Tone Series<\/strong>.<\/p>\n\n\n\n2. Note name<\/h3>\n\n\n\n In the musical system, each musical note has a fixed name, i.e., note name, which is usually represented by letters C, D, E, F, G, A, B.<\/p>\n\n\n\n
These seven pitches are also called basic pitches, and their positions on the piano keyboard are fixed.<\/p>\n\n\n\n3. Sound grouping<\/h3>\n\n\n\n The piano is divided into different areas.<\/p>\n\n\n\nThe group of notes starting from the middle C on the piano keyboard is called the small note group 1, also known as the "axis group". The small note group 1 to the right is called the small note group 2, small note group 3, small note group 4, and small note group 5; the small note group 1 to the left is called the small note group, large note group, large note group 1, and large note group 2.<\/p>\n\n\n\n3. Basic Music Theory - P2 - Staff & Notes<\/h2>\n\n\n\n1. Staff<\/h3>\n\n\n\n The staff is composed of five lines and four spaces, which are used to record the pitch of notes. Because the staff has five equidistant parallel horizontal lines, it is called the five-line staff.<\/p>\n\n\n\nimage<\/figcaption><\/figure>\n\n\n\n2. Clef<\/h3>\n\n\n\n Here we just need to briefly introduce the treble clef. In addition, there are also bass clef and alto clef.<\/p>\n\n\n\nimage<\/figcaption><\/figure>\n\n\n\n3. Musical Notes<\/h3>\n\n\n\n A note consists of three parts: the note head (the hollow or filled oval symbol), the stem (the short vertical line), and the tail (the small arc on the right side of the stem).<\/p>\n\n\n\n4. Rest<\/h3>\n\n\n\n Rests are symbols used to indicate pauses or interruptions in music.<\/p>\n\n\n\n
During the progress of music, although the rest indicates a brief silence, it has a special meaning at this time, and the music is not interrupted, so the rest is one of the important components of a musical work.<\/p>\n\n\n\nimage<\/figcaption><\/figure>\n\n\n\n5. Time Signature<\/h3>\n\n\n\n The numerator number represents the number of beats in a measure, and the denominator number represents how many notes make up a beat. Be careful not to read it as a fraction of a beat!<\/p>\n\n\n\n
In addition, the time signature also clarifies the rules for changes in the strength of the melody.<\/p>\n\n\n\nimage<\/figcaption><\/figure>\n\n\n\n4. Basic Music Theory - P3 - Intervals<\/h2>\n\n\n\n1. Interval<\/h3>\n\n\n\n The pitch distance between two notes is called the interval.<\/p>\n\n\n\n
There are two types of intervals: melodic intervals and harmonic intervals.<\/p>\n\n\n\n
In short, a melodic interval is when two notes sound one after the other, while a harmonic interval is when they sound at the same time.<\/p>\n\n\n\n
2. Melodic intervals<\/h3>\n\n\n\n Read in the order of pronunciation.<\/p>\n\n\n\n3. Harmonic Intervals<\/h3>\n\n\n\n The lower note is called the root note, and the upper note is called the crown note.<\/p>\n\n\n\n4. Consonant and dissonant intervals<\/h3>\n\n\n\n The sound effects of consonant intervals sound pleasant and harmonious, and can be divided into perfect consonant intervals and incomplete consonant intervals.<\/p>\n\n\n\n
Perfect consonant intervals include perfect first, perfect fourth, perfect fifth, and perfect octave; imperfect consonant intervals include minor third, major third, minor sixth, and major sixth.<\/p>\n\n\n\n
