2.2.1
The C-major scale written in the treble clef.
Section 2.2
Music Theory Examples
Examples related to scales, harmony, and interval structure.
2.2.2
The Eflat -major scale written in the treble clef.
2.2.3
All musical intervals from the unison to the octave, including their variants.
2.2.4
The diatonic triads in D major with Roman numerals and functional names.
2.2.5
The four main triads: major, minor, diminished, and augmented.
2.2.6
A classical example of the musical sentence form from the opening bars of Beethoven's piano sonata in F minor.
2.2.7
A classical example of the musical period form from the melody of the British folk song Greensleves.
Section 3.4
First Iteration Examples
Examples from the first melody-generation iteration.
3.4.1
Melody showing how the octave is not restricted and the melody wanders outside a playable range.
3.4.2
Generated multiple voices with different rhythmic restrictions, but without coherent harmony.
3.4.3
Example melody from the first iteration generator, following the no-large-jumps rule but without meaningful structure.
Section 4.3
Second Iteration Examples
Examples from the second melody-generation iteration.
4.3.1
Demonstration of a melody generated using the second iteration.
4.3.2
A second melody from the second iteration, showing the same motif-reuse strategy with a different random outcome.
4.3.3
A third melody from the second iteration, again reusing an initial motif across the phrase.
4.3.4
A fourth melody from the second iteration, illustrating how the same method can still lead to different melodic surfaces.
Section 5.4
Third Iteration Examples
Examples from the third melody-generation iteration.
5.4.1
A melody generated by the third iteration in C major using seed 2000.
5.4.2
A 16-bar period-form melody generated by the third iteration in D major.
5.4.3
A melody in A major generated with restricted rhythm values.
5.4.4
A TTBB-style harmonized example generated by the third iteration in G minor.
5.4.5
A 16-bar explicit-harmony chorale generated by the third iteration in B$flatat $ major with modal mixture.
Appendix C
Third Iteration Appendix Examples
Extended example material from the third iteration appendix.
C.1
Eight-bar melody in C major.
C.2
Eight-bar melody in D$flatat $ major.
C.3
Eight-bar melody in D major.
C.4
Eight-bar melody in E$flatat $ major.
C.5
Eight-bar melody in E major.
C.6
Eight-bar melody in F major.
C.7
Eight-bar melody in F$ $ major.
C.8
Eight-bar melody in G major.
C.9
Eight-bar melody in A$flatat $ major.
C.10
Eight-bar melody in A major.
C.11
Eight-bar melody in B$flatat $ major.
C.12
Eight-bar melody in B major.
C.13
Eight-bar melody in G major.
C.14
Eight-bar melody in G minor.
C.15
Eight-bar melody in E major.
C.16
Eight-bar melody in E minor.
C.17
Sixteen-bar sentence in C major.
C.18
Sixteen-bar period in C major.
C.19
Sixteen-bar sentence in E minor.
C.20
Sixteen-bar period in E minor.
C.21
Eight-bar melody using only whole notes.
C.22
Eight-bar melody using only half notes.
C.23
Eight-bar melody using whole, half, and quarter notes.
C.24
Eight-bar melody using only quarter notes.
C.25
Eight-bar melody using only eighth notes.
C.26
Explicit-harmony melody in A major with modal mixture.
C.27
Explicit-harmony chorale in A major with modal mixture.
C.28
Explicit-harmony melody in C major using chromatic mediants.
C.29
Explicit-harmony melody in D major with intentionally unstable planning.
C.30
Thirty-two-bar sentence in G major.
C.31
Thirty-two-bar period in B$flatat $ major.
C.32
Automatic SATB example in C major.
C.33
Automatic SATB example in A major.
C.34
Automatic SATB example in E minor.
C.35
Automatic SATB example in A$flatat $ minor.
C.36
Automatic TTBB example in D minor.
C.37
Automatic SSAA example in E major.
C.38
Sixteen-bar explicit SATB example in G major with modal mixture.
C.39
Eight-bar quarter-note chorale in G major with baroque-inspired harmony.