\version "2.16.1"
#(set-global-staff-size 20)
setup={\override Staff.TimeSignature #'style = #'numbered
\override Score.Hairpin #'after-line-breaking = ##t
#(set-accidental-style 'modern-cautionary)
\compressFullBarRests
}
partA={ \setup
\set Staff.instrumentName = "Bell"
\set Staff.midiInstrument = "tubular bells"
\time 3/4 \set Timing.beatStructure = #'(1 1 1) \set Timing.beamExceptions = #'()
\tempo "Tempo Guisto" 4 = 112
\key f \major bes'2. \p |
R |
bes' |
R |
bes' |
R |
bes' |
R
\mark \markup { \musicglyph #"scripts.segno" }
\bar "|:"
bes'4. \f bes' \accent _\markup{sonore} |
bes' bes' \accent |
bes' bes' \accent |
bes' bes' \accent |
bes' bes' \accent |
bes' bes' \accent |
bes' bes' \accent |
bes' bes' \accent |
bes' bes' \accent |
bes' bes' \accent |
bes' bes' \accent |
bes' bes' \accent |
bes' bes' \accent |
bes' bes' \accent |
bes' bes' \accent |
bes'2. |
R2.*4 |
bes'2. \mf |
bes' |
R2.*9 |
bes'2. \mf |
bes' |
R |
bes' \mf |
bes' |
R |
bes' \f |
bes' |
bes' \bar "||"
\mark \markup {\musicglyph #"scripts.coda"}
bes' \ff |
bes' |
bes' _\markup{dim.} |
bes' |
R2.*2 bes'2. \mf |
R |
bes' _\markup{dim.} |
R |
bes' |
\once \override Score.RehearsalMark #'break-visibility = #begin-of-line-invisible
R ^\markup{attaca} \bar "||"
\override Staff.TimeSignature #'stencil = ##f \time 21/4 bes'\breve \laissezVibrer
-\tag #'score ^\markup{Senza mesura (conductor to slowly sweep left to right to direct players to begin)}
-\tag #'part ^\markup{Senza mesura}
s s1 s4
| \time 12/4
r\breve -\tag #'score ^\markup{then wait and sweep to direct players to cease (except basses)}
s2 s2
\once \override Score.RehearsalMark #'break-visibility = #begin-of-line-invisible \once \override Score.RehearsalMark #'self-alignment-X = #RIGHT \mark "D.S."
\bar ":|" \break
\time 3/4
bes'2. ^\markup { \musicglyph #"scripts.coda" } \ff \accent |
bes' \accent |
bes' \accent |
bes' \accent |
bes' \accent |
bes' \accent |
bes' \accent |
bes' \accent \fermata \laissezVibrer ^\markup{vib.}
\bar "|." }
hairpinWithCenteredText =
#(define-music-function (parser location text) (markup?)
#{
\override Voice.Hairpin #'stencil = #(lambda (grob)
(ly:stencil-aligned-to
(ly:stencil-combine-at-edge
(ly:stencil-aligned-to (ly:hairpin::print grob) X CENTER)
Y DOWN
(ly:stencil-aligned-to (grob-interpret-markup grob text) X CENTER))
X LEFT))
#})
hairpinPoco = \hairpinWithCenteredText \markup { \italic poco }
hairpinNormal = \hairpinWithCenteredText \markup { }
partB={ \setup
\set Staff.instrumentName = "Violin 1"
\set Staff.midiInstrument = "violin"
\key bes \major \time 3/4 \set Timing.beatStructure = #'(1 1 1) \set Timing.beamExceptions = #'()
\tempo "Tempo Guisto" 4 = 112
R2. |
e' \p ^\markup{ten.} |
R |
\hairpinPoco f' \< |
R \! |
\hairpinNormal e' \<
R \!
