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< User:Crantila | FSC | Typesetting/LilyPond
\version "2.12.2"
\header
{
title = "Impromptu (Excerpt)"
composer = "Schubert, Franz"
opus = "Opus 90/4"
% Remove default LilyPond tagline
tagline = ##f
}
tempoMark =
{
\once \override Score.RehearsalMark #'self-alignment-X = #LEFT
\once \override Score.RehearsalMark #'break-align-symbols = #'(time-signature key-signature)
\once \override Staff.TimeSignature #'break-align-anchor-alignment = #LEFT
\mark \markup \bold "Allegretto"
}
global =
{
\tempoMark
\key as \major
\time 3/4
}
%%%%%%%% NOTES %%%%%%%%
%%%% RIGHT %%%%
right = \relative c'''
{
\global
% Music follows here.
ces16(-2 es ces as-1 as-3 ces as es-1 es as es ces |
ces16-2 es ces as as-3 ces as es <g bes>8-. r |
ces'16(-2 es ces as-1 as-3 ces as es-1 es as es ces |
ces16-2 es ces as as-3 ces as es <g bes>8-.) r |
% M.5
<as ces>4-_-3 <g bes fes'>-.( <g bes fes'>-. |
<g bes fes'>4-. <g bes es>-.-4 <g bes des>-.)-3 |
ces'16( es ces as as ces as es es as es ces |
ces16 es ces as as ces as es <g bes>8-.) r |
ces'16( es ces as as ces as es es as es ces |
% M.10
ces16 es ces as as ces as es <g bes>8-.) r |
<as ces>4-_-2 <ges bes fes'>-.( <ges bes fes'>-. |
<ges bes fes'>4-. <ges bes es>-.-4 <ges bes d>-.)-3 |
es''16(-2 ges es ces ces-2 es ces ges ges-2 ces ges es |
es16-2 ges es ces ces-3 es ces ges <<bes8-.) d>> r |
% M.15
es'16( ges es ces ces es ces ges ges ces ges es |
es16 ges es ces ces es ces ges <<bes8-.) d>> r |
<ces es>4-_-3 <bes des as'>-.( <bes des as'>-. |
<bes des as'>4-. <bes es ges>-.-4 <bes fes'>-.-)-3 |
d'16(-2 fis d b b-2 d b fis fis-2 b fis d |
% M.20
d16-2 fis d b b-3 d b fis <ais cis>8-.) r |
d'16( fis d b b d b fis fis b fis d |
d16 fis d b b d b fis <ais cis>8-.) r |
<fis b d>4-_ <cis' e b'>-.( <cis e b'>-. |
<cis e b'>4-. <cis fis a>-.-4 <cis g'>4-.-3 |
% M.25
<d fis>4-.) <ais cis g'>-.(-5 <ais cis gis'>-. |
<ais cis g'>4-. <ais cis fis>-. <cis e>-.-4 |
<b dis>4-.) <fes as! fes'>-.(\> <fes as fes'>-. |
<fes as fes'>4-. <es! as es'!>-. <des! as' des!>-. |
<es as ces>4-.) <es as ces>-.( <es as ces>-. |
% M.30
<es g bes>4-.) <es g bes>-.( <es g bes>-.) |
c''!16(-2 es c as as-3 c as es es-2 as es c |
c16-2 es c as as-3 c as es <g bes>8-.) r |
c'16( es c as as c as es es as es c |
c16 es c as as c as es <g bes>8-.) r |
% M.35
es''16(-2 as es c c-2 es c as as-3 c as es |
es16-2 as es c c-2 es c as <g bes>8-.) r |
es''16( as es c c es c as as c as es |
es16 as es c c es c as <g bes>8-.) r |
c16(-2 es c as as-2 c as es as8-.) r |
% M.40
des16(-3 f des as as-2 des as f as8-.) r |
es'16(-3 g es bes bes-2 es bes g bes8-.) r |
es16(-2 as es c c-2 es c as c8-.) r |
c'16(-2 es c as as-2 c as es as8-.) r |
des16(-3 f des as as-2 des as f as8-.) r |
% M.45
es'16(-3 g es bes bes-2 es bes g bes8-.) r |
es16(-2 as es c c-2 es c as c8-.) r |
c,16( es c as as c as es as8-.) r |
des16( f des as as des as f as8-.) r |
es'16( g es bes bes es bes g bes8-.) r |
% M.50
es16( as es c c es c as c8-.) r |
c'16( es c as as c as es as8-.) r |
des16( f des as as des as f as8-.) r |
es'16( g es bes bes es bes g bes8-.) r |
es16( as es c c es c as c8-.) r |
% M.55
es16( g es bes bes es bes g bes8-.) r |
es16( as es c c es c as c8-.) r |
\ottava #1
f='''16( a f c c f c a c8-.->) r |
f16( bes f des des f des bes-1 des8-.->) r |
f16( a f c c f c a c8-.->) r |
% M.60
f16( bes f des des f des bes-1 des8-.->) r |
as'!16( c as es es as es c es8-.) r |
as16( des as f f as f des f8-.) r |
