JulioHerrlein

Harmonic voice distribution is vertical (stream).
If you wish to apply a series of pitches to voices (instruments) just get count of the lengths form each of the voice and divide the pitch series accordingly - very simple.

I agree, an horizontal replacement possibility would be very useful.
 
Best !
 
SB.

Dear Friends,
 
Please check this replace-stream function !!
This is what I was searching for and trying to achieve for a long time !!
It really worth to upgrade.
 
I have some questions regarding this new tool:
Here is the code, similar to the documentation.
First, we have the Bach Chorale.
Second, there are some original material that looks like this:
V1 plays only E and F pitch classes
V2 plays only C and D pitch classes
VLA plays only Bb and G# pitch classes
CELLO plays only Bb and Eb pitch classes
 
For easy understanding of the point

When I do the replace-stream, I.E., using the new pitch classes to the old Bach Chorale, I get this

My new notes are traversing the instruments vertically and not horizontally (voice by voice)
I´d like to keep the same pitch classes in each instrument, just with the new rhythms of the Bach Chorale, I.E., the VL1 plays only E and F, the VL2, only C and D, as I had in the original music.
 
It´s just like an inverted axis... (or maybe the distribution is related with the length...)
 
There is some solution ?
I hope so, because this sounds AMAZING !
It´s just what I need !
I was trying to do this with the counterpoint function (in the previous post, with the :harmony keyword, but getting some noise in between, because of the nature of embedded harmonic path inside the Counterpoint function.
 
 
Best !
Julio
 
 
 
 
;;;FORUM QUESTION ;;--------------------------------------------------------- ;; Bach, BWV 0004 (progn (setf soprano '((-h. q b4) (q as4 e b4 cs5 q d5 e5) (q d5 cs5 b4 fermata b4) (q g4 a4 b4 e a4 g4) (e fs4 e4 q fs4 e4 fermata b4) (q as4 e b4 cs5 q d5 e5) (q d5 cs5 b4 fermata b4) (q g4 a4 b4 e a4 g4) (e fs4 e4 q fs4 e4 fermata -q) (e e4 fs4 q g4 a4 e e4 fs4) (q g4 a4 b4 fermata b4) (q e5 ds5 e5 e fs5 e5) (q d5 cs5 b4 fermata cs5) (q d5 e b4 cs5 q d5 a4) (q g4 fs4 h e4 fermata) (q b4 a4 h g4) (h fs4 e4 fermata)) alto '((-h. q g4) (q fs4 fs4 fs4 fs4) (q fs4 e fs4 e4 q ds4 fermata fs4) (q e4 d4 e d4 ds4 q e4 tie) (q e4 ds4 b3 fermata g4) (q fs4 fs4 fs4 fs4) (q fs4 e fs4 e4 q ds4 fermata fs4) (q e4 d4 e d4 ds4 q e4 tie) (q e4 ds4 b3 fermata -q) (q b3 e4 q. e4 e ds4) (q e4 d4 d4 fermata e g4 a4) (q b4 a4 b4 fs4) (q fs4 e fs4 e4 q d4 fermata e4) (q fs4 d4 g4 fs4) (e fs4 e4 e4 ds4 h e4 fermata) (e d4 e4 q. fs4 e ds4 q e4 tie) (q e4 ds4 h b3 fermata)) tenor '((-h. e e4 d4) (q cs4 e d4 as3 q b3 cs4) (q b3 as3 fs3 fermata b3) (e b3 c4 b3 a3 g3 a3 q b3) (q c4 e fs3 a3 q g3 fermata e e4 d4) (q cs4 