d' \< |
\tag #'part { \mark \markup { \musicglyph #"scripts.segno" } \bar "|:" }
\repeat tremolo 6 { f''8 \ff \accent ^\markup{6} }
\repeat tremolo 6 { f' \accent ^\markup{6} }
\repeat tremolo 6 { f'' \accent ^\markup{sim.} }
\repeat tremolo 6 { f' \accent }
\repeat tremolo 6 { f'' \accent }
\repeat tremolo 6 { e'' \accent }
\repeat tremolo 6 { f'' \accent }
\repeat tremolo 6 { e'' \accent }
\repeat tremolo 6 { f'' \accent }
\repeat tremolo 6 { e'' \accent }
\repeat tremolo 6 { d'' \accent }
\repeat tremolo 6 { d'' \accent }
\repeat tremolo 6 { f'' \accent }
\repeat tremolo 6 { d'' \accent }
\repeat tremolo 6 { bes' \accent }
f''2. \f \tenuto ^\markup{ten}
c''2 _\markup{espress} ( d''8 ees'' ) |
ees''2 ( d''8 c'' ) |
c''2 ( b'8 c'' ) |
d''2 ( \< f''8 ) \! r |
bes'2 ( a'8 bes' ) |
bes'2 ( g'8 bes' ) |
a' ( bes' ) \hairpinPoco bes' \< d'' d'' bes' |
c''2 \! ( \accent \hairpinNormal bes'8 c'' ) |
c''2 ( \accent bes'8 d'' ) |
ees''2 ( \accent bes'4 |
c'' d''2 ) |
f' _\markup{dim} ( ees'8 ) r |
ees' \mf g' g' \> bes' bes' ( c'' ) |
bes' \! a'4 bes'8 \< c'' ( f' |
g' \! a' \> ) a' ( bes'4 g'8 \! ) |
\hairpinPoco bes'2. \< |
bes'8 \! ( \hairpinNormal a'4 bes'8 ) c'' f' ( |
g' a' ) a' ( bes'4 g'8 ) |
bes'2. |
bes \f |
f'' |
f''8 ( \accent g'' ) g'' ( \< \accent aes'' ) aes'' ( \accent bes'' ) |
bes'' ( \f a''4 bes''8 ) c''' f'' ( |
g'' a'' ) a'' ( \< bes''4 ) g''8
\bar "||"
\mark \markup {\musicglyph #"scripts.coda"}
\repeat tremolo 2 { bes'' \ff }
\repeat tremolo 2 { bes'' }
\repeat tremolo 2 { bes'' }
\repeat tremolo 2 { bes'' }
a'' ( bes''4 ) g''8 |
\repeat tremolo 2 { f'' }
\repeat tremolo 2 { f'' }
\repeat tremolo 2 { f'' }
\repeat tremolo 2 { f'' }
e'' ( f''4 ) _\markup{dim.} d''8 |
e''2. ~ |
e'' |
e''2 ( d''8 ) e'' |
d''2 c''4 |
d''2 ( c''8 ) d'' |
c''2 bes'4 |
d''2 ( c''8 ) d'' |
c''2. \< -\tag #'part ^\markup{attaca}
\override Staff.TimeSignature #'stencil = ##f \time 21/4
bes'8 \! ( \mf ^\markup{Soli} a'4 -\tag #'part ^\markup{Senza mesura - play as directed} bes'8 ) c''[ ( f'] g'[ a'] ) a' ( bes'4 g'8 bes'2. ) \tag #'part { \textLengthOn } s1 ^\markup{repeat ad lib} _\markup{poco a poco cresc} s s
| \time 12/4
\tag #'part { s2 _\markup{\dynamic ff dim} s2 ^\markup{stop as directed} }
\tag #'score { s2 \ff s2 _\markup{dim} }
r1 s2 s2
\tag #'part { \once \override Score.RehearsalMark #'break-visibility = #begin-of-line-invisible \once \override Score.RehearsalMark #'self-alignment-X = #RIGHT \mark "D.S." }
\bar ":|" \break
\time 3/4
\repeat tremolo 2 { bes''8 \ff -\tag #'part ^\markup { \musicglyph #"scripts.coda" } }
\repeat tremolo 2 { bes'' }
\repeat tremolo 2 { bes'' }
\repeat tremolo 2 { bes'' }
a'' ( bes''4 ) g''8 |
\repeat tremolo 2 { bes'' }
\repeat tremolo 2 { bes'' }
\repeat tremolo 2 { bes'' }
