S.MARLOW — the other door
=========================
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. 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
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.
𝄽