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  1. 5 points
    This is for generating some jazz licks in the style of the LINEAR EXPRESSIONS, by jazz guitarist PAT MARTINO. The rhythm slots of the example contain the same 16th value, but it can be worked out as Rhythmic Cells. I was testing straight 16th lines. https://www.amazon.com/Linear-Expressions-Pat-Martino/dp/1423460898/ref=sr_1_1?ie=UTF8&qid=1539901867&sr=8-1&keywords=linear+expression+martino ;;; PAT MARTINO LINEAR Expressions Lick Generator JAZZ IDIOMS (setf r0 '(s) r1 '(s s s s) r2 '(s s s s s s s s) r3 '(s s s s) r4 '(s s s s) r5 '(s s s s s s s s) r6 '(s s s s s s s s) r7 '(s s s s s s s s) r8 '(s s s s s s s s) r9 '(s s s s s s s s) r10 '(s s s s s s s s)) (setf p0 '(g3 a3 bb3 c4 cs4 d4 f4 d4) p1 '(e4 fs4 g4 a4 c5 a4 bb4 d5) p2 '(f5 a5 ab5 e5 g5 f5 e5 d5) p3 '(c5 a4 bb4 d5 a4 bb4 a4 g4) p4 '(a3 bb3 d4 f4 a4 bb4 a4 ab4) p5 '(g4 a4 bb4 c5 d5 f5 a5 c6) p6 '(bb5 d5 f5 a5 g5 gb5 f5 g5) p7 '(e5 f5 e5 d5 c5 a4 g4 a4) p8 '(d4 e4 fs4 a4 fs4 g4 a4 c5) p9 '(a4 bb4 d5 f5 a5 bb5 a5 ab5) p10 '(g5 f5 d5 ds5 e5 g5 bb5 d6)) (setf v0 '(f) v1 '(mp) v2 '(f) v3 '(pp) v4 '(p f mf) v5 '(fff) v6 '(fff) v7 '(mf) v8 '(p) v9 '(f) v10 '(ff)) (setf sec (gen-repeat 10 (rnd-unique 12 '(0 1 2 3 4 5 6 7 8 9 10) ))) (setf r-list (assemble-section 'r sec)) (setf p-list (assemble-section 'p sec)) (setf v-list (assemble-section 'v sec)) (setf phrases (make-omn :length r-list :pitch p-list :velocity v-list)) (def-score collage (:key-signature 'atonal :time-signature '(2 4) :tempo 144 :layout (piano-grand-layout 'piano)) (piano :omn phrases :channel 1 :sound 'gm :program 0) )
  2. 4 points
    The future pitch (v1.4) will look like: c4 c4[50] fs4[50] d6[-30] etc... chord c4fs5[50] Every cents value which falls into microtonal notation (50, 30 -50 -75 ...) will be part of the notation all others will be written above the note: -43c
  3. 3 points
    I think you can use gen-chord3. also i have finished the function you asked in another post about a different version of add-interval-if-length. This one is make-chord-if-length and is based on gen-chord3. i'll post it here for convenience but will also post it in programming forums section. ;;; ============================================== ;;; UTILITY FUNCTIONS ;;; (defun make-chord-if-length-aux (omn &key (test #'>) (length-val 1/8) (interval-list '((4 7)(7 