e d4 as3 q b3 cs4) (q b3 as3 fs3 fermata b3) (e b3 c4 b3 a3 g3 a3 q b3) (q c4 e fs3 a3 q g3 fermata -q) (e g3 a3 q b3 e a3 b3 q c4) (q b3 a3 g3 fermata d4) (q g4 fs4 e e4 d4 q cs4) (q b3 as3 fs3 fermata g3) (q a3 g3 g3 e d4 c4) (q b3 a3 h g3 fermata) (q g3 e fs3 b3 q b3 c4 tie) (q c4 e b3 a3 h gs3 fermata)) bass '((-h. q e3) (e fs3 e3 d3 cs3 q b2 as2) (q b2 fs2 b2 fermata ds3) (q e3 fs3 e g3 fs3 q e3) (e a2 s b2 c3 q b2 e2 fermata e3) (e fs3 e3 d3 cs3 q b2 as2) (q b2 fs2 b2 fermata ds3) (q e3 fs3 e g3 fs3 q e3) (e a2 s b2 c3 q b2 e2 fermata -q) (q. e3 e d3 c3 b2 q a2) (q e3 fs3 g3 e g3 fermata fs3) (q e3 fs3 gs3 as3) (q b3 fs3 b2 fermata e3) (q d3 g3 e b2 c3 q d3) (q e3 b2 h c3 fermata) (q g3 ds3 e3 c3) (q a2 b2 h e2 fermata))) (def-score bach-bwv-0004 ( :title "Bach, BWV-0004" :composer "J.S. Bach" :key-signature '(e min) :time-signature '(4 4) :tempo 88 :layout (choir-satb-layout 'soprano 'alto 'tenor 'bass) ) (soprano :omn soprano :channel 1 :sound 'gm :program 0) (alto :omn alto :channel 2) (tenor :omn tenor :channel 3) (bass :omn bass :channel 4) ) ) ;;; ORIGINAL MATERIAL (4 voices) ;; EACH VOICE USES DIFFERENT PITCH CLASSES FOR DEBUG ;;; this voice uses only pcs E and F (setf v1mat-a '((e f5 stacc) (e e5 stacc h. f5 p<f long e e5 mf stacc f5 stacc h. e5 p<f long) (q f5 mf ord) (3q e5 ord f5 ord e5 ord e. f5 ord q e5 ord s f5 ord -q. e e5 stacc q f5 ord -e e5 stacc))) ;;; this voice uses only pcs C and D (setf v2mat-a '((-q -e c4 f stacc) (h d4 p<f long -q -e c4 f stacc h d4 p<f long) (-e c4 f stacc) (h. d4 p<f long -h -e c4 f stacc q d4 mf ord) (3q c4 ord) (3q d4 ord c4 ord e. d4 ord q c4 ord s d4 ord -e c4 f stacc h d4 p<f long -e c4 f stacc q d4 mf ord))) ;;; this voice uses only pcs Bb and G# (setf v3mat-a '((-q -e bb3 stacc) (h gs3 p<f long -q -e bb3 mf stacc h gs3 p<f long) (-e bb3 mf stacc) (h. gs3 p<f long -h -e bb3 mf stacc q gs3 ord) (3q bb3 ord))) ;;; this voice uses only pcs Bb and Eb (setf v4mat-a '((-q - -e bb2 stacc) (q eb2 ord - - -e bb2 stacc q eb2 ord) (e bb2 stacc) (h.. eb2 ord q bb2 ord 3q eb2 ord bb2 ord eb2 ord e. bb2 ord s eb2 ord e bb2 stacc eb2 stacc))) ;;; PREVIEW ORIGINAL MATERIAL (ps 'gm :sq (list (pitch-transpose 0 (ambitus 'violin v1mat-a )) (pitch-transpose 0 (ambitus 'violin v2mat-a)) (pitch-transpose 0 (ambitus 'viola v3mat-a)) (pitch-transpose 0 (ambitus 'cello v4mat-a)) ) :key-signature 'atonal :time-signature '(4 4) ;:tempo 90 :flexible-clef nil :title "replace stream" :display :window) (setf original-pitches (list v1mat-a v2mat-a v3mat-a v4mat-a)) (setf stream (collect-stream :pitch original-pitches)) (setf bach (collect-score-instruments 'bach-bwv-0004)) (replace-stream stream bach :index 'v :articulation nil :rest-articulation nil) (ps 'gm :sq (list v1 v2 v3 v4) :time-signature '(3 4) :tempo tempo )  

