****************************** H I N T S   F O R   M E L O D I S T S **********************
#1 - Cadences
It's cool when the melody got pauses on every several played notes - cadences. It's also good when pauses got two different lengths and longer pause is used every few shorter pauses. Between shorter and longer cadences there are short notes filling in the space. So it all looks like this:
 
nnnc nnnc nnnC      nnnc nnnc nnnC ... and so on - (n - note, c - short cadence, C - longer cadence)
 
It's good to place it all rhythmically with notes on the beats.
 
#2 - Gradation of interval tensions
There are few groups of acoustic tension of succeeding tones, that follow:
 
1: 0, 12
2: 7, 5
3: 3, 4, 10, 9, 8
4: 2, 1
5: 6,11
 
Gradation is using semitones written groups 2-4 in order 2, 3, 4 or 4, 3, 2. These are intervals between cadences only. Notes separating cadences follow according to gradation of it's position on a keyboard, not their interval, so they are frankly rather short passages of interval 1, 2 or 3 semitones than interval play, just like with playing scales 'cdefgabc'. Notes may also form sort of permutations of tones neighbouring around the following cadence or cadence before. They may link cadences with a line of tones between cadences.
The are not heard as intervals only rather tonal as they are short.
Both, notes and intervals, has to be within the scale.
Group 1 is not used for cadences due to repetitiveness of 0 semitones interval and to far distance of interval of 12 semitones. Same way group 5 is not used because of dissonance of tritone (6 semitones) and septime (7th a.k.a. 11 semitones)
 
#3 - Invention
Invention follows as theme, as a path of cadences set on gradating intervals of groups 2-4 linked with way of notes between them. Second part of invention is counterpoint which is similar invention, however built on intervals from groups taken in opposite direction: for 2, 3, 4 it is 4, 3, 2 and for 4, 3, 2 is 2, 3, 4. It is superb when intervals selected form each group forms monotonic rise or fall of number of semitones, like: 5, 4, 2 semitones or 7, 3, 1 or 2, 4, 7 and such. It gives smooth succession of quality of interval and distance of interval.
After invention it's OK to play theme of invention again with different counterpoint, then chorus.
 
#4 - Accompaniment
When melody is ready add chords (i. e. with Progressor) to it, then bass to chords, then beat to it all. (Best to add Progressor only to cadences before placing notes between cadences)
 
********************* P R E M I E R *****************************

Premier makes combo kit together with Progressor and Pathfinder, so it is good to download them all and read instructions for them all.
 
Tool is chart of intervals that may be played within prescribed scale, starting from specified note. If you read info for Pathfinder or my tips for melody makers you know that one of steps in building melody is making set of cadences and this is what Premier is for.
 
Premier got panel with scale buttons imitating piano keyboard. Mark there what tones are included in your scale. Below there is start tone and start octave controls. Mark there what tone you want to start cadence progression from. Next to it there are 'scan' and 'drop' buttons. Click on first one if first tone of cadence progression is already in the pattern. It will search up from the cursor in track looking for note and it will put found note into start tone controls. Drop do opposite - if you want to drop start tone in the pattern - click it.
 
Main controls are below. It is matrix of intervals, sorted with quality of interfering with previous cadence in vertical axis and distance of interval in horizontal axis. Last played interval is marked yellow. Minus symbol means that cadence of this button is not possible within the scale, with current start tone. Number symbolises how many semitones does the interval range.
 
Workflow is typical for Moore/Mealy automat. You got start tone, then you choose interval from matrix, tone is dropped into pattern and new start tone is set by interval. Then you choose interval again and so on, iteratively. You choose place of note drop in pattern by keyboard arrow keys.
 
According to centuries long tradition of setting cadences, it is custom that distance between cadences (numbers in matrix) and quality of interval changes monotonically. What means that number values that you choose from matrix should either rise, fall or stay in place along all cadences within section you make. Also at the time you may travel through the matrix only from row to neighbouring row - this is to make that quality changes monotonically too. It mean that you can not skip through two or more rows, just jump to neighbouring one (maybe one jump for two rows is not worst but it is surely not best option either). This strategy will make that all cadences will change smoothly.
 
Pressing button in matrix cause one note drop into pattern. Set desired place in pattern before, using arrow up and down keys on keyboard while Premier is focused or in pattern directly.
 
It is good habit that through all sections, you set cadences on selected beats, making longer pause every few cadences. it's also good when way of travelling through the matrix changes every section, which is pattern or few patterns long. I mean you start from top of matrix going down or from down of matrix going up or from the middle to top or down or other way. Also you start from long intervals like 7 or 10 and finish on short like 1 or 2 or other way. You may also use numbers without extreme positions in matrix, so without 7 or 1 and 2.
 
Over all if it's possible from matrix should be chosen numbers as it follows:
- 7 5 4 3 2 1 2 3 4 5 7
- 5 4 3 4 5
- 8 5 4 3 4 5 8
- 5 4 3 2 5 4 3 2
- 3 4 3 4 3 4
- 3 3 3 3
and such - simply, numbers changing value and position in height of the matrix in order.
 
Script is kit-pack of three tools together with Progressor and Pathfinder, so use them all like it is described in guide for Pathfinder. Over all, set cadences first, using Premier then apply chord progressions to it with Progressor and lastly, find ways of tones between cadences you set in first step using Pathfinder.
 
