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Deb76

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  1. reaction_title_1
    Deb76 got a reaction from Stephane Boussuge in DADA Quartet   
    Dear Janusz,
    Here is a first result from a series of pitches based on "Mi Myxolydien" (a mix with the notes of Amazing Grace version Judy Collins and Third Stone from the Sun by Jimi Hendrix) insert in Def-Library. I recorded the IAC tracks in Ableton Live in the arrangement window and since I do not have an interesting jazz saxophone, I split the tracks and the piano so I could get some changes to the timbres. Besides the bass, the piano and the drums, I used three sessions of Softube modular synthesizer, Modular, including one with the Buchla 259e module (the somewhat space-like sound and which sometimes emphasizes the piano) and two instruments of the Korg Gadget suite for Mac, the Arp Odyssey emulation and the Wave Station emulation in a synthetic brass sound).
     
       
     
    Didier
  2. reaction_title_1
    Deb76 got a reaction from opmo in Opuspianotimbres for Pianoteq Video Contest 2017   
    Hello, 
    This is my participation at Pianoteq Video Contest 2017. The composition was written with Opusmodus and played in Ableton Live with seven instances of Pianoteq (modified TubularBells, modified ConcertArp recording, Steinway D Classical Recording A, modified Celesta, modified Cinbalom, modified original ChurchBells, Steinway D Classical Recording BA and completed with a Ircam Solo Instruments bank instance (flute, Horn, Cello) read via the UVI Workstation :
     
    and the list of videos in competition : http://www.forum-pianoteq.com/viewtopic.php?id=5301
    Do not hesitate to tell me what you think.
    Didier
    PS : It is advisable to play the video in 1080p HD and listen to the headphone for panoramic movements. 
  3. reaction_title_2
    Deb76 got a reaction from JulioHerrlein in Modulo 12 Function ?   
    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)))))
  4. reaction_title_2
    Deb76 got a reaction from opmo in 4e an special prize in the contest Pianoteq 207   
    Hello,
    Following the 2017 Pianoteq contest, I was surprised to be ranked 4th in the contest and get a special prize with this little piece written with Opusmodus.
    Didier
    http://www.forum-pianoteq.com/viewtopic.php?id=5373
  5. reaction_title_2
    Deb76 got a reaction from opmo in 4e an special prize in the contest Pianoteq 207   
    Hello,
    Following the 2017 Pianoteq contest, I was surprised to be ranked 4th in the contest and get a special prize with this little piece written with Opusmodus.
    Didier
    http://www.forum-pianoteq.com/viewtopic.php?id=5373
  6. reaction_title_2
    Deb76 got a reaction from opmo in 4e an special prize in the contest Pianoteq 207   
    Hello,
    Following the 2017 Pianoteq contest, I was surprised to be ranked 4th in the contest and get a special prize with this little piece written with Opusmodus.
    Didier
    http://www.forum-pianoteq.com/viewtopic.php?id=5373
  7. reaction_title_2
    Deb76 got a reaction from opmo in 4e an special prize in the contest Pianoteq 207   
    Hello,
    Following the 2017 Pianoteq contest, I was surprised to be ranked 4th in the contest and get a special prize with this little piece written with Opusmodus.
    Didier
    http://www.forum-pianoteq.com/viewtopic.php?id=5373
  8. reaction_title_1
    Deb76 got a reaction from Stephane Boussuge in MittWoch   
    Vienne est très inspirante comme ville. J'y suis allé par deux fois lors de deux voyages en Europe et Turquie (Istanbul-Izmir). 
    Didier
  9. reaction_title_1
    Deb76 got a reaction from Stephane Boussuge in Work in Progress Strings quartet 1st Movement   
    I like it. Quelle superbe introduction. J'apprécie beaucoup le développement qui suit... Superbe. 
    Didier
  10. reaction_title_1
    Deb76 got a reaction from Stephane Boussuge in DADA Quartet   
    Dear Janusz,
    Here is a first result from a series of pitches based on "Mi Myxolydien" (a mix with the notes of Amazing Grace version Judy Collins and Third Stone from the Sun by Jimi Hendrix) insert in Def-Library. I recorded the IAC tracks in Ableton Live in the arrangement window and since I do not have an interesting jazz saxophone, I split the tracks and the piano so I could get some changes to the timbres. Besides the bass, the piano and the drums, I used three sessions of Softube modular synthesizer, Modular, including one with the Buchla 259e module (the somewhat space-like sound and which sometimes emphasizes the piano) and two instruments of the Korg Gadget suite for Mac, the Arp Odyssey emulation and the Wave Station emulation in a synthetic brass sound).
     
