Jump to content

Avner Dorman

Members
  • Content count

    18
  • Joined

  • Last visited


Reputation Activity

  1. Like
    Avner Dorman reacted to opmo in Opusmodus 1.2.22455   
    New:
    BLOCK-CHORD-REDUCE
     
    The function BLOCK-CHORD-REDUCE reduces (compress) every bar of every instrument into a single chord.
     
    (setf rh       '((-q. e gs3 f)         (-q e a4 p stacc -)         (-e q f5 f ten -e)         ((acc e g6 mf) e6 p stacc -q.)         (e cs4fs4c5 f marc -q e d3 p)         (-e gs3 f - g6 p stacc)         (-q. (acc e ds5 fff) e6 ff stacc)         (-q c5 f ten)         (-e (acc d6 mf) b5 p stacc - b3f5bb5 ff)         (-q e a4 p stacc -)         (-e cs4 f - c5 p stacc)         (-q. e gs3 f))) (setf lh       '((-q e bb5 f -)         (-e a4 p stacc -q)         (q cs4 f ten -e (acc b2 mf) d3 p stacc)         (-q. e fs4c5f5 f marc)         (-q e e6 p -)         (-q e bb5 f -)         (e b2 p stacc - (acc eb4 fff) d3 ff stacc -)         (-e q fs4 f ten -e)         ((acc e e3 mf) e g3 p stacc -q.)         (e gs3cs4g4 ff marc -q e a4 p stacc)         (-q e f5 f -)         (e fs4 p stacc -q.)))  
     
    In this example we use the time-signature from the sequence rh:
     
    (block-chord-reduce (list rh lh) :time rh) => ((1/2 gs3bb5) (1/2 a4) (1/2 f5cs4b2d3) (1/2 g6e6fs4c5f5)     (1/2 cs4fs4c5d3e6) (1/2 gs3g6bb5) (1/2 ds5e6b2eb4d3)     (1/2 c5fs4) (1/2 d6b5b3f5bb5e3g3) (1/2 gs3cs4g4a4)     (1/2 cs4c5f5) (1/2 gs3fs4))  
     

     
    Reduce with option :row t (modus 12):
    (block-chord-reduce (list rh lh) :time rh :row t)  

     
    Examples:
     