The sound of pure octave sounds very integrated, like the sound of one note, but because it is too integrated, the sound will sound hollow.<\/p>\n\n\n\n
The sound effects of the perfect first, perfect fourth, and perfect fifth intervals are slightly fuller than those of the perfect octave, but they also appear hollow.<\/p>\n\n\n\n
Therefore, all pure intervals (perfect first, perfect fourth, perfect fifth, perfect octave) are perfectly consonant intervals.<\/p>\n\n\n\n
The sound of dissonant intervals is harsh, tense and unstable, such as major and minor seconds, major and minor sevenths, augmented fourths and diminished fifths.<\/p>\n\n\n\n
Although dissonant intervals sound sharp, they are also important elements in musical works.<\/p>\n\n\n\n
5. Basic Music Theory - P4 - Mode<\/h2>\n\n\n\n1. Tuning<\/h3>\n\n\n\n A system of musical notes of different pitches, organized around a stable central tone (tonic) in a certain relationship, is called a mode. The most widely used mode in the world today is the major and minor mode.<\/p>\n\n\n\n
Among them, Bach's "Well-Tempered Clavier" is a classic among classics in major and minor keys.<\/p>\n\n\n\n2. Tonic<\/h3>\n\n\n\n In the mode, the tonic is the central tone in the core position, which has the strongest sense of stability and other tones tend to it. In songs (music), the tonic often appears on the strong beat, the longer tone or the ending.<\/p>\n\n\n\n
3. Major Mode<\/h3>\n\n\n\n The major scale is abbreviated as "major" and consists of seven scales. The major third is the interval between the tonic and the \u2162 scale, which is also the characteristic of the major scale. Among them, the \u2160, \u2162, and \u2164 scales form a major triad, so the color of the major scale is bright and brilliant.<\/p>\n\n\n\nThere are three types of major keys: natural major, harmonic major, and melodic major.<\/p>\n\n\n\n
1. Natural major<\/h3>\n\n\n\n The natural major is the most commonly used major key, consisting entirely of natural notes.<\/p>\n\n\n\nThe natural major scale consists of five whole tones and two half tones.<\/p>\n\n\n\n
Its scale structure is: whole tone-whole tone-semitone-whole tone-whole tone-whole tone-semitone, that is, it is composed of major second, major second, minor second, major second, major second, major second, and minor second intervals.<\/p>\n\n\n\nThere is a tone (black key) between C and D, so the CD is called full tone.<\/strong><\/p>\n\n\n\nThere is no interval between E and F, so it is called a semitone.<\/strong><\/p>\n\n\n\nTo make it easier to memorize, the natural major key is compiled into a mnemonic: full, full, half, full, full, full, half.<\/p>\n\n\n\n
That is what we usually say: de re mi fa sol la si<\/p>\n\n\n\n
The key of C natural major is shown below:<\/p>\n\n\n\nimage<\/figcaption><\/figure>\n\n\n\n2. Harmonic major<\/h3>\n\n\n\n On the basis of the natural major scale, lowering the VI note by a semitone results in the harmonic major scale.<\/p>\n\n\n\n
Its characteristic is the augmented second interval formed between the flat VI and VII notes.<\/p>\n\n\n\n
This augmented second is the mark of the harmonic major key and also the characteristic of the harmonic major key.<\/p>\n\n\n\n
