AICP
Artificial Intelligent CounterPoint
Image outline → junctions → cantus firmus → species counterpoint after Fux
Layer IOutline & junctions
Layer IICantus firmus
Layer IIICounterpoint voices
01 Source Image
Drop an image, or click to browse
Any image — its lines are read as voices: horizontals carry the bass, verticals the upper parts
01½ Junctions — where to begin
02 Mode, Voices, Form
Formcounterpoint
Scaleauto
Key (tonic)auto
Metreauto
Voices4
Phrases (junctions played)auto
Bars per phraseauto
Tempo (♩ per minute)auto
Counterpoint: a cantus firmus in the bass, a melody above it, one phrase per junction · Chorale: the same in even chords
Variations: a short chorale as theme, then four variations on its chords: eighths in the soprano, eighths in the bass, triplets in the soprano, sixteenths passed from voice to voice · the quick notes are passing notes, neighbour notes and skips within the chord, turned the way the line in the image bends
Fugue: the strongest line at the first junction becomes the subject, in the voice that carries it; the answer follows a fifth higher; every junction is one section: exposition; then, with episodes between, the theme on other degrees, the theme turned over (contrary motion), the theme in notes of twice the value; at last the entrances crowded together, a pedal point, the close · with three junctions the development is one section, with five all three
Auto reads everything from the image · warm, bright colours give a major key, cold and dark ones a minor key
the dominant colour is the tonic, on the circle of fifths: red C · orange G · yellow D · green A, E · blue B, F♯, D♭ · violet A♭, E♭ · rose B♭, F
right angles give 4/4 or 2/4, oblique and round lines 3/4 or 6/8; long lines the broad bar, short strokes the short one
one phrase per junction, the strongest first
phrase length from the length of the bass lines · tempo from how busy the outline is · loudness from light and shadow
Variations: a short chorale as theme, then four variations on its chords: eighths in the soprano, eighths in the bass, triplets in the soprano, sixteenths passed from voice to voice · the quick notes are passing notes, neighbour notes and skips within the chord, turned the way the line in the image bends
Fugue: the strongest line at the first junction becomes the subject, in the voice that carries it; the answer follows a fifth higher; every junction is one section: exposition; then, with episodes between, the theme on other degrees, the theme turned over (contrary motion), the theme in notes of twice the value; at last the entrances crowded together, a pedal point, the close · with three junctions the development is one section, with five all three
Auto reads everything from the image · warm, bright colours give a major key, cold and dark ones a minor key
the dominant colour is the tonic, on the circle of fifths: red C · orange G · yellow D · green A, E · blue B, F♯, D♭ · violet A♭, E♭ · rose B♭, F
right angles give 4/4 or 2/4, oblique and round lines 3/4 or 6/8; long lines the broad bar, short strokes the short one
one phrase per junction, the strongest first
phrase length from the length of the bass lines · tempo from how busy the outline is · loudness from light and shadow
03 Counterpoint Engine — Fux, Gradus ad Parnassum
Speciesauto
Chromaticismnone
Keys of the fuguerelated keys
Variation0 · strict reading
Natural modes · with Chromaticism at None the single accidental is the raised seventh at the cadence
Chromaticism adds leading tones and chromatic passing notes where the image is most colourful; the cantus firmus and the cadences stay diatonic
begin and end on a perfect consonance · no perfect consonance in direct motion · no two fifths or octaves
dissonance only as passing note, cambiata or prepared suspension resolving down by step
no tritone, no sevenths, leaps compensated · inner voices complete the triad, note against note
nothing is random: the same image always gives the same music · Variation displaces the reading slightly
Species applies to the Counterpoint form · in the Fugue the voices move freely, the dissonances treated as in the fifth species
Keys of the fugue, Related: the answer stands in the key of the fifth degree, later entrances in the relative keys, the key of the fourth degree before the stretto; while such an entrance stands, all voices take the sharp or flat of its key, and in a minor key the theme raises its leading tone · major and minor only: in the church modes the fugue keeps to the natural tones
Fugue, episodes: a figure from the theme (its close or its head, as it is or turned over) is stated twice, a step apart, by two voices in turn, and no more; each episode takes another figure. With Related keys the last bar of an episode leads into the key of the next entrance: the lowest voice holds the fifth degree of that key and, where the first note of the theme allows it, another voice rises from the leading tone to the tonic
