*.mid
*.log
*~
+.DS_Store
--- /dev/null
+### d-sets
+
+| [1] | [2] | [3] | [4] | [5] | [6] | [7] |
+|:---:|:---:|:---:|:---:|:---:|:---:|:---:|
+| 0 | 2 | 4 | 5 | 7 | 9 | e |
+| 1 | 3 | 5 | 6 | 8 | t | 0 |
+| 2 | 4 | 6 | 7 | 9 | e | 1 |
+| 3 | 5 | 7 | 8 | t | 0 | 2 |
+| 4 | 6 | 8 | 9 | e | 1 | 3 |
+| 5 | 7 | 9 | t | 0 | 2 | 4 |
+| 6 | 8 | t | e | 1 | 3 | 5 |
+| 7 | 9 | e | 0 | 2 | 4 | 6 |
+| 8 | t | 0 | 1 | 3 | 5 | 7 |
+| 9 | e | 1 | 2 | 4 | 6 | 8 |
+| t | 0 | 2 | 3 | 5 | 7 | 9 |
+| e | 1 | 3 | 4 | 6 | 8 | t |
--- /dev/null
+### mov 19 array
+
+| *1e97642* | *86421e9* | *875310t* | *431et86* | *86531et* | *1et8643* | *86431e9* | |
+|:--------- |:--------- |:--------- |:--------- |:--------- |:--------- |:--------- |:---- |
+| {(6)42 | 1e9 | 7}{30 | t86 | 51}{3 | et8- | -841 | (6)} |
+| {(1)e | 86 | 5t | 3}{1 | 8t | 43 | 6e} | |
+| {(9) | 4 | 1 | e | 6 | 1 | 3} | |
+| {(7) | 2 | 8 | 4 | e | 6 | 9} | |
+
+### mov 20 array
+
+| | *421e986* | *75320t9* | *975420e* |
+|:--- |:--------- |:--------- |:--------- |
+| | 4e86} | {7509- | -942e} |
+| | 29 | 3t | 50} |
+| | 1 | 2 | 7} |
--- /dev/null
+\version "2.20.0" %commonplace Common Tones engraver file
+
+%------called files------
+\include "eng-files/pp-variables.ly"
+\include "eng-files/pp-paper.ly"
+\include "front-matter/pp-p-notes.ly"
+\include "front-matter/pp-bio.ly"
+\include "front-matter/pp-back-cover.ly"
+\include "front-matter/pp-outside-cover.ly"
+\include "front-matter/pp-inside-cover.ly"
+\include "front-matter/pp-front-matter.ly"
+\include "manuscripts/pp-i1.ly"
+\include "manuscripts/pp-i19.ly"
+\include "manuscripts/pp-i20.ly"
+\include "manuscripts/pp-i21.ly"
+\include "eng-files/pp-document-structure.ly"
--- /dev/null
+\version "2.20.0" %piano piece doc structure file
+
+%------document structure------
+\book {
+ \cover
+ \pageBreak
+ \front-matter
+ \pageBreak
+ \header {
+ tagline = ##f
+ }
+
+ \score {
+ \header {
+ title = \markup { \fontsize #1 \xtitle }
+ subtitle = \markup { \italic \xsub }
+ composer = \xcomp
+ poet = \markup { "piano" }
+ instrument = \markup { \bold \italic "sequence " \number 1 }
+ piece = \markup { \large { \bold "prelude" } }
+ }
+ \new PianoStaff \with { \consists "Merge_rests_engraver" } <<
+ \set PianoStaff.connectArpeggios = ##t
+ \override PianoStaff.Arpeggio.arpeggio-direction = #UP
+ \new Staff = "ut4" {
+ \accidentalStyle modern
+ <<
+ \relative \voiceApre
+ >>
+ }
+ \new Staff = "dt4" { \clef bass
+ \accidentalStyle modern
+ <<
+ \relative \voiceBpre
+ >>
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override BarNumber.font-size = #1
+ \override SpacingSpanner.base-shortest-duration = #(ly:make-moment 1/16)
+ }
+ }
+ }
+
+
+ \score {
+ \header {
+ instrument = \markup { \bold \italic { "sequence " \number 7 } }
+ piece = \markup { \large { \bold "panicle" } }
+ }
+ \new PianoStaff \with { \consists "Merge_rests_engraver" } <<
+ \set PianoStaff.connectArpeggios = ##t
+ \override PianoStaff.Arpeggio.arpeggio-direction = #UP
+ \new Staff = "ut4" {
+ \accidentalStyle modern
+ <<
+ \relative \voiceApthree
+ >>
+ }
+ \new Staff = "dt4" { \clef bass
+ \accidentalStyle modern
