\version "2.14.0"
\header {
title = "Symphony No. 9 in E minor"
subtitle = "From the New World"
composer = "AntonÃn Dvořák"
mutopiacomposer = "DvorakA"
% arranger is printed just once, where opus is printed before each movement
arranger = "Op. 95 (1893)"
mutopiaopus = "Op. 95"
mutopiainstrument = "Orchestra"
source = "N. Simrock GmbH (1894)"
% Plate 10140, IMSLP #41074-41083
% checked against miniature score Simrock Plate 11892 (1908)
% -- no editor identified on either plate"
style = "Romantic"
copyright = "Creative Commons Attribution-ShareAlike 3.0"
maintainer = "Keith OHara"
footer = "Mutopia-2011/10/03-1793"
tagline = \markup { \override #'(box-padding . 1.0) \override #'(baseline-skip . 2.7) \box \center-column { \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 © 2011. \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 "english.ly"
% Settings common to all movements
commonConductor = {
#(set-accidental-style 'modern 'Score)
\tag #'part \set Score.countPercentRepeats = ##t
\override Score.PercentRepeat #'transparent = ##t
\tag #'part \override Score.PercentRepeatCounter #'padding = #1.0
\set Score.quotedCueEventTypes = #'(note-event rest-event tie-event
beam-event tuplet-span-event trill-span-event
articulation-event tremolo-event)
\override Score.MetronomeMark #'break-align-symbols
= #'(time-signature key-signature)
\override Score.KeySignature #'break-align-anchor-alignment = #RIGHT
\tag #'part \override Score.RehearsalMark #'extra-spacing-width = #'(0 . 0)
\tag #'part \override Score.Hairpin #'to-barline =##f
\tag #'part \compressFullBarRests
\tag #'part \override Score.NonMusicalPaperColumn #'page-break-permission
= ##f
\override Score.Hairpin #'minimum-length = #4
\override Score.TextScript #'whiteout = ##t
\override Score.CombineTextScript #'whiteout = ##t
\override Score.RehearsalMark #'padding = #2.0
\set Score.markFormatter = #format-mark-box-numbers
\tag #'score \override Score.DynamicText #'extra-spacing-width = ##f
\override Score.InstrumentName #'self-alignment-X = #RIGHT
\override Score.InstrumentName #'padding = #1.0
\once\override Score.SpacingSpanner #'spacing-increment = #0.8
}
% If we include slurs with cue notes (quotedCueEventTypes above)
% then sometimes we need to finish broken slurs in the CueVoice
stopSlurSpan = {}
%stopSlurSpan = #(make-span-event 'SlurEvent STOP)
% Page breaks for parts are in the .notes.ly files
% Breaks for the score are in percussion.notes.ly
partPageBreak = \tag #'part \pageBreak
scoreBreak = \tag #'score \break
inE = <<
\tag#'part \mark "in E"
\tag#'score s1*0^\markup\whiteout\pad-around#0.3 \large\halign #1.5 "in E"
>>
inC = <<
\tag#'part \mark "in C"
\tag#'score s1*0^\markup\whiteout\pad-around#0.3 \large\halign #1.5 "in C"
>>
inF = <<
\tag#'part \mark "in F"
\tag#'score s1*0^\markup\whiteout\pad-around#0.3 \large\halign #1.5 "in F"
>>
inB = <<
\tag#'part \mark \markup\concat{"in B"\flat}
\tag#'score s1*0^\markup\whiteout\pad-around#0.3 \large\halign #1.5
\concat{"in B"\flat}
>>
inA = <<
\tag#'part \mark "in A"
\tag#'score s1*0^\markup\whiteout\pad-around#0.3 \large\halign #1.5 "in A"
>>
inEf = <<
\tag#'part \mark \markup\concat{"in E"\flat}
\tag#'score s1*0^\markup\whiteout\pad-around#0.3 \large\halign #1.5
\concat{"in E"\flat}
>>
ub = -\tag #'part \upbow
db = -\tag #'part \downbow
arco = -\tweak #'self-alignment-X #1.0 -\markup\whiteout\pad-around#0.3 "arco"
pizz = -\tweak #'self-alignment-X #1.0 -\markup\whiteout\pad-around#0.3 "pizz."
