JulioHerrlein

Dear Janusz, I think that this could be a good thing to really implement in Opusmodus. I´m finetuning it, because it involves not only a programming point of view, but also a theoretical and compositional way of thinking music. I feel that it deserves a better explanation, because a lot of chord symbols are based on my experience and also based in my Combinatorial Harmony Book. After the finetuning, I´m going to make an video explanation of it, to make the things clearer. If you are interested we can build something to include in the current library of Opusmodus. All the best ! Julio

Yes, Janusz ! Great ! Thank you. But I already did it. Maybe a second version, without functions would load faster. But actually I dont mind to wait 5 or 7 minutes for loading because it saves me a lot of typping after. I just have to choose my chords intuitively in guitar or piano and after I use chords symbols and manipulate the inversions. Thanks a lot ! Best, Julio

Thank you, Stephane and Janusz ! Maybe I will need some help of you. The library looks like this. THis is one of the 4-note chords: It allow me to call chords using chord symbols. Best, Julio (setf C7Mt7 (ambitus-octaves 'c4 1 (pitch-rotate 1 (pcs-transpose -1 (pcs '4-20) :pitch)))) (setf C7Mt5 (ambitus-octaves 'b3 1 (pitch-rotate 0 (pcs-transpose -1 (pcs '4-20) :pitch)))) (setf C7Mt3 (ambitus-octaves 'g3 1 (pitch-rotate -1 (pcs-transpose -1 (pcs '4-20) :pitch)))) (setf C7Mt1 (ambitus-octaves 'e3 1 (pitch-rotate -2 (pcs-transpose -1 (pcs '4-20) :pitch)))) (setf Db7Mt7 (pitch-transpose 1 C7Mt7)) (setf Db7Mt5 (pitch-transpose 1 C7Mt5)) (setf Db7Mt3 (pitch-transpose 1 C7Mt3)) (setf Db7Mt1 (pitch-transpose 1 C7Mt1)) (setf D7Mt7 (pitch-transpose 2 C7Mt7)) (setf D7Mt5 (pitch-transpose 2 C7Mt5)) (setf D7Mt3 (pitch-transpose 2 C7Mt3)) (setf D7Mt1 (pitch-transpose 2 C7Mt1)) (setf Eb7Mt7 (pitch-transpose 3 C7Mt7)) (setf Eb7Mt5 (pitch-transpose 3 C7Mt5)) (setf Eb7Mt3 (pitch-transpose 3 C7Mt3)) (setf Eb7Mt1 (pitch-transpose 3 C7Mt1)) (setf E7Mt7 (pitch-transpose 4 C7Mt7)) (setf E7Mt5 (pitch-transpose 4 C7Mt5)) (setf E7Mt3 (pitch-transpose 4 C7Mt3)) (setf E7Mt1 (pitch-transpose 4 C7Mt1)) (setf F7Mt7 (pitch-transpose 5 C7Mt7)) (setf F7Mt5 (pitch-transpose 5 C7Mt5)) (setf F7Mt3 (pitch-transpose 5 C7Mt3)) (setf F7Mt1 (pitch-transpose 5 C7Mt1)) (setf Gb7Mt7 (pitch-transpose -6 C7Mt7)) (setf Gb7Mt5 (pitch-transpose -6 C7Mt5)) (setf Gb7Mt3 (pitch-transpose -6 C7Mt3)) (setf Gb7Mt1 (pitch-transpose -6 C7Mt1)) (setf G7Mt7 (pitch-transpose -5 C7Mt7)) (setf G7Mt5 (pitch-transpose -5 C7Mt5)) (setf G7Mt3 (pitch-transpose -5 C7Mt3)) (setf G7Mt1 (pitch-transpose -5 C7Mt1)) (setf Ab7Mt7 (pitch-transpose -4 C7Mt7)) (setf Ab7Mt5 (pitch-transpose -4 C7Mt5)) (setf Ab7Mt3 (pitch-transpose -4 C7Mt3)) (setf Ab7Mt1 (pitch-transpose -4 C7Mt1)) (setf A7Mt7 (pitch-transpose -3 C7Mt7)) (setf A7Mt5 (pitch-transpose -3 C7Mt5)) (setf A7Mt3 (pitch-transpose -3 C7Mt3)) (setf A7Mt1 (pitch-transpose -3 C7Mt1)) (setf Bb7Mt7 (pitch-transpose -2 C7Mt7)) (setf Bb7Mt5 (pitch-transpose -2 C7Mt5)) (setf Bb7Mt3 (pitch-transpose -2 C7Mt3)) (setf Bb7Mt1 (pitch-transpose -2 C7Mt1)) (setf B7Mt7 (pitch-transpose -1 C7Mt7)) (setf B7Mt5 (pitch-transpose -1 