Turn the following ideas into a sheet-music ready MIDI file ...

Prompt

Turn the following ideas into a sheet-music ready MIDI file with complete, complex, professional melodic lines and human-sounding composition. Do not actually create a MIDI file, just write a Python script that create the MIDI file using your writing. Here are the ideas: # Four-movement harmonic plan for SATB saxophone quartet Here is an **original, concert-pitch harmonic blueprint** built around a tonal journey from **C minor → A♭ major → F gospel-blues**, with the finale returning to C minor before reaching F major. The theatrical movements use pedal points, chromatic bass lines, borrowed chords, and broad major-key releases. The gospel movements emphasize added-sixth sonorities, passing diminished chords, plagal motion, blues inflections, and lead-singer/choir exchanges. ## Reading the progressions - Each chord occupies **one bar of 4/4**, unless otherwise indicated. - `X > Y` means **two beats on each chord**. - `q{W, X, Y, Z}` means **four quarter-note chords**. - `ø7` means half-diminished seventh; `°7` means fully diminished seventh. - Slash chords indicate the intended bass note. - All chord symbols and later voicing examples are **concert pitch**. ### The essential four-voice rule **The solo melody is one of the four voices—not an additional voice above four-part accompaniment.** During a solo, the other three instruments supply a harmonic shell. For example: - **F9:** F–A–E♭–G; omit the fifth, C. - **G7(♭9):** G–B–F–A♭; omit the fifth, D. - **Cm(add9):** C–E♭–G–D; already exactly four notes. - **Dø7:** D–F–A♭–C; retain all four when practical. Extensions need not remain present beneath every passing melody note. If the melody occupies the fifth of a ninth chord, temporarily omit the ninth rather than inventing a fifth part. --- # I. Proclamation ### Mostly Broadway-inspired: forceful, dramatic, and lyrical **Key:** C minor, with an E♭-major lyrical section **Tempo:** ♩ = 126, straight eighths **Length:** 48 bars **Character:** Theatrical declamation rather than swing; strong rhythmic entrances contrasted with long, singing phrases. The opening uses a tonic pedal beneath changing upper harmonies. The main theme then introduces a descending chromatic bass line—a useful theatrical device for accumulating emotional pressure. ```text OVERTURE — emphatic, with space between gestures 1–4 Cm(add9) | Ab/C | Fm/C | G7/B 5–8 Cm/Eb | Abmaj7 | Dø7 > G7(b9) | Cm MAIN THEME — bass descends C–B–Bb–A–Ab–G 9–12 Cm | Cm(maj7)/B | Cm7/Bb | F7/A 13–16 Abmaj7 | Eb/G | Dø7 > G7(b9) | Cm LYRICAL RELEASE — broader melody, relative major 17–20 Eb(add9) | Bb/D | Cm7 | Gm7/Bb 21–24 Abmaj7 | Eb/G | Fm7 > Bb7 | Eb6 DEVELOPMENT — rising tension and a darker predominant 25–28 Abmaj7 | A°7 | Eb/Bb | C7/E 29–32 Fm | Db/F | Dø7 > G7(b9) | G7sus4 > G7 REPRISE — fuller articulation, not necessarily louder throughout 33–36 Cm | Cm7/Bb | Abmaj7 | Eb/G 37–40 Fm7 | Db/F | Cm/G > G7(b9) | Cm CODA — compact, decisive 41–44 Ab | Eb/G | Fm | Cm/Eb 45–48 Db/F | q{Dø7, G7sus4, G7(b9), G7} | Cm(add9) | Cm ``` ### Quartet treatment - **Bars 1–3:** Baritone can articulate repeated C3s while the upper three voices change harmony. This creates propulsion without