The C harmonic major scale is shown below:<\/p>\n\n\n\nimage<\/figcaption><\/figure>\n\n\n\n3. Melodic major<\/h3>\n\n\n\n On the basis of the natural major scale, lowering the VI note by a semitone results in the melodic major scale.<\/p>\n\n\n\n
Its characteristic is the augmented second interval formed between the flat VI and VII notes.<\/p>\n\n\n\n
This augmented second is the mark of the harmonic major key and also the characteristic of the harmonic major key.<\/p>\n\n\n\n
The C melodic major scale is shown below:<\/p>\n\n\n\nimage<\/figcaption><\/figure>\n\n\n\n4. Minor mode<\/h3>\n\n\n\n The minor mode is simply called "minor" and is also composed of seven pitches.<\/p>\n\n\n\n
The relationship between its tonic and the \u2162 degree is a minor third, which is also the characteristic of the minor mode. Among them, the \u2160, \u2162, and \u2164 degrees form a minor triad, so the color of the minor mode is soft and dim.<\/p>\n\n\n\nThere are also three types of minor keys: natural minor, harmonic minor, and melodic minor.<\/p>\n\n\n\n
1. Natural minor<\/h3>\n\n\n\n The natural minor scale also consists of five whole tones and two semitones, and its scale structure is whole tone-semitone-whole tone-whole tone-semitone-whole tone-whole tone, that is, it is composed of major second, minor second, major second, major second, minor second, major second, and major second intervals.<\/p>\n\n\n\n
The a natural minor scale is shown below:<\/p>\n\n\n\nTo make it easier to memorize, the mnemonic is: whole, half, whole, whole, half, whole, whole.<\/p>\n\n\n\n2. Harmonic minor<\/h3>\n\n\n\n On the basis of the natural minor scale, raising the seventh degree by a semitone results in the harmonic minor scale.<\/p>\n\n\n\n
Its characteristic is the augmented second interval formed between the VI and the raised VII, and the VII has the function of a leading tone tending towards the tonic after being raised by a semitone, and it is more tense than the natural minor.<\/p>\n\n\n\n
The a harmonic minor scale is shown below:<\/p>\n\n\n\n3. Melodic minor<\/h3>\n\n\n\n On the basis of the natural minor scale, the VI and VII degrees in the ascending scale of the natural minor are raised by a semitone, and then these two notes are restored in the descending scale, which is the melodic minor.<\/p>\n\n\n\n
The a-melodic minor scale is shown below:<\/p>\n\n\n\n6. Basic Music Theory - P5 - Key Signature<\/h2>\n\n\n\n1. Key Signature<\/h3>\n\n\n\n The key signature is a symbol that indicates the pitch (i.e. the pitch of the main note) of a song (music). It is located at the beginning of each line of the staff (after the clef) or where a new key appears during the music.<\/p>\n\n\n\n
Key signatures are written using sharp and flat signs.<\/p>\n\n\n\nPython arrangement part:<\/strong><\/h2>\n\n\n\n1. Understanding the MIDO library<\/h2>\n\n\n\n1. Import mido<\/h3>\n\n\n\n from mido import Message,MidiFile,MidiTrack<\/p>\n\n\n\n
2. Mido basic framework<\/h3>\n\n\n\n Create two mido library objects: MidiFile(), MidiTrack()<\/p>\n\n\n\n
The former is used to edit, generate and output Midi files, and the latter is used for midi file track editing.<\/p>\n\n\n\n
mid = MidiFile() track = MidiTrack() mid.tracks.append(track)<\/pre>\n\n\n\nAdd information in track object, 'program_change' means switch track.<\/p>\n\n\n\n
