Tonespace User Guide PDF

v2.5 user guide
www.mucoder.net/tonespace
(c) 2013 altalogix bvba. All rights reserved.
1
Table of Contents
Welcome................................................................................................................................. 2
Installing tonespace ............................................................................................................. 4
System requirements....................................................................................................... 5
Installation ........................................................................................................................ 7
License agreement & thank you .................................................................................... 9
Getting Started...................................................................................................................... 13
Concepts ................................................................................................................................ 14
Introducing spaces .......................................................................................................... 15
How chords fit to a space............................................................................................... 16
Navigation along the axes of the space........................................................................ 17
Understanding scales ...................................................................................................... 18
Understanding keys......................................................................................................... 20
Understanding scale degrees ......................................................................................... 22
Understanding chords..................................................................................................... 24
Mouse wheel technique................................................................................................... 27
Automatic chord fitting ................................................................................................... 28
Varying the space and scale........................................................................................... 30
Chord voicings ................................................................................................................. 31
MIDI input......................................................................................................................... 33
MIDI output ...................................................................................................................... 35
Footnotes .......................................................................................................................... 36
Parameter reference ............................................................................................................. 37
tonespace 2.5 user guide - (c) 2013 altalogix bvba 12/08/2013

2
Welcome

Thank you for using mucoder tonespace 2.5.
Can't find what you need in this guide?
Visit us on the web: www.mucoder.net
Mail us: [email protected]
What is tonespace ?
it's a different, more intuitive music keyboard, combined with a chorder
It supports over 50 different grids, 14 scales, 18 keys, 30+ chord types and 25
chord voicings
it can function as a VST or Audio Unit plugin, processing incoming MIDI events
and/or generating outgoing MIDI
you don't need to use MIDI though: there is also a standalone executable which
contains its own little synth for a fast start
What can you do with it ?

you can audition and play chords while you move the mouse around in a grid-like
space
you can learn how musical scales and keys work, and how chords relate to these,
using the simple octave-based spaces
you can visually discover how chords map onto surprisingly simple geometric
shapes in the more advanced spaces

3
you can use the chord-generation algorithm to generate chords from these simple
shapes in the advanced spaces
you can also generate all chords that fit a chosen scale/key, then take the best
chord, or alternate between all of them
Getting Started
Using tonespace is easy. After having installed tonespace, please read this to get started.

4
Installing tonespace
To proceed with installation please read the following sections:
System Requirements
Installation

5
System requirements
tonespace runs on Microsoft Windows, Apple Mac OS X and Linux.
Windows Requirements
tonespace for Windows requires :
Windows XP with Service Pack 3 (32-bit)
Windows Vista with Service Pack 2 (32-bit)
Windows 7 with Service Pack 1 (32-bit or 64-bit)
Windows 8 (32-bit or 64-bit)
A compatible 32-bit or 64-bit VST host application (unless the standalone version
is used)
An audio interface (preferably one with an ASIO driver)
Mac OS X Requirements
tonespace for OS X requires:
A Mac with Intel processor
OS X 10.5 Leopard (except for the AU plugin version, which requires 10.6 or higher)
OS X 10.6 Snow Leopard
OS X 10.7 Lion
OS X 10.8 Mountain Lion
Either a compatible 32-bit or 64-bit Audio Unit or VST host application (unless the
standalone version is used)
An audio interface
Linux Requirements
tonespace for Linux requires:
Ubuntu 12.04 Precise Pangolin 64-bit (other recent 64-bit Linux versions might
work too, but your mileage may vary)
A compatible 64-bit VST host application capable of loading native Linux VST
plugins (unless the standalone version is used)
An audio interface (supporting ALSA or Jack)
Miscellaneous
Miscellaneous issues:
Direct MIDI output from tonespace to a DAW host requires that you
use the VST plugin version
use a DAW host that is capable of processing outgoing midi from a plugin
(eg Ableton Live, Cubase, Sonar, EnergyXT, ...)
With AU or standalone versions you need to route MIDI output to the host via a
MIDI loopback adapter (eg Midi Yoke on Windows, or the IAC bus on OS X)


6

7
Installation
Prerequisites
Please verify that your configuration meets the system requirements listed in the System
Requirements Section.
Installing on Windows
First extract the windows .zip archive to a directory on your file system.
On Windows you can use either the
Sandalone 32-bit version (tonespace.exe) or 64-bit (tonespace_64.exe). This
needs no installation, just run it and you are set.
VST plugin 32-bit version 32-bit (tonespace.dll) or 64-bit (tonespace_64.dll). Copy
this dll into your VST directory of your DAW host and run your VST host.
Please note: if you plan on using the older 1.0 VST version of tonespace side-by-side
with tonespace 2, it is recommended to rename the VST dll of one of these versions. This
is only an issue for Windows users, as tonespace 1.0 was Windows-only.
How?
Rename the v1.0 tonespace.dll to tonespace1.dll if you have no old projects that
depend on that plugin version
Or (less preferred) rename the v2.0 tonespace.dll to tonespace2.dll if you have old
projects that depend on tonespace 1.0
Installing on Mac OS X
First mount the OS X .dmg archive on your mac by double clicking it
On OS X you can use either the
Standalone version (tonespace.app). This needs no installation, just run it and you
are set. This is a universal binary containing both 32 and 64-bit versions.
Audio Unit and VST plugin version (tonespace.component). This is a universal
binary containing both AU and VST versions, in both 32 and 64-bit versions.
Setting up the AU version: Copy the tonespace.component file into your AU
directory (/Users/yourname/Library/Audio/Plug-ins/Components) and run your AU
host.
Setting up the VST version: Copy the tonespace.component file into your VST
directory (/Users/yourname/Library/Audio/Plug-ins/VST) and rename it to
tonespace.vst. Then run your VST host.
Installing on Linux
First extract the Linux .zip archive to a directory on your file system.
On Linux you can use either the
Sandalone version (tonespace). You first need to set the executable bit on this
binary using the command 'chmod +x tonespace'. Then just run it and you are set.
VST plugin version (tonespace.so). Copy this file into your VST directory of your
DAW host and run your VST host.
All binaries for Linux are currently 64-bit only.

