JulioHerrlein

Thanks a lot, Janusz ! All the best !! Julio

Dear Friends at Opusmodus team, With great joy, I´d like to share with you an important international prize I received as composer in 28th november. It´s the IBERMÚSICAS prize for Symphonic Band 2025. It was very competitive and I´m honored to represent Brazil in this contest. I´m posting this here because Opusmodus became since 2017 a very important tool in my compositional process, although I do not use it from beginning to end, i.e., there are many things I do manually. Nevertheless, it plays a crucial role in my workflow and I´d like to thanks the team for this. All the best and happy 2026 ! Here are the selected compositions: https://seleccionados2025.ibermusicas.org/ And the information of the selection: https://www.ibermusicas.org/index.php/um-juri-constituido-por-maestras-e-maestros-de-renome-levou-a-cabo-o-processo-de-qualificacao-e-selecao-das-obras-vencedoras-do-premio-ibermusicas-para-a-composicao-de-obra-para-banda-sinfonica-20/ Translation A jury composed of renowned conductors carried out the qualification and selection process for the winning works of the “Ibermúsicas Prize for the Composition of a Work for Symphonic Band” 2025. Encouraging musical creation, Ibermúsicas has launched a new edition of its competitions for the creation of academic works, this time specifically focused on the creation of new works for symphonic bands, to be premiered by top-tier ensembles from Colombia, Costa Rica, Cuba, Mexico, and Venezuela. In this edition, composers were invited to draw inspiration from the Ibero-American soundscape, as a diverse and colorful space, varied and contrasting, which, despite its differences, weaves threads, like the symphonic wind bands that traverse our countries and blend with their different cultures, to find very particular sonorities that make them unique in each country or region. With the aim of promoting mutual understanding between the peoples and the specific subsector of wind bands among our countries, composers were encouraged to explore this sonic universe through the repertoires, genres, and soundings of bands from different countries, schools, and their reference composers, among many other possibilities that unite the countries that are part of Ibero-American cooperation. The award includes, in addition to financial recognition for each creator, the premiere of the winning works performed by the Valle Departmental Symphonic Band of Colombia, one of the seven bands of the General Directorate of Bands of Costa Rica, the National Concert Band of Cuba, the Symphonic Band of the Faculty of Music of UNAM in Mexico, and the Caracas Marching Band of Venezuela. The jury, composed of Andrés Porras Alfaro from Costa Rica, David Leonardo Guarin Ortiz from Colombia, Marcia Quesada from Cuba, Luis Manuel Sánchez from Mexico, and Pedro Mauricio Gonzalez from Venezuela, worked intensively on selecting the winning works from among the 62 submitted to the competition under pseudonyms. With pride and joy, the Ibermúsicas Program invites you to discover the names of the winning male and female composers of this competition here. https://seleccionados2025.ibermusicas.org/

@Stephane Boussuge , This is the way I was going also, sending midi notes to trigger Serato Sample, that is similar to Redux, I think. Here is my session

Thanks, Janusz ! Best !

