From 31798661328913d148e9d3e13108c66a7bb5a159 Mon Sep 17 00:00:00 2001 From: Tucker Johnson Date: Sun, 9 Feb 2025 00:33:40 -0500 Subject: [PATCH] many changes --- manuscripts/II-clarinet.ly | 4 +- manuscripts/II-piano.ly | 5 ++- manuscripts/III-clarinet.ly | 20 +++------ manuscripts/III-piano.ly | 36 +++++++---------- manuscripts/IV-clarinet.ly | 3 +- manuscripts/IV-piano.ly | 8 ++-- net-clarity.ly | 81 ++++++++++++++++++++++++------------- 7 files changed, 84 insertions(+), 73 deletions(-) diff --git a/manuscripts/II-clarinet.ly b/manuscripts/II-clarinet.ly index 0ad7439..dcc964c 100644 --- a/manuscripts/II-clarinet.ly +++ b/manuscripts/II-clarinet.ly @@ -130,12 +130,12 @@ \grace bes8( f8)\mf f'8-. f8( g8-.) g8-.\< g8( | %098 \time 3 3/8 a8-.) a8-. a8-.\stopTextSpan \tempo 4=174 | %099 \time 3/4 \grace a,8^( ges'8\ff aes8-.) aes8-. aes8( bes-.) r8 - \mark \markup \teeny { \hspace #2 \rhythm { \tuplet 3/2 { 8[ 8 8] } } "=" \rhythm { { 8[ 8] 8 } } } \bar "||" %100 \sectionLabel \markup { \box \number 101 } + \tweak self-alignment-X #CENTER \textEndMark \markup { \concat { \rhythm { \tuplet 3/2 { 8 } } " = " \rhythm { { 8 } } } } \omit Score.BarNumber - \tempo \markup { \rhythm { \tuplet 3/2 { 8[ 8 8] } } "=" \rhythm { { 8[ 8] 8 } } "Prestissimo" } 4=232 + \tempo "Prestissimo" 4=232 \time 4/4 R1*6 | \undo \omit Score.BarNumber \rit \after 4. \startTextSpan R1 r2 r4 r8 f,,,8~\niente\<\stopTextSpan | %108 diff --git a/manuscripts/II-piano.ly b/manuscripts/II-piano.ly index 219aef5..f5b17fa 100644 --- a/manuscripts/II-piano.ly +++ b/manuscripts/II-piano.ly @@ -184,8 +184,9 @@ \oneVoice \ottava #0 r8 \clef bass | %100 \sectionLabel \markup { \box \number 101 } + \tweak self-alignment-X #CENTER \textEndMark \markup { \concat { \rhythm { \tuplet 3/2 { 8 } } " = " \rhythm { { 8 } } } } \omit Score.BarNumber - \tempo \markup { \rhythm { \tuplet 3/2 { 8[ 8 8] } } "=" \rhythm { { 8[ 8] 8 } } "Prestissimo" } 4=232 + \tempo "Prestissimo" 4=232 \time 4/4 \stemNeutral g,,,,,8-.\ff r8 ees8( c8) r8 a'8( f'8-.) r8 | \undo \omit Score.BarNumber %101 b,,8-- gis'8-. e8-. fis'8 r8 a,,8-. d8( des8 | %102 bes8) r8 aes''8 r8 f,8 ges8-. r4 | %103 @@ -564,7 +565,7 @@ ees4 } \new Voice { - \voiceOne r4 r4 gis'8~ ~\sostenutoOn | %(b124) + \voiceOne r4 r4\sostenutoOn gis'8~ ~| %(b124) 2~ 8\sostenutoOff bes8~ | %(b125) bes2. | %(b126) r4 g2~ | %(b127) diff --git a/manuscripts/III-clarinet.ly b/manuscripts/III-clarinet.ly index e7cc34f..6722004 100644 --- a/manuscripts/III-clarinet.ly +++ b/manuscripts/III-clarinet.ly @@ -70,13 +70,8 @@ \sectionLabel \markup { \box \number 30 } \omit Score.BarNumber - \tempo \markup { - \concat { - \rhythm { \tuplet 3/2 { 8 } } - " = " - \rhythm { { 8 } } - } - } 4 = 75 + \tweak self-alignment-X #CENTER \textEndMark \markup { \concat { \rhythm { \tuplet 3/2 { 8 } } " = " \rhythm { { 8 } } } } + \tempo 4 = 75 \time 7/4 1) r4 r2 | \undo \omit Score.BarNumber R1*7/4*3 | \tag #'part { \break } @@ -115,13 +110,8 @@ \tempo 4=50 des'1)\> | \undo \omit Score.BarNumber - \tempo \markup { - \concat { - \rhythm { \tuplet 3/2 { 8 } } - " = " - \rhythm { { 8 } } - } - } 4 = 75 + \tweak self-alignment-X #CENTER \textEndMark \markup { \concat { \rhythm { \tuplet 3/2 { 8 } } " = " \rhythm { { 8 } } } } + \tempo " " 4 = 75 aes4(\mf bes2.