12))) (cycle t)(relative nil) seed) (setf seed (rnd-seed seed)) (let ((s-events (single-events omn))) (loop for e in s-events for i in (gen-trim (length s-events) interval-list) when (funcall test (omn-encode (first e)) length-val) append (omn-replace :pitch (gen-chord3 (list (second e)) i :cycle cycle :relative relative :seed (seed)) e ) else append e))) ;(make-chord-if-length-aux '(q c4 d4 e4 f4 e g4 a4)) ;(make-chord-if-length-aux '(q c4 d4 e4 f4 e g4 a4) :interval-list '((4 7)(3 10))) ;(make-chord-if-length-aux '(q c4 d4 e4 f4 e g4 a4) :interval-list '((4 7 11 14)(7 9 16)) :cycle nil) ;(make-chord-if-length-aux '(q c4 d4 e4 f4 e g4 a4) :interval-list '((4 7 11 14)(7 9 16)) :cycle nil :seed 4) ;(make-chord-if-length-aux '(q c4 d4 e4 f4 e g4 a4) :interval-list '((4 7 11 14)(7 9 16)) :cycle nil :relative t) ;(make-chord-if-length-aux '(q c4 d4 e4 f4 e g4 a4) :interval-list '((4 7 11 14)(7 9 16)) :cycle nil :relative t :seed 4) ;;; ============================= ;;; MAIN FUNCTION (defun make-chord-if-length (omn &key (test #'>) (length-val 1/8) (interval-list '((4 7)(7 12)))(cycle nil)(relative nil) seed) (setf seed (rnd-seed seed)) (do-verbose ("make-chord-if-length :seed ~s :length-val ~s :interval-list ~s :cycle ~s :relative ~s" seed length-val interval-list cycle relative) (let ((test-fn (case test (> #'>) (< #'<) (= #'=) (otherwise test)))) (if (listp (car omn)) (mapcar #'(lambda (x) (make-chord-if-length-aux x :test test-fn :length-val (omn-encode length-val) :interval-list interval-list :cycle cycle :relative relative :seed (seed))) omn) (make-chord-if-length-aux omn :test test-fn :length-val (omn-encode length-val) :interval-list interval-list :cycle cycle :relative relative :seed (seed)))))) ;;; Tests ;(make-chord-if-length '((q c4 e d4 e4 f4 h d4)(s a4 b4 a4 g4 h f4)(q c4 d4 h e4))) ;(make-chord-if-length '((q c4 e d4 e4 f4 h d4)(s a4 b4 a4 g4 h f4)(q c4 d4 h e4)) :seed 8) ;(make-chord-if-length '((q c4 e d4 e4 f4 h d4)(s a4 b4 a4 g4 h f4)(q c4 d4 h e4)) :interval-list '((2 9)(7 11))) ;(make-chord-if-length '((q c4 d4 e4 f4 g4)(s a4 b4 a4 g4 h f4)(q c4 d4 h e4)) :cycle t) ;(make-chord-if-length '((q c4 e d4 e4 f4 h d4)(s a4 b4 a4 g4 h f4)(q c4 d4 h e4)) :cycle nil :relative t) ;(make-chord-if-length '((q c4 e d4 e4 f4 h d4)(s a4 b4 a4 g4 h f4)(q c4 d4 h e4)) :cycle nil :relative t :seed 8) SB.
  4. 2 points
    Stephane Boussuge

