Live Coding Instrument improvisation by Janusz Podrazik, for FM8, Reaktor, Absynth, Vienna Imperial and Prepared Pianos with five workspaces.
Quantization. Composition by Yuichi Yamamoto.
Brin D'or by Stéphane Boussuge. Short piece for violin solo and Strings ensemble with Fibonacci based harmony.
Parataxis for Ensemble by Robert Scott Thompson. A septet… Alto Flute, Clarinet, Trombone, Viola, Violoncello, Piano, Percussion. This is a live recording from the premiere at the Trieste Prima Festival and is by Ensemble MD7 conducted by Steven Loy.
I've never liked drawing automation curves, luckily, with Opusmodus, we don't have to. This video shows you how to create accurate automation shapes and apply them to any parameter you want.
Starting with a graph is a great way to come up with new musical ideas. This video will show you how to modulate a sine-wave and map the result to a sequence of pitches.
Being able to visualize a code-snippet can go a long way in understanding how a function works. This video shows you how to create multiple graphs and apply them in a musical way.
It's easy to get stuck with the same old drum patterns, not with Opusmodus though. This video shows you how to use the polygon-rhythm function to create interesting and new patterns.
Writing for four voices traditionally takes a lot of practice and patience, as it should be. Still, it's great to get a little bit of help sometimes. In this video I show you how to use the CHORALIS function to experiment with voice leading in a very straightforward way.
The power of Parametric Composition lies in the ability to separate individual aspects of your compositions. This video will show you how to experiment with different velocities before mapping them again to a row of pitches.
OMN is designed as a scripting language for musical events. It’s not about sounds themselves, it is about their control and organisation in a musical composition. As a linear script rather than a graphic stave, musical events can be transformed, extended, reorganised by powerful computer algorithms. Some sequencers and score writers provide basic algorithms, but they do not represent the way composers now think about the process of music composition. Composing has become such a multi-faceted process and takes ideas about structure and content from many disciplines: mathematics, astronomy, literature, the visual arts. As such it requires extensive mental resources and experience from the composer. Much of this is still done by hand and eye and brain because although computer systems do exist to help the process along they don’t provide what has become known as the composing continuum. This means that a single workspace and workflow environment has not been generally available that can take in the whole process of composing a piece - from first thoughts to a printed score and reference recording. Wouldn’t it be good to be able to do everything in one place?
Microtonal music or microtonality is the use in music of microtones—intervals smaller than a semitone, also called "microintervals". It may also be extended to include any music using intervals not found in the customary Western tuning of twelve equal intervals per octave. In other words, a microtone may be thought of as a note that falls between the keys of a piano tuned in equal temperament.
In Opusmodus the COUNTERPOINT function designates patterns to a number of voices with defined methods for each voice.
Bruno Maderna - Serenata Per un Satellite (1969)
Durata: da un minimo di 4' - a 12'
Tempo Generale 42, 92, 132 ca.
Micropolyphony is a polyphonic musical texture developed by György Ligeti which consists of many lines of dense canons moving at different tempos or rhythms, thus resulting in tone clusters vertically. According to David Cope, "micropolyphony resembles cluster chords, but differs in its use of moving rather than static lines"; it is "a simultaneity of different lines, rhythms, and timbres".
Making 2-D visualisations of musical parameters offer a new way of conceptualisation. Opusmodus graphical tools can plot pitch, rhythms, duration, dynamics and orchestration and there's a host of different display paradigms available. The composer can now view the interaction of multiple streams of parametric data, a perfect way to take in complex algorithmically-generated material. Composers often use such visualisations in the early stages of a project before precise pitches or rhythms are decided upon.
Opusmodus is currently the most advanced software for computer-assisted composition available. It comes with the highest development potential to fulfil the aesthetical and technical requirements for contemporary composers. At the University Mozarteum, Salzburg Opusmodus is already part of the compositional education and will be the preferred production environment in the future.
Copyright © MMXX Opusmodus™ Ltd. All rights reserved.
Product features, specifications, system requirements and availability are subject to change without notice.
Opusmodus, the Opusmodus logo, and other Opusmodus trademarks are either registered trademarks or trademarks of Opusmodus Ltd.
All other trademarks contained herein are the property of their respective owners.