The following is a simple grammar illustrating the use of time-patterns in smooth time. While striated time is filled with (regular or irregular) pulse, smooth time does not imply any counting.
_mm(120.0000) _smooth GRAM#1[1] S --> {10 , t1 t2 , Part1 Part2} GRAM#1[2] Part1 --> {t1 t3 t4 , do4 re4 mi4 fa4 - la4} GRAM#1[3] Part2 --> {t3 t1 , si4 do5 _ mi5} TIMEPATTERNS: t1 = 1/1 t2 = 3/2 t3 = 4/3 t4 = 1/2
In this grammar, “t1”, “t2” etc. are time-objects arranged in such a way that they define a structure of (irregular) “beats” on which notes “do4”, “re4” etc. will be located.
The final arrangement is the following:
{10, t1 t2, {t1 t3 t4, do4 re4 mi4 fa4 - la4} {t3 t1, si4 do5 _ mi5}}

Time flexibility in Bol Processor is not the effect of arbitrary numeric functions. It stems out of a time structure — Xenakis’ (1963) structure temporelle — deeply interwoven with the syntactic description of music.
Reference
- Bel, Bernard. Migrating Musical Concepts: An Overview of the Bol Processor. Computer Music Journal, Massachusetts Institute of Technology Press, 1998, 22 (2): 56-64.