\repeat tremolo 2 { bes'' }
a'' ( \< bes''4 ) g''8 |
\repeat tremolo 2 { bes'' \fff }
\repeat tremolo 2 { bes'' \< }
\repeat tremolo 2 { bes'' }
\repeat tremolo 2 { bes'' \! }
\repeat tremolo 2 { bes'' }
\repeat tremolo 2 { bes'' }
\repeat tremolo 2 { bes'' }
\repeat tremolo 2 { bes'' }
\repeat tremolo 2 { bes'' }
bes'' r r4 r \fermata
\bar "|." }
partC={ \setup
\key bes \major
\set Staff.instrumentName = "Violin 2"
\set Staff.midiInstrument = "violin"
\time 3/4 \set Timing.beatStructure = #'(1 1 1) \set Timing.beamExceptions = #'()
\tempo "Tempo Guisto" 4 = 112
R2. |
f' \p ^\markup{ten.} |
R |
\hairpinPoco e' \< |
R \! |
\hairpinNormal f' |
R |
f' |
\tag #'part { \mark \markup { \musicglyph #"scripts.segno" } \bar "|:" }
\repeat tremolo 6 { bes'8 \ff \accent ^\markup{6} }
\repeat tremolo 6 { bes \accent ^\markup{6} }
\repeat tremolo 6 { bes' \accent ^\markup{sim.} }
\repeat tremolo 6 { bes \accent }
\repeat tremolo 6 { d' \accent }
\repeat tremolo 6 { f' }
\repeat tremolo 6 { e' \accent }
\repeat tremolo 6 { f' }
\repeat tremolo 6 { e' \accent }
\repeat tremolo 6 { f' }
\repeat tremolo 6 { e' \accent }
\repeat tremolo 6 { f' }
\repeat tremolo 6 { d' \accent }
\repeat tremolo 6 { bes \accent }
\repeat tremolo 6 { f' \accent }
bes2. \accent ^\markup{ten} _\markup{\dynamic f marcatiss} |
g' \accent |
bes \accent |
a' \accent |
bes \accent |
bes'8 bes \< bes d' d' f' |
f' \! ( \accent g' ) g' bes' bes' d'' |
f' ( \accent g' ) \hairpinPoco g' \< bes' bes' d'' |
ees' \! \hairpinNormal g' g'2 ( \f |
a'8 ) f' r4 ees'8 g' |
g'2 ( \accent a'8 ) f' |
f' d' d' f' f' ( \accent g' ) |
bes2 _\markup{dim} ( g8 ) r |
g \mf bes bes \> d' d' f' |
f'2 \! ~ f'4 ~ \< |
f' \! f'2 \> |
d' \! \hairpinPoco d'8 ( \< f' ) \! |
\hairpinNormal f' d' d' f' f' ( \accent g' ) |
e'2. |
d' |
f''2 \f bes'8 ( \accent c'' ) |
c'' ( \accent f' ) f' ( \accent ees' ) \< ees' ( \accent d' ) |
d' \! ( \accent c'4 ) d'8 ees' ( aes ) |
bes8 c' c' ( \accent d'4 bes8 ) |
bes2. \<
\bar "||"
\mark \markup {\musicglyph #"scripts.coda"}
\repeat tremolo 2 { g''8 \ff }
\repeat tremolo 2 { g'' }
\repeat tremolo 2 { g'' }
\repeat tremolo 2 { g'' }
f'' ( g''4 ) e''8 |
\repeat tremolo 2 { f'' }
\repeat tremolo 2 { f'' }
\repeat tremolo 2 { f'' }
\repeat tremolo 2 { f'' }
e'' ( f''4 ) _\markup{dim.} d''8 |
c''2. ~ |
c'' |
bes' \mf |
a' |
g'2 ( f'8 ) g' |
g'2 ( f'8 ) r |
g'2 ( f'8 ) g' |
f'2. \< -\tag #'part ^\markup{attaca} |
\override Staff.TimeSignature #'stencil = ##f \time 21/4
\tag #'part { \textLengthOn } s1 \! -\tag #'part ^\markup{play as directed} \tag #'part { \textLengthOff } bes'8 ( \mf ^\markup{Soli} a'4 -\tag #'part ^\markup{Senza mesura} bes'8 ) c''[ ( f'] g'[ a'] ) a' ( bes'4 g'8 bes'2. ) \tag #'part { \textLengthOn } s1 ^\markup{repeat ad lib} _\markup{poco a poco cresc} s
