\header {
title = "The Lancer's Quadrilles"
subtitle = "Ladoiska (#2)"
source = "Original Sheet Music"
composer = "Kruetzer"
enteredby = "mdu"
copyright = "Public Domain"
mutopiatitle = "Ladoiska"
mutopiacomposer = "Kruetzer"
mutopiainstrument = "Piano"
date = "c1860"
source = "Original Sheet Music"
style = "Popular / Dance"
copyright = "Public Domain"
maintainer = "Martin Usher"
maintainerEmail = "martinusher@earthlink.net"
lastupdated = "2006/Feb/18"
texidoc = "This is the second of a set of six dances publised in the mid 1800s.
The title page text reads:-
The Lancer's Quadrilles', or 'Duval (of Dublin)'s Second Set', Seventh Edition
Containing Les Graces, Lodoiska, La Dorset, La Native & Les Lanciers with proper
figures in French and English, as Danced at Almack's London (and at the Rotunda,
Dublin), to which is added A New Waltz, by Sigr Spagnoletti and the Stop Waltz,
respectfully dedicated to the Countess of Farnham.
NB The Public are particularily cautioned against spurious Copies of this
Work & are requested to observe that no other set can contain the whole
of the Original Tunes but those bearing the Signature of....."
footer = "Mutopia-2006/02/25-678"
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 } } } }
}
\version "2.6.0"
PianoRH = \relative c' {
\clef treble
\key bes \major
\time 2/4
\partial 8 f8^\segno |
bes bes16. bes32 bes8 bes |
bes8. f16 g a bes c |
d8 d16. d32 d8 d |
d8. a16 bes c d ees |
f8 f16. f32 f8 bes |
f d16. ees32 f8 bes |
f d16 ees f ees d c |
bes4. \bar "||" \mark \markup { \small "Fine" }
\partial 8 f8 |
bes8-| bes-| a16( g a f) |
bes8-| bes-| \acciaccatura bes16 a16( g a f) |
bes8-| bes16( c) ees( d c bes) |
a bes c < a d > c f, g a |
bes8-| bes-| a16( g a f) |
bes8-| bes-| \acciaccatura bes16 a16( g a f) |
bes8-| bes16( d) c( ees) a,( c) |
\once \override TextScript #'padding = #2.5
bes4.^\markup { " D.C. al" }
\bar "|:" \mark \markup { \musicglyph #"scripts.segno" }
\partial 8 bes8-| |
a( f') f-| f-| |
f16 ees d c bes8-| bes-| |
a f f( g16 a) |
bes( a bes c) d( c d bes) |
a8-| f'8-| f-| f-| |
f16 ees d c bes8-| bes'-| |
bes,-| bes'-| f16( ees d c) |
\once \override TextScript #'padding = #2.5
bes4^\markup { " D.C. al" } bes'8
\bar ":|" \mark \markup { \musicglyph #"scripts.segno" }
\cadenzaOn s8
}
PianoLH = \relative c {
\clef bass
\key bes \major
\time 2/4
\partial 8 r8 |
bes8 bes'8 f d |
bes4 r4 |
bes8 bes'8 f d |
bes4 r4 |
< bes d f bes >8 < bes d f bes >16. < bes d f bes >32
< bes d f bes >4 |
< bes d f bes >8 < bes d f bes >16. < bes d f bes >32
< bes d f bes >4 |
< bes bes' >4 < f f' >4 |
bes8 f bes, \bar "||"
\partial 8 r8 |
< f'' bes d >8 < f bes d > < f c ees >4 |
< f bes d >8 < f bes d > < f c ees >4 |
< bes d >8 < bes d > ees, e |
f4 f,4 |
f'16 d' bes d f, ees' c ees |
f, d' bes d f, ees' c ees |
< bes, bes' >8 < g g' > < ees ees' > < f f' > |
bes f bes, \bar "|:"
\partial 8 r8 |
f''8 < a c > < a c > < a c > |
f < bes d > < bes d > < bes d > |
f < c' ees > < c ees > < c ees > |
f, < bes d > < bes d > < bes d > |
f < a c ees > < a c ees > < a c ees > |
f < bes d > < bes d > < bes d > |
< f bes d > < f bes d > < f a ees' > < f a ees' > |
< bes d >4. \bar ":|" \cadenzaOn s8
}
\paper {
betweensystempadding = #1
raggedbottom=##f
raggedlastbottom=##f
}
\book {
\score {
\context PianoStaff
<<
\context Staff=upper \PianoRH
\context Staff=lower \PianoLH
>>
\midi {
\tempo 8=120
}
\layout {
}
}
\markup { "1st Gent and Lady advance and retire twice, the second time he leaves the Lady on the left of the" }
\markup { "opposite Gent. Chassez to the right and left and turn your Partner right and left entirely -- " }
\markup { "Ballancez to the sides, then advance and retire in two lines and then turn your partner to places." }
\markup { "" }
\markup { "The other six do the same." }
}
¡°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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