autolinebreaks in measureless music
For certain (measureless) church music (e.g. Genevian Psalms) I set Score.timing = ##f so there are no barlines. But then lilypond tries to put everything on one line. Is it possible to have lilypond automagically break lines so I don't have to put \bar everywhere to manually create places for breaking lines? Or is setting e.g. \time 1/2 and remove timesig and barline engravers the better way to get what I want? tiafah :) w. best regards, Wilbert Berendsen -- http://www.wilbertberendsen.nl/ You must be the change you wish to see in the world. -- Mahatma Gandi ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Why can't I get this to work (viola tuning)
That's a bug, which unfortunately seems to survive also in the latest
stable version. According to
http://code.google.com/p/lilypond/issues/detail?id=349
this bug was fixed in version 2.10.25, but it's clearly present in 2.10.29.
In the latest development version, 2.11.32, on the other hand, both
your example
and the example in the bug report work without problems.
/Mats
Julian Vincent wrote:
\version 2.10.0
\new TabStaff
\set TabStaff.stringTunings = #'( 9 2 -5 -12)
{ c g d' a'}
This is the open tuning for a viola.
I've tried all sorts of combinations and I can't get the bottom C to
register as an open string, though if I put in an extra string, even
with the same value (-12) then I get the bass string registering as
open. What am I doing wrong??
Laburnum Cottage
48 Frome Road
Odd Down
BATH
BA2 2QB
tel: 01225 835076
Mob: 07941 933 901
[EMAIL PROTECTED]
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--
=
Mats Bengtsson
Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
=
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Why can't I get this to work (viola tuning)
\version 2.10.0
\new TabStaff
\set TabStaff.stringTunings = #'( 9 2 -5 -12)
{ c g d' a'}
This is the open tuning for a viola.
I've tried all sorts of combinations and I can't get the bottom C to
register as an open string, though if I put in an extra string, even
with the same value (-12) then I get the bass string registering as
open. What am I doing wrong??
Laburnum Cottage
48 Frome Road
Odd Down
BATH
BA2 2QB
tel: 01225 835076
Mob: 07941 933 901
[EMAIL PROTECTED]
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Re: Why can't I get this to work (viola tuning)
I'm pretty certain that we won't have any stable releases for the next
two weeks, and 2.12 will be coming out soon after that. Therefore I
don't think it's worth re-opening this bug.
Julian, could you try using 2.11.32?
Rune, don't worry; your fix was included in 2.11.
Cheers,
- Graham
Mats Bengtsson wrote:
That's a bug, which unfortunately seems to survive also in the latest
stable version. According to
http://code.google.com/p/lilypond/issues/detail?id=349
this bug was fixed in version 2.10.25, but it's clearly present in
2.10.29.
In the latest development version, 2.11.32, on the other hand, both
your example
and the example in the bug report work without problems.
/Mats
Julian Vincent wrote:
\version 2.10.0
\new TabStaff
\set TabStaff.stringTunings = #'( 9 2 -5 -12)
{ c g d' a'}
This is the open tuning for a viola.
I've tried all sorts of combinations and I can't get the bottom C to
register as an open string, though if I put in an extra string, even
with the same value (-12) then I get the bass string registering as
open. What am I doing wrong??
Laburnum Cottage
48 Frome Road
Odd Down
BATH
BA2 2QB
tel: 01225 835076
Mob: 07941 933 901
[EMAIL PROTECTED]
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Re: need a slur in a alternative repeat
On 9/7/07, Kieren MacMillan [EMAIL PROTECTED] wrote: Hi Yota, Gerard, et al., I assume you've looked at \repeatTie (and the equivalent \repeatSlur), and it's not working for you? Regards, Kieren. If only \repeatSlur would exist... as for \repeatTie, I'm looking for it's counterpart : a slur bound to an absent following note (whereas \repeatTie is a tie from an absent precedent note) Yota ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: need a slur in a alternative repeat
On 6/24/07, gerard stouten [EMAIL PROTECTED] wrote:
hi there,
i need a slur in a repeat. i can not figure out how to do it, maybe you
can
help me.
(a8) r8 f4 \bar || \mark \default f2 f8(g8) bes8 c8 d2 bes4 f4 c'2 a4 f4
f2(
}
\alternative {{f8) r8 f4} { f8 r4.}}
The last f2 has a slur to the f8 in alternative ending 1. but it should
also
have a slur to the f8 in the second alternative ending, soort of a
backwards
slur.