| \time 12/4
s2 -\tag #'score \ff -\tag #'part _\markup{\dynamic ff dim} s -\tag #'score _\markup{dim} s -\tag #'part ^\markup{stop as directed} r1 s2
\tag #'part { \once \override Score.RehearsalMark #'break-visibility = #begin-of-line-invisible \once \override Score.RehearsalMark #'self-alignment-X = #RIGHT \mark "D.S." }
\bar ":|" \break
\time 3/4
\repeat tremolo 2 { f''8 \ff -\tag #'part ^\markup { \musicglyph #"scripts.coda" } }
\repeat tremolo 2 { f'' }
\repeat tremolo 2 { f'' }
\repeat tremolo 2 { f'' }
e'' ( f''4 ) d''8 |
\repeat tremolo 2 { f'' }
\repeat tremolo 2 { f'' }
\repeat tremolo 2 { f'' }
\repeat tremolo 2 { f'' }
e'' ( \< f''4 ) d''8 |
\repeat tremolo 2 { f'' \fff }
\repeat tremolo 2 { f'' \< }
\repeat tremolo 2 { f'' }
\repeat tremolo 2 { f'' \! }
\repeat tremolo 2 { f'' }
\repeat tremolo 2 { f'' }
\repeat tremolo 2 { f'' }
\repeat tremolo 2 { f'' }
\repeat tremolo 2 { f'' }
f'' r r4 r \fermata
\bar "|." }
partD={ \setup \key bes \major
\set Staff.instrumentName = "Viola"
\set Staff.midiInstrument = "viola"
\clef alto
\time 3/4 \set Timing.beatStructure = #'(1 1 1) \set Timing.beamExceptions = #'()
\tempo "Tempo Guisto" 4 = 112
\repeat tremolo 2 { bes8 \p }
\repeat tremolo 2 { bes }
\repeat tremolo 2 { bes }
\repeat tremolo 2 { bes }
\repeat tremolo 2 { bes }
\repeat tremolo 2 { bes }
bes _\markup{poco} bes a bes bes g |
\repeat tremolo 2 { bes _\markup{a} }
\repeat tremolo 2 { bes }
\repeat tremolo 2 { bes }
bes _\markup{poco} bes a bes bes g |
\repeat tremolo 2 { bes _\markup{cresc} }
\repeat tremolo 2 { bes }
\repeat tremolo 2 { bes }
bes bes a bes bes g |
\repeat tremolo 2 { bes \< }
\repeat tremolo 2 { bes }
\repeat tremolo 2 { bes }
\tag #'part { \mark \markup { \musicglyph #"scripts.segno" } \bar "|:" }
\repeat tremolo 6 { bes \ff \accent ^\markup{6} }
\repeat tremolo 6 { d' \accent ^\markup{6} }
\repeat tremolo 6 { bes \accent ^\markup{sim.}}
\repeat tremolo 6 { d' \accent }
\repeat tremolo 6 { e' \accent }
\repeat tremolo 6 { c' \accent }
\repeat tremolo 6 { d' \accent }
\repeat tremolo 6 { c' \accent }
\repeat tremolo 6 { d' \accent }
\repeat tremolo 6 { c' \accent }
\repeat tremolo 6 { d' \accent }
\repeat tremolo 6 { d' \accent }
\repeat tremolo 6 { bes \accent }
\repeat tremolo 6 { g' \accent }
\repeat tremolo 6 { d' \accent }
d' g g \> bes bes d' |
c'2 ( \f bes8 _\markup{espress} ) c' |
c'2 ( bes8 ) c' |
d'2 d'8 ( c' ) |
e'2 e'8 ( \< d' ) |
f'2 \! f'8 ( e' ) |
bes d' d' f' f' bes |
bes d' \hairpinPoco d' \< f' f' ( g' ) |
ees'2 \! ( \accent \hairpinNormal d'8 ) ees' |
c'2 ( \accent ees'8 ) g' |
f' d' d' f' f' ( \accent g' ) |
bes'2. |
bes _\markup{dim} |
bes8 \mf d' d' \> f' f' ( \accent g' ) |
e'2 \! ( d'4 ~ \< |
