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JulioHerrlein

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  1. 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
  2. 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
  3. Great !!! Precisely what I intended. So, the Grand layout permit a lot of customization ! Thanks, Janusz ! Julio added 2 minutes later But using this, we return to the first problem, because it supposes the rhythmic independence of the voices, am I right ?
  4. 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
  5. Almost there .... Actually the cross staff worked almost perfectly but some notes got wrong. I have the exact ambitus for the hands: LH (g3 c6) and RH (g1 g3). Is there a way to force the split point of cross staff to these values ? A kind of split point function ? Best, Julio
  6. Tested !!! This is so cool !! Really works and save the time !! So many thanks !! I love Opusmodus !
  7. Yes, specially the last lines. The merge stuff. Thanks a lot ! Best, Julio (pno :omn (merge-voices omn1 omn2) :channel 1 :sound 'gm :program 0) )
  8. So beautiful, Stephane! The relative function looks to work as get harmonic path. A Good add would be the possibility of generating all the different diatonic genus of chords, like quartal, clusters and so on. Best Julio
  9. I can try the gen divide strategy, but first I'm going to save everything in one voice only, using Explode in Finale. After That, import Midi to Opusmodus (loosing all articulations and Dynamics) and try to use gen divide, gen colletct approach (like the help of Grand Layout). I'll have to calculate how many notes are in LH and How Many in RH to divide the staff (Actually there's a pattern). I don't know if I'm going to suceed. A Better approach would be a form of merging my materials (LH and RH) all inside Opusmodus, without loosing the dynamics and articulations and then use the Grand Layout example Strategy (that of gen-divide and Gen Collect) Looks complicated but less tedious than manually doing all the stuff. Any help ? Best Julio
  10. Dear Friends, I'm working on a piano piece where each hand plays complementary rhythms. For example, If LH plays (s -s s s -s) then RH plays (-s s -s -s s) accordingly whit the concept. Everything is parametric, each hand have a set of pitches, dynamics and articulations, so I did one OMN assembling for each hand, to have more control over the material. It ends like you can see in the code, below. Since all I have is just the complementary rhythms, I'd like to write it in a form of continuous sixtenth notes, in cross staff. So, the problem is that in Finale I have to manually do all this painful work, dragging notes up and down, to make cross staffing, because, the output in the XML gives me two independent voices. It's really boring to do. Is there some way to automatically generating this cross staff layout, with this architeture of coding, preserving the content of each hand ? I use this kind of writing it a lot. Thanks for help ! Best, Julio (setf pianoassemblerh (assemble-seq lhmat1)) ;;; Material for Left hand (setf pianoassemblelh (assemble-seq rhmat1b)) ;;; Material for Right hand ;;; SCORE (def-score Piano-1 (:key-signature 'atonal ;:time-signature '((4 4 3) (4 4 1)) :time-signature '((3 4)) :tempo 80 :layout (piano-layout 'piano-rh 'piano-lh :all-accidentals t)) (piano-rh :omn pianoassemblerh :channel 1 :sound 'gm :program 'acoustic-grand-piano) (piano-lh :omn pianoassemblelh ))
  11. This is cool, but I was thinking in some kind of conversion of the midi input stream into code inside opusmodus, without the need of another software. Best, Julio
  12. Dear Friends, I have a suggestion to Opusmodus. Maybe a Midi In Collect funcionality could be handy. For example, the possibility to plug in a midi controller and collect data, for example, pitches from the midi in. Chords could be collected already with syntax, i.e., like (c4e4g4) and melodies like (c4 e4 g4). A function could transform a midi input in lenghts, like c=1/16, d=1/8, or something like this. Or even a simple DAW=like recorder (with metronome) to get some motifs and transform it in OMN. If you begin working with pre-defined material, the things can go long. Just some ideas... Best, Julio
