% Entered on Nov1, 2007
\version "2.11.34"
%#(set-global-staff-size 17)
\paper {
% #(set-paper-size "a4")
% #(set-paper-size "letter")
left-margin = 0.75 \in
line-width = 7.0 \in
between-system-padding = #2.0
between-system-space = #2.0
ragged-last-bottom = ##t
ragged-bottom = ##f
}
\header {
title = "Nº. 1. March by Rossini."
subtitle = "from Ricciardo e Zoraide."
subsubtitle = "60 National Airs of Different Nations"
composer = \markup{\column \right-align
{\line {Felix Horetzky} 1796-1870}}
meter = ""
% MUTOPIA
mutopiatitle = "Nº. 1. March by Rossini."
mutopiacomposer = "HoretzkyF"
mutopiapoet = ""
mutopiaopus = ""
mutopiainstrument = "Classical Guitar"
date = "unk"
source = "Boije collection #268"
style = "Classical"
copyright = "Public Domain"
maintainer = "Stan Sanderson"
moreInfo = "The Boije collection is found at http://www.muslib.se/ebibliotek/boije/"
footer = "Mutopia-2007/11/17-1090"
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 } } } }
}
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%%
%% Source & comments
%%
%% Felix Horetzky was born in Horyszów Ruski, Poland, January 1, 1796.
%% Little is known about he came to the guitar. He traveled to Vienna
%% to study under master guitarrist, Mauro Giuliani. He traveled
%% extensively in Europe as a concert performer and teacher. He wrote
%% between 100 and 150 pieces for the guitar. He died in Edinburgh
%% on October 6, 1870.
%%
%% This piece is from #268, "60 National Airs of Different Nations",
%% in the Boije collection and is in the public domain.
%%
%% Publisher: Chappell (London), no date given.
%%
%% Carl Boije (1849-1923) was an amateur guitarist whose vast collection
%% was donated to the State Library of Sweden after his death.
%%
%% The dynamic markings for the most part follow the original score; obvious
%% notation errors have been corrected.
%%
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\include "english.ly"
%%%% shortcuts
dol = \markup { \smaller\italic "dolce."}
cres = \markup{\smaller\italic"cresc:"}
cress = \markup{\tiny\smaller\italic"cresc:"}
espr = \markup{\smaller\italic"espres:"}
rit = \markup{\smaller\italic"ritart:"}
atem = \markup{\smaller\italic"a tempo:"}
smz = \markup{\smaller\italic"smorz:"} % smorzando
showTup = { \override TupletNumber #'transparent = ##f
\override TupletBracket #'transparent = ##f }
hideTup = { \override TupletNumber #'transparent = ##t
\override TupletBracket #'transparent = ##t }
seg = \markup {\smaller \smaller \musicglyph #"scripts.segno"}
cod = \markup {\smaller \vcenter "to" \hspace #0.7 \smaller \vcenter \musicglyph #"scripts.coda"}
toseg = \markup { \bold \vcenter "to" \hspace #0.7 \vcenter \smaller \musicglyph #"scripts.segno" }
fin = \markup {\smaller \bold \italic "Fine."}
%% End shortcuts
%%%%%%%%%%
%% Reminders
%
% \once \override DynamicText #'extra-offset = #'(-3.75 . 5.5)
% \once \override TextScript #'extra-offset = #'( 0.8 . -2.3 )
%
%%%%%%%%%%
upper = \relative c''{
\set Staff.instrumentName=\markup{
\column {\smaller\bold "Nº. 1 " \smaller\smaller\italic "MAESTOSO. "}}
\repeat volta 2 {
fs4 e8. fs16 d4 d |
e2 a,4 r |
d e8. fs16 g8. a16 fs8. g16 |
e4 e16_\< a, cs\! e_\f a4 r | \bar "||"
\mark \seg
fs4 \grace {g16[ fs]} e8. fs16 d4 d |
e2 a,4 r |
r8. a16 d8. e16 fs8 a16. g32 e8 g16. fs32 |
d4 ~ d16 d fs a_\f d4 r^\fin
}
4 8. 16 4 |
g2 b4 r |
fs8. g16 fs4 ~ fs8 e d cs |
d8. cs16 b4 bf' a8 r |
}
middle = \relative c'' {
\override Staff.NoteCollision
#'merge-differently-headed = ##t
%% middle voice can interfere... use the following
\override Stem #'length-fraction = #0.6
\repeat volta 2 {
a4 g8. a16 s2 |
s1 |
s1 |
cs4 s cs s |
a g8. a16 s2 |
s1 |
s1 |
s2 fs'4 s |
}
s1 |
e2 e4 s |
d d ~ d8 cs b as |
s2 4 s |
}
lower = \relative c' {
\override Staff.NoteCollision
#'merge-differently-headed = ##t
\repeat volta 2 {
\once \override DynamicText #'extra-offset = #'(-2.5 . 2.5)
d2_\f 4 |
\once \override DynamicText #'extra-offset = #'(-2.5 . 2.5)
2_\sf g4 r |
8. 16 4 |
a,2 a4 s
\once \override DynamicText #'extra-offset = #'(-2.5 . 2.5)
d2_\p 4 |
2 g4 r |
2 4 |
r d r |
}
\once \override DynamicText #'extra-offset = #'(-2.5 . 2.5)
a2_\p g4 fs |
e2 g'4 r |
\once \override TextScript #'extra-offset = #'( 2.0 . 2.0 )
fs,_\dol fs fs fs |
b2 a4. r8_\toseg
}
staffClassicalGuitar = \new Staff {
\time 4/4
\key d \major
\set Staff.connectArpeggios = ##t
\set Staff.midiInstrument="acoustic guitar (nylon)"
<<
\new Voice = A { \voiceOne \upper }
\new Voice = B { \voiceTwo \middle } \new Voice = C { \voiceFour \lower }
>>
\bar "||" %% "|."
}
\score {
<<
\staffClassicalGuitar
>>
}
\layout {\context {
\Staff
\consists Span_arpeggio_engraver
} }
\score {
\unfoldRepeats
\staffClassicalGuitar
\midi {
\context {
\Score
tempoWholesPerMinute = #(ly:make-moment 90 4)
}
\context {
\Voice
\remove "Dynamic_performer"
}
}
}
¡°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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