Stephane Boussuge

Small update to the final Conductor score and audio file. Best ! Stéphane

Hi, here's a short score composed for string quartet. All the best to all OM users ! Stéphane stephaneboussuge · Méditation MeditationPourRené.opmo 01 - Conducteur - Méditation.pdf

Another good complet list can be found in function list under Tonality and Modes. SB.

If you are familiar with Emacs editor you can also use it with Opusmodus, it works very well. SB.

Here's a way to get Opusmodus on iPad and it's very fun and useful !! SB.

Hi Julio, it comes from the use of filter-tie function in the methods. Best Stéphane

Magnifique travail Didier, fantastique, merci ! S.

do a right click on the file and select open, you will get almost the same message but with the possibility to open it anyway. Best SB.

A short example showing the basics of counterpoint function.

I agree, an horizontal replacement possibility would be very useful. Best ! SB.

The notes in patterns are not really rounded, they are the harmonic path itself, they are played sequentially in order from the notes given to :harmony parameter , so if you want to use closest path or any voices leading technique, you need to prepare your :harmony sequence of pitches right to be what you need. This :harmony could be also useful for serial or pitch-class composers who want to play the pitches from some row/Pcs in order, kind of horizontal distribution of pitches for motivic design. For vertical distribution across voices, I would probably prefer to use the distribute-seq function or a similar approach. It is also possible to use tonality-map function after the counterpoint but it would be nice to be able to use it also directly into counterpoint dictum like the :harmony keyword, something like :tonality keyword. Janusz ? Best ! Stf

Please, note that harmony in counterpoint is the application of the harmonic-path function, who allow you to keep voice leading in chords as I showed several times in my lessons, and it is very different than tonality-map function. Btw, if you use scale in :harmony parameter you will get scalar motive in counterpoint but if you use chords with well defined voices leading from chord to chord, the result could become much interesting in terms of harmonic control and voice leading control SB.

