JulioHerrlein

Dear Friends, I´m working with this Lenght-Map, for articulations and dynamics. It´s not waorking the way I expected. Some are in the map, but won´t map. Some aren´t in the map, but appears... Stephane use it a lot... What I missed ? ;;;FORUM QUESTION ;;;pitches (setf v1 '(q gs4 bb4 e4 d4 eb4 fs4 b4 gs4 g4 a4 c5 bb4 a4 cs4 d4 d4 d4 g4 d5 b4 g4 f4 eb4 e4 f4 fs4 c5 bb4 eb5 cs5 fs4 g4 fs4 g4 gs4 a4 d5 b4 g4 a4 a4 gs4 bb4 e4 d4 eb4 fs4 b4 gs4 g4 a4 c5 bb4 a4 cs4 d4 d4 d4 g4 d5 b4 g4 f4 eb4 e4 f4 fs4 c5 bb4 eb5 cs5 fs4 g4 fs4 g4 gs4 a4 d5 b4 g4 a4 a4 gs4 bb4 e4 d4 eb4 fs4 b4 gs4 g4 a4 c5 bb4 a4 cs4 d4 d4 d4 g4 d5 b4 g4 f4 eb4 e4 f4 fs4 c5 bb4 eb5 cs5 fs4 g4 fs4 g4 gs4 a4 d5 b4 g4 a4 a4 gs4 bb4 e4 d4 eb4 fs4 b4 gs4 g4 a4 c5 bb4 a4 cs4 d4 d4 d4 g4 d5 b4 g4 f4 eb4 e4 f4 fs4 c5 bb4 eb5 cs5 fs4 g4 fs4 g4 gs4 a4 d5 b4 g4 a4 a4 gs4 bb4 e4 d4 eb4 fs4 b4 gs4 g4 a4 c5 bb4 a4 cs4 d4 d4 d4 g4 d5 b4 g4 f4 eb4 e4 f4 fs4 c5 bb4 eb5 cs5 fs4 g4 fs4 g4 gs4 a4 d5 b4 g4 a4 a4 gs4 bb4 e4 d4 eb4 fs4 b4 gs4 g4 a4 c5 bb4 a4 cs4 d4 d4 d4 g4 d5 b4 g4 f4 eb4 e4 f4 fs4 c5 bb4 eb5 cs5 fs4 g4 fs4 g4 gs4 a4 d5 b4 g4 a4 a4 gs4 bb4 e4 d4 eb4 fs4 b4 gs4 g4 a4 c5 bb4 a4 cs4 d4 d4 d4 g4 d5 b4 g4 f4 eb4 e4 f4 fs4 c5 bb4 eb5 cs5 fs4 g4 fs4 g4 gs4 a4 d5 b4 g4 a4 a4 gs4 bb4 e4 d4 eb4 fs4 b4 gs4 g4 a4 c5 bb4 a4 cs4 d4 d4 d4 g4 d5 b4 g4 f4 eb4 e4 f4 fs4 c5 bb4 eb5 cs5 fs4 g4 fs4 g4 gs4 a4 d5 b4 g4 a4 a4 gs4 bb4 e4 d4 eb4 fs4 b4 gs4 g4 a4 c5 bb4 a4 cs4 d4 d4 d4 g4 d5 b4 g4 f4 eb4 e4 f4 fs4 c5 bb4 eb5 cs5 fs4 g4 fs4 g4 gs4 a4 d5 b4 g4 a4 a4 gs4 bb4 e4 d4 eb4 fs4 b4 gs4 g4 a4 c5 bb4 a4 cs4 d4 d4 d4 g4 d5 b4 g4 f4 eb4 e4 f4 fs4 c5 bb4 eb5 cs5 fs4 g4 fs4 g4 gs4 a4 d5 b4 g4 a4 a4)) ;;; rhythm (setf rv1 '(w s s s s tie q -q s s s s -q -q -q -q q -q -q h -q h. -e. s s s s s s e s -s e. tie q -q)) ;;; Length Map (setf len-map1 '((e (stacc)) (s (ord)) (h (long)) (h. (long)) (w (long)))) (setf len-map2 '((e (rnd-pick '(ff mf))) (s (mf)) (e. (mf)) (h (p<f)) (h. (p<f)) (w (p<f)))) (setf vh1 (make-omn :length (span v1 rv1) :pitch (omn :pitch v1) :velocity (length-map len-map2 rv1 :otherwise '(mf) :repeat t) :articulation (length-map len-map1 rv1 :otherwise '(ord) :repeat t)))

When I installed the latest version, I had to clean the cache to have it working properly. Best !

