\version "2.10.33"
\header {
mutopiatitle = "Komm Gott Schöpfer, Heiliger Geist"
mutopiacomposer = "BachJS"
mutopiaopus = "BWV 667"
mutopiainstrument = "Organ"
date = ""
source = "Edition Peters 8662"
style = "Baroque"
copyright = "Creative Commons Attribution-ShareAlike 3.0"
maintainer = "Urs Metzger"
maintainerEmail = "urs@ursmetzger.de"
lastupdated = "2007/Jan/27"
title = "Komm Gott Schöpfer, Heiliger Geist"
subtitle = "In organo pleno"
composer = "Johann Sebastian Bach"
opus="BWV 667"
footer = "Mutopia-2008/02/04-1273"
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 Copyright © 2008. \hspace #0.5 Reference: \footer } } \line { \teeny \line { Licensed under the Creative Commons Attribution-ShareAlike 3.0 (Unported) License, for details see: \hspace #-0.5 \with-url #"http://creativecommons.org/licenses/by-sa/3.0" http://creativecommons.org/licenses/by-sa/3.0 } } } }
}
\include "deutsch.ly"
global = {
\key c \major
\time 12/8
#(set-accidental-style 'default)
\override Score.MetronomeMark #'transparent = ##t
}
\paper {
head-separation = 0.4 \cm
foot-separation = 0.4 \cm
page-top-space = 0 \cm
ragged-bottom = ##f
ragged-last-bottom = ##f
}
#(set-default-paper-size "a4" 'landscape)
#(set-global-staff-size 18)
halsup = { \stemUp \tieUp \slurUp \dotsUp }
halsdown = { \stemDown \tieDown \slurDown \dotsDown }
halsneutral = { \stemNeutral \tieNeutral \slurNeutral \dotsNeutral }
shifttiedown = { \once \override Tie #'extra-offset = #'( 0 . -0.4 ) }
shifttieup = { \once \override Tie #'extra-offset = #'( 0 . 0.4 ) }
shifttieupp = { \once \override Tie #'extra-offset = #'( 0 . 0.9 ) }
up = { \change Staff = "right" \halsdown }
down = { \change Staff = "left" \halsup }
sri = { \set stemRightBeamCount = #1 }
srii = { \set stemRightBeamCount = #2 }
sli = { \set stemLeftBeamCount = #1 }
slii = { \set stemLeftBeamCount = #2 }
sbcli = { \sli \srii }
sbcre = { \slii }
sopran = {
\new Voice \relative g'' {
\global
\halsup
\partial 8*3 s4.
s1. * 4
%% Takt 5 ==================================================
s1. * 4
s2. \once \override Tie #'staff-position = #9 g4~ g16 a h4.
%% Takt 10 ==================================================
c16\rest g c h c g e g c, e d c d f h, d c h c e a, c h a
h4.~ h16 d c h a g fis4. d'8\rest g,8. f16~
f16 a g f e d e4~ e16 e d4~ d16 e fis g a h \once \override Tie #'staff-position = #4 c8~
c16 c h a h c d c d e fis g~ g8 c, f~ f h, e~
e16 g f e d c h a g f e d e g a h c8~ c16 c h a h8
%% Takt 15 ==================================================
\once \override Tie #'staff-position = #2 c1.~
c4.~ c16 c d e f8~ f16 a g f e d e g f e d c
d4~ d16 d c4. g4~ g16 a h4.~
h16 h cis d e f cis!4. d4~ d16 c b!4.
a4~ a16 b c8 a d b!4.~ b16 b a g fis! g
%% Takt 20 ==================================================
\once \override Tie #'staff-position = #-2 \once \override Dots #'extra-offset = #'( -2 . 0 ) fis4.~ fis16 d g8. fis16 g4. d'4.\rest
d16\rest h c d e fis g8 d g~ g16 f e d cis d e f g b a g
f4.~ f16 f e d e8~ e16 g f e d c h! d e f g8~
g16 b a g f e f4.~ f16 g f e d c h! c h a g f
e4.~ e16 c d e f g a g f g a h! c h a h c d
%% Takt 25 ==================================================
<< \new Voice \relative es'' { \halsup
es4~ es16 es d4~ d16 d~ d16 d c h c8~ c16 c h a h d~
\shiftOn d8 f \once \override Tie #'staff-position = #7 e!~ e es4 d4. \shiftOff
}
\new Voice \relative h' { \halsdown
s2. s4. s4 h8~
\shiftOnn \halsup \once \override Stem #'length = #4.5 h4 \once \override Tie #'staff-position = #1 c8~ c \tieDown c4~ c16 c h! a h8 \shiftOff
}
\new Voice \relative g'' { \halsup
s1.