       
     
    Didier
  11. reaction_title_1
    Deb76 got a reaction from Stephane Boussuge in DADA Quartet   
    Dear Janusz,
    Here is a first result from a series of pitches based on "Mi Myxolydien" (a mix with the notes of Amazing Grace version Judy Collins and Third Stone from the Sun by Jimi Hendrix) insert in Def-Library. I recorded the IAC tracks in Ableton Live in the arrangement window and since I do not have an interesting jazz saxophone, I split the tracks and the piano so I could get some changes to the timbres. Besides the bass, the piano and the drums, I used three sessions of Softube modular synthesizer, Modular, including one with the Buchla 259e module (the somewhat space-like sound and which sometimes emphasizes the piano) and two instruments of the Korg Gadget suite for Mac, the Arp Odyssey emulation and the Wave Station emulation in a synthetic brass sound).
     
       
     
    Didier
  12. reaction_title_1
    Deb76 got a reaction from Stephane Boussuge in DADA Quartet   
    Dear Janusz,
    Here is a first result from a series of pitches based on "Mi Myxolydien" (a mix with the notes of Amazing Grace version Judy Collins and Third Stone from the Sun by Jimi Hendrix) insert in Def-Library. I recorded the IAC tracks in Ableton Live in the arrangement window and since I do not have an interesting jazz saxophone, I split the tracks and the piano so I could get some changes to the timbres. Besides the bass, the piano and the drums, I used three sessions of Softube modular synthesizer, Modular, including one with the Buchla 259e module (the somewhat space-like sound and which sometimes emphasizes the piano) and two instruments of the Korg Gadget suite for Mac, the Arp Odyssey emulation and the Wave Station emulation in a synthetic brass sound).
     
       
     
    Didier
  13. reaction_title_1
    Deb76 got a reaction from opmo in Opuspianotimbres for Pianoteq Video Contest 2017   
    Hello, 
    This is my participation at Pianoteq Video Contest 2017. The composition was written with Opusmodus and played in Ableton Live with seven instances of Pianoteq (modified TubularBells, modified ConcertArp recording, Steinway D Classical Recording A, modified Celesta, modified Cinbalom, modified original ChurchBells, Steinway D Classical Recording BA and completed with a Ircam Solo Instruments bank instance (flute, Horn, Cello) read via the UVI Workstation :
     
    and the list of videos in competition : http://www.forum-pianoteq.com/viewtopic.php?id=5301
    Do not hesitate to tell me what you think.
    Didier
    PS : It is advisable to play the video in 1080p HD and listen to the headphone for panoramic movements. 
  14. reaction_title_1
    Deb76 got a reaction from opmo in Opuspianotimbres for Pianoteq Video Contest 2017   
    Hello, 
    This is my participation at Pianoteq Video Contest 2017. The composition was written with Opusmodus and played in Ableton Live with seven instances of Pianoteq (modified TubularBells, modified ConcertArp recording, Steinway D Classical Recording A, modified Celesta, modified Cinbalom, modified original ChurchBells, Steinway D Classical Recording BA and completed with a Ircam Solo Instruments bank instance (flute, Horn, Cello) read via the UVI Workstation :
     
    and the list of videos in competition : http://www.forum-pianoteq.com/viewtopic.php?id=5301
    Do not hesitate to tell me what you think.
    Didier
    PS : It is advisable to play the video in 1080p HD and listen to the headphone for panoramic movements. 
  15. reaction_title_1
    Deb76 got a reaction from opmo in Opuspianotimbres for Pianoteq Video Contest 2017   
    Hello, 
    This is my participation at Pianoteq Video Contest 2017. The composition was written with Opusmodus and played in Ableton Live with seven instances of Pianoteq (modified TubularBells, modified ConcertArp recording, Steinway D Classical Recording A, modified Celesta, modified Cinbalom, modified original ChurchBells, Steinway D Classical Recording BA and completed with a Ircam Solo Instruments bank instance (flute, Horn, Cello) read via the UVI Workstation :
     