Thank you, Stephane !! The core is more extended version. All the best !

Interesting Free VST Orchestral Plugin from BBC. Nice for pedagogical purpose (it´s free for students) Best, Julio

Congrats, André ! VEry interesting graphs representing the permutations, Didier !

Yes, this is important to have flexibility on editing materials. I´d like to know how to use it better.

Thanks, André ! It´s interesting to note that it relates to the idea of what is considered among the forms of the any 12 tone row. The question is if the proliferant series resultant are some kind of transposition, inversion, rotation, retrogradation or multiplication of the original tone row. In the studies about the enumeration of tone rows this is a decisive point. What is considered to be related or derived of a first tone row ? I´m not absolutely sure about it, but I´m using this as a reflection... So, maybe we can consider the following as byproducts of a given 12 tone aggregate, in original (O) form: 1) There wil be 12 transpositions of (O) 2) the Inverted Form ( I ) and 12 transpositions of it; 3) the Retrograde Form ( R ) and 12 transpositions of it; 4) the Retrograde Inversion Form ( RI ) and 12 transpositions of it; This (O, R, RI and I) sums 48 derived rows of one 12-tone aggregate and this is the basic matrix. This is the trivial 12-tone theory, but beyond that, what can we consider as being derived from the same ordered set ? It´s not difficult to accept that all rotations of a 12-tone ordered set are derived from it. Take for example this Opus 25 tone row from "Arnie": E–F–G–D♭–G♭–E♭–A♭–D–B–C–A–B♭ (O, rot 0) F–G–D♭–G♭–E♭–A♭–D–B–C–A–B♭-E (O, rot 1) G–D♭–G♭–E♭–A♭–D–B–C–A–B♭-E-F (O, Rot 2) D♭–G♭–E♭–A♭–D–B–C–A–B♭-E-F-G (etc) G♭–E♭–A♭–D–B–C–A–B♭-E-F-G-Db E♭–A♭–D–B–C–A–B♭-E-F-G-Db-Gb A♭–D–B–C–A–B♭-E-F-G-Db-Gb-Eb D–B–C–A–B♭-E-F-G-Db-Gb-Eb-Ab B–C–A–B♭-E-F-G-Db-Gb-Eb-Ab-D C–A–B♭-E-F-G-Db-Gb-Eb-Ab-D-B A–B♭-E-F-G-Db-Gb-Eb-Ab-D-B-C B♭-E-F-G-Db-Gb-Eb-Ab-D-B-C-A E-F-G-Db-Gb-Eb-Ab-D-B-C-Bb 1) The 12 rotations of ( O ) and all this transpositions (144) 1) The 12 rotations of ( I ) and all this transpositions (144) 1) The 12 rotations of ( R ) and all this transpositions (144) 1) The 12 rotations of ( RI ) and all this transpositions (144) So, thinking this way, there are actually 576 derived forms of one each 12-tone row. In some special cases, the ( I ) can be the same of some retrograde or transposing form, in the case of invariance. The same goes for some types of hexachordal combinatoriality. And there are the multiplication series... Just some food for thoughts All the best ! Julio

Thank you, for the information !! André, could you do a brief explanation of the function, please ? I´m interested in ways of construction 12 tone sequences, aka rows... Unfortunately, I can´t read german despite my german surname... All the best !! Here is some recent review articles about AIR series, by Marco Nardelli https://www.researchgate.net/publication/342093979_The_Hitchhiker's_Guide_to_the_All-Interval_12-Tone_Rows

Very nice implementation with illustrative historic background !! Congratulations, André !! Amazing ! All the best ! Julio

Yes, you can work with any libraries of your choice and Opusmodus can customize the way it sends articulations (key switches, for example) to your sounds. It´s very musical , because articulations can be programmed in conjunction with the notation output. You can even build your custom set of sounds/notations and integrate it. Best ! THere are many other examples in the Forum, by Stephane !

