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  1. %=============================================
  2. %   created by MuseScore Version: 1.3
  3. %          Friday, September 02, 2016
  4. %=============================================
  5.  
  6. \version "2.12.0"
  7.  
  8.   \layout {\context {\Score \omit BarNumber}}
  9. #(set-global-staff-size 19)
  10.  
  11. #(set-default-paper-size "letter")
  12.  
  13. \paper {
  14.         #(define fonts
  15.     (set-global-fonts
  16.     #:music "cadence"
  17.     #:brace "beethoven"
  18.     #:roman "IM Fell Great Primer Pro"
  19.     #:sans "IM Fell French Canon Pro"
  20.     #:typewriter "Century Schoolbook L"
  21.     #:factor (/ staff-height pt 20)))
  22.   line-width    = 186.133\mm
  23.   left-margin   = 14.8836\mm
  24.   top-margin    = 14.8836\mm
  25.   bottom-margin = 14.8836\mm
  26.   %%indent = 0 \mm
  27.   %%set to ##t if your score is less than one page:
  28.   %% in orchestral scores you probably want the two bold slashes
  29.   %% separating the systems: so uncomment the following line:
  30.   %% system-separator-markup = \slashSeparator
  31.   }
  32.  
  33. \header {
  34.   title = \markup { \override #'(font-name . "IM Fell French Canon Pro") {Psalm XIX.}}
  35.   poet = \markup { \override #'(font-name . "IM Fell Double Pica Pro") {March 2007. Rev. February 2012. Rev. August 2016}}
  36.   composer = \markup { \override #'(font-name . "IM Fell Double Pica Pro") {Psalm 19: 7, 8, 9, 14}}
  37.   tagline = ##f
  38.     }
  39.  
  40. ATrvoiceAA = \relative c'{
  41.     \set Staff.instrumentName = #"Discantus."
  42.     \set Staff.shortInstrumentName = #""
  43.     \clef treble
  44.     %staffkeysig
  45.     \key d \major
  46.     %barkeysig:
  47.     \key d \major
  48.     %bartimesig:
  49.     \time 2/2
  50.     fis2 e4( d8 e)      | % 1
  51.     fis2. a4      | % 2
  52.     b8 \melisma cis\melismaEnd d2 e4      | % 3
  53.     fis1      | % 4
  54. }% end of last bar in partorvoice
  55.  
  56.  
  57.  
  58. ASvoiceBA = \relative c'{
  59.     \set Staff.instrumentName = #"Soprano & Alto."
  60.     \set Staff.shortInstrumentName = #""
  61.     \clef treble
  62.     %staffkeysig
  63.     \key d \major
  64.     %barkeysig:
  65.     \key d \major
  66.     %bartimesig:
  67.     \time 2/2
  68.     fis2 e4( d8 e)      | % 1
  69.     fis2. a4      | % 2
  70.     b8\melisma a\melismaEnd d2 cis4      | % 3
  71.     b1      | % 4
  72.     %bartimesig:
  73.     \cadenzaOn
  74.     \slurDashed
  75.     \set melismaBusyProperties = #'()
  76.  
  77.     b\breve a4 b b1
  78.     \breathe      | % 5
  79.     b\breve a4 g fis1 \breathe \bar "|" \break \cadenzaOff
  80.     \cadenzaOn | % 6
  81.     g\breve fis4 (g) b1 \breathe     | % 7
  82.     a\breve g4 (a) fis1 \bar "|."
  83. }% end of last bar in partorvoice
  84.  
  85.  
  86. ASvoiceBB = \relative c'{
  87.     \voiceTwo
  88.  
  89.     d2 d      | % 1
  90.     cis2. fis4      | % 2
  91.     fis8\melisma e\melismaEnd g2 e4      | % 3
  92.     dis?1_"D# after v.4"
  93.     \cadenzaOn
  94.     \slurDashed
  95. \set melismaBusyProperties = #'()    | % 4
  96.     fis\breve e4 fis g1      | % 5
  97.     g\breve e4 d cis1 \bar "|" \cadenzaOff
  98.     \cadenzaOn| % 6
  99.     d\breve d4 (e) fis1    | % 7
  100.     d\breve e4 (e) cis1 \bar "|."
  101. }% end of last bar in partorvoice
  102.  
  103.  
  104. ASpartB =  <<
  105.     \mergeDifferentlyHeadedOn
  106.     \mergeDifferentlyDottedOn
  107.         \context Voice = ASvoiceBA{\voiceOne \ASvoiceBA}\\
  108.         \context Voice = ASvoiceBB\ASvoiceBB
  109.         >>
  110.  
  111.  
  112.  
  113. ABvoiceCA = \relative c{
  114.     \set Staff.instrumentName = #"Tenor & Bass."
  115.     \set Staff.shortInstrumentName = #""
  116.     \clef bass
  117.     %staffkeysig
  118.     \key b \minor
  119.     %barkeysig:
  120.     \key b \minor
  121.     %bartimesig:
  122.     \time 2/2
  123.     \once \override TextScript.force-hshift = #-5
  124.     b'2^\markup { \box \center-column {"SATB"{"after v.3 & 4"}}} b      | % 1
  125.     b4( a2) d4      | % 2
  126.     d8\melisma cis\melismaEnd b2 b8\melisma a\melismaEnd      | % 3
  127.     b1      | % 4
  128. \cadenzaOn
  129. \slurDashed
  130. \set melismaBusyProperties = #'()
  131.     d\breve cis4 d d1 \breathe   | % 5
  132.     d\breve cis4 b ais1 \breathe \bar "|" \cadenzaOff     | % 6
  133.     \cadenzaOn
  134.     b\breve a4 (b) b1 \breathe     | % 7
  135.     fis\breve b4 (b) ais1 \bar "|."