C7Mt5)) (setf B7Mt3 (pitch-transpose -1 C7Mt3)) (setf B7Mt1 (pitch-transpose -1 C7Mt1)) Each chord also have a octave up and down version, like this: (setf C7Mt7+12 (pitch-transpose 12 C7Mt7)) (setf C7Mt5+12 (pitch-transpose 12 C7Mt5)) (setf C7Mt3+12 (pitch-transpose 12 C7Mt3)) (setf C7Mt1+12 (pitch-transpose 12 C7Mt1)) (setf Db7Mt7+12 (pitch-transpose 13 C7Mt7)) (setf Db7Mt5+12 (pitch-transpose 13 C7Mt5)) (setf Db7Mt3+12 (pitch-transpose 13 C7Mt3)) (setf Db7Mt1+12 (pitch-transpose 13 C7Mt1)) (setf D7Mt7+12 (pitch-transpose 14 C7Mt7)) (setf D7Mt5+12 (pitch-transpose 14 C7Mt5)) (setf D7Mt3+12 (pitch-transpose 14 C7Mt3)) (setf D7Mt1+12 (pitch-transpose 14 C7Mt1)) (setf Eb7Mt7+12 (pitch-transpose 15 C7Mt7)) (setf Eb7Mt5+12 (pitch-transpose 15 C7Mt5)) (setf Eb7Mt3+12 (pitch-transpose 15 C7Mt3)) (setf Eb7Mt1+12 (pitch-transpose 15 C7Mt1)) (setf E7Mt7+12 (pitch-transpose 16 C7Mt7)) (setf E7Mt5+12 (pitch-transpose 16 C7Mt5)) (setf E7Mt3+12 (pitch-transpose 16 C7Mt3)) (setf E7Mt1+12 (pitch-transpose 16 C7Mt1)) (setf F7Mt7+12 (pitch-transpose 17 C7Mt7)) (setf F7Mt5+12 (pitch-transpose 17 C7Mt5)) (setf F7Mt3+12 (pitch-transpose 17 C7Mt3)) (setf F7Mt1+12 (pitch-transpose 17 C7Mt1)) (setf Gb7Mt7+12 (pitch-transpose 6 C7Mt7)) (setf Gb7Mt5+12 (pitch-transpose 6 C7Mt5)) (setf Gb7Mt3+12 (pitch-transpose 6 C7Mt3)) (setf Gb7Mt1+12 (pitch-transpose 6 C7Mt1)) (setf G7Mt7+12 (pitch-transpose 7 C7Mt7)) (setf G7Mt5+12 (pitch-transpose 7 C7Mt5)) (setf G7Mt3+12 (pitch-transpose 7 C7Mt3)) (setf G7Mt1+12 (pitch-transpose 7 C7Mt1)) (setf Ab7Mt7+12 (pitch-transpose 8 C7Mt7)) (setf Ab7Mt5+12 (pitch-transpose 8 C7Mt5)) (setf Ab7Mt3+12 (pitch-transpose 8 C7Mt3)) (setf Ab7Mt1+12 (pitch-transpose 8 C7Mt1)) (setf A7Mt7+12 (pitch-transpose 9 C7Mt7)) (setf A7Mt5+12 (pitch-transpose 9 C7Mt5)) (setf A7Mt3+12 (pitch-transpose 9 C7Mt3)) (setf A7Mt1+12 (pitch-transpose 9 C7Mt1)) (setf Bb7Mt7+12 (pitch-transpose 10 C7Mt7)) (setf Bb7Mt5+12 (pitch-transpose 10 C7Mt5)) (setf Bb7Mt3+12 (pitch-transpose 10 C7Mt3)) (setf Bb7Mt1+12 (pitch-transpose 10 C7Mt1)) (setf B7Mt7+12 (pitch-transpose 11 C7Mt7)) (setf B7Mt5+12 (pitch-transpose 11 C7Mt5)) (setf B7Mt3+12 (pitch-transpose 11 C7Mt3)) (setf B7Mt1+12 (pitch-transpose 11 C7Mt1))

Thanks a lot, Stephane ! Great meeting ! I have one question, regarding the use of customized methods. We can put on def-library folders in the Def-Unfold_Sets a file with our customized methods. This file must have an specific name ? The sets of methods are automatically loaded in the startup , so we can call the specific sets in the unfold function without having to evaluate the complete procedure of each method ? I did an 11000 lines of code with my book´s chord library. Took me 2 weeks in notepad++ It takes like 7 minutes to load, but its a kind of shortbreak to common practice chords. Now with MIDI entry, things can be easier for common practice guys like me, who dont want to have chords generated by vectors, but by specific tonal or modal chords. But I had to copy octave up and down versions of each chord and it multiplied the line numbers. With a preloaded method of transpositions this could be easier, maybe... All the best ! Thanks again ! Best ! Julio

Thank you, Janusz ! Best !

