linn (inventor of LinnStrument) the discussion turned to musical expression as it relates to pitch variations. Here is an excerpt of what he had to say on the subject:
“Subtle variations in pitch are, I think, the largest part of how we identify a particular performer’s style. If someone’s playing, for example, a guitar, the volume and timbre of a note can’t be changed by the performer after it’s plucked. The only thing that can be changed is the pitch. Most people that are familiar with rock guitar music would be able to identify the vibrato of Jimi Hendrix from Eric Clapton or Jeff Beck as being unique and different after only a couple of notes. But the truth is that they were all playing the same guitar, a Fender Stratocaster, through the same amplifier, a Marshall. What makes them unique and different is a particular style, in large part characterized by subtle pitch variations produced with string bends and vibratos.”
On LinnStrument, pitch variations are accomplished very naturally by moving your fingers along the X-axis as if each row is a string. To perform vibrato, wiggle your finger horizontally. To bend or slide a note, move your finger along the row to the desired ending pitch. The following brief video of the flute solo intro in The Marshall Tucker Band “Can’t You See” demonstrates slight pitch variations and vibrato on LinnStrument:
Let’s move from discussing pitch variations to examining the use of volume variations, more formally known as dynamics, for musical expression.
Another very effective means of musical expression is to vary the volume (loudness) of notes, which is often referred to in musical terms as dynamics. Some dynamics such as pianissimo (very soft), and sforzando (forceful accent) are concerned with the relative volume of notes when first played. Other dynamics such as crescendo (gradually becoming louder), and tremolo (pulsating change of volume) indicate changes in volume while a note is being played.
Most instruments allow you to play a note at a desired volume, but not all of them allow you to vary the volume of a note as it is being played. For example, you can vary the initial volume of a note on the piano with the velocity of a key press, but the subsequent volume of the note is not usually under your control. By contrast, most wind instruments give you continuous control of volume.
On LinnStrument, volume variations are accomplished very naturally by varying the downward (Z-axis) pressure of your fingers. To increase the loudness of a note, press harder on the note pad. To perform tremolo, repeatedly increase and decrease pressure on the note pad.
Now that we’ve discussed varying pitch (X-axis), and volume (Z-axis), we’ll move on to varying timbre (Y-axis) for a third dimension of musical expression.
A sort of catch-all category, timbre is what makes two notes that have the same pitch and volume distinguishable from each other. For example, a note played on a trumpet has a much different timbre than that same note played on a cello. Timbre is often referred to as tone color or texture, and characterized by terms such as bright, warm, and harsh.
Varying the timbre of notes is a very effective means of musical expression, as evidenced by many of the flute solos that Ian Anderson of Jethro Tull has recorded, such as his flute solo from “My God.”
On LinnStrument, timbre variations are accomplished very naturally by rolling your fingers forward or backward on the Y-axis. The resulting variation in sound is dependent upon the corresponding feature in the synthesized instrument.
Please take a look at this video of Roger Linn demonstrating on LinnStrument the three dimensions of expression (pitch, volume, and timbre) discussed to this point.
There are, of course, more facets of musical expressions than just varying pitch, volume, and timbre. One of these facets, known as phrasing, is concerned with varying note durations:
One of the most natural ways to express oneself musically is to intuitively vary the duration of notes, shaping the notes in time. This concept is known as musical phrasing, and one of the core ideas is to use “stolen time” (tempo rubato in Italian) from some notes and give it to other notes.
So, domo arigato tempo rubato, portamento, vibrato, pianissimo, sforzando, crescendo, tremolo, timbre, et cetera, for enabling musical expression!
Images from wikipedia.org and rogerlinndesign.com (click to enlarge)
In the Space Odyssey series when Dr. Bowman approached the monolith in space and was pulled inside, he observed that “It’s full of stars!” I was reminded of that quote when first looking at the chord and scale constellations (shapes) superimposed on the monolith-shaped LinnStrument in the Roger Linn Design website. Please take a moment to study that page, and then refer to the following graphic from the page as we dive into relevant concepts and put them into practice.
Chord and scale shapes. Image from rogerlinndesign.com (click to view page)
Locating the C stars (LEDs)
Representing the default LinnStrument tuning, there are 17 blue LEDs on the Chord and scale shapes figure above, five of which are middle C.
Middle C. (wikipedia.org)
The five middle C LEDs are easy to locate, as they appear near an imaginary diagonal line drawn from the upper-left corner to the lower-right corner of the playing surface. On a parallel line above the middle C LEDs are four blue LEDs that represent C on the treble clef (this blog will refer to these as treble C). On a parallel line above those are two blue LEDs that represent C above the treble clef (this blog will refer to these as high C).