In every form a figure may be heard three times running, a step higher or lower each time, and no more: the fourth time it is varied
Fugue: the counterpart to the first answer returns with later entrances as countersubject, above or below the theme; with three or four voices a second countersubject, written against the third entrance, follows it from voice to voice · Chromaticism there: Light raises leading tones in the free voices, Medium adds chromatic passing notes, Rich carries them into the subject itself, alike in every entrance
Chromaticism adds leading tones and chromatic passing notes where the image is most colourful; the cantus firmus and the cadences stay diatonic
begin and end on a perfect consonance · no perfect consonance in direct motion · no two fifths or octaves
dissonance only as passing note, cambiata or prepared suspension resolving down by step
no tritone, no sevenths, leaps compensated · inner voices complete the triad, note against note
nothing is random: the same image always gives the same music · Variation displaces the reading slightly
Species applies to the Counterpoint form · in the Fugue the voices move freely, the dissonances treated as in the fifth species
Keys of the fugue, Related: the answer stands in the key of the fifth degree, later entrances in the relative keys, the key of the fourth degree before the stretto; while such an entrance stands, all voices take the sharp or flat of its key, and in a minor key the theme raises its leading tone · major and minor only: in the church modes the fugue keeps to the natural tones
Fugue, episodes: a figure from the theme (its close or its head, as it is or turned over) is stated twice, a step apart, by two voices in turn, and no more; each episode takes another figure. With Related keys the last bar of an episode leads into the key of the next entrance: the lowest voice holds the fifth degree of that key and, where the first note of the theme allows it, another voice rises from the leading tone to the tonic
In every form a figure may be heard three times running, a step higher or lower each time, and no more: the fourth time it is varied
Fugue: the counterpart to the first answer returns with later entrances as countersubject, above or below the theme; with three or four voices a second countersubject, written against the third entrance, follows it from voice to voice · Chromaticism there: Light raises leading tones in the free voices, Medium adds chromatic passing notes, Rich carries them into the subject itself, alike in every entrance
04 Instruments — General MIDI, one channel per voice
Ensembledefault
SoundFont (sample bank)fluidr3 gm
Sopranochannel 1
Altochannel 2
Tenorchannel 3
Bass (cantus firmus)channel 4
Any of the 128 General MIDI instruments for each voice · the audio is played with them and the MIDI file carries them, one channel per voice
with two or three voices only the voices that sing are used · a voice left on the built-in tone goes into the MIDI file as its default instrument
the SoundFont is the bank of recorded samples the audio is made from; the same instrument sounds different in each · the MIDI file is the same whichever
with two or three voices only the voices that sing are used · a voice left on the built-in tone goes into the MIDI file as its default instrument
the SoundFont is the bank of recorded samples the audio is made from; the same instrument sounds different in each · the MIDI file is the same whichever
05 Effects — room, echo, atmosphere
Reverbroom
Reverb amount100%
Echooff
Echo amount100%
Droneoff
Drone level100%
Natureoff
Nature level100%
Shimmeroff
The effects are in the audio and in the video; the notes and the score stay as they are
Reverb puts the voices into a room · Echo repeats them in time with the beat of the piece
Drone holds the tonic and its fifth under the whole piece, in slow swells, and fades out after the last note
Nature lays the sound of a place over the music · Shimmer lets every note ring on one and two octaves higher in a very long room
for a piece to fill a room: Cathedral, a drone and Shimmer · the MIDI file carries the reverb level, and the drone as a track of its own
Reverb puts the voices into a room · Echo repeats them in time with the beat of the piece
Drone holds the tonic and its fifth under the whole piece, in slow swells, and fades out after the last note
Nature lays the sound of a place over the music · Shimmer lets every note ring on one and two octaves higher in a very long room
for a piece to fill a room: Cathedral, a drone and Shimmer · the MIDI file carries the reverb level, and the drone as a track of its own
Initialising…