Humdrum lab 8 - Revision history

Craig: /* Attack/sustain configurations for modules */

2018-06-30T01:17:21Z

Attack/sustain configurations for modules

← Older revision		Revision as of 01:17, 30 June 2018
Line 315:		Line 315:

	The most common case for the "5 -2 6" module is for the two notes to attack together, then the bottom note drops a step while the top voice remains sustained (happening 57% of the time). The second most common cases is that the top note is sustained from a previous sonority while the lower voice is moving stepwise downwards through a fifth and then a sixth with the upper note. The third most common case occurs when both note are attack on both harmonic intervals of the module.		The most common case for the "5 -2 6" module is for the two notes to attack together, then the bottom note drops a step while the top voice remains sustained (happening 57% of the time). The second most common cases is that the top note is sustained from a previous sonority while the lower voice is moving stepwise downwards through a fifth and then a sixth with the upper note. The third most common case occurs when both note are attack on both harmonic intervals of the module.



			{{humdrum_labs}}

Craig: /* Attack/sustain configurations for modules */

2018-05-17T20:06:25Z

Attack/sustain configurations for modules

← Older revision		Revision as of 20:06, 17 May 2018
Line 312:		Line 312:
	4.74 5xs -2 6xx		4.74 5xs -2 6xx
	0.49 5sx -2 6xx		0.49 5sx -2 6xx


			The most common case for the "5 -2 6" module is for the two notes to attack together, then the bottom note drops a step while the top voice remains sustained (happening 57% of the time). The second most common cases is that the top note is sustained from a previous sonority while the lower voice is moving stepwise downwards through a fifth and then a sixth with the upper note. The third most common case occurs when both note are attack on both harmonic intervals of the module.

Craig: /* Chained counterpoint modules */

2018-05-17T20:04:16Z

Chained counterpoint modules

← Older revision		Revision as of 20:04, 17 May 2018
Line 300:		Line 300:

	The most common case is that the 3xx interval is in the middle of a sequence of parallel thirds rising by step. The second most common is parallel thirds falling by step, and then the third most common cases is a falling stepwise parallel third followed by the lower note continuing down stepwise while the upper note remains sustained.		The most common case is that the 3xx interval is in the middle of a sequence of parallel thirds rising by step. The second most common is parallel thirds falling by step, and then the third most common cases is a falling stepwise parallel third followed by the lower note continuing down stepwise while the upper note remains sustained.

			== Attack/sustain configurations for modules ==

			Searching for cases where the module is "5 -2 6", but then segmenting into attack/sustain cases:

			cint -x *.krn --raw \| egrep "^5[xs]+ -2 6[xs]+" \| sortcount -p
			57.46 5xx -2 6xs
			17.06 5xs -2 6xs
			11.03 5xx -2 6xx
			9.23 5sx -2 6xs
			4.74 5xs -2 6xx
			0.49 5sx -2 6xx

Craig: /* Regular expressions */

2018-05-17T19:59:30Z

Regular expressions

← Older revision		Revision as of 19:59, 17 May 2018
Line 239:		Line 239:

	[[File:parallel3rds.png\|600px\|center]]		[[File:parallel3rds.png\|600px\|center]]


			== Chained counterpoint modules ==

			Sequences of modules can be extracted or searched for by using the -n option:

			cint --raw chor001.krn -O -n 2 \| head -n 10
			3 8 3 -3 6
			5 8 5 -3 8
			8 8 8 -3 3
			3 1 3 2 3
			6 1 6 2 5
			4 1 4 2 3
			3 -3 6 1 5
			5 -3 8 2 6
			8 -3 3 2 6
			3 2 3 -2 4

			The -h option will put an "h" label on harmonic intervals (making it easier to read chains):

			cint --raw chor001.krn -Oh -n 2 \| head -n 10
			3h 8 3h -3 6h
			5h 8 5h -3 8h
			8h 8 8h -3 3h
			3h 1 3h 2 3h
			6h 1 6h 2 5h
			4h 1 4h 2 3h
			3h -3 6h 1 5h
			5h -3 8h 2 6h
			8h -3 3h 2 6h
			3h 2 3h -2 4h