Dear Janusz, This option exist already ? Or need to be implemented ? Maybe some hidden shortcut I missed ? Thank you ! Best ! Julio

Yes, It´s perfect now. I tested with a file generated here ! It opened with all the repeats ! This little trick of saving is great ! Thanks a lot, Janusz !

There is something strange... I got a perfect snippet of the repetitions, but when I saved to XML, using last score to Music XML, I got only one bar out of 255... Here is the code I used (and the resulting XML file). Best, Julio ;;;1-20 (((repeat (q -q))(repeat (-q q))(repeat (q q))(repeat (-e e -q))(repeat (-q -e e))(repeat (-e e -e e))(repeat (e e -q))(repeat (-q e e))(repeat (e e e e))(repeat (q e e))(repeat (e e q))(repeat (q -e e))(repeat (-e e q))(repeat (e e -e e))(repeat (-e e e e)) (repeat (-s e. -q))(repeat (-q -s e.))(repeat (-s e. -s e.))(repeat (-e. s -q))(repeat (-q -e. s)) ;;21-40 (repeat (-e. s -e. s))(repeat (s s -e -q))(repeat (-q s s -e))(repeat (s s -e s s -e))(repeat (e. s -q)) (repeat (-q e. s))(repeat (e. s e. s))(repeat (-e s s -q))(repeat (-q -e s s))(repeat (-e s s -e s s)) (repeat (-s e s -q))(repeat (-q -s s e))(repeat (-s s e -s s e))(repeat (-s e s -q))(repeat (-q -s e s)) (repeat (-s e s -s e s))(repeat (s s e -q))(repeat (-q s s e))(repeat (s s e s s e))(repeat (e s s -q)) ;;; 41-60 (repeat (-q e s s))(repeat (e s s e s s))(repeat (s e s -q))(repeat (-q s e s))(repeat (s e s s e s)) (repeat (-s s s s -q))(repeat (-q -s s s s))(repeat (-s s s s -s s s s))(repeat (s s s s -q))(repeat (-q s s s s)) (repeat (s s s s s s s s))(repeat (q -s e.))(repeat (-s e. q))(repeat (q -e. s))(repeat (-e. s q)) (repeat (q s s -e))(repeat (s s -e q))(repeat (q e.s))(repeat (e. s q))(repeat (q -e s s)) ;;;61-80 (repeat (-e s s q))(repeat (q -s s e))(repeat (-s s e q))(repeat (q -s e s))(repeat (-s e s q)) (repeat (q s s e))(repeat (s s e q))(repeat (q e s s))(repeat (e s s q))(repeat (q s e s)) (repeat (s e s q))(repeat (q -s s s s))(repeat (-s s s s q))(repeat (q s s s s))(repeat (s s s s q)) (repeat (-e e -s e.))(repeat (-s e. -e e))(repeat (-e e -e. s))(repeat (-e. s -e e))(repeat (-e e s s -e)) ;;;81 100 (repeat (s s -e -e e))(repeat (-e e e. s))(repeat (e. s -e e))(repeat (-e e -e s s))(repeat (-e s s -e e)) ;;86 (repeat (-e e -s s e))(repeat (-s s e -e e))(repeat (-e e -s e s))(repeat (-s e s -e e))(repeat (-e e s s e)) (repeat (s s e -e e))(repeat (-e e e s s))(repeat (e s s -e e))(repeat (-e e s e s))(repeat (s e s -e e)) (repeat (-e e -s s s s))(repeat (-s s s s -e e))(repeat (-e e s s s s))(repeat (s s s s -e e))(repeat (-s e. -e. s)) ;;;101 120 (repeat (-e. s -s e.))(repeat (-s e. e e))(repeat (e e -s e.))(repeat (-s e. s s -e))(repeat (s s -e -s e.)) (repeat (-s e. e. s))(repeat (e. s -s e.))(repeat (-s e. -e s s))(repeat (-e s s -s e.))(repeat (-s e. -s s e)) (repeat (-s s e -s e.))(repeat (-s e. -s e s))(repeat (-s e s -s e.))(repeat (-s e. s s e))(repeat (s s e -s e.)) (repeat (-s e. e s s))(repeat (e s s -s e.))(repeat (-s e. s e s))(repeat (s e s -s e.))(repeat (-s e. -s s s s)) ;;;121 140 (repeat (-s s s s -s e.))(repeat (-s e. s s s s))(repeat (s s s s -s e.))