  136. }% end of last bar in partorvoice
  137.  
  138.  
  139. ABvoiceCB = \relative c{
  140.     \voiceTwo \arpeggioBracket
  141.  
  142.     b4( a) g( g')      | % 1
  143.     fis2. d4      | % 2
  144.     g e2 fis4      | % 3
  145.     <fis b,>1\arpeggio
  146.     \cadenzaOn
  147.     \slurDashed
  148. \set melismaBusyProperties = #'()
  149. | % 4
  150.     b\breve b4 a g1      | % 5
  151.     e\breve cis4 cis fis1 \bar "|" \cadenzaOff
  152.     \cadenzaOn | % 6
  153.     e\breve e4 (e) d1     | % 7
  154.     b\breve cis4 (cis) fis,1 \bar "|."
  155. }% end of last bar in partorvoice
  156.  
  157.  
  158. ABpartC =  <<
  159.     \mergeDifferentlyHeadedOn
  160.     \mergeDifferentlyDottedOn
  161.         \context Voice = ABvoiceCA{\voiceOne \ABvoiceCA}\\
  162.         \context Voice = ABvoiceCB\ABvoiceCB
  163.         >>
  164.  
  165.       ATrpartAverseA = \lyricmode { \set stanza = "" Your words, Lord, are spir -- it  and life. }
  166.       ASpartBverseA = \lyricmode { Your words, Lord, are spir -- it  and life.
  167.                                    <<
  168.                                      {
  169.                                        \set stanza = #"1. "
  170.                                        \once \override LyricText.self-alignment-X = #LEFT "The law of the" Lord is perfect, reviv -- ing  the soul; "the decrees of the" Lord are sure, making wise the simple. }
  171. \new Lyrics \with { alignBelowContext = #"ASpartBverseA" } {
  172.                                        \set stanza = #"4. " \once \override LyricText.self-alignment-X = #LEFT "Let the words" of my mouth "and the meditation" of my heart "be acceptable" to _ you, "O LORD, my rock and" my re -- deemer. }
  173.                                                                           \new Lyrics \with { alignBelowContext = #"ASpartBverseA" } {
  174.                                        \set stanza = #"3. "  \once \override LyricText.self-alignment-X = #LEFT "The fear of the" Lord is pure, endur -- ing for -- ever; "the ordinances of the" Lord are true "and righteous" al -- to -- gether. }
  175.                                                                             \new Lyrics \with { alignBelowContext = #"ASpartBverseA" } {
  176.                                        \set stanza = #"2. "  \once \override LyricText.self-alignment-X = #LEFT "The precepts of the" Lord are right, rejoic -- ing  the heart: "the commandment of the" Lord is clear, enlightening the _ eyes. }
  177.       >> }
  178. \score {
  179.     <<
  180.         \context ChoirStaff = B<<
  181.             \context Staff = ATrpartA <<
  182.                 \context Voice = ATrvoiceAA \ATrvoiceAA
  183.             >>
  184.  
  185.              \context Lyrics = ATrpartAverseA\lyricsto ATrvoiceAA  \ATrpartAverseA
  186.  
  187.             \context Staff = ASpartB <<
  188.                 \ASpartB
  189.             >>
  190.  
  191.              \context Lyrics = ASpartBverseA\lyricsto ASvoiceBA  \ASpartBverseA
  192.  
  193.             \context Staff = ABpartC <<
  194.                 \ABpartC
  195.             >>
  196.  
  197.  
  198.         >> %end of StaffGroupB
  199.  
  200.  
  201.  
  202.       \set Score.skipBars = ##t
  203.        #(set-accidental-style 'modern-cautionary)
  204.       \set Score.markFormatter = #format-mark-box-letters %%boxed rehearsal-marks
  205.        \override Score.TimeSignature #'style = #'() %%makes timesigs always numerical
  206.       %% remove previous line to get cut-time/alla breve or common time
  207.       \set Score.pedalSustainStyle = #'mixed
  208.        %% make spanners comprise the note it end on, so that there is no doubt that this note is included.
  209.        \override Score.TrillSpanner #'(bound-details right padding) = #-2
  210.       \override Score.TextSpanner #'(bound-details right padding) = #-1
  211.       %% Lilypond's normal textspanners are too weak:  
  212.       \override Score.TextSpanner #'dash-period = #1
  213.       \override Score.TextSpanner #'dash-fraction = #0.5
  214.       %% lilypond chordname font, like mscore jazzfont, is both far too big and extremely ugly (olagunde@start.no):
  215.       \override Score.ChordName #'font-family = #'roman
  216.       \override Score.ChordName #'font-size =#0
  217.       \override Score.LyricText #'font-size = #1.2
  218.       %% In my experience the normal thing in printed scores is maj7 and not the triangle. (olagunde):
  219.       \set Score.majorSevenSymbol = \markup {maj7}
  220.   >>
  221.  
  222.   %% Boosey and Hawkes, and Peters, have barlines spanning all staff-groups in a score,
  223.   %% Eulenburg and Philharmonia, like Lilypond, have no barlines between staffgroups.
  224.   %% If you want the Eulenburg/Lilypond style, comment out the following line:
  225.   \layout {\context {\Staff \RemoveEmptyStaves}}
  226. }%% end of score-block
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