The intuitive understanding is: before editing a track, you need to select the track first. (This is the official fixed routine, it doesn\u2019t matter if you don\u2019t understand it, just follow it)<\/p>\n\n\n\n
track.append(Message('program_change', program=0, time=0))<\/pre>\n\n\n\n3. Write notes<\/h3>\n\n\n\n After selecting the track, you can add notes directly to the track. Note that the time unit here is milliseconds.<\/p>\n\n\n\n
track.append(Message('note_on', note=60, velocity=64, time=0))<\/pre>\n\n\n\nAfter adding, add an end mark, and this is the point where the writing of a note is truly completed.<\/p>\n\n\n\n
track.append(Message('note_off', note=60, velocity=64, time=2000))<\/pre>\n\n\n\nAfter adding, you can directly generate a midi file<\/p>\n\n\n\n
mid.save('MyFirstDamnSong.mid')<\/pre>\n\n\n\n4. Code<\/h3>\n\n\n\n The code is as follows:<\/p>\n\n\n\n2. Combined with Music Theory<\/h2>\n\n\n\n1. Midi file frequency number table:<\/h3>\n\n\n\nFrom the table above, we can see that the midi number of middle C is 60.<\/p>\n\n\n\n
2. Writing tool library<\/h3>\n\n\n\n1. Task Analysis<\/h3>\n\n\n\n We first write a tool library Notes_Toolbox.py to define some commonly used and basic things.<\/p>\n\n\n\n
Define the basics: intervals, note names, modes, chords, beats, fundamental notes, etc.<\/p>\n\n\n\n
Then write some simple methods for calling, such as returning a set of chords, automatically changing the key, and getting the MIDI frequency number through the five-line score.<\/p>\n\n\n\n
2. Define variables<\/h3>\n\n\n\nserial number<\/td> Variable Name<\/td> Is static?<\/td> Default value<\/td> effect<\/td><\/tr> 1<\/td> bpm<\/td> No<\/td> 125<\/td> Beat<\/td><\/tr> 2<\/td> timePerBeat<\/td> No<\/td> 60 \/ bpm * 100<\/td> Duration of each beat (milliseconds)<\/td><\/tr> 3<\/td> base_note<\/td> static<\/td> 60<\/td> MIDI number for middle C<\/td><\/tr> 4<\/td> note_name[]<\/td> static<\/td> ['C','D','E','F','G','A','B']<\/td> musical alphabet<\/td><\/tr> 5<\/td> major_notes[]<\/td> static<\/td> [0, 2, 2, 1, 2, 2, 2, 1]<\/td> Diatonic Scale<\/td><\/tr> 6<\/td> Cmajor_notes[]<\/td> static<\/td> <\/td> <\/td><\/tr> 7<\/td> Eflatmajor_notes[]<\/td> static<\/td> <\/td> <\/td><\/tr> 8<\/td> Cmajor{}<\/td> static<\/td> {'C': 60, 'D': 62, 'E': 64, 'F': 65, 'G': 67, 'A': 69, 'B': 71}<\/td> C major dictionary<\/td><\/tr> 9<\/td> Eflatmajor{}<\/td> static<\/td> {'C': 63, 'D': 65, 'E': 67, 'F': 68, 'G': 70, 'A': 72, 'B': 74}<\/td> E minor dictionary<\/td><\/tr> …<\/td> …<\/td> …<\/td> …<\/td> …<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n3. Define functions<\/h3>\n\n\n\nserial number<\/td> Method Name<\/td> return<\/td> Passing in parameters<\/td> effect<\/td><\/tr> 1<\/td> get_note<\/td> MIDI Number<\/td> note,group=0,**kw<\/td> Enter the note name and note area, and return the corresponding MIDI number. (Needs improvement, no black keys)<\/td><\/tr> 2<\/td> get_chord<\/td> Chord Array<\/td> name, **kw<\/td> Enter the chord name and return the chord array<\/td><\/tr> 3<\/td> originToEflatMajor<\/td> New E minor MIDI number array<\/td> list,**kw<\/td> Enter C major and return E minor. (Needs improvement to support specifying which key to change to)<\/td><\/tr> …<\/td> …<\/td> …<\/td> …<\/td> …<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\nbpm = 