+ <<
+ \relative \voiceBpthree
+ >>
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override BarNumber.font-size = #1
+ \override SpacingSpanner.base-shortest-duration = #(ly:make-moment 1/16)
+ }
+ }
+ }
+
+\score {
+ \header {
+ piece = \markup { \large { \bold "cyme" } }
+ }
+ \new PianoStaff \with { \consists "Merge_rests_engraver" } <<
+ \set PianoStaff.connectArpeggios = ##t
+ \override PianoStaff.Arpeggio.arpeggio-direction = #UP
+ \new Staff = "ut4" {
+ \accidentalStyle modern
+ <<
+ \relative \voiceAtfour
+ \\
+ \relative \voiceBtfour
+ >>
+ }
+ \new Staff = "dt4" { \clef bass
+ \accidentalStyle modern
+ <<
+ \relative \voiceCtfour
+ \\
+ \relative \voiceDtfour
+ >>
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override BarNumber.font-size = #1
+ \override SpacingSpanner.base-shortest-duration = #(ly:make-moment 1/16)
+ }
+ }
+ }
+ \score {
+ \header {
+ piece = \markup { \large { \bold "circumnutation" \italic "(sunwise)" } }
+ }
+ \new PianoStaff <<
+ \set PianoStaff.connectArpeggios = ##t
+ \override PianoStaff.Arpeggio.arpeggio-direction = #UP
+ \new Staff = "ui7" {
+ \accidentalStyle modern
+ <<
+ \relative \voiceAisev
+ \\
+ \relative \voiceDisev
+ \\
+ \relative \voiceBisev
+ \\
+ \relative \voiceCisev
+ >>
+ }
+ \new Staff = "di7" { \clef bass
+ \accidentalStyle modern
+ <<
+ \relative \voiceEisev
+ \\
+ \relative \voiceGisev
+ \\
+ \relative \voiceFisev
+ >>
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override BarNumber.font-size = #1
+ \override SpacingSpanner.base-shortest-duration = #(ly:make-moment 1/16)
+ }
+ }
+ }
+}
--- /dev/null
+\version "2.20.0"
+
+#(define ((flared-tie coords) grob)
+
+ (define (pair-to-list pair)
+ (list (car pair) (cdr pair)))
+
+ (define (normalize-coords goods x y dir)
+ (map
+ (lambda (coord)
+ ;(coord-scale coord (cons x (* y dir)))
+ (cons (* x (car coord)) (* y dir (cdr coord))))
+ goods))
+
+ (define (my-c-p-s points thick)
+ (make-connected-path-stencil
+ points
+ thick
+ 1.0
+ 1.0
+ #f
+ #f))
+
+ ;; outer let to trigger suicide
+ (let ((sten (ly:tie::print grob)))
+ (if (grob::is-live? grob)
+ (let* ((layout (ly:grob-layout grob))
+ (line-thickness (ly:output-def-lookup layout 'line-thickness))
+ (thickness (ly:grob-property grob 'thickness 0.1))
+ (used-thick (* line-thickness thickness))
+ (dir (ly:grob-property grob 'direction))
+ (xex (ly:stencil-extent sten X))
+ (yex (ly:stencil-extent sten Y))
+ (lenx (interval-length xex))
+ (leny (interval-length yex))
+ (xtrans (car xex))
+ (ytrans (if (> dir 0)(car yex) (cdr yex)))
+ (uplist
+ (map pair-to-list
+ (normalize-coords coords lenx (* leny 2) dir))))
+
+ (ly:stencil-translate
+ (my-c-p-s uplist used-thick)
+ (cons xtrans ytrans)))
+ '())))
+
+#(define flare-tie
+ (flared-tie '((0 . 0)(0.1 . 0.2) (0.9 . 0.2) (1.0 . 0.0))))
--- /dev/null
+\version "2.20.0" %sts paper file
+
+%------paper-block------
+\paper {
+ first-page-number = -1
+ print-page-number = ##f
+ oddHeaderMarkup = \markup { \tiny { " " } }
+ evenHeaderMarkup = \markup { \tiny { " " } }
+ oddFooterMarkup = \markup {
+ \concat { \on-the-fly #(on-page 3) \null }
+ \concat { \on-the-fly #(on-page 5) \oddfoot }
