def invert_pitches(port):
for msg in port:
if msg.channel == IN_CHANNEL and msg.type in ('note_on', 'note_off'):
# only reverse pitches above middle D
if msg.note > 64:
msg.note = 124 - msg.note
msg.channel = OUT_CHANNEL
yield msgThis would have the lower half of the keyboard ascend, and the upper half descend.
Perhaps this can be done with Scala files but I never got the reverse.kbm file to work with recent versions of Pianoteq so I'm not sure.
]]>LTECpiano wrote:Gilles wrote:In fact, my short demo at twice the speed and an octave higher works better as a harp part.
More, More ... nice!
Lanny
Well, you asked for it
Here is the complete prelude 1 reversed. I had to go back to the score since memory failed and, amateur that I am, there is a splice at the end due to a stupid mistake, but the chord progression is still interesting even in reverse!
https://forum.modartt.com/uploads.php?f...elude1.mp3
Since it goes too low forward so too high backward I left it untransposed. The interesting part in using the SuperCollider method is that I can listen to the normal version on channel 1 while playing and record the reversed one from channel 2.
Excellent & Kudos,
Lanny
]]>Gilles wrote:In fact, my short demo at twice the speed and an octave higher works better as a harp part.
More, More ... nice!
Lanny
Well, you asked for it
Here is the complete prelude 1 reversed. I had to go back to the score since memory failed and, amateur that I am, there is a splice at the end due to a stupid mistake, but the chord progression is still interesting even in reverse!
https://forum.modartt.com/uploads.php?f...elude1.mp3
Since it goes too low forward so too high backward I left it untransposed. The interesting part in using the SuperCollider method is that I can listen to the normal version on channel 1 while playing and record the reversed one from channel 2.
]]>In fact, my short demo at twice the speed and an octave higher works better as a harp part.
More, More ... nice!
Lanny
]]>import mido
IN_CHANNEL = 0
OUT_CHANNEL = 1
def invert_pitches(port):
for msg in port:
if msg.channel == IN_CHANNEL and msg.type in ('note_on', 'note_off'):
msg.note = 124 - msg.note
msg.channel = OUT_CHANNEL
yield msg
with mido.open_input(None) as inport:
with mido.open_output(None, autoreset=True) as outport:
for message in invert_pitches(inport):
outport.send(message)MIDIClient.init;
MIDIIn.connectAll;
m = MIDIOut.new(0);
m.latency = 0.0;
n = 62; // Middle D
MIDIdef.noteOn(\On,
{
arg vel, nn, chan, src;
if (chan == 0, {
m.noteOn(1, n - (nn - n), vel);
}
);
}
);
MIDIdef.noteOff(\Off,
{
arg vel, nn, chan, src;
if (chan == 0, {
m.noteOff(1, n - (nn - n), vel);
}
);
}
);
)
Here is part of Bach's Prelude no 1 from WTCI played forward on channel 1 and heard backward on channel 2:
Nice chords, but not so baroque anymore...
https://forum.modartt.com/uploads.php?f...relude.mp3
Of course, using the Advanced Tuning as described is much simpler.
]]>For the record, the way to mirror the keyboard around middle D in Pianoteq now is: in the advanced tuning section, select “reverse keyboard direction”, change "string tension" to "full rebuild", and choose G2 as the diapason note (click on the invisible button immediately to the left of the C3 label in the keymap editor). Without full rebuild, reversing keyboard direction produces useless results, and the diapason note can't be changed to G2 with the diapason note button, which won't accept values below 220.
Thanks to Niclas for explaining how to do this!
I'm glad I could be of help. But please also thank Julien, he is the one who solved the puzzle..
]]>This is extremely instructive as a composer! The insights I've gotten just from a few minutes of listening to my own compositions and a few pieces by others have been more useful and inspiring than anything I was ever taught in music. It's one thing to invert a short theme or motif, but it's an entirely different, eye-opening experience to invert an entire large work--especially a multi-movement symphonic one.
I'm glad you find it stimulating! Inversions can be fascinating, and obviously composers have found them fruitful for centuries -- the mirror fugues of Bach's Art of Fugue being a kind of limit case (maybe the most spectacular instance, while also being the least suggestive of further uses). Cases when inversions either succeed somehow (some Bach pieces, like the fugue I posted years ago in this thread) but with different meaning than the original, or completely fail (like the Mozart Sonata K333 I've been inverting recently so as to work on my left hand technique) are also interesting in how they differ or fail. It is really worth paying attention to what happens when an isomorphism is applied to a work of art. I think it was Edward Cone who pointed out that a conventional analysis of Chopin's 1st Prelude transposed up an octave would be exactly the same as an analysis of the original, yet the two works would hardly be equivalent. Any attempt to capture the significance of the difference is non-trivial, leading you into areas of human experience outside so-called music theory. A similar but less drastic and more familiar transformation is change of tempo, which, because it is more familiar, we can become desensitized to, but to what we have been desensitized we may become resensitized — that's what music is for! Cheers, js
]]>For the record, the way to mirror the keyboard around middle D in Pianoteq now is: in the advanced tuning section, select “reverse keyboard direction”, change "string tension" to "full rebuild", and choose G2 as the diapason note (click on the invisible button immediately to the left of the C3 label in the keymap editor). Without full rebuild, reversing keyboard direction produces useless results, and the diapason note can't be changed to G2 with the diapason note button, which won't accept values below 220.
Thanks to Niclas for explaining how to do this!
I must confess when I saw this thread, my immediate reaction was "what a useless feature," but I was *so* wrong. This is extremely instructive as a composer! The insights I've gotten just from a few minutes of listening to my own compositions and a few pieces by others have been more useful and inspiring than anything I was ever taught in music. It's one thing to invert a short theme or motif, but it's an entirely different, eye-opening experience to invert an entire large work--especially a multi-movement symphonic one. I can't wait to see what else I find as I route more and more material through this easy-to-setup batch of settings smulloni and Niclas. Thank you both!
]]>Thanks to Niclas for explaining how to do this!
]]>https://soundcloud.com/smulloni/blues-d...xUHsdEzXvd
If I use the "reverse keyboard direction" option under Advanced Tuning/Keyboard Mapping, the results are equally weird. Every preset I've tried has the same issue.
Is this, as I would suspect, a bug, or is there another setting that needs to be combined with combining the reverse keyboard direction to produce sane results?
]]>