    make-chord-if-length

    Here's a new function a bit similar to my old "add-interval-if-length" function but bit more sophisticated. It use gen-chord3 to create chord on defined length. ;;; ============================================== ;;; UTILITY FUNCTIONS ;;; (defun make-chord-if-length-aux (omn &key (test #'>) (length-val 1/8) (interval-list '((4 7)(7 12))) (cycle t)(relative nil) seed) (setf seed (rnd-seed seed)) (let ((s-events (single-events omn))) (loop for e in s-events for i in (gen-trim (length s-events) interval-list) when (funcall test (omn-encode (first e)) length-val) append (omn-replace :pitch (gen-chord3 (list (second e)) i :cycle cycle :relative relative :seed (seed)) e ) else append e))) ;(make-chord-if-length-aux '(q c4 d4 e4 f4 e g4 a4)) ;(make-chord-if-length-aux '(q c4 d4 e4 f4 e g4 a4) :interval-list '((4 7)(3 10))) ;(make-chord-if-length-aux '(q c4 d4 e4 f4 e g4 a4) :interval-list '((4 7 11 14)(7 9 16)) :cycle nil) ;(make-chord-if-length-aux '(q c4 d4 e4 f4 e g4 a4) :interval-list '((4 7 11 14)(7 9 16)) :cycle nil :seed 4) ;(make-chord-if-length-aux '(q c4 d4 e4 f4 e g4 a4) :interval-list '((4 7 11 14)(7 9 16)) :cycle nil :relative t) ;(make-chord-if-length-aux '(q c4 d4 e4 f4 e g4 a4) :interval-list '((4 7 11 14)(7 9 16)) :cycle nil :relative t :seed 4) ;;; ============================= ;;; MAIN FUNCTION (defun make-chord-if-length (omn &key (test #'>) (length-val 1/8) (interval-list '((4 7)(7 12)))(cycle nil)(relative nil) seed) (setf seed (rnd-seed seed)) (do-verbose ("make-chord-if-length :seed ~s :length-val ~s :interval-list ~s :cycle ~s :relative ~s" seed length-val interval-list cycle relative) (let ((test-fn (case test (> #'>) (< #'<) (= #'=) (otherwise test)))) (if (listp (car omn)) (mapcar #'(lambda (x) (make-chord-if-length-aux x :test test-fn :length-val (omn-encode length-val) :interval-list interval-list :cycle cycle :relative relative :seed (seed))) omn) (make-chord-if-length-aux omn :test test-fn :length-val (omn-encode length-val) :interval-list interval-list :cycle cycle :relative relative :seed (seed)))))) ;;; Tests ;(make-chord-if-length '((q c4 e d4 e4 f4 h d4)(s a4 b4 a4 g4 h f4)(q c4 d4 h e4))) ;(make-chord-if-length '((q c4 e d4 e4 f4 h d4)(s a4 b4 a4 g4 h f4)(q c4 d4 h e4)) :seed 8) ;(make-chord-if-length '((q c4 e d4 e4 f4 h d4)(s a4 b4 a4 g4 h f4)(q c4 d4 h e4)) :interval-list '((2 9)(7 11))) ;(make-chord-if-length '((q c4 d4 e4 f4 g4)(s a4 b4 a4 g4 h f4)(q c4 d4 h e4)) :cycle t) ;(make-chord-if-length '((q c4 e d4 e4 f4 h d4)(s a4 b4 a4 g4 h f4)(q c4 d4 h e4)) :cycle nil :relative t) ;(make-chord-if-length '((q c4 e d4 e4 f4 h d4)(s a4 b4 a4 g4 h f4)(q c4 d4 h e4)) :cycle nil :relative t :seed 8) i've also attached the original file to this post. SB. make-chord-if-length.lisp