\once \override Tie #'staff-position = #10 \once \override Dots #'extra-offset = #'( 0.3 . 0 ) g2.~ g4.
}
>>
}
}
alt = {
\new Voice \relative g' {
\global
\halsup
\partial 8*3 \compressMusic #'( 3 . 2 ) { g4
a4 g f g
c4 d c\fermata c
g4 } \compressMusic #'( 4 . 3 ) { a8. } \compressMusic #'( 2 . 1 ) { h16 } \compressMusic #'( 3 . 2 ) { c4 d
e4 e d\fermata d
%% Takt 5 ==================================================
e4 c a g
h4 cis d\fermata g,
c!4 a f a
g2
} g8. \sbcli fis16 \sbcre g a h g a h c d
e4~ e16 e d4.~ \shiftOn d16 h c d e8 \shiftOff \halsdown d16\rest a' g f e d
%% Takt 10 ==================================================
\shiftOn \once \override Stem #'length = #6 e8. \shiftOff f16\rest f8\rest s4. s2.
e,16\rest a g f e8~ e4. c16\rest e d4 e16\rest d8. c8
s2. s4. s4 \halsup \once \override Rest #'extra-offset = #'( 1.5 . 0 ) \once \override Rest #'X-extent = #'( 0 . 2.2 ) h'16\rest fis!
\shiftOn \stemNeutral \once \override Stem #'length = #6 g4. \shiftOff \halsdown h a e\rest
e8\rest c f~ f h,16 d c h c4~ c16 e f4~ f16 f~
%% Takt 15 ==================================================
f16 f e d e8~ e16 g f e d c f4.~ f16 a g f e d
e8 f g a4~ a16 h! c4. g\rest
g8\rest d g~ g16 g f e f8~ f16 f e d e8 f4.
g4.~ g16 b a g fis g~ g16 g fis! e fis8~ fis16 d e fis g8~
g16 g fis e fis8~ fis4.~ fis8 d g e4.~
%% Takt 20 ==================================================
\once \override NoteColumn #'force-hshift = #1 e16 e d c \down h! a h8. h16 a8 g4. \up e'16\rest a g f! e d
c4.~ c16 c h a h c d4. e\rest
h'16\rest e d c! b a b4. a g8. \sbcli a16 \sbcre h! cis
d4.~ d16 e d c! h! a g4. c,\rest
\down d4.\rest c16 \rest e, f g a b c8 a f e g fis
%% Takt 25 ==================================================
g16 \up d'' c h c8~ c16 c h a h8 \override Tie #'details #'height-limit = #3 g2.~
\revert Tie #'details #'height-limit g4 b8~ b a4 \once \override NoteColumn #'force-hshift = #0.5 g4.
}
}
tenor = {
\new Voice \relative cis' {
\global
\halsdown \dotsDown
\partial 8*3 r8 d16 c d8
e8 c f d h e c d16 c d8 h e16 d e8~
e8 f16 g a g f8 d g \compressMusic #'( 3 . 2 ) { e4 } r8 g16 f g8
d8 h e c f16 e f8 g a16 g f e d8 g16 f g8~
g8 e g c16 h a g a fis~ fis8 g16 fis g a h a g fis! g8~
%% Takt 5 ==================================================
g8 g c g e g~ g f!16 e f8~ f e16 d e8
d8 g16 fis g8~ g g16 fis g8~ g f16 e f8~ f e16 d e8~
e8 c f~ f e16 d e8~ e d16 cis d e f g f e d c
h!16 d g,8 c16 d e d \appoggiatura d16 e8. f16 d4. c\rest
h'16\rest d c h c8~ c16 c h a h8~ \once \override NoteColumn #'force-hshift = #0.5 h16 g a h \once \override NoteColumn #'force-hshift = #0.5 c8 f,4.
%% Takt 10 ==================================================
g8. \sbcli g16 \sbcre c h c g e g f e f a d, f e d e g c, e d \down c
\halsneutral d4~ d16 d c4.~ c8. \sbcli c16 \sbcre h a h8. h16 a8
\up h4.~ h16 d c h c8~ c16 c h a h8 a16 h c d e c
d4. s4. s2.
s1.