  13. PERFECT !!! added 2 minutes later More Elegant ! added 3 minutes later Thanks a lot, Janusz !
  14. I'm trying this now... Workout from Nigel Morgan book But need some help.. Rhythm list (setf r1 '(s s -s) r2 '(s s -s) r3 '(-s -s e -s) r4 '(s -s s -e) r5 '(e -e -e s -s)) ;; shuffling 10 times (let ((r-lis nil)) (dotimes (i 10) (push (rnd-unique 5'(1 2 3 4 5)) r-lis)) r-lis) ;; Here is the problem: no succes to assemble (setf r-list (assemble-section 'r r-lis)) > Error: "3" doesn't match array element type of "r While executing: ccl::concat-to-simple*, in process Listener-1(6). Please, help ! Best, Julio
  15. rnd-order !!! oh yeah ! added 3 minutes later rnd-unique
  16. Maybe Sort-series ? Getting closer (sort-series '(a d) '((4 6 2 3) (8 6 9 2) (4 6 3 7) (6 4 7 1)) :section '(0 2 3)) => ((2 3 4 6) (8 6 9 2) (3 4 6 7) (7 6 4 1))
  17. Dear, All I need a function for shuffle elements. A function similar to URN in Pure Data. The scenario: 1) I have a list of durations: s s -s s s -s -s -s e -s s -s s -e e -e -e s -s 2) The lenghts together form a 6/4 timesignature or a 12/8. 3) Just repeating the rhythm is BORING ! 4) I need variations, but I want to still sum 12/8 or 6/4. 5) So, I need to shuffle this elements, without changing the total of the sum of lenghts. TWO APPROACHES: 1) RANDOM - How to randomize, not like the random sample, but, using each element JUST ONCE, like an Hamiltonian Path ? (Actually I don't like to random things, because I feel like I'm not composing...) I'm a control Freak ! Sorry ! 2) RANDOM2 - How can I sort from sublists of the same rhtyhm EACH LIST MUST APPEAR JUST ONCE ! This approach sounds more controled 3) MY PREFERED ! How to split the lenght list, and make up combinations of sublists (absolutely controlled) ? Like this: COMPLETE LIST - (s s -s s s -s -s -s e -s s -s s -e e -e -e s -s) SUB LISTS 1 (s s -s) SUB LISTS 2 (s s -s -s ) SUB LISTS 4 (-s e -s s -s) SUB LISTS 5 (s -e e -e) SUB LISTS 6 (-e s -s) Maybe I can Initialize each one as a setf Brute force method... (setf subleng1 ' (s s -s)) (setf subleng2 '(s s -s -s )) (setf subleng3 '(-s e -s s -s)) (setf subleng4 '(s -e e -e)) ETC.... And after that use assemble-seq to the lenghts ? Or assemble-seq is just for joining sections of the composition ? Any help ? Thank you all !!! Best, Julio
  18. Got It ! You must take caution with previous evaluations. I was afraid it was a windows bug. Solved now. Thanks ! Julio
  19. Great ! Thanks you Janusz Maybe a good idea would be some kind of FLUSH function that cleans the environment, so we don't need to close and reopen the program ;) Best, Julio
  20. Dear Friends I´m working on sketches for a piano piece. I declared some variable setf´s for manipulating pitches, rhythms, etc. In the def score instance below, almost in the end of script, OM is evaluating a non-declared variable pat-pitches2. "pat-pithes2" or "pat-pitches" is not in any place of this script, altought I used this in other file. Can OM pick variables from other files ? Why OM is behaving like this ? Seems crazy. Best, Julio :pitch (ambitus '(g1 g3)(chordize-list (gen-divide '(1 1 1 1 1 1 1 1) (pitch-transpose-n '(0 0 -12 0) pat-pitches2)))) ;;; HOW OM IS EVALUATING the variable pat-pitches2 - IT is NOT declared in any place of this file !!!! :velocity velocity2
  21. It worked ! But was too much to my old computer. A lot of latency ! Time to buy a new machine, for a good reason. Best ! Julio added 5 minutes later Solved ! It runs ok through the 2 computers. Nice ! Thanks, André ! Best ! Julio
  22. Dear Friends, I´m using Opusmodus with a virtual machine and trying to send the midi out my Daw at windows 7. Please, can you give me a little help ? Every thing is ok, I just need the syntax on Opusmodus def-score to send the midi signal to the network midi, instead of the internal midi. Please, can you help, me ? Best, Julio
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