//First I started with synth definition, calling it synth1. It has envelope, panning, as well as the other usual parameters set.

(

SynthDef(\synth1, {arg out=0.5, freq=440, envdur=1, amp=0.5, pan=1;
	var x, env;
	env = EnvGen.kr(Env.perc(0.001, envdur, amp), doneAction:3);
	x = Mix.ar([FSinOsc.ar(freq, pi/2, 0.5), Pulse.ar(freq,Rand(0.3,0.7))]);
	x = RLPF.ar(x,freq*4,Rand(0.04,1));
	x = Pan2.ar(x,pan);
	Out.ar(out, x*env);


}).add;
)

//this line was used to test the synthdef.
Pdef(\test2, Pbind(\instrument, \synth1)).play;



//set tempo:
TempoClock.default.tempo = 112/60;



//here is a pattern for the synthdef. It is a random pattern of tetrachord pitches. pdefn is used because it can conveniently control in real time, the changing patterns and other variations.

(

Pdefn(\note, Prand([-12, -8, -6, -5, 0, 4, 6, 7, 12],inf));

Pset(\instrument, \synth1,

	Ppar([

		Pbind(\note, Pdefn(\note)),

		Pbind(\note, Pdefn(\note), \dur, 1/pi)

])

).play;

)


//modulation to other tetrachords/ change in pattern:

//modulation 1: different mode of tetrachord, but only one note has changed.
Pdefn(\note, Prand([-14, -12, -6, -5, 0, -2, 6, 7],inf));


//modulation 2: different mode, and Pn(Pshuf) makes a repeatedly shuffled list instead of choosing random pitches every time.
Pdefn(\note, Pn(Pshuf([-14, -12, -8, -3, -2, 0, 4, 9, 10, 12],2),inf));


//modulation 3: different inversion of the original mode
Pdefn(\note, Pn(Pshuf([-17, -12, -8, -6, -5, 0, 4, 6, 7]),inf));


//modulation 4 (climax): this is a shuffled list of dyads, which includes every possible interval of the tetrachord (original mode).
Pdefn(\note, Pn(Pshuf([0, [6, 7], [4, 6], [4, 7], [0, 4], [0, 6], [7, 12], [0, 7], [4, 0], [-5, 4], [-6, 4], [-5, 6]],2),inf));







//for recording:

s.makeWindow;

s.record;
s.stopRecording;


//open a volume gui, and set it to minimum before starting the recording.
s.volume.gui;


//for the recording, I am going to play the original pattern first. After allowing for reasonable amount of time for observation (particularly to hear all the intervals I will then start to change pattern.


//the order in which patterns are used can be arbitrary, I would recommend leaving modulation 4 (the climatic dyads passage) until near the end of the recording / performance.

//the duration of each pattern is totally arbitrary, but an average performance should last between 3 - 10 minutes.