Is there a solution for this?
I have a similar problem : i.e. a slur in a first alternative, continue to
the start of the repeat
in my edition of the hungarian march it's written like in the picture. The
slur seems to tend toward the repeat sign.
I try this tweak but I'm not satisfied with it
\times 1/3 { sol,8 [ ( la si ] } \override NoteHead #'transparent = ##t
\once \override Stem #'transparent = ##t do8 )
since the slur go to invisible notehead and not to the repeat bar... and the
empty space let by the invisible notehead is ... really visible.
Would someone have a more elegant way to do this ?
Yota
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Re: need a slur in a alternative repeat
Hi Yota, Gerard, et al., I assume you've looked at \repeatTie (and the equivalent \repeatSlur), and it's not working for you? Regards, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Why can't I get this to work (viola tuning)
Graham Percival skrev: I'm pretty certain that we won't have any stable releases for the next two weeks, and 2.12 will be coming out soon after that. Therefore I don't think it's worth re-opening this bug. It worked in 2.8 so it is a regression. Therefore I definitely think that it should be fixed in 2.10 even if 2.12 comes out soon. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: autolinebreaks in measureless music
See http://lists.gnu.org/archive/html/lilypond-user/2007-03/msg00359.html with followups for one solution. /Mats Wilbert Berendsen wrote: For certain (measureless) church music (e.g. Genevian Psalms) I set Score.timing = ##f so there are no barlines. But then lilypond tries to put everything on one line. Is it possible to have lilypond automagically break lines so I don't have to put \bar everywhere to manually create places for breaking lines? Or is setting e.g. \time 1/2 and remove timesig and barline engravers the better way to get what I want? tiafah :) w. best regards, Wilbert Berendsen -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: need a slur in a alternative repeat
Hi all,
as for \repeatTie, I'm looking for it's counterpart : a slur bound
to an absent following note
(whereas \repeatTie is a tie from an absent precedent note)
I hope the attached helps!
Kieren.
_
%%% BEGIN SNIPPET %%%
\version 2.11.32
\paper { line-width = 5\in }
repeatTieForward =
{
\once \override LaissezVibrerTie #'thickness = #1.2
\once \override LaissezVibrerTie #'control-points = #'((0.8 . 1.3)
(1.2 . 1.9) (3.2 . 1.9) (3.6 . 1.3) )
}
theMusic = \relative
{
\repeat volta 2
{ c' c c c }
\alternative
{
{ d d d \repeatTieForward c\laissezVibrer }
{ d d d e }
}
}
\score { \theMusic }
%%% END SNIPPET %%%
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Re: Why can't I get this to work (viola tuning)
You can try an update. see
http://lists.gnu.org/archive/html/lilypond-user/2007-06/msg00133.html
/Helge
- Original Message -
From: Julian Vincent [EMAIL PROTECTED]
To: Lily Pond lilypond-user@gnu.org
Sent: Friday, September 07, 2007 3:42 PM
Subject: Why can't I get this to work (viola tuning)
\version 2.10.0
\new TabStaff
\set TabStaff.stringTunings = #'( 9 2 -5 -12)
{ c g d' a'}
This is the open tuning for a viola.
I've tried all sorts of combinations and I can't get the bottom C to
register as an open string, though if I put in an extra string, even with
the same value (-12) then I get the bass string registering as open.
What am I doing wrong??
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another harp question
Hi All, Another question about harp notation. The usual way to indicate that a harp string is to be plucked as a harmonic is to add a small, empty circle above or below that note. It would be similar to a staccatto mark, but a bit bigger, and not all black. I see that this type of circle is possible with the Hair Pins, but can it be added all by itself? -- ° Chris° ° ° Christopher A. LaFond [EMAIL PROTECTED] http://www.celticharper.net ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: another harp question
^\flageoletor _\flageolet ? there were discussions about the size of the circle in the forum... best ole Am 07.09.2007 um 18:41 schrieb Christopher A. LaFond: Hi All, Another question about harp notation. The usual way to indicate that a harp string is to be plucked as a harmonic is to add a small, empty circle above or below that note. It would be similar to a staccatto mark, but a bit bigger, and not all black. I see that this type of circle is possible with the Hair Pins, but can it be added all by itself? -- ° Chris° ° ° Christopher A. LaFond [EMAIL PROTECTED] http://www.celticharper.net ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: guitar polyphony
Helge Kruse wrote:
Hello,
I want to write my first guitar notes with tabs after finishing some
harp scores.
