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Found 4 results

  1. It would ve great to have the :port and :channel in the make-omn function. Sometimes is interesting for hearing snippets with different sounds without having to compile the entire score (sometimes it take a while,depending on the complexity of the score). The port would help to deal with vst adresses and libraries on auditioning. Best !
  2. The functions omn and make-omn are powerful tools to construct and deconstruct scores of multiple parameters. However, beyond the parameter keywords that are well-documented (:length, :pitch, :velocity, and :articulation) it seems there are other keywords that represent important parameters of the score that should not be omitted (e.g., when we are transforming scores, and do not want to loose important characteristics). Here is an example. When the following melodic line is deconstructed, then beyond the well-documented parameter keywords it also shows the parameters :duration and
  3. when i put these lists into MAKE-OMN, i get strange rhy-values, because MAKE-OMN "organizes" the TIED-values different... why? (make-omn :length '(3q 3q 3q_t -e. t_3q 3q 3q) :pitch '(a5 f5 b4 ds5 a4 f4)) have a look how the rhythm-notation changed (3q a5 f5 s_t_3s b4 -e. s_t_3s ds5 3q a4 f4) thanks a.
  4. 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
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