From: Tucker Johnson <tucker@newer.systems>
Date: Tue, 6 Jan 2026 02:36:13 +0000 (-0500)
Subject: monday-night-progress
X-Git-Url: https://git.newer.systems/?a=commitdiff_plain;h=b49c9051486ba78ca8f776a3706a77029947e983;p=net-clarity.git

monday-night-progress
---

diff --git a/manuscripts/IV-clarinet.ly b/manuscripts/IV-clarinet.ly
index 2ee6856..315829d 100644
--- a/manuscripts/IV-clarinet.ly
+++ b/manuscripts/IV-clarinet.ly
@@ -297,17 +297,20 @@
   des,4.--\mp bes'8(\f\< f' c'\! b-.) g,,_- | %086
   <<
     {
+      \tag #'part { \omit Staff.TextSpanner }
       \timeSpanner "molto rit." fis4\>\startTextSpan gis2 b4\p \breathe | %087
       \tag #'part { \break \noPageBreak }
       \time 3/8 cis''8(\mf e,) fis,(\stopTextSpan \bar "||" %088
 
       \omit Score.BarNumber
+      \tag #'part { \once \override Staff.SectionLabel.stencil = ##f }
       \sectionLabel \markup { \huge \box \sans \bold 89 }
       \tempo \markup { "Andante"
         \concat { \rhythm { { 4 } } " = " \rhythm { { 2 } } }
       } 4. = 64
       \time 12/8 \after 1 \! gis1.)\> | %089
       \undo \omit Score.BarNumber
+      \tag #'part { \undo \omit Staff.TextSpanner }
     }
     \tag #'part \new Staff \with {
       alignAboveContext = "cl4"
@@ -320,9 +323,9 @@
         <<
           {
             \voiceOne
-            \tuplet 3/2 { cis'4( dis) c4( } f,4) <d b'>4~ |
-            4. |
-            b8( dis cis) b8( dis cis)_\markup { \italic "sim." }
+            \tuplet 3/2 { \timeSpanner "molto rit." cis'4(\startTextSpan dis) c4( } f,4) <d b'>4~ |
+            \after 4 \stopTextSpan 4. |
+            b'8( dis cis) b8( dis cis)_\markup { \italic "sim." }
           }
           \new Voice {
             \voiceTwo
@@ -338,8 +341,8 @@
   \time 6/8 r4. r8 r8 b16(\< e, | %090
   \time 12/8 g2.~\mf 4.) r8 d4~( | %091
   \time 2/4 d8\> fis8 cis4)\p | %092
-  \time 6/8 R1*6/8 | %093
   \tag #'part { \pageTurn }
+  \time 6/8 R1*6/8 | %093
   \time 12/8 r8 r8 c!8~\< c4.~ c4 c8~( c8 ees4~ | %094
   \time 6/8 ees8) f8( bes,8~\mf 4 a8~ | %095
   \time 7/8 \after 4. \! a4.)\> r8 fis'4(\p ees8\< | %096
diff --git a/net-clarity.ly b/net-clarity.ly
index 1ef1ddb..416a051 100644
--- a/net-clarity.ly
+++ b/net-clarity.ly
@@ -97,33 +97,6 @@ clarinetMagstep = #(magstep -2)
           \table-of-contents
         }
         \vspace #2.5
-        \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 {
-            \smallCaps "I was 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
-            Babbitt.
-          }
-        }
-        \vspace #2.5
         \left-column {
           \override #'(line-width . 100)
           \line { \hspace #100 }
@@ -152,6 +125,33 @@ clarinetMagstep = #(magstep -2)
           }
         }
         \vspace #2.5
+        \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 {
+            \smallCaps "I was 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
+            Babbitt.
+          }
+        }
+        \vspace #2.5
         \left-column {
           \override #'(line-width . 100)
           \line { \hspace #100 }