    Score: Howto Score/Chord Progression1.opmo
     
    (setf violin1       '(#|1|# (-t a3 f -s -t b3 -s -t b3 -s -t b3 -s -t b3 -s -t b3                -s -t b3 -s -t c4 -s)         #|2|# (t c4 f c4 -s. t c4 c4 c4 c4 c4 -s. t c4 -s. t c4 -s.                t d4 -s. t d4 -s. t d4 -s)         #|3|# (-t d4 f -s. t d4 -s. t e4 -s. t e4 -s. t e4 -s. t e4                -s. t e4 -s. t e4 -s)         #|4|# (-t e4 f -s. e e4 s s c4 c4 c4 c4 c4 c4 c4 t - - - d4                -s)         #|5|# (-t e4 f -s -t e4 -s -t e4 -s -t e4 -s -t e4 -s -t e4                -s -t e4 -s -t e4 -s)         #|6|# (-t a4 f -s -t a4 -s -t a4 -s -t a4 -s -t a4 -s -t a4                -s -t a4 -s -t a4 -s)         #|7|# (-t b4 f -s. t b4 -s. t b4 -s. t b4 b4 b4 - b4 -s                 -t b4 -s -t b4 -s -t b4 -s)         #|8|# (-t b4 f -s. t b4 -s. t b4 -s. t b4 b4 c5 - c5 -s                -t c5 -s -t d5 -s -t d5 -s)         #|9|# (e.. d5 f s s s q e5 s s s t - s e5 t)         #|10|# (-t s e5 f t - s e5 t - s e5 t - s e5 t - s e5 t                 - s e5 t - s a5 t - a5 -s)         #|11|# (-t b5 f -s. t b5 b5 c6 c6 c6 -q -s. t a3 b3 b3 b3                 e -s.)         #|12|# (-e -t b3 f b3 c4 c4 e -q t c4 c4 c4 c4 e s.)         #|13|# (s c4 f -s. s d4 -e. t d4 d4 - d4 d4 e4 - e4 e4 e4                 - e4 e4 e4 - e4 s -t)         #|14|# (-e -t s c4 f -e. t c4 c4 - c4 c4 c4 - c4 c4 d4                 - e4 e4 e4 - e4 -s.)         #|15|# (-e -t s e4 f -e. t e4 e4 - e4 a4 a4 - a4 a4 a4                 - a4 a4 a4 - b4 -s.)         #|16|# (s b4 f -s. s b4 -e. t b4 b4 - b4 b4 b4 - b4 b4 b4                 - b4 b4 b4 - b4 s c5 -t)         #|17|# (-e -t c5 f c5 d5 d5 e -q t d5 d5 d5 e5 e s.)         #|18|# (-t e5 f -s. t e5 e5 e5 e5 e5 -q -s. t e5 e5 e5 e5                 e -s.)         #|19|# (-t s e5 f t - s e5 t - s e5 t a5 - s a5 t - s b5 t                 - s b5 t c6 - s c6 t - a3 -s)         #|20|# (e.. b3 f s s s q s s c4 c4 t - s c4 t)         #|21|# (-t c4 f -s. t c4 -s. t c4 -s. t c4 c4 d4 - d4 -s                 -t d4 -s -t d4 -s -t d4 -s)         #|22|# (-t e4 f -s. t e4 -s. t e4 -s. t e4 e4 e4 - e4 -s                 -t e4 -s -t e4 -s -t c4 -s)         #|23|# (-t c4 f -s -t c4 -s -t c4 -s -t c4 -s -t c4 -s                 -t c4 -s -t c4 -s -t d4 -s)         #|24|# (-t e4 f -s -t e4 -s -t e4 -s -t e4 -s -t e4 -s                 -t e4 -s -t e4 -s -t e4 -s)         #|25|# (-t a4 f -s. e a4 s s s s s s s b4 b4 t - - - b4 -s)         #|26|# (-t b4 f -s. t b4 -s. t b4 -s. t b4 -s. t b4 -s.                 t b4 -s. t b4 -s. t b4 -s)         #|27|# (t b4 f b4 -s. t b4 c5 c5 c5 d5 -s. t d5 -s. t d5                 -s. t d5 -s. t d5 -s. t d5 -s)         #|28|# (-t e5 f -s -t e5 -s -t e5 -s -t e5 -s -t e5 -s                 -t e5 -s -t e5 -s -t e5 -s))) (setf violin2       '(#|1|# (-q... s e4 f fs4 fs4 t t t t t g3 -et t g3)         #|2|# (t g3 f s s t t t t t -e.. t a3 a3 a3 a3 e.. -e)         #|3|# (-t b3 f b3 b3 b3 e.. -s. s b3 b3 b3 t t g4 g4 g4 g4                -et t g4)         #|4|# (t g4 f s s t a4 b4 b4 b4 b4 - b4 -s. t b4 -s. t b4                -s. t b4 -q)         #|5|# (-t e5 f e5 e5 e5 e.. -et t e5 e5 e5 fs5 e.. -e)         #|6|# (-t fs5 f fs5 fs5 fs5 e.. -ht s. fs5)         #|7|# (s. fs5 f s e. s e. s e. t g5 - s g5 t)         #|8|# (-t s a5 f t - s a5 t - s a5 t - b5 b5 b5 b5 b5                b5 b5 b5 b5 b5 b5 b5 b5 b5 b5 b5 b5 b5 b5)         #|9|# (-t e6 f -s. t e6 -s. t e6 -s t fs6 fs6 fs6 g6                - g6 -s. t g6 -s. t e4 -s. t fs4 -s)         #|10|# (t fs4 f fs4 -qs. t fs4 fs4 fs4 g3 g3 -qs. t g3 g3 g3)         #|11|# (t g3 f g3 -qs. t g3 g3 g3 a3 a3 -qs. t a3 a3 a3)         #|12|# (t b3 f b3 -qs. t b3 b3 b3 b3 b3 -qs. s. b3)         #|13|# (e.. b3 f s g4 g4 g4 q s s s t - s a4 t b4)         #|14|# (-t s b4 f t - s b4 t - s b4 t - s b4 t e5 - s e5 t                 - s e5 t - s e5 t - s. e5)         #|15|# (-t s fs5 f t - s fs5 t - s fs5 t - s fs5 t -                 s fs5 t - s fs5 t - s fs5 t - s. fs5)         #|16|# (e.. g5 f s s s a5 q s s s t - s b5 t)         #|17|# (t b5 f b5 -qs. t b5 b5 b5 b5 b5 -qs. s. b5)         #|18|# (t b5 f b5 -qs. t b5 b5 b5 b5 b5 -qs. t b5 b5 e6)         #|19|# (t e6 f e6 -qs. t fs6 fs6 fs6 g6 g6 -qs. t g6 e4 fs4)         #|20|# (-t fs4 f -s. t fs4 -s. t fs4 -s t fs4 fs4 g3 g3                 - g3 -s. t g3 -s. t g3 -s. t g3 -s)         #|21|# (-t s g3 f t - s g3 t - s a3 t - a3 a3 a3 b3 b3                 b3 b3 b3 b3 b3 b3 b3 g4 g4 g4 g4 g4 g4 g4)         #|22|# (s. g4 f s a4 e. b4 s e. s e. t - s b4 t)         #|23|# (-t e5 f e5 e5 e5 e.. -ht s. e5)         #|24|# (-t e5 f e5 fs5 fs5 e.. -et t fs5 fs5 fs5 fs5 e.. -e)         #|25|# (t fs5 f s s t t t t t g5 - g5 -s. t g5 -s. t a5                 -s. t a5 -q)         #|26|# (-t a5 f a5 a5 a5 e.. b5 -s. s b5 b5 b5 t t t t t                 -et t b5)         #|27|# (t b5 f s s t t t t t -e.. t b5 e6 e6 e6 e.. fs6 -e)         #|28|# (-q... s fs6 f fs6 g6 t t t e4 -q))) (setf viola       '(#|1|# (-w)         #|2|# (-w)         #|3|# (-w)         #|4|# (-w)         #|5|# (-h -e -t g5 f -s. t e4 -s. t g4 -s)         #|6|# (-t c6 f -s. e d5 s g3 e5 d5 fs3 d5 fs5 g4 e3 g3 c5 -s.)         #|7|# (-w)         #|8|# (-w)         #|9|# (-w)         #|10|# (-h -e -t d5 f g5 e4 g4 e3 -s. d3)         #|11|# (e.. fs3 f s g5 e6 g5 q c5 s d5 c5 d5 t g5 - s e3 t d3)         #|12|# (-t s fs5 f t g5 - s e5 t g5 - s e4 t g5 - s c5 t d5                 - s g5 t e6 - s d5 t fs5 - s g4 t fs3 - g5 -s)         #|13|# (-t e4 f -q -s. e g5 t c3 -s. s d3 -e. t g5 e3 d6)         #|14|# (t e4 f d5 fs3 g5 e4 g4 c5 d6 g4 d5 g4 e4 d3 s fs5 -e.                 s g3 -e. t e3 g3 c5)         #|15|# (t g3 f c5 d5 g5 e3 d5 fs3 g4 e3 g5 e3 g3 c6 s d3 -e.                 s g5 -e. t e6 d3 fs5)         #|16|# (-t d5 f -q -s. e fs5 t g5 -s. s e4 -e. t g5 c5 d6)         #|17|# (-t s g3 f t e3 - s g5 t e3 - s d5 t fs4 - s g3 t e5                 - s g3 t c6 - s d5 t g5 - s e4 t g4 - c6 -s)         #|18|# (e.. d5 f s g3 e5 d5 q fs3 s d5 fs5 g4 t e3 - s g3 t c5)         #|19|# (-h -e -t d5 f g5 e4 g4 e3 -s. d3)         #|20|# (-w)         #|21|# (-w)         #|22|# (-w)         #|23|# (-t fs3 f -s. e g5 s e6 g5 c5 d5 c5 d5 g5 e3 d3 fs5 -s.)         #|24|# (-h -e -t g5 f -s. t e5 -s. t g5 -s)         #|25|# (-w)         #|26|# (-w)         #|27|# (-w)         #|28|# (-w))) (setf cello       '(#|1|# (-w)         #|2|# (-w)         #|3|# (-w)         #|4|# (-w)         #|5|# (-w)         #|6|# (-w)         #|7|# (-w)         #|8|# (-w)         #|9|# (-w)         #|10|# (-q -e -t e4 f c3 e3 a4 b3 -q -s. t e2 c4 b3)         #|11|# (t d2 f b3 -q -s. t d4 e3 c2 e2 a3 -q -s. t b3 e4 c3)         #|12|# (t e3 f c2 -q -s. t b2 d2 e4 c5 e4 -q -s. a3)         #|13|# (e.. b3 f s a3 b3 e4 q c2 s b2 d4 e4 t c4 - s e4 t c3)         #|14|# (-t s e4 f t a3 - s b3 t e4 - s c5 t b3 - s d4 t e3                 - s d2 t e4 - s c3 t e4 - s a2 t b2 - s. e4)         #|15|# (-t s c2 f t b4 - s c3 t b3 - s d2 t e4 - s c3 t e3                 - s a3 t b4 - s e3 t b3 - s e3 t c3 - s. b2)         #|16|# (e.. d4 f s e2 c2 e2 q a3 s e2 a3 b3 t e4 - s c2 t b3)         #|17|# (t d2 f e3 -q -s. t c2 e4 c2 e2 a4 -q -s. b2)         #|18|# (t e4 f c5 -q -s. t b2 d4 b3 d4 e4 -q -s. t c3 e4 a3)         #|19|# (-q -e -t b4 f e2 c2 e4 c2 -q -s. t b3 d3 e2)         #|20|# (-w)         #|21|# (-w)         #|22|# (-w)         #|23|# (-w)         #|24|# (-w)         #|25|# (-w)         #|26|# (-w)         #|27|# (-w)         #|28|# (-w)))  
     
