% -*- mode: LilyPond ; coding: utf-8 -*-
\version "2.8.0"
\include "italiano.ly"
%% Version 1.
\header{
title = \markup {\center-align { "Christ lag in Todesbanden." \normalsize "Christ gisait dans les liens de la mort." " "} }
subtitle = ""
piece = ""
instrument = ""
composer = "Johann Sebastian Bach (1685-1750)"
copyright = "Creative Commons Attribution-ShareAlike 2.5"
source = "Bach-Gesellschaft Edition, OrgelWerke 1893"
enteredby = "Gérard Gréco"
maintainer = "Gérard Gréco"
mutopiatitle = "Christ lag in Todesbanden"
mutopiacomposer = "BachJS"
mutopiainstrument = "Organ"
style="Baroque"
maintainerEmail = ""
lastupdated = "2006-04-01"
opus="BWV 625"
footer = "Mutopia-2006/04/03-718"
tagline = \markup { \override #'(box-padding . 1.0) \override #'(baseline-skip . 2.7) \box \center-align { \small \line { Sheet music from \with-url #"http://www.MutopiaProject.org" \line { \teeny www. \hspace #-1.0 MutopiaProject \hspace #-1.0 \teeny .org \hspace #0.5 } • \hspace #0.5 \italic Free to download, with the \italic freedom to distribute, modify and perform. } \line { \small \line { Typeset using \with-url #"http://www.LilyPond.org" \line { \teeny www. \hspace #-1.0 LilyPond \hspace #-1.0 \teeny .org } by \maintainer \hspace #-1.0 . \hspace #0.5 Reference: \footer } } \line { \teeny \line { This sheet music has been placed in the public domain by the typesetter, for details see: \hspace #-0.5 \with-url #"http://creativecommons.org/licenses/publicdomain" http://creativecommons.org/licenses/publicdomain } } } }
}
global = {
\key la \minor
\time 4/4
}
%#(set-default-paper-size "a4" 'landscape)
%#(set-global-staff-size 18)
halsup = {
\stemUp
\tieUp
}
halsdown = {
\stemDown
\tieDown
}
staffup = {
\change Staff = "dessus" \halsdown
}
staffdown = {
\change Staff = "basse" \halsup
}
choral = \relative do'' {
\global
\halsup
\partial 4 la4
\repeat volta 2 {
sold4 la8 si8 do4 re4
do4 si4 \once\override Voice.TextScript #'extra-offset = #'(1.0 . 0.0) la4^\markup{\musicglyph #"scripts.ufermata"} la4
fa4 sol4 la4 sol8 fa8
}
\alternative {
{ mi2 re4 la'4 }
{ mi2 re2 \bar "||"}
}
re8 mi8 fa4 sol4 re8 mi8
fa4 sol4 \once\override Voice.TextScript #'extra-offset = #'(1.0 . 0.0) la4^\markup{\musicglyph #"scripts.ufermata"} la4
re16 mi16 dod16 re16 \once\override Voice.TextScript #'extra-offset = #'(1.0 . 0.0) dod4^\markup{\musicglyph #"scripts.prall"} re4 mi16 fa16 re16 mi16
do!4 si4 \once\override Voice.TextScript #'extra-offset = #'(1.0 . 0.0) la4^\markup{\musicglyph #"scripts.ufermata"} la4
% 10 :
do4 la8 sib8 do4 sol4
fa4 mi4 re2
la'4 sol4 fa4 mi4
\partial 2. \once\override Voice.TextScript #'extra-offset = #'(1.0 . 0.0) re2.^\markup{\musicglyph #"scripts.ufermata"}
}
alto = \relative do' {
\halsdown
\partial 4 fa4
\repeat volta 2 {
mi4 mi16 fad16 sold!8 la16 si16 sol16 la16 fa8 mi8 ~
mi16 fa16 mi16 fa16 re16 mi16 re16 mi16 dod16 re16 mi16 fa16 re16 mi16 re16 dod16
re8 [ la8 ] re8 do!8 ~ do8 dod8 re16 mi16 do16 re16
}
\alternative {
{ sib8 sol8 la16 sib16 sol16 la16 fa4 fa'4 }
{ sib,8 sol8 la16 sib16 sol16 la16 fa16 la16 sol16 sib!16 la4 }
}
la16 si!16 dod8 re4 ~ re16 mi16 do16 re16 sib16 re8 dod16
re8 la8 re8 do!8 ~ do16 \staffdown re16 sib!16 do16 la16 sib!16 sol16 la16
fa8 \staffup la'8 la4 la4 sol8 fa8
mi8 [ la8 ] ~ la8 sold8 la16 sib16 sol16 la16 fa16 sol16 fa16 sol16
mi4 fa8 sol8 ~ sol8 [ fa8 ] ~ fa8 mi8 ~
mi16 mi16 re8 ~ re16 re16 dod8 sol16\rest la'16 sol16 la16 fa16 sol16 mi16 fa16
re4 ~ re8 sol,16\rest sol16 do8 fa,16\rest fa16 sib8 la16 sol16
\partial 2. fad8 sib!8 la16 sib16 sol16 sib16 \once \override Script #'padding = #-0.3 la4_\fermata
}
tenor = \relative do' {
\global
\clef "bass"
\partial 4 re16 mi16 do16 re16
\repeat volta 2 {
si4 do8 re8 mi8 mi8 re16 do16 si16 do16
la8 la4 sold8 la16 sib16 sol16 la16 fa16 sol16 mi16 fa16
re8 fa8 ~ fa16 sol16 mi16 sol16 fa16 sol16 mi16 fa16 re4 }
\alternative {
{ mi16 fa16 re16 mi16 dod16 re16 si!16 dod16 re4 re'16 mi16 do!16 re16 }
{ mi,16 fa16 re16 mi16 dod16 re16 si!16 dod16 re8 mi8 fa4 }
}
fa16 sol16 mi16 fa16 re8 la'8 sol4 ~ sol16 fa16 mi16 fa16 re8 fa8 ~ fa16 sol16 mi16 sol16 fa4 fa8 mi8