+ \concat { \on-the-fly #(on-page 7) \oddfoot }
+ \concat { \on-the-fly #(on-page 9) \oddfoot }
+ \concat { \on-the-fly #(on-page 11) \oddfoot }
+ \concat { \on-the-fly #(on-page 13) \oddfoot }
+ \concat { \on-the-fly #(on-page 15) \fill-line { \xcr } }
+ \concat { \on-the-fly #(on-page 17) \oddfoot }
+ \concat { \on-the-fly #(on-page 19) \oddfoot }
+ \concat { \on-the-fly #(on-page 21) \oddfoot }
+ \concat { \on-the-fly #(on-page 23) \oddfoot }
+ \concat { \on-the-fly #(on-page 25) \oddfoot }
+ \concat { \on-the-fly #(on-page 27) \oddfoot }
+ }
+ evenFooterMarkup = \markup {
+ \concat { \on-the-fly #(on-page 2) \evfoot }
+ \concat { \on-the-fly #(on-page 4) \fill-line { \xcr } }
+ \concat { \on-the-fly #(on-page 6) \fill-line { \xcr } }
+ \concat { \on-the-fly #(on-page 8) \fill-line { \xcr } }
+ \concat { \on-the-fly #(on-page 10) \evfoot }
+ \concat { \on-the-fly #(on-page 12) \fill-line { \xcr } }
+ \concat { \on-the-fly #(on-page 14) \null }
+ \concat { \on-the-fly #(on-page 16) \evfoot }
+ \concat { \on-the-fly #(on-page 18) \evfoot }
+ \concat { \on-the-fly #(on-page 20) \evfoot }
+ \concat { \on-the-fly #(on-page 22) \evfoot }
+ \concat { \on-the-fly #(on-page 24) \evfoot }
+ \concat { \on-the-fly #(on-page 26) \evfoot }
+ \concat { \on-the-fly #(on-page 28) \evfoot }
+ }
+ #(set-paper-size "letter")
+ print-all-headers = ##t
+ top-margin = 8
+ indent = 2\cm
+ short-indent = 0.8\cm
+ #(define fonts
+ (set-global-fonts
+ #:music "haydn"
+ #:brace "haydn"
+ #:roman "Times"
+ ))
+ max-systems-per-page = #7
+ system-system-spacing =
+ #'((basic-distance . 5)
+ (minimum-distance . 5)
+ (padding . 6))
+ score-system-spacing =
+ #'((basic-distance . 5)
+ (minimum-distance . 5)
+ (padding . 1))
+}
--- /dev/null
+\version "2.20.0" %commonplace Common Tones variables
+
+%------variables------
+
+%texts
+xtitle = \markup { twenty-one inventions }
+xsub = \markup { in seven sequences }
+xcomp = \markup { Tucker Johnson }
+xinst = \markup { piano }
+xdur = \markup { 25 minutes }
+xcr = \markup \tiny { Copyright Tucker Johnson MMXXII. All Rights Reserved }
+oddfoot = \markup { \fill-line { \null \center-column { \concat { " - " \fromproperty #'page:page-number-string " - " } \small { \xcomp } } \null } }
+evfoot = \markup { \fill-line { \null \center-column { \concat { " - " \fromproperty #'page:page-number-string " - " } \small { \xtitle } } \null } }
+finfoot = \markup { \fill-line { \null \center-column { \concat { " - " \fromproperty #'page:page-number-string " - " } \small \typewriter { "February 1st, 2022 - Rochester, New York" } } \null } }
+
+%music
+tmarksev = \tempo "poco rubato" 4 = 46-52
+tmarktfour = \tempo "tempo giusto" 4 = 60
+tmarktthree = \tempo "secco" 4 = 165
+bh = \break
+ds = #2.5
+sods = #3.4
+phds = #3.9
+dtim = \override Staff.TimeSignature.style = #'single-digit
+
+
+%notationmarks
+lsp = \once \override TextSpanner.bound-details.left.text = "sp"
+rsp = \once \override TextSpanner.bound-details.right.text = " sp"
+lst = \once \override TextSpanner.bound-details.left.text = "st"
+rst = \once \override TextSpanner.bound-details.right.text = " st"