d' ) e'2 \> |
\hairpinPoco f'2. \< |
bes8 \! ( \hairpinNormal a4 ) bes8 c' f ( |
g ) a a ( bes4 ) g8 |
g ( f ) f ( \< g ) g ( f ) |
f ( \f g ) g bes bes ( \accent c' ) |
f' ( \accent e' ) e' \accent c' \accent c' ( \accent bes ) |
f' ( \accent e' ) e' \accent c' \accent c' ( \accent bes ) |
f' ( \accent e' ) e' ( \accent d' ) c' ( \accent bes ) |
e' ( d' ) d' \accent bes \accent bes \< \accent d' \accent
\bar "||"
\mark \markup {\musicglyph #"scripts.coda"}
d' \ff f' \repeat tremolo 2 { f' }
f' ( \accent g' ) |
f' ( \accent g' ) f' ( \accent g' ) \repeat tremolo 2 { bes' }
\repeat tremolo 2 { bes' } \repeat tremolo 2 { bes' } \repeat tremolo 2 { bes' }
\clef treble
bes' d'' e'' ( \accent d'' ) d'' \< bes' |
bes'2 \accent a'4 ~ \accent |
a' a'2 \accent
\clef alto
g'2. \> |
f'2 ( \mf g'4 ) |
ees'2 ( d'4 ) |
ees' c'2 |
ees'8 ( g' ) f'2 ( |
a'2. ) \< -\tag #'part ^\markup{attaca} |
\override Staff.TimeSignature #'stencil = ##f \time 21/4
\tag #'part { \textLengthOn } s1 \! -\tag #'part ^\markup{play as directed} s2. \tag #'part { \textLengthOff } bes8 ( \f ^\markup{Soli} a4 -\tag #'part ^\markup{Senza mesura} bes8 ) c'[ ( f] g[ a] ) a ( bes4 g8 bes2. ) \tag #'part { \textLengthOn } s1 ^\markup{repeat ad lib} _\markup{poco a poco cresc} s4
| \time 12/4
s2 -\tag #'score \ff -\tag #'part _\markup{\dynamic ff dim} s2 -\tag #'score _\markup{dim} s s -\tag #'part ^\markup{stop as directed} r s
\tag #'part { \once \override Score.RehearsalMark #'break-visibility = #begin-of-line-invisible \once \override Score.RehearsalMark #'self-alignment-X = #RIGHT \mark "D.S." }
\bar ":|" \break
\time 3/4
\repeat tremolo 2 { d'8 \ff -\tag #'part ^\markup { \musicglyph #"scripts.coda" } }
\repeat tremolo 2 { d' }
\repeat tremolo 2 { d' }
\repeat tremolo 2 { d' }
c' ( d'4 ) d'8 |
\repeat tremolo 2 { d' }
\repeat tremolo 2 { d' }
\repeat tremolo 2 { d' }
\repeat tremolo 2 { d' }
c' ( \< d'4 ) d'8 |
\repeat tremolo 2 { d' \fff }
\repeat tremolo 2 { d' \< }
\repeat tremolo 2 { d' }
\repeat tremolo 2 { d' \! }
\repeat tremolo 2 { d' }
\repeat tremolo 2 { d' }
\repeat tremolo 2 { d' }
\repeat tremolo 2 { d' }
\repeat tremolo 2 { d' }
d' r r4 r \fermata \bar "|." }
partE={ \setup
\time 3/4 \set Timing.beatStructure = #'(1 1 1) \set Timing.beamExceptions = #'() \key bes \major \clef bass
\set Staff.instrumentName = "Cello"
\set Staff.midiInstrument = "cello"
\tempo "Tempo Guisto" 4 = 112
R2. |
bes2. \p |
R2. |
\hairpinPoco bes2. \<
R2. \! \hairpinNormal bes2. \< R2. \! bes2. \<
\tag #'part { \mark \markup { \musicglyph #"scripts.segno" } \bar "|:" }
\repeat tremolo 6{bes8 \ff ^\markup{6} }
|
\repeat tremolo 6{bes,8 ^\markup{6}}
\repeat tremolo 6{bes8 ^\markup{sim.}}
\repeat tremolo 6{bes,8 }
\repeat tremolo 6{bes8 }|
\repeat tremolo 6{a }|