}
}
bass = {
\new Voice \relative d' {
\global
\partial 8*3 r8 h16 a h8
c8 a d h g c a h16 a h8 g c16 h c8
a16 g a h c8~ c h16 a h8 c8 g16 f g8 c,8 e'16 d e8
h8 g c f, d'16 c d8 e e, a f d g
c,16 e g f e d e8 c c'~ c h16~ a h8 g h16 a h g
%% Takt 5 ==================================================
c,8 c'16 h c8 e, c'16 h c8 f, a d h g c
g16 a h c d h e g, a b a g a8 d, d' h g c!
c,16 e f g a b c d c b a8~ a16 d, f a b!8 a16 cis, d e f8~
f8 e16 d e f g8 c,! c'~ c8 \sbcli h16 \sbcre a h c d h c d e f!
g4.~ g4~ g16 f e4.~ d
%% Takt 10 ==================================================
c8. s s4. s2.
s1.
g1.
g4.~ g16 a h c d e c e a, c h a h d g, h a g
a4. g~ g16 e f g a8~ a g f
%% Takt 15 ==================================================
g4~ g16 a b4.~ b16 b a g a h c4.~
c16 d c b a g f g f e d g c,8 e g c4.~
c16 c h a h8 c4.~ c r16 e d c h a
g8 a b a b g a4.~ a16 fis g a b! c
d4.~ d16 es d c b a g a g f! e! d cis4.
%% Takt 20 ==================================================
d4. \halsdown h\rest g16\rest g a h c d e4.~
e8 d c d4. g~ g16 b a g f e
\halsneutral d8 a' d g,8. \clef "treble" \sbcli g'16 \sbcre f e f e d e f8~ f e4
d16 cis d e f g a g f e d c \clef "bass" h! a h c d e f e d c h a
\halsdown g16 a g f e d c4. c2.~
%% Takt 25 ==================================================
c16 h c d es f! \halsneutral g a h c d g, \clef "treble" es'4~ es16 es d4.~
\tempo 4 = 76 d16 f e! d e g \tempo 4 = 70 fis e \tempo 4 = 66 fis a g fis \tempo 4 = 58 g8 \tempo 4 = 40 d \tempo 4 = 16 g,
}
}
right = {
\clef "treble"
<<
\sopran
\alt
\tenor
>>
}
left = {
\clef "bass"
<<
\bass
>>
}
pedal = {
\global
\clef "bass"
\relative g {
\partial 8*3 r8 r g
r r f r r e r r d r r e
r r f r r g c,4._\fermata r8 r c
r r e r r d r r c r r h
r r c r r c, g'4._\fermata r8 r g
%% Takt 5 ==================================================
r r c r r e r r f r r g
r r g, r r e d4._\fermata r8 r e
r r a r r cis r r d r r a
r r c! r r e g2.~
g1.~
%% Takt 10 ==================================================
g1.~
g4. r4. r2.
R1.
g,2. a4. g
f4. g c d
%% Takt 15 ==================================================
c2. r
r2. c
g4. a4~ a16 h c4. d
e4. e d2.
R1.
%% Takt 20 ==================================================
d2. e4. c
a4. g4~ g16 a h4. cis
d2.r
r2. g,
c4. a f4~ f16 g a4.
%% Takt 25 ==================================================
g1.~
g2.~ g4.
\bar "|."
}
}
\score {
<<
\new PianoStaff {
<<
\context Staff = right {
\context Voice = right \right
}
\context Staff = left {
\context Voice = left \left
}
>>
}
\context Staff = pedal {
\context Voice = pedal \pedal
}
>>
\layout{
\context {
\PianoStaff \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
}
\context {
\Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-4 . 3.5)
}
indent = 1.0\cm
}
}
\score {
<<
\context Staff = right {
\set Staff.midiInstrument = "church organ"
\right
}
\context Staff = left {
\set Staff.midiInstrument = "church organ"
\left
}
\new Staff {
\set Staff.midiInstrument = "church organ"
\transpose g g, \pedal
}
\new Staff {
\set Staff.midiInstrument = "tuba"
\transpose g g, \pedal
}
>>
\midi {
\context {
\Score
tempoWholesPerMinute = #(ly:make-moment 80 4)
}
}
}
¡°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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