AI Music concert in Hamburg!

Dec. 8, 8 PM, @ Hamburg University

Transcriptions of folk-rnn interpreted by bassist John Hughes, and works written with folk-rnn by Oded Ben-Tal and by myself.



folk-rnn (v2) tune #2857

I can’t remember how I came across this tune, which appears in The folk-rnn Session Book Volume 1 of 10, but I do remember falling in love with it immediately. Here’s the transcription generated by the machine:

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I don’t need to change much. I integrated the pickups on both the tune and the turn with their endings, and created second endings. I altered the first ending of the turn to improve the flow.

And voilà! We have a nice moody tune with some lovely moments.

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Now this is what I call Machine Folk Music:

Thanks to my lovely wife for playing flute!

folk-rnn (v1) tune, The Irish Show

Having apparently devoted my life to the preservation and promotion of artificial folk music, I bring you another gem-of-a-machine folk tune I have found by listening to The Endless folk-rnn Traditional Music Session. This one is titled by the network itself, “The Irish Show”: Screen Shot 2017-11-23 at 17.11.27.png

I don’t know what “show” the machine is referring to, but I want to watch it. This is close to a cracking good tune, despite the slight miscount in bars 8 and 16, and the strange second ending without a first. Let’s correct the miscounts, and remove that second ending altogether. I build my own second endings for the tune and turn, and change that G in bar 11 to F natural because I think this “show” should be a little stranger.

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folk-rnn (v1) tune, “Sean No Cottifall”

As the world’s most sought-after interpreter of folk-rnn-generated tunes, I bring you another one I have found by listening to The Endless folk-rnn Traditional Music Session. This one is titled by the network itself, “Sean No Cottifall”:


This tune has a different structure from many of the others the model generates: AABCC, where the A and C parts are four measures long, and the B part is 8 measures. The A part sounds to me like a call to the dance floor. The B part is where the main portion of the dance begins. Then the C part reminds me of a hopak… for some reason!

I make some changes this little piece. I repeat the B part twice, and give it two endings to smoothen the transitions. I also flatten the third in bar 11 and play it against a C major. I really like the contrast that gives. Then I give the C part two endings, and make it go crazy.


My partner helped me realise the craziness of the hopak. Thanks Carla!