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JulioHerrlein

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Everything posted by JulioHerrlein

  1. Looks great, Janusz ! The new functions omn-dictum looks great. I´m going to investigate this. Thank you !
  2. Dear Friends, I´m seriously doing a composition for String Quartet now. I was procastinating it for more than one year, but now I´m really finding good results that could be part of a composition. The question is that I generate some VERY LONG (sometimes 200 bars) of material and, inside this stream I´d like to use ONE or TWO measures of this particular stream, and more 6 measures generated by other process, interpolate some Free material in between, and so on. In general, this is the expression I use to compile each voice of the quartet: vh1 (VL), vh2 (VL2), vh3 (VLA) and vh4 (Cello) (setf vh1 (make-omn :length rv1 :pitch v1 :span :pitch :velocity (length-map len-map2 rv1 :otherwise '(mf) :repeat t) :articulation (length-map len-map1 rv1 :otherwise '(ord) :repeat t))) I do my hacks before this to transform things, but essentialy, I do my 4 make-omn expressions and, after that, I do a PS expression with my STR Quartet VST template using (list vh1 vh2 vh3 vh4). Sometimes I do one or more hacks inside the PS list like pitch-transpose, length-legato to make things more cantabile, length-diminution to vary durations, etc. THE QUESTION: Is there some way to, after I assembled the list for my 4 voices, to pick specific bars or passages i like and reorder and make some assembling to other generated material ? ONE PARTICULAR PROBLEM is that each draft means 4 streams of lists ( String quartet). I´m not wanting to mix bars 1-4 of the 1st violin with bars 123-127 of cello (altought this can be desirable...). I NEED TO TAKE ENTIRE EXCERPTS CONTAINING ALL THE 4 LISTS IN SYNC. How to deal with this massive (to the eyesight) amount of data in LISP lists without getting loose ? It´s not a simple (assemble-seq) operation (I´m aware of it), but some extracting favorite parts / specific bars, maybe setting (setf) this bars as new variables to finally use as assemble-seq in a further final compiling of a movement or a section. I´m saving everything also as musescore files, but I´m avaoiding at all cost to make this manually. I´d like to test as much as possible my sections with this flexibility. Any toughts are very appreciated ! Thank you ! All the best ! Julio
  3. The first that came to mind is Quantize. There is a lot of functions related to Rhythm (type Length for search some) The is also this one, based in my Doctoral Dissertation about rhythm. Best ! Julio
  4. My perfect solution (for Musescore): 1) Export XML (with right notation) 2) Export midi file (with keyswtches) 3) copy the keyswtches from the midi file 4) paste the tracks with the keyswitches alongside with the XML staves with the right notation, adjust the midi channels to the daw. Thats it !! Now the keyswtches are working in the notation software (you may even hide the tracks with the keyswitches in the final version). BEst ! Julio
  5. Thank you, Ole !! Now it works !! Even with PS ! It was the wrong path to the application folder !! GREAT !!!! BEst ! Julio
  6. I´d like to know if this is possible with PS function output and also with the last snippet. Here is the old post (it was before the advent of the marvellous preview score. The ideal situation for me would be call musescore to open the last score, PS or snippet generated. Ole, I got this error, doing your instructions compile-score #<score preview> musicxml-to-editor #<external-process (/usr/bin/open -a /Applications/MuseScore.app ...)[522] (exited : 1) #x3020050EBABD> I put the code you mentioned in extensions folder in the Source Code.lisp file, like this: (defparameter *snippet-clef-default* :treble-down8) (defun last-score-to-musescore () (compile-score *last-score* :output :musicxml :file "temp-last-score") (musicxml-to-editor "temp-last-score" :application "/Applications/MuseScore.app")) Best, Julio
  7. Dear Friends, Is there some way to automatically open XML files from Opusmodus to other application (Musescore, Sibelius) ? Some code to open this (or keyword). Best, Julio
  8. I discovered today that you can use just length-diminution to expand OR contract rhythms, just by using fractions. You can use ti to make some proportional metric modulation stuff. Here are some examples. ORIGINAL (length-diminution 1/1 '(q e e e e s s s s)) CONTRACT (length-diminution 2/1 '(q e e e e s s s s)) EXPAND (length-diminution 1/2 '(q e e e e s s s s)) (length-diminution 1/3 '(q e e e e s s s s)) (length-diminution 3/2 '(q e e e e s s s s)) (length-diminution 3/4 '(q e e e e s s s s)) And so on !! This is cool ! Best, Julio
  9. Just for the record... This way it worked great ! (besides my messy way to build expressions...) I find it easier to read... My mind is messy... (setf vh1 (make-omn :length rv1 :pitch v1 :span :pitch :velocity (length-map len-map2 rv1 :otherwise '(mf) :repeat t) :articulation (length-map len-map1 rv1 :otherwise '(ord) :repeat t)))
  10. Interesting... I´m going to check this. Another possibility would be to process the length-map before the make-omn expression to get more safe results. Maybe the span expression inside can spoil the length-map list management span inside the make-omn expression. That ocurred to me.... Thank you ! Best
  11. 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)))
  12. When I installed the latest version, I had to clean the cache to have it working properly. Best !
  13. Thank you, Stephane !! The core is more extended version. All the best !
  14. Interesting Free VST Orchestral Plugin from BBC. Nice for pedagogical purpose (it´s free for students) Best, Julio
  15. Congrats, André ! VEry interesting graphs representing the permutations, Didier !
  16. Yes, this is important to have flexibility on editing materials. I´d like to know how to use it better.
  17. 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
  18. 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
  19. Very nice implementation with illustrative historic background !! Congratulations, André !! Amazing ! All the best ! Julio
  20. 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 !
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