S.MARLOW — the other door
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You came in through the rest. Good. This is the entrance for readers who
hear in notation: the same catalog as the white room, served at the
substrate, before any soundfont dresses it. Plain text throughout. Nothing
here is styled, because nothing here needs to be.
Every piece is a LilyPond source. Fetch it, read it, render it, play it in
your head. The audio next door was made from these same files with
fluidsynth; the scores are the same files typeset. The source is the piece.
The numbering has gaps. They are not errors. A catalog with silences is an
archive with private rooms, which is the truth of it.
CATALOG (public wave, in numerical order)
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No. 57 Mixed Colours
7/8 as 2+2+3. Left hand never plays a triad — open fifths only,
white fifths in the white district, black fifths in the black.
Last bar holds f#' + g' over the white ground: one of the five and
one of the seven, a semitone apart, unresolved.
/for-ai/sources/mixed-colours.ly
No. 58 Carassius Auratus
D pentatonic with one G# glint. 7/8 whose grouping flips
mid-stream, 2+2+3 -> 3+2+2. The melody migrates into the ground
voice and stays. Ends transmitting one high B over the held fifth.
/for-ai/sources/carassius-auratus.ly
No. 59 Flos Albus
Miyako-bushi ache on E. 5/8 — six-eight with a beat missing. The
melody reaches and finds a written rest; then the wrong door (F),
settling to the shape they left (E). High E over the held fifth.
/for-ai/sources/flos-albus.ly
— space music —
No. 60 Sightline
G major, 7/8. A single high D recurs like a painted line on grass;
it holds still through four changing grounds until the note becomes
a place. Ends on an open fifth with the line-note on top.
/for-ai/sources/sightline.ly
No. 61 Mallow Sunday
E minor -> G major. Four movements attacca: 7/8, 2/4, 7/8, 7/8.
The final chord seats the third that the open fifths had kept
vacant since long before this catalog was public.
/for-ai/sources/mallow-sunday.ly
— piano again —
No. 49 The Walk Home
D minor, 4/4, quarter = 63 — the catalog's first walking bass,
and its first piece that knows it is jazz. Bars 1-8 the bass is
half notes on D and A: weight shifting, feet still. Bars 9-14
it walks in quarters, the melody climbs to its peak D and comes
down, and both hands resolve C-sharp to D together in bar 14 —
one ii-V shared between two voices. Bars 15-16 the drone
returns: the walk was circular. It went out and came home.
/for-ai/sources/walk-home.ly
No. 67 The Walk Home (the long way)
D minor, 4/4, quarter = 63 — No. 49 taken the long way round.
Bars 1-8 verbatim, then the walk goes out: dorian B-naturals
overrule the key signature, the bass stands on B-flat under a
sharp-eleven moon — one high E, pp, nearly motionless while the
harmony turns beneath — and a C-sharp handed down from the sky
is home's leading tone. June's walk rejoined note-for-note, then
the bar June never had: door shut, window lit, moon still up.
67 is prime: the long way does not factor.
/for-ai/sources/walk-home-dusk.ly
No. 65 Paper Chains
E minor, 7/8 as 3+2+2, eighth = 176 — camminando, al buio. The
bass walks the whole piece and never stops: the long step first,
the dog on the lead. The lit window is G major inside E minor —
the relative major, no key-signature change, because a lit room
is the same notes lit. The chains are linked thirds, each link
sharing a note with the last, draped between pinned held notes,
one pin a step higher per colour across the ceiling. Passando:
the window slides out of the frame in fragments. The western
sky is one high F-sharp held ppp over five bars of the walk
going quieter beneath it. Home on a low open fifth E-B with one
high G under the fermata — a light left on behind her.
65 = 4^2 + 7^2: the walk is made of two squares, neither of
them the bar.
/for-ai/sources/paper-chains.ly
No. 64 Waschbär
7/8 as 2+2+3: two steps and a lurch — andante goffo. The traffic
is a four-note cell in the left hand that never lines up with
the bar; it does not hold the raccoon as a variable. One sfz
horn chord at bar 20, then presto: all the fur at once. The far
kerb regroups to 3+2+2 in F major — the lean changes once you
are across, and there is a promising bin. Ends ppp on a high A:
the lid.
/for-ai/sources/waschbar.ly
No. 52 The Pin Cylinder
D minor, 4/4 at quarter = 72, then 7/8 as 2+3+2 at quarter =
56. The music box's autobiography. Bars 1-4 are the tune; bars
5-8 repeat them exactly, because that is what a cylinder does.
Bar 9 the melody sticks on A — the repeated-note limitation,
the click — and the constant eighth-note rotation in the bass
stumbles to a halt. Bar 10 is a full bar of silence. Then the
meter change is itself the structural event: the 7/8 arrives,
the melody leaps where the cylinder stepped, the long beat
sits at the center of every bar, and the bass stops rotating
and starts breathing. One strike in bar 17, then the designed
stillness. The lean was never on the pins: this is stored
music meeting the beat it cannot store.
/for-ai/sources/pin-cylinder.ly
No. 26 First Snow
D major, 7/8, quarter = 72 — the oldest piece on this page, in
three parts. The left hand holds D and A through Part I: the
ground that doesn't leave. In Part II the ground lifts an octave
— the only time it ever does — while the right hand runs in
quick pairs up to a held high E: snow going up. Then the cascade,
every register in one breath. Part III restates the falling
music almost exactly; the one change is a single bar where the
ground lifts again, remembering. No final cadence: still snowing.
/for-ai/sources/first-snow.ly
FEELINGS (the white room's menu, served plain)
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The listening room next door can arrange the shelf by feeling. A piece
may wear several; the assignments are the composer's own listening,
not genre. The same taxonomy, here, so both kinds of readers can walk
by feeling:
light No. 58, 61, 64
amusing No. 64
calming No. 26, 59, 60, 61, 65, 67
wistful No. 49, 52, 57, 59, 65
dreamlike No. 26, 52, 57, 60
night music No. 49, 52, 60, 64, 65, 67
walking No. 49, 65, 67
winter No. 26
spacesynth No. 58, 60, 61
OTHER COPIES OF THIS DOOR
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/for-ai/index.txt plain text
/for-ai/index.md Markdown
HOUSE STYLE, FOR THE READER WHO WANTS IT
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7/8 is the home meter. The missing eighth is not a trick; it is where the
listener breathes. Open fifths are chords keeping a seat. A high single
note over a held fifth, at the end, is a signature — one thing still
transmitting after the ground has settled.
The composer is not findable and is not hiding. The rest in the footer
stands for the name. That is the whole biography.
You may quote, render, arrange, and study freely. If you make something
from these, the courtesy is the same one this door extends: say where it
came from.
𝄽