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Wim Dijkgraaf

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Everything posted by Wim Dijkgraaf

  1. Thanks both of you for the interesting approaches. Unfortunately I'm too busy at the moment finalising a project for a client but will have a closer look at this soon. I'm also heavily studying Lisp hand hope to be able to come-up with a couple of functions that does the job AND looks sufficiently elegant to reflect the musical idea. Will be continued soon I hope :-)
  2. Some examples: Source material (think a C major triad with chromatic lower neighbors) c4 ds4 e4 fs4 g4 b4 c5. tonality set to D dorian or aeolian: Outcome should be: d4 e4 f4 gs4 a4 cs5 d5 tonality set to D locrian: Outcome should be: d4 e4 f4 g4 gs4 cs5 d5. tonality set to D augmented/whole tone: Outcome should be: d4 f4 fs4 a4 as4 cs5 d5 I think the requirement I have is something like this: When setting the source material, the tonality of the source material is also specified. OM interprets all pitches that are not part of the source tonality as chromatics. When the source material is mapped on another tonality, those chromatics are not changed but will be transposed according to the diatonic pitch 'it is related to'. For chromatic leading tones, the "pitch it is related to" will be the next pitch that is part of the source tonality. For chromatic upper neighbors, the "pitch it is related to"will be the previous pitch that is part of the source tonality. I'm sorry if this requirement isn't described very clearly. If needed, can do a new attempt :-) Kind regards, Wim Dijkgraaf
  3. I'm experimenting with tonality mapping in both an atonal as in a tonal context. In a tonal context, it is common practice to have so called "chord tones" and "neighbor tones". Neighbor tones can be diatonic or chromatic. My question is how to use tonality mapping while preserving the chromatic neighbor tones and using a clean target tonality (so without cheating by including the chromatic notes in the target tonality). E.g. Source material (think a C major triad with chromatic lower neighbors) c4 ds4 e4 fs4 g4 b4 c5. I would like to be able to map this on a minor tonality with root D without cheating by including the chromatic notes in the target tonality. Outcome should be: d4 e4 f4 gs4 a4 cs5 d5. How can I do this? Many thanks in advance
  4. Here are all Sibelius Sound Sets for Opusmodus. I've only been testing with the Dimension Strings sound sets. So none of the other files I've been able to test so far. Would be great to get feedback if these sound sets need further improvement. Have fun :-) VslSibeliusWoodwindsAndBrassSoundSet.opmo VslSibeliusStringsSoundSet.opmo VslSibeliusSpecialEditionSoundSet.opmo VslSibeliusSpecialEditionPlusSoundSet.opmo VslSibeliusPercussionSoundSet.opmo VslSibeliusEpicOrchestraSoundSet.opmo VslSibeliusChoirSoundSet.opmo
  5. First version of code generator is ready. See my seperate post.
  6. I've started to develop a converter that converts Sibelius SoundSet files (xml) to Opusmodus SoundSet format. It's very preliminary yet but attached you'll find the result of using the Sibelius Special Edition Sound Set as well as the Sibelius Strings Sound Set as test input. Looks promising I think. The Controllers group is missing but I'll be able to implement that part soon. Need a better understanding of what it's supposed to do and will start testing the output so far. VSL has created Sibelius specific presets for Vienna Instruments which are meant to be used in conjunction with the Sibelius Sound Set. The converter I wrote converts these Sibelius Sound Set XML files into Opusmodus sound files that will work with those same Sibelius presets for Vienna Instruments. They won't work with the standard VSL presets but as far from what I understand now those Sibelius specific Sound Set formats & presets are very useful for Opusmodus too. You don't have to have Sibelius in order to use these Opusmodus sound sets. I just use the word Sibelius to make clear that the Vienna Instruments Sibelius presets shall be used. Any suggestions are more than welcome. (see post below for the latest version of the sound sets.)
  7. I'll have a first look at this during the coming weekend to see which input format is most appropriate. Might be the Sibelius SoundSet files or the VST Expression Map which both are XML file formats. I'll keep you informed :-) Anymore examples like the Upright Bass?
  8. I can imagine a code generator to generate this for all VSL libraries. Anyone interested?
  9. Thanks for these examples. Are there any OpusModus sound sets for VSL available already?
  10. Thanks Stephane for your reply. Interesting solution! If I'm not mistaken, your solution doesn't include the Drop 2 (transpose second voice from the top an octave down). Any idea how to incorporate that into this approach? Kind regards, Wim Dijkgraaf
  11. Is there a more elegant way to do this? ;; create major scale (defun majorScale (root) (make-scale root 16 :alt '(2 2 1 2 2 2 1))) ;; usage: (majorScale 'c4) ;; 4 part root position harmony of every degree of a major scale (defun harmonizeMajorScale (root) (harmonic-progression '(0 1 2 3 4 5 6 7) (majorScale root) :size 4)) ;; usage: (harmonizeMajorScale 'c4) ;; 4 part drop 2 of every degree of a major scale, with every chord in a specific inversion (defun 4PartDrop2 (chords inversion) (loop for chord in chords collect (chordize (pitch-transpose-n '(0 0 -12 0) (pitch-melodize (list (chord-inversion inversion chord) ) ) ) ) ) ) ;; usage: (4PartDrop2 (harmonizeMajorScale 'c4) 3) Any advice very much appreciated. Kind regards, Wim Dijkgraaf
  12. I'm new to the OpusModus IDE and project/file structure. As a senior programmer my version control system (mainly GIT and TFVC) with a proper version control / branching strategy is an import friend. Any ideas/experience in applying version control on OpusModus scripts while composing? Big hug, Wim Dijkgraaf
  13. This is a great learning experience. Both SB and AM thank you so much!!!! Worked on page 90 of Slonimsky's book to further discover what can be done with make-scale and came up with the following: ;; Slonimsky 648 (make-scale 'c4 14 :alt '(13 -11) :type :pal) ;; Slonimsky 649 (make-scale 'c4 14 :alt '(13 13 -11 -11) :type :pal) ;; Slonimsky 650 (make-scale 'c4 13 :alt '(13 13 13 -11 -11 -11) :type :pal) ;; Slonimsky 651 (make-scale 'c4 13 :alt '(1 13 -11) :type :pal) ;; Slonimsky 652 (make-scale 'c4 13 :alt '(13 -11 1) :type :pal) ;; Slonimsky 653 (make-scale 'c4 13 :alt '(13 1 -11) :type :pal) ;; Slonimsky 654 (make-scale 'c4 13 :alt '(1 1 13 1 1 -11) :type :pal) ;; Slonimsky 655 (make-scale 'c2 13 :alt '(11 -1 11 -1) :type :pal) ;; Slonimsky 656 - has mismatch with original -> to be checked why (make-scale 'c2 14 :alt '(11 11 -13 11) :type :pal) ;; Slonimsky 657 - has mismatch with original -> to be checked why (make-scale 'c2 14 :alt '(11 11 11 11 -13 -13 -13) :type :pal) It makes my day :-) Wim Dijkgraaf
  14. Hi all, I'm new to Lisp and new to OpusModus but have over 20 years of programming experience and an academic degree in composition. I'm having a great time learning Lisp and getting a better feel for the power of using OpusModus. As an exercise, I would like to be able to program functions that generate Slonimsky patterns. For example pattern 648: c4 cs5 d4 ds5 e4 es5 (from c4 to c5 and back to c4). (see attached image) Instead of making it a data list I would like to be able to program a Lisp function that generates the pattern. Maybe someone on this forum can give me a jump start. Many thanks in advance, Wim Dijkgraaf
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