+lord = \once \override TextSpanner.bound-details.left.text = "ord"
+rord = \once \override TextSpanner.bound-details.right.text = " ord"
+
--- /dev/null
+\version "2.20.0" %back cover
+
+backcover = \markuplist { \fill-line {
+ \line { \null }
+ \center-column {
+ \vspace #1
+ \line { \hbracket \bold \concat { "about " \xcomp } }
+ \vspace #1
+ \xbio
+ \vspace #1.3
+ \line { ================================= }
+ \vspace #1.3
+ \override #'(line-width . 75) \justify \typewriter \tiny { This score was engraved on #(strftime "%m-%d-%Y" (localtime (current-time))), using LilyPond version 2.20.0. If you would like to view the most recent version of this score and the input documents that generated it, visit the repository at \bold https://github.com/tuckerjohnson/Settle-the-Score.}
+ }
+ \line { \null }
+ }
+}
--- /dev/null
+\version "2.20.0"
+
+xbio = \markup { \center-column { \override #'(line-width . 75) \justify \tiny { Currently based in Rochester, New York, Tucker Johnson's musical practice includes works for soloists, ensembles, and electronic media. }
+ \vspace #0.8
+ \override #'(line-width . 75) \justify \tiny { His music has been programmed and honored at festivals and events, including the inaugural Dot-The- Line new music festival (Seoul), Longy Divergent Studio (Boston), soundSCAPE Festival (Cesena), Composing in the Wilderness (Prince William Sound, NYC), Shastra Rhythm Workshop, 2018 MCS Elements showcase, and the National Young Composers' Challenge. In addition, Tucker received two awards for Outstanding Undergraduate Research at Penn State: the Peter T. Luckie Award in the spring of 2020 (a presence within reassembly) and the First Place Oral Presentation in 2021 (Listening to Ghosts, Imagining Lost Futures: Metaphor and Structure in Wears and Tears). Interested in interdisciplinary practice, He served as a collaborative creator in a workshop with artist Nick Cave and the "Music for the Visible Turn" concert at the University of South Florida Contemporary Art Museum in 2019. }
+ \vspace #0.8
+ \override #'(line-width . 75) \justify \tiny { He seeks to draw connections between philosophy, mathematics, and design through his work. These ideas are often synthesized through a blend of experimentation and highly organized systems. Recent explorations in Tucker's music have included prescriptive applications of mathematical relationships/number sequences, the reorganization of improvised materials, and 12-tone structures. Experiences reading, hiking, and amateur botanizing can be found intertwined in his work, alongside interests in visual art, open-source software, and teaching. }
+ \vspace #0.8
+ \override #'(line-width . 75) \justify \tiny { A consistent supporter of new music, Tucker has helped organize many events, festivals, and concerts. From 2017-2019 he served as a production team member, librarian, and logistics coordinator for the New Music Consortium at the University of South Florida, a student organization dedicated to the performance and promotion of new music. Tucker helped coordinate the 2018 USF New Music Festival, the 2019 International Call for Scores, and several other events during his time with the organization. In 2020 he helped to relaunch Penn State's Living Music student organization. As president of Living Music, he coordinated several guest lectures, a weekly radio show, and the inaugural Penn State International New Music Festival. In Fall of 2021, he began co-hosting and producing the monthly podcast Earshot for Contemporary Art Music Project (CAMP). }
