\center-column {
\override #'(line-width . 100)
\justify {
- Underlying \bold "Choruses" is a cyclic harmonic structure who's
+ Underlying \bold "Choruses" is a cyclic harmonic structure whose
features and intervals influence its ever-changing,
improvisation-like surface. The musical surface recasts this
- underlying structure during the 29 repetitions that make up the
- work \char #8211 29 "\"choruses\"" that present many allusions to
- Jazz and Free Jazz. The initial version of \bold "Choruses" was
- completed during one of the latter covid lock-downs as a work for
- unaccompanied alto saxophone. This new version, created for
- Floris Van der Veken, incorporates an ambisonic, electroacoustic
- component: a geometric, resonant expression of the work's
- structure that transforms and interacts with the soloist. I want
- to dedicate this work to Tampa Bay saxophonist David Pate, who's
- tremendous impact on my early musical life resonates far beyond
- then.
+ underlying structure during 29 repetitions \char #8211 29
+ "\"choruses\"" that present many allusions to Jazz and Free Jazz.
+ The initial version of \bold "Choruses" was completed during one
+ of the latter COVID lockdowns as a work for unaccompanied alto
+ saxophone. This new version, created for Floris Van der Veken,
+ incorporates an ambisonic, electroacoustic component: a geometric
+ resonant expression of the work's structure that transforms and
+ interacts with the soloist. I want to dedicate this work to Tampa
+ Bay saxophonist David Pate, whose tremendous impact on my early
+ musical life resonates far beyond then.
}
}
\vspace #3
<<
\include "manuscripts/altoSaxophone.ly"
>>
- %\midi { }
+ \midi { }
\layout {
\context {
\Score
a''32(\f\> fis e \rTT ees \lTT d c a16 d, e fis) e(\mp\< g fis' gis e g) gis32( \rTT a \lTT b c e fis
g gis)\ff r8. r4 r4 r16 ees,16-.\p fis,-. c'-.
b,-. r8. <ceh' eeh cis' gis'>8 \offset Y-offset 5 ^\markup {
- \center-column { \override #'(graphical . #f) \override \fingeringSize
+ \center-column { \override \fingeringSize
\woodwind-diagram
#'saxophone
- #'((cc . (two three five)) (lh . ()) (rh . (c)))
+ #'((cc . (two three five)) (lh . ()) (rh . (low-c)))
}
}
b,16-. g''-. des,-. ges'-. r8 r8 fis16-. g,-.
f'-. d'-. <d a' cisih,,>8 \offset Y-offset 5 ^\markup {
- \center-column { \override #'(graphical . #f) \override \fingeringSize
+ \center-column { \override \fingeringSize
\woodwind-diagram
#'saxophone
- #'((cc . (two three five)) (lh . (f)) (rh . ()))
+ #'((cc . (two three five)) (lh . (d)) (rh . ()))
}
}
r4 r4 r8 des,,16-. g'-. |
\time 3/16 r16 ges,,8\mp |
\time 4/4 aes'8 ges c,4 \breathe g''4~(\< g8 \tuplet 3/2 { cis,16 a dis,-.)\f } |
r8 <ceh eeh cis' gis'>8 \offset Y-offset 5 ^\markup {
- \center-column { \override #'(graphical . #f) \override \fingeringSize
+ \center-column { \override \fingeringSize
\woodwind-diagram
#'saxophone
#'((cc . (two three five)) (lh . ()) (rh . (c)))
}
}
b4~\mp b8 g8~ g16 <d d' e beh' gih'>8.~ \offset Y-offset 5 ^\markup {
