JulioHerrlein

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 !

Thank you ! I went throughout docs, but it´s not clear enough to me. I understand that using the function "add-text-attributes" I can specify a new OMN expression attached to the notation. This is clear. But, please, I need more explanation on how to use it as a keyswitch, and how are the settings to make this text attribute trigger the keyswitches of my VLS library, (or any other). Please, can you provide some example ? Do I have also change/edit the Def-Sound_sets inside lisp files inside Def-Libraries (maybe the :omn section of these files, providing the new articulation information) ? Thanks in advance. Best, Julio

Dear Friends, In a previous post (link below) there is a great description on how to configure old vsl gig versions. There is a place where you can configure the relation between the OMN articulation command with the correspondent keyswitch. QUESTIONS: 1) Let´s say I invent a new articulation in a custom sample library, for example "nail-scrape" for indicating the violin player to scrape the string with his/her nail. In this case, I need this OMN expression to: a) apear in the score notation and b) change the corresponding keyswitch. 2) In the case of the OMN expression "long", I configured it to change to the crescendo/diminuendo long samples in VSL, but this does not appear in the notation. This is great, because I don´t need it to be specified in the notation, since the long note values are enough, I just need the keyswitch. So there is the two scenarios: 1) CASE 1: OMN change keyswitch AND appear on the score 1) CASE 1: OMN change keyswitch AND DO NOT appear on the score The articulation expression syntax is a kind of yellow/brown word in the OMN code. Only articulation related words appear as an assignable articulation for this kind of use. FINALLY, THE GREAT QUESTION: How can I create my CUSTOM articulation OMN expression, like the "nail-scrape" example, so that this articulation can be customized also as appearing or not appearing in the score ? This can be really useful for expanded techniques in special scores with special sample libraries or even with scores based on customized samples, or new instruments. All the best ! Julio Herrlein :group omn stacc (:key c1 :key c1 cc1 40) stacs (:key c1 :key c1 cc1 25) ord (:key eb1 cc1 5) portato (:key cs1 cc1 5) sfz (:key e1 :key e1 cc1 25) cres (:key f1 :key f1 cc1 25) marc (:key e1 cc1 64) spicc (:key c1 cc1 120) leg (:key d1 :key d1 cc1 40) tasto (:key cs2 :key cs1 cc1 40) leg+tasto (:key cs2 :key cs1 cc1 40) tasto+leg (:key cs2 :key cs1 cc1 40)

Thanks, Stephane ! It works great with combination, instead of combination 2. Best ! Julio

Thank you ! I will try it ! Best, Julio

Dear Friends, I´m interested in the 4-note combinations of the diatonic scale without repeating elements. (combination2 4 '(c3 d3 e3 f3 g3 a3 b3)) The filter-repeat and the remove-duplicates are not giving the right result. PARTIAL RESULT,,, combination2, size: 4 ((b3 b3 b3 b3) (a3 b3 b3 b3) (g3 b3 b3 b3) (f3 b3 b3 b3) (e3 b3 b3 b3) (d3 b3 b3 b3) (c3 b3 b3 b3) (b3 a3 b3 b3) (a3 a3 b3 b3) (g3 a3 b3 b3) (f3 a3 b3 b3) (e3 a3 b3 b3) (d3 a3 b3 b3) (c3 a3 b3 b3) (b3 g3 b3 b3) (a3 g3 b3 b3) (g3 g3 b3 b3) (f3 g3 b3 b3) (e3 g3 b3 b3) (d3 g3 b3 b3) (c3 g3 b3 b3) (b3 f3 b3 b3) (a3 f3 b3 b3) (g3 f3 b3 b3) (f3 f3 b3 b3) (e3 f3 b3 b3) (d3 f3 b3 b3) (c3 f3 b3 b3) (b3 e3 b3 b3) (a3 e3 b3 b3) (g3 e3 b3 b3) (f3 e3 b3 b3) (e3 e3 b3 b3) (d3 e3 b3 b3) (c3 e3 b3 b3) (b3 d3 b3 b3) (a3 d3 b3 b3) (g3 d3 b3 b3) (f3 d3 b3 b3) (e3 d3 b3 b3) (d3 d3 b3 b3) (c3 d3 b3 b3) (b3 c3 b3 b3) (a3 c3 b3 b3) (g3 c3 b3 b3) (f3 c3 b3 b3) (e3 c3 b3 b3) (d3 c3 b3 b3) (c3 c3 b3 b3) (b3 b3 a3 b3) (a3 b3 a3 b3) (g3 b3 a3 b3) (f3 b3 a3 b3) (e3 b3 a3 b3) (d3 b3 a3 b3) (c3 b3 a3 b3) (b3 a3 a3 b3) (a3 a3 a3 b3) (g3 a3 a3 b3) (f3 a3 a3 b3) (e3 a3 a3 b3) (d3 a3 a3 b3) (c3 a3 a3 b3) (b3 g3 a3 b3) (a3 g3 a3 b3) (g3 g3 a3 b3) (f3 g3 a3 b3) (e3 g3 a3 b3) (d3 g3 a3 b3) (c3 g3 a3 b3) (b3 f3 a3 b3) (a3 f3 a3 b3) I want to filter OUT the sets like ((b3 b3 b3 b3) (a3 b3 b3 b3) (g3 b3 b3 b3) (f3 b3 b3 b3) (e3 b3 b3 b3) (d3 b3 b3 b3) With one or more repeating notes. Best, Julio

Very nice ! Some Messiaen touch.