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Minuet in G

Binary form, plainly

% Minuet in G, binary form: two halves, each played twice, and
% nothing else. One gesture does most of the walking: four notes
% stepping down from the fifth.
 
bpm 140
instrument hollow
meter 3
unit 1/4
key g4 maj
mode diatonic
 
Run ::= 5 _2 4 _2 3 _2 2 _2
assert Run == d5 _2 c5 _2 b4 _2 a4 _2
 
Run
 
 
% mm.1-4: the tune's first sentence. The odd measures are a quarter
% and four eighths, the even ones three plain quarters; m3 takes the
% same rise up a fourth ('@~3' is three scale steps), and m4 tops out
% on the high 1. Rise is Run backwards, a step lower: one shape, two
% directions.
 
Rise ::= 1 _2 2 _2 3 _2 4 _2
assert Rise == Run[::-1]@~-1
assert Rise@~3 == 4 _2 5 _2 6 _2 7 _2
 
Tune ::= | 5 _4 Rise |
  | 5 _4 1 _4 1 _4 |
  | 6 _4 Rise@~3 |
  | '1 _4 1 _4 1 _4 |
 
Tune
 
 
% mm.5-8 and mm.13-16: Run does the walking, dropping a scale step
% each measure ('@~-1' is one step down). Both phrases open with the
% same two measures and part at the cadence: the first hangs open on
% 2, the second takes the sequence one step further and closes on 1.
 
Fall ::= | 4 _4 Run |
  | 3 _4 Run@~-1 |
assert Run@~-1 == 4 _2 3 _2 2 _2 1 _2
assert Run@~-2 == 3 _2 2 _2 1 _2 .7 _2
 
Open  ::= Fall
  | .7 _4 1 _2 2 _2 3 _2 1 _2 |
  | 2 _12 |
Close ::= Fall
  | 2 _4 Run@~-2 |
  | 1 _12 |
assert Open[:1] == Close[:1]
 
Open Close
 
 
% mm.17-24: the second half opens an octave above the tune and
% brings in the only accidental the piece owns: 4#, the leading tone
% of 5. By m24 it has cadenced on 5, in the key of the dominant.
 
Climb ::= 2 _2 3 _2 4# _2 5 _2 6 _2 7 _2
assert 4# == c#5
 
Away  ::= | '3 _4 '1 _2 '2 _2 '3 _2 '1 _2 |
  | '2 _4 5 _2 6 _2 7 _2 5 _2 |
  | '1 _4 6 _2 7 _2 '1 _2 5 _2 |
  | 4# _4 3 _2 4# _2 2 _4 |
Awayb ::= Climb
  | '1 _4 7 _4 6 _4 |
  | 7 _4 2 _4 4# _4 |
  | 5 _12 |
 
Away Awayb
 
 
% mm.25-32: the way back. The same Climb moved down a fifth ('@-7')
% has no accidental left in it and reads as plain G; three measures
% later the piece settles onto its tonic triad.
 
Tonic ::= {1, .5, .3}
assert Climb@-7 == .5 _2 .6 _2 .7 _2 1 _2 2 _2 3 _2
 
Home  ::= | 5 _4 1 _2 .7 _2 1 _4 |
  | 6 _4 1 _2 .7 _2 1 _4 |
  | 5 _4 4 _4 3 _4 |
  | 2 _2 1 _2 .7 _2 1 _2 2 _4 |
Homeb ::= Climb@-7
  | 4 _4 3 _4 2 _4 |
  | 3 _2 5 _2 1 _4 .7 _4 |
  | Tonic _12 |
assert Homeb[:1] == Climb@-7
 
Home Homeb
 
 
% The two halves, each stated twice: that repeat scheme IS the form.
% The first says Tune twice, open cadence then closed, and never
% leaves G; the second goes to the dominant and walks back.
 
First  ::= Tune Open Tune Close
Second ::= Away Awayb Home Homeb
 
First*2
Second*2
 
 
% THE WHOLE MINUET: once through, no repeats, in the names the
% lesson already built: four eight-measure sections and not one new
% rule. Two items are written out here that the teaching blocks
% rounded off, and both ride as overrides on the rule that owns them.
 
bpm 140
meter 3
unit 1/4
key g4 maj
mode diatonic
 
% mm.1-8. Tune, then Open. The last eighth of m.7 is not one note:
% it is a dotted sixteenth on 1 and a thirty-second on 3, the G
% flicking up to B before m.8's A hangs open. Where Open was defined
% that eighth was spelled as one note; '\14' puts the pair back. An
% override index counts what the reference PLAYS, from zero, so
% Fall's ten notes are items 0-9 and m.7's four eighths are 11-14.
Tune Open \14 {1 _3/2 3/2}
assert Open \14 {1 _3/2 3/2} == Open[:5] 1 _3/2 3/2 2 _12
 
% mm.9-16. Tune again, with Close where Open was: the same two
% measures of Fall, then the sequence one step further, and the
% phrase lands on 1 instead of hanging on 2.
Tune Close
 
% mm.17-24: the dominant half. All four of the piece's C sharps
% stand in these eight measures, and the melody owns no other
% accidental anywhere.
Away Awayb
 
% mm.25-32: the way back, and the close. The last chord is Tonic's
% three pitches written from the bottom up (B below middle C, then D,
% then G), so '\13' overrides that one item of Homeb. In a SLICE
% Climb@-7 counts as one item and not six, which is why Homeb[:1] is
% the whole climb.
Home Homeb \13 {.3, .5, 1}