8

9
License agreement & thank you
mucoder tonespace 2.x freeware
license agreement and thank you
A) mucoder tonespace 2.x License Agreement

------------------------------------------------
Informal summary for mortals:
You can
-use it free of charge
-use it in your performances, either commercial or non-commercial
You cannot (unless you have written consent from the author)
-distribute it (please link to www.mucoder.net/tonespace instead)
-sell it
-modify it or remove any part of it
-hold the author or publisher responsible for any damages
The author cannot guarantee

-bug fixes and other support
The small print:
BY USING THE SOFTWARE, YOU ARE C ONSENTING TO BE BOUND BY AND BEC OME A PARTY TO THIS

AGREEMENT AS THE "LIC ENSEE." IF YOU DO NOT AGREE TO ALL OF THE TERMS OF THIS AGREEMENT,
YOU MUST NOT INSTALL OR USE THE PRODUC T, AND YOU DO NOT BEC OME A LIC ENSEE UNDER THIS
AGREEMENT.
1. License Agreement.
As used in this Agreement, "Licensor" shall mean Altalogix BVBA, Karel Schurmansstraat 40, 3010
Leuven (Kessel-Lo), Belgium. "Product" shall mean mucoder tonespace version 2.x
Licensor grants Licensee a non-exclusive and non-transferable license to reproduce and use for personal
or internal business purposes, on a single computer and by a single person at a time, the executable
code version of the Product, provided any copy must contain all of the original proprietary notices. This
license does not entitle Licensee to receive from Licensor hard-copy documentation, technical support,
telephone assistance, or enhancements or updates to the Product, although Licensor may decide to
provide these anyway. Licensor may terminate this Agreement at any time, for any reason or no reason.
Licensor may also terminate this Agreement if Licensee breaches any of its terms and conditions. Upon
termination, Licensee shall destroy all copies of the Product and of the personalised license files that
were received by Licensee after purchase.
2. Restrictions.
Without Licensor’s prior written consent, Licensee may not: (i) modify or create any derivative works of
the Product or documentation, including customization, translation or localization; (ii) decompile,
disassemble, reverse engineer, or otherwise attempt to derive the source code for the Product (except
to the extent applicable laws specifically prohibit such restriction); (iii) redistribute, encumber, sell, rent,
lease, sublicense, or otherwise transfer rights to the Product, (iv) remove or alter any trademark, logo,
copyright or other proprietary notices, legends, symbols or labels in the Product. In case Licensee
purchased a license to continue using the product and received a personalised license file to unlock the
Product, Licensee will ensure that this license file is kept in a secure place and does not fall into the
hands of unauthorised users. If a license file is found to be published anywhere this is considered
sufficient reason for immediate termination of that license.
3. Proprietary Rights.
Title, ownership rights, and intellectual property rights in the Product shall remain in Licensor and/or his

10
Title, ownership rights, and intellectual property rights in the Product shall remain in Licensor and/or his
suppliers. The Product is protected by copyright and other intellectual property laws and by international
treaties.
4. Disclaimer of Warranty.
THE PRODUC T IS PROVIDED ON AN "AS IS" BASIS, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR
IMPLIED, INC LUDING WITHOUT LIMITATION THE WARRANTIES THAT IT IS FREE OF DEFEC TS, VIRUS
FREE, ABLE TO OPERATE ON AN UNINTERRUPTED BASIS, MERC HANTABLE, FIT FOR A PARTIC ULAR
PURPOSE OR NON-INFRINGING. THIS DISC LAIMER OF WARRANTY C ONSTITUTES AN ESSENTIAL PART
OF THIS AGREEMENT. NO USE OF THE PRODUC T IS AUTHORIZED HEREUNDER EXC EPT UNDER THIS
DISC LAIMER.
5. Limitation of Liability.
TO THE MAXIMUM EXTENT PERMITTED BY APPLIC ABLE LAW, IN NO EVENT WILL Licensor OR HIS
AFFILIATES OR SUPPLIERS BE LIABLE FOR ANY INDIREC T, SPEC IAL, INC IDENTAL OR C ONSEQUENTIAL
DAMAGES ARISING OUT OF THE USE OF OR INABILITY TO USE THE PRODUC T, INC LUDING, WITHOUT
LIMITATION, DAMAGES FOR LOST PROFITS, LOSS OF GOODWILL, WORK STOPPAGE, C OMPUTER
FAILURE OR MALFUNC TION, OR ANY AND ALL OTHER C OMMERC IAL DAMAGES OR LOSSES, EVEN IF
ADVISED OF THE POSSIBILITY THEREOF, AND REGARDLESS OF THE LEGAL OR EQUITABLE THEORY
(C ONTRAC T, TORT OR OTHERWISE) UPON WHIC H THE C LAIM IS BASED. IN ANY C ASE, Licensor’S
C OLLEC TIVE LIABILITY UNDER ANY PROVISION OF THIS AGREEMENT SHALL NOT EXC EED IN THE
AGGREGATE THE SUM OF THE FEES LIC ENSEE PAID FOR THIS LIC ENSE (IF ANY). SOME JURISDIC TIONS
DO NOT ALLOW THE EXC LUSION OR LIMITATION OF INC IDENTAL, C ONSEQUENTIAL OR SPEC IAL
DAMAGES, SO THIS EXC LUSION AND LIMITATION MAY NOT APPLY TO YOU.
6. Miscellaneous.
All disputes relating to this Agreement are subject to the exclusive jurisdiction of the courts of Leuven,
Belgium.
B) Third Party Component Thank You's and license agreements