re8 fa'8 mi4 re16 mi16 do!16 re16 si!4 ~
% 10 :
si16 do16 la8 mi'16 fa16 re16 mi16 dod8 la8 re16 mi16 re16 mi16 do!4 ~ do16 re16 sib16 do16 la16 sib16 la16 sib16 do4 ~
do8 r16 fa,16 sib8 r16 mi,16 fa8 sib!16 do16 la16 sib16 sol16 la16
fa4 ~ fa16 fa16 mi8 ~ mi16 mi16 re8 ~ re16 re16 dod8
re16 la'16 sol16 la16 fad16 sol16 mi16 sol16 fad4^\fermata
}
pedale = \relative do {
\global
\clef "bass"
\partial 4 r8 re8
\repeat volta 2 {
mi16 fa16 re16 mi16 do16 re16 si16 do16 la8 la'4 sold8
la8 do,8 re8 mi8 la,4 r8 la8
re16 mi16 do16 re16 sib8 do8 fa,8 la8 sib16 do16 la16 sib16
}
\alternative {
{ sol8 mi8 la4 re,4 r8 re'8 }
{ sol,8 mi8 la4 re,2 }
}
re'4 ~ re16 mi16 do!16 re16 sib!16 do16 la16 sib16 sol4
re'16 mi16 do16 re16 sib8 do8 fa,4 r4
r8 re'8 la'16 sib16 sol16 la16 fa8 fad8 sol8 sold8
la8 do,16 re16 mi8 mi,8 la4 r8 re8
la'16 sib16 sol16 la16 fa4 ~ fa8 fa,8 do'16 re16 sib16 do16
la8 sib8 sol8 la8 re,4 re'4 ~
re16 mi16 do16 re16 sib8 do8 la8 [ sib8 sol8 la8 ]
\once \override Script #'padding = # 1 re,2._\fermata
}
\paper {
betweensystempadding = 1\mm
betweensystemspace = 1\mm
%raggedbottom = ##f
%raggedlastbottom = ##f
%headsep = 1\mm
%aftertitlespace = 1\mm
indent = 1\cm
bottommargin = 4\mm
topmargin = 2\mm
}
\score {
<<
\new PianoStaff {
\set PianoStaff.instrument = \markup { "" }
<<
\context Staff = dessus <<
\new Voice \choral
\new Voice \alto
>>
\context Staff = basse {
\new Voice \tenor
}
>>
}
\context Staff = pedal {
\set Staff.instrument = \markup { \large ""}
\context Voice \pedale
}
>>
\layout{}
}
\score {
<<
\new Staff {
\set Staff.midiInstrument = "pan flute"
\choral
}
\new Staff {
\set Staff.midiInstrument = "pan flute"
\alto
}
\new Staff {
\set Staff.midiInstrument = "pan flute"
\tenor
}
\new Staff {
\set Staff.midiInstrument = "pan flute"
\pedale
}
>>
\midi{ \tempo 4 = 30 }
}
¡°That accounts for it. I didn¡¯t know he was going to make the hop or I might not have come myself¡ªbut now¡ªwell,¡± the man broke off his phrase and started to clamber into the control seat, ¡°let¡¯s get going.¡± Larry, startled, seeing the pain in the face just under his own, relaxed for an instant, only being sure that his quick grip on the wrist holding the weapon in its hand was not released. When all his phrases were quite used up, Stone changed the key. What could be done for Mr. Taylor? Mr. Taylor motioned with his usual urbanity that the burden of speech lay with Cairness. What could he do for Mr. Cairness, then? But though the 21st of January was to be the day of the grand attack on the Ministry, the battle was not deferred till then. Every day was a field-day, and the sinking Minister was dogged step by step, his influence weakened by repeated divisions, and his strength worn out by the display of the inevitable approach of the catastrophe. The first decided defeat that he suffered was in the election of the Chairman of Committees. The Ministerial candidate, Giles Earle, was thrown out by a majority of two hundred and forty-two to two hundred and thirty-eight, and the Opposition candidate, Dr. Lee, was hailed by a shout that rent the House. Other close divisions followed. The fall of Walpole was now certain, and he would have consulted both his dignity and comfort in resigning at once. This was the earnest advice of his friends, but he had been too long accustomed to power to yield willingly. He was oppressed with a sense of his defeats, and the insolence of enemies whom he had so long calmly looked down upon without fear. He was growing old and wanted repose, but he still clung convulsively to his authority, though he had ceased to enjoy it. "Look out for your own men, my son," answered the Deacon, in whom the fire of battle was burning. "I'll look out for myself. If I'm hit the Gover'ment won't lose nothin'. I'm only a citizen." "Probably a caucus outside to set up the pins before goin' into the full meetin'," he said to himself. "As I always like to be with the winnin' side, I guess I'll jest jine 'em." "But it's sass of him to go sending off the girl wudout your leave." "Read it." HoMEËÑË÷Ò»¼¶Ã«Æ¬Ãâ·Ñ²¥·Å»ùµØ
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