  5. 2 points
    How to apply different voicings over a chord progression Sometimes you have to spread the notes of a chord progression in a very specific way, specially in the case of sectional writing as in the big bands, for example, where specific voicings are used, commonly named as drop2, drop3, etc. All the voicings are based in the initial closed position: - DROP2 is obtained by dropping the 2nd voice an octave below, as shown below: - DROP3 is obtained by dropping the 3rd voice an octave below, as shown below: There are 24 types of voicings as shown in the image below. The rule is to not exceed the octave between two adjacent voices. VOICING TYPES From Combinatorial Harmony Book, avaiable at: https://www.melbay.com/Products/Default.aspx?bookid=30042BCDEB CLOSED, DROP2, DROP3, DROP2+4, DROP2+3 and DOUBLEDROP2+ HOW TO IMPLEMENT IN OPUSMODUS EXAMPLE ;;; SOME Seventh CHORDS TO USE (setf chords '((a4c4d4f4) (c5eb4f4gs4) (d5f4g4bb4) (cs5e4fs4a4) (e4f4a4c4) (fs4g4b4d4) (d4eb4g4bb3) (eb4e4gs4b3) (e4g4a4c4) (a4c5d5f4) (f4gs4bb4cs4) (d4f4g4bb3) (fs5g4b4d5) (b5c5e5g5) (a5bb4d5f5) (gs4a3cs4e4) (b4d4e4g4) (d5f4g4bb4) (e5g4a4c5) (eb5fs4gs4b4) (e4f4a4c4) (fs4g4b4d4) (d4eb4g4bb3) (eb4e4gs4b3))) Setting the Voicing Types: csd (Closed Position) dp2 (Drop 2) dp2 (Drop 3) dp2-4 (Drop 2+4) dp2-3 (Drop 2+3) ddp2-3 (Double Drop 2 + Drop 3) (setf csd '(0 0 0 0) dp2 '(0 -12 0 0) dp3 '(0 0 -12 0) dp2-4 '(0 -12 0 -12) dp2-3 '(0 -12 -12 0) ddp2-3 '(0 -24 -12 0)) Drop order to apply over the sequence ;;;DROP ORDER (setf droplist (flatten (list csd dp2 csd dp2-4))) Command to make the voicings over the original chord progression ;;;ABERTURAS (chordize-list (pitch-transpose-n droplist (pitch-melodize chords))) RESULT Not the expected result!!!! See the next correction!!! All the best ! Julio Herrlein An important correction: In order to produce the right voicings is it necessary to sort the notes before transposing, so the Command to make the voicings over the original chord progression is like this: VOICINGS (setf chordprogdrop (chordize-list (pitch-transpose-n droplist (sort-desc (pitch-melodize chordtrp-rpt))))) Now, the right result for the voicing order csd dp2 csd dp2-4
  6. 2 points
    opmo

