rh]L SrSSKJr SSKrSSKrSSKJr SSKJr SrSr Sr S r S r S r S rS rSrSSjrSSjr\\ \ \ \ \ \\\\\/ r"SS\R(5r\S:XaSSKr\R0"\5 gg)ae Each of the example methods in this module provides a figured bass line as a :class:`~music21.figuredBass.realizer.FiguredBassLine` instance. These can be realized by calling :meth:`~music21.figuredBass.realizer.FiguredBassLine.realize`, which takes in an optional :class:`~music21.figuredBass.rules.Rules` object. The result is a :class:`~music21.figuredBass.realizer.Realization` object which can generate realizations as instances of :class:`~music21.stream.Score`. These realizations can then be displayed in external software such as MuseScore or Finale by calling :meth:`~music21.base.Music21Object.show`. ) annotationsN)realizer)rulescZSSKJn URSSS9n[R"U5$)aZ This example was a homework assignment for 21M.302: Harmony & Counterpoint II at MIT in the fall of 2010, taught by Charles Shadle of the MIT Music Program. >>> from music21.figuredBass import examples >>> fbLine = examples.exampleA() >>> #_DOCS_SHOW fbLine.generateBassLine().show() .. image:: images/figuredBass/fbExamples_bassLineA.* :width: 700 The following is a realization of fbLine in four parts using the default rules set. The soprano part is limited to stepwise motion, and the alto and tenor parts are limited to motions within a perfect octave. >>> from music21.figuredBass import rules >>> fbRules = rules.Rules() >>> fbRules.partMovementLimits = [(1, 2), (2, 12), (3, 12)] >>> fbRealization1 = fbLine.realize(fbRules) >>> fbRealization1.getNumSolutions() 360 >>> #_DOCS_SHOW fbRealization1.generateRandomRealization().show() .. image:: images/figuredBass/fbExamples_sol1A.* :width: 700 Now, the restriction on upper parts being within a perfect octave of each other is removed, and fbLine is realized again. >>> fbRules.upperPartsMaxSemitoneSeparation = None >>> fbRealization2 = fbLine.realize(fbRules) >>> fbRealization2.keyboardStyleOutput = False >>> fbRealization2.getNumSolutions() 3564440 >>> #_DOCS_SHOW fbRealization2.generateRandomRealization().show() .. image:: images/figuredBass/fbExamples_sol2A.* :width: 700 r converterzetinynotation: 3/2 C2 D2_6 E2_6 F2_6 C#2_b7,5,3 D2 BB2_#6,5,3 C2_6 AA#2_7,5,#3 BB1_6,4 BB2_7,#5,#3 E1.F makeNotation)music21rparserfiguredBassFromStream)rss V/home/james-whalen/.local/lib/python3.13/site-packages/music21/figuredBass/examples.pyexampleAr!s7V"N%*  ,A  ) )! ,,cSSKJn SSKJn URSSS9nUR SUR S55 [ R"U5$)al This example was a homework assignment for 21M.302: Harmony & Counterpoint II at MIT in the fall of 2010, taught by Charles Shadle of the MIT Music Program. >>> from music21.figuredBass import examples >>> fbLine = examples.exampleD() >>> #_DOCS_SHOW fbLine.generateBassLine().show() .. image:: images/figuredBass/fbExamples_bassLineD.* :width: 700 The following is a realization of fbLine in four parts using the default rules set. The soprano part is limited to stepwise motion, and the alto and tenor parts are limited to motions within a perfect octave. >>> from music21.figuredBass import rules >>> fbRules = rules.Rules() >>> fbRules.partMovementLimits = [(1, 2), (2, 12), (3, 12)] >>> fbRealization1 = fbLine.realize(fbRules) >>> fbRealization1.getNumSolutions() 1560 >>> #_DOCS_SHOW fbRealization1.generateRandomRealization().show() .. image:: images/figuredBass/fbExamples_sol1D.* :width: 700 Now, the restriction on voice overlap is lifted, which is common in keyboard-style figured bass, and fbLine is realized again. Voice overlap can be seen in the fourth measure. >>> fbRules.forbidVoiceOverlap = False >>> fbRealization2 = fbLine.realize(fbRules) >>> fbRealization2.getNumSolutions() 109006 >>> #_DOCS_SHOW fbRealization2.generateRandomRealization().show() .. image:: images/figuredBass/fbExamples_sol2D.