------------------------------------------------------------------
a) Harmony Space
-------------------
What:
a major part of tonespace was inspired by the innovative Harmony Space paper by Simon
Holland, describing an early implementation of an educational software tool that uses an
intuitive navigation in a grid-like space to generate music, based on Longuet-Higgins' and
Balzano's theories.
Source:
http://mcl.open.ac.uk/sh/uploads/Harmony%20Space%20ICMC%2087.pdf
Harmony space author's notice:

Harmony Space: http://harmonyspace.co.uk/
The Music Computing Lab: http://mcl.open.ac.uk/musiclab
Simon Holland: http://mcl.open.ac.uk/sh
b) Mutopia Project
--------------------
What:
a great site and community that among other things collects and provides access to
public domain MIDI files.

11
tonespace only uses public domain midi files from Mutopia
Source:
http://www.mutopiaproject.org/
Mutopia notice:
Disclaimer: The Mutopia Project is run by volunteers, and the material within it is provided
"as-is". NO WARRANTY of any kind is made, including fitness for any particular purpose.
No claim is made as to the accuracy or the factual, editorial or musical correctness of any
of the material provided here.
c) Kiss FFT
-----------
What:
a powerful, yet easy to use C library for fast FFT processing
Source:
http://kissfft.sourceforge.net/
KISS FFT author's notice:

Copyright (c) 2003-2010 Mark Borgerding
All rights reserved.
Redistribution and use in source and binary forms, with or without modification, are
permitted provided that the following conditions are met:
* Redistributions of source code must retain the above copyright notice, this list of
conditions and the following disclaimer.
* Redistributions in binary form must reproduce the above copyright notice, this list of
conditions and the following disclaimer in the documentation and/or other materials
provided with the distribution.
* Neither the author nor the names of any contributors may be used to endorse or
promote products derived from this software without specific prior written permission.
THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS "AS IS"
AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE
IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE
ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE
LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR
CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF
SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS
INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN
CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE)
ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE
POSSIBILITY OF SUCH DAMAGE.
d) PADsynth
-------------
What:
a great algorithm and C++ sample for generating pad-like synth sounds
Source:

12
http://zynaddsubfx.sourceforge.net/doc/PADsynth/PADsynth.htm
PADsynth author's notice:

Implementation of PADsynth algorithm.
The algorithm and the implementation released under Public Domain by Nasca O. Paul.
e) Steinberg
-------------
What:
tonespace uses the industry-leading VST plugin and ASIO technology by Steinberg. This
needs probably no introduction.
Source:
http://www.steinberg.net
Steinberg notice:
VST and ASIO are a trademark of Steinberg Soft- und Hardware GmbH.


13
Getting started
For a quick start try the following three scenarios:
View Music on the Grid
Play and Learn with C Major Scale and Chord
Generate Chords with Geometry
Automatically fit chords to scale/key
If you are ready for some more theory, proceed to the Concepts

14
Concepts
We will now discuss some concepts that help you get a fuller understanding of tonespace.

15
Introducing spaces
The main element in tonespace is the colored on-screen grid, which we call a space. A
space is like a two-dimensional spreadsheet which contains midi note numbers. When you
click on a cell in the space the corresponding midi note is played (or a chord based on
that note, as you will see later).
Also, some cells are colored, others are not. This means that only the colored notes are
part of the currently selected scale and key (Blues scale and key of G in the picture
below). Only colored notes can be played. But more about that later.
The note numbers increase from left to right and from bottom to top. In the picture
above the increase is 2 semitones in horizontal direction and 5 semitones in vertical
direction. This space is called M2-P4 [2:5] or [2:5] for short [1].
As you can guess, other combinations of horizontal/vertical increases are possible, leading
to other spaces. You can select these spaces by choosing a value for the space
combobox in the parameter section of the screen.
There are two wellknown spaces, named after the researchers who discovered them:
[4:7] or Longuet-Higgins’ space
[4:3] or Balzano’s space
These two spaces have special properties. One of those properties is for instance that
certain common chords look like very simple shapes when drawn on the space.

16
How chords fit to a space
Let’s look at a grid based on Balzano’s space. If we draw a major chord in that space, it
will have a horizontally mirrored L-shape:
This is easy to see if you look at the offsets of the three notes within a major chord,
which are [0 4 7]. So, starting the chord from middle C (midi 60) we get midi notes 60+0,
60+4 and 60+7. These offsets we also call intervals.
If we draw a minor chord (with intervals [0 3 7]) , it will have a vertically mirrored
L-shape:
What’s so useful about this, is that compact shapes in the space (shapes consisting of
cells close to eachother) apparently correlate with interesting chords. We can now turn
this around : if you would draw a compact shape at random in the space, there is a good
chance that this shape turns out to be a useful chord. This is one of things the
tonespace chord fitting algorithm is based on. More about that later.