While I found most guitar specific points, I have problem with polyphony.
The normal polyphony gives a problem with tabs. The notes are
written to the staff instead of tab. (see meaure 4). What's wrong?
The {...} \\ {...} construct will always create Voice contexts,
whereas
you want new TabVoice contexts within your TabStaff. Please read Explicitly
instantiating voices in the manual for more information. One way to do
it in your
score is
\version 2.11.25
melody = \relative c {
\key d \major
\time 4/4
d8 a' d fis a,, e' a cis | b, fis' b d d,, fis' a cis |
g, d' g b d,, fis' a d | g,, g' b d a, e' a cis |
\voiceTwo d,,2 a' }
secondvoice = \relative c {
s1*4 \voiceOne
fis'8 d, a' d e a, cis e,
}
\score {
\context Staff = Guit
\clef G_8
\new Voice \melody
\new Voice \secondvoice
\context TabStaff = Tab
\set TabStaff.stringTunings = #'(4 -1 -5 -10 -15 -22)
\new TabVoice \melody
\new TabVoice \secondvoice
}
The bass notes in the first three measures (d, a, b, d, g, d, g, a)
should be printed as half notes but stick with the beams. This is
normally not correct but usual in guitar notation. How can this be done?
Certainly! If you define the macro
halfnote = {\once \override NoteHead #'duration-log = #1 }
at the top of your file, you can use it like
\halfnote d8 a' d fis \halfnote a,, e' a cis |
/Mats
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Re: repeats, nested repeats and alternatives
Neil Puttock wrote:
Hi Yota,
On 9/6/07, *yota moteuchi* [EMAIL PROTECTED]
mailto:[EMAIL PROTECTED] wrote:
Here, magically, the second alternative bar vanished... why ?!
You can't put overrides (or anything else) between the bracketed
sections of \alternative; just put the bar number override inside the
second alternative.
Well, you can, but what your code
\alternative {
{ e f e f }
\set Score.currentBarNumber = #2
{ e f e b}
means is that the first alternative is { e f e f }, your second
alternative is
\set Score.currentBarNumber = #2 and your third alternative is { e f e b}.
Read section Music expressions explained to understand why.
Also, regarding the bar numbering, the typesetting practice varies from
score to
score. I've seen many scores where the two alternatives are counted as
separate
measures.
3) Collapsing alternatives
This is more a suggestion than a question but when dealing with big
orchestral parts, the \alternative tag is very painful to maintain.
Indeed, in some case, trumpets have the same alternatives bars ( i.e.
alternative 1. and 2. are duplicates) and should/might be collapsed into
one bar. While in the conductor it have to remain expanded (because
flutes have different altenatives).
Could this automatic collapsing (and numbering) be implemeted easily
or obtained via a
tweak?
One solution is to define your own music function (or rather use two
alternative
implementations of the same function), which takes two arguments, the
main part
of the repeat and the alternative. Here's an example. Note that both
\score blocks
are identical.
\version 2.10.0
% Definition to use in the individual parts:
repeatSameAlt =
#(define-music-function (parser location repeatbody alternative)
(ly:music? ly:music?)
#{
\repeat volta 2 {$repeatbody $alternative }
#})
\score{
\relative c''{
\time 3/4
c c c
\repeatSameAlt { d d d } { g g g }
}
}
% Definition to use in the conductors score:
repeatSameAlt =
#(define-music-function (parser location repeatbody alternative)
(ly:music? ly:music?)
#{
\repeat volta 2 $repeatbody \alternative{{ $alternative }{ $alternative }}
#})
\score{
\relative c''{
\time 3/4
c c c
\repeatSameAlt { d d d } { g g g }
}
}
/Mats
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Re: another harp question
this looks better in my opinion:
%
F = #(let ((m (make-music 'ArticulationEvent
'articulation-type flageolet)))
(set! (ly:music-property m 'tweaks)
(acons 'font-size -3
(ly:music-property m 'tweaks)))
m)
\new Staff {
\relative c'{ c4 d e f_\F }
}
%
see: http://lists.gnu.org/archive/html/lilypond-user/2007-02/
msg00576.html
ole
Am 07.09.2007 um 18:41 schrieb Christopher A. LaFond:
Hi All,
Another question about harp notation. The usual way to indicate that a
harp string is to be plucked as a harmonic is to add a small, empty
circle
above or below that note. It would be similar to a staccatto mark,
but a
bit bigger, and not all black. I see that this type of circle is
possible
with the Hair Pins, but can it be added all by itself?