* :width: 700 Now, the restriction on voice overlap is reset, but the restriction on the upper parts being within a perfect octave of each other is removed. fbLine is realized again. >>> fbRules.forbidVoiceOverlap = True >>> fbRules.upperPartsMaxSemitoneSeparation = None >>> fbRealization3 = fbLine.realize(fbRules) >>> fbRealization3.getNumSolutions() 27445876 >>> fbRealization3.keyboardStyleOutput = False >>> #_DOCS_SHOW fbRealization3.generateRandomRealization().show() .. image:: images/figuredBass/fbExamples_sol3D.* :width: 700 rrkeyzmtinynotation: 3/4 BB4 C#4_#6 D4_6 E2 E#4_7,5,#3 F#2_6,4 F#4_5,#3 G2 E4_6 F#2_6,4 E4_#4,2 D2_6 EE4_7,5,#3 AA2.Fr br rrr insertKeyrr rrrs rexampleDrSsPl"P%*  ,AHHQ   ) )! ,,rcSSKJn SSKJn URSSS9nUR SUR S55 [ R"U5$)a  This example was retrieved from page 114 of *The Music Theory Handbook* by Marjorie Merryman. >>> from music21.figuredBass import examples >>> fbLine = examples.exampleB() >>> #_DOCS_SHOW fbLine.generateBassLine().show() .. image:: images/figuredBass/fbExamples_bassLineB.* :width: 700 First, fbLine is realized with the default rules set. >>> fbRealization1 = fbLine.realize() >>> fbRealization1.getNumSolutions() 422 >>> #_DOCS_SHOW fbRealization1.generateRandomRealization().show() .. image:: images/figuredBass/fbExamples_sol1B.* :width: 700 Now, a Rules object is created, and the restriction that the chords need to be complete is lifted. fbLine is realized once again. >>> from music21.figuredBass import rules >>> fbRules = rules.Rules() >>> fbRules.forbidIncompletePossibilities = False >>> fbRealization2 = fbLine.realize(fbRules) >>> fbRealization2.getNumSolutions() 159373 >>> #_DOCS_SHOW fbRealization2.generateRandomRealization().show() .. image:: images/figuredBass/fbExamples_sol2B.* :width: 700 rrrz:tinynotation: 4/4 D4 A4_7,5,#3 B-4 F4_6 G4_6 AA4_7,5,#3 D2Fr drrs rexampleBrsKL"T%*  ,AHHQ   ) )! ,,rcSSKJn SSKJn URSSS9nUR SUR S55 [ R"U5$)am This example was retrieved from page 114 of *The Music Theory Handbook* by Marjorie Merryman. >>> from music21.figuredBass import examples >>> fbLine = examples.exampleC() >>> #_DOCS_SHOW fbLine.generateBassLine().show() .. image:: images/figuredBass/fbExamples_bassLineC.* :width: 700 First, fbLine is realized with the default rules set. >>> fbRealization1 = fbLine.realize() >>> fbRealization1.getNumSolutions() 833 >>> #_DOCS_SHOW fbRealization1.generateRandomRealization().show() .. image:: images/figuredBass/fbExamples_sol1C.* :width: 700 Now, parallel fifths are allowed in realizations. The image below shows one of them. There is a parallel fifth between the bass and alto parts going from the half-diminished 6,5 (B,F#) to the dominant seventh (C#,G#) in the second measure. >>> from music21.figuredBass import rules >>> fbRules = rules.Rules() >>> fbRules.forbidParallelFifths = False >>> fbRealization2 = fbLine.realize(fbRules) >>> fbRealization2.getNumSolutions() 2427 >>> #_DOCS_SHOW fbRealization2.generateRandomRealization().show() .. image:: images/figuredBass/fbExamples_sol2C.* :width: 700 rrrz@tinynotation: 4/4 FF#4 GG#4_#6 AA4_6 FF#4 BB4_6,5 C#4_7,5,#3 F#2Fr zf#rrs rexampleCrsKL"Z%*  ,AHHQ   ) )! ,,rcSSKJn SSKJn URSSS9nUR SUR S55 [ R"U5$)a The dominant 4,3 can resolve to either the tonic 5,3 or tonic 6,3. The proper resolution is dependent on the bass note of the tonic, and is determined in context, as shown in the following figured bass realization. >>> from music21.figuredBass import examples >>> fbLine = examples.V43ResolutionExample() >>> fbRealization = fbLine.realize() >>> #_DOCS_SHOW fbRealization.generateRandomRealization().show() .. image:: images/figuredBass/fbExamples_V43.