Similarly, on a parallel line below the middle C LEDs are four blue LEDs that represent C on the bass clef (this blog will refer to these as bass C). On a parallel line below those are two blue LEDs that represent C below the bass clef (this blog will refer to these as low C). Please take a moment to locate all of these C LEDs on the Chord and scale shapes figure above.
Using the C LEDs to locate all of the notes on the playing surface
Because the default LinnStrument tuning uses a perfect fourth musical interval between each row, any given note pad on the playing surface is a perfect fourth (five semitones) higher than the note pad directly below it. Looking at the Chord and scale shapes figure again, notice for example that the note directly above each C is always an F. By extension, the musical interval between any two note pads on the playing surface is the same as any other two note pads that have the same spacial relationship. For example, the note directly below and two columns to the right of a note pad is always a descending minor third musical interval. As a result, notice on the Chord and scale shapes figure that when the starting note is C, the note directly below and two columns to the right is always an A. By familiarizing yourself with the spacial relationships on the playing surface of the musical intervals in the following figure, you can locate all of the notes in the vicinity of a given note pad. This is useful for identifying notes relative to a C LED, or relative to a note currently being played.
Spacial relationship of intervals to a given note pad
Another aid that I’ve found helpful for memorizing the location of notes in relationship to the nearby C LEDs is the following figure:
Natural note relationships to C LEDs
Notice in the figure above that there are three blue LEDs that represent three Cs in consecutive octaves. These LEDs may be mentally lined up with blue LEDs while playing the LinnStrument to locate any note on the playing surface. For an additional aid in locating notes on the playing surface, see the following figure that contains the location of the natural notes on the musical staff:
Location of the natural notes on the musical staff (click to enlarge)
Playing scales on LinnStrument
The Chord and scale shapes figure suggests a pattern for playing a major scale in a single octave. That pattern is also represented by the C major scale in the top three rows of the Natural note relationships to C LEDs figure shown previously. There are, of course, additional patterns for a single octave major scale, one of which is represented by the C major scale in the bottom three rows on that same figure. A two octave major scale may therefore be played by combining these patterns as shown in that figure. These ideas for playing major scales may be applied to other kinds of scales as well.
Playing chords on LinnStrument
Please take another look at the Chord and scale shapes figure, noticing that it suggests shapes for some commonly used chords, including a major triad in all three inversions. There are, of course, additional shapes possible for the chords shown in the figure.
Guitar players may find some of these shapes familiar, namely the shapes that are played on guitar strings 3 and lower. For example the shape of the fingered notes in an open E chord on the guitar is the same as the major triad 2nd inversion on the Chord and scale shapes figure.
Guitar open E chord
When playing chords and scales on LinnStrument, it is beneficial to experiment with various fingerings, including the use of thumb and pinky (little finger). You’ll find that some fingerings are more comfortable than others, increasing the potential for playing accuracy. You may also find, as I do, that the pinkies are very useful in some chord and scale shapes, but they require extra practice to approach the strength and accuracy of other fingers.
Thus Spake Zarathustra
In keeping with the theme of this article, I’d like to play for you a well-known piece from Stanley Kubrick’s 1968 film 2001: A Space Odyssey on LinnStrument. This is the initial fanfare, entitled “Sunrise”, from Thus spake Zarathustra (Strauss), which demonstrates some of the concepts discussed in this article. I’ve taken the liberty of annotating the triads and their inversions in the video.
Morpheus: I know *exactly* what you mean. Let me tell you why you’re here. You’re here because you know something. What you know you can’t explain, but you feel it. You’ve felt it your entire life, that there’s something wrong with the world. You don’t know what it is, but it’s there, like a splinter in your mind, driving you mad. It is this feeling that has brought you to me. Do you know what I’m talking about?
Neo: The Matrix.
I’ve played various musical instrument as long as I can remember, focusing my younger years on piano, trumpet and guitar. As a lifelong software developer, I instinctively put information in matrices, and have always felt the desire to play an instrument whose notes were arranged in that manner. This led me to play instruments such as the Chapman Stick, and to create a mobile tablet-based instrument that I named ZenGuitar3D:
Along the way, I was intrigued with the instruments that colleague and occasional NullPointers bandmate/frontman Geert Bevin (second from the left in this video thumbnail) …
Like Neo in The Matrix, I recognized that this brainchild of Roger Linn was a manifestation of what I’d been longing for: An instrument whose notes are arranged in a grid pattern, and enable musical expression found in keyboard as well as stringed instruments, demonstrated by this video in which I play Paul McCartney’s Blackbird. The left side of the video contains the accompaniment, and the right side contains the melody played while listening to the accompaniment recorded a few minutes earlier.
In upcoming posts I plan to explore facets of LinnStrument that help you get up to speed on playing it, should you decide to take the red pill like I did 🙂