\version "2.19.7"
% katakana lyrics
tsfooter = \markup {
\column {
\line {"Arranged by: Nagai, Iwai and Obata, Kenhachiro"}
\line {"Source: Seiyo gakufu Nihon zokkyokushu, pub. Miki Shoten, Osaka, 1895."}
\line {"English title: \"A Collection of Japanese Popular Music.\""}
\line {"Copyright Public Domain Typeset by Tom Potter 2007"}
\line {"http://www.daisyfield.com/music/"}
}
}
\paper {
top-margin = 2 \cm
bottom-margin = 2 \cm
% oddFooterMarkup = \tsfooter
}
\header {
mutopiatitle = "Echigo Jishi"
mutopiacomposer = "Traditional"
mutopiapoet = "" %
mutopiaopus = "" %
mutopiainstrument = "Koto"
date = "" % optional - date piece composed
source = "Nagai, Iwai and Obata, Kenhachiro, \"Seiyo gakufu Nihon zokkyokushu\", pub. Miki Shoten, Osaka, 1895. English title, \"A Collection of Japanese Popular Music.\" "
style = "Folk"
license = "Public Domain"
maintainer = "patrick stanistreet"
maintainerEmail = "haematopus@gmail.com"
maintainerWeb = "http://www.daisyfield.com/music/"
moreInfo = "Typeset by Tom Potter, 2007."
%title = "越後獅子"
title = "エチゴ ヂシ"
subtitle = "Echigo Jishi"
composer = "Arr. Y. Nagai, K. Obata"
footer = "Mutopia-2014/07/27-1986"
copyright = \markup { \override #'(baseline-skip . 0 ) \right-column { \sans \bold \with-url #"http://www.MutopiaProject.org" { \abs-fontsize #9 "Mutopia " \concat { \abs-fontsize #12 \with-color #white \char ##x01C0 \abs-fontsize #9 "Project " } } } \override #'(baseline-skip . 0 ) \center-column { \abs-fontsize #12 \with-color #grey \bold { \char ##x01C0 \char ##x01C0 } } \override #'(baseline-skip . 0 ) \column { \abs-fontsize #8 \sans \concat { " Typeset using " \with-url #"http://www.lilypond.org" "LilyPond" " by " \maintainer " " \char ##x2014 " " \footer } \concat { \concat { \abs-fontsize #8 \sans{ " Placed in the " \with-url #"http://creativecommons.org/licenses/publicdomain" "public domain" " by the typesetter " \char ##x2014 " free to distribute, modify, and perform" } } \abs-fontsize #13 \with-color #white \char ##x01C0 } } }
tagline = ##f
}
\paper {
%annotate-spacing = ##t
top-margin = 2 \cm
bottom-margin = 3 \cm
}
kotoOne = {
\set melismaBusyProperties = #'()
% \clef "treble" \key c \major \time 2/4
a'8 [ a'8 b'8 a'8 ] |
% a'8 \f [ a'8 b'8 a'8 ] |
% 2
b'8 [ a'8 b'8 c''8 ] |
% 3
e''8 [ c''8 b'8 a'8 ] |
% 4
f'4. r8 |
\break
% 5
f'8 [ a'8 b'8 a'8 ] |
% 6
f'4. e'8 |
% 7
f'8 [ a'8 f'8 e'8 ] |
% 8
d'8 [ d'8 d'8 e'8 ] |
\break
% 9
f'8 [ e'8 b8 d'8 ] |
% f'8 [ e'8 b8 d'8 ] |
\barNumberCheck #10
e'4. r8 |
% 11
d'8 d'4 e'8 |
% d'8 \mf d'4 e'8 |
% 12
f'8 f'4 e'8 |
\break
% 13
a'8 [ a'8 b'8 a'8 ] |