    and the list of videos in competition : http://www.forum-pianoteq.com/viewtopic.php?id=5301
    Do not hesitate to tell me what you think.
    Didier
    PS : It is advisable to play the video in 1080p HD and listen to the headphone for panoramic movements. 
  16. reaction_title_1
    Deb76 got a reaction from opmo in Opuspianotimbres for Pianoteq Video Contest 2017   
    Hello, 
    This is my participation at Pianoteq Video Contest 2017. The composition was written with Opusmodus and played in Ableton Live with seven instances of Pianoteq (modified TubularBells, modified ConcertArp recording, Steinway D Classical Recording A, modified Celesta, modified Cinbalom, modified original ChurchBells, Steinway D Classical Recording BA and completed with a Ircam Solo Instruments bank instance (flute, Horn, Cello) read via the UVI Workstation :
     
    and the list of videos in competition : http://www.forum-pianoteq.com/viewtopic.php?id=5301
    Do not hesitate to tell me what you think.
    Didier
    PS : It is advisable to play the video in 1080p HD and listen to the headphone for panoramic movements. 
  17. reaction_title_1
    Deb76 reacted to opmo in Opusmodus 1.2.22418   
    New:
    POSITION-ATTRIBUTE
    ATTRIBUTE-MAP
    EVENTS-ANALYSIS
     
    OM Developer/Predicates:
    12TONEP
    CONTAIN-ATTRIBUTEP
    ATTRIBUTE-SYMBOLP
    EVENT-RESTP
     
    POSITION-ATTRIBUTE:
    The function POSITION-ATTRIBUTE returns a lists of bar numbers and positions values of a given attribute in a sequence. This function is a companion to the ATTRIBUTE-MAP function.
     
    Examples:
    (setf mat '((h. f6 mp stacc) (-q h a4d2 p fermata e fermata)             (e. a4d2 p - h e4g3 mf s fs6 p e c6 mp ten e. cs4 p tie)             (e cs4 p q gs5eb6 h b2 p stacc e stacc)             (q b2 p tie s q f6a4 mf -e q. d2 p ten)             (h d2 p tie s q e4 mp tr2 s tr2 -q. q f4 stacc)             (s f4 h. a3gs5 p fermata -e. -s))) (position-attribute 'fermata mat) => ((2 (1/4 3/4)) (7 (1/16))) (position-attribute '(fermata stacc) mat) => (((2 (1/4 3/4)) (7 (1/16)))     ((1 (0)) (4 (3/8 7/8)) (6 (5/4))))  
     
    ATTRIBUTE-MAP:
    The function ATTRIBUTE-MAP aligns attributes of one sequence (instrument) to another sequence. It is especially useful when aligning attributes like fermatas.
     
    Examples:
    (setf inst1       '((5h fs6 mp stacc 5q f6 ten - fs6 fermata)         (3h bb6 p stacc -3q)         (5q gs6 f stacc a6 ten - gs6 fs6 fermata)         (5e gs6 mf stacc fs6 stacc 5q g6 ten - gs6 fermata g6)         (s bb6 mp stacc b6 ten bb6 -)         (5q f6 p stacc 5h fs6 ten 5q f6 -)         (5q eb6 f stacc - 5h e6 ten 5q eb6))) (setf inst2       '((3q c6 mf -3h)         (-5q gs5 p 5h g5 5e gs5 g5)         (-3q 3h bb5 p)         (-3h 3e bb5 mf a5)         (-3q 3h a5 mp)         (5e bb5 p c6 -5q 5h b5 5e 5e cs6)         (-s c6 f d6 e6)))  
    Inserting fermata attribute into the inst2 sequence:
    (setf map (position-attribute 'fermata inst1)) => ((1 (1/5)) (3 (1/5)) (4 (3/20))) (attribute-map 'fermata map inst2) => ((3q c6 mp -3h fermata)     (-5q gs5 p 5h g5 5e gs5 g5)     (-3q 3h bb5 f fermata)     (-3h 3e bb5 mf fermata a5)     (-3q 3h a5 mp)     (5e bb5 p c6 -5q 5h b5 5e 5e cs6)     (-s c6 f d6 e6))  
    Inserting fermata and stacc attributes into the inst2 sequence:
    (setf map2 (position-attribute '(fermata stacc) inst1)) => (((1 (1/5)) (3 (1/5)) (4 (3/20)))     ((1 (0)) (2 (0)) (3 (0)) (4 (0 1/40)) (5 (0)) (6 (0)) (7 (0)))) (attribute-map '(fermata stacc) map2 inst2) => ((3q c6 mf stacc -3h fermata)     (-5q gs5 mf 5h g5 5e gs5 g5)     (-3q 3h bb5 mf fermata)     (-3h 3e bb5 mf stacc+fermata a5)     (-3q 3h a5 mp)     (5e bb5 p stacc c6 -5q 5h b5 5e 5e cs6)     (-s c6 f d6 e6))  
     