Dear Friends,
 
Please check this replace-stream function !!
This is what I was searching for and trying to achieve for a long time !!
It really worth to upgrade.
 
I have some questions regarding this new tool:
Here is the code, similar to the documentation.
First, we have the Bach Chorale.
Second, there are some original material that looks like this:
V1 plays only E and F pitch classes
V2 plays only C and D pitch classes
VLA plays only Bb and G# pitch classes
CELLO plays only Bb and Eb pitch classes
 
For easy understanding of the point

When I do the replace-stream, I.E., using the new pitch classes to the old Bach Chorale, I get this

My new notes are traversing the instruments vertically and not horizontally (voice by voice)
I´d like to keep the same pitch classes in each instrument, just with the new rhythms of the Bach Chorale, I.E., the VL1 plays only E and F, the VL2, only C and D, as I had in the original music.
 
It´s just like an inverted axis... (or maybe the distribution is related with the length...)
 
There is some solution ?
I hope so, because this sounds AMAZING !
It´s just what I need !
I was trying to do this with the counterpoint function (in the previous post, with the :harmony keyword, but getting some noise in between, because of the nature of embedded harmonic path inside the Counterpoint function.
 
 
Best !
Julio
 
 
 
 
;;;FORUM QUESTION ;;--------------------------------------------------------- ;; Bach, BWV 0004 (progn (setf soprano '((-h. q b4) (q as4 e b4 cs5 q d5 e5) (q d5 cs5 b4 fermata b4) (q g4 a4 b4 e a4 g4) (e fs4 e4 q fs4 e4 fermata b4) (q as4 e b4 cs5 q d5 e5) (q d5 cs5 b4 fermata b4) (q g4 a4 b4 e a4 g4) (e fs4 e4 q fs4 e4 fermata -q) (e e4 fs4 q g4 a4 e e4 fs4) (q g4 a4 b4 fermata b4) (q e5 ds5 e5 e fs5 e5) (q d5 cs5 b4 fermata cs5) (q d5 e b4 cs5 q d5 a4) (q g4 fs4 h e4 fermata) (q b4 a4 h g4) (h fs4 e4 fermata)) alto '((-h. q g4) (q fs4 fs4 fs4 fs4) (q fs4 e fs4 e4 q ds4 fermata fs4) (q e4 d4 e d4 ds4 q e4 tie) (q e4 ds4 b3 fermata g4) (q fs4 fs4 fs4 fs4) (q fs4 e fs4 e4 q ds4 fermata fs4) (q e4 d4 e d4 ds4 q e4 tie) (q e4 ds4 b3 fermata -q) (q b3 e4 q. e4 e ds4) (q e4 d4 d4 fermata e g4 a4) (q b4 a4 b4 fs4) (q fs4 e fs4 e4 q d4 fermata e4) (q fs4 d4 g4 fs4) (e fs4 e4 e4 ds4 h e4 fermata) (e d4 e4 q. fs4 e ds4 q e4 tie) (q e4 ds4 h b3 fermata)) tenor '((-h. e e4 d4) (q cs4 e d4 as3 q b3 cs4) (q b3 as3 fs3 fermata b3) (e b3 c4 b3 a3 g3 a3 q b3) (q c4 e fs3 a3 q g3 fermata e e4 d4) (q cs4 e d4 as3 q b3 cs4) (q b3 as3 fs3 fermata b3) (e b3 c4 b3 a3 g3 a3 q b3) (q c4 e fs3 a3 q g3 fermata -q) (e g3 a3 q b3 e a3 b3 q c4) (q b3 a3 g3 fermata d4) (q g4 fs4 e e4 d4 q cs4) (q b3 as3 fs3 fermata g3) (q a3 g3 g3 e d4 c4) (q b3 a3 h g3 fermata) (q g3 e fs3 b3 q b3 c4 tie) (q c4 e b3 a3 h gs3 fermata)) bass '((-h. q e3) (e fs3 e3 d3 cs3 q b2 as2) (q b2 fs2 b2 fermata ds3) (q e3 fs3 e g3 fs3 q e3) (e a2 s b2 c3 q b2 e2 fermata e3) (e fs3 e3 d3 cs3 q b2 as2) (q b2 fs2 b2 fermata ds3) (q e3 fs3 e g3 fs3 q e3) (e a2 s b2 c3 q b2 e2 fermata -q) (q. e3 e d3 c3 b2 q a2) (q e3 fs3 g3 e g3 fermata fs3) (q e3 fs3 gs3 as3) (q b3 fs3 b2 fermata e3) (q d3 g3 e b2 c3 q d3) (q e3 b2 h c3 fermata) (q g3 ds3 e3 c3) (q a2 b2 h e2 fermata))) (def-score bach-bwv-0004 ( :title "Bach, BWV-0004" :composer "J.S. Bach" :key-signature '(e min) :time-signature '(4 4) :tempo 88 :layout (choir-satb-layout 'soprano 'alto 'tenor 'bass) ) (soprano :omn soprano :channel 1 :sound 'gm :program 0) (alto :omn alto :channel 2) (tenor :omn tenor :channel 3) (bass :omn bass :channel 4) ) ) ;;; ORIGINAL MATERIAL (4 voices) ;; EACH VOICE USES DIFFERENT PITCH CLASSES FOR DEBUG ;;; this voice uses only pcs E and F (setf v1mat-a '((e f5 stacc) (e e5 stacc h. f5 p<f long e e5 mf stacc f5 stacc h. e5 p<f long) (q f5 mf ord) (3q e5 ord f5 ord e5 ord e. f5 ord q e5 ord s f5 ord -q. e e5 stacc q f5 ord -e e5 stacc))) ;;; this voice uses only pcs C and D (setf v2mat-a '((-q -e c4 f stacc) (h d4 p<f long -q -e c4 f stacc h d4 p<f long) (-e c4 f stacc) (h. d4 p<f long -h -e c4 f stacc q d4 mf ord) (3q c4 ord) (3q d4 ord c4 ord e. d4 ord q c4 ord s d4 ord -e c4 f stacc h d4 p<f long -e c4 f stacc q d4 mf ord))) ;;; this voice uses only pcs Bb and G# (setf v3mat-a '((-q -e bb3 stacc) (h gs3 p<f long -q -e bb3 mf stacc h gs3 p<f long) (-e bb3 mf stacc) (h. gs3 p<f long -h -e bb3 mf stacc q gs3 ord) (3q bb3 ord))) ;;; this voice uses only pcs Bb and Eb (setf v4mat-a '((-q - -e bb2 stacc) (q eb2 ord - - -e bb2 stacc q eb2 ord) (e bb2 stacc) (h.. eb2 ord q bb2 ord 3q eb2 ord bb2 ord eb2 ord e. bb2 ord s eb2 ord e bb2 stacc eb2 stacc))) ;;; PREVIEW ORIGINAL MATERIAL (ps 'gm :sq (list (pitch-transpose 0 (ambitus 'violin v1mat-a )) (pitch-transpose 0 (ambitus 'violin v2mat-a)) (pitch-transpose 0 (ambitus 'viola v3mat-a)) (pitch-transpose 0 (ambitus 'cello v4mat-a)) ) :key-signature 'atonal :time-signature '(4 4) ;:tempo 90 :flexible-clef nil :title "replace stream" :display :window) (setf original-pitches (list v1mat-a v2mat-a v3mat-a v4mat-a)) (setf stream (collect-stream :pitch original-pitches)) (setf bach (collect-score-instruments 'bach-bwv-0004)) (replace-stream stream bach :index 'v :articulation nil :rest-articulation nil) (ps 'gm :sq (list v1 v2 v3 v4) :time-signature '(3 4) :tempo tempo )  

