JulioHerrlein

Try searching the tutorial Stages in the utilities pane.
Best !

(let ((out (pcs-cardinal 4 :forte)))   (loop for i in (pcs-super-sets 4 (pcs '3-1) :forte)     do (setf out (remove i out))     finally (return out))) (let ((rem (pcs-cardinal 7 :forte)) (super (pcs-super-sets 7 (pcs '3-1) :forte))) (loop for i in super do (setf rem (remove i rem)) finally (return rem))) => (7-31 7-31b 7-32 7-32b 7-34 7-35) here it is.

piano-layout + merge-voices
(no idea about the stems, use notation software for layouting?)
 
 

For woodwinds trio and string quartet.
 
SB.

 
 

A short piece as an Hommage to Bruno Maderna.
This piece was presented in Venice Italy for the "Musica Domani" in 7th December 2019. 
It use a lot of new functionalities from the upcoming Opusmodus Version 1.4 .
SB.

 
 

(polygon-rhythm (pcs '7-35) 20 1)
(polygon-rhythm (pcs '7-35) 12 1)
 
(pcs-rhythm '7-35  :points 12 :value 1/12)
(pcs-rhythm '7-35  :points 12 :value 1/8)
(pcs-rhythm '7-35  :points 10 :value 1/20)
 
 

Hi Julio, 
 
Could you perhaps share your final  setup files for the old VSL instrument library with the community?
 
Thanks!
 
Best,
Torsten

Many transformations indeed :-)

Dear Janusz,
 
This is a really cool feature I was looking for !
There is a lot of interesting transformations and graphs related to this subject, like this, compiled by my friend Ciro Visconti, who studied with Straus:
 

 
THE FAMOUS "CUBE DANCE"
 

 
PARSIMONIOUS TRANSFORMATIONS OF 4-NOTE CHORDS
 



 
 
 
 
BORETZ SPIDER

POWER TOWERS
 

 
And so on, all related to the basic tonnetz transformations.
 
A good idea is thinking how to model also four note structures.
 
All the best !
Julio
 

Following our successful presentation in the Museo di Storia Naturale in Venice on the 7th December, Achim Bornhoeft and I spent some time talking and playing with the Neo-Riemann theory with an outcome of a diagram and a function. This will be part of the next release.
 
 
Post-Riemann
 

 
Transformations on a C major triad
 
 
One step transformation (basic transformations):
P (parallel)
R (relative)
L (leading)
 
Two step transformations:
Parallel: PR and PL
Relative: RL and RP
Leading: LR and LP
 
Three step transformations:
Parallel: PLR and PRL
Relative: RLP and RPL
Leading: LPR and LPR
 
Reflection:
PLR and RLP are equal.
PRL and LRP are equal.
RPL and LPR are equal.
 