requiring a keyboard-like texture. - **Bars 9–16:** Let the descending bass line remain audible. Keep the upper voices relatively connected rather than rearticulating every note heavily. - **Bars 17–24:** Soprano carries the broad melody; tenor supplies short answering phrases in its rests. - **Bars 29–32:** The D♭/F is the dramatic, borrowed-color moment. Give it breadth before tightening toward G7. - **Bar 46:** The quarter-note chord sequence should feel like a compressed theatrical flourish leading into the final tonic. For a longer first movement, repeat bars 9–24 with a different melodic lead and more active inner voices. --- # II. Testimony ### Gospel-soul ballad featuring alto saxophone **Key:** A♭ major **Tempo:** ♩ = 58, with a gentle triplet subdivision **Length:** 48 bars **Character:** A lead singer supported by a small choir—warm, patient, and expressive. This movement draws on church-ballad language: tonic sixth chords, **IV–♯iv°7–I/V** motion, secondary dominants, and the expressive change from major IV to minor iv. Keep the alto in the foreground throughout. Soprano should often sustain or answer, not continuously double the melody above it. ```text FIRST STATEMENT — simple, hymn-shaped melody 1–4 Ab6 | Eb/G | Fm7 | Ab/Eb 5–8 Db6 | Ab/C | Bbm7 > Eb7 | Ab6 > Ab7 RESPONSE — classic rising gospel bass motion 9–12 Db6 | D°7 | Ab/Eb | F7/A 13–16 Bbm7 | Eb7sus4 > Eb7 | Ab6 | Ab7 BRIDGE — borrowed minor color, then renewed warmth 17–20 Dbmaj7 | Dbm6 | Ab/Eb | C7/E 21–24 Fm7 | Bb7/D | Bbm7 > Eb7 | Ab6 > Ab7 RETURN — slightly more movement beneath the alto 25–28 Db6 | D°7 | Ab/Eb | F7/A 29–32 Bbm7 | Eb9 | Ab6 | Ebm7 > Ab7 CLIMAX — alto reaches its emotional high point 33–36 Db6 | D°7 | Ab/Eb | F7/A 37–40 Bbm7 | Eb7sus4 > Eb7 | Ab6 > Db/Ab | Ab6 AMEN TAG — gradually quieter and broader 41–44 Db6 | Dbm6 | Ab/Eb > F7/A | Bbm7 > Eb7 45–48 Ab/C > Db6 | D°7 > Ab/Eb | q{Bbm7, Eb7sus4, Eb7, Ab6} | Ab6 ``` ### Quartet treatment - **Alto:** Shape four-bar phrases like sung statements, leaving occasional breaths for instrumental responses. Save the most ornamented phrase for bars 33–40. - **Soprano:** Long, quiet chord tones above the alto can sound beautiful, but keep them dynamically subordinate. - **Tenor:** Favor thirds, sevenths, and small chromatic connections. - **Baritone:** Mostly roots and indicated inversion notes; use gentle pulses rather than a walking bass. The progression **D♭6 → D°7 → A♭/E♭** is especially effective with four voices. Two voices can move chromatically while the others barely move; an exact realization appears below. At bars 41–42, make **D♭6 → D♭m6** an expressive change of color, not a sudden dynamic accent. --- # III. Walk It Home ### Medium-tempo gospel-blues featuring baritone in the first half **Key:** F, mixing major gospel harmony with blues inflections **Tempo:** ♩ = 96, lightly shuffled **Length:** 48 bars: four 12-bar choruses **Feature:** **Baritone leads all of bars 1–24** The harmony is intentionally more repetitive here. Development should come from phrasing, register, articulation, and call-and-response—not constant reharmonization. ```text CHORUS 1 — BARITONE FEATURE Clear, memorable blues-gospel statement 1–4 F6 | Bb7 | F6 | F7 5–8 Bb7 | B°7 | F/C | D7/F# 9–12 Gm7 | C7 | F6 > D7 | Gm7 > C7 CHORUS 2 — BARITONE FEATURE CONTINUES More ornamentation and stronger choir responses 13–16 F9 | Bb9 | F/A > F7/A | Cm7 > F7 17–20 Bb9 | B°7 | F/C | D7(b9) 21–24 Gm7 | C9 | F6 > D7 | Gm7 > C7 CHORUS 3 — UPPER-VOICE CALL AND RESPONSE Baritone returns increasingly to the bass function 25–28 F7 | Bb7 | F7 | Cm7 > F7 29–32 Bb9 | B°7 | F/C | D7(b9) 33–36 Gm7 | C7sus4 > C7 | F6 > D7 | Gm7 > C7 CHORUS 4 — FOUR-VOICE SHOUT Shorter attacks, stronger ensemble rhythm 37–40 F6 | Bb7 | F7 | Cm7 > F7 41–44 Bb9 | B°7 | F/C | D7(b9) 45–48 Gm7 | C7sus4 > C7 | q{F/A, Bb6, B°7, F/C} | F6 ``` ### Making the baritone feature work Do not try to place an imaginary fifth instrument beneath the baritone. Two textures can alternate: 1. **Baritone in its middle/upper register:** Tenor supplies a playable structural bass note, with alto and soprano completing the shell. 2. **Baritone descending into its low register:** Its melody becomes the bass; the upper trio supplies a sparse harmonic response. On slash chords, either place the baritone melody above the tenor’s indicated bass or let the baritone itself touch that bass note as part of the phrase. A characteristic baritone gesture is **F–A♭–A–C**. When the baritone dwells on A♭, temporarily withhold A-natural from the accompaniment: - Upper trio: **F–C–E♭** - Baritone: **A♭ → A** The resulting vertical sound moves naturally from Fm7 color into F7 without an unnecessarily harsh sustained A♭/A clash. The quarter-note bass ascent in bar 47—**A–B♭–B–C**—will return in the finale. --- # IV. All Voices Rising ### Equal parts Broadway and gospel, with changing tempo **Tonal path:** C minor → E♭ major → F major **Length:** 72 bars The design gives **32 bars to predominantly theatrical writing, 32 to predominantly gospel writing, and eight to an explicit fusion**. ### Solo and tempo plan | Bars | Lead/texture | Tempo and feel | |---|---|---| | 1–8 | Ensemble prologue | ♩ = 72, broad and flexible | | 9–16 | **Soprano solo melody** | ♩ = 126, straight and theatrical | | 17–24 | Ensemble expansion | Continue ♩ = 126 | | 25–32 | **Alto solo melody** | ♩ = 63, gospel-ballad triplet feel | | 33–40 | **Tenor solo melody** | ♩ = 76, warmer and more forward | | 41–48 | **Baritone solo melody** | ♩ = 104, gospel shuffle | | 49–56 | Two-bar exchanges: S → A → T → Bari | ♩ = 112, building toward 126 | | 57–64 | Broadway-theme transformation | ♩ = 132, straight | | 65–72 | Gospel shout and final resolution | ♩ = 138; broaden through 71–72 | The change from 126 to 63 is an exact half-tempo relationship. At the other major transitions, use a clear breath, held chord, or conductor-led pickup to establish the new pulse. ```text PROLOGUE — the first movement remembered 1–4 Cm(add9) | Ab/C | Fm/C | G7/B 5–8 Cm/Eb | Abmaj7 | Dø7 > G7(b9) | Cm SOPRANO SOLO — angular, soaring theatrical melody 9–12 Cm | Cm(maj7)/B | Cm7/Bb | F7/A 13–16 Abmaj7 | Eb/G | Fm7 > Bb7 | Eb6 ENSEMBLE EXPANSION — relative-major arrival 17–20 Eb(add9) | Bb/D | Cm7 | Gm7/Bb 21–24 Ab6 | A°7 | Eb/Bb > C7/E | Fm7 > Bb7 ALTO SOLO — gospel ballad, recalling Movement II 25–28 Eb6 | Bb/D | Cm7 | Eb/Bb 29–32 Ab6 | Eb/G | Fm7 > Bb7 | Eb6 > Eb7 TENOR SOLO — increasingly urgent, preparing F