Score and Notation

Hi, When should we use the :key-signature option in def-score? Normally, when we define :pitch and :length (or the OMN spec) in def-score instruments, the tonality is fully specified. So what is the need for :key-signature such as (c maj)? In case this option is given, will automatic tonality mapping occur from the given pitches to this scale? Regards, Rangarajan

I'm wondering if a series of pitches generated by white noise could be made to conform to a scale or harmonic progression in a scale such as (setf chords (harmonic-progression prog.prep '(d4 messiaen-mode5))). That is - if I have several parts generated algortihmically, can I conform those notes using a second function that will conform them to a harmonic progression? Thanks, T

All of us, as Opusmodus users, know the possibility to compose a piece with multiples sections and assemble later. We can use the ASSEMBLE-SEQ function in our piece for assemble some material and sections, but we also can use COMPILE-SCORE with multiple pre-defined scores assembled in one COMPILE-SCORE instruction this way: (compile-score '( score1 score2 score3 etc. ) ) This is a very convenient way for assembling multiple sections as multiple score. i put this instructions in a separate file named COMPILE-SCORE and all other section-score in files named S1, S2, S3.... But when th…

here's a link to a small article (in german) about HANSPETER KYBURZ's kind of L-SYSTEM-implementation... http://www.eresholz.de/de/text/Eres Holz_Ausschnitt aus der Masterarbeit.pdf

Hi, i have composed a short strings trio as an example of how to use score post processing techniques, ie. change things in a score after the OMN generation by the opmo functions. Score script and mp3 attached to this post. SB. StringsTrio210516g-GM.opmo StringsTrio210516g.mp3

Hi, Attached to this post, you will find an Orchestral template based on the Opusmodus Orchestra Romantic Template. This template is made with some ready to use configuration and parameters, i.e.; you can start to use it immediately for your own composition, just change the parameters, tweak them, explore and experiment. I made this template for help the people who start with Opusmodus and want to have immediate fun with it and want to learn by hacking more than by coding ;-) You also will find attached a possible raw audio example of a possible basic output of the template used in his most basic form (just evaluated and play). …

Hi, here's a small example of a possible way (among many others) for generating n sections of a given size in one def-score. I hope my comments are sufficiently clear ;-) SB. Marimbox.opmo

I am curious to know whether anyone has managed to use external large data sources to generate results within Opusmodus? Any examples such as using APIs from something such as Twitter on other online large data sources be it weather or financial stock data would be interesting. I'd like to see how different data sources could also be utilized/transformed within Opusmodus. Thanks.

Hi, where can I find a documentation of the syntax of the :controllers section. I don't get the timing. When will a controller change etc. The only thing I found is an example in DEF-SCORE.

Hi, In Symbolic Composer (SCOM), there is a mechanism to keep the tonality (scale) and symbols separately and combine them to form actual pitches. Is something like that possible in Opusmodus? Regards, Rangarajan

In all the examples, the score has the instruments readily defined by the programmer: (def-score (:score-prop score-val ...) (instrument-1 :instrument-prop instrument-val ...) (instrument-2 :instrument-prop instrument-val ...) ) What I have been wondering is can I dynamically create these instruments, allowing for proper reference in :layout afterwards, etc. For example, if I wanted 10 instruments: (defun my-generate-instrument ...) ;; something (def-score (:score-prop score-val ...) (loop for i from 1 to 10 collect (my-generate-instrument i…

Hi, This is probably a very basic question. When we define multiple instruments in DEF-SCORE, what is the rationale for assigning channel numbers to different instruments? Is it OK to use the same channel number for all instruments? Or should we use different channels for different instruments? Obviously, MIDI has a limit of 16 channels. Please explain the correct logic/approach to use. Regards, Rangarajan

Score layout example with :ignore options. (def-score serial-map (:key-signature 'chromatic :time-signature (get-time-signature mat) :tempo tempo :layout (list (treble-layout 'rh :lines 1 :ignore-bars t :ignore-tempo t :ignore-time-signature t :bar-adjustments '(((2 11 12 14 15 20 22 35 41 43) :lines 0 :notehead :none) (2 :note "Audio (I) - - -" :lines 0 :notehead :none) (6 :note "Audi…