    (block-chord-reduce (list violin1 violin2 viola cello))
     
    (block-chord-reduce (list violin1 violin2 viola cello) :row t)
     
     
    The option :time allows to change the scope of the analysis:
    (block-chord-reduce (list violin1 violin2 viola cello) :time 4/8)
     
    (block-chord-reduce (list violin1 violin2 viola cello) :time 1/4)
     
     
    The option :bar allows to view a specified bar number only:
    (block-chord-reduce (list violin1 violin2 viola cello) :bar '(10 11))
     
    Best wishes,
    JP
  2. Like
    Avner Dorman reacted to torstenanders in Towards algorithmic orchestration (and customising sound playback with multiple sound libraries)   
    Dear Alain Jamot, 
     
    here is a function that may help you. This function is useful for customising sound playback with multiple sound libraries or for algorithmic orchestration. 
     
    The function expects an OMN expression and returns a list of multiple OMN sequences (multiple parts). It basically sorts notes from the OMN sequence into different parts, depending on the articulations of individual notes. All notes with certain articulations go in one resulting parts, and notes with other articulations in another part.
     
    Here is an example. It sorts all notes with pizz or arco articulations into one part, and notes with trem articulations into another part. Each time, notes are substituted by rests in other parts, so that timing relations of notes in different parts are preserved.  
     