    EVENTS-ANALYSIS:
    The function EVENTS-ANALYSIS analyses a list of events of a given bar in a sequence.
     
    Examples:
    (setf mat       '((5h fs6 mp stacc 5q f6 ten - fs6 fermata)         (3h bb6 p stacc -3q)         (5q gs6 f stacc a6 ten - gs6 fs6 fermata)         (5e gs6 mf stacc fs6 stacc 5q g6 ten - gs6 fermata g6)         (s bb6 mp fermata-l b6 ten bb6 -)         (5q f6 p stacc 5h fs6 ten 5q f6 -)         (5q eb6 f stacc - 5h e6 ten 5q eb6))) (events-analysis 2 mat) => Bar: 2    Time Signature: (1 4 1)    Events: ((3h bb6 p stacc) (-3q))    Span: (1/6 1/12)    Pitch: (bb4)    Prime Form: nil    Normal Order: nil    Velocity: (p)    Ambitus: (bb6 bb6)    Interval Ambitus: 0 (events-analysis 4 mat) => Bar: 4    Time Signature: (1 4 1)    Events: ((5e gs6 mf stacc) (5e fs6 mf stacc)             (5q g6 mf ten) (-5q) (5q gs6 mf fermata) (5q g6 mf))    Span: (1/40 1/40 1/20 1/20 1/20 1/20)    Pitch: (gs4 fs4 g4)    Prime Form: (0 1 2)    Normal Order: (6 7 8)    Velocity: (mf)    Ambitus: (fs6 gs6)    Interval Ambitus: 2 (setf mat2 '((h. f6 mp stacc)              (-q h a4d2 p fermata e fermata)              (e. a4d2 p - h e4g3 mf s fs6 p e c6 mp ten e. cs4 p tie)              (e cs4 p q gs5eb6 h b2 p stacc e stacc)              (q b2 p tie s q f6a4 mf -e q. d2 p ten)              (h d2 p tie s q e4 mp tr2 s tr2 -q. q f4 stacc)              (s f4 h. a3gs5 p fermata -e. -s))) (events-analysis 5 mat2) => Bar: 5    Time Signature: (17 16 1)    Events: ((q b2 p tie) (s b2 p) (q f6a4 mf) (-e) (q. d2 p ten))    Span: (1/4 1/16 1/4 1/8 3/8)    Pitch: (b4 f4 a4 d4)    Prime Form: (0 2 5 8)    Normal Order: (9 11 2 5)    Velocity: (p mf)    Ambitus: (d2 f6)    Interval Ambitus: 51  
     
    12tonep:
    Returns true if list is a 12-tone scale, and NIL otherwise.
     
    Examples:
    (12tonep '(4 10 1 3 5 2 6 8 9 11 7 0)) => t (12tonep '(e4 as4 cs4 ds4 f4 d4 fs4 gs4 a4 b4 g4 c4)) => t (12tonep '(e4 as4 cs4 ds4 f4 d4 fs4 gs4 a4 b4 f4 c4)) => nil  
     
    CONTAIN-ATTRIBUTEP:
    Returns true if attribute is found in the sequence, and NIL otherwise.
     
    Examples:
    (contain-attributep 'fermata '(-h fermata)) => t (contain-attributep 'stacc '(-e a4 fermata+stacc d4 p fermata)) => t  
     
    ATTRIBUTE-SYMBOLP:
    Returns true if object is a attribute, and NIL otherwise.
     