17
Navigation along the axes of the space
Another interesting property of the Balzano space is that one of its diagonals turns out to
be the chromatic scale (1 semitone increase) and the other diagonal appears to be the
cycle of fifths (7 semitone increase). This means you can navigate (move the mouse)
easily along a chromatic sequence and along the cycle of fifths simply by just following
the diagonals. Plus there is a useful progression on the horizontal and vertical axes too,
in steps of major and minor thirds respectively (4 and 3 semitone increases resp.).
The Longuet-Higgins space has comparable properties, which we will not describe in detail
here.
You can find a much more thorough treatment of the theory behind these spaces and a
description of an earlier implementation of these principles, called Harmony Space, in the
paper by Simon Holland [Holland, 1987]. Note that while tonespace is greatly indebted to
the work on Harmony Space, the tonespace implementation deviates in some respects
from what is described in this paper, for instance by generalizing spaces to other intervals
besides Longuet-Higgins. But the general principles still apply.

We will now explain a bit more about scales, keys and chord intervals.

18
Understanding scales
Before moving on to scales, let’s first select a suitable space. Among the selectable
spaces there is one that is particularly useful for understanding the concept of a scale,
which is Octaves [1:12]. This space has a row for each of the 9 octaves, with each
octave containing 12 semitone columns.
Now let’s choose a scale to apply to this space. You can control the scale using the scale
parameter in tonespace.
Shown above is the chromatic scale, which is just a fancy word for saying that all notes
are allowed for playing [2]. So there are no black cells here, only colored ones.
Musicians do not often use the chromatic scale, because if you would use all of these
notes, it is possible to select two or more notes that do not sound well together (they
are dissonant). Therefore, it is standard procedure to throw away a bunch of notes from
each octave and only work with the remaining set. Such a set we call a scale. Notes
within a scale tend to sound pleasant when played together.
For example, let’s choose another scale called the Major scale, also known as the Ionian
scale. By applying the major scale, some columns are blackened in the space. These
won’t react any more when you click them with the mouse. Their notes are forbidden.

19
The picture above makes clear what a scale really is : it is a set of note offsets, or
intervals, that defines which are the “good” notes. For the major scale these intervals are
[0 2 4 5 7 9 11] [3]. When these seven intervals are applied to the octave of middle C, it
means we only get to keep midi notes 60+0, 60+2, 60+4, 60+5, 60+7, 60+9 and 60+11.
The major scale happens to contain 7 intervals, yielding 7 midi notes when added to the
midi start note of the octave. Many other scales do too. But there are also scales with
just 5 notes (e.g. pentatonic scales). There is no hard rule about how many notes there
can be in a scale. You have to find a balance: if there are too many, dissonances occur
more easily. If there are too few, less variation can be used in the chords and melody.

20
Understanding keys
So musicians that play together have to agree first on the scale to use (if they want to
avoid playing notes that don’t go well together). But this is not enough. They also have
to agree on the key they will use. The key (in tonespace at least) is just a fancy word for
the starting note or better, the starting pitch class of the scale [4]. A key of C means
we start at the first pitch class (being zero). A key of C# means we start at the second
pitch class (being 1). A key of D means the third pitch class (being 2). And so forth.
You can control the key using the key parameter in tonespace.
Note: when you hear someone saying : “let’s play in the key of C Major”, actually this
says two things at once:
the scale to use, i.e. the intervals between valid notes (Major)
the starting pitch class (C or offset 0)

This means that, starting from C (offset 0), you will use only notes that you find at the
relative offsets [0 2 4 5 7 9 11]. For the key of C that starting pitch class would be 0,
therefore, for the middle octave which starts at midi 60, we get to keep midi 60+0+0,
60+0+2, 60+0+4, 60+0+5, 60+0+7, 60+0+9 and 70+0+11. This is shown in the space
fragment below:
Should you instead agree on D Major, then the intervals would remain the same (major),
but the starting pitch class would be different (offset 2), leading to the following midi
notes in the scale/key : 60+2+0, 60+2+2, 60+2+4, 60+2+5, 60+2+7, 60+2+9 and
60+2+11. The result looks like this:
Notice how you get the same pattern of allowed notes starting from either C in the first
picture and starting from D in the second picture. It is just shifted upward by 2 semitones.
Should you agree instead on C Minor, then the starting note remains the same as C Major
(offset 0), but now the intervals that you add to that starting note will be different
(minor) : [0 2 3 5 7 8 10], yielding midi notes 60+0+0, 60+0+2, 60+0+3, 60+0+5, 60+0+7,
60+0+8 and 60+0+10. Which looks like this:

21
So keep in mind that the resulting note selection is always a function of these two things
: the scale (the intervals) and the starting note to which the intervals are added. You are
encouraged to play a bit with the scale and key parameters in tonespace to get a feel of
how scales and keys interact to select a bunch of notes.
Notice also how the underlying space never changes. Applying a scale and key is in fact
just putting a filter onto the space, making certain cells black and adjusting the note
labels in each cell. It does however not alter the location of the midi notes within the
space. Midi notes are an absolute pitch notation whereas scales, keys and note names
are relative to the point of view of the musician [5].

22
Understanding scale degrees
Often you will encounter the set of roman numerals I to VII in music literature. What are
these? Very simple, they are nothing but names for the the seven notes in a scale
(assuming you use a scale with seven notes – 5 note scales use only I..V). They are
called scale degrees.
For instance, look again at the notes in the C major scale: they are C, D, E, F, G, A and B
respectively.
Now let’s display them as roman numerals You can do this by selecting the appropriate
value in the labels combobox:
The result looks like this:
This the same scale, the same key, but just different labels. Why bother then? Well, this
allows you to indicate the n-th note of a scale regardless which type of scale/key you
are using.
For instance compare with D Major:
Original notation: D, E, F#, G, A, B, C#
And its roman numeral notation:
Did you notice how the I .. VII set has shifted two positions to the right? That’s because

23
we now start at D instead of C.
Why is scale/key-independent note labeling useful? One example is when you want to
specify the root notes of a series of successive chords to play (called a chord
progression) within a scale/key, without knowing up-front what that scale/key is. That
way it suffices to write down the chord progression just once as roman numerals (e.g.
I–III–IV) which you can then apply to a myriad of scale/key combinations later.

