Time patterns (‘smooth’ time)

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}

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}}

A sequence of sim­ple notes ‘do5’, ‘re5’,…, arranged against a lat­tice of time-objects ‘t1’, ‘t2’,…, result­ing in an irreg­u­lar “beat” struc­ture in smooth time.

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.


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