Thanks a lot !!!

Nice quetion, Ole ! I´d like to know this, too ! Best, Julio

Thank you, Torsten ! All the best !

Now we have length-legato Just revisiting the forum... In the search of length-delta-map examples. Best !

Looks great ! Thank you !

Very nice information, Andre ! I didn´t know this technique ! In english sounds like structural network, I suppose. It´s beautiful when some intuition resonates with music history. Feels like going in the right direction. Thank you ! Best ! Julio

Thanks, Andre ! I will check the Lachenmann piece, for sure. I was thinking in a possible algorithm for such function: 1) Take an OMN expression 2) Calculate the empty spaces (rest space) 3) Fill the spaces with notes, based on each gap, using a predefined quantization (1/16, 1/8, random, etc) and a filling density level (0-100 %, of the space) 4) Fill the spaces with predefined pitch lists, motifs, rhythmmic sets, etc, that can be trimmed, rotated and start on any note 5) Fill the spaces like mentioned before with some pitch quality control (tonality-map) and pitch melodic direction control (up, down, repeat, vector). 6) Fill the spaces like before with any predefined method populate-spaces populate-gap fill-spaces fill-gap This would be really useful, IMHO. All the best ! Julio

Something like this For a more refined Idea, this population could be oriented by tonality-map for chord-guided notes and some vector (for melodic directions). Thanks, Stephane I´ll try your suggestion

THINKING OUT LOUD (some hours after).... Actually, I'd like to have a function or a kind of method that allow me to insert notes and rhythms between some "anchor points", that remains unaltered. Like inserting ornaments in a choral chordal texture: you have a sequence of chords you don't want to alter, but you need melodic movement between this chords. This is a procedure I usea lot: starting from block harmony and then fill the gaps between chords in a more polyphonic oriented texture.

Dear friends, I´m looking for a specific kind of repeating function. In the example below, I have one d4 in the first violin. Then comes an a4, etc. LOOKING FOR SOMETHING LIKE: 1) to have repetitions of the same note in the blank space (instead of pauses), but all have to be measured inside the exact space that is between the first and second note. Sometimes this spaces of rests are different among each pair of subsequent notes. The function must calculate the spaces among each pair of notes before making the repetitions 2) alternatively, this repetitions could be kind of irregular, leaving some spaces of pauses, like a density control. Is there something similar to this function already in Opusmodus ? Thank you ! Best ! For each voice, I use a expression like this: (setf v1 (make-omn :length (span vuzapit vuzarit1) :pitch (ambitus 'violin vuzapit) :velocity dynhomo))

Is there some function in Opusmodus for Vuza Canons ? It´s very interesting ! All the best ! Julio Rhythmic canons (6) – alpof ALPOF.WORDPRESS.COM This post is a follow-up on the subject of rhythmic canons and the last post. Today I will talk specifically about Vuza canons, i.e. non-periodic canons. I'll start with an example. Let's take the motive $latex A=\{0,1,8,9,17,28\}$. Can this be a motive for a rhythmic canon, i.e. does it tile $latex \mathbb{Z}_n$ for some integer… http://canonsrythmiques.free.fr/pdf/zurichepos.pdf

I use to create a standard OPMO file for the functions I want to study and learn more. And I put this files into FOLDERS in the left side (I call the folder "Functions" So, I copy the text of the documentation to the .opmo file and I can do my annotations and my examples in this. I think it's important that the updates come with the new revised functions and having the option to not update the function can create some confusion and led you to not have the right documentation. All the best ! Julio Just my 2 cents (I'm a user, like you).