JulioHerrlein

Thanks a lot LOOPYC! Hope you like it! Best Julio

Tested !!! It works !! No XML bug and works w/ sublists. Thanks André !! You rock ! Best, Julio

Yes, Hope he read throught this. Always amazing ideas coming. Best Julio

Thanks a lot, Ole! Best, Julio

Thanks a lot, Ole ! I noticed that problem. I got a strange musicXML result when evaluating this: (length-staccato-lists 1/16 '((e. c4 eb4 fs4 a4 tie) (s a4 e. cs4 e4 g4 e bb4 tie) (e bb4 e. d4 f4 gs4 s b4))) In the screen it appears somewhat buggy and in the XML, the result is unaltered (no staccato at all) Best ! Julio bugxml_lengthfunction2.xml

Dear Andre, Thank you! Very nice example. I will study this. Best Julio

Dear Friends, What is the exact opposite function of length-legato ? Lenght-legato turns this: onto this: I want exactly the reverse: Changing this: to this: Thanks for help ! Best ! Julio

Thank you, Janusz !

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

Thanks a lot, Janusz ! Best, Julio

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

Really Cool, Janusz !! Thanks a lot. Can we do the reverse ? Typing the Forte code 3-11b and getting the integer list (0 4 7) ?

Thanks, Stephane ! Nice to hear from you.

Very nice, Janusz ! Thank you ! Best, Julio

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

Very cool, Janusz! Im doing my doctoral dissertation now and I'm doing some thing interesting related to rhythm that certainly could be transformed in a function. I'll tell you soon. This Will be useful there. Best Julio

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

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

Here is the answer:

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

Amazing! Looking forward! Best Julio

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

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 ?

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

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