\concat { \if \on-page #35 \oddhead }
\concat { \if \on-page #37 \oddhead }
\concat { \if \on-page #39 \oddhead }
+ \concat { \if \on-page #41 \oddhead }
+ \concat { \if \on-page #43 \oddhead }
}
evenHeaderMarkup = \markup {
\concat { \if \on-page #34 \evhead }
\concat { \if \on-page #36 \evhead }
\concat { \if \on-page #38 \evhead }
+ \concat { \if \on-page #40 \evhead }
+ \concat { \if \on-page #42 \evhead }
}
oddFooterMarkup = \markup {
\concat { \if \on-page #3 \fill-line { \null \xcr \null } }
\concat { \if \on-page #35 \oddfoot }
\concat { \if \on-page #37 \oddfoot }
\concat { \if \on-page #39 \oddfoot }
+ \concat { \if \on-page #41 \oddfoot }
+ \concat { \if \on-page #43 \fill-line { \null \concat { \char ##x2767 " " \tiny \typewriter \longHash " " \char ##x2619 } \null } }
}
evenFooterMarkup = \markup {
\concat { \if \on-page #2 \evfoot }
\concat { \if \on-page #34 \evfoot }
\concat { \if \on-page #36 \evfoot }
\concat { \if \on-page #38 \evfoot }
- \concat { \if \on-page #40 \fill-line { \null \concat { \char ##x2767 " " \tiny \typewriter \longHash " " \char ##x2619 } \null } }
+ \concat { \if \on-page #40 \evfoot }
+ \concat { \if \on-page #42 \evfoot }
}
}
\time 3/2 f2.) r4 r2 | %020
\time 2/2 R1\shortfermata | %021
\time 3/2 c2.\pp c4(\< g'4 f4~\mp | %022
- \time 2/2 \tuplet 3/2 { f4) e(\> fis } a,2)\p\fermata \breathe | \tag #'part { \break \noPageBreak } %023
+ \time 2/2 \tuplet 3/2 { f4) e(\> fis } a,2)\p\shortfermata \breathe | \tag #'part { \break \noPageBreak } %023
\sectionLabel \markup { \huge \box \sans \bold 24 }
\omit Score.BarNumber
\time 2/2 r2\shortfermata r2 | %031
\time 3/2 r2 \tuplet 3/2 { r4 r4 ges4(\mp\> } \tuplet 3/2 { ees' des aes)\! } | %032
\time 2/2 R1 | %033
- R1\fermata \bar "|." %034
+ r1\fermata \bar "|." %034
}
}
\time 2/2 aes2\) r2\shortfermata | %023
\time 5/4 R1*5/4 | %024
r2. r2\shortfermata | %025
- b2 a4 bes2\( | %026
+ b2\( a4 bes2 | %026
\time 2/2 b2 a2 | %027
g1 | %028
\time 3/2 \grace s8 a2 bes1\)\fermata \breathe | %029\
ais) gis( fis e)\p b'8--\mp b-- | %186
b( d, a') g(\> f \after 16 \stopTextSpan ees) \tempo 4=104 | %187
c8( bes aes)\p \molRit cis(\>\startTextSpan b a) | %188
- fis( \after 16 \stopTextSpan e d2)\pp\fermata \bar "|." \tag #'part { \break \noPageBreak } %189
+ fis( \after 16 \stopTextSpan e d2)\pp\fermata ^\markup { \halign #-2 \large attacca } \bar "|." \tag #'part { \break \noPageBreak } %189
}
\new Voice {
R1*3/4 % s4\stopTextSpan \tempo 4=104 %187
R1*3/4 % \molRit s8\startTextSpan s4. %188
- r4 r2\fermata \bar "|." %189
+ r4 r2\fermata ^\markup { \halign #-2 \large attacca } \bar "|." %189
}
>>
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.
+ Babbitt.
+ }
+ }
+ \vspace #2.5
+ \left-column {
+ \override #'(line-width . 100)
+ \line { \hspace #100 }
+ \vspace #-1
+ \wordwrap { \char ##x10AF1 \hspace #0.5 \large \bold \sans "consortium members" }
+ }
+ \vspace #0.5
+ \left-column {
+ \override #'(line-width . 90)
+ \fill-line { \line { Andrew Buckley, consortium leader } }
+ \override #'(line-width . 90)
+ \fill-line { "" "Michael Dirnberger" "Erin Dowler" "" }
+ \override #'(line-width . 90)
+ \fill-line { "" "Mona Seghatoleslami" "Randy Pollok" "" }
+ \override #'(line-width . 90)
+ \fill-line { "" "Han Hitchen" "Amber Lucas" "" }
+ \override #'(line-width . 90)
+ \fill-line { "" "Bethany Brinson" "Ko Muramatsu" "" }
+ \vspace #0.5
+ \override #'(line-width . 90)
+ \justify {
+ The consortium organized to commission \italic "Net Clarity" was
+ open to members from the sixteenth of June through the twenty-ninth
+ of October 2025. More information about the consortium can be found
+ at \with-url #"https://newer.systems/netclarity" https://newer.systems/netclarity.
}
}
\vspace #2.5
\override #'(line-width . 90)
\line { \hspace #90 }
\justify { \sans \italic 1. \hspace #1 Accidentals carry through each bar – cautionary accidentals are not supplied. }
+ \override #'(line-width . 90)
\justify { \sans \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 {
+ \sans \italic 3. \hspace #1 Dotted slurs are used to indicate phrasing that may not be clear through dynamics and other notations.
+ }
\override #'(line-width . 90)
\justify {
- \sans \italic 3. \hspace #1 Dotted slurs are used to indicate phrasing that may not be clear through dynamics and other notations. }
+ \sans \italic 4. \hspace #1 Cadenza notation should be interpreted
+ freely, though music should be continuous between breath marks and
+ rests. Breath marks indicate a short break, while rests are longer.
+ }
}
\vspace #2.5
\line { \char ##x2042 }
\removeWithTag #'part \include "manuscripts/I-clarinet.ly"
\include "manuscripts/I-piano.ly"
>>
- \midi { }
+ %\midi { }
\layout {
\context {
\Score
}
}
\pageBreak
+ \markup { \vspace #5 }
+ \pageBreak
+ \markup { \vspace #5 }
+ \pageBreak
\markup {
\fill-line {
\center-column {