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Messiaen's modes (https://en.wikipedia.org/wiki/Mode_of_limited_transposition#Messiaen's_list):

• first mode (whole tone)
• second mode (octatonic, diminished, whole-half, or half-whole)
• third mode
• fourth mode
• fifth mode
• sixth mode
• seventh mode

Tasks, from page 82 of The Complete Musician, Fourth Edition:

• Start on one member of the tonic triad (e.g, 1, 3, or 5)
• End with the two-pitch pattern 2, 1 or 7, 1
• Limit the total tonal range of the melody (span of pitches) to the interval of a 10th
• Set most of the tonal activity in the range of a 6th
• Move primarily by one step
• Optionally, (less frequently) steps can be in thirds, fourths, or fifths
• When doing such disjunct steps, do more thirds than the others
• Limit larger jumps to be smaller than a perfect 5th
• Don't make dissonant leaps
• Don't leave tensions unresolved
• After leaps, consider using a change in direction to fill in the tonal jump (the larger the jump, the more important this is)
• Do not do multiple large jumps in a row
• After doing two small jumps in a row (i.e., two jumps by thirds), change direction.
• Avoid repeated notes and patterns
• Aim for smooth and continuous shapes (ascending / descending patterns)

Bugs in implementation:

• Length of melody is not always what is expected
• The final note is not always the tonic
• Notes are sometimes repeating, despite attempts to codify the prevention of this
• Every once in a while, the generated melody gets an index error (when trying to lists:nth)
• The initial scale length isn't getting extended to a 10th
• Need to implement proper melody inversion
• Need to end melody inversion on tonic

melodic minor modes:

• Phrygidorian / Assyrian - C–D♭–E♭–F–G–A–B♭
• Lydian augmented - C–D–E–F♯–G♯–A–B
• Lydian dominant / Acoustic - C–D–E–F♯–G–A–B♭
• Myxaeolian / Hindu - C–D–E–F–G–A♭–B♭
• Aeolocrian - C–D–E♭–F–G♭–A♭–B♭
• Super Locrian - C–D♭–E♭–F♭–G♭–A♭–B♭
• Altered - C, D♭, D♯, E, F♯, A♭, B♭ (should be he same as above)
• Jazz minor - alias to melodic minor ascending

Diminished/octatonic (https://en.wikipedia.org/wiki/Octatonic_scale):

• whole step/half-step diminished scale
• half-step/whole step diminished

Bebop scales (https://en.wikipedia.org/wiki/Bebop_scale):

• Bebop dominant
• Bebop Dorian
• Bebop major
• Bebop melodic minor
• Bebop harmonic minor

Other (https://en.wikipedia.org/wiki/Mode_(music)#Other_types):

• Athenian
• Cappadocian
• Asgardian
• Pontikonisian
• Olympian
• Sisyphean
• Palamidian
• Hungarian minor
• Double harmonic

i.e., Getting all the modes at once for a particular scale

• diatonic
• pentatonic
• hexatonic
• persian
• melodic minors
• Bebop
• octatonic
• Messiaen

Depends on:

• #7

This is needed for melody generation.

Corresponding undermidi ticket:

• ut-proj/undermidi#47

See

• https://en.wikibooks.org/wiki/Music_Theory/Complete_List_of_Chord_Patterns
• https://en.wikipedia.org/wiki/Roman_numeral_analysis

New mode support has been added, but only chords from Ionian and Aeolian; the rest need to be filled in.

Persian scales (https://en.wikipedia.org/wiki/Persian_scale):

• 1
• 2
• 3
• 4
• 5
• 6
• 7

1. Device a data structure for use by all scales
2. Put all scales in a data structure for easy, low-level access as well as visual-scanning / readability (easier to maintain
3. Refactor existing functions to use new data structure

i.e., Reverse lookup

Depends on:

• #7

e.g, "Major, mode I" or "Ascending melodic minor, mode VII"

Tasks:

• diatonic - by name
• diatonic - by mode roman numeral
• pentatonic
• hexatonic
• persian
• melodic minors
• Bebop
• octatonic
• Messiaen

Depends on:

• #7

Typing (uth.note:whole) will be a pain, so we need macros that can called simply as possible, e.g., (W) or (w).

Add the following macros:

• (n) or (w)
• (n/2) or (h)
• (n/4) or (q)
• (n/8)
• (n/16)
• (n/32)
• (n/64)
• (n/2-dot)
• (n/4-dot)
• (n/8-dot)
• (n/16-dot)
• (n/32-dot)