    Examples:
    (attribute-symbolp 'tie) => t (attribute-symbolp 'ponte+ten) => t  
     
    EVENT-RESTP:
    Returns true if event is a rest, and NIL otherwise.
     
    Examples:
    (event-restp '(-q)) => t (event-restp '(-q fermata)) => t  
    Best wishes,
    JP
  18. reaction_title_1
    Deb76 got a reaction from Stephane Boussuge in Magic Circles   
    Ah oui, Stéphane, c'est vraiment excellent... 
  19. reaction_title_1
    Deb76 reacted to opmo in Opusmodus 1.2.21339   
    Fix to dynamic symbol repeats (one-note-dynamic).
     
    Extending the num attribiutes:
    num0 num1 num2 num3 num4 num5 num6 num7 num8 num9 num10 num11 num12
    num-1 num-2 num-3 num-4 num-5 num-6 num-7 num-8 num-9 num-10 num-11 num-12
  20. reaction_title_1
    Deb76 got a reaction from Stephane Boussuge in De l'autre coté du Miroir   
    I like it. Thank for your score script. I'll study it carefully.
  21. reaction_title_1
    Deb76 reacted to opmo in Opusmodus 1.2.20538   
    NEW:
    MODUS is working with omn-form lists now.
     
    (modus '((q c6 cs4 e a4 e3 d6 f4) (q b4 gs3 e bb4 eb4 g5 fs6)))
    => ((0 1 9 4 2 5) (11 8 10 3 7 6))
     
     
    MOTIF-MAP function name has change to PATTERN-MAP with additional functionality.
     
    (setf omn '((s c4 d4 e4 f4 g4 a4 b4 c5)
                (5q c4 d4 e4 f4 g4 g4 f4 e4 d4 c4)))
     
    (pattern-map 
      '(((c4 d4 e4) (cs4 ds4 f4)) 
        ((f4 g4) (eb4 fs4))) omn
      :type :pitch)
    => ((s cs4 ds4 f4 eb4 fs4 a4 b4 c5)
        (5q cs4 ds4 f4 eb4 fs4 g4 f4 e4 d4 c4))
     
    (pattern-map 
      '(((c4 d4 e4) (cs4 ds4 f4)) 
        ((f4 g4) (eb4 fs4))) omn
      :type :pitch :loop t)
    => ((s cs4 ds4 f4 f4 g4 a4 b4 c5)
        (5q c4 d4 e4 eb4 fs4 g4 f4 e4 d4 c4))
     
     
    (setf mat '((q c6 cs4 a4 e3 d6 f4) (q b4 gs3 bb4 eb4 g5 fs6)))
     
    (modus mat)
    => ((0 1 9 4 2 5) (11 8 10 3 7 6))
     
    (pattern-map 
     '(((0 1 9 4 2 5) (0 4 2 1 9 5))
       ((11 8 10 3 7 6) (10 8 11 3 7 6)))
     mat :type :pitch :pcs t)
    => ((q c6 e4 d4 cs3 a6 f4)
        (q bb4 gs3 b4 eb4 g5 fs6))
     
    (pattern-map
     '(((0 1 9) (10 8 11))
       ((11 8 10) (0 1 9)))
     mat :type :pitch :pcs t :loop t)
    => ((q bb6 gs4 b4 e3 d6 f4)
        (q c4 cs3 a4 eb4 g5 fs6))
     
  22. reaction_title_1
    Deb76 got a reaction from opmo in Video Discussion: Contrepoint/counterpoint Tanaeiev   
    Name: Contrepoint/counterpoint Tanaeiev
    Category: Music Theory and Analysis
    Date Added: 2018-08-23
    Submitter: Deb76