			Also the attack markers are only added to harmonic intervals, so -x will also make it easy to distinguish between harmonic and melodic intervals:

			cint --raw chor001.krn -Ox -n 2 \| head -n 10
			3xx 8 3xx -3 6xx
			5xx 8 5xx -3 8xx
			8xx 8 8xx -3 3xs
			3xx 1 3xx 2 3xx
			6xx 1 6xx 2 5xs
			4xx 1 4xx 2 3xs
			3xx -3 6xx 1 5sx
			5xx -3 8xx 2 6xx
			8xx -3 3xs 2 6xx
			3xx 2 3xx -2 4xs

			Given a harmonic interval of a 3rd between two notes (where both are attacking at the same time), what are the input and output voice motions for that interval?

			cint --raw *.krn -Ox -n 2 \| grep " 3xx " \| sortcount -p \| head -n 10
			4.12 3xx 2 3xx 2 3xx
			2.57 3xx -2 3xx -2 3xx
			1.16 3xx -2 3xx -2 4xs
			1 3xx -2 3xx 2 3xx
			0.86 3xx 2 3xx -2 3xx
			0.81 2xs -2 3xx -2 4xs
			0.79 3xx 2 3xx 2 8xx
			0.78 3xx 2 3xx -2 4xs
			0.76 3xx 2 3xx 2 2xs
			0.73 3xx 2 3xx 1 4sx

			The most common case is that the 3xx interval is in the middle of a sequence of parallel thirds rising by step. The second most common is parallel thirds falling by step, and then the third most common cases is a falling stepwise parallel third followed by the lower note continuing down stepwise while the upper note remains sustained.

Craig: /* Josquin modules */

2018-05-17T19:46:36Z

Josquin modules

← Older revision		Revision as of 19:46, 17 May 2018
Line 181:		Line 181:

	The most common is a repeated 3rd.		The most common is a repeated 3rd.

			=== Note attacks/sustains ===

	Renaissance music is more polyphonic than Bach chorales, so it is better to indicate if the notes are attacked or sustained at each point in the module:		Renaissance music is more polyphonic than Bach chorales, so it is better to indicate if the notes are attacked or sustained at each point in the module:
Line 198:		Line 200:

	With respect to note attacks/sustains, a falling parallel 3rd is the most common, followed by a rising parallel 3rd.		With respect to note attacks/sustains, a falling parallel 3rd is the most common, followed by a rising parallel 3rd.


	== Regular expressions ==		== Regular expressions ==

Craig: /* Update */

2018-05-15T21:21:58Z

Update

← Older revision		Revision as of 21:21, 15 May 2018
Line 3:		Line 3:
	Update Humdrum extras by going to the humdrum-tools directory and typing:		Update Humdrum extras by going to the humdrum-tools directory and typing:

	cd $(which beat \| sed 's/humdrum-tools.*/humdrum-tools/')		cd $(which beat \| sed 's/humdrum-tools.*/humdrum-tools/')
	make update		make update
	make		make

Craig: /* Update */

2018-05-15T21:21:50Z

Update

← Older revision		Revision as of 21:21, 15 May 2018
Line 3:		Line 3:
	Update Humdrum extras by going to the humdrum-tools directory and typing:		Update Humdrum extras by going to the humdrum-tools directory and typing:

			cd $(which beat \| sed 's/humdrum-tools.*/humdrum-tools/')
	make update		make update
	make		make


	== chorck ==		== chorck ==

Craig: /* Regular expressions */

2018-05-15T20:05:55Z

Regular expressions

← Older revision		Revision as of 20:05, 15 May 2018
Line 202:		Line 202:
	== Regular expressions ==		== Regular expressions ==

	~~Mark all types of~~ parallel thirds ~~(other than~~ repeated ~~thirds~~ on the ~~same note)~~:		All parallel thirds in a chorale:

			cint --raw chor001.krn \| grep "3 .* 3" \| sortcount
			10 3 -2 3
			10 3 2 3
			3 3 1 3
			1 3 4 3
			1 3 3 3