+ \vspace #0.8
+ \override #'(line-width . 75) \justify \tiny { Tucker received the BM in music composition from the Pennsylvania State University, where his composition teachers were Baljinder Sekhon and Steven Rice. He previously studied with Susanna Hancock and Paul Reller at the University of South Florida. Tucker is pursuing the MA in music composition at the Eastman School of Music, where he serves as a teaching assistant for the Eastman Audio Research Studio. There he studies with Robert Morris, David Liptak, and Matt Barber. }
+}
+}
--- /dev/null
+\version "2.20.0" %front matter
+
+front-matter = \markuplist {
+ \fill-line {
+ \left-column {
+ \line { \bold \xtitle " [2022]" }
+ \line { \xinst " | " \xdur }
+ \line { \xcomp }
+ \vspace #25
+
+ }
+ \center-column {
+
+ \vspace #7
+ \line { \hbracket \bold "program notes" }
+ \vspace #0.2
+ \xpnote
+ \vspace #1.5
+ \line { ================================= }
+ \vspace #1.5
+ \line { \hbracket \bold "inventions" }
+ \vspace #0.5
+ \line { \left-column { \line { \italic "sequence 1" }
+ \line { \bold " prelude" }
+ \line { \bold " panicle" }
+ \line { \bold " circumnutation" }
+ \vspace #0.2
+ \line { \italic "sequnce 2" }
+ \line { \bold " polar" }
+ \line { \bold " panicle" }
+ \line { \bold " circumnutation" }
+ }
+ }
+ \vspace #1.5
+ \line { ================================= }
+ \vspace #1.5
+ }
+ \column { \null }
+ }
+}
--- /dev/null
+\version "2.20.0" %inside cover
+
+cover = \markuplist {
+ \fill-line {
+ \line { \null }
+ \center-column {
+ \vspace #10
+ \line { \hbracket \fontsize #10 \number 2022 }
+ \vspace #4
+ \line { \xcomp }
+ \vspace #1
+ \line { \fontsize #5 \bold \xtitle }
+ \line { \italic \xsub }
+ \vspace #4
+ }
+ \right-column {
+ \line { \null }
+ }
+ }
+ }
--- /dev/null
+\version "2.20.0" % outside cover
+
+outcover = \markup {
+ \center-column {
+ \vspace #13
+ \general-align #Y #DOWN { \epsfile #X #108.6 #"lilypond-files/front-matter/sts-cover-all.eps"}
+ }
+}
--- /dev/null
+\version "2.20.0"
+
+xpnote = \markup { \override #'(line-width . 90) \justify { \bold \italic "Settle the Score" is a piece for five instruments: cor anglais, trumpet, electric guitar, violin, and computer. It can either be performed as a chamber work with all five parts, or any one part alone. The piece is designed such that each part has unique content and contour; each solo has different alternations of smooth and jagged music. When played as a chamber work, \bold \italic "Settle the Score" reveals a sequence of forty-seven 12-tone aggregates, partitioned into all the five part aggregates with part sizes from one to twelve. All six versions are different, but they share a light spirit, and are comfortable whether alone or together.}}
