\grace bes8( f8)\mf f'8-. f8( g8-.) g8-.\< g8( | %098
\time 3 3/8 a8-.) a8-. a8-.\stopTextSpan \tempo 4=174 | %099
\time 3/4 \grace a,8^( ges'8\ff aes8-.) aes8-. aes8( bes-.) r8
- \mark \markup \teeny { \hspace #2 \rhythm { \tuplet 3/2 { 8[ 8 8] } } "=" \rhythm { { 8[ 8] 8 } } }
\bar "||" %100
\sectionLabel \markup { \box \number 101 }
+ \tweak self-alignment-X #CENTER \textEndMark \markup { \concat { \rhythm { \tuplet 3/2 { 8 } } " = " \rhythm { { 8 } } } }
\omit Score.BarNumber
- \tempo \markup { \rhythm { \tuplet 3/2 { 8[ 8 8] } } "=" \rhythm { { 8[ 8] 8 } } "Prestissimo" } 4=232
+ \tempo "Prestissimo" 4=232
\time 4/4 R1*6 | \undo \omit Score.BarNumber
\rit \after 4. \startTextSpan R1
r2 r4 r8 f,,,8~\niente\<\stopTextSpan | %108
\oneVoice \ottava #0 r8 \clef bass | %100
\sectionLabel \markup { \box \number 101 }
+ \tweak self-alignment-X #CENTER \textEndMark \markup { \concat { \rhythm { \tuplet 3/2 { 8 } } " = " \rhythm { { 8 } } } }
\omit Score.BarNumber
- \tempo \markup { \rhythm { \tuplet 3/2 { 8[ 8 8] } } "=" \rhythm { { 8[ 8] 8 } } "Prestissimo" } 4=232
+ \tempo "Prestissimo" 4=232
\time 4/4 \stemNeutral g,,,,,8-.\ff r8 ees8( c8) r8 a'8( f'8-.) r8 | \undo \omit Score.BarNumber %101
b,,8-- gis'8-. e8-. fis'8 r8 a,,8-. d8( des8 | %102
bes8) r8 aes''8 r8 f,8 ges8-. r4 | %103
ees4
}
\new Voice {
- \voiceOne r4 r4 gis'8~ <gis e>~\sostenutoOn | %(b124)
+ \voiceOne r4 r4\sostenutoOn gis'8~ <gis e>~| %(b124)
2~ 8\sostenutoOff bes8~ | %(b125)
bes2. | %(b126)
r4 g2~ | %(b127)
\sectionLabel \markup { \box \number 30 }
\omit Score.BarNumber
- \tempo \markup {
- \concat {
- \rhythm { \tuplet 3/2 { 8 } }
- " = "
- \rhythm { { 8 } }
- }
- } 4 = 75
+ \tweak self-alignment-X #CENTER \textEndMark \markup { \concat { \rhythm { \tuplet 3/2 { 8 } } " = " \rhythm { { 8 } } } }
+ \tempo 4 = 75
\time 7/4 1) r4 r2 |
\undo \omit Score.BarNumber
R1*7/4*3 | \tag #'part { \break }
\tempo 4=50
des'1)\> |
\undo \omit Score.BarNumber
- \tempo \markup {
- \concat {
- \rhythm { \tuplet 3/2 { 8 } }
- " = "
- \rhythm { { 8 } }
- }
- } 4 = 75
+ \tweak self-alignment-X #CENTER \textEndMark \markup { \concat { \rhythm { \tuplet 3/2 { 8 } } " = " \rhythm { { 8 } } } }
+ \tempo " " 4 = 75
aes4(\mf bes2.~ |
bes2~\> 8)\p r8 r4 |
\time 3/4 r4 r4 r8 c8~\f |
\sectionLabel \markup { \box \number 72 }
\omit Score.BarNumber
- \tuplet 3/2 { c8_(\p\<^\markup { \tiny \italic "blooming" } b' e~ } 4)\mf \tuplet 3/2 { g,8(\> d a~ } 4~\p |
+ \tuplet 3/2 { c8_(\p\< b' e~ } 4)\mf \tuplet 3/2 { g,8(\> d a~ } 4~\p |
\undo \omit Score.BarNumber
8) fis4( g8~ 4 cis4~ |
\time 3/4 8)[ r16 des16(]\< aes'4 c,4 |