    (separate-parts '((h c4 pizz q arco) (h trem q h pizz) (h arco+stacc -q fermata))
                    '((pizz arco)
                      (trem)))
    => (; part 1: pizz and arco
        ((h c4 mf pizz q arco) (-h q c4 mf h pizz) (h c4 mf arco+stacc -q fermata))
        ; part 2: trem
        ((-h -q) (h c4 mf trem -q -h) (-h -q fermata)))                            
     
     
    You can then assign your first part to on MIDI channel in your def-score call, and the next part to another MIDI channel, e.g., like so.

    (setf omn-expr '((h c4 pizz q arco) (h trem q h pizz) (h arco+stacc -q fermata)))
    (setf parts (separate-parts omn-expr
                                '((pizz arco)
                                  (trem))))

    (def-score two-violins
               (:title "Title"
                :composer "Composer"
                :copyright "Copyright © "
                :key-signature 'chromatic
                :time-signature '((1 1 1 1) 4)
                :tempo 100
                :layout (bracket-group
                         (violin1-layout 'violin1)
                         (violin2-layout 'violin2)))
      
      (violin1
       :omn (nth 0 parts)
       :channel 1
       :sound 'gm
       :program 'violin
       :volume 100
       :pan 54
       :controllers (91 '(48))
       )
      
      (violin2
       :omn (nth 1 parts)
       :channel 2
       :sound 'gm
       :program 'violin
       :volume 100
       :pan 74
       :controllers (91 '(60))
       )
      )
     
    The function definition of separate-parts is below.
     
    Best,
    Torsten
     
    Janusz: This is another example of a function showing how processing polyphonic music with double-nested OMN expressions can be useful. Once we have a standard notation for polyphonic OMN expressions with multiple voices/parts in Opusmodus 2, as discussed earlier, then this function can easily be adapted to output that format. 
     
     
    (labels ((make-corresponding-rest (event) (let ((len (omn-encode (first event)))) (cons ;; rests should remain rests (if (> len 0) (* len -1) len) (omn :rest-articulation event)))) (push-event-and-rests (event matching-position result-omns articulation-sets-length) (push event (nth matching-position result-omns)) (loop for i in (remove matching-position (gen-integer 0 (1- articulation-sets-length))) do (push (make-corresponding-rest event) (nth i result-omns))))) (defun separate-parts (sequence articulation-sets) "The function `separate-parts' is useful for customising your sound playback with multiple sound libraries or for algorithmic orchestration. The function breaks an OMN sequence (a single part) into a list of multiple OMN sequences (multiple parts). It basically sorts notes from the OMN sequence into different parts, depending on the articulations of individual notes. All notes with certain articulations go in one resulting parts, and notes with other articulations in another part. In all other resulting parts, notes are substituted by rests, so that timing relations of notes in different parts are preserved. This function can be useful, when you have multiple sound libraries that support different articulations of the same instrument. You can then perform notes with certain articulations on one software instrument (on its own MIDI channel etc.), and notes with other articulations on another instrument. Alternatively, you can use the function for algorithmic orchestration, where you assign custom articulations (typically declared with add-text-attributes first) such as instrument labels with your custom algorithm, and then use this function in a second step to separate your instruments. Remember that the result of this function is a list of multiple OMN sequences (multiple parts). You have to split it into its individual parts for use in OMN. Args: - sequence: OMN sequence, can be nested - articulation-sets: list of list of articulations. All notes with articulations contained in the first articulation-set end up in the first resulting part, notes with articulations in the second set end up in the second part and so forth. The decision which part a note belongs to is always made based on the first articulation that matches an articulation-set. If a note contains no articulation, or an articulation contained in no set, then it is matched to the first articulation-set. If an articulation is contained in multiple articulation-sets, then the earlier match in articulation-sets is used. Examples: (separate-parts '(h c4 pizz q arco) '((pizz) (arco))) => ((h c4 mf pizz -q) ; part 1 with pizz articulations (-h q c4 mf arco)) ; part 2 with arco (separate-parts '((h c4 pizz q arco) (h trem q h pizz) (h arco+stacc -q fermata)) '((pizz arco) (trem))) => (((h c4 mf pizz q arco) (-h q c4 mf h pizz) (h c4 mf arco+stacc -q fermata)) ; part 1: pizz and arco ((-h -q) (h c4 mf trem -q -h) (-h -q fermata))) ; part 2: trem " (if (listp (first sequence)) ;; sequence is nested (matrix-transpose (mapcar #'(lambda (seq) (separate-parts seq articulation-sets)) sequence)) ;; sequence is flat list (let* ((articulation-sets-length (length articulation-sets)) (result-omns (make-list articulation-sets-length :initial-element nil))) (loop for event in (single-events sequence) do (let ((event-articulation (fourth event))) (if event-articulation (let ((matching-position (position-if #'(lambda (articulation-set) (some #'(lambda (art) (member art (disassemble-articulations event-articulation))) articulation-set)) articulation-sets))) (if matching-position (push-event-and-rests event matching-position result-omns articulation-sets-length) ;; if no match, then add event to first omn result (push-event-and-rests event 0 result-omns articulation-sets-length))) ;; if no articulation, then add event to first omn result (push-event-and-rests event 0 result-omns articulation-sets-length)))) (mapcar #'(lambda (result) (flatten-omn (reverse result))) result-omns))))) ;; for your convenience, I include the following definition already shared earlier (defun disassemble-articulations (art) "Splits a combined OMN articulations into a list of its individual attributes. Example: (disassemble-articulations 'leg+ponte) => (leg ponte)" (mapcar #'intern (split-string (symbol-name art) :separator "+")))
  3. Like
    Avner Dorman got a reaction from torstenanders in Opposite of chordize?   
    Hi Torsten,
     
