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Click Tracker: Performance/Composition Tool for Metrically Complex Scores

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Click Tracker: Performance/Composition Tool for Metrically Complex Scores Click Tracker: Performance/composition tool for metrically complex scores Joao˜ Pais∗ Pedro Lopesy Friedenstraße 14 Department of Information Systems and Computer Science 21098 Berlin INESC-ID/IST/Technical University of Lisbon Germany R. Alves Redol, 9, 1000-029 Lisboa, Portugal [email protected] [email protected] Abstract duces this structure aurally. Many of the features Click Tracker is a tool designed for composers, conduc- necessary for the work in modern music are covered tors and instrumentalists working with modern music. and will be presented in the next sections. Further, It allows users to prepare an accompanying click track we will address technical aspects of Click Tracker’s of any musical score, independently of its complexity. features. Finally, we describe the numerous us- Also, several of its multimodal features take advantage ages of Click Tracker by performers and composers; of both visual and aural feedback; making it suitable for closing with our conclusions and depict upcoming musical study or learning contexts. The software is avail- features and improvements. able for public download and has been tested by several professional instrumentalists and composers, which re- sults are hereby discussed. 2 Click Tracker In this section we describe Click Tracker from Keywords two perspectives: user (who is interacting with it) Metronome, Composers assistance software, Music per- and technical aspects of the feature implementation. formance, Pure Data, Modern music Firstly we describe the dynamic metronome, that enables users to reproduce complex click accom- 1 Introduction panying tracks, following current trends on modern Click Tracker is a program based upon Pure Data[3] music. Followed by a description of user-generated designed for instrumentalists, conductors and com- content for the creation of the click tracks, the posers working with modern music. The main goal score syntax, and how to prepare language sound of the software is to prepare a click track of any files. Also from the user perspective the Graphi- score, no matter how complex it is. cal User Interface (GUI) is depicted and explained. Programmable metronomes and musical notation Finally Networking and Multi-user capabilities are software are nowadays widespread, allowing musi- discussed. cians to create basic training scores. But these tools 2.1 Complex Metronome do not account the needs of contemporary compo- sition, whereas the complexity of the score or the The Click Tracker feeds itself from a text file with learning context cannot be addressed. Our solution the specific syntax to generate a score (for detailed addresses these challenges and provides a simple example please refer to Appendix A). The com- tool, suitable for both realtime performance as well mands include: as training and composing situations. beat durations: as integers, floats, or fractional Performers, conductors and composers working symbolic notation with new music often face challenges through- out score preparation of rhythmically demand- . regular bar structures: including untraditional ing pieces. Amongst these challenges we iden- bars and bars using irrational numbers tified: lack of aural feedback besides traditional . tempo changes: sudden or gradual metronome “clicks”, irregularity of beat durations, . repetitions changing bars, tempi variations, repetitions, and so . pick up bars forth. The Click Tracker reads the rhythmical structure . aural output, language and recording format defi- of a piece, written in a specific syntax, and repro- nitions ∗Click Tracker main developer and project leader. The aforementioned commands give the user a tool yHCI research, collaboration for GUI and this document. for manipulating durations, accommodating even the needs of unorthodox scores, as depicted in Fig- 2.2 Aural output ure 1. Click Tracker distinguishes itself from hard- ware/software metronomes or conventional scoring software because it also allows several aural capa- bilities apart from conventional clicks. Figure 3 de- picts the overall GUI of the current version, in the third section of the GUI (Figure 3.3) the user can choose how he wants the software to read the score: . conventional metronome click . voice (counting bar numbers) and click . only voice, counting beat numbers in the bar . voice, counting bar numbers plus beat numbers Figure 1: Some duration features from the tutorial. Furthermore a wide range of languages is supported Numbers between [] indicate the original score syn- (English, German, Italian, Spanish and Portuguese). tax. Other languages are being prepared - as the produc- tion process is very simple, ideally all languages can The score is described as a list of individual be integrated into the software. events with specific durations: beats, or beat groups, in the case of regular bars. Modifier commands (such as tempo or other structural commands) pre- cede the beat(s) they affect. This information is in- terpreted by the patch, and organized into a group of arrays, which together generate a map of the score. These arrays, as depicted in Figure 2, store informa- tion regarding: beat duration, bar reference, tempi and bar database. Figure 3: Click Tracker GUI components: 1) Per- formance display; 2) Performance control; 3) Out- put settings; 4) Transport and file control. 