24
Understanding chords
Okay, you now know how to choose a space to navigate in. You also know how to limit
the number of allowed notes in that space by choosing a scale and key. And you are able
to adjust the note label display as needed. Now let’s examine the last bit that’s missing
from the picture : chords.
Like a scale, a chord is defined by a set of intervals. However, the number of notes in
this set is typically much lower, with three or four being common.
We can classify chords after the number of notes in them:
monads: single note (or unison)
dyads : have two notes
triads : have three notes
sevenths: have four notes (also known as tetrachords)
quintads : have five notes
In tonespace 2 we support monads, dyads, triads and sevenths only.
You can select a chord in tonespace by setting three parameters. First set the ch filter
parameter to All, which lets you choose from all possible chords.
Then set the assist parameter to Play chord if root in key. This will let us play the chord
if we click on a cell that is in the current scale/key.
Then set the chord parameter to any of the chords in the combobox. For instance let’s
set it to [3] Major:
A major chord is a triad defined by the intervals [0 4 7]. Let’s see what happens when we
try to play this chord on our space. To make things easy, set your other parameters as
follows :

25
Note: click also once on the little mouse wheel symbol before the chord combobox. This
will become useful in a moment.
Now point your mouse in the space at midi note 60. You should see this :
The grey highlighted cells indicate how your chord maps onto the space. Since the major
chord was defined by intervals [0 4 7] and you pointed at midi 60 as root note for the
chord (starting note), it will highlight midi notes 60+0, 60+4 and 60+7. The highlights are
not only in the grid, but also on the piano keyboard. This makes it really easy to see the
relationship between the space cells and the piano keys.

26
Now press the left mouse button. If tonespace is set up right, you will now hear a major
chord. The grey cells and piano keys should become orange too as long as the chord is
sounding.
One thing you can spot visually immediately is that the major chord with root note midi 60
(C4) maps nicely onto the C major scale/key. This is no coincidence, since the major
chord intervals are a subset of the major scale intervals.
Now move the mouse to midi note 62 (notice how you cannot move it to the black cell
midi 61, since this is not part of the scale/key). You will now see these highlights (rest of
screen omitted) :
Now we have a problem: the chord does not fit entirely onto the scale/key anymore,
since the middle interval maps to a black cell. So if you would play this chord, the middle
note would be a forbidden note. Whether that is a problem or not is not a hard rule and
depends really on your intention and preferences as a composer, but let’s say for
simplicity that you would really like to stick to notes within the selected scale/key. In
that case we should change the chord to something else that does fit at that root note.
What could we use then? Well, go back to your chord parameter and select [3] Minor
instead of [3] Major. The minor chord is a triad defined by intervals [0 3 7]. Now point
again to midi note 62 within the space. That should give you :
Now you can see that this chord does fit into the C major scale/key at that position.
This is one of the uses of tonespace : a visual tool that helps you spot easily how a
range of chords map onto a given scale and key. And then shows you how that chord
maps back onto a piano keyboard, so you could play it on an external keyboard.

27
Mouse wheel technique
To come back to the litte mouse wheel button : there is a quick way to select different
chords while navigating in the space : just roll the mouse wheel and you will see that the
chord parameter is being varied without you having to leave the space. In fact you can
vary any parameter in this way by clicking its corresponding mouse wheel button first.
Try it :
We assume you have set the ch filter parameter to All and the trigger parameter to
Mouse click triggers cell.
Then set the chord parameter to the very first value in of the combobox list, being [1]
Unison (this means no chord but a rather a single note) Then point in the space and
left-click once. After having done that, roll down your mouse wheel one step. Left-click
again. Repeat this until you went through all of the chord values. What you will hear is a
chord progression starting from unison, through all available dyads, triads and
tetrachords/sevenths in that order.