Some Squarepusher fun opmo_squarepusher.mp3 (make-mix 'mixA '(:audio "E:/Opmo_win_work/opusmodus/Opusmodus/Media/Audio/cw_amen10_135.wav" :segments ( (:start 0.0 :len (bar-to-sec '(w) :bpm 135)) (:start 0.0 :len (bar-to-sec '(h) :bpm 135)) (:start 0.0 :len (bar-to-sec '(h) :bpm 135)) (:start 0.0 :len (bar-to-sec '(s) :bpm 135)) (:start 0.0 :len (bar-to-sec '(e.) :bpm 135)) (:start 0.0 :len (bar-to-sec '(e.) :bpm 135)) (:start 0.0 :len (bar-to-sec '(e.) :bpm 135)) ;(:start (bar-to-sec '(e) :bpm 135) :len (bar-to-sec '(e.) :bpm 135)) ;(:start (bar-to-sec '(e) :bpm 135) :len (bar-to-sec '(e.) :bpm 135)) ;(:start (bar-to-sec '(e) :bpm 135) :len (bar-to-sec '(e.) :bpm 135)) ;(:start (bar-to-sec '(e) :bpm 135) :len (bar-to-sec '(e.) :bpm 135)) ;(:start (bar-to-sec '(s) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) ;(:start 0.0 :len (bar-to-sec '(w) :bpm 135)) ;(:start (bar-to-sec '(e) :bpm 135) :len (bar-to-sec '(e.) :bpm 135)) ;(:start (bar-to-sec '(e.) :bpm 135) :len (bar-to-sec '(e) :bpm 135)) ;(:start (bar-to-sec '(q) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) ;(:start (bar-to-sec '(q) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) ;(:start (bar-to-sec '(q) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) ;(:start (bar-to-sec '(q) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) ;(:start (bar-to-sec '(q) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) ;(:start (bar-to-sec '(qe) :bpm 135) :len (bar-to-sec '(e) :bpm 135)) ;(:start (bar-to-sec '(qe) :bpm 135) :len (bar-to-sec '(e) :bpm 135)) ;(:start (bar-to-sec '(qe) :bpm 135) :len (bar-to-sec '(e) :bpm 135)) ;(:start (bar-to-sec '(qe) :bpm 135) :len (bar-to-sec '(e) :bpm 135)) ;(:start (bar-to-sec '(0) :bpm 135) :len (bar-to-sec '(e.) :bpm 135)) ;(:start (bar-to-sec '(0) :bpm 135) :len (bar-to-sec '(e.) :bpm 135)) ;(:start (bar-to-sec '(0) :bpm 135) :len (bar-to-sec '(e.) :bpm 135)) ;(:start (bar-to-sec '(0) :bpm 135) :len (bar-to-sec '(e.) :bpm 135)) (:start (bar-to-sec '(0) :bpm 135) :len (bar-to-sec '(w) :bpm 135)) (:start (bar-to-sec '(0) :bpm 135) :len (bar-to-sec '(q) :bpm 135)) (:start (bar-to-sec '(0) :bpm 135) :len (bar-to-sec '(q) :bpm 135)) (:start (bar-to-sec '(0) :bpm 135) :len (bar-to-sec '(q) :bpm 135)) (:start (bar-to-sec '(0) :bpm 135) :len (bar-to-sec '(q) :bpm 135)) (:start (bar-to-sec '(s) :bpm 135) :len (bar-to-sec '(q) :bpm 135)) (:start (bar-to-sec '(s) :bpm 135) :len (bar-to-sec '(q) :bpm 135)) (:start (bar-to-sec '(s) :bpm 135) :len (bar-to-sec '(q) :bpm 135)) (:start (bar-to-sec '(s) :bpm 135) :len (bar-to-sec '(q) :bpm 135)) (:start (bar-to-sec '(e) :bpm 135) :len (bar-to-sec '(q) :bpm 135)) (:start (bar-to-sec '(e) :bpm 135) :len (bar-to-sec '(q) :bpm 135)) (:start (bar-to-sec '(e) :bpm 135) :len (bar-to-sec '(q) :bpm 135)) (:start (bar-to-sec '(e) :bpm 135) :len (bar-to-sec '(q) :bpm 135)) (:start (bar-to-sec '(e.) :bpm 135) :len (bar-to-sec '(q) :bpm 135)) (:start (bar-to-sec '(e.) :bpm 135) :len (bar-to-sec '(q) :bpm 135)) (:start (bar-to-sec '(e.) :bpm 135) :len (bar-to-sec '(q) :bpm 135)) (:start (bar-to-sec '(e.) :bpm 135) :len (bar-to-sec '(q) :bpm 135)) (:start (bar-to-sec '(q) :bpm 135) :len (bar-to-sec '(q) :bpm 135)) (:start (bar-to-sec '(q) :bpm 135) :len (bar-to-sec '(q) :bpm 135)) (:start (bar-to-sec '(q) :bpm 135) :len (bar-to-sec '(q) :bpm 135)) (:start (bar-to-sec '(q) :bpm 135) :len (bar-to-sec '(q) :bpm 135)) (:start (bar-to-sec '(e.) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(e.) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(e.) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(e.) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(e) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(e) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(e) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(e) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(e.) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(e.) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(e.) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(e.) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(e.) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(e.) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(e.) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(e.) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(e.) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(e.) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(e.) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(e.) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(e) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(e) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(e) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(e) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) ; (:start 1.3 :len 2.0) ))) (play-mix 'mixA) Dear Janusz, Can we make a play-mix many different tracks playing at the same time, like a ps function with audios each one processing one different sample ? How to save the play-mix to a file on disk ? Best

The function (make-mix-segments :start '(0.0 1.0 2.0) :len '(0.5 0.5 1.0) :fade-in 0.2 :fade-out '(0.2 0.2 0.5) :amp '(1.0 0.8 0.9))Appear in black and won't work in windows Dear Jon, We can think something like a "audio-dictum" in the way you described. Best ! Julio

