\header {
title = "The Lancer's Quadrilles"
subtitle = "Les Lanciers (#5)"
source = "Original Sheet Music"
composer = "Yaniewicz"
enteredby = "mdu"
copyright = "Public Domain"
mutopiatitle = "Les Lanciers"
mutopiacomposer = "Yaniewicz"
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 fifth 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-2006/02/25-681"
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 c \major
\time 4/4
\repeat volta 2 {
g8.[ fis16 g8. a16] g8.[ f16 e8. d16] |
c4 c4 \acciaccatura d16 c8.[ b16 c8. d16] |
e4 e4 \acciaccatura f16 e8.[ d16 e8. f16] |
d4 d4 d8.[ e16 f8. fis16] |
g8.[ fis16 g8. a16] g8.[ f16 e8. d16] |
c4 c4 \acciaccatura d16 c8.[ b16 c8. d16] |
e4 e4 \acciaccatura e16 d8.[ c16 d8. e16] |
}
\alternative { { c4 c4 c8.[ d16 e8. f16] }
{ c4 r4 r4 \bar "||" b4 } } |
c8.[ b16 c8. d16] e4. c8 |
c8.[ b16 d8. b16] g4 a8. b16 |
c8.[ b16 c8. d16] e8.[ d16 e8. c16] |
c8.[ b16 d8. b16] g4 r4 |
g'8.[ f16 e8. f16] g8.[ a16 b8. c16] |
g8.[ f16 e8. f16] g8.[ a16 b8. c16] |
\acciaccatura e,8 g4. e8
\acciaccatura e16 d8.[ c16 d8. e16] |
c4 c'4 c,2 \bar ":|"
}
PianoLH = \relative c {
\clef bass
\key c \major
\time 4/4
\repeat volta 2 {
<< { r4 < e g >4 < e g > < e g > } \\ c1>> |
<< { r4 < e g >4 < e g > < e g > } \\ c1 >> |
<< { r4 < e g >4 < e g > < e g > } \\ c1 >> |
<< { r4 < d f >4 < d f > < d f > } \\ g,1 >> |
<< { r4 < e' g >4 < e g > < e g > } \\ c1 >> |
<< { r4 < e g >4 < e g > < e g > } \\ c1 >> |
< c e >4 g' < g, d' > g' |
}
\alternative { { < c, e >4 g' < c, e > g' }
{ < c, e g >4 r4 r4 \bar "||" r4 } } |
< c e g >8 r8 < c e g > r < c e g > r < c e g > r |
< g d' g >4 < g d' g > < g d' g >2 |
< c e g >8 r8 < c e g > r < c e g > r < c e g > r |
< g d' g >4 < g d' g > < g d' g >2 |
c8 g' e g c, g' e g |
c,8 g' e g c, g' e g |
c,8 g' e g g, g' d g |
c, g' e g c,2 \bar ":|"
}
\paper {
betweensystempadding = #1
raggedbottom=##f
raggedlastbottom=##f
}
\book {
\score {
\context PianoStaff
<<
\context Staff=upper \PianoRH
\context Staff=lower \PianoLH
>>
\layout {
}
}
\markup { "Right & Left - all round making ballotez every time the right and left hand is given, 1st Gent" }
\markup { "gives his right hand in his Partner's left and turn half round in their own places, their backs" }
\markup { "to the 3rd couple: the 2nd Gent and Lady follow the 1st Couple: the 3rd Gent and Lady follow the" }
\markup { "2nd Couple, the 4th Gent and Lady follow the 3rd Couple -- only one Couple advancing at a time," }
\markup { "when all form in two lines the Ladies on the right of the Gents all facing the top of the room" }
\markup { "then chassez all across twice, and pas de basque twice the Gent turn off round to the left, and" }
\markup { "the Ladies to the right, Gents following 1st Gent and Ladies following the 1st Lady. When all are" }
\markup { "returned to the former situation they turn off, then form two lines, each Gent facing his Partner" }
\markup { "and chassez forward and back, each Gent turns his Partner into their own places." }
\markup { "Conclude with the grand Square; viz: 1st and 3rd Couple chassez forward, while the side Couples" }
\markup { "chassez open, 1st & 3rd Couple chassez open while the side Couples chassez open forward, 1st and 3rd" }
\markup { "Couple chassez back, while the side Couples chassez close 1st & 3rd Couples chassez close into places" }
\markup { "while the side Couples chassez backwardws into places. The figure commences next with the 2nd Couple" }
\markup { "then with the 3rd, then with the 4th. With the side Couples commence the figure they chassez forward" }
\markup { "in the Square, while the 1st and 3rd Couples chassez open." }
\markup { "" }
\markup { "This Dance begins with the 1st part of the Air played twice, it commences each time after with the" }
\markup { "2nd part played twice, then each part played once, ending with the first part" }
\score {
\unfoldRepeats
\context PianoStaff
<<
\context Staff=upper \PianoRH
\context Staff=lower \PianoLH
>>
\midi {
\tempo 8=172
}
}
}
¡°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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