I’ve started working again on my Gestural Music Sequencer after putting it down at end of the quarter for grading and paperwork. The main task that I’m working on is managing the timing so that it’s no longer tied to the frame rate. To do this I’m using Java’s Thread class in Processing.org to drive the tempo independently from the frame rate. Thanks to toxi over at PostSpectacular.com and his response to a question on precise timing, I learned what was necessary to set note durations based on tempo created from Java’s System.nanoTime() method. So far I have enabled eleven durations, from a whole note down to a sixty-fourth note.
While implementing this feature I inadvertently created a bug that set the time interval to zero. I quickly fixed the bug, but not before hearing some pretty amazing sounding glitches out of Reason as it received a stream – make that a tsunami – of note on data as fast as the processor could send it. Here’s how it sounds when Reason is flooded with note on information. The high pitch ringing is caused by the frequency of notes being sent, which turns out to be about 739 Hertz, in other words, seven hundred thirty-nine notes a second. Not even Ingvay Malmsteen can play that fast.
GMS: Super Fast Notes
I have recently added keyboard controls to dynamically set the transposition in my Gestural Music Sequencer. I set it up like a piano keyboard, so that “Q” is the key of C, “2” is C sharp and so on. In this example I have the application set to to play a minor pentatonic scale. This makes it quite clear when the key changes. In this case I’m modulating between C and F sharp. I also started with a slower note duration, then switched to a faster one. I would not classify this as a very musical performance. This was part of a test to make sure that all of the transposition key controls were operating properly. 
As I mentioned before I have GMS setup to produce specific scales. At this stage they are all based on the key of C. Eventually I’ll set up the application so that the key and scale are dynamically adjustable. I will also include a wider variety of scales, including all the modes, diminished, whole tone, and more. 
The intervals in a major scale are really the same as a minor scale. What’s different is the starting point. All the pitches in a major scale are the same as its relative minor, which is down a minor third. So the difference between a melody in a minor key and a major one is the root note. The same melody can be minor or major depending on the perspective of the listener. The last pattern I posted is only in a minor key if you consider C the root. If you consider E flat the root, then the melody is in a major key with C being its relative minor. In this case, the pattern is in C major, so if you listen with an A (the relative minor of C) in mind you’ll hear it in a minor scale.