Will have a look.

:group velocity           dyn (:velocity (velocity-to-dynamic x))  
Check the doc velocity-to-dynamic function.
(velocity-to-dynamic '(p p mp mp f ff mp mp p f)) => (p< < mp< < f< ff> mp> > p< f) (velocity-to-dynamic '(p p mp mp f ff mp mp p f) :extend t) => (p< < < < < ff> > > p< f) (velocity-to-dynamic '(p p mp mp f ff mp mp p f) :end 'pp) => (p< < mp< < f< ff> mp> > p> pp) (velocity-to-dynamic '((pppp ppp ppp pp ppp p p mp mf mf) (f ff mf mp p ppp pppp))) => ((pppp< ppp< < pp> ppp< p< < mp< mf< <) (f< ff> mf> mp> p> ppp> pppp))  

The notes in patterns are not really rounded, they are the harmonic path itself, they are played sequentially in order from the notes given to :harmony parameter , so if you want to use closest path or any voices leading technique, you need to prepare your :harmony sequence of pitches right to be what you need.
 
This :harmony could be also useful for serial or pitch-class composers who want to play the pitches from some row/Pcs in order, kind of horizontal distribution of pitches for motivic design.  
 
For vertical distribution across voices, I would probably prefer to use the distribute-seq function or a similar approach.
 
It is also possible to use tonality-map function after the counterpoint but it would be nice to be able to use it also directly into counterpoint dictum like the :harmony keyword,
something like :tonality keyword.  Janusz ?  🙂
 
Best !
 
Stf
 
 

Please, note that harmony in counterpoint is the application of the harmonic-path function, who allow you to keep voice leading in chords
as I showed several times in my lessons, and it is very different than tonality-map function.
 
Btw, if you use scale in :harmony parameter you will get scalar motive in counterpoint but if you use chords with well defined voices leading from chord to chord, the result could become much interesting in terms of harmonic control and voice leading control 
SB.

That's lisp 😉
 
 

Try this :
 
