Score and Notation

I would like to use keywords as instrument identifiers in def-score like shown below. (def-score flute (:key-signature 'chromatic :time-signature '(4 4) :tempo 100 :layout (flute-layout :flute)) (:flute :omn '((q c5 d5 f5 g5) (q c5 d5 f5 g5)))) Unfortunately, this does not work for generating notation, only the playback works. The reason I would like to use keywords is that this would provide a more smooth integration with the format I am using for polyphonic score transformations, which looks like shown below (short example for violin and cello). See code examples at https://github.com/tanders…

Hello, Friends ! I'm using the code below to generate combinations of rhythm in 12/8 time signature. I'd like to have my XML with correct beaming of the notes, related to the most common interpretation of a 12/8 time signature, i. e., beaming every 3 8th notes. Instead, I'm getting it more beamed like a 6/4 time signature: Is there some form of force the right beaming? All the best ! Please help this doctorate student ! Julio (setf some-pitches (integer-to-pitch (gen-integer-step 7 145 '(0)))) (setf some-lengths (span some-pitches '(e e e -e -e -e -e -e -e -e -e -e -e e e e -e -e -e -e -e -e …

Hello, friends ! I'm trying to make some rhythm patterns and I'd like to use the same pattern changing just the time signature order/or sequence. For example, assuming an 8th note as the number 1. 2 2 1 2 2 2 1 (african bembé rhythm) as a pattern. This pattern could match in a 12/8 time signature or also in a 3/4 time signature. This is ok, no problem. But what if I like to span it as a 10/8 + 2/8 or 9/8 + 3/8 or 7/8 + 5/8 or in a sequence like 3/8 + 2/8 + 4/8 + 3/8 always repeating the time signature sequences until have al the notes spanned ? Thanks for help ! Best ! Julio This work…

Is it possible to "un-merge" voices? The function merge-voices is nice for creating a polyphonic part, but beyond that it is also useful for pitch processing functions. E.g., when processing the music with pitch-invert, the result is different with two merged voices and voices inverted separately, because in the former case pitch-invert takes both voices into account. But after the inversion I would like to separate the voices again... Thanks! Best, Torsten

Dear Friends, Is there some tutorial covering the basic rhythm notation coding, showing how to write the basic code for tuplets, beaming, ties, etc ? For example, here in Lilypond there are a very detailed manual on rhythm coding. http://lilypond.org/doc/v2.18/Documentation/notation/writing-rhythms Is there something similar in Opusmodus ? I´m working in a kind translation of Puredata to Opusmodus, so I need the syntax. Thanks, Julio

Hi, I was wondering how to get an octave treble clef and the correct transposing notation when writing for guitar. At the moment my def-score look like this: (def-score Crossing_Waves (:key-signature 'chromatic :time-signature timesigs :tempo 72 :layout (guitar-layout 'inst)) (inst :length lengths :pitch pitches :velocity dynamics :channel 1 :sound 'gm :sound 'acoustic-guitar-nylon) Notation is in treble clef in one system as it should, but as sounding pitch without the 8 under the treble clef. Kind Regards, Erik

There are many occasions when we would like to add articulations by hand to our generated scores. The first thing we need to do is to convert (output) the score into omn format. Algorithmically generated score. (setf size 200) (setf vector (add-triangle-waves 4 size 1 0.6 :modulation (gen-triangle size 1 '(0.5 0.4 0.3 0.6) :modulation (gen-triangle size 1 0.3 :phase 180)))) (setf pitches (gen-divide 4 (vector-to-pitch '(g1 g6) vector))) (setf transpose (pitch-transpose -12 pitches)) (setf variants (pitch-variant transpose :variant '?)) (setf length (rnd-sample 120 '(s e s s))) (setf time (span pitches le…

when i put these lists into MAKE-OMN, i get strange rhy-values, because MAKE-OMN "organizes" the TIED-values different... why? (make-omn :length '(3q 3q 3q_t -e. t_3q 3q 3q) :pitch '(a5 f5 b4 ds5 a4 f4)) have a look how the rhythm-notation changed (3q a5 f5 s_t_3s b4 -e. s_t_3s ds5 3q a4 f4) thanks a.

Hello, Here's an example of a possible way for achieve group instrumentation. The idea is to create names of instrumental groups and extract some binary list from this groups for using in do-timeline2 function for apply the instrumentation. The score is also attached to this post. ;;;--------------------------------------------------------- ;;; GROUP INSTRUMENTATION EXAMPLE ;;;--------------------------------------------------------- (setf size 12) ;;; Basic Pitch material generation (setf pmat (integer-to-pitch (rnd-number 24 -4 16))) ;;; Global velocity definition (setf gvel (rnd-sample size '((pp)(p)(mp)(mf)(f)))) ;;; OMN materi…

Hello, how is it possible to control margins, header and footer of a music score ? Everything looks so beautiful but I can't find a way to control layout, or to find documentation about it. Thanks

Score with ADD-TEXT-ATTRIBUTES and GEN-DYNAMIC-CONTROLLER. ;;;--------------------------------------------------------- ;;; Sechs Bagatellen fuer Streichquartett OP.9, I ;;;--------------------------------------------------------- (add-text-attributes '(daempfer "mit Dämpfer") '(steg "am Steg") '(d-saite "d-Saite") ) (setf violin1-I '((-q - cs5 pp< daempfer+ubow+tie) (e cs5 > - - bb5 p> leg e5 > leg f4) (q g4 pp> leg eb4 -) (-3q eb4ab4 <> harm - -q -) (-q -3q 3h f6 pp<> ubow) (-q e a6 f< ten fs6 < ten) (q g5 ff - -3q - b3 f marc) (e. c4 < leg s b3 -q -e f3ds4 p leg)…

