Score and Notation

Please excuse the slightly misleading terminology in the title of this post, but I am looking for a straightforward method to experiment with different chord rhythms and patterns for the left hand in a keyboard style arrangement. As an example, I have this simple arrangement: (setf lh-chords '( #|1|# (c2 c3e3g3 c3e3g3 c3e3g3) #|2|# (f2 c3f3a3 c3f3a3 c3f3a3) #|3|# (e2 e3g3c4 e3g3c4 e3g3c4) #|4|# (gs2 e3b3 e3b3 e3b3 g2 d3g3b3 d3g3b3 d3g3b3) )) (setf lh-lengths '( #|1|# (e e e e e e e e) ;i #|2|# (e e e e e e e e) ;i #|3|# (e e e e e e e e) ;i #|4|# (e e e e e e e e) ;i )) (de…

Hi, An example of group orchestration. I first create some binary représentation of some group of instruments and apply this groups with do-timeline: ;;; Parameters (setf size 12) ;;; Length generation (setf len1 (euclidean-rhythm (gen-repeat size '(16)) 1 12 's :type 2)) (setf len2 (euclidean-rhythm (gen-repeat size '(16)) 1 12 's :type 2)) (setf len3 (euclidean-rhythm (gen-repeat size '(16)) 1 12 's :type 2)) (setf len4 (euclidean-rhythm (gen-repeat size '(16)) 1 12 's :type 2)) ;;; Pitch generation (setf pmat (gen-divide 8 (vector-to-pitch '(c3 c5)…

Dear Friends, I'm working on a piano piece where each hand plays complementary rhythms. For example, If LH plays (s -s s s -s) then RH plays (-s s -s -s s) accordingly whit the concept. Everything is parametric, each hand have a set of pitches, dynamics and articulations, so I did one OMN assembling for each hand, to have more control over the material. It ends like you can see in the code, below. Since all I have is just the complementary rhythms, I'd like to write it in a form of continuous sixtenth notes, in cross staff. So, the problem is that in Finale I have to manually do all this painful…

Here is an example of generation of harmonic progression with Opusmodus using chords rules defined with a transition table. The technique presented here uses the concept of tonal degrees, but it is important to note that as you will see later in this article, this concept can be pushed quite far and quite outside the traditional tonal system. First, we define some transition rules from degree to degree: (setf transition '((1 (4 1) (5 1) (6 2)) (2 (5 2) (4 1)) (3 (4 1)) (4 (5 1) (2 1)) (5 (1 3) (6 2) (4 1)) (6 (4 1)) (7 (1 1) (6 1)))) So here is a transit…

Dear Friends I´m working on sketches for a piano piece. I declared some variable setf´s for manipulating pitches, rhythms, etc. In the def score instance below, almost in the end of script, OM is evaluating a non-declared variable pat-pitches2. "pat-pithes2" or "pat-pitches" is not in any place of this script, altought I used this in other file. Can OM pick variables from other files ? Why OM is behaving like this ? Seems crazy. Best, Julio :pitch (ambitus '(g1 g3)(chordize-list (gen-divide '(1 1 1 1 1 1 1 1) (pitch-transpose-n '(0 0 -12 0) pat-pitches2)))) ;;; HOW OM IS EVALUATING the variable pat-pit…

Hello, I am working on a sound installation for two voices (using Soniccouture's Geosonics VST plugin and a vibraphone VST plugin running through a computer). The source of the data is taken live from the internet and is actually API weather data from a city in South Korea. The piece will play for 2 hours every night between early December and early March. The trouble I am having is how to transform the different fragments of weather data into data I could use within Opusmodus. Here's the type of data that I get according to each parameter (the options are either floating points, integers, or T/F). All of this is on my computer as OSC signals. …

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