--
°
Chris°
°
°
Christopher A. LaFond [EMAIL PROTECTED]
http://www.celticharper.net
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Re: sunday school music
Hi Tim,
OK I see the problems you are having with \partcombine and lyrics now.
AFAICS, \partcombine seems to mess with the parts to the extent that
there is no single Voice available that the lyrics can follow. The
example I tried shows that the documented one and two voices only
contain the notes that are separated (not chords) so you only get lyrics
beneath the separate notes.
Looking at a dump of the stream event output, there are voices one,
two, shared, and solo. I think the notes are directed at different
voices depending on whether they are separate or not, so I suspect
linking the lyrics to a voice is a non-starter for the case of
\partcombine. My suspicion is that \partcombine was never intended to be
used with lyrics, but I could be wrong.
There is an example in the Lilypond docs which show how to generate
lyrics independently of other voices and that might be the way to go.
See 7.3.5.4 Lyrics independent of notes
OK, enough of that moaning, using the above method, here is what I get
which seems to work with the previous fix for part-combine.scm.
The method involves using the top-most voice and creating a pseudo
DevNull voice context which the lyrics can track. It exists but there is
no output.
You get a big pile of warnings which I think is a bug because you get
the warnings with the example in the doc also.
---
\version 2.11.32
\include english.ly
\header {
title=Fishers Of Men
poet=Harry D. Clark
composer=H.D.C
}
\layout {
indent = #0
}
PartsOne = {
\relative c' {
\aikenHeads
f4 f f g
a8 a4 gs8 a2
g8 g4 fs8 g2
f8 f4 d8 c2
}
}
PartsTwo = {
\relative c' {
\aikenHeads
c4 c c c
f8 f4 f8 f2
e8 e4 ds8 e2
c8 c4 bf8 c2
}
}
PartsTop = {
\key f \major
\clef treble
\partcombine \PartsOne \PartsTwo
}
PartsThree = {
\relative c' {
\aikenHeads
a4 a a bf
c8 c4 b8 c2
c8 c4 c8 c2
a8 a4 bf8 a2
}
}
PartsFour = {
\relative c' {
\aikenHeads
a4 a a bf
c8 c4 b8 c2
c8 c4 c8 c2
a8 a4 bf8 a2
}
}
PartsBottom = {
\key f \major
\clef bass
\partcombine \PartsThree \PartsFour
}
\score {
\new Staff = top
{
\override Staff.TimeSignature #'style = #'()
\PartsTop
\new Devnull=nowhere \PartsOne
\new Lyrics \lyricsto nowhere { \set stanza = 1. I will
make you fish-- ers of men fish-- ers of men fish-- ers of men }
\new Lyrics \lyricsto nowhere { \set stanza = 2. Hear
Christ call-- ing Come un-- to me Come un-- to me Come un-- to me }
}
\new Staff = bottom
{
\override Staff.TimeSignature #'style = #'()
\PartsBottom
}
}
Regards and have fun!
Ralph
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Re: sunday school music
Ok, that fixes something I hadn't noticed yet :)
Maybe that will help with a question I was saving for after I got the
flags problem fixed.
I have some songs that alto, tenor or bass have some repeating in the
chorus.
like the song that Gordon Gilbert sent.
in the chorus the soprono and alto sing line a abd tenor and bass sing
line b
hope fully this example comes thru - without word wrap ruining it.
if not, I can scan it so you can see what I mean when I get home.
a. there is powerpower wonder working power in the
blood of the Lamb
b. there is power there is power wonder working power
in the blood of the Lamb
a. there is power power wonder working power in the precious
blood of the Lamb
b. there is power there is power wonder working power in the precious
blood of the Lamb
Ralph Little wrote:
Hi Tim,
OK I see the problems you are having with \partcombine and lyrics now.
AFAICS, \partcombine seems to mess with the parts to the extent that
there is no single Voice available that the lyrics can follow. The
example I tried shows that the documented one and two voices only
contain the notes that are separated (not chords) so you only get
lyrics beneath the separate notes.