    conTimbre library + pitchbend

    We will delay the midi note-on events that start at time 0 by 5 ticks this might will solve the problem.
  7. 2 points
    lviklund

    Composing with Piano Reductions

    Thx Julio, Lot's of useful ideas for me. Brilliant! /Lasse
  8. 2 points
    The error is a known problem when you copy and past from html pages. Go to documents and use the original score file. No errors here.
  9. 2 points
    AM

    how to number pitches

    this is the simple solution... (defun add-numbers-to-text-attributes (a b) (loop for i from a to b append (add-text-attributes (list (compress (list 'nr i)) (write-to-string i))))) (add-numbers-to-text-attributes 12 23) => (nr12 nr13 nr14 nr15 nr16 nr17 nr18 nr19 nr20 nr21 nr22 nr23)
  10. 1 point
    Dear Wim, Please, check this post: Best, Julio
  11. 1 point
    In common music notation, if you use some "sticky" playing technique and you want to "disable" it later, then you should tell so the performer, should you not? Best, Torsten
  12. 1 point
    JulioHerrlein

    Composing with Piano Reductions

    Dear All, I'm trying to find a suitable workflow to make my choices easier. One idea was to compose over a piano reduction, for easier manipulation. Here's a way of doing that, with comments. The MIDI FILE output is like this. I did NO EDITIONS at all in Musescore.This is the video of the MIDI output. The XML output is the piano reduction. Very convenient ! Best, Julio str_4tet_opusmodus.mov ;;;SEV CHORDS Basic Functions ;;;Harmonic Functions/Sets List (setf Srm7 (pcs-transpose 9 (pcs '4-26) :pitch)) (setf S7M (pcs-transpose 4 (pcs '4-20) :pitch)) (setf Trm7 (pcs-transpose 4 (pcs '4-26) :pitch)) (setf T7M (pcs-transpose -1 (pcs '4-20) :pitch)) (setf Tam7 (pcs-transpose 11 (pcs '4-26) :pitch)) (setf D7 (pcs-transpose 11 (pcs '4-27b) :pitch)) (setf hd (pcs-transpose 9 (pcs '4-27) :pitch)) ;;;Estabilishing a Basic Progressions (setf chordprog (chordize (list Srm7 S7M Trm7 T7M Tam7 S7M))) ;;;Repeating and transposing the progression (setf chordtrp-rpt (pitch-transpose-repeat '((0 3 5 4) (0 2 -2 -1) (0 5 1 -2) (7 12 10 -3)) chordprog)) ;;; Making suitable voicings to the progression (setf chordprogdrop (chordize-list (pitch-transpose-n '(0 -12 0 0) (pitch-melodize chordtrp-rpt)))) ;;;Using these dropped chords as the source (setf chordprgtrp chordprogdrop) ;;;Opcionally with more Voice-Leading, with a smooth transition between the chords ;(setf chordprgtrp (chord-closest-path (car chordprogdrop) (gen-divide 4 chordprogdrop))) ;;;Counting the number of chords to make rhythm repetitions ;(setf times (get-count (get-count chordprgtrp))) ;;;Optionally setting manually the repetitions (setf times 24) ;;;Eachnote assigned to a voice (setf voz1 (flatten (pitch-demix 1 chordprgtrp))) (setf voz2 (flatten (pitch-demix 2 chordprgtrp))) (setf voz3 (flatten (pitch-demix 3 chordprgtrp))) (setf voz4 (flatten (pitch-demix 4 chordprgtrp))) ;;;optionally processing the ambitus of the voices ;(setf vozamb1 (ambitus '(c4 c5) voz1) vozamb2 (ambitus '(f3 c5) voz2) vozamb3 (ambitus '(g3 g4) voz3) vozamb4 (ambitus '(c2 e3) voz4)) ;;; Or setting to instrument's ranges ;(setf vozamb1 (ambitus (ambitus-instrument 'flute) voz1)vozamb2 (ambitus (ambitus-instrument 'oboe) voz2) vozamb3 (ambitus (ambitus-instrument 'clarinet) voz3) vozamb4 (ambitus (ambitus-instrument 'bassoon) voz4)) ;;;or just using the resulting drops as given (setf vozamb1 voz1 vozamb2 voz2 vozamb3 voz3 vozamb4 voz4) ;;;RIT ;;;one rhythm to all (for checking the "chorale" writing) ;(setf r1 (gen-repeat times '(q)) r2 (gen-repeat times '(q)) r3 (gen-repeat times '(q)) r4 (gen-repeat times '(q))) ;;;Doing an homorhythmic section (all instruments play the same rhythms (setf homorhy (gen-repeat times '(q -q e q e h h -s s s s)) r1 homorhy r2 homorhy r3 homorhy r4 homorhy) ;;; Articulation for the homorhytm (setf arthomo '(ten stacc ord stacc ord ord leg leg ord)) ;;;OMN ASSEMBLAGE of the Lines (setf vozomn1 (make-omn :length r1 :pitch vozamb1 :articulation arthomo :velocity (rnd-order'(p)))) (setf vozomn2 (make-omn :length r2 :pitch vozamb2 :articulation arthomo :velocity (rnd-order'(p)))) (setf vozomn3 (make-omn :length r3 :pitch vozamb3 :articulation arthomo :velocity (rnd-order'(pp)))) (setf vozomn4 (make-omn :length r4 :pitch vozamb4 :articulation arthomo :velocity (rnd-order'(pp)))) ;;;--------------------------------------------------------- ;;; SCORE ;;;---------------------------------------------------------- (def-score voices (:title "Piano-Red-4-Voices" :subtitle "Estudos Polifônicos" :composer "Julio-Herrlein" :key-signature 'atonal :time-signature '(4 4) :tempo '("Meditativo" q 60) :layout (piano-solo-layout '(pno-rh1 pno-rh2) '(pno-lh pno-lh2))) (pno-rh1 :omn vozomn1 :channel 1 :sound 'gm :program 'Violin :volume 100) (pno-rh2 :omn vozomn2 :channel 2 :sound 'gm :program 'Violin :volume 70) (pno-lh :omn vozomn3 :channel 3 :sound 'gm :program 'Viola :volume 80) (pno-lh2 :omn vozomn4 :channel 4 :sound 'gm :program 'Cello :volume 80))
  13. 1 point
    opmo