125 #why 125:\n #bpm = 1 * 1000 \/ 8 \ntimePerBeat = 60 \/ bpm * 1000\nbase_note = 60 # C4\nnote_name =[\n 'C','D','E','F','G','A','B'\n]\n\nmajor_notes = [0, 2, 2, 1, 2, 2, 2, 1]\nCmajor_notes = []\nEflatmajor_notes = []\n\nfor num in range(12):\n Cmajor_notes.append(base_note+sum(major_notes[0:num+1]))\n Eflatmajor_notes.append(base_note+3+sum(major_notes[0:num+1]))\n#\u8fd9\u91cc\u53ea\u6709\u4e00\u4e2a\u533a\nCmajor = dict(zip(note_name,Cmajor_notes))\n# Cmajor = {'C':60,'D':62,'E':64,'F':65,'G':67,'A':69,'B':71}\nEflatmajor = dict(zip(note_name,Eflatmajor_notes))\n# Eflatmajor = {'C': 63, 'D': 65, 'E': 67, 'F': 68, 'G': 70, 'A': 72, 'B': 74}\n\ndef get_note(note,group=0,**kw):#Group = 0 means 4Group\n global base_note,major_notes\n return base_note + group*12 + sum(major_notes[0,note])\n\ndef originToEflatMajor(list,**kw):\n Ef=[]\n for x in list:\n Ef.append(x+3)\n return Ef\n\n#get_note(1,group=0) return 60\n#get_note(2,group=0) return 62\ndef get_chord(name):\n chord = {\n \"Major3\":[0,4,7,12],#\u5927\u4e09\u548c\u5f26\n \"Minor3\":[0,3,7,12],#\u5c0f\u4e09\u548c\u5f26\n \"Augmented3\":[0,4,8,12],#\u589e\u4e09\u548c\u5f26\n \"Diminished3\":[0,3,6,12],#\u51cf\u4e09\u548c\u5f26\n\n \"M7\":[0,4,7,11],#\u5927\u4e03\u548c\u5f26\n \"Mm7\":[0,4,7,10],#\u5c5e\u4e03\u548c\u5f26\n \"m7\":[0,3,7,10],#\u5c0f\u4e03\u548c\u5f26\n \"mM7\":[],\n #...\n }\n return chord[name]\n#get_chord(\u201cMajor\u201d) return [0,4,7,12]<\/pre>\n\n\n\n3. Write a chord breakdown<\/h3>\n\n\n\n Now that we have written the tool module, we can focus on the chord part.<\/p>\n\n\n\n
1. Write an output chord function<\/h3>\n\n\n\n Output broken chords to midi files<\/p>\n\n\n\n
When using this method, you need to pass in:<\/p>\n\n\n\nserial number<\/td> Parameter name:<\/td> Incoming:<\/td> Example:<\/td><\/tr> 1<\/td> track<\/td> Output audio interface of mido library<\/td> MidiTrack()<\/td><\/tr> 2<\/td> root<\/td> The name of the note<\/td> 'C','D','E','F','G','A','B'<\/td><\/tr> 3<\/td> name<\/td> The name of the chord, defined in Notes_Toolbox<\/td> 'Major 3'\u2026<\/td><\/tr> 4<\/td> format<\/td> Outputting the broken chords<\/td> [0,1,2] [1,3,2,3]…<\/td><\/tr> 5<\/td> length<\/td> How long the note lasts<\/td> 4<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\nJust put the source code:<\/p>\n\n\n\n
def add_broken_chord(root, name, format, length, track, tone_name='Cmajor', root_base=0, channel=0):\n #\u9ed8\u8ba4\u662fc\u5927\u8c03\n root_num = Notes_Toolbox.Cmajor\n if tone_name == 'Eflat':\n root_num = {'C': 63, 'D': 65, 'E': 67, 'F': 68, 'G': 70, 'A': 72, 'B': 74}\n root_note = root_num[root] + root_base*12 # \u5206\u89e3\u548c\u5f26\u7684\u6839\u97f3\n\n time = (length * 480) \/ len(format) # \u6b64\u5904\u4e3a\u5b98\u65b9\u6587\u6863\u5199\u6cd5\uff0c\u6211\u4e5f\u4e0d\u61c2\uff0ctime\u6307\u7684\u662f\u97f3\u7b26\u6301\u7eed\u65f6\u957f\n for broken_chord in format: # \u901a\u8fc7for\u5faa\u73af\uff0c\u9010\u4e2a\u8f93\u51fa\u548c\u5f26\u7684\u97f3\u7b26\n note = root_note + Notes_Toolbox.get_chord(name)[broken_chord]\n track.append(Message('note_on', note=note,\n velocity=60, time=0, channel=channel))\n track.append(Message('note_on', note=note, velocity=60,\n time=round(time), channel=channel))<\/pre>\n\n\n\n
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