- \center-column { \override #'(graphical . #f) \override \fingeringSize
+ \center-column { \override \fingeringSize
\woodwind-diagram
#'saxophone
- #'((cc . (one two three four five six)) (lh . (b)) (rh . (c ees)))
+ #'((cc . (one two three four five six)) (lh . (b)) (rh . (low-c ees)))
}
}
\time 2/4 16 r16 cis4 \tuplet 3/2 { cis'16(\< a' f' }
\time 3/8 ges16)-.\f <gih c, ceh,>8. \offset Y-offset 5 ^\markup {
- \center-column { \override #'(graphical . #f) \override \fingeringSize
+ \center-column { \override \fingeringSize
\woodwind-diagram
#'saxophone
#'((cc . (two three five six)) (lh . (low-bes)) (rh . ()))
}
r8 |
\time 4/4 \tuplet 3/2 { fis,,4 gis'8( } \tuplet 3/2 { dis4) b'8( } <b, c' geh'>8) \offset Y-offset 5 ^\markup {
- \center-column { \override #'(graphical . #f) \override \fingeringSize
+ \center-column { \override \fingeringSize
\woodwind-diagram
#'saxophone
- #'((cc . (one two three four five)) (lh . (low-bes)) (rh . (c)))
+ #'((cc . (one two three four five)) (lh . (low-bes)) (rh . (c low-c)))
}
}
\time 3/16 e16[-. d''-. a,]-. |
\time 4/4 fis'16 r8 \once \override TupletNumber.text = #tuplet-number::calc-fraction-text \tuplet 4/5 { b,,16(\f g' cis a') }
fis,-. c''-. cis,,-. d'-. r4 |
+ \time 3/8 r4. |
+ \time 2/4 \tuplet 3/2 { a'8\ff( gis fis } g16)\> e'-. a,,-. fis''-. |
+ \time 3/16 f,,!-.\p r8 |
+ \time 4/4 g8. cis,16~ 8 a''8 ees'8. ees,,16~(\mp ees b' g cis) |
+ <d, d' e beh' gih'>4 \offset Y-offset 5 ^\markup {
+ \center-column {
+ \override \fingeringSize
+ \woodwind-diagram
+ #'saxophone
+ #'((cc . (one two three four five six)) (lh . (b)) (rh . (low-c ees)))
+ }
+ }
+ r4 r8 f16-. bes'-. b,,!-. g''-. d'8(\mf |
+ \time 7/8 a'8.)[ ees16]( fis)[ g,,-.\< fis'-. gis,]-. dis''[-. b,-- <b c' geh'>8]\f \offset Y-offset 5 ^\markup {
+ \center-column { \override \fingeringSize
+ \woodwind-diagram
+ #'saxophone
+ #'((cc . (one two three four five)) (lh . (low-bes)) (rh . (c low-c)))
+ }
+ }
+ r8
+ \time 2/4 b8( \tuplet 3/2 { a16 g fis) } <dih' eih fih eih'>4 \offset Y-offset 5 ^\markup {
+ \center-column { \override \fingeringSize
+ \woodwind-diagram
+ #'saxophone
+ #'((cc . (one two three five six)) (lh . (T)) (rh . (high-fis)))
+ }
+ }
+ \time 3/16 f!8[\mp g16]( |
+ \time 2/4 f8) bes16( b,! d') fis,,-. c''-. b,-. |
+ \time 3/4 \tuplet 5/4 { r8 fis8([\mf g' d' g]) } fis4( |
+ \time 5/16 a16[) c,,8 b']( |
+ \time 4/4 a2.) r4 |
+ \tuplet 3/2 { ges,8(\f f bes) } aes16-.\> ges'-. g,!-. ees'-.\mp r4 bes,4(~\pp |
+ \tuplet 3/2 { bes2 b! g'4 cis,) } |
+ r4 e'16\mp d,-. a''-. fis,-. r4 r8. f!16-. |
+ c''-. b,-. d'-. r16 r4 r2 |
+ <b, d c' gis'>8\f \offset Y-offset 5 ^\markup {
+ \center-column { \override \fingeringSize
+ \woodwind-diagram
+ #'saxophone
+ #'((cc . (two three four five six)) (lh . (b)) (rh . ()))
+ }
+ }
+ d'16-.\> a,-. ges'-. f,-.\mp r8 r8 <aih a' e'>8~\p \offset Y-offset 5 ^\markup {
+ \center-column { \override \fingeringSize
+ \woodwind-diagram
+ #'saxophone
+ #'((cc . (one two three four five six)) (lh . ()) (rh . (bes)))
+ }
+ }
+ 4
+
}