    Circle-Pitch-Plot

    A new CIRCLE-PITCH-PLOT function (examples below) will be part of the forthcoming Opusmodus 1.3. The function CIRCLE-PIOTCH-PLOT returns a geometrical representation of relationships among the 12 pitch classes of the chromatic scale in pitch class space and provides an easy way to identify patterns and similarities between harmonic structures. Clockwise motion represents ascending pitch motion, and counterclockwise motion represents descending pitch motion. Examples: Major Triad (circle-pitch-plot '(c4e4g4)) Minor Triad (circle-pitch-plot '(c4f4ab4)) Augmented Triad (circle-pitch-plot '(c4e4gs4)) All 4 augmented triads (circle-pitch-plot '(c4e4gs4 db4f4a4 d4fs4bb4 eb4g4b4)) With :style :fill (circle-pitch-plot '(c4e4gs4 db4f4a4 d4fs4bb4 eb4g4b4) :style :fill) Example with chord names. Fully-Diminished 7th Chord (circle-pitch-plot 'dim7) All 3 fully-diminished 7th chords (circle-pitch-plot '((c4 dim7) (cs4 dim7) (d4 dim7))) Whole-Tone Scale (circle-pitch-plot '(0 2 4 6 8 10)) The complex of 2 Whole-Tone Scale (circle-pitch-plot '((0 2 4 6 8 10) (1 3 5 7 9 11)) :style :fill) Chromatic Scale (circle-pitch-plot 'chromatic :point-radius 4) The complex of 6 tritones (circle-pitch-plot '((0 6) (1 7) (2 8) (3 9) (4 10) (5 11)) :point-radius 4) Tonalities (circle-pitch-plot 'mixolydian-greek :point-radius 4) (circle-pitch-plot 'bartok :point-radius 4) (circle-pitch-plot 'messiaen-mode3 :point-radius 4) (circle-pitch-plot 'hyojo :point-radius 4) Contrary Motion (circle-pitch-plot '(0 1 11 2 10 3 9 4 8 5 7 6) :sort nil :join-first nil) (circle-pitch-plot '((0 1) (0 2) (0 3) (0 4) (0 5) (0 6) (0 7) (0 8) (0 9) (0 10) (0 11)) :point-radius 4) Example with Forte notation (circle-pitch-plot '(6-32 6-7)) Example with omn-form sequence and :type :pitches (circle-pitch-plot '(((leg s g2 p dbow+sul d3 sul b3 dig1 a3 b3 d3 b3 d3) (leg g2 d3 b3 a3 b3 d3 b3 d3))) :type :pitches) Circle types (circle-pitch-plot '((4 9 11) (3 5 10) (0 3 6 9)) :style :fill) (circle-pitch-plot '((4 9 11) (3 5 10) (0 3 6 9)) :type :pitches :style :fill) (circle-pitch-plot '((4 9 11) (3 5 10) (0 3 6 9)) :type :fifths :style :fill) Examples with :sort and :remove-duplicates set to nil (circle-pitch-plot '(0 2 6 0 3 7 0 4 8)) (circle-pitch-plot '(0 2 6 0 3 7 0 4 8) :sort nil) (circle-pitch-plot '(0 2 6 0 3 7 0 4 8) :sort nil :remove-duplicates nil) (circle-pitch-plot '(0 2 6 0 3 7 0 4 8) :sort nil :remove-duplicates nil :join-first nil) (circle-pitch-plot '(8 4 2 0 10 2 8 10 4 6 8) :sort nil :remove-duplicates nil) Best wishes, Janusz
  14. 1 point
    AM

    write tuning-cents into omn / extract them

    EXAMPLE, very easy to use... ;;; EXAMPLE HOW TO USE <get-tuning-from-omn*> (setf centlist (add-cents-tuning-to-text-atrributes :type :float)) ;;; generating a omn-seq with mictronoes (by using articulation-SLOT (setf omn-seq (make-omn :length (quantize (gen-white-noise 50) '(2 3 5) :scale 1.4 :tolerance 0.02) :pitch (filter-repeat 1 (vector-to-pitch '(c2 b6) (gen-white-noise 50))) :span :pitch :velocity (vector-to-velocity 0.1 0.99 (gen-white-noise 50)) :articulation (rnd-repeat 50 '(0ct 7ct -5ct 16ct -31ct -14ct 50ct -50ct)))) ;;; generating SCORE/MIDI (def-score microtonal (:title "microtonal" :key-signature 'atonal :time-signature '(4 4) :tempo 120) (instr :omn omn-seq :channel 1 :tuning (get-tuning-from-omn* omn-seq centlist) :sound 'gm :program 'acoustic-grand-piano))
  15. 1 point
    I own the 2 library and for me ConTimbre is indeed much better (much complete) than IRCAM instruments lib. SB.
  16. 1 point
    AM