\repeat tremolo 6{g }|
\repeat tremolo 6{f }|
\repeat tremolo 6{bes }|
\repeat tremolo 6{bes, }|
\repeat tremolo 6{bes }|
\repeat tremolo 6{bes }|
\repeat tremolo 6{bes, }|
\repeat tremolo 6{bes }|
\repeat tremolo 6{bes, }|
bes, d d \> f f ( g ) |
ees2 ( \f d8 _\markup{espress} ) ees |
c2 ( ees8 ) g |
f d d f f ( \accent g ) |
g bes bes g g ees |
d bes, \< bes, d d f |
c2 ( \> e8 ) g |
f \! d d f f ( \< \accent g ) |
g bes bes g g ees |
d \! bes, bes, d d bes, |
g, bes, bes, d d f |
g, bes, bes, d d bes, |
g, _\markup{dim} bes, bes, d d bes, |
bes, \mf d d \> f f ( \accent g ) |
f2. ~ \< |
f2 ~ \> f8 r \! |
d \hairpinPoco bes, \< bes, g, g, bes, |
f,2. \! ~ |
\hairpinNormal f,2 ~ f,8 r |
g, bes, bes, \< d d bes, |
bes, \f d d f ~ f g |
aes8 ( \accent g ) g ( \accent f ) f ( \accent g )
aes8 ( \< \accent g ) g ( \accent f ) f ( \accent g )
bes8 \f ( a4 ) bes8 c' ( f )
g8 ( a ) a ( bes4 ) \< g8 \!
\bar "||"
\mark \markup {\musicglyph #"scripts.coda"}
\repeat tremolo 2{bes8 \ff }\repeat tremolo 2{bes }\repeat tremolo 2{bes }
\repeat tremolo 2{ bes8 } a ( bes4 ) g8
\repeat tremolo 2{d'8 }\repeat tremolo 2{d' }\repeat tremolo 2{d' }
\repeat tremolo 2{d'8 }c' ( d'4 ) d'8
e'2. ~ e'
d'2. \mf
c'2.
bes2.
bes2.
g2 f4
f2. -\tag #'part ^\markup{attaca}
\override Staff.TimeSignature #'stencil = ##f \time 21/4
\tag #'part { \textLengthOn } s1 s2. -\tag #'part ^\markup{play as directed} s2 \tag #'part { \textLengthOff } bes,8 ( \f ^\markup{Soli} a,4 -\tag #'part ^\markup{Senza mesura} bes,8 ) c[ ( f,] g,[ a,] ) a, ( bes,4 g,8 \tag #'part { \textLengthOn } bes,2. ) ^\markup{repeat ad lib} _\markup{poco a poco cresc} s2 s4
| \time 12/4
s2 _\markup{poco dim} s s s -\tag #'part ^\markup{stop as directed} s2 r
\tag #'part { \once \override Score.RehearsalMark #'break-visibility = #begin-of-line-invisible \once \override Score.RehearsalMark #'self-alignment-X = #RIGHT \mark "D.S." }
\bar ":|" \break
\time 3/4
\repeat tremolo 2{bes8 \ff -\tag #'part ^\markup { \musicglyph #"scripts.coda" } }\repeat tremolo 2{bes }\repeat tremolo 2{bes }
\repeat tremolo 2{bes8 }a ( bes4 ) g8
\repeat tremolo 2{bes8 }\repeat tremolo 2{bes }\repeat tremolo 2{bes }
\repeat tremolo 2{bes8 \< }a ( bes4 ) g8
\repeat tremolo 2{bes8 \fff }\repeat tremolo 2{bes }\repeat tremolo 2{bes \< }
\repeat tremolo 2{bes8 }\repeat tremolo 2{bes }\repeat tremolo 2{bes \! }
\repeat tremolo 2{bes8 }\repeat tremolo 2{bes }\repeat tremolo 2{bes }
bes8 r r4 r \fermata
\bar "|." }
partF={ \setup
\time 3/4 \set Timing.beatStructure = #'(1 1 1) \set Timing.beamExceptions = #'() \key bes \major \clef bass
\set Staff.instrumentName = "DB"
\set Staff.midiInstrument = "contrabass"
\tempo "Tempo Guisto" 4 = 112
R2. |
bes,2. \p
R2. |
bes,2.
R2. bes,2. R2. bes,2.