    Would these work?
     
    (pitch-melodize '(c4e4g4))
    => (c4 e4 g4)
     
    And (pitch-to-midi '(c4e4g4))
    =>((60 64 67))
     
    or (flatten (pitch-to-midi '(c4e4g4)))
    => (60 64 67)
     
    All the best,
    Avner 
  4. Like
    Avner Dorman got a reaction from lviklund in Add pitch classes as text above notes?   
    Thanks so much!!! This is great!
     
    I wrote the following functions that automatically add the pitch class as text above each note. This is really useful for me when teaching set theory. I am sharing them in case anyone else needs something like this :-)
     
    Also, I'd be curious to know how the text font might be modified. 
     
    ;;;convert pitch-classes to nums
     
    (defun pc-to-num (pitches)
      (substitute-map '(num0 num1 num2 num3 num4 num5 num6 num7 num8 num9 num10 num11) '(0 1 2 3 4 5 6 7 8 9 10 11) (modus (pitch-to-integer pitches))))

    ;;;; interweave two lists

    (defun interweave (list1 list2)
      (if (null list1)
        list2 
        (cons (car list1) (interweave list2 (cdr list1)))))

    ;;;; add pcs as a num to each pitch
    (defun show-pcs (pitches) (interweave pitches (pc-to-num pitches)))
     
    ;;;; test
     
    (setf pitches '(c4 bb4 f4 eb4 fs4 d4 g4 b4 e4 a4 cs4 gs4))
     
    (show-pcs pitches)
     
     
     
    Pitches with PCS.pdf
    Pitches.pdf
  5. Like
    Avner Dorman reacted to opmo in Opusmodus 1.2.21935   
    Changes to TONALITY-MAP function:
     
    The map shift name is changed to step.
    The sort by default is nil.
     
    The function TONALITY-MAP can be used to map tonalities on to a chromatic pitch series. There are two types of map: step and NIL. The step map use the sequence interval steps to map the tonalities on to the sequence. The map NIL use the sequence integers to map the tonalities to the closest integer on to the sequence.
     