			Remove repeated note cases:

			cint -U --raw chor001.krn \| grep "3 .* 3" \| sortcount
			10 3 2 3
			10 3 -2 3
			1 3 4 3
			1 3 3 3

			With note attack information

			cint -U -x --raw chor001.krn \| grep "3[sx]* .* 3[sx]*" \| sortcount
			7 3xx -2 3xx
			7 3xx 2 3xx
			3 3xs 2 3xx
			2 3sx -2 3xx
			1 3xx 3 3xx
			1 3xs -2 3xx
			1 3xx 4 3xx


			Highlight modules which are parallel 3rds without repeats where both notes attack on the thirds:

			!!!filter: cint -U -x --search "3[sx]* .* 3[sx]*"


			[[File:parallel3rds.png\|600px\|center]]

Craig at 18:59, 15 May 2018

2018-05-15T18:59:02Z

← Older revision	Revision as of 18:59, 15 May 2018
Line 1:	Line 1:
		== Update ==

		Update Humdrum extras by going to the humdrum-tools directory and typing:

		make update
		make

Craig: /* cint */

2018-05-15T18:57:51Z

cint

← Older revision		Revision as of 18:57, 15 May 2018
Line 96:		Line 96:

	It is a generalized tool related to chorck, which is a specialized tool.		It is a generalized tool related to chorck, which is a specialized tool.


			=== Getting a list of counterpoint modules in a piece ===

			cint --raw chor001.krn \| head -n 10
			10 8 3
			12 8 5
			15 8 8
			3 1 3
			6 1 6
			4 1 4
			3 -3 6
			5 -3 8
			8 -3 10
			3 2 3

			The most common modules in Bach chorales:

			cint --raw *.krn \| sortcount \| head -n 10
			3500 5 -2 6
			3354 6 2 5
			2867 3 -2 4
			2838 4 -2 5
			2735 6 -2 6
			2579 5 1 6
			2498 3 -2 3
			2479 3 1 4
			2436 3 2 3
			2414 10 2 10

			The -O option will collapse compound intervals such as "10 2 10" into "3 2 3" (10th is an octave plus a 3rd).

			cint -O --raw *.krn \| sortcount \| head -n 10
			5070 3 2 3
			5033 6 2 5
			4746 3 -2 4
			4394 5 -2 6
			4213 5 2 3
			4088 3 -2 3
			3943 2 -2 3
			3833 4 -2 5
			3346 3 1 4
			3335 6 -2 6

			The most common module in Bach chorales is a rising parallel 3rd "3 2 3"




Line 107:		Line 154:

	[[File:risingthirds.png\|center\|600px]]		[[File:risingthirds.png\|center\|600px]]



			== Josquin modules ==

			What about in Josquin's music:

			cint -R -O --raw h://jrp/Jos \| sortcount \| head -n 10

			23123 3 1 3
			19880 6 1 5
			19517 4 1 3
			19515 3 -2 3
			18545 3 2 3
			16389 3 -2 4
			15812 5 -2 6
			15784 5 1 6
			15772 5 1 5
			15625 8 1 8

			The most common is a repeated 3rd.

			Renaissance music is more polyphonic than Bach chorales, so it is better to indicate if the notes are attacked or sustained at each point in the module:


			oznin:chorales css$ cint -R -O -x --raw h://jrp/Jos \| sortcount \| head -n 10
			13912 3xx -2 3xx
			13343 3xx 2 3xx
			8782 6sx -2 8xx
			7779 4sx 1 3sx
			7402 7xs 1 6sx
			7374 3xx 1 4sx
			7315 4xs 1 3sx
			6932 3xx -2 4xs
			6878 6sx 1 5sx
			6537 6xx 1 5sx

			With respect to note attacks/sustains, a falling parallel 3rd is the most common, followed by a rising parallel 3rd.


			== Regular expressions ==

			Mark all types of parallel thirds (other than repeated thirds on the same note):