% 14
b'4 c''8 [ e''8 ] |
% 15
fis''8 fis''4 e''8 |
% 16
c''8 [ c''8 c''8 e''8 ] |
\break
% 17
fis''8 fis''4 e''8 |
% 18
c''8 [ e''16 c''16 ] b'8 [ a'8 ] |
% 19
b'8 [ c''8 e''8 a'8 ] |
\barNumberCheck #20
c''8 [ b'8 a'8 f'8 ] |
\break
% 21
e'4. f'8 |
% 22
a'8 [ b'8 ] c''4 |
% 23
e''4 c''8 [ b'8 ] |
% 24
a'4 a'8 [ f'8 ] |
\break
% 25
a'4. b'8 |
% 26
c''8 [ b'8 a'8 f'8 ] |
% 27
e'4. e'8 |
% 28
b'8 [ c''8 c''8 b'8 ] |
%\break
\pageBreak
% 29
c''8 [ e''8 c''8 b'8 ] |
\barNumberCheck #30
a'8 [ b'8 c''8 a'8 ] |
% 31
f'8 [ a'16 f'16 ] e'8 [ d'8 ] |
% 32
e'8 [ f'8 ] a'16 [ a'16 a'16 a'16 ] |
\break
% 33
b'8 [ b'8 ] c''8 [ c''16 c''16 ] |
% 34
b'8 [ c''16 b'16 ] a'8 [ b'16 a'16 ] |
% 35
f'8 [ e'8 d'8 d'8 ] |
% 36
% this was not an acceptable solution as the rest was not printed
% lyric on the rest requires a note, although hidden. rest is not printed
% \hideNotes e'8 \unHideNotes e'8 [ f'8 a'8 ] |
% r8 e'8 [ f'8 a'8 ] |
\once \override TextScript #'extra-offset = #'(-1 . -2.5)
\once \override TextScript #'font-name = #"Sazanami Mincho"
r8_\markup{ \fontsize #2 {ツ} } e'8 [ f'8 a'8 ] |
\break
% 37
f'8 [ e'8 ] b8 [ b16 b16 ] |
% 38
b8 [ d'8 ] e'4 |
% 39
r8 c''8 ( e''4 ) |
\barNumberCheck #40
c''8 [ b'8 a'8 b'8 ] |
\break
% 41
c''8 ( [ a'8 ) ] f'4 |
% 42
e'8 [ d'8 e'8 a'8 ] |
% 43
f'4. e'8 |
% 44
f'8 [ f'16 f'16 ] e'8 [ d'8 ] |
\break
% 45
d'8 [ e'8 ] r8 b'16. ( [ a'32 ] |
% 46
f'4 ) f'4 ( |
% 47
e'4 ) r4
\bar "|."
}
romajiOne = \lyricmode {
% when using skips in lyrics the numeric part is ignored
% each note without lyrics requires a skip except for rests
% 1
\skip8 \skip8 \skip8 \skip8 |
% 2
\skip8 \skip8 \skip8 \skip8 |
% 3
\skip8 \skip8 \skip8 \skip8 |
% 4
\skip8 |
% 5
\skip8 \skip8 \skip8 \skip8 |
% 6
\skip8 \skip8 |
% 7
\skip8 \skip8 \skip8 \skip8 |
% 8
\skip8 \skip8 \skip8 \skip8 |
% 9
\skip8 \skip8 \skip8 \skip8 |
%10
\skip8 |
%11
\skip8 "O no" "ga" |
%12
"su" "ga ta" "wo" |
%13
"ha" "na" "to" "mi" |
%14
"te " __ _ _ |
%15
" " "ni " __ _ |
%16
"wa " __ _ "ni " __ _ |
%17
" " "sai " __ _ |
%18
"ta " __ _ _ "ri" \skip8 |
%19
" " "sa" "ka " __ _ |
%20
"se " __ _ "ta " __ _ |
%21
"ri" "so" |
%22
"ko" "na" "o" |
%23
"ke" "sa " __ _ |
%24
"ni" "i" "na" |
%25
"ko" "to" |
%26
"i " __ _ "wa " __ _ |
%27
"re" \skip8 |
%28
\skip8 "ne" "ma" "ri" |
%29
"ne" "ma" "ra" "zu" |
%30
"ma" "chi" "a" "ka" |
%31
"su " __ _ _ _ "go" |
%32
"za" "re" "ha" "na" "shi" "ma" |
%33
"shou" \skip8 "kon" "ko" "ma" | % shiyo -> shou
%34
"tsu" "no " __ _ "ko" "ka" \skip8 |
%35
"ge" "te" \skip8 "ma" |
%36
% note markup will be used for lyric on rest
