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Stephane Boussuge

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Everything posted by Stephane Boussuge

  1. Not actually, it was removed for technical reasons. Best Stéphane
  2. Hi, here's a short experiment/study composed today for mezzo-soprano, flute, clarinet and bassoon. Score is a bit commented for clarity and study purpose. All the best to all OM users. SB. MelodyOnTexture.mp3 MelodyOnTexture1GM.opmo
  3. Hi, one more output just for fun ! S. Trapped-Septuor-888684.mp3
  4. Hi, here's one of raw outputs from an Opusmodus score I'm working on actually. That's a work in progress but will be fully documented later in the future... Stéphane TrappedSeptuor413188.mp3 Trapped-Septuor-413188.pdf
  5. Hi Tom, hope this help... (setf pitches '(fs3 e3 gs3 b2 a3 fs4 d4 b5 e4 gs4 fs4 gs4 cs4 fs4 b3 e4 fs4)) (setf basspitches '(fs2 cs3 a2 e3 fs3 d3 b3 gs3 cs4 e3 cs3 fs3 d3 b3 gs2 fs2)) ;; generate some length for basspitches (setf basslen (rnd-sample (length basspitches) '(1/2 1/4))) ;; get the span of basslen (setf basspan (get-span basslen)) ;; generate some length for pitches (setf pitcheslen (rnd-sample (length pitches) '(1/2 1/4))) ;; apply the span of basslength to pitchlen using the length-span function (setf pitcheslen-spanned (length-span basspan pitcheslen)) ;; Assemble the material into 2 OMN phrases (setf ph1 (make-omn :pitch pitches :length pitcheslen-spanned )) (setf ph2 (make-omn :pitch basspitches :length basslen )) ;; Output the 2 phrases (ps 'gm :afl (list ph1) :bn (list ph2)) S.
  6. Hi, some small corrections : (progn ;; Global SEED (init-seed 15342) (setf melody1a (length-augmentation 2'((-h. q g4) (q. g4 e e4 q e4 -q) (-h. q g4) (q. g4 e d4 q d4 -q) (-h. q e4) (q f4 g4 a4 b4) (h. g4 -q)))) (setf melody1b (length-augmentation 3 '((-h. q g4) (q. g4 e e4 q e4 -q) (-h. q g4) (q. g4 e d4 q d4 -q)))) ;; Patterns (setf scale '(c4 eb4 f4 g4 ab4)) (setf p1 (tonality-map '(scale :map octave :closest up) melody1a) p2 (tonality-map '(scale :map octave :closest up) melody1b) ) (setf patterns (list p1 p1 p2)) (setf dictum-a '(((1 2 3) :methods ((dl1) (dl1 t-12 pr1) (dl1 t-24))))) ;; Sections (setf sec-a (counterpoint patterns dictum-a )) ;; Assemble Voices (assemble-voices 'voice sec-a) ;; Preview Score (ps 'gm :hn (list voice1) :tbn (list voice2) :tbn (list voice3) :time-signature '(4 4) ) ;; Global SEED back to NIL (init-seed nil) ) S.
  7. Hi, here's a function I've made for my personal usage. May be it could be useful for some users... Best Stéphane ;;;=================================== ;;; PITCH-TRAJECTORY ;;;=================================== ;;; SB 1.11.21 ;;;=================================== (defun pitch-trajectory (nbpitch range tendency &key (variance 0.5) (type :around) (quantize 1/2) (smooth 1) filter-repeat seed ) (setf seed (rnd-seed seed)) (do-verbose ("pitch-trajectory :seed ~s" seed) (let* ((values (gen-tendency nbpitch tendency :variance variance :type type :seed (seed))) (smoothedval (vector-smooth smooth values)) (out (vector-to-pitch range smoothedval :quantize quantize)) ) (if filter-repeat (filter-repeat filter-repeat out) out)))) #| ;;; Tests divers (pitch-trajectory 32 '(c4 g5) '(0.1 1 0.1) :seed 1234) (pitch-trajectory 32 '(c4 g5) '(0.1 1 0.1) :seed 1234 :filter-repeat 1) (pitch-trajectory 32 '(c4 g5) '(0.1 1 0.1) :seed 1234 :filter-repeat 1 :variance 1 ) (pitch-trajectory 32 '(c4 g5) '(0.1 1 0.1) :seed 1234 :filter-repeat 1 :variance 0.1 ) (pitch-trajectory 32 '(c4 g5) '(0.1 1 0.1) :seed 1234 :filter-repeat 1 :smooth 0.1 ) (pitch-trajectory 32 '(c4 g5) '(0.1 1 0.1) :seed 1234 :filter-repeat 1 :quantize 1/4 ) (pitch-trajectory 32 '(c4 g5) '(0.1 1 0.1) :seed 1234 :filter-repeat 1 :quantize 1/8 ) (pitch-trajectory 32 '(c4 g5) '(0.1 1 0.1) :seed 1234 :filter-repeat 1 :variance 1 :quantize 1/8 ) (gen-filter-change (pitch-trajectory 32 '(c4 g5) '(0.1 1 0.1) :seed 1234) 's) |#
  8. you may try to not open a workspace but directly an .opmo document and evaluate. actually, I don't have M1 or Monterey so I don't know if it could work but if yes, it could be a temporary solution. Stéphane
  9. Small update to the final Conductor score and audio file. Best ! Stéphane
  10. 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
  11. Another good complet list can be found in function list under Tonality and Modes. SB.
  12. If you are familiar with Emacs editor you can also use it with Opusmodus, it works very well. SB.
  13. Here's a way to get Opusmodus on iPad and it's very fun and useful !! SB.
  14. Hi Julio, it comes from the use of filter-tie function in the methods. Best Stéphane
  15. 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.
  16. A short example showing the basics of counterpoint function.
  17. I agree, an horizontal replacement possibility would be very useful. Best ! SB.
  18. 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
  19. 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.
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