\tag #'part { \mark \markup { \musicglyph #"scripts.segno" } \bar "|:" }
\repeat tremolo 6 {bes,8 \ff }
\repeat tremolo 6 {bes,8 }
\repeat tremolo 6 {bes,8 }
\repeat tremolo 6 {bes,8 }
\repeat tremolo 6{bes8 }|
\repeat tremolo 6{a }|
\repeat tremolo 6{g }|
\repeat tremolo 6{f }|
\repeat tremolo 6{bes }|
\repeat tremolo 6{bes, }|
\repeat tremolo 6{bes }|
\repeat tremolo 6{bes }|
\repeat tremolo 6{bes, }|
\repeat tremolo 6{bes }|
\repeat tremolo 6{bes, }|
bes, d d \> f f ( g ) |
ees2 ( \f d8 _\markup{espress} ) ees |
c2 ( ees8 ) g |
f d d f f ( \accent g ) |
g bes bes g g ees |
d bes, \< bes, d d f |
c2 ( \> e8 ) g |
f \! d d f f ( \< \accent g ) |
g bes bes g g ees |
d \! bes, bes, d d bes, |
g, bes, bes, d d f |
g, bes, bes, d d bes, |
g, _\markup{dim} bes, bes, d d bes, |
bes, \mf d d \> f f ( \accent g ) |
f2. ~ \< |
f2 ~ \> f8 r \! |
d \hairpinPoco bes, \< bes, g, g, bes, |
f,2. \! ~ |
\hairpinNormal f,2 ~ f,8 r |
g, bes, bes, \< d d bes, |
bes, \f d d f ~ f g |
f2.
f,2. \<
f2. \f
e2.
\bar "||"
\mark \markup {\musicglyph #"scripts.coda"}
d2. \ff \accent
bes,2. \accent
d2. \accent
bes,2. \accent
c2. ~ c
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\override Staff.TimeSignature #'stencil = ##f \time 21/4
\tag #'part { \textLengthOn } s1 -\tag #'part ^\markup{play as directed} s \tag #'part { \textLengthOff } s2. f \staccato _\markup{\dynamic ff sempre} \accent ^\markup{Soli} f, \staccato \accent
\tag #'part { \textLengthOn } s1 ^\markup{repeat ad lib}
| \time 12/4
s2 \ff s -\tag #'score _\markup{(non dim)} s s s s2
\tag #'part { \once \override Score.RehearsalMark #'break-visibility = #begin-of-line-invisible \once \override Score.RehearsalMark #'self-alignment-X = #RIGHT \mark "D.S." }
\bar ":|" \break
\time 3/4
d2. \ff \accent -\tag #'part ^\markup { \musicglyph #"scripts.coda" }
bes,2. \ff \accent
d2. \accent
bes,2. \ff \accent
\repeat tremolo 2{bes,8 \fff }\repeat tremolo 2{bes, }\repeat tremolo 2{bes, \< }
\repeat tremolo 2{bes,8 }\repeat tremolo 2{bes, }\repeat tremolo 2{bes, \! }
\repeat tremolo 2{bes,8 }\repeat tremolo 2{bes, }\repeat tremolo 2{bes, }
bes,8 r r4 r
\bar "|." }
\bookpart{
\header{
title = "Bridge of Bows"
composer="Chris Brown"
mutopiacomposer="BrownCJ"
subtitle="for String Orchestra and Bell"
mutopiainstrument="2 violins, viola, cello, double bass, and B-flat bell"
date="July 2013"
source="Typeset from the manuscript by permission of the composer"
style="Modern"
copyright="Creative Commons Attribution 3.0"
maintainer="Silas Brown"
maintainerWeb="http://ssb22.user.srcf.net/"
dedication="In celebration of Benjamin Britten's centenary year"
moreInfo="Quote from Alleluia/Noye’s Fludde granted by permission of Boosey & Hawkes Music Publishers Ltd."