To get a single instrument into the Last Score command you write the expression: (compile-score 'score-title :instrument 'instrument-name) After the evaluation you can see the part using cmd-alt-ctrl-N command, this key shortcut will display the notation of the chosen instrument. This is the tenor part from the 'Origami Letters' score (Lesson 3) found in the Quick Start workspace. (compile-score 'Origami-Letters :instrument 'tenor)

I am in the process of creating group Templates - instrument groups and the layout. If any of you have any specific configuration (instrument setup) please let me know. Version 1.1 coming closer.

12-tone row and its variants with randomised octaves. (setf row (rnd-row :type :pitch :transpose '?)) (setf rows (gen-repeat 12 (list row))) (setf variants (pitch-variant rows :variant '?)) (setf pitch (flatten (randomize-octaves '(c2 g7) variants))) Mapping length to pitches. (def-case rhythm (c3 '(h)) (cs3 '(q)) (d3 '(-3q = -)) (eb3 '(e.)) (e3 '(e)) (f3 '(-5q = ---)) (fs3 '(s.)) (g3 '(s)) (gs3 '(-3e - =)) (a3 '(-5e --- = -e)) (bb3 '(t -)) (b3 '(-t =)) (c4 '(h)) (cs4 '(q)) (d4 '(-3q = -)) (eb4 '(e.)) (e4 '(e)) (f4 '(-5q - = --)) (fs4 '(s.)) (g4 '(s)) (gs4 '(-3e - =)…

Hi, I exported the score from the tutorial stage 30 via music-xml to Sibelius but the glissando lines were not displayed. Any help ? Achim

Hi, I'am working with some excerpts of a score from Franco Donatoni's "Françoise variantionen". (a5cs6f6fs6g6) The respell version is a little better. Ricordi goes a special way in the original. I'am aware that this is a very special case and not very urgent to change. Just for the records. best, ole

Giant Steps (1959) Theme (setf theme '((h fs5 d5) (h b4 q. g4 e bb4 tie) (h. bb4 -q) (q. b4 eh a4) (h d5 bb4) (h g4 q. ds4 e fs4 tie) (w fs4) (h g4 q. f4 e bb4 tie) (h bb4 -) (h b4 q. a4 e d5 tie) (w d5) (h ds5 q. ds5 e fs5 tie) (h fs5 -) (h g5 q. g5 e bb5 tie) (w bb5) (q. fs5 q fs5 -q.))) Chords (setf chords '((h (b3 maj7) (d3 7)) (h (g3 maj7) (bb3 7)) (w (eb3 maj7)) (h (a3 m7) (d3 7)) (h (g3 maj7) (bb3 7)) (h (eb3 maj7) (gb3 7)) (w (b3 maj7)) (h (f3 m7) (bb3 7)) (w (eb3 maj7)) (h (a3 m7) (d3 7)) …

Goodbye Pork Pie Hat Theme (setq theme '((-h.. e c4) (e f4 e_3q ab4 3q f4 ab4 e bb4 q ab4 s f4 db4) (e f4 q ab4 s f4 eb4 q. f4 e c4) (e f4 e_3q ab4 3q f4 ab4 e b4 q bb4 s f4 eb4) (e f4 q ab4 s f4 eb4 q. f4 e) (e c5 e_3q eb5 3q f4 ab4 e bb4 q ab4 s f4 ab4) (e c5 e_3q f5 3q f4 bb4 3h eb5 3q c4 ab4 e4 db4) (3h ab4 b4 f4 e4 b4 g4) (h ab4 q. f4 s b4 bb4) (h ab4 f4) (e bb4 ab4 f4 eb4 b4 bb4 ab4 f4) (h ab4 f4) (3h c4 bb4 ab4 f4 eb4 c4) (w f4))) Chords (setf chords '((-w) (h (f3 7s9) p (d…