That's lisp

Try this : (progn ;; Global SEED (init-seed 15342) ;; Patterns (setf ;p1 '((-s c1 p g2 cs3) (3q fs3 - bb3) (-3q eb4 mf a4) (-s b4 d5 f5) ; (-5q gs5 e6 c1 mp g2) (-3q cs3 fs3 mf) (s bb3 - eb4 p a4) (s b4 mp d5 f5 -)) ;p2 '((5q bb2 mf g3 c4 e3 a3) (5q d4 mp fs4 gs4 b4 p cs5) (s f5 eb6 bb3 g3)) ;p3 '((5q fs4 p - bb3 f3 e4) (-3q g4 c5) (s eb5 a5 mf cs6 gs6) ; (5q gs6 pp cs6 mf a5 eb5 -) (-s c5 g4 e4)) ;p4 '((5q bb3 p a4 c6 cs6 cs6) (s g7 mp a6 c6 e5 - d4 cs4 g3 3h fs3 eb3 -) ; (-3q b6 pp a6 5q c6 - d5 bb4 b3 -s gs3 f1 eb3)) p5 '((5q c2 mf g2 e2 a2 b2) (5q fs5 p gs5 bb5 b5 cs5 mp) (s f5 eb6 c6 p g6)) p6 '(s a4 p e b5 s gs3 3h f3 3q e2 5h eb4 5q g5 fs2 f4) p7 '(5q cs5 mf d5 5h eb5 5q f5 fs5 gs5 5h a5 f 5q bb5 5h b5 5q cs6 5h) p8 '(t bb4 mp cs6 c5 b5 bb4 cs6 a3 gs2 3q a2 gs5 fs4) ) (setf p1 '(e d7 d7 d7 d7 d7 d7 d7 d7 s d6 d6 d6 d6 d6 d6 d6 d6 h)) (setf p2 '(e d5 d5 d5 d5 d5 d5 d5 d5 s d4 d4 d4 d4 d4 d4 d4 d4 h)) (setf p3 '(e d4 d4 d4 d4 d4 d4 d4 d4 s s s s s s s s h d3)) (setf p4 '(e d2 d2 d2 d2 d2 d2 d2 d2 s s s s s s s s h d1)) ;(pitch-transpose 2 p4) (setf patterns (list p1 p2 p3 p4 p5 p6 p7 p8)) (setf harmony2 '((a3b3e4gs4) (b3e4gs4a3) (e4gs4a3b3)(gs4a3b3e4))) (setf dictum-a `(((1 2 3 4) :harmony ,harmony2 :tempo 72) ((1 2 3 4) :harmony ((a3b3e4gs4) (b3e4gs4a3) (e4gs4a3b3)(gs4a3b3e4)) :tempo 72) ((2 1 3 4) :harmony ((a3b3e4gs4) (b3e4gs4a3) (e4gs4a3b3)(gs4a3b3e4)):methods (- ri - -) :tempo 72) ((3 2 1 4) :harmony ((a3b3e4gs4) (b3e4gs4a3) (e4gs4a3b3)(gs4a3b3e4)):methods (a d2 r -) :tempo 72) ((4 3 2 1) :harmony ((a3b3e4gs4) (b3e4gs4a3) (e4gs4a3b3)(gs4a3b3e4)) :tempo 72) ((4 2 1 4):harmony a3b3e4gs4) ((2 3 1 4):harmony a3b3e4gs4) ((3 2 1 4):harmony a3b3e4gs4) ((- - - -) :span 1/4 :harmony a3b3e4gs4)) dictum-b '(((- 5 2 -) :span 3/4 :methods (- ri - -) :tempo 64) ((- 2 2 6) :span 3/4 :methods (- d d3 -) :tempo (:rit 80 56 1/64)) ((4 6 6 8) :span 2/4 :methods (a d2 r -) :tempo 88) ((- - - -) :span 1/4)) dictum-c '(((7 4 - 5) :methods (a d i ?) :extend (s - s -) :tempo 64) ((1 2 2 3) :methods (a d i -) :extend (s - s -))) dictum-d '(((- 3 - -) :methods (- - - -) :tempo 80) ((- 2 - -) :methods (- - - -)) ((- 4 - -) :methods (< - - -)) ;((1 1 1 1) :methods (da ad (r d5) (i d2)) :polyphony (7 o) :tempo 72) ) ) ;; Sections (setf sec-a (counterpoint patterns dictum-a :global-methods '((dyn fl) - - -))) (setf sec-b (counterpoint patterns dictum-b :global-methods '((dyn fl) (dyn cl) (t-12 dyn hn) (t-12 dyn vc)) :global-polyphony '((10 p) (1 13)) :iterate t)) (setf sec-c (counterpoint patterns dictum-c :global-methods '((dyn fl) (dyn cl) (t-12 dyn hn) (t-12 dyn vc)) :global-polyphony '((7 p) (1 13)) :iterate t)) (setf sec-d (counterpoint patterns dictum-d :global-methods '((dyn fl) (dyn cl) (dyn hn) (dyn vc)))) ;; Assemble Voices (assemble-voices 'voice sec-a sec-b sec-c sec-d) (ps 'gm :sq ;(list (pitch-transpose 12 vh1-2) vh2-2 vh3-2 vh4-2) (list (pitch-transpose 0 voice1) (pitch-transpose 0 voice2) (pitch-transpose 0 voice3) (pitch-transpose 0 voice4) #| (pitch-transpose 0 (ambitus 'violin voice1)) (pitch-transpose 0 (ambitus 'violin voice2)) (pitch-transpose 0 (ambitus 'viola voice3)) (pitch-transpose -12 (ambitus 'cello voice4)) |# ) :key-signature 'atonal ;;;obs:it´s possible to bypass the time signature we did before opening the time signature here ;;time-signature timesig-proc are processed lists of time-signatures ;:time-signature timesig ;:tempo 90 :flexible-clef nil :title ;:flexible-clef nil "Quartet Harmony Control - JULIO HERRLEIN" :display :window) ;; Global SEED back to NIL (init-seed nil) ) SB The trick is here with backquote: `(((1 2 3 4) :harmony ,harmony2 :tempo 72)