* :width: 350 rrrz1tinynotation: 4/4 D2 E2_4,3 D2_5,3 E2_4,3 F#1_6,3Fr Drrs rV43ResolutionExampler"sE"KZ_`AHHQ   ) )! ,,rcSSKJn SSKJn URSSS9nUR SUR S55 [ R"U5$)a( For a fully diminished seventh chord resolving to the tonic, the resolution chord can contain either a doubled third (standard resolution) or a doubled tonic (alternate resolution), depending on whether the third of the diminished chord rises or falls. The user can control this in a Rules object by modifying :attr:`~music21.figuredBass.rules.Rules.doubledRootInDim7`. However, when resolving a diminished 6,5, the third is found in the bass and the proper resolution is determined in context, regardless of user preference. The following shows both cases involving a diminished 6,5. The resolution of the first diminished chord has a doubled D, while that of the second has a doubled F#. Notice that the resolution of the first involves a diminished fifth (E, Bb) going to a perfect fifth (D, A). >>> from music21.figuredBass import examples >>> fbLine = examples.viio65ResolutionExample() >>> fbRealization = fbLine.realize() >>> #_DOCS_SHOW fbRealization.generateRandomRealization().show() .. image:: images/figuredBass/fbExamples_vii65.* :width: 700 rrrz-tinyNotation: 4/4 D2 E2_6,b5 D2 E2_6,b5 F#1_6Fr r!rrs rviio65ResolutionExampler$sE0"GV[\AHHQ   ) )! ,,rcSSKJn SSKJn URSSS9nUR SUR S55 [ R"U5$)a This example was retrieved from page 61 of *The Music Theory Handbook* by Marjorie Merryman. Italian (8,#6,3), French (#6,4,3), German (#6,5,3), and Swiss (#6,#4,3) augmented sixth resolutions to either the major dominant or the major/minor tonic 6,4 are supported. The first four bars show the resolutions to the dominant in the order above, while the last bar shows the German augmented sixth resolving to the tonic. >>> from music21.figuredBass import examples >>> fbLine = examples.augmentedSixthResolutionExample() >>> fbRealization = fbLine.realize() >>> #_DOCS_SHOW fbRealization.generateRandomRealization().show() .. image:: images/figuredBass/fbExamples_a6.* :width: 700 rrrz}tinynotation: 4/4 D4 BB-4_8,#6,3 AA2_# D4 BB-4_#6,4,3 AA2_# D4 BB-4_#6,5,3 AA2_# D4 BB-4_#6,#4,3 AA2_# D4 BB-4_#6,5,3 AA2_6,4Fr rrrs raugmentedSixthResolutionExampler&"sP(".&+  ,AHHQ   ) )! ,,rcSSKJn SSKJn URSSS9nUR SUR S55 [ R"U5$)a The Italian augmented sixth chord (It+6) is the only augmented sixth chord to consist of only three pitch names, and when represented in four parts, the tonic is doubled. The tonic can resolve up, down or stay the same, and in four parts, the two tonics always resolve differently, resulting in two equally acceptable resolutions. An alternate approach to resolving the It+6 chord was taken, such that an It+6 chord could map internally to two different resolutions. Every other special resolution in fbRealizer consists of a 1:1 mapping of special chords to resolutions. Here, the It+6 chord is resolving to the dominant, minor tonic, and major tonic, respectively. In the dominant resolution shown, the tonics (D) are resolving inward, but they can resolve outward as well. In the minor tonic resolution, the higher tonic is resolving up to F, and the lower tonic remains the same. In the major tonic resolution, the higher tonic remains the same, while the lower tonic resolves up to the F#. >>> from music21.figuredBass import examples >>> from music21.figuredBass import rules >>> fbLine = examples.italianA6ResolutionExample() >>> fbRules = rules.Rules() >>> fbRules.upperPartsMaxSemitoneSeparation = None >>> fbRules.partMovementLimits.append([1, 4]) >>> fbRealization = fbLine.realize(fbRules) >>> fbRealization.keyboardStyleOutput = False >>> #_DOCS_SHOW fbRealization.generateRandomRealization().show() .. image:: images/figuredBass/fbExamples_it+6.