JulioHerrlein

Hi people,

Though I've been using Opusmodus for about 2 years now, and in great love with it,
I haven't really had a chance to share my work on the community.

But here I have my piano piece vastly written with Opusmodus, and guess what, it's got a cool video, too!

Yamaha corporation kindly offered me to use their automated piano for filming, and I think an algorithmic music like this goes very well with it!

Yuichi

Thank you Yuichi for sharing, great piece, I am very happy to see Opusmodus is able to help you realise your ideas.

Will see what I can do.

i agree totally :-)
 
Actually, i always finish my scores in a DAW for such reason but with this new possibilities into Opusmodus, it would be no more necessary and i love the idea to stay in Opusmodus from start to end of the music process.
 
SB.

It would also be useful, e.g., for combining sample instruments by different brands etc. where certain articulations are available in one plugin, and others in another.
 
Best,
Torsten

How is it possible to change the MIDI output channel of an instrument? For example, when writing for organ, you have two staffs for the right and left hand, but hands can change manuals, and this is best represented by different MIDI channels. Is there a way to define articulations that result in changing the MIDI channel?
 
Thanks!
 
Best,
Torsten

i would love a possibility to change midi channel from articulation :-)
 
S

We will add this, I love it too :-)

Small piece for Woodwinds.
 
S.

 

:)

You can roll such a function easily yourself. The modulus function is part of Common Lisp.
 
;; modulus 12 of 60
(mod 60 12)
; => 0
 
(defun mod12 (xs)
  (loop for x in xs
    collect (mod x 12)))
 
(mod12 '(0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 24 48))
; => (0 1 2 3 4 5 6 7 8 9 10 11 0 1 2 3 4 5 6 7 0 0)
 
To empower yourself, once you know how to program a simple function, you simply need to google for the modulus function
 
  http://lmgtfy.com/?q=common lisp modulo
 
:)
 
Best,
Torsten

You already know how to translate a MIDI pitch number into a representation consisting of two pieces of information, a pitch class integer and an octave integer. The conversion can be applied in both directions.
 
Now, you can apply a similar conversion to a pitch class integers, converting them into a scale degree (integer) and an accidental (another integer), depending on a scale (a set of pitch classes). Again, this conversion can be done in both ways (there are multiple solutions if you allow for enharmonic equivalence).
 
Once you have such a representation, you can then do diatonic transpositions (depending on whatever scale) within the scale degree domain, and finally translate your  results back into pitch classes, or MIDI pitch numbers.
 
I have a draft of a paper discussing this formally. A preliminary version of this paper has been published at SMC, http://uobrep.openrepository.com/uobrep/handle/10547/622264 Don't get scared away by the constraint programming aspect. Such conversions can also be implemented as plain deterministic functions.
 
This can be seen as a kind of mapping, if you want, if you also see the relation between MIDI pitch numbers and pitch classes as a mapping :)
 
Best,
Torsten
 

The multi screen support will be part of ver. 2.0

also if you want to control the voice leading, i use harmonic-path function who allow me to keep exactly the voice leading defined in my chord progression.
 
S.
 
 

Here's my way for diatonic transposition.
It is very simple but do exactly what i want when composing
 
I use this system extensively in all my compositions now, not always in diatonic context but also with synthetic modes, row, algorithmic pitch material etc...
I love the concept of degree and transpositions inside a scale and use that technique very often.
(setf motiv '((q c4 e4 g4)(q c4 e4 g4)(q c4 e4 g4)(q c4 e4 g4)(q c4 e4 g4))) (setf degree '(1 4 2 5 1)) (setf harmonic-path (harmonic-progression degree '(c4 major) :step 1 :size 7 :base 1 )) (setf p1 (tonality-map (mclist harmonic-path) motiv))  
S.
 

The best way is to print the graph is to print directly form the graph panel.
Gen your graph then click on the graph panel and command print, this way you will get high resolution print.
Or save the file as pdf file (the default is .pdf):
 
(length-list-plot (vector-to-length 8 8 -8 (gen-white-noise 100)) :file "vector-length")  

Dear All,
 
HAPPY 2018 !!
 
With the new PCS organization in Opusmodus is possible to implement a concept of my book, called Combinatorial Voiceleading of Hexachords.
From a Hexachord Set, is possible to find 10 different ways to combine the notes in the for of voice-leading sets. Each hexachord is divided in (3 + 3) way.
 

 
This expression:
 
(setf hexavl (mclist (chordize-list (integer-to-pitch (remove-duplicates (sort-asc (gen-divide 3 (flatten (permute (pcs '6-32))))) :test #'equal)))))  
Will result in this combination of the 6-32 hexachord, similar to the idea in the book.
 

 
In the book, the material is organized in 70 pages of melodic and harmonic exercises.
 
