\version "2.10.25"
\include "english.ly"
\header
{
title = "Polonaise in F major"
composer = "Johann Sebastian Bach"
opus = "BWV Anh. 117a"
mutopiacomposer = "BachJS"
mutopiainstrument = "Piano"
source = "Bach-Gesellschaft Ausgabe 1851-1899 Band 43 (1894)"
sourceurl = "http://imslp.org/wiki/Notebook_for_Anna_Magdalena_Bach_(Bach,_Johann_Sebastian)"
style = "Baroque"
copyright = "Public Domain"
maintainer = "Steven McDougall"
maintainerEmail = "swmcd@world.std.com"
maintainerWeb = "http://world.std.com/~swmcd/steven/"
footer = "Mutopia-2007/07/26-1013"
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 } } } }
}
upper = \relative c''
{
\clef treble
\key f \major
\time 3/4
\repeat volta 2
{
f8\mordent f16 g \appoggiatura g16 a8 g16 a bf a g f |
g8\mordent g16 a \appoggiatura g16 f8 e16 d e8\mordent c |
<<
{ \appoggiatura bf8 a 4 \stemUp d c } \\
{ f,4 f f }
>> |
bf8 c16\mordent d \appoggiatura c16 bf8 a16 g a8\mordent f |
a8(
\once \override Script #'padding = #0.5
bf16\mordent c) d8 d16 e \appoggiatura d8 c4 |
\appoggiatura c16 bf8(
\once \override Script #'padding = #1
c16\prall d) \appoggiatura c16 bf8 a16 g a8 f |
f'8 f16 e d8 c bf a |
g16 bf a g \appoggiatura g8 f2 |
}
\repeat volta 2
{
a'8\mordent a16 g \appoggiatura g16 a8 g16 a bf a g f |
g8\mordent g16 f \appoggiatura f16 g8 f16 g a g f e |
a8 a16 g f8 e d c |
b16 c d b c4\mordent bf\prallmordent |
a8 c c\prall bf16 c \appoggiatura c8 d4 |
g,8 bf bf\prall a16 bf \appoggiatura bf8 c4 |
f8 f16 e d8 c bf a |
g16 bf a g \appoggiatura g8 f2 |
}
\override Score.RehearsalMark #'break-visibility = #begin-of-line-invisible
\override Score.RehearsalMark #'extra-offset = #'( -0.6 . 0.0 )
\mark \markup { \musicglyph #"scripts.ufermata" }
}
lower = \relative f
{
\clef bass
\key f \major
\time 3/4
\repeat volta 2
{
<<
{ a8 bf c4 c } \\
{ f,4 f f }
>> |
<<
{ c'4 b c } \\
{ e,4 d c }
>> |
d16 ef d c bf8 bf' a a, |
g8 f' e c f16 c bf c |
<<
{ f4 f f } \\
{ f,4 bf a }
>> |
<<
{ f'4 g } \\
{ d4 e }
>> f16 e f g |
a8 f bf c d bf |
c8 c, f c16 a f4 |
}
\repeat volta 2
{
<<
{ c''4 c c } \\
{ f, 4 f f }
>> |
<<
{ c'4 c c } \\
{ s 4 \stemUp g s } \\
{ s 4 e s } \\
{ e 4 c e }
>> |
<<
{ c'4 c a } \\
{ f4 a f }
>> |
g8 g, c c, d e |
f8 f'16 g a8 f bf bf, |
c8 d c bf a g |
a8 f bf c d bf |
c8 c, f a16 c f4 |
}
\override Staff.RehearsalMark #'direction = #-1
\override Score.RehearsalMark #'extra-offset = #'( -0.6 . 0.0 )
\mark \markup { \musicglyph #"scripts.dfermata" }
}
\score
{
\new PianoStaff
<<
\new Staff = upper \upper
\new Staff = lower \lower
>>
\layout
{
\context
{
\Score
\remove "Mark_engraver"
}
\context
{
\Staff
\consists "Mark_engraver"
}
}
\midi { }
}
¡°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
ENTER NUMBET 0017
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