28
Automatic chord fitting
Up to now we discussed mostly manual selection and auditioning of chords. However,
tonespace can also help to automatically select appropriate chords. This process we call
chord fitting. Two chord fitting algorithms are available.
Fitting chords to a scale/key
As explained earlier in Quick Start Scenario 4, a new feature of tonespace is that it can
automatically select the best chord (most common chord) that fits at a certain root note
in the scale. You point the cell with the chord root note that you wish and tonespace will
try to fit a chord at that root note that is in key with the currently selected scale/key.
For this you need to set the assist parameter to Fit chord to scale (best). Variants of
this parameter let you also cycle through all candidate chords by clicking repeatedly on
the same root note cell (Fit chord to scale (cycle)), which is great for auditioning all
chords that fit. Or let you select a random chord from the possible candidates (Fit chord
to scale (rand)), which is useful for generating repetitive chord sequences that are less
predictable.
Please note that at all times the range of chords that tonespace can use can be
controlled using the ch filter parameter. This allows you for instance to only generate
triads or only sevenths or anything up to triads or sevenths.
Geometric chord fitting
Tonespace can also perform automatic chord fitting using a geometric algorithm. In this
mode tonespace will try to find chords that fit optimally wherever you point in the space.
Here chords are selected based on their shape within the space. The chord with the most
compact shape "wins" and will be played.
For automatic geometric chord fitting to generate interesting chords, you’d better select
another space than the educational space Octaves [1:12] that we have been using so
far. For instance let’s take Balzano [4:3] instead [6]. Also keep scale set to Major
(Ionian) and key to C.
One more essential setting here is to set assist to Fit most compact shape and also to
set the ch filter parameter to Sevenths.
Note how the chord parameter combobox has been disabled in that case. This is to
indicate that the chord parameter now is driven by tonespace instead of by the user. The
chord will be automatically selected from all chords allowed by the chord filter. In this
case we limit chords to sevenths or four-note chords. You can see which chord is
played/selected by the last/next chord display indicators.
Now go to the space and play (left-click) the following series of cells: midi note 64, 65,
62, 50 and 53. You will hear a progression of 5 seventh chords chosen by tonespace,
with the root notes being the cells that you left-clicked.
29
By setting the chord filter to other chord types, you can have tonespace play triads or
dyads instead of sevenths.
One more thing. If you try the example above with sevenths and you click the same cell
repeatedly, you will see that the chords will not be the same everytime. This is because
at some spots there would be multiple chords that would fit the space equally well (that
is, they are equally compact). Tonespace then alternates between these equally
appriopriate chords. This can give a very pleasant effect if you use a pulsing
note-on/note-off scheme to trigger cells (like the built-in MIDI track Pulses... does). If
you are interested, read more about how this algorithm works in the next section.

30
Varying the space and scale
The above example used the [4:3] Balzano space. As you will now understand, this
space favors chords that have either 4 or 3 or 4+3=7 semitones distances between them.
These lead to quite common chords, like major and minor ones. Its sound we would
describe as ‘classic’.
You can influence the type of chords that are selected by the gemoetric chord fitting
algorithm by changing the space. For instance, try the same procedure above using the
spaces [2:5] or [2:7]. This will select another kind of chords, favoring distances of 2, 5
and 7 semitones. These chords sound darker and are more interesting for certain kinds of
electronic music.
Another way of influencing chord selection is to change the scale. For instance, try the
blues scale and the 5-note scales (pentatonic scales). By lowering the number of allowed
notes in a scale, the chord fitting algorithm has to adapt to that.

31
Chord voicings
Yet another way to add variety to chords is to change the chord voicings. In tonespace
we use the term voicing to indicate that we transpose individual chord notes by multiples
of 12, so by 1 or more octaves. This leaves the character of the chord intact –it will still
sound like the same chord- but will allow you to either transpose the chord (or parts of it)
up or down and/or give it a more open sound.
Voicing is controlled using the voicing combobox. The default voicing is set to Root
position (closed). This means that the cell you click will become the lowest or root note
of the chord and the other notes will be cells that coincide exactly with the other
intervals in the chord.
A number of other voicing types are available:
Inversions
Open voicings
Root note transpositions
Spreading

Inversions take the root note of the chord and put it at the top of the chord (i.e adding
an octave to the root note). This is the first inversion. You can repeat this same trick
with the inverted chord, leading to the second inversion (i.e. adding an octave to the
second note of the original chord). And so on. Note that the fourth inversion requires at
least a seventh chord (with 4 notes) to make a difference. Applying fourth inversion to a
triad (or third inversion to a dyad), will not make a difference.
Open voicings take some other note than the root note of the chord and add an octave

to that one. This will widen the total interval between lowest and highest chord note,
making it sound more 'open'. When no open voicing is used the chord takes its normal
'closed' form.
Inversions and open voicings can be combined, by first inverting and then further opening
up the inverted chord. Tonespace offers a combination of 4 inversions and 4 closed/open
voicings.
Root note transpositions allow you to move the root note of the chord up or down by

one or more octaves, while keeping the non-root notes in place. This is a quick
technique for adding a bass line to the chord progressions. In tonespace you can
transpose the root by -1 octave, -2 octaves and +2 octaves.
Spreading: tries to space the notes of the chord even more apart than with Open/Closed
voicings. In tonespace you can choose from three settings, called Spread, Spread+ and
Spread++.
Tip: while playing in automatic chord fit mode, you could assign the mouse wheel to the
voicing parameter. That way, you can vary the voicing of the chord while you play. If
you’d like to get a good visual idea of what voicing is about, set your space to Octaves
[1:12] and then spin the mouse wheel : you will see how certain chord notes jump up and
down vertically to another octave.
Note that when voicing is set to something other than Root position, the highlighted cells
in the space will show the chord after applying voicing. This has no effect however on

32
the chord fitting algorithms, which are applied before voicing.