    In the following example we use the closest type map:
    (tonality-map '((0 2 4 7 9 11)) '(c4 cs4 d4 cs4 eb4 f4 e4)) => (c4 d4 d4 c4 e4 f4 e4)  
    Here we use the step map:
    (tonality-map '((0 2 4 7 9 11) :map step) '(c4 cs4 d4 cs4 eb4 f4 e4)) => (c4 d4 e4 d4 g4 b4 a4)  
    New keywords :extend and :end added to the GEN-DYNAMIC and VELOCITY-TO-DYNAMIC function:
     
    GEN-DYNAMIC
    Example with optional :end velocity value:
    (gen-dynamic '(3 5 4 4 5) '(pp f ff mf f) :end 'p) => (pp< < < f< < < < < ff> > > > mf< < < < f> > > > p) (gen-dynamic '(3 5 4 4 5) '(pp f ff mf f) :end '>) => (pp< < < f< < < < < ff> > > > mf< < < < f> > > > >) (gen-dynamic '(3 5 4 4 5) '(pp f ff mf f) :end '<) => (pp< < < f< < < < < ff> > > > mf< < < < f< < < < <) (gen-dynamic '((3 5) (4 4) (5 3)) '((pp f) (p mf) (f p)) :end 'f) => ((pp< < < f> > > > >) (p< < < < mf< < < <) (f> > > > > p< < f))  
     
    Setting the :extend to t will removes intermediate textual dynamic indicators and replace them with extended hairpins:
    (gen-dynamic '(3 5 4 4 5) '(pp f ff mf f) :end 'p :extend t) => (pp< < < < < < < < ff> > > > mf< < < < f> > > > p) (gen-dynamic '(3 5 4 4 5) '(pp f ff mf f) :end '< :extend t) => (pp< < < < < < < < ff> > > > mf< < < < < < < < <) (gen-dynamic '((3 5) (4 4) (5 3)) '((pp f) (p mf) (f p)) :end 'f :extend t) => ((pp< < < f> > > > >) (p< < < < < < < <) (f> > > > > p< < f))  
     
    VELOCITY-TO-DYNAMIC
    (velocity-to-dynamic '(p p mp mp f ff mp mp p f)) => (p< < mp< < f< ff> mp> > p< f) (velocity-to-dynamic '(p p mp mp f ff mp mp p f) :extend t) => (p< < < < < ff> > > p< f) (velocity-to-dynamic '(p p mp mp f ff mp mp p f) :end 'pp) => (p< < mp< < f< ff> mp> > p> pp) (velocity-to-dynamic  '((pppp ppp ppp pp ppp p p mp mf mf) (f ff mf mp p ppp pppp))) => ((pppp< ppp< < pp> ppp< p< < mp< mf< <) (f< ff> mf> mp> p> ppp> pppp))  
    Setting the :extend to t will removes intermediate textual dynamic indicators and replace them with extended hairpins:
    (velocity-to-dynamic '(p p mp mp f ff mp mp p f) :end 'pp :extend t) => (p< < < < < ff> > > > pp) (velocity-to-dynamic  '((pppp ppp ppp pp ppp p p mp mf mf) (f ff mf mp p ppp pppp)) :extend t) => ((pppp< < < pp> ppp< < < < < <) (f< ff> > > > > pppp)) Please check the documentation for more details.
     
    If you used the TONALITY-MAP with :map shift then you need to change the name shift to step.
    To make the changes to all of your scores you can use the 'Search Files...' tool.
     
    Minor fixes and code optimisation.
     
    Best wishes,
    JP
  6. Like
    Avner Dorman reacted to Stephane Boussuge in Song generation/construction example   
    Hi,
     
    i've made an example of song generator/constructor for one of my Opusmodus student.
     
    I share it here if it could be useful to somebody.
     
    SB.
    SongConstructExample.opmo
×