(repeat (-e. s e e))(repeat (e e -e. s)) (repeat (e. -s s s -e))(repeat (s s -e e. -s))(repeat (e. s e. s))(repeat (e. s e. s))(repeat (e. s -e s s)) (repeat (-e s s -e. s))(repeat (-e. s -s s e))(repeat (-s s e -e. s))(repeat (-e. s -s e s))(repeat (-s e s -e. s)) (repeat (-e. s s s e))(repeat (s s e -e. s))(repeat (-e. s e s s))(repeat (e s s -e. s))(repeat (-e. s s e s)) ;;141 - 160 (repeat (s e s e. s))(repeat (-e. s -s s s s))(repeat (-s s s s -e. s))(repeat (-e. s s s s s))(repeat (s s s s e. -s)) (repeat (e e s s -e))(repeat (s s -e e e))(repeat (e e e. s))(repeat (e. s e e))(repeat (e e -e s s)) (repeat (-e s s e e))(repeat (e e -s s e))(repeat (-s s e e e))(repeat (e e -s e s))(repeat (-s e s e e)) ;;;156 (repeat (e e s s e))(repeat (s s e e e))(repeat (e e e s s))(repeat (e s s e e))(repeat (e e s e s)) ;;;161 - 180 (repeat (s e s e e))(repeat (e e -s s s s))(repeat (-s s s s e e))(repeat (e e s s s s))(repeat (s s s s e e)) (repeat (s s -e e. s))(repeat (e. s s s -e))(repeat (s s -e -e s s))(repeat (-e s s s s -e))(repeat (s s -e -s s e)) ;;171 (repeat (-s s e s s -e))(repeat (s s -e -s e s))(repeat (-s e s s s -e))(repeat (s s -e s s e))(repeat (s s e s s -e)) (repeat (s s -e e s s))(repeat (e s s s s -e))(repeat (s s -e s e s))(repeat (s e s s s -e))(repeat (s s -e -s s s s)) ;;;181 200 (repeat (-s s s s s s -e))(repeat (s s -e s s s s))(repeat (s s s s s s -e))(repeat (e. s -e s s))(repeat (-e s s e. s)) (repeat (e. s -s s e))(repeat (-s s e e. s))(repeat (e. s -s e s))(repeat (-s e s e. s))(repeat (e. s s s e)) (repeat (s s e e. s))(repeat (e. s e s s))(repeat (e s s e. s))(repeat (e. s s e s))(repeat (s e s e. s)) ;;;196 (repeat (e. s -s s s s))(repeat (-s s s s e. s))(repeat (e. s s s s s))(repeat (s s s s e. s))(repeat (-e s s -s s e)) ;;201 220 (repeat (-s s e -e s s))(repeat (-e s s -s e s))(repeat (-s e s -e s s))(repeat (-e s s s s e))(repeat (s s e -e s s)) (repeat (-e s s e s s))(repeat (e s s -e s s))(repeat (-e s s s e s))(repeat (s e s -e s s))(repeat (-e s s -s s s s)) (repeat (-s s s s -e s s))(repeat (-e s s s s s s))(repeat (s s s s -e s s))(repeat (-s s e -s e s))(repeat (-s e s -s s e)) (repeat (-s s e s s e))(repeat (s s e -s s e))(repeat (-s s e e s s))(repeat (e s s -s s e))(repeat (-s s e s e s)) ;;;221 240 (repeat (s e s -s s e))(repeat (-s s e -s s s s))(repeat (-s s s s -s s e))(repeat (-s s e s s s s))(repeat (s s s s -s s e)) ;;;226 (repeat (-s e s s s e))(repeat (s s e -s e s))(repeat (-s e s e s s))(repeat (e s s -s e s))(repeat (-s e s s e s)) (repeat (s e s -s e s))(repeat (-s e s -s s s s))(repeat (-s s s s -s e s))(repeat (-s e s s s s s))(repeat (s s s s -s e s)) ;;;236 (repeat (s s e e s s))(repeat (e s s s s e))(repeat (s s e s e s))(repeat (s e s s s e))(repeat (s s e -s s s s)) ;;;241 (repeat (-s s s s s s e))(repeat (s s e s s s s))(repeat (s s s s s s e))(repeat (e s s s e s))(repeat (s e s e s s)) (repeat (e s s -s s s s))(repeat (-s s s s e s s))(repeat (e s s s s s s))(repeat (s s s s e s s))(repeat (s e s -s s s s)) (repeat (-s s s s s e s))(repeat (s e s s s s s))(repeat (s s s s s e s))(repeat (-s s s s s s s s))(repeat (s s s s -s s s s)))) 255_CELLS_com_REPEAT_03.xml Perfect ! But not on XML file.