    MIDI-pitch-bend-messages

    I do not work / almost never with DAW's. OPMO (before pwgl) and sibelius. i think the conTimbre library is much better - not all samples are quite perfect, but the selection of playing techniques eg. in the strings or in the drums is just very good. my last piece was for ensemble, virtual conductor and e-player (a piece whitch generates its form in quasi-realtime (completely new every time) - by sochastic/markov-procedures) - it was possible to play the add-SCORE from the library directly at the concert (midi-files read out with flexible tempo and played on CT) without any problems - mix extremely well with the live instruments. I do not think the library is very user-friendly, but I do not produce music (i compose, which - in my view - is a different kind of thinking), so that's not so important for me. but it contains many extra features and (or information about sound analysis (and apparently a direct access to LISP to make algorithmic orchestrations) as I said, not quite smart designed, but the possibilities (compared to the IRCAM library) I feel as much bigger. CT can now also play well from SIBELIUS / FINALE over VST. so I would be much happier if CT ran so well (with microtonal stuff) on OPUSMODUS.
  17. 1 point
    opmo

    Circle-Pitch-Plot

    In the later date we can make a CIRCLE-RHYTHM-PLOT function especially designed for that. Thank you for the links.
  18. 1 point
    JulioHerrlein

    Circle-Pitch-Plot

    http://www.milesokazaki.com/musicians-visual-reference-2014/ http://www.milesokazaki.com/wp-content/uploads/2016/02/visual-reference-smaller.pdf All the Best !!! Looking Forward to the 1.3 version !!! Julio
  19. 1 point
    JulioHerrlein

    Circle-Pitch-Plot

    MARVELLOUS Function ! Thanks ! Necklace diagrams are a really important feature for many reasons: 1) Visualizing and teaching post tonal theory; 2) Visualizing the Rhythms (in conjuntion with the new Pcs-Rhythm function) and the Rhythm/Pitch Isomorphism; 3) Using the geometry relations to express harmonic properties and proportions; 4) Using the geometry relations to express rhythmic properties and proportions; 5) Visualizing Hauer's Trope Structures. ><><><><>< Database on tone rows and tropes Harald Fripertinger, Peter Lackner Last update: September 6, 2018 http://143.50.47.149/music/ ><><><><><>< Chord Diagrams http://143.50.47.149/music/chord_diagrams1.html SUGGESTION: Insert an option that enable to make circles with 3, 4, 5, 12, 16, any number of points. This can be very useful in modelling rhythms.
  20. 1 point
    AM

    replace-velocity-of-a-length

    i did not realize that there is an OPMO-function for that 😕 in OPMO: (setf omn-seq '(s c4 ffff e e s e. s q q q q q)) (length-map '((1/16 mp) (2/16 pp) (3/16 ppp)) omn-seq) => (s c4 mp e pp c4 s mp e. ppp s mp q ffff c4 c4 c4 c4)
  21. 1 point
    AM

    how to number pitches

    thanks, so i have to code an algorithm to write such a library (till 1000) - or do it by hand 😉 any idea to code such a format? - i don't know how to code/write such a format with single lists (and not lists in lists) inside a function... thanx for help andré
  22. 1 point
    opmo

    how to number pitches

    create you own text articulations: (add-text-attributes '(nr0 "0") '(nr1 "1") )
  23. 1 point
    opmo

    Loading a pre-compiled midi-file?

    This is quite simple to do, just use the pathname (string) to your midi file: (live-coding-midi "~/Opusmodus/MIDI/Handel/handel.mid")
  24. 1 point
    Hi Wim, a possible solution: (setf chords (mclist (mapcar (lambda(x) ;; mapcar will apply the inversion to each chord (chord-inversion 3 x)) (harmonic-progression ;; harmonic progression definition (integer-transpose -1 '(1 2 3 4 5 6 7)) ;;degree for the chords '(c4 major) ;; scale used :size 4 ;; chords size )))) (setf drop2 (chordize-list (pitch-transpose-n '(0 0 -12 0) (pitch-melodize chords)))) SB.
  25. 1 point
    opmo

    Live coding midi-clock

    We will add the SYNC in version 2.
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