Can be done with (bar-to-sec '(w) :bpm 135) (make-mix 'mixA '(:audio "E:/Opmo_win_work/opusmodus/Opusmodus/Media/Audio/cw_amen10_135.wav" :segments ((:start 0.0 :len 1.778) (:start 0.0 :len 1.778) (:start 0.0 :len 1.778) ; (:start 1.3 :len 2.0) ))) (play-mix 'mixA)Thanks a lot, Jon !! cw_amen10_135.wav cw_amen10_135.wav - name it that way (make-mix 'mixA '(:audio "E:/Opmo_win_work/opusmodus/Opusmodus/Media/Audio/cw_amen10_135.wav" :segments ( (:start 0.0 :len (bar-to-sec '(w) :bpm 135)) (:start 0.0 :len (bar-to-sec '(h) :bpm 135)) (:start 0.0 :len (bar-to-sec '(h) :bpm 135)) (:start 0.0 :len (bar-to-sec '(s) :bpm 135)) (:start 0.0 :len (bar-to-sec '(e.) :bpm 135)) (:start 0.0 :len (bar-to-sec '(e.) :bpm 135)) (:start 0.0 :len (bar-to-sec '(e.) :bpm 135)) (:start (bar-to-sec '(e) :bpm 135) :len (bar-to-sec '(e.) :bpm 135)) (:start (bar-to-sec '(e) :bpm 135) :len (bar-to-sec '(e.) :bpm 135)) (:start (bar-to-sec '(e) :bpm 135) :len (bar-to-sec '(e.) :bpm 135)) (:start (bar-to-sec '(e) :bpm 135) :len (bar-to-sec '(e.) :bpm 135)) (:start (bar-to-sec '(s) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(s) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(s) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) (:start (bar-to-sec '(s) :bpm 135) :len (bar-to-sec '(s) :bpm 135)) ; (:start 1.3 :len 2.0) ))) (bar-to-sec '(s) :bpm 135) (play-mix 'mixA)

FIND IT (make-mix 'mixA '(:audio "E:/Opmo_win_work/opusmodus/Opusmodus/Media/Audio/cw_amen10_135.wav" :segments ((:start 0.3 :len 2.0) (:start 1.3 :len 2.0)))) (play-mix 'mixA)A problem in windows machine examples is that you have to reverse all backslash symbols from this "\" to "/' . In windows It only works with right angled slashes, like this //// A good idea would be a sample to BPM, BPM to length, ms to bpm, etc calculator to slice the audio / beats according to BPM, musical time, and quantize in length. For example, in 60 BPM, each 1/16 length is equal to 240 bpm or 250 ms. And a function to random beats musically. Best

AMEN LOOPS !! https://rhythm-lab.com/amen_breaks/?srsltid=AfmBOopvuBOnbgi-hw2N7lwrlGbs3w9xekV9m4atKP2m9bl_P4F4iqAi ORIGINAL https://samplefocus.com/samples/amen-break-original-g

Dear Friends, With the audio tools in windows can we make some breakbeats, like chopping audio files, like beat slicing and starting in different parts of the audio file, like the video below (serato sample plugin), and also sync accurately with midi parts in Opusmodus ? All the best ! Julio SOME HISTORY Here are some breakbeats (amen sample) If possible, would be great to includ a sample of the amen beat inside the documentation with an example of breakbeat. This function can also serve to launch samples of any nature for electroacoustic or mixed music.

Works perfectly here (Windows 11)

Thanks a lot ! Wonderful !

Suggestion for import musicxml behavior: I think that a practical thing would be having the omn file from the MusicXML To Score to be automatically saved in the same folder where the corresponding MusicXML file is located. I´m using a folder for each composition or draft and in this folder I locate everything related to that composition, like the Musescore Files, the PDF Files and research material, the midi, the OPMO files, etc. Would be handy to have this option. Can it be programed in some user preferences LISP config file ? Thanks a lot !! Julio

I don´t know how to fix that. I already have the license for version 4.0 and I strongly recommend the upgrade since it´s very useful to work with musicxml drafts.

Yes, I had this same issue here. I was trying to use the version 3 in my notebook after installing the version 4. Then I decided to use version 4 only in my main desktop computer (since I could not have the version 4 in two different computers).

Yes, it was a kind of system "enhancement" software called Winhance I installed... I dont recommend;;; It messes with the system. Solved now. Best, Julio

I can't open the documentation inside Opusmodus in Windows 11. Don't know why. Do I need to have edge installed ? Thanks,

The "TOT" library is already included by default in Opusmodus ? I receive a message like this: <<automatic abort>> OM 4 > Error: Component :tot not found 1 (continue) Retry ASDF operation. 2 Retry ASDF operation after resetting the configuration. 3 Retry ASDF operation. 4 Retry ASDF operation after resetting the configuration. 5 (abort) Return to top loop level 0. Type :b for backtrace or :c <option number> to proceed. Type :bug-form "<subject>" for a bug report template or :? for other options. OM 5 : 1 > Thanks, Stephane. Looks good.

You can do system breaks at a later stage, when preparing the score for publishing in your favorite engraving software, like Musescore, Sibelius, Dorico, Finale (RIP), etc.

