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: To make a 4-voice saxophone quartet (SATB) sound as rich as a Broadway pit orchestra or a 1970s Gospel Hammond B3 organ, **voice leading and note selection are everything.** Because you only have four notes at any given time, you must frequently drop the 5th of the chord (unless it is altered, like #5 or b5) and sometimes even the root (implying it through bass movement) to make room for the 9ths, 11ths, and 13ths that give Gospel and Broadway their lush colors. *Note: All progressions below are written in **Concert Pitch** for ease of harmonic reading.* --- ### How to Voice 4-Part Chords for this Piece (Quick Guide) * **Broadway "Sus" Chords (e.g., Bb7sus4):** Bari (Bb), Tenor (F), Alto (Ab), Soprano (Eb). * **Gospel "Crunch" Chords (e.g., G7#5#9):** Bari (G - Root), Tenor (F - 7th), Alto (B - 3rd), Soprano (D# - #5, and resolving to A# - #9). * **Major 9th Chords (e.g., Ebmaj9):** Drop the 5th. Bari (Eb - Root), Tenor (G - 3rd), Alto (D - 7th), Soprano (F - 9th). --- ### Movement 1: "The Curtain Rises" (Broadway Inspired) **Style:** *Wicked* meets *Les Misérables*. 4/4 Time, Allegro Dramatic (♩ = 132). **Concept:** Stephen Schwartz (*Wicked*) loves bass pedals and Lydian modes; Schönberg (*Les Mis*) loves dramatic minor marches that burst into relative major keys. **Section A: The "Wicked" Overture (Pedal Point)** *The Bari plays a driving rhythmic pedal on C, while the upper three horns shift harmonies above it.* **| Cm(add9) | Bb/C | Abmaj7(#11)/C | G7sus4 G7b9 |** **Section B: The "Barricade" March** *A strong, staccato, marching rhythm in the Tenor and Bari. Soprano and Alto play a soaring, harmonized counter-melody.* **| Cm | Cm/Bb | Abmaj7 | Fm7 G7 |** **| Cm | A°7 | Dbmaj7 | G7sus4 G7 |** *(The Dbmaj7 is a Neapolitan chord—very theatrical).* **Section C: The "Defying Gravity" Chorus (Modulation to Eb Major)** *Sweeping, lyrical, and triumphant. Open up the voicings (Bari low, Soprano high).* **| Ebmaj9 | Ab/Eb | Bb/D | Cm7 Eb/Bb |** **| Abmaj7 | Fm7/Bb | G7/B | Cm9 F13 |** **Cadential Climax (Moving Quarter-Note Chords):** *To build energy to the final chord, all four horns lock into homophonic quarter-note movement, climbing chromatically.* **| [Fm7] [Gm7] [Abmaj7] [A°7] | [Bb7sus4] (hold for 3 beats) [B°7] | Cm9 (Quick shift to) Cmaj9! |** *(Ending on a Picardy third—C Major—for a blindingly bright Broadway finish).* --- ### Movement 2: "Sunday Morning Grace" (50s-80s Gospel Ballad) **Style:** Sam Cooke, Aretha Franklin, Thomas Dorsey. 6/8 or 12/8 Time, Slow & Swaying (♩. = 52). **Feature:** Alto Saxophone. **Concept:** Since the Alto is soloing, the **Soprano, Tenor, and Bari must act as a 3-voice Hammond Organ.** Soprano should drop into its lower/middle register to blend warmly with the Tenor. They will play just the Root, 3rd, and 7th (shell voicings), allowing the Alto's melody to supply the 9ths, 11ths, and 13ths. **Section A: The Testimony (Alto Melody, STB Pad)** *Use lots of glissandos and scoops in the Alto. The B°7 is the classic Gospel diminished passing chord.* **| Fmaj7 | F7/A | Bbmaj9 | B°7 |** **| F/C | D7(#9) | G9 | C13 C7(b9) |** **Turnaround (Moving Eighth-Note Triplets in STB):** *While the Alto holds a high, wailing note, the other three saxes play a classic church walk-up in triplets.* **| Fmaj7 | (Gm7 Ab°7 F/A) | Bbmaj7 B°7 | C7sus4 C7 |** **Section B: The Altar Call (Emotional Peak)** *All four saxes come together here, Alto playing the lead in the upper register. Features the classic Gospel "Plagal" (IV to iv to I) heart-tugger.