Thanks, Janusz ! A real timesaver in my context ! Best ! Julio

Working here, using my small keyboard M-Audio Keystation mini 32. Good job ! Thanks !

Dear Friends, Is there any way to include repetition boxes (ala Reich) and first and second endings in the XML output ? I have some patterns I want to repeat and maybe the repeat boxes could be great. I know that I can do it after in the notation software finetuning, but since I'm using 255 different patterns with repeats , so would be easier to have it already in the output. It's easier to copy and paste code instead of editing barlines in Musescore, Finale or Sibelius. Thanks in advance. Best, Julio

Maybe this can be related to the Midi Off message. For each note pressed there is a note off message of value zero. I did a midi to text converter in Pure Data and I had to filter out the midi off messages.

Thank you ! Best ! Julio

Dear friends, I managed to make my USB controller Keystation 32 to work in Opusmodus. It´s working. I press the keys and the blue notes are appearing in the score. I think that the hardware setup is properly set up. The problem is how to use this Midi Entry. The notes are appering but, in order to maintain the notes written I have to disable midi entry. When I enable it back, the new notes inputed erase the old ones. I use this small M-AUDIO keystation 32 keyboard in my desk just to input notes in notation programs. This dont have a sustain pedal attached in this tiny keyboard and no pitch wheel as well. There is some workaround or some keystroke in the computer keyboard to change the input behaviour, to act like the sustain pedal or pitchwheel command ? Actually I can program some way of sending this midi messages using another software but it would better to have it in a keystroke inside opusmodus. Thanks. Looks promising ! Best, Julio

Thank you, Lasse ! There is a tragedy here in Brasil, but we are protected and trying to preserve mental sanity. Stay safe ! All the best ! Best !

Dear Janusz and Stephane, I'm very happy you like it ! Opusmodus is a game changer. I love it ! Thank you, guys ! You are doing something amazing !! All the best ! Julio

Dear Avner, It´s a perfect solution !! Thank you ! Best ! Julio

WHY I USE OPUSMODUS SOFTWARE IN MY MUSICAL COMPOSITION PROCESS In this video I will describe some of the techniques I used in my compositional process and why I decided to use OPUSMODUS Software for compose music ! Also my experience with Pure Data and Nodal Software before moving to Opusmodus.

I just realized that would be great to have snippet audition and notation (Command+1) with the notation opening in separate window, like we have Evaluate and Audition and Notation - Window and in PS. Maybe not very difficult to implement, but great to have, to show to sutudents the gradual process of the compositional process, etc. Best, Julio

Dear Tom, Looks great ! Sometimes we find excellent stuff just by accident. I love when this happens ! Actually, as I said before, the negative harmony is sligthly different from just the inversion of the pitch. In your inversion, the pitch axis is the first note a4, so all the inversion operation is based in that first note. In the negative harmony, the axis lies between two notes and have some tonal orientation, i.e., it´s a kind of mapping that changes according to each tonality. For example, the mapping corresponding to the C center would be like: So, the "negative version" of your melody below: a4 g4 fs4 a4 d5 a4 fs5 d5 a5 fs5 e5 d5 would be, according to the graph above: Bb C Db Bb F Bb Db F Bb Db Eb F. Please, check the first video of the post, it´s very pedagogical. Probably Stephane will have a solution. The keyword is MAPPING. Maybe pattern substitution, pattern match, but a function where the octaves are relatives. All the best ! Julio

Thank you, Stephane ! Very nice presentation ! Best, Julio

Thank you, Jorvd ! Best ! Julio

Yes, it would be great !

Dear All, I´m creating some permutations and I´d like to assign a text under each note to make clear the use of certain intervals. substitute-map '(T 2M 3M 4J 5J 6M 7M) '(c3 d3 e3 f3 g3 a3 b3) '(c3 d3 e3 f3 g3 c3 c3 c3 g3 c3 c3 d3)) But in the evaluation, I get this: (t 2m 3m 4j 5j t t t 5j t t 2m) With lowercase letters, I get 2m , 3m and 5J instead of 2M, 3M and 5J (uppercase names of intervals). Since I want it for pedagogical reasons, can it be generated with the corresponding UPPERCASE letters ? Thanks in advance. All the best, Julio

Thank you. Best !