33
MIDI input
There is one more tonespace aspect we haven’t dealt with yet : MIDI input. So far we
have been mostly using the mouse to play chords. However, it is also possible to use an
external keyboard, or for that matter, any external source of MIDI data that you can
connect to the tonespace MIDI input. A MIDI track in your host application would be
another example of this.
When you feed MIDI data to tonespace a number of things can happen, depending on the
setting of the trigger parameter:
If trigger is set to Mouse click triggers cell, the MIDI input merely forwarded either
to the tonespace MIDI out port or to the built-in synth (depending on the midi out
parameter setting). Apart from that it will also highlight the cells corresponding to
the incoming MIDI notes. These highlights will be green, in order to distinguish
them from the interactively played cells, which will be highlighted in orange. If a
space contains more than one cell with the same MIDI note number, all of those
will be highlighted. This mode can be used to visualize incoming midi on the
tonespace grid. Also, if you want to control tonespace completely using mouse
clicks, this is the mode to choose.
If trigger is set to Midi triggers clicked cell, then if the on click parameter is set to
Trigger cell, tonespace will use the incoming MIDI notes to trigger a chord in the
cell where you are currently left-clicking and holding down the mouse button. If
the on click parameter is set to Trigger & hold cell then you do not have to keep
the mouse button down, and the last-clicked cell remains active until you click a
new cell.
What is really useful about this mode is that you can get the rhythm and dynamics
(velocity) from an external keyboard or even a MIDI track, while still navigating
interactively using the mouse for selecting the pitches to be played (ie select the
cells you want with their root chord notes). This is a good setting to try out with
the built-in Pulses... midi track. Please note that the incoming midi should be
preferably monophonic in this mode.
If trigger is set to Midi triggers hovered cell, this is very similar to the previous
mode, but here it merely suffices to hover the mouse pointer over a cell to have
the incoming midi notes trigger that cell.
If trigger is set to Midi triggers note then the incoming midi controls both the
rhythm and the pitches. This means that tonespace will look up an enabled cell in
the current space that has the same note number as the incoming midi note and it
will trigger that cell. This means that mouse input will have no longer any effect in
the tonespace grid, and you should now do all the playing using an external midi
keyboard or midi track. The only effect the mouse still has in this mode is that,
when there are multiple cells in the space that have the same midi note number,
tonespace will select the cell closest to your mouse cursor.
If trigger is set to Midi triggers note (mod.) then the behavior is almost identical to
the previous setting, with one difference: the incoming midi note will be assumed
to be played in the CMajor scale (so white keys on the piano keyboard) and will
first be modulated/transposed to the selected scale/key in tonespace before it will
trigger any chords. This allows you to play the white keys on a keyboard and still
generate chords that are in key with another scale/key.
When using midi input, please make sure that also the midi in parameter is set to the right
34
source and channel. Typically midi in is set to:
Midi track if you want to use one of the built-in midi tracks as the source (eg the
Pulses... track)
VST/AU host if you want to input midi coming from your host application/DAW
<your device name> if you want midi input to come from a hardware midi device
such as an external keyboard.
Note: before devices can be selected you need to enable them using the
Configure... option on the midi in parameter drop down menu.

35
MIDI output
As said in the introduction, any chords generated by playing cells will be sent either to
the tonespace MIDI output port or to the built-in synth.
While you can send this MIDI out straight to a synth, there are also a few techniques for
post-processing tonespace MIDI output before sending it to the synth. These are general
techniques and not part of tonespace itself.
One of those techniques is to send the output to an arpeggiator plug-in. If your
arpeggiator has a chord modus, it will take tonespace chords and arpeggiate them. This
arpeggiated output is then routed to a synth. This can lead to very interesting sounds.
A second technique is to send the output chords to a strummer, which is quite useful if
you like to feed tonespace chords to a guitar emulation synth.
Of course it should also be possible to record tonespace output to a MIDI track in your
host, if your host supports this.

36
Footnotes
[1] (M2 means Major 2nd which equals 2 semitones, and P4 means Perfect 4th which
equals 5 semitones).
[2] When we say all notes we mean all typical notes in our Western 12-tone, equal
temperament system or 12TET, which is the default tuning of most midi systems.
[3] Tip: you can hover over the space combobox to show a tooltip explaining the
intervals for any chosen space.
[4] A pitch class is an offset within the octave. It is simply a number between 0 and 11.
The pitch class of any midi note is its midi note number modulo 12.
[5] maybe you observed already that there are more keys in tonespace (18) than pitch
classes (12), meaning that two keys can end up starting at the same pitch class or
offset. For instance, the keys of C# and Db both start at pitch class 1. Therefore the
colored grid will be exactly the same for both, with the same pattern of colored and
disabled cells. Why bother then in distinguishing these two keys at all? Well, it appears
that musicians do make a distinction between two such keys, but the distinction only
affects note naming, but not which notes are allowed. So it affects not which absolute
pitches are included in the key, but only the labels applied to those pitches. Again this
has to do with the fact that traditional note names are just a viewpoint of a musician on
an underlying world of absolute pitches.
[6] This is because the geometric chord fitting algorithm will try to make ‘compact’
shapes in the space, i.e. will try to make a shape consisting of cells that are close to
eachother. For this to sound pleasantly, both the horizontal and vertical semitone
distance between nearby cells should best be equal to common semitone distances
between chord notes. With a [1:12] space this is not the case, since not many chords
have 1 or 12 semitones distances between their notes. With a [4:3] space it is.

37
Parameter reference
The following parameters can be set in tonespace:
PRESET. Selects the preset program to use. In hosts that support it you can
rename programs yourself and save/load either single presets or complete preset
banks to/from .fxp, .fxb files respectively.

SPACE. Selects the space to use in the central grid. Spaces differ in how they
distribute midi note numbers across the grid. Generaly the [N:M] notation means
that the grid increases by N semitones horizontally and M semitones vertically.
See also Introducing spaces.