\new Staff = "u"
{
\clef bass
+ \set Staff.ottavationMarkups = #ottavation-ordinals
\set PianoStaff.connectArpeggios = ##t
\override DynamicLineSpanner.staff-padding = \phds
<<
des1 \bar "||"
\sectionLabel \markup { \box \number 30 }
- \tempo \markup {
- \concat {
- \rhythm { \tuplet 3/2 { 8 } }
- " = "
- \rhythm { { 8 } }
- }
- } 4 = 75
+ \tweak self-alignment-X #CENTER \textEndMark \markup { \concat { \rhythm { \tuplet 3/2 { 8 } } " = " \rhythm { { 8 } } } }
+ \tempo 4 = 75
\time 7/4 r2 r4 \tuplet 3/2 { r4 f'8~(^\markup { \tiny \italic "piu" \dynamic f \tiny \italic "misterioso" } } \tuplet 3/2 { 4 ais,8 } \tuplet 3/2 { dis4 gis,4 cis4) } |
fis,1~ 4 \tuplet 3/2 { r8 fis4->(~ } 4 |
\tempo 4 = 50
r2\mp \tuplet 3/2 { r8 fis\ppp\< dis' } \tuplet 3/2 { fis, dis' fis, } \bar "||"
- \tempo \markup {
- \concat {
- \rhythm { \tuplet 3/2 { 8 } }
- " = "
- \rhythm { { 8 } }
- }
- } 4 = 75
+ \tweak self-alignment-X #CENTER \textEndMark \markup { \concat { \rhythm { \tuplet 3/2 { 8 } } " = " \rhythm { { 8 } } } }
+ \tempo " " 4 = 75
dis'8\mp\< fis, dis' fis, dis' fis, dis' fis, |
f'\mf\> a, f' a, f' a, f' a, |
\time 3/4 d\< a d a d a |
{
\clef bass
\set Staff.pedalSustainStyle = #'bracket
+ \set Staff.ottavationMarkups = #ottavation-ordinals
\override Score.SpacingSpanner.strict-grace-spacing = ##t
\override DynamicLineSpanner.staff-padding = \phds
\relative {
<<
\relative {
\voiceOne
- \time 7/4 c8[^\mf^\>\sustainOff\sustainOn a' c, a' c,^\!^\< a' c, a'] c,[ a' c, a' c, a'] |
+ \time 7/4 a8[^\mf^\>\sustainOff\sustainOn c, a' c, a' c,^\!^\< a' c,] a'[ c, a' c, a' c,] |
\undo \omit Score.BarNumber
- b,8[^\mf^\>\sustainOff\sustainOn g' b, g' b,^\!^\< g' b, g'] b,[ g' b, g' b, g'] |
- aes,[^\f^\>\sustainOff\sustainOn ges' aes, ges' aes, ges' aes, ges']^\!^\< aes,[ ges' aes, ges' aes, ges'] |
- bes,[^\f^\>\sustainOff\sustainOn f' bes, f' bes, f' bes, f'] bes,[ f' bes,]^\mp r8 r4 |
+ g'8[^\mf^\>\sustainOff\sustainOn b, g' b, g'^\!^\< b, g' b,] g'[ b, g' b, g' b,] |
+ ges'[^\f^\>\sustainOff\sustainOn aes, ges' aes, ges' aes, ges' aes,] ges'[^\!^\< aes, ges' aes, ges' aes,] |
+ f'[^\f^\>\sustainOff\sustainOn bes, f' bes, f' bes, f' bes,] f'[ bes, f']^\mp r8 r4 |
}
\new Voice \relative {
\voiceTwo
- \time 7/4 e,1-> 2.-> |
- d2.-> d1~-> |
- d4 ees2.~-> 4 2-> |
- des2.->~ 8 8->~ 2. |
+ \time 7/4 e,2.~-> e8 e8~-> e2. |
+ d2~-> d8 d8~-> d1~ |
+ d8 ees8~-> ees2. ees2.~-> |
+ ees8 des8->~ des2~ des8 8->~ 2. |
}
>>
\oneVoice
\time 5/8 R1*5/8
\molRit \after 4 \startTextSpan R1*5/8 |
\time 2/8 \after 8. \stopTextSpan R1*2/8 |
- \once \override Hairpin.circled-tip = ##t
}
\tag #'part {