"no" "ha" "no" |
% "tsu" "no" "ha" "no" |
% "ツ" "ノ" "ハ" "ノ" |
% "ノ" "ハ" "ノ" | % lyric anomaly with rest -- see katakanaOne
%37
"yo" "ni" "kon" "ko" "ma" |
%38
"ya" "ka" "ni" |
%39
"hi" "i" |
%40
"te " __ _ _ "u" |
%41
"to " __ _ _ |
%42
"ya " __ _ _ "shi" |
%43
"shi " __ _ |
%44
"no " __ _ _ _ _ |
%45
" " \skip8 "kiyo " __ _ |
%46
\skip4 "ku " __ \skip8 |
}
katakanaOne = \lyricmode {
% when using skips in lyrics the numeric part is ignored
% each note without lyrics requires a skip except for rests
% 1
\skip8 \skip8 \skip8 \skip8 |
% 2
\skip8 \skip8 \skip8 \skip8 |
% 3
\skip8 \skip8 \skip8 \skip8 |
% 4
\skip8 |
% 5
\skip8 \skip8 \skip8 \skip8 |
% 6
\skip8 \skip8 |
% 7
\skip8 \skip8 \skip8 \skip8 |
% 8
\skip8 \skip8 \skip8 \skip8 |
% 9
\skip8 \skip8 \skip8 \skip8 |
%10
\skip8 |
%11
\skip8 "オノ" "ガ" |
%12
"ス" "ガタ" "ヲ" |
%13
"ハ" "ナ" "ト" "ミ" |
%14
"テ " __ _ _ |
%15
" " "ニ " __ _ |
%16
"ワ " __ _ "ニ " __ _ |
%17
" " "サイ " __ _ |
%18
"タ " __ _ _ "リ" \skip8 |
%19
" " "サ" "カ" __ _ |
%20
"セ " __ _ "タ " __ _ |
%21
"リ" "ソ" |
%22
"コ" "ナ" "オ" |
%23
"ケ" "サ " __ _ |
%24
"ニ" "イ" "ナ" |
%25
"コ" "ト" |
%26
"イ " __ _ "ワ " __ _ |
%27
"レ" \skip8 |
%28
\skip8 "ネ" "マ" "リ" |
%29
"ネ" "マ" "ラ" "ス" |
%30
"マ" "チ" "ア" "カ" |
%31
"ス" __ _ _ _ "ゴ" |
%32
"ザ" "レ" "ハ" "ナ" "シ" "マ" |
%33
"ショ" \skip8 "コン" "コ" "マ" |
%34
"ツ" "ノ " __ _ "コ" "カ" \skip8 |
%35
"ゲ" "テ" \skip8 "マ" |
%36
% ly wont put lyric on a rest - alternative is note markup
"ノ" "ハ" "ノ" |
% "ツ" "ノ" "ハ" "ノ" | % see melody for tsu markup
%37
"ヨ" "ニ" "コン" "コ" "マ" |
%38
"ヤ" "カ" "ニ" |
%39
"ヒ" "イ" |
%40
"テ " __ _ _ "ウ" |
%41
"ト " __ _ _ |
%42
"ヤ " __ _ _ "シ" |
%43
"シ " __ _ |
%44
"ノ " __ _ _ _ _ |
%45
" " \skip8 "キョ " __ _ |
%46
\skip4 "ク " __ \skip8 |
}
\score {
\new Staff = "melody" <<
\time 2/4
\clef "treble"
\key c \major
\tempo 4 = 90
\set Staff.midiInstrument = "koto"
\new Voice = "kotoOne" { \kotoOne }
\new Lyrics \with { alignBelowContext = "melody" }
\lyricsto "kotoOne" {
\override LyricText #'font-size = #-1
\override LyricSpace #'minimum-distance = #1.0
\romajiOne
}
\new Lyrics \with { alignBelowContext = "melody" }
\lyricsto "kotoOne" {
\override LyricText #'font-name = #"Sazanami Mincho"
\override LyricText #'font-size = #2
\override LyricSpace #'minimum-distance = #1.0
\katakanaOne
}
>>
\layout {
\context {
\Score
\override SeparationItem #'padding = #0.2
}
}
\midi { }
}
“That accounts for it. I didn’t know he was going to make the hop or I might not have come myself—but now—well,” 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." HoME搜索一级毛片免费播放基地
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