From 6fc1d1053794814253317a137755ae20cb73679e Mon Sep 17 00:00:00 2001 From: Tucker Johnson Date: Fri, 14 Mar 2025 14:57:25 -0400 Subject: [PATCH] performance notes --- applesAndPairs.ly | 85 +++++++++++++++++++++++++++++++++++++---- manuscripts/violinII.ly | 4 +- 2 files changed, 79 insertions(+), 10 deletions(-) diff --git a/applesAndPairs.ly b/applesAndPairs.ly index 1570891..f9a386a 100644 --- a/applesAndPairs.ly +++ b/applesAndPairs.ly @@ -123,21 +123,90 @@ } \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 @@ -145,13 +214,13 @@ } \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 } diff --git a/manuscripts/violinII.ly b/manuscripts/violinII.ly index 7507334..1f1d9f5 100644 --- a/manuscripts/violinII.ly +++ b/manuscripts/violinII.ly @@ -12,9 +12,9 @@ \time 5/4 R1*5/4 | %001 \tuplet 3/2 { r4 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" \startTextSpan d'4~\stopTextSpan | %006 \time 4/4 \tuplet 3/2 { d2 g,4->\2\f\glissando\pizz } \glissandoSkipOn e4 \glissandoSkipOff bes4\mp\shortfermata | %007 -- 2.39.5