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7 - Creating a Relationship

One of the most powerful modelling tools that MelodicMatch offers is the ability to create relationships between patterns. In some music, the patterns themselves are the building blocks of the overall piece, but in other styles, the relationships between the patterns can actually be just as revealing.

We have created patterns to model the first two full bars of the string texture shown in Figure 1.

Figure 1

However, searching for the patterns in isolation produced extraneous results. Assigning the patterns to a relationship can generate results that accurately reflect the role of the pattern in the piece.

MelodicMatch offers two types of relationship: Display Groups and Compound Patterns. The main difference between the two is that Display Groups allow you to model a completely arbitrary relationship between patterns in a search. You might allocate patterns to a Display Group based on their role in an architectural form, or because they are used to support word-painting of related texts, or because they appear only in specific instruments.

By contrast, the patterns in a Compound Pattern are related by virtue of their proximity. That is, results from a compound pattern will only appear if MelodicMatch finds all of the patterns within the compound in or near the same bar (measure).

On the Relationship menu, click Add Compound Pattern. The Compound Pattern dialog will appear showing the names of all the patterns in the search. You can provide a meaningful name to the relationship and then click the checkboxes next to the patterns you wish to include in the relationship. A pattern can belong to any number of relationships. In this example, we want to assign the patterns from the lower three string parts to the compound. We also want to specify that they should appear at the same point in the bar, and in different staves. A completed configuration should resemble that shown in Figure 2.

Figure 2

When the search is re-run with this configuration, the results at the start of the repeated section should resemble those in Figure 3.

Figure 3

Note that MelodicMatch now shows results from the lower string parts only when they appear together. From an analytical perspective, this allows us to compare the texture at bar 24 with that at bar 233, the results from which are shown in Figure 4.

Figure 4

It should be apparent that this approach has allowed us to compare the textures of remote locations from the score. A more complete analysis would construct patterns to fill in at least some of the remaining white areas in these charts, but even with only four patterns and one relationship, the search has revealed enough information to suggest that the return of the opening texture extends for at least 10 bars. This in turns lends weight to the hypothesis that the movement is in a ternary form, and that the return of the opening may in fact be the recapitulation in a sonata-form movement.

This tutorial continues with Adding a File-based Pattern.



Write your music with an eye to its form and proportions as you go

Find patterns and points for comparison between pieces

Find typographical inconsistencies in remote locations