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Found 7 results

  1. ;;; ADD-RND-DUST TO LENGTHS ;;; this function adding RANDOMLY some "dust" to the LENGTHS, so it will be like a little rubato, ;;; or "humanizing"-effect. the ADD-SPAN is in percent (0.1 = 10%) on each length-value. (defun add-rnd-dust (omnseq &key (span '(0.1)) (seed nil) (quantize '(1 2 3 4 5 6 7 8 9))) (let ((rhy (omn :length omnseq)) (sp)) (progn (setf rhy (loop with cnt = 0 for i in rhy do (setf sp (nth cnt span)) when (not (null seed)) do (incf seed)
  2. For sound synthesis purposes (e.g., for an expressive performance), we may want to use note lengths beyond the restricted set of quantised note durations. However, Opusmodus currently prevents various irregular note duration sequences to be auditioned and throws an error instead. What is really interesting, though, is that the notation for such irregular durations still seem to work. It might make sense the other way round (i.e. refusing to notate certain rhythms -- though I am definitely not voting for introducing that :), but I don't see any real reason why arbitrary rhythms may not be audit
  3. Dear Friends In my Doctoral Dissertation, I converted every FORTE number in a modulo 12 Rhythm via time-point-system. There is a complete catalog included (see the link below). It's in portuguese. After Janusz adjusted the Forte numbers to have the inversion, using "a" and "b" to differentiate the prime forms from the inversions, it was easy to convert using codes like this: (setf ch0 (time-point-system (pcs '5-11b :pitch)'s :start 0)) (setf ch1 (time-point-system (pcs '6-33 :pitch)'s :start 1)) (setf ch2 (time-point-system (pcs '7-11b :pitch)'s :start 2)
  4. Below is a function for creating durational accents on the beginning of bars. Many musical styles pay careful attention to how their rhythmic language expresses accents. Certain rhythmic events are perceived as stronger emphasised than others. Such accents do not need to be forced by a performer, e.g., by a dynamic accent. Instead, music theorists identified various musical factors that express accents. Durational accents (expressed by inter-onset intervals) are particularly effective. They are caused by relatively long durations following one or more shorter durations. The functio
  5. Hi J, (or anybody else who knows?) I am trying to find what function generates a written out accelerando... in other words something like this starting in whole notes and down to thirty seconds: w h h e e e e s s s s s s s s t t t t t t t t t t t t t t t t or involving tuplets also, or better still, starting from a given rhythmic value (lengths in opmo?) a geometric progression of lengths. In Supercollider, we use Pgeom and give it a start and end and a multiplier and this allows fro some great accell, stutter effects. What would be
  6. hi all i would like to MERGE/FIT the following 3-layer-voices(-EXAMPLE) into a ONE-layer-voice (with complex rhythms) - is it possible in OPUSMODUS? thanx for help! andré EXAMPLE: (setf voices (merge-voices (make-omn :length (gen-length '(1 2 3 4 5 6 7 8) 1/20) :pitch '(c4) :velocity '(pppp ppp pp p)) (make-omn :length (gen-length '(1 2 3 4 5 6 7 8) 1/8) :pitch '(c5)
  7. Hi, here's a simple example of my use of BINARY-RHYTHM function inspired by the Janusz's doc examples for generating a full movement of a chamber symphonie. The BINARY-RHYTHM function use FIBONACCI stuff and variant optional keyword: (init-seed 839201883) (setf fib1 (fibonacci 4 64)) (setf fib2 (fibonacci 21 81)) (setf fib3 (fibonacci 14 74)) (setf fib4 (fibonacci 32 92)) (setf fib5 (fibonacci 1 61)) (setf rhstruct (rnd-sample 8 '(4 8 16 32 64))) (setf bval '(h h q q e e s s s e s e q e h q h h)) (setf len1 (binary-rhythm rhstruct fib
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