(progn ;; Global SEED (init-seed 15342) ;; Patterns (setf ;p1 '((-s c1 p g2 cs3) (3q fs3 - bb3) (-3q eb4 mf a4) (-s b4 d5 f5) ; (-5q gs5 e6 c1 mp g2) (-3q cs3 fs3 mf) (s bb3 - eb4 p a4) (s b4 mp d5 f5 -)) ;p2 '((5q bb2 mf g3 c4 e3 a3) (5q d4 mp fs4 gs4 b4 p cs5) (s f5 eb6 bb3 g3)) ;p3 '((5q fs4 p - bb3 f3 e4) (-3q g4 c5) (s eb5 a5 mf cs6 gs6) ; (5q gs6 pp cs6 mf a5 eb5 -) (-s c5 g4 e4)) ;p4 '((5q bb3 p a4 c6 cs6 cs6) (s g7 mp a6 c6 e5 - d4 cs4 g3 3h fs3 eb3 -) ; (-3q b6 pp a6 5q c6 - d5 bb4 b3 -s gs3 f1 eb3)) p5 '((5q c2 mf g2 e2 a2 b2) (5q fs5 p gs5 bb5 b5 cs5 mp) (s f5 eb6 c6 p g6)) p6 '(s a4 p e b5 s gs3 3h f3 3q e2 5h eb4 5q g5 fs2 f4) p7 '(5q cs5 mf d5 5h eb5 5q f5 fs5 gs5 5h a5 f 5q bb5 5h b5 5q cs6 5h) p8 '(t bb4 mp cs6 c5 b5 bb4 cs6 a3 gs2 3q a2 gs5 fs4) ) (setf p1 '(e d7 d7 d7 d7 d7 d7 d7 d7 s d6 d6 d6 d6 d6 d6 d6 d6 h)) (setf p2 '(e d5 d5 d5 d5 d5 d5 d5 d5 s d4 d4 d4 d4 d4 d4 d4 d4 h)) (setf p3 '(e d4 d4 d4 d4 d4 d4 d4 d4 s s s s s s s s h d3)) (setf p4 '(e d2 d2 d2 d2 d2 d2 d2 d2 s s s s s s s s h d1)) ;(pitch-transpose 2 p4) (setf patterns (list p1 p2 p3 p4 p5 p6 p7 p8)) (setf harmony2 '((a3b3e4gs4) (b3e4gs4a3) (e4gs4a3b3)(gs4a3b3e4))) (setf dictum-a `(((1 2 3 4) :harmony ,harmony2 :tempo 72) ((1 2 3 4) :harmony ((a3b3e4gs4) (b3e4gs4a3) (e4gs4a3b3)(gs4a3b3e4)) :tempo 72) ((2 1 3 4) :harmony ((a3b3e4gs4) (b3e4gs4a3) (e4gs4a3b3)(gs4a3b3e4)):methods (- ri - -) :tempo 72) ((3 2 1 4) :harmony ((a3b3e4gs4) (b3e4gs4a3) (e4gs4a3b3)(gs4a3b3e4)):methods (a d2 r -) :tempo 72) ((4 3 2 1) :harmony ((a3b3e4gs4) (b3e4gs4a3) (e4gs4a3b3)(gs4a3b3e4)) :tempo 72) ((4 2 1 4):harmony a3b3e4gs4) ((2 3 1 4):harmony a3b3e4gs4) ((3 2 1 4):harmony a3b3e4gs4) ((- - - -) :span 1/4 :harmony a3b3e4gs4)) dictum-b '(((- 5 2 -) :span 3/4 :methods (- ri - -) :tempo 64) ((- 2 2 6) :span 3/4 :methods (- d d3 -) :tempo (:rit 80 56 1/64)) ((4 6 6 8) :span 2/4 :methods (a d2 r -) :tempo 88) ((- - - -) :span 1/4)) dictum-c '(((7 4 - 5) :methods (a d i ?) :extend (s - s -) :tempo 64) ((1 2 2 3) :methods (a d i -) :extend (s - s -))) dictum-d '(((- 3 - -) :methods (- - - -) :tempo 80) ((- 2 - -) :methods (- - - -)) ((- 4 - -) :methods (< - - -)) ;((1 1 1 1) :methods (da ad (r d5) (i d2)) :polyphony (7 o) :tempo 72) ) ) ;; Sections (setf sec-a (counterpoint patterns dictum-a :global-methods '((dyn fl) - - -))) (setf sec-b (counterpoint patterns dictum-b :global-methods '((dyn fl) (dyn cl) (t-12 dyn hn) (t-12 dyn vc)) :global-polyphony '((10 p) (1 13)) :iterate t)) (setf sec-c (counterpoint patterns dictum-c :global-methods '((dyn fl) (dyn cl) (t-12 dyn hn) (t-12 dyn vc)) :global-polyphony '((7 p) (1 13)) :iterate t)) (setf sec-d (counterpoint patterns dictum-d :global-methods '((dyn fl) (dyn cl) (dyn hn) (dyn vc)))) ;; Assemble Voices (assemble-voices 'voice sec-a sec-b sec-c sec-d) (ps 'gm :sq ;(list (pitch-transpose 12 vh1-2) vh2-2 vh3-2 vh4-2) (list (pitch-transpose 0 voice1) (pitch-transpose 0 voice2) (pitch-transpose 0 voice3) (pitch-transpose 0 voice4) #| (pitch-transpose 0 (ambitus 'violin voice1)) (pitch-transpose 0 (ambitus 'violin voice2)) (pitch-transpose 0 (ambitus 'viola voice3)) (pitch-transpose -12 (ambitus 'cello voice4)) |# ) :key-signature 'atonal ;;;obs:it´s possible to bypass the time signature we did before opening the time signature here ;;time-signature timesig-proc are processed lists of time-signatures ;:time-signature timesig ;:tempo 90 :flexible-clef nil :title ;:flexible-clef nil "Quartet Harmony Control - JULIO HERRLEIN" :display :window) ;; Global SEED back to NIL (init-seed nil) ) SB
The trick is here with backquote:
 
`(((1 2 3 4) :harmony ,harmony2 :tempo 72)

You can display one instrument as a snippet (notation only) and them play all instrument with audition only.

Load:
 
(load "directory/file-name")  

Loop in the loop:
 
(let ((rem (ambitus '(c5 b5) (expand-tonality '((c5 major) (db5 major) (gb5 major)))))       (super (ambitus '(c5 b5) '((d5 f5 a5 c6) (eb4 gb4 bb4 db4) (fs4 as4 cs4)))))   (loop for s in super     for r in rem     collect (loop for i in s               do (setf r (remove i r))               finally (return r))))

New Function:
 
search-for-pattern
 
This function searches for a recurring pattern in a sequence.
The result is a bar number in which the pattern has been found and a count number of the recurrence in the bar.
The pitch and interval element returns a variant recurrence if found.
 
