the first performance of v.i.r.u.s, at the International
Guitar Festival Rust 2001, José
Luis Ruiz del Puerto asked me per phone for a composition for solo
guitar. A phone call from
Tárrega is well known in the world
of classical guitar (see “Francisco Tárrega Biography”) and friends of
classical guitar music know his famous pieces Recuerdos de la Alhambra, Danza
mora, Capricco arabe, his Preludes and so on…
the design of the piece, it was completely clear to me what I had to do. When I
was 15 years old, I started my first guitar lessons with Una Lagrima
of Francisco Tárrega. And I have played
it very often since, and I still play it today.
decided to design a tune based on Una Lagrima, adapting many techniques
used by the famous classical guitar composer
Fernando Sor in his so
called Mozart Variations op. 9. The movements of
the piece do not consist of variations
(like in classical music!). A special musical morphing technique was
used to generate 12 morphs from Una Lagrima.
composition starts with a free introduction, a mutation of the first two bars
of Una Lagrima. The twelve morphs of g.i.l.m.a.r.a.n.u.a
were designed using the help of NTONYX StyleMorpher®, a great program,
developed under the direction of Alexei Ustinov. (see the article "Using
NTONYX StyleMorpher in professional composition work").
notation work of the whole composition was done using ENCORE, the final tuning
and polishing with Cakewalk Sonar®. The performance and hard disk
recording was done with Nemesys GigaStudio 160® in the v4m studio.
g.i.l.m.a.r.a.n.u.a is a palindrom, something like a puzzle, the
title of the piece was constructed using all the characters of unalagrima. The title of the morphs are also anagrams of lagrima. This play around with characters should
demonstrate part of the morphing techniques used in constructing the
g.i.l.m.a.r.a.n.u.a is really not easy to perform, but some morphs are
like a lovely breeze. Discover and…
in professional composition work
NTONYX StyleMorpher 2.4 (SM2.4) - is an easy to use and powerful MIDI tool, focused towards composers, arrangers and music fans. SM2.4 is intended to create many different types of transformations of MIDI-songs or fragments of songs. Thus, SM2.4 creates rhythm, meter, harmonic and other translations of your original MIDI source material.
The principal of SM2.4's work is applying an algorithm to the initial song or song fragment. The rules of this algorithm create a translation of the original work. SM2.4 has 6 types of transformations determined by the algorithm used. These algorithms are sensitive to the musical content of the selected MIDI file hence using the same transformation on different MIDI files will provide different results. This program allows you to create a new song using the transformations. The final resulting songs depends both upon the original source MIDI file and the type of transformation selected. Thus, SM2.4 applies special algorithms to a MIDI song and creates a harmonically, rhythm, meter, etc. altered song.
2. Prepering the original tune
for the use with NTONYX
2. Prepering the original tune for the use with NTONYX StyleMorpher®
Fig.2.1: MIDI-recording of the original piece "Una Lagrima" of Francisco
Tárrega, done by Jovan Pesec.
(MP3 of the first 9 bars)
As described in the overview, NTONYX StyleMorpher works withs MIDI-files.
The base of the composition "g.i.l.m.a.r.a.n.u.a" is a lovely tune of F. Tárrega, which really every student knows, who starts playing of the classical guitar. I played it very often in the past on my guitar, but for this purpose I had to play it on the keyboard, attached with a MIDI interface to the soundcard. As recording device I used the notation program ENCORE.
The tune uses two voices. So I recorded one voice after the other and polished the result with ENCORE.
Normally it much better to use two or three tracks in a sequencer program, if you play back guitar music. Because fine tuning of the voices is much easier. Most of the notation programs allow merging of voices for a printable sheet, which guitar musicians are used to.
After finishing recording and polishing the tune, I had to export it using the MIDI format.
3. Generating of the morphs with NTONYX
Fig.3.1: NTONYX Stylemorpher®: Third set of parameters of the third morphing (ligamar)
I generated more than 60 morphs using NTONYX StyleMoprher and choosed the
best of it for the design process with the notation program ENCORE. In the case
of ligamar three steps with different settings of music figure, meter, rhythm,
harmony, voices and RDN influences were applied after the other.
The whole process is very time consuming, because I got very often results, which were not usable (or hearable) for my purpose.
A note: My expieriences with music generation programs is, they can't compose music, they can extend you possibilities of composing music extremely, if you use these programs like a painter uses the pencil. But not more.
Fig.3.2: Score of the third morphing (ligamar), generated by NTONYX
(MP3 of the first 9 bars)
See the result of music generation in fig. 3.2. Listen to the result. Fig. 3.2 shows the resulting MIDI-file imported into ENCORE, ready for starting the notation work
4. Designig a piece for guitar from the morph with ENCORE®
Fig.4.1: Score of the third morphing (ligamar), designed with the
notation program ENCORE® by Jovan Pesec
(MP3 of the first 9 bars)
If you compose music with a music generation program like NTONYX StyleMorpher,
Tangent or SSEYO KoanPro, the result normally is not playable for a human
musician! Especially not using an instrument like the classical guitar. First,
the classical guitar use a combined staff for the voices of the piece. The
generator supplies one staff or a grand staff. Another limit is given of
possible fingering of the guitar artist.
Translating of a piece like ligamar (fig. 3.2), generated with NTONYX Stylmorpher, to ligamar (fig. 4.1) with ENCORE needs an expierienced composer.
I know classical guitar very well, because I'm playing classical guitar. The importing of the generated morph into the notation program is the first, and easiest step. But than starts a process using the computer and the guitar alternately, combining the voices, changing the pitches, loosing and adding some notes on the way, adding expressions - making the whole piece playable for a human artist.
But in the case of g.i.l.m.a.r.a.n.u.a the whole process was the work worth.
Hear the result in the short demonstration here or go to Barcelona conservatory next year on the 150. birthday of Francisco Tárrega on 21st of November 2002 and listen to José Ruiz del Puerto. He will play the whole composition there.
But in between have a look at vision4media or NTONYX and
a service of
updated: 21. Mai 2004
designed by Judith.P.Fischer