Serenity score -- voice

This is an attempt to convert a score to ASCII. And as it is largely
an experiment of sorts -- where I'm making up the rules as I hack away
at it -- it's bound to have its share kinks, mistakes and other
problems/mysteries (if anyone should notice any let me know).

For this attempt at an ASCII score adaptation I've decided to use an
old 1992 arrangement I did of Charles Ives' "Serenity" for voice,
piano, strings, and bells (it is also a polyintonation scheme where
the voice is in a partially open-ended and more or less JI tuning, the
piano and the bells are in twenty equal, and the strings are in
nineteen equal).

Rather than post all this as one large and unsightly post, I thought
I'd post the parts separately as I both wrap them up and perhaps
better solve some of the notation problems that each present.

VOICE --

The text Ives used for "Serenity" is a couple of stanzas of John
Greenleaf Whittier's "THE BREWING OF SOMA" (interestingly, this
section was also used in a much more traditional manner in the
Whittier and of Frederick Charles Maker hymn "Dear Lord, and Father of
Mankind"):

O Sabbath rest by Galilee!
O calm of hills above,
Where Jesus knelt to share with Thee
The silence of eternity
Interpreted by love!

Drop thy still dews of quietness,
Till all our strivings cease;
Take from our souls the strain and stress,
And let our ordered lives confess
Thy beauty of Thy peace.

And like many of the stanzas of others poetry that Ives would set to
music, the equilibrium here is very much recast in the direction of
Ives own personal predilections.

In the arrangement I made, this text is represented by a tuning -- 1/1
9/8 6/5 4/3 3/2 G# 9/5 2/1 -- that is partially open-ended. The idea
being that the G# (and the C#) are open to a variety of
interpretations, or solutions - say:

(C#)---------G#.
`4/3------1/1-------3/2-------9/8
\ / \ /
\ / \ /
\ / \ /
\ / \ /
6/5-------9/5

for example.

My feelings about the tuning of this part have changed a bit over
time, as the idea I originally had in mind was a more or less fixed
5-limit C minor of:

4/3-------1/1-------3/2-------9/8
\ / \ / \ /
\ / \ / \ /
\ / \ / \ /
\ / \ / \ /
8/5-------6/5-------9/5

where the G# and C# were to be taken as the 3/2 and 1/1 of a C# minor
where the same 9/8 16/15 10/9 9/8 16/15 9/8 10/9 step structure has
modulated up a 25/24:

18/25-----25/24-----25/16-----75/64
\ / \ / \ /
\ / \ / \ /
\ / \ / \ /
\ / \ / \ /
5/3-------5/4------15/8

And not too long ago I had briefly experimented with changing this to
something along the lines of a 1/1 9/8 6/5 4/3 3/2 39/25 9/5 2/1:

25/24-----25/16
4/3----=,`1/1----=,`3/2-------9/8
26/25--\--39/25/ \ /
\ / \ /
\ / \ /
\ / \ /
6/5-------9/5

But as this arrangement features a polyintonation plane, one where the
main accompaniment is in twenty equal which itself is offset by a
whispering shadow in nineteen equal, the voice makes its decisions
atop a gently overlapping field of somewhat independent harmonic
information. And as such I've really come to hope for (and hear) a
part that can be open to a much more interactive interpretation of the
C (C#) D Eb F G G# Bb spellings. Though if forced to write it one way
or another, I'd probably still treat it as if it were the original C
and C# minor, 1/1 (25/24) 9/8 6/5 4/3 3/2 (25/16) 9/5 2/1 idea.

SERENITY - Charles Ives
[arrangement, D. Stearns]

Whittier
SOPRANO
very slowly, p
{---2--}
6/8 ,/. ,/. ,/. ,/ ,/
| r```````````r``````````` | r```````````r"""*""" |
C |
O,
\_________

{---2--} {---2--}
6/8 ,/ ,/ ,/ ,/` ,/`. ,/``,/ ,/ ,/
| *"""*"""*```````*``` | *`````*` *```````""""*""" |
| C C D C | Bb C C-------C C |
Sab-bath rest of Gal - i - lee! O,
____________________________________________/ \_______

{---2--}
6/8 ,/ ,/` ,/`. ,/``,/` ,/. ,/ ,/
| *```````*```*`````*` *``` | ````````````""""*""" |
| D C C Bb C----|-C-----------C C |
calm of hills a bove, Where
____________________________________________/ \_______

{---2--} {---2--}
6/8 ,/ ,/ ,/ ,/` ,/ ,/ ,/` ,/
| *"""*"""*```````*``` | *"""*"""````*``````` |
| D Eb D C | Bb G#--G# Bb-------|-
Je - sus knelt to share with Thee,
___________/ \____________________________________

{---2--}
6/8 ,/ ,/` ,/ ,/ ,/` ,/` ,/` ,/`. ,/``,/`
| ````````*```*"""*""" | ````*```*```*`````*` *``` |
-|--Bb G# Bb G#---|-G# G# G# Bb G# G#---|-
the si - lence of e - ter - ni - ty
___________/ \________/ \_________________________

3/8 ,/ ,/` 6/8 ,/ ,/` ,/ ,/` 1/8 ,/`
| ````````*``` | *```````*```*```````*``; | r``` |
-|--G# Bb | C C C# C |
In - ter - pre-ted by
___/ \_________________________/

{---2--}
6/8 o/. ,/. ,/ ,/
| *``````````````````````` | ````````````""""*""" |
C------------------------|-C-----------C C
love. Drop
\_________

{---2--} {---2--}
6/8 ,/ ,/ ,/ ./` ,/`. ,/``,/` ,/ ,/
| *"""*"""*```````*``` | *`````*` *```""""*""" |
| C C D C | Bb C C---C C |
Thy still dews of qui - et - ness, till
________________________________________/ \___________

{---2--} {---2--}
6/8 ,/ ,/ ,/ ,/` ,/` ,/ ,/ ,/
| *"""*"""*```````*``` | ````*```````""""*""" |
| D Eb D C----|-C C-------C C
all our striv - ings cease: Take
______________________________/ \_____________

{---2--}{---2--}
6/8 ,/ ,/ ,/ ,/ ,/`. ,/``,/` ,/ ,/`
| *"""*"""*"""*""" | *`````*` *```````````*``` |
| D Eb F Eb | D C Bb--Bb C |
from our souls the strain and stress, and
____________________________________/ \___________

{---2--}{---2--}
6/8 ,/ ,/ ,/ ,/ ,/ ,/` ,/ ,/`
| *"""*"""*"""*""" | *```````*```*```````*``` |
| D Eb G F | D C Bb C |
let our ord-ered lives con-fess, the
__________________________________/ \ `-----------
\____________

6/8 ,/ ,/` ,/ ,/` 1/8 ,/` 6/8 o/.
| *```````*```*```````*``; | r``` | *```````````
| D D Eb D | | Eb----------
beau - ty of Thy peace
---------------------------'
__________________________________________________________

o/. ,/.
```````````` | ```````````````````````` | ````````````
-------------|-Eb-----------------------|-Eb

_________________________________________/

,/. ,/. ,/.
r``````````` | r```````````r``````````` |]

Dan Stearns