The next thing I want to focus my attention on in my gesture sequencer is this idea of temporal weight. That is to say, the idea that every discrete target point in a gesture has the opportunity to influence the global tempo of the external conductor signal.
Every target can add or subtract temporal mass (how fast/slow the tempo is) as well as inertia (how quickly to react to changes in temporal mass).
This approach would allow a much more dynamic approach to tempo phrasing that I haven't seen before. Instead of having to draw some automation curve on a global tempo parameter for lyrical embellishments, I could just make the notes heavier.
of course, this is just one interpretation of how to phrase it.
Instead of slowing down to to the high note, one could speed up in anticipation before dramatically slowing down at the climax. More or less inverting the mass changes.
Sure this version sounds a little bit unnatural, and not my favorite, but with a bit of tweaking it is on it's way to being a valid interpretation.
This sort of thinking starts to get at the "hows" of computer-performed music and not the "whats", which is something I've been thinking deeply about:
Just merged all the gesture tests I made for myself into one medley, and I have to say the results are quite satisfying.
Again, this is just one gesture sequencer controlling only the pitch of a single FM oscillator. This is all step-sequenced, no human recorded performance. Very surprised with how natural and fluid it feels.
And it's all externally clocked so it plays well with others!
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