RST

Second in the series: Book 2.
We too planing to update the Book 1.

The second book in the series will be released in the spring.

This is wonderful - so clearly presented and deeply engaging of Opusmodus!  I will return to this, in the meantime, BRAVO!

an example: 
 
this is the BASIC-version (without "dust"):
all mapped in 1/32 - retrograde sorting processes (with GEN-SORT):
pitch-process from chromatic to 12tone-row (by sort) and from sorted length-values (all 1/32,
then all 1/16 etc... to more complex/mixed pattern (by sort))
 

 
 
with this setup:
 

 
 
the result with some "dust":
if you you have a look to the span-list above (compare with the new score) you will see:
no change at the beginning, then more and more randomized (or made flexible).
 

 

CLM Installation
 
Common Lisp Music, by William Schottstaedt is a powerful sound synthesis language implemented in Lisp and C. CLM is essentially a toolbox for instrument building. Although it comes with a number of instruments ready to use, most composers use CLM to define their own instruments.
 
For those of you that wish to dive into CLM sound synthesis system, I advise everyone to read this document carefully first.
 
1. Command Line Tools
 
First you need to find out if  "command line tools" are installed in your system.
The C compiler is essential at the instrument compile and load time.
 
Launch the Terminal, found in /Applications/Utilities/
To check if command line tools are installed run:
xcode-select --version  
if installed you will see the below with the version found in your system, something like that:
xcode-select version 1234
 
If command line tools are not installed run:
xcode-select --install  
A software update popup window will appear that asks: “The xcode-select command requires the command line developer tools. Would you like to install the tools now?” choose to confirm this by clicking “Install”, then agree to the Terms of Service when requested. Wait for the Command Line Tools package download to complete, it’ll be about 130MB and installs fairly quickly depending on your connection speed. The installer goes away on its own when complete. Enjoy your new unix command line toolkit!
 
2. Load and Compile Instruments
 
CLM system comes with a number of instruments which are a great starting point to see and hear CLM in action. Some of them are simple others are complex. Before you can run any of the instruments you must compile them first. To do that you need to open and evaluate a file "Load CLM Instrument.lisp", you will find the file in the CLM directory. This process will take a minute or so and it will create binary and dynamic library files for each of the instruments. The binary files will be saved in the bin directory and the library files will be saved in the libclm directory. After this process is completed you are ready to run the CLM Examples. If you wish to load your instruments at the startup of the app move the "Load CLM Instrument.lisp" file into the “~/Opusmodus/Extensions/“ directory.
 
Thats all you need to do to make CLM system work in Opusmodus.
 
Best wishes,
Janusz
 

Variations on "Webern Variationen Fuer Klavier Op.27, I" (2019) by JP
 
   
 
 
Instrument: VSL Steinway D

It is a new function which generate a variations of a given score or section. The function has around 20 keywords and is not yet ready for release.

Hello,
 
here's one of my personal orchestral template.
 
It use plogue Bidule as host (because some special KeySwitch configuration) and EastWest Hollywood orchestra and East west Convolution reverb (but you can replace it by another one).
 
You can use this template and associated files (soundset etc..) as this or use it as a base for designing you own and take inspiration from it.
 
Attached you will find and audio example of the raw output of the template, the template itself (.opmo), the Bidule file and the soundset necessary to drive this template.
 
Put the BaseOrch4.bidule file into the Instrument/Templates folder from Opmo folder. (create the Template folder if not exist)
Put the soundset file BaseOrchestra4.lisp into the Def-soundset folder from opmo folder.
 
Have fun !!
 
SB.
 