~ | bes2~\> 8)\p r8 r4 | \time 3/4 r4 r4 r8 c8~\f | @@ -181,7 +171,7 @@ \sectionLabel \markup { \box \number 72 } \omit Score.BarNumber - \tuplet 3/2 { c8_(\p\<^\markup { \tiny \italic "blooming" } b' e~ } 4)\mf \tuplet 3/2 { g,8(\> d a~ } 4~\p | + \tuplet 3/2 { c8_(\p\< b' e~ } 4)\mf \tuplet 3/2 { g,8(\> d a~ } 4~\p | \undo \omit Score.BarNumber 8) fis4( g8~ 4 cis4~ | \time 3/4 8)[ r16 des16(]\< aes'4 c,4 | diff --git a/manuscripts/III-piano.ly b/manuscripts/III-piano.ly index f563f7e..2664cd7 100644 --- a/manuscripts/III-piano.ly +++ b/manuscripts/III-piano.ly @@ -11,6 +11,7 @@ \new Staff = "u" { \clef bass + \set Staff.ottavationMarkups = #ottavation-ordinals \set PianoStaff.connectArpeggios = ##t \override DynamicLineSpanner.staff-padding = \phds << @@ -56,13 +57,8 @@ des1 \bar "||" \sectionLabel \markup { \box \number 30 } - \tempo \markup { - \concat { - \rhythm { \tuplet 3/2 { 8 } } - " = " - \rhythm { { 8 } } - } - } 4 = 75 + \tweak self-alignment-X #CENTER \textEndMark \markup { \concat { \rhythm { \tuplet 3/2 { 8 } } " = " \rhythm { { 8 } } } } + \tempo 4 = 75 \time 7/4 r2 r4 \tuplet 3/2 { r4 f'8~(^\markup { \tiny \italic "piu" \dynamic f \tiny \italic "misterioso" } } \tuplet 3/2 { 4 ais,8 } \tuplet 3/2 { dis4 gis,4 cis4) } | fis,1~ 4 \tuplet 3/2 { r8 fis4->(~ } 4 | @@ -91,13 +87,8 @@ \tempo 4 = 50 r2\mp \tuplet 3/2 { r8 fis\ppp\< dis' } \tuplet 3/2 { fis, dis' fis, } \bar "||" - \tempo \markup { - \concat { - \rhythm { \tuplet 3/2 { 8 } } - " = " - \rhythm { { 8 } } - } - } 4 = 75 + \tweak self-alignment-X #CENTER \textEndMark \markup { \concat { \rhythm { \tuplet 3/2 { 8 } } " = " \rhythm { { 8 } } } } + \tempo " " 4 = 75 dis'8\mp\< fis, dis' fis, dis' fis, dis' fis, | f'\mf\> a, f' a, f' a, f' a, | \time 3/4 d\< a d a d a | @@ -153,6 +144,7 @@ { \clef bass \set Staff.pedalSustainStyle = #'bracket + \set Staff.ottavationMarkups = #ottavation-ordinals \override Score.SpacingSpanner.strict-grace-spacing = ##t \override DynamicLineSpanner.staff-padding = \phds \relative { @@ -234,18 +226,18 @@ << \relative { \voiceOne - \time 7/4 c8[^\mf^\>\sustainOff\sustainOn a' c, a' c,^\!^\< a' c, a'] c,[ a' c, a' c, a'] | + \time 7/4 a8[^\mf^\>\sustainOff\sustainOn c, a' c, a' c,^\!^\< a' c,] a'[ c, a' c, a' c,] | \undo \omit Score.BarNumber - b,8[^\mf^\>\sustainOff\sustainOn g' b, g' b,^\!^\< g' b, g'] b,[ g' b, g' b, g'] | - aes,[^\f^\>\sustainOff\sustainOn ges' aes, ges' aes, ges' aes, ges']^\!^\< aes,[ ges' aes, ges' aes, ges'] | - bes,[^\f^\>\sustainOff\sustainOn f' bes, f' bes, f' bes, f'] bes,[ f' bes,]^\mp r8 r4 | + g'8[^\mf^\>\sustainOff\sustainOn b, g' b, g'^\!^\< b, g' b,] g'[ b, g' b, g' b,] | + ges'[^\f^\>\sustainOff\sustainOn aes, ges' aes, ges' aes, ges' aes,] ges'[^\!^\< aes, ges' aes, ges' aes,] | + f'[^\f^\>\sustainOff\sustainOn bes, f' bes, f' bes, f' bes,] f'[ bes, f']^\mp r8 r4 | } \new Voice \relative { \voiceTwo - \time 7/4 e,1-> 2.-> | - d2.-> d1~-> | - d4 ees2.~-> 4 2-> | - des2.->~ 8 8->~ 2. | + \time 7/4 e,2.~-> e8 e8~-> e2. | + d2~-> d8 d8~-> d1~ | + d8 ees8~-> ees2. ees2.