Looking at a dump of the stream event output, there are voices one,
two, shared, and solo. I think the notes are directed at
different voices depending on whether they are separate or not, so I
suspect linking the lyrics to a voice is a non-starter for the case of
\partcombine. My suspicion is that \partcombine was never intended to
be used with lyrics, but I could be wrong.
There is an example in the Lilypond docs which show how to generate
lyrics independently of other voices and that might be the way to go.
See 7.3.5.4 Lyrics independent of notes
OK, enough of that moaning, using the above method, here is what I get
which seems to work with the previous fix for part-combine.scm.
The method involves using the top-most voice and creating a pseudo
DevNull voice context which the lyrics can track. It exists but there
is no output.
You get a big pile of warnings which I think is a bug because you get
the warnings with the example in the doc also.
---
\version 2.11.32
\include english.ly
\header {
title=Fishers Of Men
poet=Harry D. Clark
composer=H.D.C
}
\layout {
indent = #0
}
PartsOne = {
\relative c' {
\aikenHeads
f4 f f g
a8 a4 gs8 a2
g8 g4 fs8 g2
f8 f4 d8 c2
}
}
PartsTwo = {
\relative c' {
\aikenHeads
c4 c c c
f8 f4 f8 f2
e8 e4 ds8 e2
c8 c4 bf8 c2
}
}
PartsTop = {
\key f \major
\clef treble
\partcombine \PartsOne \PartsTwo
}
PartsThree = {
\relative c' {
\aikenHeads
a4 a a bf
c8 c4 b8 c2
c8 c4 c8 c2
a8 a4 bf8 a2
}
}
PartsFour = {
\relative c' {
\aikenHeads
a4 a a bf
c8 c4 b8 c2
c8 c4 c8 c2
a8 a4 bf8 a2
}
}
PartsBottom = {
\key f \major
\clef bass
\partcombine \PartsThree \PartsFour
}
\score {
\new Staff = top
{ \override Staff.TimeSignature #'style = #'()
\PartsTop
\new Devnull=nowhere \PartsOne
\new Lyrics \lyricsto nowhere { \set stanza = 1. I will
make you fish-- ers of men fish-- ers of men fish-- ers of men }
\new Lyrics \lyricsto nowhere { \set stanza = 2. Hear
Christ call-- ing Come un-- to me Come un-- to me Come un-- to me }
}
\new Staff = bottom
{ \override Staff.TimeSignature #'style = #'()
\PartsBottom
}
}
Regards and have fun!
Ralph
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Re: sunday school music
here is a link to a scan of the original
http://www.litwiller.net/images/powerintheblood.jpg
Ralph Little wrote:
Hi,
It would be easier to look at an example I guess.
If you can scan it when you get home and send me a link, I'll have a
look!
Cheers,
Ralph
Tim Litwiller wrote:
Ok, that fixes something I hadn't noticed yet :)
Maybe that will help with a question I was saving for after I got the
flags problem fixed.
I have some songs that alto, tenor or bass have some repeating in the
chorus.
like the song that Gordon Gilbert sent. in the chorus the soprono and
alto sing line a abd tenor and bass sing line b
hope fully this example comes thru - without word wrap ruining it.
if not, I can scan it so you can see what I mean when I get home.
a. there is powerpower wonder working power in the
blood of the Lamb
b. there is power there is power wonder working
power in the blood of the Lamb
a. there is power power wonder working power in the
precious blood of the Lamb
b. there is power there is power wonder working power in the
precious blood of the Lamb
Ralph Little wrote:
Hi Tim,
OK I see the problems you are having with \partcombine and lyrics now.
AFAICS, \partcombine seems to mess with the parts to the extent that
there is no single Voice available that the lyrics can follow. The
example I tried shows that the documented one and two voices
only contain the notes that are separated (not chords) so you only
get lyrics beneath the separate notes.
Looking at a dump of the stream event output, there are voices
one, two, shared, and solo. I think the notes are directed
at different voices depending on whether they are separate or not,
so I suspect linking the lyrics to a voice is a non-starter for the
case of \partcombine. My suspicion is that \partcombine was never
intended to be used with lyrics, but I could be wrong.
There is an example in the Lilypond docs which show how to generate
lyrics independently of other voices and that might be the way to
go. See 7.3.5.4 Lyrics independent of notes
OK, enough of that moaning, using the above method, here is what I
get which seems to work with the previous fix for part-combine.scm.