% Minuet in G, binary form: two halves, each played twice, and
% nothing else. One gesture does most of the walking: four notes
% stepping down from the fifth.

bpm 140
instrument hollow
meter 3
unit 1/4
key g4 maj
mode diatonic

Run ::= 5 _2 4 _2 3 _2 2 _2
assert Run == d5 _2 c5 _2 b4 _2 a4 _2

Run

% mm.1-4: the tune's first sentence. The odd measures are a quarter
% and four eighths, the even ones three plain quarters; m3 takes the
% same rise up a fourth ('@~3' is three scale steps), and m4 tops out
% on the high 1. Rise is Run backwards, a step lower: one shape, two
% directions.

Rise ::= 1 _2 2 _2 3 _2 4 _2
assert Rise == Run[::-1]@~-1
assert Rise@~3 == 4 _2 5 _2 6 _2 7 _2

Tune

% mm.5-8 and mm.13-16: Run does the walking, dropping a scale step
% each measure ('@~-1' is one step down). Both phrases open with the
% same two measures and part at the cadence: the first hangs open on
% 2, the second takes the sequence one step further and closes on 1.

Fall ::= | 4 _4 Run |
  | 3 _4 Run@~-1 |
assert Run@~-1 == 4 _2 3 _2 2 _2 1 _2
assert Run@~-2 == 3 _2 2 _2 1 _2 .7 _2

Open  ::= Fall
  | .7 _4 1 _2 2 _2 3 _2 1 _2 |
  | 2 _12 |
Close ::= Fall
  | 2 _4 Run@~-2 |
  | 1 _12 |
assert Open[:1] == Close[:1]

Open Close

% mm.17-24: the second half opens an octave above the tune and
% brings in the only accidental the piece owns: 4#, the leading tone
% of 5. By m24 it has cadenced on 5, in the key of the dominant.

Climb ::= 2 _2 3 _2 4# _2 5 _2 6 _2 7 _2
assert 4# == c#5

Away  ::= | '3 _4 '1 _2 '2 _2 '3 _2 '1 _2 |
  | '2 _4 5 _2 6 _2 7 _2 5 _2 |
  | '1 _4 6 _2 7 _2 '1 _2 5 _2 |
  | 4# _4 3 _2 4# _2 2 _4 |
Awayb ::= Climb
  | '1 _4 7 _4 6 _4 |
  | 7 _4 2 _4 4# _4 |
  | 5 _12 |

Away Awayb

% mm.25-32: the way back. The same Climb moved down a fifth ('@-7')
% has no accidental left in it and reads as plain G; three measures
% later the piece settles onto its tonic triad.

Tonic ::= {1, .5, .3}
assert Climb@-7 == .5 _2 .6 _2 .7 _2 1 _2 2 _2 3 _2

Home  ::= | 5 _4 1 _2 .7 _2 1 _4 |
  | 6 _4 1 _2 .7 _2 1 _4 |
  | 5 _4 4 _4 3 _4 |
  | 2 _2 1 _2 .7 _2 1 _2 2 _4 |
Homeb ::= Climb@-7
  | 4 _4 3 _4 2 _4 |
  | 3 _2 5 _2 1 _4 .7 _4 |
  | Tonic _12 |
assert Homeb[:1] == Climb@-7

Home Homeb

% The two halves, each stated twice: that repeat scheme IS the form.
% The first says Tune twice, open cadence then closed, and never
% leaves G; the second goes to the dominant and walks back.

First  ::= Tune Open Tune Close
Second ::= Away Awayb Home Homeb

First*2
Second*2

% THE WHOLE MINUET: once through, no repeats, in the names the
% lesson already built: four eight-measure sections and not one new
% rule. Two items are written out here that the teaching blocks
% rounded off, and both ride as overrides on the rule that owns them.

bpm 140
meter 3
unit 1/4
key g4 maj
mode diatonic

% mm.1-8. Tune, then Open. The last eighth of m.7 is not one note:
% it is a dotted sixteenth on 1 and a thirty-second on 3, the G
% flicking up to B before m.8's A hangs open. Where Open was defined
% that eighth was spelled as one note; '\14' puts the pair back. An
% override index counts what the reference PLAYS, from zero, so
% Fall's ten notes are items 0-9 and m.7's four eighths are 11-14.
Tune Open \14 {1 _3/2 3/2}
assert Open \14 {1 _3/2 3/2} == Open[:5] 1 _3/2 3/2 2 _12

% mm.9-16. Tune again, with Close where Open was: the same two
% measures of Fall, then the sequence one step further, and the
% phrase lands on 1 instead of hanging on 2.
Tune Close

% mm.17-24: the dominant half. All four of the piece's C sharps
% stand in these eight measures, and the melody owns no other
% accidental anywhere.
Away Awayb

% mm.25-32: the way back, and the close. The last chord is Tonic's
% three pitches written from the bottom up (B below middle C, then D,
% then G), so '\13' overrides that one item of Homeb. In a SLICE
% Climb@-7 counts as one item and not six, which is why Homeb[:1] is
% the whole climb.
Home Homeb \13 {.3, .5, 1}

running…edit it and it re-runs as you type

Minuet in G · Showcase