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AM

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Everything posted by AM

  1. listen to the processes... (make-omn :pitch (integer-to-pitch (pascal-triangle 50 :johnson-modulo (1+ (random 23)))) :length '(t) :span :pitch) an example with parallel processes (chordized).. (setf chordlist (loop for i in (flatten (integer-to-pitch (pascal-triangle 20 :johnson-modulo (1+ (random 23))))) for j in (flatten (integer-to-pitch (pascal-triangle 20 :johnson-modulo (1+ (random 23))))) for k in (flatten (integer-to-pitch (pascal-triangle 20 :johnson-modulo (1+ (random 23)))))
  2. here is a short program (based on JOHNSON's writing... pascal-code found in www and modified) to generate TOM JOHNSON's series of numbers for "pascal's triangle ...". maybe interesting to play with the MODULO like JOHNSON did (mod 7)... try it! greetings andré ;;; SUB (defun pascal-next-row (a &key (johnson-modulo nil)) (loop :for q :in a :and p = 0 :then q :as s = (if (null johnson-modulo) (list (+ p q)) (list (mod (+ p q) johnson-modulo))) :nconc s :into a :finally
  3. lieber torsten, herzlichen dank! beste grüsse andré
  4. yes, but i do not compose with OPMO - it's too strange with rhythm/instrumentation/notation. most of the time i'm sketching with OPMO and compose "by hand". guitar-scordatura: i thought i'd rather "pull the pitches out of MIDI/XML" and then convert them.. i will see... but, THANX! greetings andré could look like that (excerpt of a piece for solo trp - also with some SORT-ALGORITHMS inside (sketched/calculated with OPMO) works fine with SIBELIUS for layouting etc...
  5. thanks, dear julio, i'll take a look at it, but depending on the situation, programming takes more time than doing it by hand
  6. i am currently working on a piece for piano, guitar and drums. the guitar will have a "scordatura" so that i can do different harmonics and resonances than with the usual tunings. so that I can now make a more readable score, I would like to write the guitar part on two systems: one system as it sounds and one readable for the guitarist (because of the scordatura/fingerings)... it would be nice if we could do a FUNCTION which transforms the "sounding pitch part" (readable in score) into the "guitar-specific-part" (how to play for guitarist)...
  7. dear julio i would code it! you could do a "systematic/formalized sketch" (not in LISP) and with that you would try to program a function best a.
  8. here it is... but NOT microtonal. just for equal tempered tunings it was too complicated (and not necessary) for me to code it (with attributes and cents, it's a bit ... ), so i coded it just for my needs ... for equal tempered tunings... could use it for guitar/strings, just to have a list of your SCORDATURA-harmonics to work with. would be interesting if someone could CODE a function which transforms a "sounding-pitch-guitar-score" into the "play-score". so i wouldn't have to do it by hand... where are the guitar players here? julio? janusz?
  9. thanx! (i'm doing a little function to get all the natural harmonics for guitar tunings equal tempered or microtonal...)
  10. hi all little question: i would like to SORT an (single-event)-list by pitch... and be able to keep the event-data "in the set" (=> the attribute-cents should be bound to pitch!) ((e e4 mf) (e a4 mf) (e d5 mf) (e g5 mf) (e b5 mf) (e d6 mf) (e b4 mf 2c) (e e5 mf 2c) (e a5 mf 2c) (e d6 mf 2c) (e fs6 mf 2c) (e a6 mf 2c) (e e5 mf) (e a5 mf) (e d6 mf) (e g6 mf) (e b6 mf) (e d7 mf) (e gs5 mf -14c) (e cs6 mf -14c) (e fs6 mf -14c) (e b6 mf -14c) (e eb7 mf -14c) (e fs7 mf -14c) (e b5 mf 2c) (e e6 mf 2c) (e a6 mf 2c) (e d7 mf 2c) (e fs7 mf 2c) (e a7 mf 2c) (e d6 mf
  11. real LISP knowledge is very helpful for me. i think it's enough if you know (work with) the fundamentals - like... list/append/cons/loop/loop-inside-a-loop/progn/push/pop/collect/defun... ... so that you can code your specific solutions! greetings andré
  12. i know i'm not a programmer, but it probably makes sense to be able to enter both variants/formats for some functions, but not for others...