    Bonjour, 
    J'ai découvert dans un forum (compositeur.org) un sujet posté par un passionné de théorie musicale et du contrepoint en particulier, il mettait en exergue l'ouvrage du russe Sergueï Taneïev "Convertible Counterpoint In the Strict Style" paru en 1906 et qui aborde le contrepoint d'un point de vue mathématique. Intrigué, entre autres par sa notation numérique des intervalles (0 = unisson, 1=seconde, 2=tierce...7=octave), trouvant des similitudes d'approche avec la Set Theory et notamment les travaux de David Lewin, je me suis demandé alors que je ne maîtrise pas le contrepoint tonal si Opusmodus pouvait m'être utile dans la lecture de cet ouvrage, si je pouvais avec OPMO recréer ses exercices. D'où la recherche de fonctions qui pourraient m'aider dans cette démarche. Et de fait, j'en ai trouvé plusieurs dont INTERVALE-MAP qui permet de calculer les transpositions de ses "derivatives" mais en effectuant une conversion des intervalles, CHORD-INTERVAL-ADD,  ainsi que SUBSTITUTE-MAP (suggéré par Janusz Podrazik) et qui a l'avantage de permettre l'utilisation de la notation de Taneïev. C'est une première approche de ce document mis en ligne par le site archive.org (https://archive.org/details/convertiblecount00tane), portant pour l'instant sur les outils permettant l'analyse et la lecture de cet ouvrage. Une seconde partie est prévue sur les déplacements des voix mais elle nécessite du temps, ne serait-ce que pour convertir les très nombreux exemples écrits dans les différentes clés dont les clés d'Ut 1e et 4e ligne. 
    Le PDF de la vidéo est ici, il sera plus aisé à consulter. 
    http://www.deb8076.eu/CAOPhotosForums/IntervalsTanaievC.pdf
     
    Hello,
    I found in a forum (compositeur.org) posted a subject by a passionate music theory and counterpoint in particular, he put highlight the work of Russian Sergueï Taneïev "Convertible Counterpoint In the Strict Style" published in 1906 and that addresses the counterpoint of a mathematical point of view. Intrigued, among others by its numerical notation intervals (0 = unison, 1 = second, third ... 2 = 7 = octave), finding similarities with the approach of Set Theory and including the work of David Lewin, I am asked when I do not control the tonal counterpoint if Opusmodus could help me in reading this book, if I could recreate his exercises with OPMO. Hence the search functions that could help me in this. And in fact, I found several of which INTERVAL-MAP that calculates the transpositions of its "derivatives" but with conversions intervals, CHORD-INTERVAL-ADD and SUBSTITUTE-MAP (suggested by Janusz Podrazik) and has the advantage of allowing the use of rating Taneyev. This is a first approach to the document posted by the website archive.org (https://archive.org/details/convertiblecount00tane), bringing yet on the tools for analysis and reading this book . A second part is provided on the movement of voice but it takes time, if only to convert many examples written in different keys whose key Ut 1st and 4th line.
    The PDF of the video is linked above, it will be easier to navigate.
     
    PS : Sorry for my bad english.


    Contrepoint/counterpoint Tanaeiev
  23. reaction_title_1
    Deb76 got a reaction from opmo in Video Discussion: Contrepoint/counterpoint Tanaeiev   
    Name: Contrepoint/counterpoint Tanaeiev
    Category: Music Theory and Analysis
    Date Added: 2018-08-23
    Submitter: Deb76

    Bonjour, 
    J'ai découvert dans un forum (compositeur.org) un sujet posté par un passionné de théorie musicale et du contrepoint en particulier, il mettait en exergue l'ouvrage du russe Sergueï Taneïev "Convertible Counterpoint In the Strict Style" paru en 1906 et qui aborde le contrepoint d'un point de vue mathématique. Intrigué, entre autres par sa notation numérique des intervalles (0 = unisson, 1=seconde, 2=tierce...7=octave), trouvant des similitudes d'approche avec la Set Theory et notamment les travaux de David Lewin, je me suis demandé alors que je ne maîtrise pas le contrepoint tonal si Opusmodus pouvait m'être utile dans la lecture de cet ouvrage, si je pouvais avec OPMO recréer ses exercices. D'où la recherche de fonctions qui pourraient m'aider dans cette démarche. Et de fait, j'en ai trouvé plusieurs dont INTERVALE-MAP qui permet de calculer les transpositions de ses "derivatives" mais en effectuant une conversion des intervalles, CHORD-INTERVAL-ADD,  ainsi que SUBSTITUTE-MAP (suggéré par Janusz Podrazik) et qui a l'avantage de permettre l'utilisation de la notation de Taneïev. C'est une première approche de ce document mis en ligne par le site archive.org (https://archive.org/details/convertiblecount00tane), portant pour l'instant sur les outils permettant l'analyse et la lecture de cet ouvrage. Une seconde partie est prévue sur les déplacements des voix mais elle nécessite du temps, ne serait-ce que pour convertir les très nombreux exemples écrits dans les différentes clés dont les clés d'Ut 1e et 4e ligne. 
    Le PDF de la vidéo est ici, il sera plus aisé à consulter. 
    http://www.deb8076.eu/CAOPhotosForums/IntervalsTanaievC.pdf
     
