This is slippery-chicken, a Common Lisp and CLOS package for algorithmic composition.
slippery chicken outputs sound files via Common Lisp Music, reaper files, MIDI files, and score files in PDF, Lilypond, and MusicXML formats. It also outputs scores in antescofo~ format for use with Arshia Cont's score following external for Max/MSP, as well as scores for Csound.
The source code is available here in github. For more details about installation see the install page.
Extensive documentation can be found at https://www.michael-edwards.org/sc You may also be interested in a paper I wrote some years ago.
Since March 2024 slippery-chicken can be installed via Common Lisp's ASDF mechanism. See the install page for details.
Here's a small example of how to work with slippery chicken. It's a demo rather
than a fully-nuanced piece of music and shouldn't be seen as indicative of
slippery-chicken's aesthetic (which doesn't exist). It keeps code length short
(at least if you take out the extensive comments) but illustrates some of the
power of the algorithmic approach. Think of slippery chicken as a big
(non-artificially) intelligent sequencer or music compiler, but bear in mind
that the make-slippery-chicken approach is not the only way of cooking
something up (e.g. see this wiki
page
for another approach).
Warning
Copy/pasting from a webpage into a Lisp interpreter often causes problems because the characters are not always standard ANSI. Generally GitHub code displayed online will work but if not, then the code below can be found in this repo--hit the Download raw button to grab it.
(in-package :sc)
(let* ((num-seqs 55) ; change this number for a longer/shorter piece
;; we will have only 4 rhythm sequences (similar to phrases: see below)
;; use slippery chicken's procession algorithm to move between these
(proc (procession num-seqs '(1 2 3 4)))
(hello
(make-slippery-chicken
'+hello-slippery+
:composer "ME"
:title "hello slippery chicken noodles"
:year "2024"
:tempo-map '((1 (q 144 "fast")))
;; just three instruments on different MIDI channels. You can have as
;; many instruments/players as you like--there are no known limits
;; (famous last words). Symbols such as 'vln' name the players who
;; will play the instruments (they could play more than one)
:ensemble '(((vln (violin :midi-channel 1))
(perc (vibraphone :midi-channel 4))
(bsn (bassoon :midi-channel 9))))
;; our rhythm sequences (aka phrases). We reference these in the
;; rthm-seq-map below to sequence the piece. Rhythms are notated as
;; simple symbols like s for 16th, e for eighth, q. for dotted quarter
;; etc. Symbols in () are rests. Nested tuplets (complex rhythms) and
;; RQQ notation also possible. Rhythms can be repeated with e.g. s x 4
;; (four 16ths). Melodic curves are indicated by the
;; :pitch-seq-palette. See
;; https://michael-edwards.org/sc/manual/pitches.html#curves
:rthm-seq-palette '((1 ((((5 8) - s x 4 - - s e s - (e)))
:pitch-seq-palette ((1 2 5 4 1 3 6)
(5 3 2 6 4 1 2))))
(2 ((((5 8) - s s s - (s) (e) - s x 4 -))
:pitch-seq-palette ((1 3 2 6 4 2 3))))
(3 ((((5 8) (e) - e s s - - s e s -))
:pitch-seq-palette ((1 4 2 3 6 3))))
(4 ((((5 8) - s e s - e (e) - s s -))
:pitch-seq-palette ((4 1 2 5 2 3)))))
;; our 'harmonic' material. We'll also use 4 chords or sets so that we
;; can use the procession algorithm to sequence these also. Pitches
;; are notated as symbols using note names from c to b, the octave
;; number (where 4 is the middle octave), and modifiers s and f for
;; sharp and flat (microtones also possible). E.g. cs4 is middle c#,
;; dqf2 is the lowest d quarter-flat on the cello.
:set-palette '((1 ((d2 f2 ef3 b3 g4 af4 a4 bf5)))
(2 ((b1 e2 d3 bf3 f4 g4 a4 fs5)))
(3 ((ef2 a2 d3 b2 a3 f4 c5 fs5 bf5)))
(4 ((cs2 bf2 fs3 e4 c5 g5 d6))))
;; we can shape the range or tessitura of our instruments using
;; breakpoint curves. Here all three instruments will start off low
;; but move to a high point 75% of the way through before moving back
;; to low again by the end. Instruments will only be assigned pitches
;; from the sets that are in their range, but they will also be
;; limited by set-limits.
;; https://michael-edwards.org/sc/manual/nouveau-reich.html#interpl
:set-limits-high '((vln (0 c5 75 c7 100 c5))
(perc (0 a4 75 f6 100 a4))
(bsn (0 g3 75 a4 100 g3)))
:set-limits-low '((vln (0 c4 75 g5 100 c4))
(perc (0 f3 75 g4 100 f3))
(bsn (0 bf1 75 g3 100 bf1)))
;; here we just splice our procession list of IDs into both 'maps' to
;; determine the order of the harmonic sets and the rhythm sequences.
:set-map `((1 ,proc))
:rthm-seq-map `((1 ((vln ,proc)
;; wrap the lists around on themselves to get
;; 'instant counterpoint'
(perc ,(wrap-list proc 4))
(bsn ,(wrap-list proc 7))))))))
;; now the piece is in memory and ready to render but let's do a little
;; post-generation editing first. Fast repeated notes are a cinch on the vibes
;; and violin but much harder on the bassoon so let's change repeated notes in
;; that part to neighbouring tones in the current set.
(rm-repeated-pitches hello 'bsn)
;; and related to that, let's automatically add slurs to the bassoon
;; part--this would make a good starting point but would need some hand
;; editing to avoid e.g. large downward leaps
(auto-slur hello 'bsn)
;; marks can be part of rthm-sequence-palettes or added post-generation. They
;; can be symbols like 'a' for accent or any arbitrary text, as here.
(add-mark-to-note hello 1 1 'vln "hello")
(add-mark-to-note hello 1 4 'vln "slippery")
(add-mark-to-note hello 2 1 'vln "chicken")
;; render a score via lilypond or if your system can't handle calls to the
;; shell, just write the lilypond formatted text files and render in lilypond
;; separately (for that use write-lp-data-for-all)
(lp-display hello)
;; write a music-xml file for import into Dorico, Musescore, Sibelius etc.
(write-xml hello)
;; write a midi file. All of these files can be specified with a path or, as
;; here, written to the default directory (by default /tmp but user-settable
;; via e.g. (set-sc-config 'default-dir "~/music/")
(midi-play hello))Via Lilypond (or CMN) we can directly produce a score. We could listen to the piece with instrument approximations using Dorico or something but I quite like the funky MIDI file render made with pianoteq 7's electric piano MKII Flower Power: listen
- Thanks first of all to Rick Taube, the author of Common Music (CM), which
was the first algorithmic composition system I used when I was starting out in
computer music way back in the early 90s. slippery chicken takes all of its MIDI
file reading and writing routines from CM as well as some aspects of pitch and
tuning notation.
- and of course thanks to Orm Finnendahl for making the last Common Lisp version of CM available on GitHub.
- In a similar vein, thanks to Bill Schottstaedt, author of CLM and CMN, who has for decades now been a big help and inspiration when it comes especially to digital signal processing, analysis, and synthesis.
- Thanks to Sean Reed who did a lot of the original documentation--in the form of the website and the inline code documentation--as well as the original test suite, all back in 2011/12
- Thanks to the many students who have used, tested, and given me productive feedback over the years, most recently and in particular Leon Focker, Ruben Philipp, and Dan Ross.
Happy lisping,
Michael Edwards ([email protected])