(setf rh '((-s) (e f4e5 pp -s db5)            (-s) (-s eb4 pp c4d5 -)            (-s) (-s c4d5 pp eb4 -)            (-s) (e db5 pp -s f4e5)            (-s) (s gb4f5 p a5 -)            (s d4ab4db5 p bb4 -) (-s a5 p gb4f5)            (-s) (s b5 f gb4g5 -)            (s a3bb4 f ab4 -) (s c4d5 f> eb4 -)            (s db5 f> f4e5 -) (-s)            (s gb4f5 p a5 d4ab4db5 bb4 -) (-s)            (-s a5 pp gb4f5) (-s)            (-t b2 f e3 bb3 - d5 c4eb4) (-s)            (s db3 f - s. g5 -t) (s gb4f5 p)            (-t a3 mp ab3 mf -s. t db5f5 f c4 -) (s e3e4 p)            (-t s. d2 f -s ab5 mf) (-s)            (t gb4a4 p g3 mp - b2 f e3 bb3 e3 a3 eb4 - g5 mf f4ab4 mp) (-s)            (s f2 f - s. c6 -t) (s b2bb3 p)            (-s t db5 mp -s. t gb5bb5 f4 f -) (t a3 f ab2 - ab2 a3)            (-t f4 f gb5bb5 mf) (-t a3 mp d4ab4 c4 p bb5db6 mf)            (-t b2 f3 b2 -) (t bb5db6 c5 f d4ab4 a3 p)            (-s) (t b4eb5 p bb3 -)            (t d4 p db3 - db3 d4) (-t bb3 p b4eb5)            (-s) (-s eb5 p bb3b4 -) (-s)            (e d4db5 p -s c5) (-s)            (e c5 p -s d4db5) (-s)            (-s bb3b4 p eb5 -) (-s)            (-s ab3g4 p e4 mf) (-s c4gb4b4 f5)            (-s db5 mp bb3a4) (-s)            (-s eb4d5 p gb4) (-s e4 p f3g4)            (-s b3 p a2bb3) (-s c5db6 pp ab5)            (-s) (-s e5eb6 p g5 c4f4b4 p> gb4)            (-s) (-e) (e d5ab5db6 pp)))  
 
(search-for-pattern '(eb4 c4d5) rh                     :element :pitch                     :name "Webern, Variationen für Klavier Op.27, I, rh") ..................................................... Score: Webern, Variationen für Klavier Op.27, I, rh Pitches: (eb4 c4d5) Prime:   bar: 4  count: 1 Retrograde:   bar: 6   count: 1   bar: 16  count: 1 Inversion: none Retrograde-inversion: none .....................................................  
 
(search-for-pattern '(eb4 c4 d5) rh                     :melodize t                     :element :pitch                     :name "Webern, Variationen für Klavier Op.27, I, rh") ..................................................... Score: Webern, Variationen für Klavier Op.27, I, rh Pitches: (eb4 c4 d5) Prime:   bar: 4  count: 1 Retrograde:   bar: 23  count: 1 Inversion: none Retrograde-inversion: none .....................................................  
 
(search-for-pattern '(-8 11) rh                     :element :interval                     :melodize t                     :name "Webern, Variationen für Klavier Op.27, I, rh") ..................................................... Score: Webern, Variationen für Klavier Op.27, I, rh Intervals: (-8 11) Prime:   bar: 8   count: 1   bar: 17  count: 1 Retrograde:   bar: 58  count: 1   bar: 63  count: 1 Inversion: none Retrograde-inversion: none .....................................................  
 
(search-for-pattern '(t t t t) rh                     :element :length                     :name "Webern, Variationen für Klavier Op.27, I, rh") ..................................................... Score: Webern, Variationen für Klavier Op.27, I, rh Lengths: (1/32 1/32 1/32 1/32) Found:   bar: 31  count: 1   bar: 38  count: 1   bar: 40  count: 1 .....................................................  
 
(search-for-pattern '(mp p mf) rh                     :element :velocity                     :name "Webern, Variationen für Klavier Op.27, I, rh") ..................................................... Score: Webern, Variationen für Klavier Op.27, I, rh Velocities: (mp p mf) Found:   bar: 38  count: 1 .....................................................  
 
(search-for-pattern '(stacc) rh                     :element :attribute                     :name "Webern, Variationen für Klavier Op.27, I, rh") ..................................................... Score: Webern, Variationen für Klavier Op.27, I, rh Attributes: (stacc) Found: none .....................................................  
Search for pattern in none omn-form sequence:
 
(search-for-pattern '(1 2 3) '((1 2 3 1 2 3) (4 1 2 3 4 5 6))) ..................................................... Score: nil Values: (1 2 3) Found:   list: 1  count: 2   list: 2  count: 1 .....................................................  
 
series-analysis
 
This function searches for recurring series in a sequence.
The result is a size and count number of high recurring series and longest recurring series found in a sequence.
 