Here is a litte sample:
CH_HERRLEIN.pdf
 
The entire book:
https://www.melbay.com/Products/Default.aspx?bookid=30042BCDEB
 
Best !
Julio Herrlein

Dear All,
 
HAPPY 2018 !!
 
With the new PCS organization in Opusmodus is possible to implement a concept of my book, called Combinatorial Voiceleading of Hexachords.
From a Hexachord Set, is possible to find 10 different ways to combine the notes in the for of voice-leading sets. Each hexachord is divided in (3 + 3) way.
 

 
This expression:
 
(setf hexavl (mclist (chordize-list (integer-to-pitch (remove-duplicates (sort-asc (gen-divide 3 (flatten (permute (pcs '6-32))))) :test #'equal)))))  
Will result in this combination of the 6-32 hexachord, similar to the idea in the book.
 

 
In the book, the material is organized in 70 pages of melodic and harmonic exercises.
 
Here is a litte sample:
CH_HERRLEIN.pdf
 
The entire book:
https://www.melbay.com/Products/Default.aspx?bookid=30042BCDEB
 
Best !
Julio Herrlein

Dear All,
 
HAPPY 2018 !!
 
With the new PCS organization in Opusmodus is possible to implement a concept of my book, called Combinatorial Voiceleading of Hexachords.
From a Hexachord Set, is possible to find 10 different ways to combine the notes in the for of voice-leading sets. Each hexachord is divided in (3 + 3) way.
 

 
This expression:
 
(setf hexavl (mclist (chordize-list (integer-to-pitch (remove-duplicates (sort-asc (gen-divide 3 (flatten (permute (pcs '6-32))))) :test #'equal)))))  
Will result in this combination of the 6-32 hexachord, similar to the idea in the book.
 

 
In the book, the material is organized in 70 pages of melodic and harmonic exercises.
 
Here is a litte sample:
CH_HERRLEIN.pdf
 
The entire book:
https://www.melbay.com/Products/Default.aspx?bookid=30042BCDEB
 
Best !
Julio Herrlein

Implemented in version 1.2.22867

as well:
 
(find-unique (sort-asc (combination 3 (pcs '6-1))))

Today or tomorrow :-)

Dear Julio,
Yes, it's modus. I like work with integer and the Set Theory. 
Best.
Didier
(pcs-analysis (integer-to-pitch (modus (pitch-to-integer '(fs5g6c8 fs4g4c4)))))

Few QUANTIZE examples:
 
(setf val1 (gen-white-noise 19 :seed 56)) => (0.42731586 0.21048035 0.14944322 0.05199222 0.33933866 0.8851649 0.93565786 0.93476516 0.3839242 0.03127964 0.39819628 0.18478736 0.9568939 0.6663358 0.26542348 0.4052874 0.68264747 0.95090246 0.12790146) (quantize val1 '(3 5 7)) => (7h. 7q 7q 7q 7q_3q 3h_t e. t_e.. t_s t s. t t_5w 5q_e s s_5q 5h. 5q_e. s)
 
(setf val2 (gen-white-noise 19 :scale 2.2 :seed 875)) => (0.5896695 1.3854954 1.7601246 0.15660097 1.0577743 2.005573 0.8151905 0.83697665 0.17089269 1.5035293 0.97181803 0.54288834 1.810276 1.551678 2.1626956 0.7790575 1.5867842 1.6030518 1.3905888) (quantize val2 '(3 5 7)) => (e e_e.. t_q_7wq 7q 7q_e.. t_q_e.. t_3h 3q_e s s_q_e e_s e s_q_e e_q_s e._q_e e_5q 5w_e e_q_e e_q)
 
(setf val3 (vector-range -1.0 1.0 (gen-white-noise 19 :seed 154))) => (-0.24158841 -0.9634026 -0.99552864 -0.4178778 0.9713292 -0.58351946 -0.77635634 0.532539 0.4349326 -0.85446167 -0.9610649 -0.9799211 1.000001 -0.4322123 0.3123653 -1.0 0.74611676 0.66992795 -0.034718752) (quantize val3 '(3 5 7)) => (-3q -3h -3q -3h -3q -3q 3q_e -e -7q -7wq 7q_3q 3q -3q -3h -3q -e -e -e e_e -e -s s -e -e e_e e)
 
Best wishes, J

...except that makes you a fun and makes you happy - and that is just as important!
added 10 minutes later so the question will be what can be better, which will be more exciting than what deep learning (or traditional algorithms) can produce. very fast then - in my opinion - the production becomes quite simple and well done, but this has nothing to do with art (if you want) - it will be the "imitation of art", also algorithmic tools pushing you in this direction - is it "music" or the simulation of "music"?. but as VON FOERSTER said: "the map is the territory"... counteracting (radical-constructivistic) the phrase "the map is not the territory"...