Examples:
(tonnetz 'c4e4g4 '(p p r r l l)) => (c4e4g4 c4eb4g4 c4e4g4 c4e4a4 c4e4g4 b3e4g4 c4e4g4) (tonnetz '(c4 e4 g4) '(p p r r l l)) => ((c4 e4 g4) (c4 eb4 g4) (c4 e4 g4) (c4 e4 a4) (c4 e4 g4) (b3 e4 g4) (c4 e4 g4)) (tonnetz 'e4g4b4 '(l r l r p l r l r p)) => (e4g4b4 e4g4c5 e4a4c5 f4a4c5 f4a4d5 fs4a4d5 fs4a4cs5     e4a4cs5 e4gs4cs5 e4gs4b4 e4g4b4) (tonnetz 'ab3c4eb4 '(p l p l p l p l)) => (ab3c4eb4 gs3b3eb4 gs3b3e4 g3b3e4 g3c4e4 g3c4eb4 gs3c4eb4     gs3b3eb4 gs3b3e4) (tonnetz 'ab3c4eb4 '(pl pl pl pl)) => (ab3c4eb4 gs3b3e4 g3c4e4 gs3c4eb4 gs3b3e4) (tonnetz 'c4e4g4 '(p r p r p r p r)) => (c4e4g4 c4eb4g4 bb3eb4g4 bb3eb4fs4 bb3cs4fs4 a3cs4fs4     a3cs4e4 a3c4e4 g3c4e4) (setf moves (rnd-order '(p l r lr lp rp rl pr pl plr prl rpl) :seed 26)) => (rp rl rpl pr prl lr r p plr pl lp l) (tonnetz 'c4e4g4 moves) => (c4e4g4 cs4e4a4 d4fs4a4 eb4fs4bb4 eb4g4c5 f4a4c5 e4g4c5     e4a4c5 e4a4cs5 f4a4d5 fs4a4cs5 f4a4d5 f4bb4d5) (setf transitions '(p l r lr lp rp rl pr pl plr prl rpl prlpr lrplprpp)) (setf rnd-transition (rnd-sample 15 transitions :seed 750989)) => (prlpr r r p pl pl lrplprpp lr prlpr rpl lp rl prl rl rpl) (tonnetz 'ab3c4eb4 rnd-transition)) => (ab3c4eb4 g3c4eb4 g3bb3eb4 g3c4eb4 g3c4e4 gs3c4eb4 gs3b3e4     f3bb3d4 f3a3c4 e3a3c4 eb3gs3c4 e3g3c4 f3a3c4 eb3g3c4     d3g3bb3 cs3fs3bb3) (tonnetz '(c maj) '(plp rpr lpl rpr lpl lpl rprp lpl)) => (c4e4g4 b3eb4gs4 a3d4fs4 bb3cs4f4 gs3b3e4 g3c4eb4 gs3b3e4 bb3d4f4 a3cs4fs4)  

a speculation...
 
example 1: because the SUM is 0!! so it will never go up to 'e6
example 2: sum is 1, it will work

Use positive values only.
'(1 -1) could go for ever 🙂
 

Finally I had success !! Thank you.
My old .gig VSL have the keyswitches in the C1 octave, instead of C2. I had to edit the files you provided.
Best,
Julio

Of course all depends on what Vienna Instrument present you are loading into the Vienna Ensember Pro app.
 
With both.

And if the :sound is 'gm then :program is the instrument name or an integer of the gm setup with :port set to nil.

Here is my VSL instrument setup example:
          :sq (:layout string-quartet-layout                        :port 3                        :channel '(1 2 3 4)                        :sound '(vi-violin                                 vi-violin                                 vi-viola                                 vi-cello)                        :program 0                        :controllers nil                        :pan (pan '(-30 -10 10 30))                        :volume 92)  
As you can see the :program is set to 0.
The program is not important here, only the :sound is.
 