    Hello,
    I found in a forum (compositeur.org) posted a subject by a passionate music theory and counterpoint in particular, he put highlight the work of Russian Sergueï Taneïev "Convertible Counterpoint In the Strict Style" published in 1906 and that addresses the counterpoint of a mathematical point of view. Intrigued, among others by its numerical notation intervals (0 = unison, 1 = second, third ... 2 = 7 = octave), finding similarities with the approach of Set Theory and including the work of David Lewin, I am asked when I do not control the tonal counterpoint if Opusmodus could help me in reading this book, if I could recreate his exercises with OPMO. Hence the search functions that could help me in this. And in fact, I found several of which INTERVAL-MAP that calculates the transpositions of its "derivatives" but with conversions intervals, CHORD-INTERVAL-ADD and SUBSTITUTE-MAP (suggested by Janusz Podrazik) and has the advantage of allowing the use of rating Taneyev. This is a first approach to the document posted by the website archive.org (https://archive.org/details/convertiblecount00tane), bringing yet on the tools for analysis and reading this book . A second part is provided on the movement of voice but it takes time, if only to convert many examples written in different keys whose key Ut 1st and 4th line.
    The PDF of the video is linked above, it will be easier to navigate.
     
    PS : Sorry for my bad english.


    Contrepoint/counterpoint Tanaeiev
  24. reaction_title_1
    Deb76 got a reaction from opmo in Video Discussion: Contrepoint/counterpoint Tanaeiev   
    Name: Contrepoint/counterpoint Tanaeiev
    Category: Music Theory and Analysis
    Date Added: 2018-08-23
    Submitter: Deb76

    Bonjour, 
    J'ai découvert dans un forum (compositeur.org) un sujet posté par un passionné de théorie musicale et du contrepoint en particulier, il mettait en exergue l'ouvrage du russe Sergueï Taneïev "Convertible Counterpoint In the Strict Style" paru en 1906 et qui aborde le contrepoint d'un point de vue mathématique. Intrigué, entre autres par sa notation numérique des intervalles (0 = unisson, 1=seconde, 2=tierce...7=octave), trouvant des similitudes d'approche avec la Set Theory et notamment les travaux de David Lewin, je me suis demandé alors que je ne maîtrise pas le contrepoint tonal si Opusmodus pouvait m'être utile dans la lecture de cet ouvrage, si je pouvais avec OPMO recréer ses exercices. D'où la recherche de fonctions qui pourraient m'aider dans cette démarche. Et de fait, j'en ai trouvé plusieurs dont INTERVALE-MAP qui permet de calculer les transpositions de ses "derivatives" mais en effectuant une conversion des intervalles, CHORD-INTERVAL-ADD,  ainsi que SUBSTITUTE-MAP (suggéré par Janusz Podrazik) et qui a l'avantage de permettre l'utilisation de la notation de Taneïev. C'est une première approche de ce document mis en ligne par le site archive.org (https://archive.org/details/convertiblecount00tane), portant pour l'instant sur les outils permettant l'analyse et la lecture de cet ouvrage. Une seconde partie est prévue sur les déplacements des voix mais elle nécessite du temps, ne serait-ce que pour convertir les très nombreux exemples écrits dans les différentes clés dont les clés d'Ut 1e et 4e ligne. 
    Le PDF de la vidéo est ici, il sera plus aisé à consulter. 
    http://www.deb8076.eu/CAOPhotosForums/IntervalsTanaievC.pdf
     