Searching for pitches:
 
(series-analysis rh                  :element :pitch                  :name "Webern, Variationen für Klavier Op.27, I, rh") ..................................................... Score: Webern, Variationen für Klavier Op.27, I, rh High recurrence series:   found: (gb4 f5) size: 2 count: 5 Longest recurrence series:   found: (c4 d5 eb4 db5 f4 e5 gb4 f5 a5 d4 ab4 db5 bb4 a5 gb4 f5) size: 16 count: 2 .....................................................  
Searching for intervals:
 
(series-analysis rh                  :element :interval                  :name "Webern, Variationen für Klavier Op.27, I, rh") ..................................................... Score: Webern, Variationen für Klavier Op.27, I, rh High recurrence series:   found: (5 6) size: 2 count: 6 Longest recurrence series:   found: (14 -11 10 -8 11 -10 11 4 -19 6 5 -3 11 -15 11) size: 15 count: 2 .....................................................  
Searching for lengths:
 
(series-analysis rh                  :element :length                  :name "Webern, Variationen für Klavier Op.27, I, rh") ..................................................... Score: Webern, Variationen für Klavier Op.27, I, rh High recurrence series:   found: (1/16 -1/16) size: 2 count: 29 Longest recurrence series:   found: (1/16 -1/16 1/16 1/16 -1/16 1/16 1/16 -1/16 -1/16           1/16 1/16 -1/16 1/16 1/16 -1/16 1/16 1/16 -1/16           1/16 1/16 -1/16) size: 21 count: 2 .....................................................  
Searching for velocities:
 
(series-analysis rh                  :element :velocity                  :name "Webern, Variationen für Klavier Op.27, I, rh") ..................................................... Score: Webern, Variationen für Klavier Op.27, I, rh High recurrence series:   series: (p p) size: 2 count: 18 Longest recurrence series:   found: (mp f f f f f f mf mp) size: 9 count: 2   found: (p p p p p p p p p) size: 9 count: 2 .....................................................  
Searching for values:
 
(setf population (gen-population 16 3 7)) (setf pitches (vector-to-pitch 'piano population)) (series-analysis pitches) ..................................................... Score: nil High recurrence series:   found: (a0 c8) size: 2 count: 6 Longest recurrence series:   found: (a0 c8 a0) size: 3 count: 2   found: (a0 c8 b7) size: 3 count: 2 .....................................................  
 
(series-analysis (modus pitches)) ..................................................... Score: nil High recurrence series:   found: (9 0) size: 2 count: 7 Longest recurrence series:   found: (0 7 9 5 0) size: 5 count: 2 .....................................................  
 
remove-series
 
The function REMOVE-SERIES removes a number of successive items from a list.
 
(remove-series 3 '(c4 cs4 fs4 f4 b4 c4)) => (f4 b4 c4) (remove-series 3 '(c4 cs4 fs4 f4 b4 c4) :from-end t) => (c4 cs4 fs4)  
Best wishes, stay safe,
Janusz

I'm fully vaccinated too 🙂
 
Best
 
S.

A.S. Mailbox
(three serial miniatures for string quartet)
dur: circa 4´30
Composer: Julio HERRLEIN

Porto Alegre - Jun/2021
 
I. Email from Anton
II. [SPAM] Re: Hauer
III. Letter from Alban
 
A.S. (Arnold Schoenberg) Mailbox are a set of three miniatures for string quartet using 12-tone serial techniques and parametric composition processes. The idea is a imaginary mailbox of Schoenberg dialogues with his main disciples Webern and Berg, and also Hauer, his rival in the creation of a 12-tone composition method.
 
All the pieces are (loosely) based in the same all interval  12-tone row:
c4 eb4 a4 db4 b4 ab4 g4 d4 e4 f4 bb4 gb4
 
PERFORMANCE NOTE: The score and parts accidentals favor the FLATS (b) for easier enharmonic reading. 

Some of the uses of the tone row are also related to the rhythmic span of the orchestration and the algorithmic method for spreading the tones through the lisp lists in the Opusmodus software.

The first miniature “Email from Anton” are inspired by the pointilistic textures used by Webern in his op. 28. In a later section, the textures are intensified by melodic figures and tremolos across the instruments of the quartet.

The second miniature “[SPAM] Re: Hauer” is an imaginary email from Hauer  (lost in “Arnie´s” spam box…) where he shows to A.S. his klangreihen method (as actually described by Dominik SEDIVÝ, 2011, pp. 25-30) to harmonize and make a smooth parsimonious voice-leading of a 12-tone row. 
 
The last piece “Letter from Alban” set up some 6-attack melodic motifs based on the hexachords of the basic row, combined with rhythmic ostinato textures of accompaniment and sweet chords derived from retrograde version of the row.
 
All the best !! Thanks to everyone in this forum who have patience with me !

     Julio Herrlein, 2021/JUNE

Great !
Thank you for that piece Julio !
 