Here is the Violin sound setup:
(in-package :Opusmodus) ;;;--------------------------------------------------------- ;;; VIENNA INSTRUMENTS - VIOLIN ;;;--------------------------------------------------------- (def-sound-set vi-violin                :programs   (:group perf-universal           vl-perf-sustain (:key c2 cc1 5)           vl-perf-marcato (:key c2 cc1 64)           vl-perf-spic    (:key c2 cc1 120)                      :group perf-legato-all           vl-perf-legato           (:key cs2 :key c1  cc1 40)           vl-perf-legato-sul       (:key cs2 :key cs1 cc1 40)           vl-perf-legato-zigane    (:key cs2 :key d1  cc1 40)           vl-perf-legato-vib-progr (:key cs2 :key ds1 cc1 40)           vl-perf-portamento       (:key cs2 :key c1  cc1 80)                      :group articulation-combi           vl-staccato       (:key d2 :key c1  cc1 40)           vl-sus-vib        (:key d2 :key cs1 cc1 40)           vl-fp-vib         (:key d2 :key d1  cc1 40)           vl-trem-sus       (:key d2 :key ds1 cc1 40)           vl-trill-1        (:key d2 :key e1  cc1 40)           vl-pon-staccato   (:key d2 :key f1  cc1 40)           vl-pon-trem       (:key d2 :key fs1 cc1 40)           vl-harm-art-stac  (:key d2 :key g1  cc1 40)           vl-octav-gliss-me (:key d2 :key gs1 cc1 40)           vl-pizz           (:key d2 :key a1  cc1 40)           vl-detache-short    (:key d2 :key c1  cc1 80)           vl-sus-vib-marc     (:key d2 :key cs1 cc1 80)           vl-sfz-vib          (:key d2 :key d1  cc1 80)           vl-trem-sus-af-auto (:key d2 :key ds1 cc1 80)           vl-trill-2          (:key d2 :key e1  cc1 80)           vl-pon-sus          (:key d2 :key f1  cc1 80)           vl-pon-trem-fa-auto (:key d2 :key fs1 cc1 80)           vl-harm-art-sus     (:key d2 :key g1  cc1 80)           vl-octav-gliss-fa   (:key d2 :key gs1 cc1 80)           vl-pizz-snap        (:key d2 :key a1  cc1 80)           :group pref-repetitions-combi           vl-perf-rep-sl     (:key ds2 :key c1)           vl-perf-rep-por-me (:key ds2 :key cs1)           vl-perf-rep-stac   (:key ds2 :key d1)           vl-perf-rep-spi    (:key ds2 :key ds1)           vl-perf-rep-harsh  (:key ds2 :key e1)           :group combi-cre9           vl-rep-cre9-por-fa-1 (:key e2 :key c1  cc1 10)           vl-rep-cre9-por-fa-2 (:key e2 :key cs1 cc1 10)           vl-rep-cre9-por-fa-3 (:key e2 :key d1  cc1 10)           vl-rep-cre9-por-fa-4 (:key e2 :key ds1 cc1 10)           vl-rep-cre9-por-fa-5 (:key e2 :key e1  cc1 10)           vl-rep-cre9-por-fa-6 (:key e2 :key f1  cc1 10)           vl-rep-cre9-por-fa-7 (:key e2 :key fs1 cc1 10)           vl-rep-cre9-por-fa-8 (:key e2 :key g1  cc1 10)           vl-rep-cre9-por-fa-9 (:key e2 :key gs1 cc1 10)           vl-rep-cre9-sta-1 (:key e2 :key c1  cc1 25)           vl-rep-cre9-sta-2 (:key e2 :key cs1 cc1 25)           vl-rep-cre9-sta-3 (:key e2 :key d1  cc1 25)           vl-rep-cre9-sta-4 (:key e2 :key ds1 cc1 25)           vl-rep-cre9-sta-5 (:key e2 :key e1  cc1 25)           vl-rep-cre9-sta-6 (:key e2 :key f1  cc1 25)           vl-rep-cre9-sta-7 (:key e2 :key fs1 cc1 25)           vl-rep-cre9-sta-8 (:key e2 :key g1  cc1 25)           vl-rep-cre9-sta-9 (:key e2 :key gs1 cc1 25)           vl-rep-cre9-spi-1 (:key e2 :key c1  cc1 70)           vl-rep-cre9-spi-2 (:key e2 :key cs1 cc1 70)           vl-rep-cre9-spi-3 (:key e2 :key d1  cc1 70)           vl-rep-cre9-spi-4 (:key e2 :key ds1 cc1 70)           vl-rep-cre9-spi-5 (:key e2 :key e1  cc1 70)           vl-rep-cre9-spi-6 (:key e2 :key f1  cc1 70)           vl-rep-cre9-spi-7 (:key e2 :key fs1 cc1 70)           vl-rep-cre9-spi-8 (:key e2 :key g1  cc1 70)           vl-rep-cre9-spi-9 (:key e2 :key gs1 cc1 70)           vl-rep-cre9-harsh-1 (:key e2 :key c1  cc1 120)           vl-rep-cre9-harsh-2 (:key e2 :key cs1 cc1 120)           vl-rep-cre9-harsh-3 (:key e2 :key d1  cc1 120)           vl-rep-cre9-harsh-4 (:key e2 :key ds1 cc1 120)           vl-rep-cre9-harsh-5 (:key e2 :key e1  cc1 120)           vl-rep-cre9-harsh-6 (:key e2 :key f1  cc1 120)           vl-rep-cre9-harsh-7 (:key e2 :key fs1 cc1 120)           vl-rep-cre9-harsh-8 (:key e2 :key g1  cc1 120)           vl-rep-cre9-harsh-9 (:key e2 :key gs1 cc1 120)           :group perf-harsh-combi           vl-sus-vib-fa    (:key f2 :key c1  cc1 5)           vl-sus-vib-progr (:key f2 :key cs1 cc1 5)           vl-pon-sus-fa    (:key f2 :key d1  cc1 5)                      :group omn           ord         (:key c2 cc1 5)           stacc       (:key d2 :key c1  cc1 40)           stacs       (:key e2 :key c1  cc1 25)           marc        (:key c2 cc1 64)           spicc       (:key c2 cc1 120)           leg         (:key cs2 :key c1  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)           vib+marc    (:key d2 :key cs1 cc1 80)           marc+vib    (:key d2 :key cs1 cc1 80)           deta        (:key d2 :key c1  cc1 80)           pizz        (:key d2 :key a1  cc1 40)           snap        (:key d2 :key a1  cc1 80)           trem        (:key d2 :key ds1 cc1 40)           tr1         (:key d2 :key e1  cc1 40)           tr2         (:key d2 :key e1  cc1 80)           stacc+ponte (:key d2 :key f1  cc1 40)           ponte+stacc (:key d2 :key f1  cc1 40)           ponte+trem  (:key d2 :key fs1 cc1 40)           trem+ponte  (:key d2 :key fs1 cc1 40)           ponte       (:key d2 :key f1  cc1 80)           )      :controllers   (:group default-settings           pitch 0           velocity-xf 2           volume 7           pan 10           expression 11           reverb-dry/wet 14           reverb-on/off 15           slot-xf 20           start-scaler 21           master-attack 22           master-release 23           master-filter 24           delay-scaler 25           tuning-scaler 26           humanize 27           velocity-xf-on-off 28           rsamp-on-off 29           dynamics-scaler 30           :group Pedal           Ped 64           Sost-Ped 66           Una-Corda 67                      :group matrix           cc1 1              ) )  