Round Midnight Theme (setq theme '(-q s bb3 eb4 f4 bb4 q. gb4 e bb3 q. eb4 s d4 eb4 e bb4 ab4 -q - s eb4 gb4 bb4 db5 q. c5 e eb4 a4 s fs4 d4 q gs4 e s f4 db4 q g4 - s ab4 b4 eb5 gb5 q. f5 e b4 h._e bb4 s eb4 f4 q. gb4 s f4 eb4 q. f4 e eb4 d4 hq. bb3 -q s bb3 eb4 f4 bb4 q. gb4 e bb3 q. eb4 s d4 eb4 e bb4 ab4 -q - s eb4 gb4 bb4 db5 q. c5 e eb4 a4 s fs4 d4 q gs4 e s f4 db4 q g4 - s ab4 b4 eb5 gb5 q. f5 e b4 h._e bb4 s eb4 f4 q gb4 e f4 eb4 q f4 e eb4 d4 h._e eb4 e f4 …

My Funny Valentine Theme (setq theme '((h c4 q d4 eb4) (q. d4 e eb4 h d4) (h c4 q d4 eb4) (q. d4 e eb4 h d4) (h c4 q d4 eb4) (h bb4 q ab4 g4) (w f4 tie) (w f4) (h eb4 q f4 g4) (q. f4 e g4 h f4) (h eb4 q f4 g4) (q. f4 e g4 h f4) (h eb4 q f4 g4) (q. d5 e c5 q. bb4 e a4) (w ab4 tie) (h ab4 q g4 f4) (q. d5 e eb4 q eb4 d4) (h eb4 q eb4 d4) (q. c5 e eb4 q eb4 d4) (h eb4 q eb4 d4) (q. d5 e eb4 q eb4 d4) (h eb4 q f4 g4) (w c5 tie) (h c5 d4) (h c4 q d4 eb4) (q. d4 e eb4 h d4) (h eb4 q f4 g4) (h c5 q d5 eb5) (q. d5 e eb5 h d5) (w eb…

An example with DEF-CASE and Vienna Symphonic Library sound sets. Initialise random seed to all the other functions which may also use random seed. (init-seed 98) Global value 20 assign to a variable LEN. (setf len '20) Complex length generator using cartesian sets - combinatory possibilities. (setf v1-gcl (gen-length-cartesian 2 3 'm 'n (rnd-sample len '(q q h)) (rnd-sample len '(2 3)) (rnd-sample len (primes 5 3)) (rnd-sample len '(1 2 3 4 5)))) (setf v2-gcl (gen-length-cartesian 2 3 'd '? (rnd-sample len '(q q h)) (rnd-sample len '(2 3)) …

Algorithmic 'play' with the song "Alle meine Entchen" (All my little ducklings) popular german children song. An example with TONALITY-MAP and GEN-PAUSE functions. A fun exercise for four voices in five parts. The original song Global seed. (init-seed 35) Song in OMN script. (setf song '((e c4 d4 e4 f4) (q g4 =) (e a4 = = =) (q g4 -) (e a4 = = =) (q g4 -) (e f4 = = =) (q e4 =) (e g4 = = =) (q c4 -))) Creating four voices based on the original song. Processing three voices, each with its own random order of its bars. (setf s-rnd (rnd-order song :list t)) (setf a-rnd…

An example of algorithmic composition in a few simple steps. Initialise random seed to all functions which may use random seed. (init-seed 8975) Six lists (bars) of note-length values. (setf len '((s s q s) (s q -s s) (s s s s) (s s -s s) (s e s) (s -s e))) The GEN-SINE function generates a sequence of vectors that describe and simulate the characteristics of a sine wave. (setf sine1 (gen-sine 12 2 0.3)) (setf sine2 (gen-sine 24 3 0.4)) (setf sine3 (gen-sine 30 4 0.5)) (setf sine4 (gen-sine 36 5 0.6)) Generate a graph from t…