2.3 Score format The Click Tracker supports a wide number of score formatting options, amounting to complex options which our testers confirmed to be suitable for per- Figure 2: Internal arrays displaying the file score- forming contemporary music. These features are tutorial.txt, sent with the program. listed as follows: For each event (each beat) of the score is created . Any duration for individual beats (integer of an index in the first three arrays. These are respon- float); sible for storing the required information regarding . Beat fractional notation in format x:y (e.g: 1:2 or current beat duration and tempo (after the tempo 3:7,8); changes have been pre-calculated). For external . Bar symbolic notation in format x/y (e.g.: 4/4 or reference, a fourth array contains the bar database, 3/9.17); which lists at which index each bar begins. To playback the score, the duration of each beat is . Tempo change at each individual beat; read sequentially, considering its original or scaled . Gradual tempo modifiers (accellerando / ritar- tempo. A delay object is used to time the durations. dando) in any amount of beats; . Repetition of any fragment (independent from the audio quality. Currently, the patch demands a tiny bar structure); amount of processing power. 2.5 Networking and Multiple-users Besides that, it is possible to bind the following performance parameters with each score: The Click Tracker supports networking via OSC protocol[5; 1], using it to communicate with the ex- . Number of pickup bars ternal GUIs, such as the one proposed in this pa- . Audio setting per. All the parameters and features displayed in the GUI are available as OSC tags. Therefore, it’s . Language a simple task to configure new control surfaces to . Recording format work bidirectionally with the Click Tracker. Currently, the OSC messages are divided in a Please refer to appendix A for a detailed example very simple way: of score format, further details regarding notation syntax are provided in[4], or in the tutorial score . GUI1 ! Pd: all user-controlled commands, sec- packaged with the program. tions 2-4 of Figure 3; . Pd ! GUI: realtime performance display ele- 2.4 Structure and preparation of language ments, section 1 of Figure 3; samples Each sample is provided as a wav file, stored in the Since all realtime informations of a performance folder with the sub-patches. To make the samples are available, it is a simple task to take any infor- as efficient and lightweight as possible (the bulk mation - such as the current score location - and use of the patch size is taken by the samples), only it to control any OSC-compatible patches (e.g. in whole numbers from 1 to 100, and then every hun- other software, such as Max/MSP, SuperCollider or dredth from 200 to 1000, are available. So, al- Csound). though the numbers 36, 136 and 236 aurally sound 2.5.1 Pd GUI as ”36”, after a first run-through it is quite clear The GUI in the original Pd patch is divided into four which number is meant to be playing - especially if main sections (Figure 3), according to task separa- the player is also looking at the GUI while rehears- tion: ing/performing. Besides the greater efficiency while preparing the audio files, it is also of advantage to · Performance display, where informations about have the numbers as short as possible. In some lan- the piece being played are displayed; guages, such as German, numbers with more than 2 · Performance control (velocity, volume, and so digits become very long words, which can’t be spo- forth); ken fast enough in a fast tempo. · Output settings (language, audio and recording The preparation and incorporation of new lan- formats); guages is a relatively simple process. A native language speaker with a clear diction - preferably · Transport and file control (play+stop, file opera- someone with some acting or speech-related back- tions); ground - is better suited to read the numbers in a Furthermore, it is possible to control the Click very precise, short, rhythmical, and yet understand- Tracker’s native GUI using keyboard shortcuts (re- able, way. After cleaning as much background noise fer to Appendix B) or turn the keyboard control off. as possible, the samples are synchronised aurally in 2.5.2 External GUI a DAW against a reference click track at constant intervals. The playback is made by playing a spe- Visualization and interaction with the click Tracker cific number (that is, excerpt) from a specific file, can be performed without recurring to the afore- directly from the disk. By not loading any sample mentioned Pd interface. In this case, an experimen- to the memory buffer makes it easier to spare re- tal interface was devised in Processing/Java, aiming sources, without interruption of any ongoing DSP for cross platform compliance and easier deploy- chain.
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