LABELS. Controls how cell labels are displayed within the space. A cell label
always has a main label and a subscript. For either main label or subscript you can
select
MIDI note number
Note name (only for cells that are part of the current scale/key)
Roman numeral for scale degree (only for cells that are part of the current
scale/key)
KEY. Selects the key or starting note from which we will apply the SCALE
intervals. You can hover the mouse over the combobox to see which interval set
corresponds to each possible value. The KEY parameter works in conjunction with
the SCALE parameter for enabling/disabling notes within the space. See also
Understanding keys.
SCALE. Selects the scale or set of note intervals to apply to the space. You can
hover the mouse over the combobox to see which interval set corresponds to
each possible value. The SCALE parameter works in conjunction with the KEY
parameter for enabling/disabling notes within the space. See also Understanding
scales.
CH FILTER. Restricts the kind of chords that can be selected by the user and by
the automatic chord fitting algorithms. You can turn the filter off by setting it to
All. Typical filter settings allow to use dyads, triads and sevenths only or up to
dyads, triads and sevenths.
CHORD. Shows the currently active chord name. This parameter can only be set
interactively when the ASSIST parameter is set to any of the manual modes (Play
chord ...). If ASSIST is set to any of the automatic chord fitting modes, the
CHORD parameter will be overridden by tonespace. See also ASSIST.
VOICING. Controls transposition of chord member notes by multiples of 1 octave.
Examples are inversions, root note transpositions and making chords open/closed.
For each possible value you can see the exact transpositions used by hovering
above the combobox. See also Chord voicings.

38
ASSIST. Controls whether the user can select chords manually (Play chord ...) or
tonespace will select chords automatically (Fit ...).
Play chord anywhere: the chord root can be played anywhere in the space
(by clicking any cell, even when cell is disabled)
Play chord where root in key: a chord can only played if the root note
(cell) is part of the the active scale/key (only on enabled cells can be
clicked)
Play chord if fully in key: a chord can only be played if all of its notes
(cells) are part of the active scale/key (all chord cells are enabled cells)
Fit most compact shape: tries to fit a chord automatically at the current
root cell, using the geometric chord fitting algorithm
Fit chord to scale (best): tries to fit a chord automatically at the current
root cell, using the common chord fitting algorithm, and selecting the best
candidate chord.
Fit chord to scale (cycle): like previous mode, but cycles through all
candidate chords when repeatedly clicking the root cell
Fit chord to scale (rand): like previous mode, but picks a random chord
from all fitting candidate chords each time the root cell is clicked
See also Understanding chords and Automatic chord fitting.
TRIGGER. Controls how mouse/MIDI input affects triggering of cells in tonespace.
Mouse click triggers cell: the MIDI input is forwarded either to the
tonespace MIDI out. Apart from that it will also highlight the cells
corresponding to the incoming MIDI notes. In this mode tonespace can be
fully controlled by mouse movements and clicks.
Midi triggers clicked cell: tonespace will use the incoming MIDI notes to
trigger a chord in the cell where you are currently left-clicking and holding
down the mouse button. If the on click parameter is set to Trigger & hold
cell, then you do not have to keep the mouse button down.
Midi triggers hovered cell: this is very similar to the previous mode, but
here it merely suffices to hover the mouse pointer over a cell to have the
incoming midi notes trigger that cell.
Midi triggers note: the incoming midi controls both the rhythm and the
pitches, triggering a cell corresponding to the incoming midi note number.
In this mode tonespace can be completely controlled from an external
keyboard or midi track.
Midi triggers note (mod.) :the behavior is almost identical to the previous
setting, with one difference: the incoming midi note will be assumed to be
played in the CMajor scale and will first be modulated/transposed to the
selected scale/key in tonespace before it will trigger any chords. This
allows you to play the white keys on a keyboard and still generate chords
that are in key with another scale/key.
See also Midi input
ON CLICK. Controls how mouse clicks trigger chords (parameter is enabled only
when mouse clicks can trigger cells). Please note that with the standalone
tonespace version the space bar acts as a mouse click as well. Some, but not all
plugin hosts will also allow the VST/AU version of tonespace to use the keyboard
in which case the space bar can be used.
Trigger cell: a cell is triggered while clicking that cell and holding down the
left mouse button
Trigger & hold cell: a cell is triggered when clicking that cell and keeps
39
playing that cell until you click either a new cell, or you click a disabled cell
(stops previous cell).
MIDI IN. Selects the source for incoming midi. You can select either an external
midi device (or loopback adapter), the VST/AU host in case of the plugin version
or one of the built-in midi tracks.
See also Midi input
CHANNEL (input). Selects the midi input channel were tonespace listens on
MIDI OUT. Selects the destination for outgoing midi. You can select either an
external midi device (or loopback adapter), the VST host in case of the plugin
version or the built-in synth. Note that not all VST hosts and no AU hosts support
midi output from a plugin.
CHANNEL (output). Selects the midi input channel were tonespace sends midi to
GAIN. Controls the volume of the built-in synth

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What can you do with it ?

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A) mucoder tonespace 2.x License Agreement

Informal summary for mortals:

The author cannot guarantee

The small print:

BY USING THE SOFTWARE, YOU ARE C ONSENTING TO BE BOUND BY AND BEC OME A PARTY TO THIS

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B) Third Party Component Thank You's and license agreements

Harmony space author's notice:

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KISS FFT author's notice:

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tonespace 2.5 user guide - (c) 2013 altalogix bvba 12/08/2013

tonespace 2.5 user guide - (c) 2013 altalogix bvba 12/08/2013

tonespace 2.5 user guide - (c) 2013 altalogix bvba 12/08/2013

tonespace 2.5 user guide - (c) 2013 altalogix bvba 12/08/2013

tonespace 2.5 user guide - (c) 2013 altalogix bvba 12/08/2013

tonespace 2.5 user guide - (c) 2013 altalogix bvba 12/08/2013

Fitting chords to a scale/key

Geometric chord fitting

tonespace 2.5 user guide - (c) 2013 altalogix bvba 12/08/2013

tonespace 2.5 user guide - (c) 2013 altalogix bvba 12/08/2013

Open voicings take some other note than the root note of the chord and add an octave

Root note transpositions allow you to move the root note of the chord up or down by

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