The method involves using the top-most voice and creating a pseudo
DevNull voice context which the lyrics can track. It exists but
there is no output.
You get a big pile of warnings which I think is a bug because you
get the warnings with the example in the doc also.
---
\version 2.11.32
\include english.ly
\header {
title=Fishers Of Men
poet=Harry D. Clark
composer=H.D.C
}
\layout {
indent = #0
}
PartsOne = {
\relative c' {
\aikenHeads
f4 f f g
a8 a4 gs8 a2
g8 g4 fs8 g2
f8 f4 d8 c2
}
}
PartsTwo = {
\relative c' {
\aikenHeads
c4 c c c
f8 f4 f8 f2
e8 e4 ds8 e2
c8 c4 bf8 c2
}
}
PartsTop = {
\key f \major
\clef treble
\partcombine \PartsOne \PartsTwo
}
PartsThree = {
\relative c' {
\aikenHeads
a4 a a bf
c8 c4 b8 c2
c8 c4 c8 c2
a8 a4 bf8 a2
}
}
PartsFour = {
\relative c' {
\aikenHeads
a4 a a bf
c8 c4 b8 c2
c8 c4 c8 c2
a8 a4 bf8 a2
}
}
PartsBottom = {
\key f \major
\clef bass
\partcombine \PartsThree \PartsFour
}
\score {
\new Staff = top
{ \override Staff.TimeSignature #'style = #'()
\PartsTop
\new Devnull=nowhere \PartsOne
\new Lyrics \lyricsto nowhere { \set stanza = 1. I will
make you fish-- ers of men fish-- ers of men fish-- ers of men }
\new Lyrics \lyricsto nowhere { \set stanza = 2. Hear
Christ call-- ing Come un-- to me Come un-- to me Come un-- to me }
}
\new Staff = bottom
{ \override Staff.TimeSignature #'style = #'()
\PartsBottom
}
}
Regards and have fun!
Ralph
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bars not getting placed correctly
I've been working on this piece, it is set in 4/4 time and rather than
start as I think it should with a whole measure it places a 1/4 note and
then the first bar. That throws the bars off for the whole song.
here is a scan of the music I am working from
http://www.litwiller.net/images/powerintheblood.jpg
\header {
filename = PowerInTheBlood.ly
enteredby = Gordon Gilbert
composer = Lewis E. Jones, 1865-1936
poet = Lewis E. Jones, 1865-1936
date =
title = There is Power In The Blood
subsubtitle = They overcame him by the blood of the Lamb. -Rev. 12:11
metre =
meter = \metre
copyright = Public Domain
style = Hymn
mutopiacomposer = \composer
mutopiapoet=\poet
maintainer = Gordon Gilbert
maintainerEmail = [EMAIL PROTECTED]
lastupdated = 2005/Dec/14
}
\version 2.11.32
\paper {
#(set-paper-size letter)
line-width = 180\mm
%line-width = #(- line-width (* mm 3.00))
between-system-space = 1\mm
force-assignment = #
between-system-padding = #1
% ragged-bottom=##f
% ragged-last-bottom=##f
}
global= {
\time 4/4
\key bes \major
#(set-global-staff-size 17)
\set Staff.minimumVerticalExtent = #'(-4 . 4)
\partial 4
\skip 1 * 20 \bar ||
}
sop = \context Voice = sop{
\relative c' {
\voiceOne
\aikenHeads
\autoBeamOff
%\set fontSize = #2.5
f4 f8 f f4 f8 f |
g4 g8 g f4. bes8 |
a4 c8. b16 c2 |
bes4 d8. cis16 d2 |
f,4 f8 f f4 f8 f |
g4 g8 g f4. bes8 |
a4 a8. a16 c4 bes8 a |
bes2. f8 ^ \markup { \large \italic Refrain} bes |
d2 d |
c8 bes bes g f4 a8. bes16 |
c2( c4) bes8. c16 |
d2( d4) f,8 bes8 |
d2 d2 |
c8 bes bes g f4 a8. bes16 |
c4. es8 d4 c8. c16 |
bes2. bes4\rest
}
}