--- /dev/null
+\version "2.20.0" %Cor Anglais Settle the Score manuscript:
+
+voiceApre = { \tmarktthree
+\time 7/8 s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 \bar "|." }
+
+voiceBpre = { \tmarktthree
+\time 7/8 s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 | }
--- /dev/null
+\version "2.20.0" %Cor Anglais Settle the Score manuscript:
+
+voiceApthree = { \tmarktthree
+\time 7/8 s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 \bar "|." }
+
+voiceBpthree = { \tmarktthree
+\time 7/8 s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 |
+s1*7/8 | }
--- /dev/null
+\version "2.20.0" %Cor Anglais Settle the Score manuscript:
+
+voiceAtfour = { \tmarktfour
+\time 4/4 s4 \clef bass \tuplet 3/2 { r8 dis8-.-> r8 } s2 |
+s4 fis'8-.\p r8 s2 |
+r16 b,16-.\p r8 s4 r16 ges16-.->\f s8 s4 |
+s4 r8. b16-.->\f s2 |
+s4 r16 des16-.->^\f s8 s2 |
+s1 |
+s2. s4 \offset Y-offset 2 \fermata \bar "|." }
+
+
+voiceBtfour = { \tmarktfour
+\time 4/4 s4 cis4(\mf e4~ e16 gis8.~ |
+gis4) s8 r8 \tuplet 3/2 { gis8~^(\mf <gis ais>8~ <gis~ ais~ b^~>8 } <gis ais b>4) |
+r16 s16 r8 ees8^(\mf des16~ <des~ f^~>16 <des f>2) |
+\tuplet 3/2 { fis16^(\mf gis16~ <gis~ ais^~>16 } <gis~ ais^~>8 <gis ais>2.) \clef treble |
+r8 c8~(\mf c4 ees4~ <ees g>4) |
+\stemNeutral a4~-> a8.. b32( cis2) |
+\tuplet 3/2 { d4~^( <d~ e>4 <d~ fis^~>4 } <d~ fis^~>4 <d\laissezVibrer fis^\laissezVibrer>4) \offset X-offset 4 ^\markup {"attacca"} }
+
+
+voiceCtfour = { \tmarktfour
+\time 4/4 s1 |
+s2 s4 r8 cis8_._>\f |
+s1 |
+s2 s4 \tuplet 3/2 { r8 e8_.\p r8 } |
+s2. r8 aes,8_.\p |
+r2 s4 r16 s8. |
+s4 r8 s8 s4 s4 \offset Y-offset 2 \fermata | }
+
+
+voiceDtfour = { \tmarktfour
+\time 4/4 \change Staff = "ut4" \stemUp a'16-. \offset Y-offset -2 \p \change Staff = "dt4" b,,8.~(\mp \stemNeutral b4~ b8 fis8~ fis4) |
+\tuplet 3/2 { dis8^( e4~ } e2) r8 s8 |
+bes'2.(\mp aes4~ |
+aes2) \stemDown \tuplet 3/2 { cis4~^( <cis~ dis^~>8 } <cis dis>4) |
+\tuplet 5/4 { bes8^~^(\mp <bes^~ f~>8. } <bes f>2.) |
+r2 \tuplet 3/2 { r8 d,8^. \change Staff = "ut4" e''8^.^> \offset Y-offset 2.6 ^\f } \change Staff = "dt4" r16 \stemNeutral fis,,8(\mp gis16~ |
+gis4) r8 g,8_.\p a''16^.^>^\f b,16(\mp cis8~ cis4\laissezVibrer) | }
+
--- /dev/null
+\version "2.20.0" %Cor Anglais Settle the Score manuscript:
+
+voiceAisev = { \tmarksev \dtim \override TextSpanner.bound-details.left.text = "poco rit."
+\time 7/4 s1*7/4 |
+\time 3/4 \stemUp e''''4(^\markup { \tiny \bold E } d c) |
+\time 5/4 s2. c2^\markup { \tiny \bold C } |
+\time 4/4 s2 bes2(^\markup { \tiny \bold Bb } |
+\time 2/4 a2) |
+\time 5/4 s1*5/4 |
+\time 6/4 s1 g2(^\markup { \tiny \bold G } |
+\time 3/4 f4) dis2 |
+s1*3/4 |
+s4 <cis gis>2 |
+\time 4/4 s1 |
+cis4( b a gis |
+\time 2/4 fis2)\startTextSpan |
+\time 3/4 s2 s8 s8\stopTextSpan |
+\time 4/4 e1 \offset Y-offset 2 \fermata \arpeggio \bar "|." }
+
+
+voiceBisev = { \tmarksev \dtim
+\time 7/4 \stemDown cis'''4^(\mp b a g fis e d) |
+\time 3/4 s2 <b' fis>4_( |
+\time 5/4 a g f e d) |
+\time 4/4 <c d>1 |
+\time 2/4 \stemUp s4 gis'4 |
+\time 5/4 s1*5/4 |
+\time 6/4 s1*6/4 |
+\time 3/4 s1*3/4 |
+s1*3/4 |