~-> | + ees8 des8->~ des2~ des8 8->~ 2. | } >> \oneVoice diff --git a/manuscripts/IV-clarinet.ly b/manuscripts/IV-clarinet.ly index 907c43b..02cfc5d 100644 --- a/manuscripts/IV-clarinet.ly +++ b/manuscripts/IV-clarinet.ly @@ -29,7 +29,6 @@ \time 5/8 R1*5/8 \molRit \after 4 \startTextSpan R1*5/8 | \time 2/8 \after 8. \stopTextSpan R1*2/8 | - \once \override Hairpin.circled-tip = ##t } \tag #'part { \new CueVoice \relative { @@ -39,7 +38,7 @@ } } >> - \time 3/4 c'2.~\fermata\< \bar "||" %031 + \time 3/4 c'2.~\fermata\niente\< \bar "||" %031 \omit Score.BarNumber \sectionLabel \markup { \box \number 32 } diff --git a/manuscripts/IV-piano.ly b/manuscripts/IV-piano.ly index 3b2008a..eb90a9f 100644 --- a/manuscripts/IV-piano.ly +++ b/manuscripts/IV-piano.ly @@ -10,8 +10,8 @@ \new Staff = "u" \with { \consists "Merge_rests_engraver" } { - \set PianoStaff.connectArpeggios = ##t + \set Staff.ottavationMarkups = #ottavation-ordinals \relative { \numericTimeSignature @@ -217,7 +217,8 @@ f2\f e8) g,-. d-. r8 | %124 r2 r4 bes''8( aes~ | %125 aes2) r2 | %126 - R1 | %127 + R1 |\break %127 + \once \override Score.NonMusicalPaperColumn.line-break-system-details = #'((alignment-distances . (18 14))) r8 d,,8-. r8 ees-. r2\> | %128 r2 c'8-. r8 r8 g-. | %129 R1\! | %130 @@ -324,6 +325,7 @@ \clef bass \set Staff.pedalSustainStyle = #'bracket + \set Staff.ottavationMarkups = #ottavation-ordinals \omit Staff.SectionLabel \omit Staff.RehearsalMark \relative { @@ -334,7 +336,7 @@ \time 5/4 \override Staff.Beam.positions = #'(-3.85 . -3.85) r16[ f'16-.^\pp aes,16-. r16] r8[ ges16-. r16] ees'16[-. r16 r16 des16]-. r4 r4 | %001 \revert Staff.Beam.positions \time 4/4 b8-. - \footnote \markup "*" #'(0.01 . 0.01) \markup \tiny "* Maintain 16th note length for staccato notes." + \footnote \markup † #'(0.01 . 0.01) \markup \tiny { † "Maintain 16th note length for staccato notes." } ^\markup { \tiny { \italic { "sempre staccatiss." } } } r8 a8-. c,8-. g'8-. e16-. d16-. \once \override Staff.Beam.positions = #'(-3 . -2) r8.[ ais'16]-. | %002 cis16-.^\< gis8-. b16-. \once \override Staff.Beam.positions = #'(-3 . -2) r8.[ a16]-. r4 \once \override Staff.Beam.positions = #'(-3.85 . -3.85) r16[ e'16-. r8] | %003 diff --git a/net-clarity.ly b/net-clarity.ly index a9ab3ae..d978a3c 100644 --- a/net-clarity.ly +++ b/net-clarity.ly @@ -128,7 +128,7 @@ clarinetMagstep = #(magstep -2) \fill-line { \line { \null } \center-column { - \line { \with-url #"https://newer.systems" \fontsize #1 \hbracket \sans \bold " https://newer.systems " } + \line { \with-url #"https://newer.systems" \fontsize #1 \hbracket \sans \bold " https://newer.systems " } } \line { \null } \line { \null } @@ -143,10 +143,10 @@ clarinetMagstep = #(magstep -2) \right-column { \vspace #15 \line { \fontsize #8 \bold \underline \xtitle } - \vspace #-0.1 + \vspace #-0.1 \line { \fontsize #3 \sans \xcomp } - \vspace #3 - \line { \fontsize #2 \sans \concat { "for " \xinst } } + \vspace #3 + \line { \fontsize #2 \sans \concat { "for " \xinst } } } } \vspace #26.25 @@ -156,9 +156,9 @@ clarinetMagstep = #(magstep -2) \line { \null } \line { \null } \center-column { - \xumbel - \vspace #0.3 - \line { \fontsize #1 \hbracket \sans \bold " umbel press " } + \xumbel + \vspace #0.3 + \line { \fontsize #1 \hbracket \sans \bold " umbel press " } } \line { \null } } @@ -209,17 +209,20 @@ clarinetMagstep = #(magstep -2) \center-column { \override #'(line-width . 