\new CueVoice \relative {
}
}
>>
- \time 3/4 c'2.~\fermata\< \bar "||" %031
+ \time 3/4 c'2.~\fermata\niente\< \bar "||" %031
\omit Score.BarNumber
\sectionLabel \markup { \box \number 32 }
\new Staff = "u" \with { \consists "Merge_rests_engraver" }
{
-
\set PianoStaff.connectArpeggios = ##t
+ \set Staff.ottavationMarkups = #ottavation-ordinals
\relative {
\numericTimeSignature
f2\f e8) g,-. d-. r8 | %124
r2 r4 bes''8( aes~ | %125
aes2) r2 | %126
- R1 | %127
+ R1 |\break %127
+ \once \override Score.NonMusicalPaperColumn.line-break-system-details = #'((alignment-distances . (18 14)))
r8 d,,8-. r8 ees-. r2\> | %128
r2 c'8-. r8 r8 g-. | %129
R1\! | %130
\clef bass
\set Staff.pedalSustainStyle = #'bracket
+ \set Staff.ottavationMarkups = #ottavation-ordinals
\omit Staff.SectionLabel
\omit Staff.RehearsalMark
\relative {
\time 5/4 \override Staff.Beam.positions = #'(-3.85 . -3.85) r16[ f'16-.^\pp aes,16-. r16] r8[ ges16-. r16] ees'16[-. r16 r16 des16]-. r4 r4 | %001
\revert Staff.Beam.positions
\time 4/4 b8-.
- \footnote \markup "*" #'(0.01 . 0.01) \markup \tiny "* Maintain 16th note length for staccato notes."
+ \footnote \markup † #'(0.01 . 0.01) \markup \tiny { † "Maintain 16th note length for staccato notes." }
^\markup { \tiny { \italic { "sempre staccatiss." } } }
r8 a8-. c,8-. g'8-. e16-. d16-. \once \override Staff.Beam.positions = #'(-3 . -2) r8.[ ais'16]-. | %002
cis16-.^\< gis8-. b16-. \once \override Staff.Beam.positions = #'(-3 . -2) r8.[ a16]-. r4 \once \override Staff.Beam.positions = #'(-3.85 . -3.85) r16[ e'16-. r8] | %003
\fill-line {
\line { \null }
\center-column {
- \line { \with-url #"https://newer.systems" \fontsize #1 \hbracket \sans \bold " https://newer.systems " }
+ \line { \with-url #"https://newer.systems" \fontsize #1 \hbracket \sans \bold " https://newer.systems " }
}
\line { \null }
\line { \null }
\right-column {
\vspace #15
\line { \fontsize #8 \bold \underline \xtitle }
- \vspace #-0.1
+ \vspace #-0.1
\line { \fontsize #3 \sans \xcomp }
- \vspace #3
- \line { \fontsize #2 \sans \concat { "for " \xinst } }
+ \vspace #3
+ \line { \fontsize #2 \sans \concat { "for " \xinst } }
}
}
\vspace #26.25
\line { \null }
\line { \null }
\center-column {
- \xumbel
- \vspace #0.3
- \line { \fontsize #1 \hbracket \sans \bold " umbel press " }
+ \xumbel
+ \vspace #0.3
+ \line { \fontsize #1 \hbracket \sans \bold " umbel press " }
}
\line { \null }
}
\center-column {
\override #'(line-width . 100)
\justify {
- I was struck by the idea of writing \bold "Net Clarity" while listening
- to my partner, Amber Lucas, practice one of the Reger clarinet sonatas.
