README.md

Franz

Franz is a domain-specific programming & music description language. It aims to provide straightforward, text-based musical notation, and explores the relationship between rhythm motifs and note sequences.

Franz compiles to ChucK, a low-level, strongly-timed programming language specifically targeted for music notation. It expresses notes at a frequency level. Note that this compiler does not utilize the full functionality of ChucK, as it targets rather different aspects of musicality.

Syntax

Defining a Control

A control, the outer shell of the program, has three components – a use block. a components list and a return block.

1. The use block outlines the parameters of the song (including time/key signature and tempo).
2. The components list will allow us to actually create components of the music.
3. The return block tells the compiler exactly what permutation of phrases to return.

These are wrapped around a control statement as such:

control = {
  (* Instructions *)
};

Use Blocks

Create use blocks as follows:

use {
  key = {<pitches in key signature>};
  meter = <count>/<beat type>;
  tempo = <tempo>;
};;

Pitches (for key signatures) are octave-independent, and should be expressed as f_shp or b_flt. Tempo is currently limited to Lento, Adagio, Andante, Allegro and Presto. With this in mind, we could define the following sequence:

use {
  key = {b_flt, e_flt, a_flt};
  meter = 2/4;
  tempo = Allegro;
};;

Components

Rhythm and Motifs

Begin by describing any rhythm motifs. Note that all motifs, phrases and variables must be capitalized.

motif MyMotif[<Args>] = {
  <rhythm sequence>
};;

args should contain names which are boolean arguments. These can be used to specify details of the rhythm sequence.

A rhythm sequence can consist of beat values (ts, sx, et, qt, hf, wh) suffixed optionally with dots, which function the same way as dots in standard sheet music do. hf functions as a half note (two beats in common time) while hf. functions as a dotted-half note (three beats in common time). As so, a simple example to outline the rhythm of the opening to Beethoven's 5th symphony might be:

motif FifthSymphonyOpening[] = {
  et; et; et; hf.
};;

(Note the four eighth beats, as opposed to three. The first one can be applied to a 'rest' pitch later to give the desired effect).

Rhythm sequences can be made more complicated using ternary operators and multiplication.

For example, here's a frequent rhythmic sequence with a few variations from the Star-Spangled Banner:

motif Example[Arg1] = {
  qt.; et; {3 * qt}; {Arg1 ? (qt; qt) : hf}
};;

Or (to simplify our earlier example):

motif FifthSymphonyOpening[] = {
  (4 * et); hf.
};;

Note that the beats should be included after the arithmetic expression.

Motifs are technically partial functions. They are intended to be applied to note sequences, inside the control, as we'll discuss momentarily.

Pitch Blocks

The syntax for a pitch itself (without rhythm applied) is <note><octave>_<optional accidental> – for example, c4_shp or b3_flt. For natural notes and accidentals already specified via the key signature, just write c4. To re-naturalize a note, specify c4_ntl.

Pitch sequences are expressed as {note1; note2; ...} or for example, {d4; e4; f4; g4; e4; c4; d4;} notes themselves are written as a pairing (c4, qt).

Applying a motif to a pitch sequence allows us to use earlier motifs pitch sequences to generate full phrases. Here's the syntax for that:

phrase Beethoven5Opening = {
  FifthSymphonyOpening[{rst; {3 * g4}; e4}];
  FifthSymphonyOpening[{rst; {3 * f4}; d4}]
};;

Note that e4 is not marked as flat. The key signature we described above handles that.

Return Blocks

return can chain together the desired phrases, with any necessary manipulations, and return a phrase to end the whole sequence.

return {Phrase1; 2 * Phrase2; ...};;

Or in this case:

return {Beethoven5Opening};;