You define the keyswitches in the DEF-SOUND-SET, after, you place the file in the ~/Opusmodus/Def-Libraries/Def-Sound-Sets folder (next time you start the app the file will load automatically). Copy one of the existing files, change the name and fill it will your instrument setup (controllers, keyswitches etc...).
 
All articulation you define in your sound-set can be used in omn. Nothing else you need to do. The list of attributes names you can use in your setup you will find in 4th Element - Attributes doc. You can create your own - if needed - with ADD-TEXT-ATTRIBUTES function.
 
(q c4 stacc)   
If there is a sound set with a name STACC in your setup then that program (sample) will be triggered.
 
Stephane gives lessons on all OM technics and subjects:
https://opusmodus.com/forums/lessons/

Def-Instrument-Sets are sets to be used with PS function - nothing to do with sound sets.
To setup sound set you need to use DEF-SOUND-SET function.
In the Library directory you find many examples how to define your own sound set for your instruments.
 
 

My conference about Rhythmic Set Theory. Best !   Julio Herrlein´s conference at the III International Congress of the Brazilian Association of Musical Theory and Analisys (TeMA) and the IV International Congress of Music and Mathematics. This Congress was University of Rio de Janeiro (UFRJ), hosted by Prof. Dr. Carlos Almada, Prof. Dr. Pauxy Gentil-Nunes and Prof. Dr. Liduíno Liduino Pitombeira, among many other people. It was a great honor to be in this amazing meeting with great musicians and having the oportunity to talk about my doctoral dissertation research, in many topics related to rhythm and popular music. My doctoral dissertation (in portuguese) can be downloaded in this link:   http://hdl.handle.net/10183/179457   EXAMPLES:   - ALL ROTATIONS OF THE BEMBÉ RHYTHM 12:59 - REGULATIVE TIME-POINT (ANKU) - EXPLANATION 15:33 e EXAMPLE 16:11 - LIGETI´S DIATONIC HARMONIC CLOUDS in Cordes à Vide (Piano Etude 2) 18:37 - DANCING AND NON-DANCING RHYTHMS 19:40 - BEMBÉ WITH ALTERNATIVE SUBDIVISIONS 21:32 - EXCERPT OF JACOB COLLIER INTERVIEW TO JUNE LEE 22:00 - BEMBÉ RHYTHM INSIDE A CYCLE OF SEPTUPLETS 23:20 - WAYNE KRANTZ "WHIPERSNAPPER" SOLO ANALISYS WITH RHYTHMIC SETS 24:09   I know that music theory is sometimes very hard to grasp, but it can really bring light about the nature of some music materials. If you are just curious, you can jump straight to the musical examples. These examples are very practical in its nature and the catalog of rhythms contained in the dissertation can be used in a very practical way, for composing and improvising. I hope it can be inspiring for you to make some music. All the best ! Enjoy !