+s1*3/4 |
+\time 4/4 s1 |
+\stemDown s2 fis4_( e) |
+\time 2/4 s1*2/4 |
+\time 3/4 \stemUp d4( cis b) |
+\time 4/4 a1 \arpeggio \bar "|." }
+
+
+voiceCisev = { \tmarksev \dtim
+\time 7/4 s1*7/4 |
+\time 3/4 s1*3/4 |
+\time 5/4 s1*5/4 |
+\time 4/4 s1 |
+\time 2/4 s4 <d'' e>4 |
+\time 5/4 s1*5/4 |
+\time 6/4 s1*6/4 |
+\time 3/4 s1*3/4 |
+\stemUp e2^( d4) |
+\stemDown c2_( bes4) |
+\time 4/4 s1 |
+s1 |
+\time 2/4 a4( \stemUp g) |
+\time 3/4 s1*3/4 |
+\time 4/4 f1 \arpeggio \bar "|." }
+
+
+voiceDisev = { \tmarksev \dtim
+\time 7/4 s1*7/4 |
+\time 3/4 s1*3/4 |
+\time 5/4 s1*5/4 |
+\time 4/4 s1*4/4 |
+\time 2/4 s1*2/4 |
+\time 5/4 g''4^( f ees des c) |
+\time 6/4 s1*6/4 |
+\time 3/4 s2 bes4( |
+aes2) fis4 |
+s1*3/4 |
+\time 4/4 \stemUp e4( d2 c4) |
+s1 |
+\time 2/4 s4 \stemDown b4 |
+\time 3/4 \stemUp \change Staff = "di7" s2 a4 |
+\time 4/4 g1 \arpeggio \bar "|." }
+
+
+voiceEisev = { \tmarksev \dtim
+\time 7/4 s1*7/4 |
+\time 3/4 s1*3/4 |
+\time 5/4 s4 b1 |
+\time 4/4 s1*4/4 |
+\time 2/4 b2 |
+\time 5/4 s1*5/4 |
+\time 6/4 s1*6/4 |
+\time 3/4 s1*3/4 |
+s1*3/4 |
+s1*3/4 |
+\time 4/4 \stemDown b4( a g f) |
+s1 |
+\time 2/4 \stemUp e4( d) |
+\time 3/4 s1*3/4 |
+\time 4/4 c1 \arpeggio \bar "|." }
+
+
+voiceFisev = { \tmarksev \dtim
+\time 7/4 s1*7/4 |
+\time 3/4 a2. |
+\time 5/4 s1*5/4 |
+\time 4/4 s1*4/4 |
+\time 2/4 \stemDown cis,4 fis4 |
+\time 5/4 s1*5/4 |
+\time 6/4 \stemUp fis4^( e d c b a |
+\time 3/4 g) a2 |
+s1*3/4 |
+g4_( f ees) |
+\time 4/4 s1 |
+s4 d2. |
+\time 2/4 \stemDown s4 c4 |
+\time 3/4 s1*3/4 |
+\time 4/4 bes1 \arpeggio \bar "|." }
+
+
+voiceGisev = { \tmarksev \dtim
+\time 7/4 s1*7/4 |
+\time 3/4 s4 g,,2_\markup { \tiny \bold G } |
+\time 5/4 s1*5/4 |
+\time 4/4 \stemUp ees4(_\markup { \tiny \bold Eb } f g aes) |
+\time 2/4 s1*2/4 |
+\time 5/4 \stemDown aes2( bes2.) |
+\time 6/4 s1*6/4 |
+\time 3/4 s4 c4( d) |
+cis( b a) |
+s1*3/4 |
+\time 4/4 s1 |
+s1 |
+\time 2/4 s1*2/4 |
+\time 3/4 g4(_\markup { \tiny \bold G } fis e) |
+\time 4/4 d1 \arpeggio \bar "|." }
+
+
--- /dev/null
+### m-1
+
+| 3462571 | 4326517 | 4236157 | 4231657 | 2413567 | 2143567 | 1234567 |
+|:-------:|:-------:|:-------:|:-------:|:-------:|:-------:|:-------:|
+| 8916e34 | t972054 | 2e16948 | 7462e91 | 907e246 | 1e4368t | 024579e |
--- /dev/null
+### m 19
+
+
+| |
+|:--:|
+| |
+| |
+| |
--- /dev/null
+## Piano Piece
+
+#### starting place
+- Multi-movement
+- connected work, rather than a collection of small pieces
+- variation? Contrapuntal?
+
+### background
+###### Array section from "Settle the Score"
+
+ | |{027| |9 |t568134e}| | |
+ | |{86 |1et3 |20 |7 |549} | |
+ |{4986 |1et3|2075}| |{9 | |786et312054}|
+ | |{549| |786et31|20} | | |
+ |{1e0t3275| |6498}|{45 | |0213te687|9} |
+
+This kind of array was fruitful for contrapuntal composition, as well as combing two characters-in this case diatonic and chromatic hexachord types, to which I composed as *connected* and *separated* respectively.
+
+In this piano piece, I am think of the kinds of 'alternation' I created in works "Settle the Score" and "Commonplace Common Tones" and implementing this idea in a multi-movement work with variety.