********************** P R O G R E S S O R ****************************

Script matches chord progression for user defined tune using algorythmic method

full list of features:
- selectable range - user defines on which patterns in playlist Progressor works on
- four scales - major, harmonic minor, melodic minor and hungarian minor
- skipping - some notes (second or second and fourth) can be skipped during matching progression
- 3- or 4- voice polyphony
- no arp - dissonant chords fall into consonant on first note when no arp is ticked, except for root note
- dissonances amount - user can decide if dissonant chords are included in progression
- finish on prime - progressions finish gently on prime
- copy note off's - note offs from lead track are copied to chord track
- Renoise's keyboard octave control - determines in which octave is progression done
- current position in song is put into range beginning control
- script copies note delays from lead track
- chord inversions can be matched to place the chord above the lead notes or fit in one octave selected by the Renoise octave control

how to use it:
- sequence the theme in one column in one track in one or few patterns in playlist (patterns shouldn't occure in playlist range more than once)
- leave cursor/caret in track containing the theme
- choose instrument for progression from the instruments list
- run Progressor
- set the range, key, scale and other parameters (or leave default)
- click on Match or Match&Close - new track containing chord progression will be generated

****************** P A T H F I N D E R ****************************

Buttons:
Script matches the way (path) between start tone and the tone of next cadence, which usually follows with a chord. Cadence got specified interval and quality of interfering with start tone. Match is made within tones selected by checkboxes in 'Scale' area. Quality of tones of the path may be selected by 'Path intervals' list and buttons. Buttons 'start cadence' and 'end cadence' describes if start and end tones of note progression has to be included in tones sent to pattern. Text list below with numbers and notes shows what notes and what order will be shot into pattern. Script automatically rematches paths when any control is moved unless 'auto rematch' checkbox is off. When you shot all the notes in the list into pattern you have to reload with 'rematch' button in order to get new note-bullets again. Button 'shot' shows amount of bullets left in brackets. Button 'close' is for closing the tool. You may see my website clicking on link in the tool below all controls.
 
Workflow:
How to use it.
First consider path of cadences. Line them up on a track. It's good when cadences got evolving quality of intervals between. To do so use Premier. When you got cadences set on one track, apply Progressor to arrange chords in background of cadences in another track.
Now time for Pathfinder. Turn it on. Set cursor behind first cadence in your first track where new note has to stand.
Select cadence tone and octave in 'start tone' list and value box. Search for following cadence tone in list of intervals named 'cadence interval'. Values in the list are respectively - interval, note and quality of interval in percent of full consonance which is 100%. Alternatively you may press "f.s.e." button for automatic matching of start and end cadence. Select quality (dissonance) of the path in list named 'path intervals' or select intervals of desired quality that you want include into path using buttons of path intervals area. Intervals are sorted from most consonant on the left to most dissonant on the right. Set length of the path measured in tones between cadences, not including cadences itself - 'path length' value box. Mark to not include start and end cadence in injected intervals by unmarking checkboxes 'start cadence' and 'end cadence'. You may select between found paths visible in a multiline text field by pressing 'Rematch' button. Ways are randomly generated so sometimes few presses are needed to find new one as often the same way is picked.
When you're ready click on 'Shot'.
Move the cursor to another point before target cadence and after note you just injected and click on 'Shot' again.
Repeat 6 until all the bullets gone which is stated by renaming button into 'Gun' and 'no path' visible in the list of bullets.
When you are done up to now, move behind target cadence and from now on target cadence becomes start cadence.
Go to 4 unless you're out of cadences.
Notes will be injected with current instrument marked in instruments list.
 
Happy melodymaking for you all!

***************** P R O C E S S O R *********************************

Script rewrites your riff or arpeggio or basically anything over new chords.
 
Here is situation: There is harmony defined by yourself or by other three harmony friends - Premier, Progressor and Pathfinder. While it is defined it's good to lay up a bass line to chords. This may be tedious. Bass line is repetitive riff, sequence that transposes over new chords with modulation - minor to major and so on. Where Progressor track is given (or plain track of chords written like Progressor track) it is enough to set up bass riff over first quarter of pattern or several lines. Make the bass working with chords - so mainly first, fifth and third (however Processor harmonizes all functions, well sixth may be odd sometimes, but who's gonna play sixth on bass?). Bass riff may be few Progressor chords long and going right with the chords - transposing if longer than one chord. While it is ready - switch Processor. Describe track with chords and riff. Describe pattern in which the riff residues also line in which it starts and ends. Then describe first pattern and line and last pattern and line of continuous paste. Then click on "Replicate". Script will wrap off the riff along all lines and chords. And it will do it right.

Simply how to use it:
1. Place chords progression on one track - it may be Progressor chords or Progressor-like-looking chords - best are 3 voice polyphony so something like G-4 B-4 D-5 in three note columns in one track, and other chords like this.
2. In next track in the same pattern and starting with the chords make riff/arpeggio/bass line/passage - something that works on chord(s) of neighbouring track (voices of a chord - 1st, 5th, 3rd, and also 2nd and 4th are OK. - however 6th and 7th doesn't work very well due to chromatic mode of Processor)
3. Riff may be one or few chords long - as long as few chords in track with chords passing by, adjusted to chords tonally.
4. Run Processor
5. Define (controls respectively) track number with chords line, track number with riff, pattern number with riff, start and end lines of riff in pattern, paste start pattern and line, paste end pattern and line - these last two describe where to continuously paste the riff. (There also must be chords written in chords track - these are chords that Processor will be matching your riff to)
6 Click on Replicate.
 
Done.
 

Processor will repeat your riff in paste range adjusting transposition and chords mode to your chords in track in paste range.