% Created on Fri Sep 28 2007
\version "2.11.33"
#(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 = ##f
ragged-bottom = ##t
}
\header {
title = "Six Progressive Studies"
subsubtitle = "No. III"
composer = \markup {
\column {"Frantisek Max Knjze" "(1784-1840)"}
}
% MUTOPIA
mutopiatitle = "Six Progressive Studies: No. III"
mutopiacomposer = "KnjzeF"
mutopiapoet = ""
mutopiaopus = ""
mutopiainstrument = "Classical Guitar"
date = "unk"
source = "Boije collection #276"
style = "Classical"
copyright = "Public Domain"
maintainer = "Stan Sanderson"
moreInfo = "The Boije collection is found at http://www.muslib.se/ebibliotek/boije/"
footer = "Mutopia-2007/10/14-1060"
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
%% Boije collection # 276
%% http://www.muslib.se/ebibliotek/boije/
%%
%% Praga presso Marco Berra.
%% Fra. Max Knjze (also spelled Kniže) was born
%% 7 Sep 1784 in Dralielcice, near Beroun, Bohmen.
%% He died 23 Jul 1840 in Prague, Czechoslovakia.
%% He was a guitarist, composer and conductor.
%%
\include "english.ly"
%%%% shortcuts
% fingering orientations
sfol = \set fingeringOrientations = #'(left)
sfor = \set fingeringOrientations = #'(right)
sfod = \set fingeringOrientations = #'(down)
sfou = \set fingeringOrientations = #'(up)
% string number orientations
ssnol = \set stringNumberOrientations = #'(left) %(down right up)
ssnou = \set stringNumberOrientations = #'(up)
ssnod = \set stringNumberOrientations = #'(down)
ssnor = \set stringNumberOrientations = #'(right)
% position indicators
II = \markup {\smaller "II"}
IIa = \markup {\smaller \hspace #2.0 \bold "CII"}
III = \markup {\smaller "III"}
IV = \markup {\smaller "IV"}
V = \markup {\smaller "V"}
VII = \markup {\smaller "VII"}
VIII = \markup {\smaller "VIII"}
%% (alternates A)
loc = \markup{\smaller"loco."}
bpos = \markup{\smaller"2 pos:"}
cpos = \markup{\smaller"3 pos:"}
dpos = \markup{\smaller"4 pos:"}
epos = \markup{\smaller"5 pos:"}
gpos = \markup{\smaller"7 pos:"}
ipos = \markup{\smaller"9 pos:"}
eposd = \markup{\smaller\column{"5 pos:" "dol:"}}
%% dynamics per original
pP = \markup { \smaller \bold "pp"}
P = \markup { \smaller \bold "p"}
mF = \markup { \smaller \bold "mf"}
F = \markup { \smaller \bold "f"}
fF = \markup { \smaller \bold "ff"}
sF = \markup { \smaller \bold "sf"}
% miscellaneous and reminders
harm = \once \override NoteHead #'style = #'harmonic
octavado = \markup { \smaller \italic "arm. 12" }
octavados= \markup {\smaller\italic\column {"arm." "12" }}
%\mark \markup {\smaller \smaller \musicglyph #"scripts.segno"}
%\markup {\smaller \vcenter "to" \hspace #0.7 \smaller \vcenter \musicglyph #"scripts.coda"}
% \arpeggioUp \arpeggio
%segn = \markup { \smaller \vcenter "to" \hspace #0.7 \vcenter \smaller \musicglyph #"scripts.segno" }
dc = \markup{\smaller\bold "D.C."}
dotI = \markup{\small"."}
dotII = \markup{\small"："}
dotIII = \markup{\bold\small"â‹®"}
%% End shortcuts
upper = {
\set Staff.instrumentName=\markup{
\column {\larger\bold "Nº. III " \italic "Andante. "}}
\relative c''{
%% Note: vertically align volta brackets- #5 is default
%% \override Staff.VoltaBracket #'minimum-space = #5.5
\key c \major
\slurDown
\repeat volta 2 {
\partial 8*1
g8_\P |
c c b c | d d b4 | c8 c r16 a[ e' d] |
c4 b16 g( a) g_. | c8 c b c | d d b4 |
e,16 c' g e' f, d' d, b' |
e, c' g e' c,8
}