My conference about Rhythmic Set Theory. Best !   Julio Herrlein´s conference at the III International Congress of the Brazilian Association of Musical Theory and Analisys (TeMA) and the IV International Congress of Music and Mathematics. This Congress was University of Rio de Janeiro (UFRJ), hosted by Prof. Dr. Carlos Almada, Prof. Dr. Pauxy Gentil-Nunes and Prof. Dr. Liduíno Liduino Pitombeira, among many other people. It was a great honor to be in this amazing meeting with great musicians and having the oportunity to talk about my doctoral dissertation research, in many topics related to rhythm and popular music. My doctoral dissertation (in portuguese) can be downloaded in this link:   http://hdl.handle.net/10183/179457   EXAMPLES:   - ALL ROTATIONS OF THE BEMBÉ RHYTHM 12:59 - REGULATIVE TIME-POINT (ANKU) - EXPLANATION 15:33 e EXAMPLE 16:11 - LIGETI´S DIATONIC HARMONIC CLOUDS in Cordes à Vide (Piano Etude 2) 18:37 - DANCING AND NON-DANCING RHYTHMS 19:40 - BEMBÉ WITH ALTERNATIVE SUBDIVISIONS 21:32 - EXCERPT OF JACOB COLLIER INTERVIEW TO JUNE LEE 22:00 - BEMBÉ RHYTHM INSIDE A CYCLE OF SEPTUPLETS 23:20 - WAYNE KRANTZ "WHIPERSNAPPER" SOLO ANALISYS WITH RHYTHMIC SETS 24:09   I know that music theory is sometimes very hard to grasp, but it can really bring light about the nature of some music materials. If you are just curious, you can jump straight to the musical examples. These examples are very practical in its nature and the catalog of rhythms contained in the dissertation can be used in a very practical way, for composing and improvising. I hope it can be inspiring for you to make some music. All the best ! Enjoy !

My conference about Rhythmic Set Theory. Best !   Julio Herrlein´s conference at the III International Congress of the Brazilian Association of Musical Theory and Analisys (TeMA) and the IV International Congress of Music and Mathematics. This Congress was University of Rio de Janeiro (UFRJ), hosted by Prof. Dr. Carlos Almada, Prof. Dr. Pauxy Gentil-Nunes and Prof. Dr. Liduíno Liduino Pitombeira, among many other people. It was a great honor to be in this amazing meeting with great musicians and having the oportunity to talk about my doctoral dissertation research, in many topics related to rhythm and popular music. My doctoral dissertation (in portuguese) can be downloaded in this link:   http://hdl.handle.net/10183/179457   EXAMPLES:   - ALL ROTATIONS OF THE BEMBÉ RHYTHM 12:59 - REGULATIVE TIME-POINT (ANKU) - EXPLANATION 15:33 e EXAMPLE 16:11 - LIGETI´S DIATONIC HARMONIC CLOUDS in Cordes à Vide (Piano Etude 2) 18:37 - DANCING AND NON-DANCING RHYTHMS 19:40 - BEMBÉ WITH ALTERNATIVE SUBDIVISIONS 21:32 - EXCERPT OF JACOB COLLIER INTERVIEW TO JUNE LEE 22:00 - BEMBÉ RHYTHM INSIDE A CYCLE OF SEPTUPLETS 23:20 - WAYNE KRANTZ "WHIPERSNAPPER" SOLO ANALISYS WITH RHYTHMIC SETS 24:09   I know that music theory is sometimes very hard to grasp, but it can really bring light about the nature of some music materials. If you are just curious, you can jump straight to the musical examples. These examples are very practical in its nature and the catalog of rhythms contained in the dissertation can be used in a very practical way, for composing and improvising. I hope it can be inspiring for you to make some music. All the best ! Enjoy !

Upcoming ver. 1.4
Function: COUNTERPOINT
 


   
 
 

Upcoming ver. 1.4
Function: CHORALIS