score tweak for proper kali transposition

tiling_sonification_visualization/latex/a_history_of_the_domino_problem/a_history_of_the_domino_problem_score_revised_description_with_kali_notes.tex

@@ -140,11 +140,15 @@
   {\strut\raggedleft\raisebox{\baseletterheight}{\color{color1}\rule{0.5\hintscolumnwidth}{0.95ex}}\quad}{\strut\subsectionstyle{#2}}%
   \par\nobreak\addvspace{.5ex}\@afterheading}% to avoid a pagebreak after the heading
 
+\@namedef{toclevel@sectionnopage}{1}
 
 \makeatother
 
 \begin{document}
 
+\pagenumbering{gobble} 
+\hypersetup{pageanchor=false}
+
 \textit{\textbf{a history of the domino problem}} \\
 a performance-installation
 
@@ -173,6 +177,10 @@ michael winter \\ schloss solitude, cdmx, berlin; 2018 - 2023 \\
 
 \newpage
 
+\pagenumbering{arabic}  
+\hypersetup{pageanchor=true}
+\setcounter{page}{1}
+
 \phantomsection\addcontentsline{toc}{section}{Description / note}
 \textbf{Description / note}
 
@@ -206,12 +214,12 @@ The piece was premiered in November 2023 by the Hague-based Kali Ensemble: İdil
 
 \begin{itemize}
 \item The scores for the Kali Ensemble preserve the part order of the original scores. The instrumentation for each part is given before the first system of each score followed by the original part number in parenthesis.  
-\item To facilitate more pieces being played by the harmonium, Ammann and Jaendel were played with a fundamental of c. The pitch gamut given in the instructions of the original score of both pieces is transposed up a 5/4 minor third.
+\item To facilitate more pieces being played by the harmonium, Ammann and Jaendel were played with a fundamental of c. The pitch gamut given in the instructions of the original score of both pieces is transposed up a 32/27 minor third. This maintains the naturally occurring c on the cello's lowest string when the strings are tuned by pure 3/2 fifths.
 \item All parts played by the harmonium and synthesizer have been rewritten to the nearest pitch in 12-tone equal temperament as opposed to the nearest pitch in 24-tone equal temperament as in the original score.
 \item The clarinet parts are written transposed and not as sounds.
 \item For Berger and Ammann, all parts not played by the ensemble were played with synthesized realizations.
 \item For Jaendel, the ensemble played the drone version with the electronic realization. As such, a Kali-specific version of Jaendel is not provided.
-\item In Kari, the high e (written f-sharp) in the clarinet part was transposed down an octave.
+\item In Kari, the high e (written f-sharp) in the clarinet part was transposed down an octave and the cello and string parts were played all with natural harmonics.
 \item The violin player used a mute for Robinson and Penrose.
 \end{itemize}