+
+### Double Array
+
+ | 9 e 1 2 4 6 8 |
+ | 0 t 8 7 5 3 2 |
+
+Two ordered diatonic sets separated by a tritone, similar to "CCT" but their orderings are different, rather than the same. Together they create a weighted aggregate with duplicated `2` and `8`.
+
+#### Partitions of 7
+There are 15 partitions of 7 in up to 7 parts.
+
+ x1 x2 x2 x2 x3 x3 x3 x3 4 x4 x4 x5 x5 x6 7
+ 1 1 2 2 1 2 2 3 1 2 3 1 2 1
+ 1 1 1 2 1 1 2 1 1 1 1
+ 1 1 1 1 1 1 1
+ 1 1 1 1
+ 1 1
+ 1
+
+
+Some matrices of the above sets:
+
+ 9 e 1 2 4 6 8 0 t 8 7 5 3 2
+ 7 9 e 0 2 4 6 2 0 t 9 7 5 4
+ 5 7 9 t 0 2 4 4 2 0 e 9 7 6
+ 4 6 8 9 e 1 3 5 3 1 0 t 8 7
+ 2 4 6 7 9 e 1 7 5 3 2 0 t 9
+ 0 2 4 5 7 9 e 9 7 5 4 2 0 e
+ t 0 2 3 5 7 9 t 8 6 5 3 1 0
+
+An array of the 15 partitions using `9e12468` (note that "aggregates" are collections from the same matrix):
+
+ A——B————C——D———————E———F—————G—————H—————J———K
+ |{9 | |e1| |24-|-46 | |8- |-8}| | | | | | |
+ |{7-|-79e| | |0 | | |246-|-6}|{79e124| | | |6} | |
+ |{5-| | |-579t0-| | |-0 | |24}|{6 |42- |-2 |1e97}| | |
+ |{2 | |46| |79 | |e |1- |-1}| |{e976|4- | |420}| |
+ |{0 |2 |-2| | | |-24579|e- |-e}| |{0- |-0 |246 |79e}| |
+ |{4-|-46 |89| |e- |-e13}| | | |
+ |{t |0 | |23 |5 |79- | |-9- |-9}|
+ 1 3 2 5 2 3 5 3 2
+ 1 2 2 2 2 2 1 1 1
+ 1 1 2 1 2 1 1 1
+ 1 1 1 1 1 1
+ 1 1 1 1
+ 1 1
+ 1
+
+"Aggregates" and their partitioning:
+
+ A |t024579| '1111111' F || '322'
+ B |024579e| '3211' G || '511'
+ C | | '2221 H || '31111'
+ D | | '52' I || '?2'
+ E | | '22111' J ||
+
+
--- /dev/null
+ ### "Ionian" Array
+
+| (15) | (8) | (13) | (6) | (5) | (10) | (9) | (12) | (2) | (3) | (14) | (7) | (4) | (11) | (1) |
+|:---- |:--- |:---- |:----- |:----- |:---- |:---- |:---- |:------- |:------ |:----- |:------ |:----- |:----- |:-------- |
+| {9 | e12 | | 46 | | 8- | | | | | -8} | | | (6) | |
+| {7 | 9 | e | | 024 | | 6}{8 | t | | 01357} | {2- | 2- | | | 24679e1} |
+| {5 | | 79 | | | t0 | 24- | | | | -4} | {0 | 24579 | e} | |
+| {2 | 467 | | | | | 9e1} | {20 | | t8- | | -8753} | | (7) | |
+| {0 | | 24 | | 579e- | | | | | | -e- | | -e} | (9) | |
+| {4 | | 6 | 89e1- | | -1 | | 3}{5 | 7 | | 9 | t | 0- | -024} | |
+| {t | | 0 | 2 | | 357 | | 9}{7 | 9e0246- | | 6}(1) | | | | |
+
+### "lydian" Array
+
+| (15) | (8) | (13) | (6) |
+|:---- |:--- |:---- |:----- |
+| {t | 024 | | 57 |
+| {8 | t | 0 | |
+| {6 | | 8t | |
+| {3 | 579 | | |
+| {1 | | 35 | |
+| {5 | | 7 | 9e02- |
+| {e | | 1 | 3 |