* :width: 700 rrrzKtinynotation: D4 BB-4_#6,3 AA2_# D4 BB-4_#6,3 AA2_6,4 D4 BB-4_#6,3 AA2_#6,4Fr rrrs ritalianA6ResolutionExampler(@sMJ"U  AHHQ   ) )! ,,rcSSKJn SSKJn URSSS9nUR SUR S55 [ R"U5$)a This is a progression in Bb major based on the twelve bar blues. The progression used is: I | IV | I | I7 IV | IV | I | I7 V7 | IV6 | I | I >>> from music21.figuredBass import examples >>> from music21.figuredBass import rules >>> bluesLine = examples.twelveBarBlues() >>> #_DOCS_SHOW bluesLine.generateBassLine().show() .. image:: images/figuredBass/fbExamples_bluesBassLine.* :width: 700 >>> fbRules = rules.Rules() >>> fbRules.partMovementLimits = [(1, 4), (2, 12), (3, 12)] >>> fbRules.forbidVoiceOverlap = False >>> blRealization = bluesLine.realize(fbRules) >>> blRealization.getNumSolutions() 2224978 >>> #_DOCS_SHOW blRealization.generateRandomRealization().show() .. image:: images/figuredBass/fbExamples_twelveBarBlues.* :width: 700 rrrzJtinynotation: BB-1 E-1 BB-1 BB-1_7 E-1 E-1 BB-1 BB-1_7 F1_7 G1_6 BB-1 BB-1Fr zB-rrs rtwelveBarBluesr*nsL6"T  AHHQ   ) )! ,,rc&SSKJn SSKJn SSKJn Uc@[ 5n[ R "5n/SQUlSUlURU5nURU5nURSSS9nUR5n U RUS S5 U RUS S 5 US RHn URUSU 5n UR!U 5n U R"H6n U RR%5R'U R(5 M8 U RHnU RU5 M M UR+5nUR-SUS5 UR-U 5 U$) a Turns whole notes in twelve bar blues bass line to blues boogie woogie bass line. Takes in numRepeats, which is the number of times to repeat the bass line. Also, takes in a realization of :meth:`~music21.figuredBass.examples.twelveBarBlues`. If none is provided, a default realization with :attr:`~music21.figuredBass.rules.Rules.forbidVoiceOverlap` set to False and :attr:`~music21.figuredBass.rules.Rules.partMovementLimits` set to [(1, 4), (2, 12), (3, 12)] is used. >>> from music21.figuredBass import examples >>> #_DOCS_SHOW examples.generateBoogieVamp(numRepeats=1).show() .. image:: images/figuredBass/fbExamples_boogieVamp.* :width: 700 rrstreaminterval)) )r4Fz0tinynotation: BB-8. D16 F8. G16 A-8. G16 F8. D16r r1)r rr-r/r*rRulespartMovementLimitsforbidVoiceOverlaprealizegenerateRandomRealizationsr PartappendnotesInterval transposelyricsfirstaddLyrictextScorer) blRealization numRepeatsrr-r/ bluesLinefbRules sampleScoreboogieBassLine newBassLinenitplyrmnewScores rgenerateBoogieVamprRs\" "$ ++-%?"%*"!))'2 :::FK__%W27%9N++-K{1~a(){1~a() ^ ! !   nQ/ 3  % %a (88C HHNN  % %chh /A   q ! "||~H OOA{1~& OOK OrcSSKJn SSKJn SSKJn SSKJn Uc@[ 5n[ R"5n/SQUlSUl URU5nURU5nURSSS 9n UR5n US RHn URU SU 5n U R!U 5n U R"H6nU RR%5R'UR(5 M8 U RHnU R+U5 M M UR5nUSRH1n[,R."U5nS UlUR+U5 M3 UR35nUR+UR5S 55 UR+US S 5 UR7SU5 UR7SU 5 U$) a Turns whole notes in twelve bar blues bass line to triplet blues bass line. Takes in numRepeats, which is the number of times to repeat the bass line. Also, takes in a realization of :meth:`~music21.figuredBass.examples.twelveBarBlues`. If none is provided, a default realization with :attr:`~music21.figuredBass.rules.Rules.forbidVoiceOverlap` set to False and :attr:`~music21.figuredBass.rules.Rules.partMovementLimits` set to [(1, 4), (2, 12), (3, 12)] is used. >>> from music21.figuredBass import examples >>> #_DOCS_SHOW examples.generateTripletBlues(numRepeats=1).show() .. image:: images/figuredBass/fbExamples_tripletBlues.* :width: 700 rrr,r.)meterr0Fz-tinynotation: BB-4 BB-8 D4 D8 F4 F8 A-8 G8 F8r r1g@z12/8)r rr-r/rTr*rr6r7r8r9r:r r;r=r>r?r@rArBrCr<copydeepcopy quarterLengthrD TimeSignaturer)rErFrr-r/rTrGrHrItripletBassLinerKrLrMrNrOrP newTopLine sampleChordsampleChordCopyrQs rgenerateTripletBluesr]s" "$ ++-%?"%*"!))'2 :::FKoo&U38&:O++-K ^ ! !   oa0! 4  & &q )88C HHNN  % %chh /A   q ! "J"1~++ -- 4(+%/*, ||~H OOE''/0 OOKN1%& OOAz" OOA{# Orc\rSrSrSrg)TestiN)__name__ __module__ __qualname____firstlineno____static_attributes__r`rrr_r_srr___main__)N)__doc__ __future__rrUunittestmusic21.figuredBassrrrrrrr"r$r&r(r*rRr] _DOC_ORDERTestCaser_rar mainTestr`rrros # (% /-d<-~+-\+-\-*->-<+-\!-N-`2j(H6J%-/I> "68  8    z Tr