This web application uses concepts from Jenny McLeod’s and Peter Schat’s Tone Clock Theory to provide information about a selected pitch-class set (or 'Intervallic Prime Form'). Information returned includes the label, the Forte Name, tone-clock steering, and the ‘dissonance’ value. Much reference is made to Tone Clock theory, drawn from the IPF tables in Jenny McLeod’s “Chromatic Maps”* (based on Peter Schat’s work). At the bottom of this page is a glossary explaining (some) of the terminology.
This page allows you to generate Lindenmeyer Systems (L-Systems), a recursive ‘substitution grammar’ system, often used to generate organic, self-similar patterns. They have been used in music most notably by composer Hanspeter Kyburz. You can define a set of user-defined ‘rules’ that govern the substitution of symbols from one generation to the next, generating an endlessly varying set of patterns, in a manner that mimics natural growth and decay processes.
This page shows the resultant pitches from all natural harmonics (up to the fourth harmonic) for orchestral strings. Note that for the third and fourth harmonic, there are two options for where to touch the string — the higher position, which is indicated using a harmonic circle, and the lower position, indicated using a touch-notation (diamond notehead).
This webpage lets you enter pitch collections, and looks for possible ‘Pressing scales’ (a term coined by Dmitri Tymoczko in his article Scale Networks and Debussy).
This page lists the common transposing instruments in the orchestra, and their transpositions.
A series of presentations on tone-clock theory, algorithmic composition (Lindenmayer systems), New Zealand music and spectralism.