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RST

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  1. RST

    RST

  2. Very interesting opportunities here.
  3. After installing the newest version, I receive this diagnostic. Not sure at all what it means. There is no applicable method for the generic function: #<STANDARD-GENERIC-FUNCTION ENSURE-COMPOSER-PANE #x302001CFAA4F> when called with arguments: ("/Users/RSTGSU/Opusmodus/Extensions/Load CLM Instruments.lisp" #<OM-LAYOUT-CONTROLLER <OMLayoutController: 0x735e90> (#x735E90)>) Nor do I know how to solve it.
  4. super helpful! thank you, Janusz!
  5. Would it be possible to point this out specifically? Trouble is finding this element.
  6. > Error: The function double is predefined by Opusmodus. > While executing: ccl::cerror-if-redefine-om, in process Opusmodus Extension Initialization(5). > Type cmd-/ to continue, cmd-. to abort, cmd-\ for a list of available restarts. > If continued: Replace the definition of double. > Type :? for other options. 1 > Recently when I start Opus Modus I get this error message. Is there something to do? With thanks!
  7. I learned a great deal from him. A very astute composer and teacher.
  8. Hello people! This is a relatively recent work that I composed with Opusmodus. A septet... Alto Flute, Clarinet, Trombone, Viola, Violoncello, Piano, Percussion This is a live recording from the premiere at the Trieste Prima Festival and is by Ensemble MD7 conducted by Steven Loy.
  9. Greetings all: When I invoke this command (Evaluate and Audition and Notation) I get the compilation of the code and the notation but audition playback does not occur. I get the following in the Listener: ambitus make-instrument viola ambitus make-instrument violoncello def-score, name: timeline 6 > audition-musicxml-last-score #<process play loop(17) [Reset] #x3020024491ED> 6 > compile-score #<score timeline> However, when I invoke the command to audition the last score (from the menu or the keyboard shortcuts) it plays. I should note that I am playing out via MIDI to Logic. Am I doing something wrong? Many thanks, Robert
  10. This will be quite helpful. Last week Jay Spears from Avid was visiting me at my university and informed me of many exciting new developments with Sibelius that are planned. Thus, keeping the focus on Sibelius for extending Opusmodus work is probably a great idea. I will look forward to exploring these tools. Thank you for providing them!
  11. Bravo!! Thank you for showing me this way!
  12. Hi! I have a small tuplet question: best way to notate this kind of structure in OMN?
  13. Super helpful...thanks, I will look into this editorial aspect.
  14. Thanks! I will try, though not really sure how...yet...
  15. A bit more with another kind of confusing result: ;;; (def-case fragments (2 '(-q e b4 -e (-app e eb4 f4) h. eb4 (-acc e f4 eb4 f4))) (3 '(-3q 3q b4 -3q (-app e eb4 f4) q eb4 (-acc e f4) h eb4 (-acc e f4 a4 b4))) (4 '(-q e f5 -e (-app e b4 ds5) a4 (-app e. g4) a4 t b4 a4 b4 -e (-app e eb5) e f5)) (5 '((acc e b4 d5 ds5) q. c5 (acc s f5) e. b4 (acc e c5 d5 ds5) e. a4 (acc e b4 a4) e b4)) (6 '(-q e b4 (app e f4 a4 f4) e b4 t g4 a4 eb4 a4 q. b4 (-acc e f4 a4) h bb4 t bb4 c5)) (otherwise '(-e. b4 -e (acc a4 b4) h bb4 (app e c5) q b4 (acc e d5 ds5 e5) q. b4 (app e f4 bb4) s c5))) (setf v1 '(1 2 3 4 5 6)) (setf p1 (flatten (gen-eval 16 '(rnd-order v1)))) (setf p1_s (remove-duplicates p1)) (setf p1_out (fragments p1_s)) (setf mat (fragments '(2))) (setf mat1 (pitch-transpose -12 (omn :pitch mat))) (setf pit (omn :pitch mat)) (setf len (omn :length mat)) (setf art (omn :articulation mat)) (setf artr (omn :rest-articulation mat)) (make-omn :pitch mat1 :length len :articulation art :rest-articulation artr ) There is an notation result as a snippet but...as it is, it is not playable as a snippet. Error: division-by-zero detected > performing / on (1/16 0) > While executing: ccl::divide-by-zero-error, in process Listener-2(7). There are also some notational issues. It seems that parsing articulation and the manner in which this is notated in OMN is part of the problem. It may be better to consider composing out the small notes, the appoggiaturas and such with precise note values. (?). Like this: '(-q e b4 -e t eb4 f4 h. eb4 t f4 eb4 f4) '(-q -3q 3q b4 -3q t e4 f4 q e4 t f4 h eb4 t f4 a4 b4) '(-q f5 -e t b4 cs5 q. a4 t g4 e a4 tie t a4 b4 a4 b4 -e t eb5 e f5) '(-e t b4 d5 ds5 q. c5 t f5 e. b4 tie t c5 d5 ds5 s a4 tie q a4 tie e a4 t b4 a4 s b4 -s) '(-e b4 t f4 a4 f4 e b4 -e t g4 a4 eb4 a4 e b4 tie q b4 t f4 a4 h bb4 t bb4 c5 -e.) '(b4 -e a4 b4 h bb4 t c5 q bb4 t d5 ds5 e5 q b4 tie e. b4 t f4 bb4 s c5 -e) '(e gs5 3e a4 d5 gs4 e. bb4 tie h bb4)