major 33–36 Ab6 | A°7 | Eb/Bb | C7/E 37–40 Fm7 | Bb7 | Eb6 > D7 | Gm7 > C7 BARITONE SOLO — the blues voice returns 41–44 F7 | Bb7 | F/A | Cm7 > F7 45–48 Bb9 | B°7 | F/C > D7 | Gm7 > C7 FUSION — two-bar melodic handoffs, growing energy 49–52 F6 | C/E | Dm7 | F/C 53–56 Bb6 | B°7 | F/C > D7 | Gm7 > C7 BROADWAY TRANSFORMATION — opening material recast in major 57–60 F(add9) | Db/F | Bb/F | C7/E 61–64 F/A | Dm7 | Gm7 > C7 | F6 FINAL GOSPEL SHOUT — decisive, communal conclusion 65–68 Bb6 | B°7 | F/C | D7(b9) 69–72 Gm7 | q{Gm7, C7sus4, C7, Bb/C} | q{F/A, Bb6, B°7, F/C} | F6 > F ``` ### Solo character - **Soprano, 9–16:** A projecting, rhythmically clear anthem. Favor longer arcs over decorative runs. - **Alto, 25–32:** The most intimate solo—sustained notes, delayed resolutions, and short triplet pickups. - **Tenor, 33–40:** Speech-like pickups developing into a broad, urgent phrase. The D7 in bar 39 should sound like the door opening toward the next section. - **Baritone, 41–48:** Blues-inflected, rhythmically spacious, and confident. Leave gaps for the upper trio’s responses. In bars 57–60, the upper harmonies change over F much as they did over C in the opening movement. This makes the climax feel like a transformation of earlier material rather than an unrelated key change. --- # Practical four-voice voicing cells These are **concert-pitch snapshots**, not complete melodies. They demonstrate how the harmonic language can remain rich with only four instruments. **C4 = middle C.** All examples fit standard saxophone ranges without altissimo or a low-A baritone. | Passage | Chord | Soprano | Alto | Tenor | Baritone | |---|---|---:|---:|---:|---:| | I, opening | Cm(add9) | D5 | G4 | E♭4 | C3 | | I, opening | A♭/C | E♭5 | A♭4 | C4 | C3 | | I, opening | Fm/C | F5 | A♭4 | C4 | C3 | | I, opening | G7/B | F5 | G4 | D4 | B2 | | II, gospel ascent | D♭6 | A♭4 | F4 | B♭3 | D♭3 | | II, gospel ascent | D°7 | A♭4 | F4 | C♭4 | D3 | | II, gospel ascent | A♭/E♭ | A♭4 | E♭4 | C4 | E♭3 | | III, bari melody on ninth | F9 | E♭4 | A3 | F3 | **G3** | | III, bari melody on ninth | B♭9 | A♭4 | D4 | B♭2 | **C4** | | IV, quarter-note cadence | F/A | A4 | F4 | C4 | A2 | | IV, quarter-note cadence | B♭6 | G4 | F4 | D4 | B♭2 | | IV, quarter-note cadence | B°7 | A♭4 | F4 | D4 | B2 | | IV, quarter-note cadence | F/C | A4 | F4 | C4 | C3 | | IV, final bar, first half | F6 | D5 | A4 | C4 | F2 | | IV, final bar, second half | F | C5 | A4 | C4 | F2 | In the gospel ascent, the tenor’s **B♭–C♭–C** and baritone’s **D♭–D–E♭** create the motion while soprano barely moves. C♭4 sounds as B3. In the baritone-feature examples, **the baritone intentionally crosses above the tenor**. Keep the supporting voices softer so that register does not determine which instrument sounds like the lead. ## A small motif to unify the suite An original four-note cell can connect the movements: - **I:** C–E♭–F–G — minor, declarative. - **II:** A♭–C–D♭–E♭ — warm, hymn-like. - **III:** F–A♭–A–C — blues-inflected variant. - **IV:** F–A–B♭–C — the opening idea transformed into major. Finally, transpose the concert-pitch material for the written parts: **soprano up a major second, alto up a major sixth, tenor up a major ninth, and baritone up a major thirteenth.**