In my Doctoral Dissertation, I converted every FORTE number in a modulo 12 Rhythm via time-point-system.
There is a complete catalog included (see the link below). It's in portuguese.
After Janusz adjusted the Forte numbers to have the inversion, using "a" and "b" to differentiate the
prime forms from the inversions, it was easy to convert using codes like this:
(setf ch0 (time-point-system (pcs '5-11b :pitch)'s :start 0)) (setf ch1 (time-point-system (pcs '6-33 :pitch)'s :start 1)) (setf ch2 (time-point-system (pcs '7-11b :pitch)'s :start 2)) (setf ch3 (time-point-system (pcs '3-11b :pitch)'s :start 3)) (setf ch4 (time-point-system (pcs '3-11b :pitch)'s :start 0))
The dissertation (in portuguese) can be downloaded HERE:
Das alturas ao ritmo : teoria dos conjuntos rítmicos como ferramenta composicional
From pitches to rhythm: rhythmic set theory as a compositional tool.
This doctoral dissertation is divided into two parts: the first deals a rhythmic set theory, and the second contains the portfolio of compositions developed during this period of studies. This dissertation presents a system of rhythmic organization parallel to the musical set theory pitch class organization FORTE (1973), as well as an adaptation of the time-point-system (BABBITT, 1962). From the standpoint of the traditional set theory, and also from the diatonic set theory, this unified approach allows to estabilish a connecting tissue of basic aspects: from the harmony and chords symbols to the rhythmic organization. At one time, in a complete catalog, the families of pitch class sets and chord symbols are related to their respective rhythmic counterparts. The musical motivation for this research came from my interest in the swinging and groovy repetitive rhythms called timelines (TOUSSAINT, 2013), commonly used in popular music. These dancing timelines have properties similar to those of the diatonic sets, and for this reason, this dissertation presents some properties of the diatonic pitch class sets, drawing a parallel with their rhythmic counterparts. These relationships also appear in the portfolio of compositions, characterizing some procedures used. The portfolio of compositions, which includes a composition for symphony orchestra, is presented form the standpoint of a duality between transparency and opacity. This duality address the essential differences in the audibility of the results from various composition techniques. This study of Rhythmic Set Theory will serve as an analytical approach of my compositional output in popular music, with a systematic way to understant and to extrapolate some aspects already used in my practice as composer and improviser. Here is an analysis of a Wayne Krantz improvisation, using the rhythmic set theory system. Hope you enjoy !! Best, Julio
I am working on a new omn symbol VOICES and wonder which way is more natural to write.
I would like to hear your comments and ideas on this.
Here are the two examples.
With symbol :vx
1) Each voice after each event, next to each other (1 bar 4/4):
symbol option :vx (:v1 q cs5 ff :v2 q gs4 ff :v3 q f4 ff :v4 q f3 ff :v1 q eb5 ff :v2 q gs4 ff :v3 q c4 ff :v4 q gs3 ff :v1 q cs5 ff :v2 q gs4 ff :v3 q f4 ff :v4 q cs3 ff :v1 q f5 ff :v2 q cs5 ff :v3 q gs4 ff :v4 q cs3 ff) symbol option :x (:1 q cs5 ff :2 q gs4 ff :3 q f4 ff :4 q f3 ff :1 q eb5 ff :2 q gs4 ff :3 q c4 ff :4 q gs3 ff :1 q cs5 ff :2 q gs4 ff :3 q f4 ff :4 q cs3 ff :1 q f5 ff :2 q cs5 ff :3 q gs4 ff :4 q cs3 ff)
2) Each voice in a separate bar (1 bar 4/4):
symbol option :vx (:v1 (q bb4 ff g4 gs4 e g4 f4) :v2 (q cs5 ff b4 gs4 fs4) :v3 (q f4 ff bb3 gs3 e bb3 gs3) :v3 (q d3 ff e eb3 d3 q c3 bb2)) symbol option :x (:1 (q e4 ff h f4 q c5) :2 (e fs4 ff gs4 bb4 gs4 q fs4 f4) :3 (s g3 ff gs3 q bb3 s gs3 g3 q gs3 f4) :4 (q c3 ff h f2 q f3))
The symbol option :1 :2 :3 :4
(:1 (q e4 ff h f4 q c5) :2 (e fs4 ff gs4 bb4 gs4 q fs4 f4) :3 (s g3 ff gs3 q bb3 s gs3 g3 q gs3 f4) :4 (q c3 ff h f2 q f3))
will print in the Listener:
(:|1| (q e4 ff h f4 q c5) :|2| (e fs4 ff gs4 bb4 gs4 q fs4 f4) :|3| (s g3 ff gs3 q bb3 s gs3 g3 q gs3 f4) :|4| (q c3 ff h f2 q f3))
I personally think the second option is better to control.