footer = "Mutopia-2013/08/18-1863"
tagline = \markup { \override #'(box-padding . 1.0) \override #'(baseline-skip . 2.7) \box \center-column { \abs-fontsize #10 \line { Sheet music from \with-url #"http://www.MutopiaProject.org" \line { \concat { \abs-fontsize #8 www. \abs-fontsize #11 MutopiaProject \abs-fontsize #8 .org } \hspace #0.5 } • \hspace #0.5 \italic Free to download, with the \italic freedom to distribute, modify and perform. } \line { \abs-fontsize #10 \line { Typeset using \with-url #"http://www.LilyPond.org" \line { \concat { \abs-fontsize #8 www. \abs-fontsize #11 LilyPond \abs-fontsize #8 .org }} by \concat { \maintainer . } \hspace #0.5 Copyright © 2013. \hspace #0.5 Reference: \footer } } \line { \abs-fontsize #8 \line { Licensed under the Creative Commons Attribution 3.0 (Unported) License, for details \concat { see: \hspace #0.3 \with-url #"http://creativecommons.org/licenses/by/3.0" http://creativecommons.org/licenses/by/3.0 } } } } }
}
\score { \keepWithTag #'score <<
\new Staff << \context Voice = PartA { \partA } >>
\new Staff << \context Voice = PartB { \partB } >>
\new Staff << \context Voice = PartC { \partC } >>
\new Staff << \context Voice = PartD { \partD } >>
\new Staff << \context Voice = PartE { \partE } >>
\new Staff << \context Voice = PartE { \partF } >>
>> \layout{} \midi{} }
\markup{\center-column{\line{Performance note: Violins left to centre of conductor, Violas/Celli centre to right, Double Bass far right.}\wordwrap{“Bridge of Bows” reflects Estonian composer Arvo Part's ‘Cantus’ tribute to Benjamin Britten, being written for the same forces: string orchestra and bell. The bridge is portrayed in the arch shape of the piece. A quiet introduction (based on the notes for B-E-N) leads to the main section, in which reference to Britten's “Alleluia” from Noye's Fludde, the herald of the appearance of the rainbow, can be heard. A central rhythmless passage for each string player, playing independently, brings the music back to the main section and a short jubilant coda. The bell chimes exactly 100 times to celebrate 2013 as the centenary year of Benjamin Britten's birth.}\line { } \line{Chris Brown} \line{July 2013}\line{Quote from Alleluia/Noye’s Fludde granted by permission of Boosey & Hawkes Music Publishers Ltd.}}}
}
% %{
\bookpart{
\header{
title = "Bridge of Bows"
subtitle="for String Orchestra and Bell"
composer="Chris Brown"
dedication="In celebration of Benjamin Britten's centenary year"
}
\score { <<
\new Staff << \context Voice = PartA { \keepWithTag #'part { \partA } } >>
>> \layout{} } }
\bookpart{
\header{
title = "Bridge of Bows"
subtitle="for String Orchestra and Bell"
composer="Chris Brown"
dedication="In celebration of Benjamin Britten's centenary year"
}
\score { <<
\new Staff << \context Voice = PartB { \keepWithTag #'part { \partB } } >>
>> \layout{} } }
\bookpart{
\header{
title = "Bridge of Bows"
subtitle="for String Orchestra and Bell"
composer="Chris Brown"
dedication="In celebration of Benjamin Britten's centenary year"
}
\score { <<
\new Staff << \context Voice = PartC { \keepWithTag #'part { \partC } } >>
>> \layout{} } }
\bookpart{
\header{
title = "Bridge of Bows"
subtitle="for String Orchestra and Bell"
composer="Chris Brown"
dedication="In celebration of Benjamin Britten's centenary year"
}
\score { <<
\new Staff << \context Voice = PartD { \keepWithTag #'part { \partD } } >>
>> \layout{} } }
\bookpart{
\header{
title = "Bridge of Bows"
subtitle="for String Orchestra and Bell"
composer="Chris Brown"
dedication="In celebration of Benjamin Britten's centenary year"
}
\score { <<
\new Staff << \context Voice = PartE { \keepWithTag #'part { \partE } } >>
>> \layout{} } }
\bookpart{
\header{
title = "Bridge of Bows"
subtitle="for String Orchestra and Bell"
composer="Chris Brown"
dedication="In celebration of Benjamin Britten's centenary year"
tagline=""
}
\score { <<
\new Staff << \context Voice = PartF { \keepWithTag #'part { \partF } } >>
>> \layout{} } }
% %}
That accounts for it. I didnt know he was going to make the hop or I might not have come myselfbut nowwell, the man broke off his phrase and started to clamber into the control seat, lets 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." HoMEһëƬѲŻ
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