div = -\tweak #'self-alignment-X #1.0 -\markup\whiteout\pad-around#0.3 "div."
ffz = #(make-dynamic-script "ffz")
fpp = #(make-dynamic-script "fpp")
fzp = #(make-dynamic-script "fzp")
puf = #(make-dynamic-script (markup #:normal-text #:italic "più" #:dynamic "f"))
#(set! absolute-volume-alist
(append
'(
("ffz" . 1.0)
("fz" . 0.9)
("fzp" . 0.68)
("fp" . 0.65)
)
absolute-volume-alist))
% Shorthand for labeled cues
% use this as \cueWhile "violin1" "strings" #UP R1
cueWhile =
#(define-music-function
(parser location instrument name dir music)
(string? string? ly:dir? ly:music?)
#{
\cueDuring $instrument #$dir {
\once \override TextScript #'direction = $dir
\tag #'part s1*0-\markup { \tiny $name }
$music
}
#}
)
% use this as \trCueWhile "violin1" "strings" #UP d, R1
trCueWhile =
#(define-music-function
(parser location instrument name dir mc music)
(string? string? ly:dir? ly:music? ly:music?)
#{
\transposedCueDuring $instrument #$dir $mc {
\once \override TextScript #'direction = $dir
\tag #'part s1*0-\markup { \tiny $name }
$music
}
#}
)
% used in a second ending in the Scherzo
thinSkip = {
\once\override Score.SpacingSpanner #'spacing-increment = #0.1
\newSpacingSection
s2.
\revert Score.SpacingSpanner #'spacing-increment
\newSpacingSection
}
incrementBarNumber = {
\applyContext #(lambda (x) (ly:context-set-property!
(ly:context-property-where-defined x 'currentBarNumber)
'currentBarNumber
(+ (ly:context-property x 'currentBarNumber) 1)
))
}
decrementBarNumber = {
\applyContext #(lambda (x) (ly:context-set-property!
(ly:context-property-where-defined x 'currentBarNumber)
'currentBarNumber
(- (ly:context-property x 'currentBarNumber) 1)
))
}
% Hide dynamics in one voice for partcombine, for when the parts have
% slightly different rhythms, but not different enough for separate
% dynamics markings
scoreDynamicsOff =
\tag #'score {
\override DynamicText #'stencil = #point-stencil
\override Hairpin #'stencil = #point-stencil
}
%scoreDynamicsOn =
% \tag #'score {
% \revert DynamicText #'stencil
% \revert Hairpin #'stencil
% }
% Bar numbers of the rehearsal marks, for \barNumberCheck
allegroMolto = 24
rehearsalOne = 59
rehearsalTwo = 77
rehearsalThree = 91
rehearsalFour = 121
rehearsalFive = 149
rehearsalSix = 181
rehearsalSeven = 213
rehearsalEight = 245
rehearsalNine = 277
rehearsalTen = 308
rehearsalEleven = 342
rehearsalTwelve = 374
rehearsalThirteen = 400
OnemL = 21
TwomL = 46
ThreemL = 64
FourmL = 90
FivemL = 101
OnemS = 49
TwomS = 99
ThreemS = 123
FourmS = 154
FivemS = 192
SixmS = 239
SevenmS = 270
OnemF = 34
TwomF = 44
ThreemF = 68
FourmF = 92
FivemF = 122
SixmF = 144
SevenmF = 168
EightmF = 190
NinemF = 214
TenmF = 251
ElevenmF = 275
TwelvemF = 299
MenoMossomF = 327
¡°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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