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JulioHerrlein

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Posts posted by JulioHerrlein

  1. Dear Friends,

     

    I'm happy to announce that my doctoral dissertation in music composition will have many Opusmodus examples !

     

    I'd like to know how the best way to export plots, and midi piano roll (assistants) 

    for using as examples in Microsoft Word, PDF applications, vectorial graphic software (like Corel), etc

    I was just snapshoting the screen with built in mac snapshot function (CMN + CTRL + SHIFT + 4) but wondering if

     there are some method for saving the output.

     

    Best,

    Julio

  2. WOW !!! GREAT !

    Thanks !

    It was really a lot of work done !

    Lots of sets, but it's really useful, I think.

    Best !

    Julio

    This will be in the next release, I think. Looking Forward !

    added 2 minutes later

    If you like Set Theory and Guitar, you gonna like my book. Please, Check it out !

     

    https://www.melbay.com/Products/Default.aspx?bookid=30042BCDEB

     

    Best,

    Julio

  3. It's a really  interesting issue to study the different approaches of the post tonal Theory. The more hardcore atonal side does not consider prime and inverted form as different things,  ontologically but in fact, our tonal oriented ear really can tell the difference between a major and a minor triad as a clear episthemological distinction. 

    Counting or not counting the inverted forms also have implications on the Problems of enumeration of the types of series,  as Frippertinger &  Lackner  recent studies related to group theory and a more modern approach to Hauer Tropes demonstrates. 

     

    Best 

    Julio 

  4. Really Cool, Janusz !

     

    But what I was refering would be getting the

     inverted form from the Forte Number, i.e.,

    from 3-11 and not the opposite, informing

    the integer list and getting all the info, although

     this can be very useful too.

     

    In my book, I specify this by adbing a "b" after

     the set:

    3-11 = 037

    3-11b = 047

    like this, from

    http://composertools.com/Tools/PCSets/PCSRelations.html

     

    Best !

    Julio

    image.png.49ecf06a148f5cea776764b7474a85d5.png

  5. Dear Friends,

     

    I'm working with pcs now.

    A lot of pcs have inverted forms.

    For example:

    Pcs 3-11 correspond to the minor triad (037) and also the major triad (047)

     since both have the same interval vector.

    But when I evaluate the expression below, I get only

     the prime form (037) and not the IF (047).

    Is it possible to retrieve also the inverted form, like

    the example below ?

     

    (setf pcset (pcs '3-11))

    >> (0 4 7) ???

     

    Thanks a lot

     

     

  6. Dear Friends,

     

    When working in my patches in Pure Data, one of the things I implemented back then was a

    function similar to Lenght-Weight.

    I'm searching for something like this example.

     

    1) Take a duration sequence, for example  '(s e s) used as span in OMN way, i.e., aligning the materials with the longer list of pitches.

    2) Take any pitch sequence, like for example '(c4 d4 e4 f4 g4 a4 b4 a4 g4 f4 e4 d4), gen-repeat 10 times

     

    This example could result in a ascending and descending scale with the constant rhythmic pattern (s e s).

     

    I'm thinking in a function that could put some rests in this pattern, according to his own arguments.

    For example:

     

    The argument 1 would result in an alternation of notes and rests, like

    (s e s s e s s e s s e s s e) >> Before Function

    (s -e s -s e -s s -e s -s e -s s -e) >> After Function

     

    The sequence of arguments (2 3 5) would result in putting a rest after n notes (according to the sequence

     given in the argument)

     

    (s e s s e s s e s s e s s e s e s s e s s e s s e s s e) >> Before Function

    (s e -s s e s -s e s s e s -s e s -e s s e -s s e s s e -s, etc...) >> After Function

    2         3           5                2        3           5               )

     

    And so on.

    Regarding to the pitches, the function could work like "swallowing"the note corresponding to the

     rest in the pattern, or displacing the note to the right, keeping the pattern of up and down the scale

     of the example (or any other pattern).

     

    This function already exist ?

    Best,

    Julio

  7. My definitive solution:

    I took the approach of merging the material into only one stream of 16th notes.

    After, I transpose up 4 semitones the pitch material, before the assembling.

    So, the Grand layout did the job of cros staff and also the split, because

     with the transposition, my low note became b3, instead of g3.

    So, I got it right from xml output with really need of small adjustments,

    having just to transpose the thing up 4 semitones again.

    Thanks,

    Julio

  8. Sorry, it's the reverse:

     

    RH (g3 c6) and LH (g1 g3)

     

    I'm thinking more like left hand in lower staff and right hand in upper staff, independently of the clef used.

    And, I was presuming that RH (g3 to c6) as the interval that goes from g3 (bass clef, maybe, and treble

     clef from the c4 on).

    But if the RH stay just in treble clef is ok for me, since the content of eache hand is preserved, so the

    extra ledger lines to reach g3 in treble clef is not a problem.

    Thanks a lot !

    Julio

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