}
\center-column {
\vspace #5
- \line { \char ##x00A7 \hbracket \bold \sans " program notes " \hspace #2 }
+ \left-column { }
\vspace #0.5
- \center-column {
+ \left-column {
\override #'(line-width . 100)
+ \line { \hspace #100 }
+ \vspace #-1
+ \wordwrap { \char ##x10AF1 \hspace #0.5 \large \bold \sans "program notes" }
+ }
+ \vspace #0.5
+ \left-column {
+ \override #'(line-width . 90)
\justify {
- "askdflj;akjsdf;"
+ \smallCaps "Botanical Illustrations" attempt to depict plant morphological structures in exact detail.
+ These details must be precise in order for the illustration to be descriptively and scientifically useful.
+ As such, artists often work with (or are) scientific authors.
+ \bold \italic "Apples & Pairs" was motivated by \italic "Botanical Illustration" and the \italic "Still Life" genre of visual art.
+ More specifically, the expressive tension between the former's morphological precision and the latter's intent to
+ not merely create a \italic correct depticion.
+ The composition of \italic "Apples & Pairs" presents the duo of violins in dialogue, with each presenting a pair of
+ contrapuntal strands.
+ The pitch of ordering of each strand is embedded so that when the are combined they appear in succsession and
+ simultaneously.
+ These strands are projected onto a series of adjacent strings on each instrument.
+ Another tension that might be important to the work, is between arrangement and depiction:
+ the piece is an arrangement of structures, similar to a still life painting, and a
+ depiction of the precise morphology of those structures –
+ though the structures are themselves arrangements.
+
}
}
\vspace #2.5
- \line { \char ##x00A7 \hbracket \bold \sans " performance notes " \hspace #2 }
+ \left-column {
+ \override #'(line-width . 100)
+ \line { \hspace #100 }
+ \vspace #-1
+ \wordwrap { \char ##x10AF1 \hspace #0.5 \large \bold \sans "performance notes" }
+ \vspace #0.5
+ \wordwrap { § \hspace #3.5 \sans \bold \italic "interpreting notations" }
+ }
+ \left-column {
+ \override #'(line-width . 90)
+ \line { \hspace #90 }
+ \justify { \italic 1. \hspace #1 Accidentals carry through each bar – cautionary accidentals are not supplied. }
+ \justify { \italic 2. \hspace #1 Two fermata notations are used: a \italic short fermata ( \musicglyph "scripts.ushortfermata" ) and a \italic long fermata ( \musicglyph "scripts.ufermata" ). }
+ \override #'(line-width . 90)
+ \justify {
+ \italic 3. \hspace #1 Harmonics are notated with diamond noteheads
+ ( \override #'(style . harmonic-mixed) \note-by-number #2 #0 #0.8 /
+ \override #'(style . harmonic-mixed) \note-by-number #1 #0 #0.8 )
+ to indicate the touched node. Artificial harmonics are notated
+ with two noteheads, a normal notehead for the stopped position and
+ a diamond for the node.
+ }
+ \vspace #0.4
+ \override #'(line-width . 90)
+ \justify {
+ \italic 4. \hspace #1 Dotted slurs are used to indicate phrasing that may not be clear through dynamics and other notations. }
+ }
\vspace #0.5
- \center-column {
+ \left-column {
\override #'(line-width . 100)
+ \line { \hspace #100 }
+ \wordwrap { § \hspace #3.5 \sans \bold \italic "interpreting techniques" }
+ }
+ \left-column {
+ \override #'(line-width . 90)
+ \line { \hspace #90 }
+ \override #'(line-width . 90)
+ \justify {
+ \italic 1. \hspace #1 Bow position indications such as \italic "sul pont"
+ and \italic "sul tasto" should be interpreted generously – i.e. almost
+ \italic "molto sul pont/tasto."
+ }
+ \vspace #0.3
+ \override #'(line-width . 90)
\justify {
- "askdflj;akjsdf;"
+ \italic 2. \hspace #1 Portamento/glissando notations should be
+ interpreted somewhere between a romantic-style \italic portamento
+ – the sliding motion happening toward the very end of the
+ note – and a more contemporary \italic glissando –
+ sliding over the full duration of the note evenly. The sliding
+ motion should be exponential over the durations of the note –
+ begin at the start of the note, but the bulk of the motion should
+ happen towards the end of the note.
}
}
\vspace #2.5
}
\right-column {
- \vspace #-0.5
+ \vspace #-0.2
\right-column \fontsize #-1 {
\line { \fontsize #-2 \typewriter { \shortHash - \subject } }
\vspace #-0.4
\line { \fontsize #-2 \typewriter { \commitDate } }
\vspace #-0.4
- \line { \fontsize #-2 \typewriter { \branchName } }
+ \line { \fontsize #-2 \typewriter { "branch:" \branchName } }
}
\vspace #2
}
\time 5/4
R1*5/4 | %001
\tuplet 3/2 { r4 <cis''\2 e^\1>2~\p } 4~ 8 r8 r4 | %002
- \time 3/4 r4 \stringNumberSpanner "II" aes'8\mf\startTextSpan g f4( | %003
+ \time 3/4 r4 \stringNumberSpanner "II" aes'8\(\mf\startTextSpan g f4( | %003
b,8) bes8(\glissando\> \glissandoSkipOn c4 \glissandoSkipOff \harm d8) d8(\p\< | %004
- \time 4/4 \tuplet 3/2 { fis4)\stopTextSpan \stringNumberSpanner "I" b(\startTextSpan f4~\mf } f8)\stopTextSpan
+ \time 4/4 \tuplet 3/2 { fis4\))\stopTextSpan \stringNumberSpanner "I" b(\startTextSpan f4~\mf } f8)\stopTextSpan
\stringNumberSpanner "II" e8(\>\startTextSpan ees c | %005
\time 3/4 a)\p\stopTextSpan \markSpanner "" "sul pont" <a g'>\startTextSpan <a bes'> <a cis'> d'4~\stopTextSpan | %006
\time 4/4 \tuplet 3/2 { d2 g,4->\2\f\glissando\pizz } \glissandoSkipOn e4 \glissandoSkipOff bes4\mp\shortfermata | %007