Best
Stéphane

A.S. Mailbox
(three serial miniatures for string quartet)
dur: circa 4´30
Composer: Julio HERRLEIN

Porto Alegre - Jun/2021
 
I. Email from Anton
II. [SPAM] Re: Hauer
III. Letter from Alban
 
A.S. (Arnold Schoenberg) Mailbox are a set of three miniatures for string quartet using 12-tone serial techniques and parametric composition processes. The idea is a imaginary mailbox of Schoenberg dialogues with his main disciples Webern and Berg, and also Hauer, his rival in the creation of a 12-tone composition method.
 
All the pieces are (loosely) based in the same all interval  12-tone row:
c4 eb4 a4 db4 b4 ab4 g4 d4 e4 f4 bb4 gb4
 
PERFORMANCE NOTE: The score and parts accidentals favor the FLATS (b) for easier enharmonic reading. 

Some of the uses of the tone row are also related to the rhythmic span of the orchestration and the algorithmic method for spreading the tones through the lisp lists in the Opusmodus software.

The first miniature “Email from Anton” are inspired by the pointilistic textures used by Webern in his op. 28. In a later section, the textures are intensified by melodic figures and tremolos across the instruments of the quartet.

The second miniature “[SPAM] Re: Hauer” is an imaginary email from Hauer  (lost in “Arnie´s” spam box…) where he shows to A.S. his klangreihen method (as actually described by Dominik SEDIVÝ, 2011, pp. 25-30) to harmonize and make a smooth parsimonious voice-leading of a 12-tone row. 
 
The last piece “Letter from Alban” set up some 6-attack melodic motifs based on the hexachords of the basic row, combined with rhythmic ostinato textures of accompaniment and sweet chords derived from retrograde version of the row.
 
All the best !! Thanks to everyone in this forum who have patience with me !

     Julio Herrlein, 2021/JUNE

Just found in my mailbox 🙂 Congratulation.

A.S. Mailbox
(three serial miniatures for string quartet)
dur: circa 4´30
Composer: Julio HERRLEIN

Porto Alegre - Jun/2021
 
I. Email from Anton
II. [SPAM] Re: Hauer
III. Letter from Alban
 
A.S. (Arnold Schoenberg) Mailbox are a set of three miniatures for string quartet using 12-tone serial techniques and parametric composition processes. The idea is a imaginary mailbox of Schoenberg dialogues with his main disciples Webern and Berg, and also Hauer, his rival in the creation of a 12-tone composition method.
 
All the pieces are (loosely) based in the same all interval  12-tone row:
c4 eb4 a4 db4 b4 ab4 g4 d4 e4 f4 bb4 gb4
 
PERFORMANCE NOTE: The score and parts accidentals favor the FLATS (b) for easier enharmonic reading. 

Some of the uses of the tone row are also related to the rhythmic span of the orchestration and the algorithmic method for spreading the tones through the lisp lists in the Opusmodus software.

The first miniature “Email from Anton” are inspired by the pointilistic textures used by Webern in his op. 28. In a later section, the textures are intensified by melodic figures and tremolos across the instruments of the quartet.

The second miniature “[SPAM] Re: Hauer” is an imaginary email from Hauer  (lost in “Arnie´s” spam box…) where he shows to A.S. his klangreihen method (as actually described by Dominik SEDIVÝ, 2011, pp. 25-30) to harmonize and make a smooth parsimonious voice-leading of a 12-tone row. 
 
The last piece “Letter from Alban” set up some 6-attack melodic motifs based on the hexachords of the basic row, combined with rhythmic ostinato textures of accompaniment and sweet chords derived from retrograde version of the row.
 
All the best !! Thanks to everyone in this forum who have patience with me !

     Julio Herrlein, 2021/JUNE

rewrite-accidentals
This function replaces all accidentals to a given map in an omn-form sequence. The chromatic map will rewrite all pitch accidentals with sharps when the pitch ascends and with flats when the pitch descends. The sharp map uses sharp accidentals only and the flat map uses flat accidentals only. The default map is as follows: c cs d ds e eb f fs g gs a bb b.
Examples:
(setf omn1 '((5q fs4 p - bb3 f3 e4) (-3q g4 c5) (s eb5 a5 mf cs6 gs6)              (5q gs6 pp cs6 mf a5 eb5 -) (-s c5 g4 e4)))
 
(rewrite-accidentals omn1 :map :chromatic)
 
(rewrite-accidentals omn1 :map :sharp)
 
(rewrite-accidentals omn1 :map :flat)
 
 

Just installed the last file with NO PROBLEMS at all !
Thanks !
 

Looks like all is working again.
Please try again. Do refresh your Browser in order to get the last update.

The brand-new Big-Sur Opusmodus 2.2 won't launch. Instead, I get an alert that it's "damaged", and buttons Cancel and Move to Trash. I DL'd it twice, tossed the prefs, cache, and Opusmodus folder, restarted Mac. No go.
 
Unlike the previous version, the .dmg is named only "Opusmodus", rather than Opusmodus_Big-Sur". I'm wondering if the wrong installer was connected to the Big Sur download button.
 
I reinstalled V2.1.26285, and it works fine.
 
Any ideas?

All fine Julio, thanks, no worries !
It's finish now.
Best
 
Stéphane