Turn the following ideas into a production-ready MIDI file w...

Prompt

Turn the following ideas into a production-ready MIDI file with complete, complex, professional melodic lines and human-sounding composition. It can be humanized, especially guitar/piano. Use a different drum set if you switch between acoustic and electronic drums. Create a detailed, complex and human sounding melody as well. Write it in a vocal track, with a saxophone instrument playing the vocal line. Don't go out of the range of an alto saxophone. The melody should be echoed in the drop lead and the piano intro (in the piano top line, left hand should still play chords). Do not actually create a MIDI file, just write a Python script that creates the MIDI file using your writing. Here are the ideas: ## Emotional pop / melodic bass progression **Key:** D minor, lifting to **E minor** for the final chorus **Tempo:** 144 BPM, with a 72 BPM half-time feel **Meter:** 4/4 The verse uses a descending bass line for melancholy; the chorus opens into lush chords, with a rising turnaround that pulls back into the minor tonic. **Chart notation:** Each `| cell |` is one bar. Unmarked chords last four beats; `[2]` means two beats and `[1]` means one beat. A slash indicates the bass note. ### Intro — 4 bars, repeat for 8 *Sparse piano or a filtered pad; let the added ninth linger.* ```text | Dm(add9) | Bbmaj7 | F(add9)/A | A7sus4 [2] A7 [2] | ``` ### Verse — 8 bars, repeat for 16 *Keep the voicings intimate. The bass descends D–C–Bb–A–G–F–E before the dominant.* ```text | Dm(add9) | C(add9) | Bbmaj7 | F/A | | Gm7 | Dm/F | Em7b5 | A7sus4 [2] A7(b9) [2] | ``` ### Pre-chorus — 8 bars *Gradually raise the top voice and open the filter. The final bar tightens the tension.* ```text | Dm/F | F(add9)/A | Bbmaj7 | Csus4 [2] C [2] | | Gm9 | Bbmaj9 | Em7b5 | A7sus4 [2] A7 [1] A7(b9) [1] | ``` ### Chorus / drop — 8 bars, play twice *Wide, sustained chord stacks. Keep the melody plaintive rather than triumphant.* ```text | Dm9 | Bbmaj9 | F(add9)/A | Csus4 [2] C [2] | | Dm9 | Bbmaj9 | Gm9 [2] F/A [2] | Bbmaj7 [1] C [1] A7/C# [2] | ``` The last two bars give you a bass climb of: **G → A → Bb → C → C# → D** Those quarter-note **Bbmaj7 → C** changes add momentum, while **A7/C# → Dm9** supplies the aching resolution. ### Bridge — 8 bars *Strip back the drums and chord layers, then rebuild. This section prepares the whole-step key change.* ```text | Bbmaj7 | F(add9)/A | Gm9 | Dm/F | | Bbmaj7 | G(add9)/B | Am9 | B7sus4 [2] B7 [1] B7(b9) [1] | ``` The bass moving **Bb → B** introduces the new harmonic color. **B7(b9)** then pulls into **E minor**, so the lift feels connected rather than abrupt. ### Final chorus — 8 bars, play twice *The original chorus transposed up a whole step. Increase the intensity, but keep the minor-key sadness.* ```text | Em9 | Cmaj9 | G(add9)/B | Dsus4 [2] D [2] | | Em9 | Cmaj9 | Am9 [2] G/B [2] | Cmaj7 [1] D [1] B7/D# [2] | ``` ### Outro — 8 bars *Return to the intro’s sparse texture. Let the final two bars decay naturally.* ```text | Em(add9) | Cmaj7 | G(add9)/B | Am7 | | Cmaj7 | B7sus4 [2] B7(b9) [2] | Em(add9) | Em(add9) | ``` ### Voicing it for melodic bass - **Keep the sub monophonic:** follow the chord root—or the written slash-bass note—and place the sevenths and ninths in the mid/high chord layers. - **Use a shared upper note:** try **A–A–A–G** over the first four chorus bars. That sustained A becomes an especially poignant major seventh over **Bbmaj9**. In the final chorus, transpose it to **B–B–B–A**. - **Leave the ending slightly wounded:** retain the ninth, **F#**, in the final **Em(add9)** rather than closing on a plain minor triad.