Also this solution, from Book 2: ;;;-------------------------------------------------------- ;;; Study and Practice in Composition with Opusmodus - Book 2 ;;; Julio Herrlein ;;; ISBN 9791280270566 ;;; Score Examples (code) ;;;-------------------------------------------------------- ;;; 2.4. Reich's Clapping Music - PCS-Rhythm ;;;-------------------------------------------------------- (progn (setf cell 1) ;; Clap 1 Ostinato/Timeline Voice (setf rhy1 (pcs-rhythm '8-26 :rotate 9)) (setf aug1 (length-augmentation 2 rhy1)) (setf rep1 (gen-repeat (* 13 cell) aug1)) (setf clap1-ostinato (omn-to-time-signature rep1 '(6 4))) ;; Clap 2 Variation Voice (setf rhy2 (pcs-rhythm '8-26 :rotate '(9 8 7 6 5 4 3 2 1 0 11 10 9))) (setf aug2 (length-augmentation 2 rhy2)) (setf rep2 (gen-repeat cell aug2)) (setf clap2-rotate (omn-to-time-signature aug2 '(6 4))) ;; To find the length of the repetitions (get-count clap2-rotate :sum t) ;; Preview Score (ps 'gm :rhy (list clap1-ostinato clap2-rotate) :key-signature '(c maj) :tempo 88 :time-signature '(12 8)) )

Thanks, Janusz ! Best, Julio

Dear Team, I noticed that the omn-to-time-signature, when used with length-only material is not returning the same rhythms. The rhythms are missing the ties when used with lengths only. With pitch + length materials looks to be ok. I used to think that this function would return the same rhythms, but just adjusted to a new sequence of time-signatures. Best, Julio (setf rh-1 '(-dd h c7 p eb6 mp p - c7 q e6 - h_e g6 e mf bb5 mp -h.. q bb6 p -h. q. d6 e c4 -h.. q bb3 mf e g6 mp h_e e6 -h e g5 h a6 -e = h bb4 e6 p q bb6 mp e6 e g3 g6 p q. g3 e bb3 bb6 mp q g6 pp e c7 mp eb4 p)) (omn-to-time-signature rh-1 '(2 4)) result (with ties) ((-h) (-h) (-h) (-h) (-h) (-h) (-h) (-h) (h c7 p) (h eb6 mp) (h eb6 p) (-h) (h c7) (q e6 -) (h g6 tie) (e g6 g6 mf bb5 mp -) (-h) (-q bb6 p) (-h) (-q d6 tie) (e d6 c4 -q) (-h) (-e q bb3 mf e g6 mp) (h e6 tie) (e e6 -q.) (-e g5 q a6 tie) (q a6 -e a6) (h bb4) (h e6 p) (q bb6 mp e6) (e g3 g6 p q g3 tie) (e g3 bb3 bb6 mp g6 pp tie) (e g6 pp c7 mp eb4 p))(setf rh-1 '(-dd h c7 p eb6 mp p - c7 q e6 - h_e g6 e mf bb5 mp -h.. q bb6 p -h. q. d6 e c4 -h.. q bb3 mf e g6 mp h_e e6 -h e g5 h a6 -e = h bb4 e6 p q bb6 mp e6 e g3 g6 p q. g3 e bb3 bb6 mp q g6 pp e c7 mp eb4 p)) (omn-to-time-signature (omn :length rh-1) '(2 4)) result (NO ties) ((-1/2) (-1/2) (-1/2) (-1/2) (-1/2) (-1/2) (-1/2) (-1/2) (1/2) (1/2) (1/2) (-1/2) (1/2) (1/4 -1/4) (1/2) (1/8 1/8 1/8 -1/8) (-1/2) (-1/4 1/4) (-1/2) (-1/4 1/4) (1/8 1/8 -1/4) (-1/2) (-1/8 1/4 1/8) (1/2) (1/8 -3/8) (-1/8 1/8 1/4) (1/4 -1/8 1/8) (1/2) (1/2) (1/4 1/4) (1/8 1/8 1/4) (1/8 1/8 1/8 1/8) (1/8 1/8 1/8))

Maybe this ? (3e_3e d5 3e b4 3e eb5 3e_3e b4 s cs5 a5 -e -h)

Thanks, Stephane ! A GM version is interesting to focus in Opusmodus only. All the best ! Congratulations !

Great Function, Janusz ! I have one question: What is the best strategy to use this function to obtain cross staff piano notation, i.e. notes with the same rhythm / voice crossing between the treble and bass clef. Please, could you provide a little example ? Should I use a different piano layout ? normal piano x grand piano layout ? Thanks a lot ! Best !