100) \justify { - I was struck by the idea of writing \bold "Net Clarity" while listening - to my partner, Amber Lucas, practice one of the Reger clarinet sonatas. - The work extends a technical approach I employed to compose short - keyboard inventions in my recent piece Circumnutation and explores - further the structural potentialities of the diatonic set (equivalent to - the major scale) and its relationship to the aggregate (the collection of - all 12 notes). These (my) technical proclivities notwithstanding, \bold - "Net Clarity" also indulges in the diatonic set as a referential - collection \char #8211 hinting at other music, without necessarily - quoting. Because of its design, the work creates the sensation of a hazy - memory \char #8211 remembering music with varying levels of clarity. + I was first 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 + Babbit. } } \vspace #3 @@ -288,7 +291,7 @@ clarinetMagstep = #(magstep -2) \removeWithTag #'part \include "manuscripts/II-clarinet.ly" \removeWithTag #'part \include "manuscripts/II-piano.ly" >> - %\midi { } + \midi { } \layout { \context { \Score @@ -305,6 +308,16 @@ clarinetMagstep = #(magstep -2) \Staff \override OttavaBracket.outside-staff-priority = 200 $(remove-grace-property 'Voice 'Stem 'direction) + \override VerticalAxisGroup.default-staff-staff-spacing = + #'((basic-distance . 10) + (minimum-distance . 9) + (padding . 2) + (stretchability . 10)) + \override StaffGrouper.staff-staff-spacing = + #'((basic-distance . 9) + (minimum-distance . 5) + (padding . 1) + (stretchability . 1)) } } } @@ -320,7 +333,7 @@ clarinetMagstep = #(magstep -2) \removeWithTag #'part \include "manuscripts/III-clarinet.ly" \removeWithTag #'part \include "manuscripts/III-piano.ly" >> - %\midi { } + \midi { } \layout { \context { \Score @@ -332,7 +345,16 @@ clarinetMagstep = #(magstep -2) } \context { \Staff - \RemoveEmptyStaves + \override VerticalAxisGroup.default-staff-staff-spacing = + #'((basic-distance . 10) + (minimum-distance . 9) + (padding . 2) + (stretchability . 10)) + \override StaffGrouper.staff-staff-spacing = + #'((basic-distance . 9) + (minimum-distance . 5) + (padding . 1) + (stretchability . 1)) } } } @@ -348,7 +370,7 @@ clarinetMagstep = #(magstep -2) \removeWithTag #'part \include "manuscripts/IV-clarinet.ly" \include "manuscripts/IV-piano.ly" >> - %\midi { } + \midi { } \layout { \context { \Score @@ -364,15 +386,20 @@ clarinetMagstep = #(magstep -2) \Staff \RemoveEmptyStaves \consists Mark_engraver + \override VerticalAxisGroup.default-staff-staff-spacing = + #'((basic-distance . 10) + (minimum-distance . 9) + (padding . 2) + (stretchability . 10)) + \override StaffGrouper.staff-staff-spacing = + #'((basic-distance . 9) + (minimum-distance . 5) + (padding . 1) + (stretchability . 1)) } } } } -% \header { -% title = \markup { \fontsize #1 \xtitle } -% subtitle = \markup { \medium \italic \xsub } -% composer = \xcomp -% poet = \markup { \xinst } \pageBreak \markup { \null } \pageBreak -- 2.39.5