  16. Here is a small project to explore pitch-mapping. There are some results but not the best ones yet. If anyone has an idea on how to improve this I would really appreciate the advice. What would be ideal as the result would be the same musical list (and notation) but with the transformed pitches. As you can see from the result, there are many changes and the result is not clean but rather seriously garbled instead! The goal is to remap the pitch content of the original with a new tonality-map. Here is the beginning attempt. A confusing element is the return of NIL when parsing :articulation from the original material. ;;; Pitch mapping project idea ;;; Original musical sequence: (setf alto-flute-orig '( (-q e b4 -e (-app e eb4 f4) h. eb4 (-acc e f4 eb4 f4)) (-3q 3q b4 -3q (-app e eb4 f4) q eb4 (-acc e f4) h eb4 (-acc e f4 a4 b4)) (-q e f5 -e (-app e b4 ds5) a4 (-app e. g4) a4 t b4 a4 b4 -e (-app e eb5) e f5) ((acc e b4 d5 ds5) q. c5 (acc s f5) e. b4 (acc e c5 d5 ds5) e. a4 (acc e b4 a4) e b4) (-q e b4 (app e f4 a4 f4) e b4 t g4 a4 eb4 a4 q. b4 (-acc e f4 a4) h bb4 t bb4 c5) (-e. b4 -e (acc a4 b4) h bb4 (app e c5) q b4 (acc e d5 ds5 e5) q. b4 (app e f4 bb4) s c5) (-e gs5 3s a4 d4 gs4 -e. bb4 tie q bb4 (3e b4 a4 b4 -e -e)) ((acc e a4 b4 fs4) h c5 (acc e b4) q c5 (acc e ds5 e5 fs5) 3e b4 c5 fs4 q a4 tie q a4 tie e. a4 s bb4 a4 e b4) (-e (acc e eb4) h f4 tie e. f4 s gb5 -e (acc eb5 f5) e e5 tie q e5 tie 3q e5 3q e5 3q f5 3q b4 -3q -3q) ((acc e bb4 b4) a4 (acc e bb4) h a4 (acc e bb4) e a4 s gs5 -s) ) ) ;;; ;;; Disassemble OMN: There are some errors here - in particular for :articulation which seems to return NIL (disassemble-omn alto-flute-orig) (setf pit (omn :pitch alto-flute-orig)) (setf len (omn :length alto-flute-orig)) ;;; next line result is confusing - returns nil (setf art (omn :articluation alto-flute-orig)) ;;; next line returns a result (setf artr (omn :rest-articulation alto-flute-orig)) ;;; Create 12-tone mapping and pitch transformation of original (setf map '(0 1 3 4 7 8 10 11 17 18 21)) (setf mapping (integer-to-pitch map)) (create-tonality 12T2 '(0 1 3 4 7 8 10 11 17 18 21)) (setf output (tonality-map '(12T2 :root c3 :fixed t) pit)) ;;; Assemble the parameters into a new OMN with transformed pitches (make-omn :length len :pitch output :articulation art :rest-articulation artr ) ;;; The result is unsuable so far. There are some things to iron-out here! :-)
  17. Finally, part of a solution. This tonality mapping copies the target 2-octave 12-tone collection. The important flag seems to be :fixed t, in this application. (setf nums '(0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21)) (setf orig (integer-to-pitch nums)) (setf map '(0 1 3 4 7 8 10 11 17 18 21)) (setf mapping (integer-to-pitch map)) (create-tonality 12T2 '(0 1 3 4 7 8 10 11 17 18 21)) (remove-duplicates (tonality-map '(12T2 :root c3 :fixed t) (integer-to-pitch nums)))
  18. The larger proposal is to use these fragments and to re-cast them into the tonality such as: (setf alto-flute-orig '((-q e b4 -e (-app e eb4 f4) h. eb4 (-acc e f4 eb4 f4)) (-3q 3q b4 -3q (-acc e eb4 f4) q eb4 (-acc e f4) h eb4 (-acc e f4 a4 b4)) (-q e f5 -e (-app e b4 ds5) a4 -app e. g4 a4 t b4 a4 b4 -e -app e eb5 e f5) ((acc e b4 d5 ds5) q. c5 (acc s f5) e. b4 (acc e c5 d5 ds5) e. a4 (acc e b4 a4) e b4) (-q e b4 (app e f4 a4 f4) e b4 t g4 a4 eb4 a4 q. b4 (acc e f4 a4) h bb4))) (setf set (integer-to-pitch '(0 1 3 4 7 8 10 11 17 18 21 24))) (harmonic-path set alto-flute-orig) (create-tonality 12T2 '(0 1 3 4 7 8 10 11 17 18 21)) (tonality-map '(12T2 :root c3) alto-flute-orig)
  19. (setf alto-flute-orig '(-q e b4 -e (-app e eb4 f4) h. eb4 (-acc e f4 eb4 f4)) ) (setf test (pitch-transpose -12 alto-flute-orig)) Making this transposition results in recasting the gesture. Very confusing result. Any thoughts?
  20. (-q e b4 (app s eb4 f4) (h. eb4 (-acc s f4 eb4 f4))) This is a phrase that ends with grace notes - but, it is not formed properly. I have tried some alternatives. The parts: (-q e b4 (app s eb4 f4) h. eb4) (h. eb4 (-acc s f4 eb4 f4)) Do work to the score window - but putting them together into one phrase is what confuses me. Does anyone know how to form this correctly? Thanks for help! this seems to work as an alternative: (-q e b4 (-app e eb4 f4) h. eb4 (-acc e f4 eb4 f4)) (-3q 3q b4 -3q (-app e eb4 f4) q eb4 (-app e f4) h eb4 (-acc e f4 a4 b4)) in this fragment the f4 prior to the h3b4 plays slower than the other ornaments, sounding as a standard eight note - confused as to why.
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