- The work extends a technical approach I employed to compose short
- keyboard inventions in my recent piece Circumnutation and explores
- further the structural potentialities of the diatonic set (equivalent to
- the major scale) and its relationship to the aggregate (the collection of
- all 12 notes). These (my) technical proclivities notwithstanding, \bold
- "Net Clarity" also indulges in the diatonic set as a referential
- collection \char #8211 hinting at other music, without necessarily
- quoting. Because of its design, the work creates the sensation of a hazy
- memory \char #8211 remembering music with varying levels of clarity.
+ I was first struck by the idea to write a work for clarinet and
+ piano after hearing a performance of Reger's first clarinet
+ sonata by my partner Amber Lucas. The harmonic and contrapuntal
+ complexities of Reger's music in addition to his unusual phrasal
+ structures seemed nicely compatible with the contrapuntal
+ language I had been developing in my own work. At the time of
+ Amber's performance I was working on \italic Circumnutation, a
+ cycle of inventions for keyboard that exlpored the structural
+ potentialities of the diatonic set (equivalent to the major
+ scale) and its relationship to the aggregate (the collection of
+ all 12 pitch classes). \italic "Net Clarity" proceeds from the
+ romantic clarinet sonata as a primary model, but other sounds and
+ allusions abound: ranging from Bach and Schoenberg to Bebop and
+ Babbit.
}
}
\vspace #3
\removeWithTag #'part \include "manuscripts/II-clarinet.ly"
\removeWithTag #'part \include "manuscripts/II-piano.ly"
>>
- %\midi { }
+ \midi { }
\layout {
\context {
\Score
\Staff
\override OttavaBracket.outside-staff-priority = 200
$(remove-grace-property 'Voice 'Stem 'direction)
+ \override VerticalAxisGroup.default-staff-staff-spacing =
+ #'((basic-distance . 10)
+ (minimum-distance . 9)
+ (padding . 2)
+ (stretchability . 10))
+ \override StaffGrouper.staff-staff-spacing =
+ #'((basic-distance . 9)
+ (minimum-distance . 5)
+ (padding . 1)
+ (stretchability . 1))
}
}
}
\removeWithTag #'part \include "manuscripts/III-clarinet.ly"
\removeWithTag #'part \include "manuscripts/III-piano.ly"
>>
- %\midi { }
+ \midi { }
\layout {
\context {
\Score
}
\context {
\Staff
- \RemoveEmptyStaves
+ \override VerticalAxisGroup.default-staff-staff-spacing =
+ #'((basic-distance . 10)
+ (minimum-distance . 9)
+ (padding . 2)
+ (stretchability . 10))
+ \override StaffGrouper.staff-staff-spacing =
+ #'((basic-distance . 9)
+ (minimum-distance . 5)
+ (padding . 1)
+ (stretchability . 1))
}
}
}
\removeWithTag #'part \include "manuscripts/IV-clarinet.ly"
\include "manuscripts/IV-piano.ly"
>>
- %\midi { }
+ \midi { }
\layout {
\context {
\Score
\Staff
\RemoveEmptyStaves
\consists Mark_engraver
+ \override VerticalAxisGroup.default-staff-staff-spacing =
+ #'((basic-distance . 10)
+ (minimum-distance . 9)
+ (padding . 2)
+ (stretchability . 10))
+ \override StaffGrouper.staff-staff-spacing =
+ #'((basic-distance . 9)
+ (minimum-distance . 5)
+ (padding . 1)
+ (stretchability . 1))
}
}
}
}
-% \header {
-% title = \markup { \fontsize #1 \xtitle }
-% subtitle = \markup { \medium \italic \xsub }
-% composer = \xcomp
-% poet = \markup { \xinst }
\pageBreak
\markup { \null }
\pageBreak