\repeat volta 2 {
\partial 8*1
g'8_\P
b b c cs |
d d b16 d, g b | c e, g c d, a' c fs |
g,, g' b g'_\> f d, g b\! | c8 c b c |
d d b4 | c8 c r16 a e' d | c4 b16 g( a) g_. |
c8 c e e | f f r16 a, e' d |
e, c' g e' f, d' d, b' | e, c' g e' c,8\fermata
}
\repeat volta 2 {
\partial 8*1
e'8^\markup{\hspace #-4 \bold "Minore"}
r16 a, c e b d a c | r gs b e f! e b_. gs_. |
r gs b d a c gs b | r a c e a, c a, a' |
r a c a e' a, c e | r bf d bf f' bf, d f |
r a, c e f( e) gs, b | a a, a' c a,8
}
\repeat volta 2 {
\partial 8*1
g'8 |
g,16 g' b f' b, d, g b |
e, g c g' c, e, g c |
f, a d a f a ds a |
r gs b e r fs, a ds |
r gs, b e r fs, a ds |
r gs, b e gs, b e,, gs' |
r a c e b d a c |
r gs b e f( e) b gs |
r gs b d a c gs b |
r a c a e' a, c e |
r a, cs a g' a, cs g' |
r a, d a f' a, d f |
r a, b a fs' a, b fs' |
r gs, b e r gs, b e |
r a, c a e' a, c e |
r a, b a f' a, b f' |
r a, c e r gs, b e |
r a, c e a,,8
}
}
}
middle = {
\relative c'' {
\override Staff.NoteCollision
#'merge-differently-headed = ##t
%% middle voice can interfere... use the following
% \override Stem #'length-fraction = #0.4
\repeat volta 2 {
\partial 8*1
s8 |
e16 g e g d g e g | f g f g d g f g |
e g e g f4 | e16 g e g d4 |
e16_\F g e g d g e g | f g f g d g f g |
e8 g f d | e g c,
}
\repeat volta 2 {
\partial 8*1
s4.
s2.*3
}
}
}
lower = {
\relative c' {
\override Staff.NoteCollision
#'merge-differently-headed = ##t
\key c \major
\repeat volta 2 {
\partial 8*1
s8 |
e16 g e g d g e g | f g f g d g f g |
e g e g f4 | e16 g e g d4 |
e16_\F g e g d g e g | f g f g d g f g |
e8 g f d | e g c,
}
\repeat volta 2 {
\partial 8*1
s8 |
\setTextCresc
d16 g d g e_\< g e g |
f g f g s4 | s4 d\!_\F |
\setHairpinCresc
g, s4 | e'16_\P g e g d g e g |
f g f g d g d g | e g e g f4 |
e16 g e g d4 | e16_\F g e g bf c bf c |
a c a c f,4 | e8 g f d |
e g c,_\markup{\smaller\bold "Fine"}
}
\repeat volta 2 {
\partial 8*1
s8 |
a2 | e | e | a4 s | c2 | d |
e4 e, | s a8
}
\repeat volta 2 {
\partial 8*1
s8 |
g4 s | e' s | f f | e, e |
e e | e s8 e | a4 r | e r | e r |
a2 | a | d | ds | e4 d | c2 | d |
e4 e, | a a8_\dc
}
}
}
staffClassicalGuitarC = \new Staff
%%% this moves the fingering closer to the note than default
\with {
\override Fingering #'padding = #0.2
}
{
\time 2/4
% \key c \major
% \tempo 4 = 72
% \set Staff.instrumentName=\markup{\smaller\column{"Classical" "Guitar."}}
\set Staff.midiInstrument="acoustic guitar (nylon)"
% \transposition c,
<<
\override Staff.NoteCollision
#'merge-differently-headed = ##t
\new Voice = A { \voiceOne \upper }
% \new Voice = B { \voiceTwo \middle }
\new Voice = C { \voiceFour \lower }
>>
% \bar "|." %% End the piece if no repeat at end
}
\score {
\staffClassicalGuitarC
}
\layout {
\context { \Voice
%%% provides thicker glissando and moves closer to notes
\override Glissando #'thickness = #3
\override Glissando #'gap = #0.05
%%% adjust fingering size, distance from note
\override Fingering #'font-size = #-6
\override Fingering #'padding = #0.3
}
\context { \Score
\override MetronomeMark #'extra-offset = #'(-9 . 0)
\override MetronomeMark #'padding = #'3
}
}
\score {
\unfoldRepeats
\staffClassicalGuitarC
\midi {
\context {
\Score
tempoWholesPerMinute = #(ly:make-moment 120 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
ENTER NUMBET 0017
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