alto=\context Voice = alto {
\relative c' {
\voiceTwo
\aikenHeads
\autoBeamOff
%\set fontSize = #2.5
d4 d8 d d4 d8 d |
ees4 ees8 ees d4. f8 |
f4 f8. f16 f4( ees) |
d f8. ees16 f2 |
d4 d8 d8 d4 d8 d |
ees4 ees8 ees d4. f8 |
f4 f8. f16 ees4 d8 c |
d2. d8 d |
f2 f |
g8 g g ees d4 c8. d16 |
ees2( d4) d8. e16 |
f2( f4) d8 d8 |
f2 f |
g8 g g ees d4 c8. d16 |
ees4. g8 f4 ees8. ees16 |
d2. bes'4\rest
}
}
tenor = \context Voice = tenor {
\relative c' {
\voiceOne
\aikenHeads
\autoBeamOff
%\set fontSize = #2.0
bes4 bes8 bes bes4 bes8 bes |
bes4 bes8 bes bes4. d8 |
c4 a8. gis16 a2 |
f4 bes8. bes16 bes2 |
bes4 bes8 bes bes4 bes8 bes |
bes4 bes8 bes8 bes4. d8 |
c4 c8. c16 a4 f8 f |
f2. bes8 bes |
bes4 bes8 bes bes2 |
bes8 bes bes bes bes4 c,4\rest |
c4\rest a'8. a16 a4 c,4\rest |
c4\rest bes'8. bes16 bes4 bes8 bes |
bes4 bes8 bes bes2 |
ees8 ees ees bes bes4 c8. bes16 |
a4. c8 bes4 a8. a16|
bes f2. d,4\rest
}
}
bass = \context Voice = bass {
\relative c {
\voiceTwo
\aikenHeads
\autoBeamOff
%\set fontSize = #1.5
bes4 bes8 bes bes4 bes8 bes |
ees4 ees8 ees bes4. bes8 |
f'4 f8. f16 f2 |
bes,4 bes8. bes16 bes2 |
bes4 bes8 bes bes4 bes8 bes |
ees4 ees8 ees bes4. bes8 |
f'4 f8. f16 f4 f8 f |
bes,2. bes8 bes |
bes4 d8 f bes2 |
ees,8 ees ees ees bes4 c4\rest |
c4\rest f8. f16 f4 c4\rest |
c4\rest bes8. bes16 bes4 bes8 bes |
bes4 d8 f bes2 |
ees,8 ees ees ees bes4 f'8. f16 |
f4. f8 f4 f8. f16 |
bes,2. d4\rest
}
}
%accomp=\chordmode {}
stanzaa = \lyricmode {
Would you be free from the bur -- den of sin?
There's power in the Blood,
Power in the Blood;
Would you o'er e -- vil a vic -- to -- ry win?
There's won -- der -- ful power in the Blood.
There is power, power, won -- der work -- ing power
In the Blood of the Lamb;
There is power, power, won -- der work -- ing power
In the Pre -- cious Blood of the Lamb.
}
stanzab = \lyricmode {
Would you be free from your pas -- sion and pride?
_ _ _ _ _ _ _ _ _
Come for a clean -- sing to Cal -- va -- ry's tide?
_ _ _ _ _ _ _ _
}
stanzac = \lyricmode {
Would you be whit -- er, much whit -- er than snow?
_ _ _ _ _ _ _ _ _
Sin -- stains are lost in its life -- giv -- ing flow;
_ _ _ _ _ _ _ _
}
stanzad = \lyricmode {
Would you do serv -- ice for Je -- sus your King?
_ _ _ _ _ _ _ _ _
Would you live dai -- ly His prais -- es to sing?
_ _ _ _ _ _ _ _
}
stanzae = \lyricmode {
}
stanzaf = \lyricmode {
_ _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ there is power
_ _ _ _ _ In the blood
of the Lamb;
_ _ _ there is power
}
\score { %\transpose bes g
\context ChoirStaff
%\context ChordNames \accomp
\unset ChoirStaff.melismaBusyProperties
\context Staff =upper {
\override Staff.TimeSignature #'style = #'()
\override Staff.Rest #'style = #'classical
\clef G
\global \sop \alto
\new Devnull=bass \bass
}
\lyricsto sop \context Lyrics = stanza-1 {
\set stanza = 1.
\stanzaa }
\lyricsto sop \context Lyrics = stanza-2 {
\set stanza = 2.
\stanzab }
\lyricsto sop \context Lyrics = stanza-3 {
\set stanza = 3.
\stanzac }
\lyricsto sop \context Lyrics = stanza-4 {
\set stanza = 4.
\stanzad }
\lyricsto bass