    Hello,
    I found in a forum (compositeur.org) posted a subject by a passionate music theory and counterpoint in particular, he put highlight the work of Russian Sergueï Taneïev "Convertible Counterpoint In the Strict Style" published in 1906 and that addresses the counterpoint of a mathematical point of view. Intrigued, among others by its numerical notation intervals (0 = unison, 1 = second, third ... 2 = 7 = octave), finding similarities with the approach of Set Theory and including the work of David Lewin, I am asked when I do not control the tonal counterpoint if Opusmodus could help me in reading this book, if I could recreate his exercises with OPMO. Hence the search functions that could help me in this. And in fact, I found several of which INTERVAL-MAP that calculates the transpositions of its "derivatives" but with conversions intervals, CHORD-INTERVAL-ADD and SUBSTITUTE-MAP (suggested by Janusz Podrazik) and has the advantage of allowing the use of rating Taneyev. This is a first approach to the document posted by the website archive.org (https://archive.org/details/convertiblecount00tane), bringing yet on the tools for analysis and reading this book . A second part is provided on the movement of voice but it takes time, if only to convert many examples written in different keys whose key Ut 1st and 4th line.
    The PDF of the video is linked above, it will be easier to navigate.
     
    PS : Sorry for my bad english.


    Contrepoint/counterpoint Tanaeiev
  25. reaction_title_1
    Deb76 got a reaction from opmo in Video Discussion: Contrepoint/counterpoint Tanaeiev   
    Name: Contrepoint/counterpoint Tanaeiev
    Category: Music Theory and Analysis
    Date Added: 2018-08-23
    Submitter: Deb76

    Bonjour, 
    J'ai découvert dans un forum (compositeur.org) un sujet posté par un passionné de théorie musicale et du contrepoint en particulier, il mettait en exergue l'ouvrage du russe Sergueï Taneïev "Convertible Counterpoint In the Strict Style" paru en 1906 et qui aborde le contrepoint d'un point de vue mathématique. Intrigué, entre autres par sa notation numérique des intervalles (0 = unisson, 1=seconde, 2=tierce...7=octave), trouvant des similitudes d'approche avec la Set Theory et notamment les travaux de David Lewin, je me suis demandé alors que je ne maîtrise pas le contrepoint tonal si Opusmodus pouvait m'être utile dans la lecture de cet ouvrage, si je pouvais avec OPMO recréer ses exercices. D'où la recherche de fonctions qui pourraient m'aider dans cette démarche. Et de fait, j'en ai trouvé plusieurs dont INTERVALE-MAP qui permet de calculer les transpositions de ses "derivatives" mais en effectuant une conversion des intervalles, CHORD-INTERVAL-ADD,  ainsi que SUBSTITUTE-MAP (suggéré par Janusz Podrazik) et qui a l'avantage de permettre l'utilisation de la notation de Taneïev. C'est une première approche de ce document mis en ligne par le site archive.org (https://archive.org/details/convertiblecount00tane), portant pour l'instant sur les outils permettant l'analyse et la lecture de cet ouvrage. Une seconde partie est prévue sur les déplacements des voix mais elle nécessite du temps, ne serait-ce que pour convertir les très nombreux exemples écrits dans les différentes clés dont les clés d'Ut 1e et 4e ligne. 
    Le PDF de la vidéo est ici, il sera plus aisé à consulter. 
    http://www.deb8076.eu/CAOPhotosForums/IntervalsTanaievC.pdf
     
    Hello,
    I found in a forum (compositeur.org) posted a subject by a passionate music theory and counterpoint in particular, he put highlight the work of Russian Sergueï Taneïev "Convertible Counterpoint In the Strict Style" published in 1906 and that addresses the counterpoint of a mathematical point of view. Intrigued, among others by its numerical notation intervals (0 = unison, 1 = second, third ... 2 = 7 = octave), finding similarities with the approach of Set Theory and including the work of David Lewin, I am asked when I do not control the tonal counterpoint if Opusmodus could help me in reading this book, if I could recreate his exercises with OPMO. Hence the search functions that could help me in this. And in fact, I found several of which INTERVAL-MAP that calculates the transpositions of its "derivatives" but with conversions intervals, CHORD-INTERVAL-ADD and SUBSTITUTE-MAP (suggested by Janusz Podrazik) and has the advantage of allowing the use of rating Taneyev. This is a first approach to the document posted by the website archive.org (https://archive.org/details/convertiblecount00tane), bringing yet on the tools for analysis and reading this book . A second part is provided on the movement of voice but it takes time, if only to convert many examples written in different keys whose key Ut 1st and 4th line.
    The PDF of the video is linked above, it will be easier to navigate.
     
    PS : Sorry for my bad english.


    Contrepoint/counterpoint Tanaeiev
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