  13. you have to put the bar-numbers into a list... i makes sense in my opinion - perhaps you want to "find" more then one bar... (find-bar '(1 2) mat) => ((c4 db4 ab4 f4 g4 bb4) (a4 eb4 b4 e4 d4 gb4))
  14. dear all here's a function (revised, should work correct now) to work with rotations - based on the work of karel goeyvaerts (defun goeyvaerts-rotation* (&key pitches static-pitches generations goeyvaerts-transpose-interval (direction 'up) low-border high-border correction-interval) (let ((pitches (filter-remove (pitch-to-midi static-pitches)
  15. violà... now it works fine - OPMO could integrate it.... it's easier than i thought: a single index-series is read from the r-i and only this one is used! similar to LACHEMANN, only he determines this index-series himself (for that i coded this simple row-permutation-function)... greetings a. ;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; ;;; SUB (defun row-permutation (n row rules &key (one-based nil)) (let* ((rules (if (equal one-based t) (mapcar '1- rules)
  16. row-permutation (with rule) for n-generations (defun row-permutation (n row rules &key (one-based nil)) (let ((rules (if (equal one-based t) (mapcar '1- rules) rules))) (loop repeat n collect (setf row (position-filter rules row))))) (row-permutation 5 '(a4 c5 cs5 g4 eb5 gs4 e5 d5 f4 b4 bb4 fs4) '(0 1 6 5 2 3 7 8 11 9 4 10)) => ((a4 gs4 eb5 c5 cs5 e5 d5 bb4 f4 g4 b4) (a4 e5 cs5 gs4 eb5 d5 bb4 b4 f4 c5 g4) (a4 d5 eb5 e5 cs5 bb4 b4 g4 f4 gs4 c5) (a4 bb4 cs5 d5 eb5 b4 g4 c5 f4 e5 gs4) (a4 b4 eb5 bb4 cs5 g4 c5 gs4 f4 d5 e5)) (row-perm
  17. thanks, julio... could you have a quick look to the function? and to the article from didier.... perhaps you see my mistake (or the mistake in the article) subito ? barraqué described the mechanism and it seems easy to code it. but where is the mistake with more then 3 gens? perhaps didier has an idea?
  18. thanks, julio...!!! if i got it right, it works like this: 1. take a basic row 2. the r-i of the basic row 3. read the positions of all pitches of the r-i within the basic row 4. apply this positionlist to r-i => outout is : ordre 0 => basic row ordre 1 => r-i ordre 2 => proliferante 1 = more or less ONE GEN of production ... so the question could be: is ordre 1 the new basic row, or proliferante 1 ... to produce the next GEN? here is some code to check it...
  19. i tried to program it briefly for several generations, but I didn't quite get it - something i do not understand.... so i got wrong outputs after 3 generations... maybe OPMO would like to CODE this? this is my new version... but when i have i look to the barraqué-examples (order 0 - x)... there is a different output after 3 gens... Ordre 0: C Ab G Db E D Bb Eb B F Gb A (c5 ab4 g4 db5 e4 d4 bb4 eb4 b4 f4 fs4 a4) Ordre 1: A C Db G Eb Ab E D F B Bb Gb (a4 c5 cs5 g4 eb5 gs4 e5 d5 f4 b4 bb4 fs4) Ordre 2: Gb A G Db D C Eb Ab B F E Bb (fs4 a4 g
  20. thank you for the LINKS, i will read the papers! greetings andré
  21. thanx, dear julio. the "serialists" often have suitable concepts for formalization greetings andré
  22. one other interesting approach could be, to use l-systems on a "higher level"... (a lot of work to this is already made in OPENMUSIC) a sequence like '(a b a c a d a a b a e ...) ;; as a "nonsense-l-system-example-seq" could be used as a seq for FUNCTIONS... means: an input/omn-seq would be transformed by an l-system-function-sequence, for example... a = rotate pitches and lengths b = invert pitches c = sample-seq pitches d = change velocities so you could work with more complex input-gestalts... and when you are doing this on a seco
  23. Das Wachstumprinzip von L-Systemen in der Musik von Hanspeter Kyburz - PDF Kostenfreier Download DOCPLAYER.ORG Hochschule für Musik Hanns Eisler Abteilung D Charlottenstr Berlin Masterarbeit Das Wachstumprinzip von L-Systemen in der Musik von Hanspeter Kyburz Eres Holz 30. April 2012 Inhaltsverzeichnis
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