It is great that we meanwhile have user-defined attributes, but I sometimes like to add some ad-hoc text to the score without the need to first define them -- without any impact on the playback. This can be useful, e.g., to add rehearsal marks, various expressions and playing techniques, chord symbols, fingerings, or details for live electronics control. Beyond that, I like adding analytical information to the resulting score to inform later manual revisions, e.g., labelling motifs and perhaps even their transformation, adding custom chord and scale names etc. Doing this with user-defined attributes is kind of OK, but it could be more convenient to add certain…

short question... is there a function in OM to map an interval-list directly on a TONALITY or a SIEVE? in a way that the intervals are like steps? ..i coded that alreday for myself, but perhaps there is an OM-solution for such things? nonsense-example: (setf intervallist '(1 1 0 -2)) (setf pitches '(c4 e4 g4 b4)) => :start 'c4 => result: '(c4 e4 g4 g4 c4) thanx andré

Dear all, I am curious to know whether any of you have any tips or strategies for approaching 'structure' in composition using Opusmodus. I often find that one of the challenges I face while using Opusmodus is that I tend to think in terms of the general structure of the composition and its pertaining restraints. I find it very difficult to think about the microstructures within a piece, mainly I think because I don't know enough about how to approach the idea of microstructures. By this, I mean I generally approach composition within Opusmodus by generating pitches/lengths/articulations, and separating them in terms of sections. However, within ea…

Hello, I have been reviewing James Pritchett's The Music of John Cage lately, and was particularly surprised by the detail in which some of the techniques John Cage developed in the 1940s are described such as his "gamut" technique and "chart" technique. I am very curious to see whether you are aware of any attempts to use Opusmodus to create something somewhat similar to these techniques? In theory, the gamut technique is a collection of "sound materials" made before the composition is arranged, and that these sound materials (with varying content, and often containing most of the chords in a piece), while the chart technique is a chart that makes a chart …

Hi, bellow you will find attached score with the first section of a string quartet (work in progress) as an example of the use of the PASSING-INTERVALS function. SB. SQS1-ForumGM.opmo

Hi, you will find attached a function which help when you need a quick score template when drafting an example. The video show's how to use it: UsingSimpleScoreFunction.mp4 Put the function into your Opusmodus/Extensions folder. Don't forget to modify the function a bit and replace the composer name and the copyright name by your own name 🙂 SB. simple-score.lisp

It seems there is a problem with the notation and MusicXML export of the "duration" of gradual tempo changes. The end of the tempo changes is shown too early, already at the beginning of the bar specified as its duration. (If a longer duration is specified to correct for that, then all subsequent tempo changes are delayed accordingly.) In the following example, the initial accellerando should last for 4 bars, but the final tempo q=200 is already displayed in the notation output at the beginning of bar 4, i.e., after 3 bars. Note that the tempo changes in the playback are correct, but the notation is not (nor the tempi in the exported Sibelius file). …

Hi, Attached is a simple example of using spectra from a sound mapped on the content of a piece for woodwinds. SB. Spectral-remap1.opmo

Hi, here's a small piece for piano as an example of different process like tonality mapping, harmonic rhythm, rhytm and pitch cells etc.. ;;; UTILITY ;;; ------------------------------------------------------------------------------ ;;; GEN-PITCH-LINE ;;; Fonction de génération de hauteurs basées sur une conversion de vecteur de bruit ;;; avec un grand choix de type de bruit, taux de compression du vecteur, filtrage des répétitions et ambitus. (defun gen-pitch-line (nb-pitch &key (compress 1) (ambitus '(c4 c6)) seed filter-repeat (type :white)) (let (pitches) (do-verbose ("gen-pitch-line") (rnd-seed seed) (labels ((white-or-pink (nb-pitch see…

The *last-score* to Dorico: (defun last-score-to-dorico () (compile-score *last-score* :output :musicxml :file "temp-last-score") (musicxml-to-editor "temp-last-score" :application "dorico"))

When working with Opusmodus, it is very common to run many times a script containing some random process and you may want to keep and redo the last output for refine it or whatever. It can be also good to save multiples output from a script with an index number attached to the output name. In this post, i will show you how to achieve this two technics. 1.Seed record: The first operation is to generate randomly a seed value and bind it to a variable: (setf my-seed (rnd-range 1 10000)) Pass it to the init-seed function (init-seed my-seed) Now you can evaluate you score many times and when the output is ok for you, recall the last r…

Hi all, I just would like to inform you all that I have made some first tests with xml export to the new Dorico notation program. (compile-score 'violins :file "test2" :output :musicxml) (musicxml-to-editor "test2" :application "Dorico") It works smooth and without problems. Maybe Dorico will be an alternative to Sibelius in the future. It looks promising with quite a few flaws in this first version 1.0.0. /Lasse

Is there a function or some parameter I can set to avoid note collisions in chords? For a very simple example, to re-notate the chord (c4 cs4 e) as C, D flat, E. If not, another question-- maybe a way to set all D sharps to be notated as E flat, etc. Thanks! Paul M.

Hello, I'm currently trying to get the musicxml-to-editor function to work but I'm not entirely sure how to get the correct bundle-identifier. I'm currently using Finale 2014.5. Whenever I just try "Finale", I get an error message. I also get an error message when I try "Finale 2014.5" or "Finale 20145". Thanks.