* **| Bbmaj9 | Bbm6/Db | F/C D7(b9) |** **| G13 | C7sus4 C7(b9) | [F] [Bb/F] [F] |** *(The last bar is a slow quarter-note Gospel "Amen" cadence).* --- ### Movement 3: "Testify!" (Medium-Tempo Gospel/Blues) **Style:** Ray Charles, The Staple Singers. 4/4 Time, Heavy Swing/Shuffle (♩ = 108). **Feature:** Bari Saxophone (First Half). **Concept:** Since the Bari has the solo in the first half, **who plays the bass?** You have two great options here: Have the Bari play a "walk-and-talk" style (hitting the bass note on Beat 1, and soloing on beats 2, 3, and 4), while Soprano, Alto, and Tenor play tight, punchy "horn section" stabs (rootless voicings) in the background. **First Half: The Bari Preaches (12-Bar Gospel Blues in Bb)** *SST play rhythmic stabs on the "& of 2" and Beat 4. Bari struts.* **| Bb13 | Eb9 | Bb13 | Bm7(b5) E7(#9) |** *(The ii-V into the IV chord—very soulful).* **| Eb9 | E°7 | Bb13/F | G7(#5#9) |** **| Cm9 | F13 | Bb13 G7(#9) | Cm9 F7(#9) |** **Second Half: "The Shout" (Full Quartet)** *Bari goes back to a roaring bassline. Soprano takes the lead. In Gospel music, a "Shout" features fast, moving chords. Use **moving quarter-note chords** here to simulate a congregation dancing.* **| [Bb/F] [F#°7] [Gm7] [Ab°7] | [Bb/F] [E7#9] [Eb9] [D7#9] |** **| Cm9 | C#°7 | Bb/D | G7(#5#9) |** **| Cm9 | F13 | [Bb6] [Eb9/Bb] [Edim/Bb] [Bb6] |** *(Driving rhythmic finish).* --- ### Movement 4: "The Curtain Call & Benediction" (Broadway/Gospel Fusion) **Style:** *The Color Purple* or *Rent* meets Kirk Franklin. **Concept:** Both genres love **Slash Chords** (a triad over a different bass note) and **delayed resolutions**. This movement uses shifting tempos and features every horn before a massive, unified finale. **Part 1: Theatrical Recitative (Rubato, Tempo Free) – TENOR SOLO** *Starts like a vulnerable Broadway soliloquy ("Bring Him Home" style). Soprano, Alto, and Bari hold shimmering, close-voiced chords.* **| Dmaj9 | F#m7/C# | Bm11 | Gmaj7(#11) |** **| Em9 | D/F# Gmaj7 | Asus4 | A7(b9) |** *(Pause on a fermata...)* **Part 2: The Fusion Groove (Up-tempo, ♩ = 140) – ALTO & SOPRANO SOLOS** *Suddenly explodes into a driving, syncopated Gospel-Pop groove (modulating to Ab Major). Alto takes the first 8 bars (fiery and rhythmic), Soprano takes the next 8 (soaring and theatrical).* **| Ab/C | Db2 | D°7 | Eb7sus4 Eb7 |** **| Fm9 | Bb13 | Db/Eb | Abmaj9 C7(#9) |** *(The C7#9 pulls us back to Fm for the second soloist).* **Part 3: The Breakdown (Sudden Half-Time, ♩ = 70) – BARI SOLO** *The groove drops to a heavy, dirty, half-time funk/gospel feel. The Bari plays a gritty, aggressive solo over dark harmonies.* **| Fm11 | Bb13(b9) | Db9(#11) | C7(#5#9) |** *(Repeat 2x, with the upper three horns building a rhythmic ostinato).* **Part 4: Grand Finale (Accelerando back to ♩ = 140)** *All four instruments weave together in counterpoint, leading to the ultimate cadence. Use **moving half-note and quarter-note triplet chords** for maximum energy.* **The Climb (Half-note chords):** **| [Dbmaj7] [Dm7(b5)] | [Ab/Eb] [E°7] | [Fm9] [G7(b9)] |** **The Gospel/Broadway "Planing" Cadence (Quarter-Note Triplets!):** *All four saxes play parallel dominant 9th chords descending chromatically in giant triplets—a massive Gospel trope that sounds thrilling in a sax quartet.* **| (Gb9 F9 E9) (Eb9 D9 Db9) |** **The Resolution (Broaden tempo, Molto Ritardando):** **| Ab/Eb | Db/Eb Eb7(b9) |** **| [Abmaj9] [Dbm6/Ab] [Abmaj9] ! |** *(Hit the final Abmaj9, move to the minor iv chord over the Ab pedal for that one last tear-jerking Broadway/Gospel ache, and resolve to a roaring, wide-voiced Ab Major).*