TemplateOutExample.mp3
ForumHWBiduleBaseOrchestra.opmo
BaseOrch4.bidule
BaseOrchestra4.lisp

;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; ;;; rnd-walk in a pitchfield - with interval-control ;;; ;;; this is a little function which does an rnd-walk in a special way ;;; the function is checking all possible interval-pairs first inside the pitchfield ;;; so that is on one hand all the time "inside" the pitchfield/sieve, but also only ;;; uses the :POSSIBLE-INTERVALS, so you could control the "interval-color" of the walk ;;; in an non-chromatic-pitchfield/sieve ;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; (defun enlarge-intervals (possible-intervals &key (octaves 2)) (let ((possible-intervals (append possible-intervals (loop repeat octaves for i = 12 then (incf i 12) append (x+b possible-intervals i))))) (append possible-intervals (neg! possible-intervals)))) ;(enlarge-intervals '(2 3 4)) ;;;;;;;;;;; (defun special-rnd-walk (n &key pitchfield startpitch possible-intervals (interval-octaves 2)) (let ((int-list (loop for i in pitchfield collect (list (pitch-to-midi i) (loop for x in pitchfield with int do (setf int (car (pitch-to-interval (list i x)))) when (/= int 0) collect int)))) (possible-intervals (enlarge-intervals possible-intervals :octaves interval-octaves))) (append (list startpitch) (midi-to-pitch (loop repeat n with int with pitch = (pitch-to-midi startpitch) do (setf int (rnd-pick (filter-preserve possible-intervals (cadr (assoc pitch int-list))))) when (null int) do (setf int (rnd-pick (cadr (assoc pitch int-list)))) collect (setf pitch (pitch-to-midi (cadr (interval-to-pitch (list int) :start (midi-to-pitch pitch)))))))))) ;;;;;;;;;;; EXAMPLES ;;; rnd-walk in a "chromatic-field" - as the most easiest example/way ;;; => so all possible-intervals could be used -> THE ORDINARY WAY... (special-rnd-walk 20 :startpitch 'cs4 :pitchfield '(gs3 a3 bb3 b3 c4 cs4 d4 ds4 e4 f4 fs4 g4 gs4 a4) :possible-intervals '(1 2 3)) ;;; BUT have a look to the next examples!!! ;;; rnd-walk in a PITCHFIELD -> the function is checking all possible interval-pairs inside the pitchfield ;;; so that the rnd-walk INSIDE the PITCHFIELD could be done with specific intervals (if they are inside the field) ;;; COMPARE THE RESULT with the PITCHFIELD!!! ;;; (setf pitchfield '(gs3 cs4 ds4 g4 a4 b4 d5 e5 fs5 bb5 c6 f6)) ;;; "interval-color" of the walk is made with :possible-intervals (special-rnd-walk 5 :startpitch 'ds4 :pitchfield '(gs3 cs4 ds4 g4 a4 b4 d5 e5 fs5 bb5 c6 f6) :possible-intervals '(1 2 3)) ; + octaves of this intervals (special-rnd-walk 10 :startpitch 'ds4 :pitchfield '(gs3 cs4 ds4 g4 a4 b4 d5 e5 fs5 bb5 c6 f6) :possible-intervals '(1 3 4 5) :interval-octaves 0) ;;; reduced interval-span (special-rnd-walk 10 :startpitch 'ds4 :pitchfield '(gs3 cs4 ds4 g4 a4 b4 d5 e5 fs5 bb5 c6 f6) :possible-intervals '(5 6 7)) ; + octaves of this intervals  
more examples -> SOUND
 
;;; rnd-versions so you will here the different interval-colors inside the pitchfield (setf seq (gen-sieve '(f3 fs6) '(4 2 1 1 1 2 4 7) :type :pitch)) ;(setf seq (gen-sieve '(f3 fs6) '(7 4 2 1 1 1 2 4) :type :pitch)) ;(setf seq '(gs3 cs4 ds4 g4 a4 b4 d5 e5 fs5 bb5 c6 f6)) (setf pitchlist (special-rnd-walk (rnd-pick '(3 5 7 11)) :startpitch (rnd-pick seq) :pitchfield seq :possible-intervals (rnd-pick '((1 2) (3 4) (5 6 7))) :interval-octaves 3)) (def-score intervals (:title "walk" :key-signature 'atonal :time-signature '(4 4) :tempo 90) (instrument :omn (make-omn :pitch pitchlist :length '(t) :span :pitch) :channel 1 :sound 'gm :program 'acoustic-grand-piano))  
 
;;; rnd-walk in SIEVE only with intervals '(5 6 8) (setf seq (gen-sieve '((c4 g7) (c2 g7)) '((2 1 10) (3 5)) :type :pitch)) (setf pitchlist (special-rnd-walk 30 :startpitch (rnd-pick seq) :pitchfield seq :possible-intervals '(5 6 8))) (def-score intervals (:title "intervals" :key-signature 'atonal :time-signature '(4 4) :tempo 90) (instrument :omn (make-omn :pitch pitchlist :length '(t) :span :pitch) :channel 1 :sound 'gm :program 'acoustic-grand-piano))  
 
(setf seq (gen-sieve '((c2 g7) (c2 g7)) '((2 1 10) (3 5)) :type :pitch)) ;;; EXAMPLE with changes -> all inside the same SIEVE (setf pitchlist (append (special-rnd-walk 50 :startpitch (rnd-pick seq) :pitchfield seq :possible-intervals '(1)) ; minor second (special-rnd-walk 50 :startpitch (rnd-pick seq) :pitchfield seq :possible-intervals '(2)) ; major second (special-rnd-walk 50 :startpitch (rnd-pick seq) :pitchfield seq :possible-intervals '(3 4)) ;thirds (special-rnd-walk 50 :startpitch (rnd-pick seq) :pitchfield seq :possible-intervals '(5 7)))) ; fourth-fifth (def-score intervals (:title "intervals" :key-signature 'atonal :time-signature '(4 4) :tempo 90) (instrument :omn (make-omn :pitch pitchlist :length '(t) :span :pitch) :channel 1 :sound 'gm :program 'acoustic-grand-piano))  

Algorithmic avant garde jazz improvisation for tenor saxophone, piano, bass and drums.
I thought it is time to add something new to our 'Made in Opusmodus' forum.
 
   
 
Samples: VSL Ensemble Pro with Vienna Instruments Pro.
 
If you like to study the score, here it is:
DADA Quartet.opmo

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.
 

Yes, we are planing to release Windows version in 2016/2017

In memoriam to Nigel St. Clair Morgan.

 
RequiemCommented.opmo

I consider Nigel was my most important music comp. teacher even if we had mainly only mails exchange and few meetings and i will be always thankful to him for his always very constructives advices.
 
S.

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

Hi,
for study purpose only, you will find attached to this post the score script of this Prelude for Piano.

 
SB.
PreludeForNicolai.opmo

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.
 

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.
 

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.
 

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.
 

Congratulation a great composition beautifully structured and a great performance as well.
 

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.
 

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.
 

Hi, here's the score script of a small piece for piano inspired by my first day in Vienna.
 

 
SB.
Klavier-Gallery-1.opmo

Dear Stephane,
 
Thank you for your fantastic feedback. I remember very well how much you stress the importance of do-timeline. I will also look very carefully at gen-divide and the other examples you mentioned. 
 
I sometimes think I need to make my own "headings" inside of Opusmodus with my own explanation for some of the techniques and how they can be applied to my idea of composition. Sometimes, those "headings" I use would change depending on the style I'm trying to compose, too. I guess maybe this is the deeper level of something powerful like Opusmodus: we have so many flexible tools that can do so many things, yet we need to be creative in finding new ways to use those tools to create interesting results.
 
I also need to learn more about the different generative techniques I'm not familiar with personally such as the Rubin Series and the Nørgård Series. It's really fascinating that they are included in Opusmodus, and I guess I need to explore them more. I also want to see if I can use Ircam's AudioSculpt well with Opusmodus instead of Spear.  I wonder if there are any benefits of one over the other. I'm just looking into Tristan Murail's process (he used AudioSculpt and OpenMusic), and trying to replicate it in Opusmodus. 
 

I hope to start thinking more carefully about these issues so that I can make better use of Opusmodus.