as16( c as es es as es c es8-.) r |
as16( des as f f-2 as f des des-3 f des as |
% M.65
\ottava #0
as=''16(-2 des as f f-2 as f des des-3 f des as) |
as'16( des as f f as f des des f des as |
as16 des as f f as f des des f des as) |
des16-3( fes des bes bes-2 des bes ges des'-3 fes des bes |
bes16 des bes ges des' fes des bes bes des bes ges) |
% M.70
des'16->(-3 es des bes bes16-2 des bes ges des'->-3 es des bes |
bes16 des bes ges des'-> es des bes bes des bes ges) |
<< {
es'4(-3 as 4 g-4 |
f4-3 des' bes |
bes4)(-5 as) as |
% M.75
as4(-5 g) g |
es4(-3 as g-4 |
f4 f' des-5 |
des4)( c)-4 c |
c4(-5 bes)-4 bes |
} \\
{
\times 2/3 {es,8[ c as]} \times 2/3 {as'[ es-2 c]} \times 2/3 {g'[ es c]} |
\times 2/3 {f8[ des as]} \times 2/3 {des'8[ f, des]} \times 2/3 {bes'[ f des]} |
\times 2/3 {bes'8[ es, des]} \times 2/3 {as'[ es c]} \times 2/3 {as'[ es c]} |
% M.75
\times 2/3 {as'8[ es c]} \times 2/3 {g'[ es bes]} \times 2/3 {g'[ es bes]} |
\times 2/3 {es8[ c as]} \times 2/3 {as'[ es-2 c]} \times 2/3 {g'[ es c]} |
\times 2/3 {f8[ des as]} \times 2/3 {f''[ as, f]} \times 2/3 {des'[ f, des]} |
\times 2/3 {des'8[ as-2 f]} \times 2/3 {c'[ as es]} \times 2/3 {c'[ as es]} |
\times 2/3 {c'8[ es, des]} \times 2/3 {bes'[ es, des]} \times 2/3 {bes'[ es, des]} |
}
>>
% M.80
c'16(-2 es c as as-2 c as es as8-.) r |
des16(-3 f des as as-2 des as f as8-.) r |
es'16(-3 g es bes bes-2 es bes g bes8-.) r |
es16(-2 as es c c-2 es c as c8-.) r |
c'16(-2 es c as as-2 c as es as8-.) r |
% M.85
des16(-3 f des as as-2 des as f as8-.) r |
es'16(-3 g es bes bes-2 es bes g bes8-.) r |
es16(-2 as es c c-2 es c as c8-.) r |
c,16( es c as as c as es as8-.) r |
des16( f des as as des as f as8-.) r |
% M.90
es'16( g es bes bes es bes g bes8-.) r |
es16( as es c c es c as c8-.) r |
c'16( es c as as c as es as8-.) r |
des16( f des as as des as f as8-.) r |
es'16( g es bes bes es bes g bes8-.) r |
% M.95
es16( as es c c-2 es c as c8-.) r |
es16( g es bes bes es bes g bes8-.) r |
es16( as es c c es c as c8-.) r |
es16( g es bes bes es bes g bes8-.) r |
es16( as es c c-2 es c as as-3 c as es |
% M.100
es16-2 as es c c-2 es c as as-3 c as es) |
es'16( as es c c es c as as c as es |
es16 as es c c es c as es'-3 as es c)-1 |
\clef bass
as16(-2 c as es as c as es as c as es |
as16 c as es as c as es as c as es) |
% M.105
\clef treble
<< {
as'2.~ |
as2. |
} \\
{
es16 ges es as, es' ges es as, es' ges es as, |
es'16 ges es as, es' ges es as, es' ges es as, |
}
>>
%% TRIO %%
\bar "||"
\key cis \minor
gis'2.
}
%%%% LEFT %%%%
left = \relative c
{
\global
% Music follows here.
as4-. <as' ces es>2~-3 |
<as ces es>2 <es bes' es>8-. r |
as,4-. <as' ces es>2~ |
<as ces es>2 <es bes' es>8-. r |
% M.5
<as ces es>4-_ <es bes' fes'>-.( <es bes' fes'>-. |
<es bes' fes'>4-. <es bes' es>-.-4 <es bes' des>-.-3) |
as,4-. <as' ces es>2~ |
<as ces es>2 <es bes' es>8-. r |
as,4-. <as' ces es>2~ |
% M.10
<as ces es>2 <es bes' es>8-. r |
<as ces es>4-_ <ges bes fes'>-.( <ges bes fes'>-. |
<ges bes fes'>4-. <ges bes es>-.-4 <ges bes d>-.-3) |
ces,4-. <ges' ces es>2~-4 |
<ges ces es>2 <ges fes'>8-. r |
% M.15
ces,4-. <ges' ces es>2~ |
<ges ces es>2 <ges fes'>8-. r |
<ces es>4-_ <ges fes'>-.( <ges fes'>-. |
<ges fes'>4-. <ges es'>-._4 <ges des'>-._3) |
b,4-. <fis' b d>2~_4 |
% M.20
<fis b d>2 <fis e'>8-. r |
b,4-. <fis' b d>2~ |
<fis b d>2 <fis e'>8-. r |
<b d>4-_ <a g'>-.( <a g'>-. |
<a g'>4-. <a fis'>-. <a_5 e'_1>-. |% <<a-.-5 e'-1>> |
% M.25
<b d>4-.) <fis e'>-.( <fis e'>-. |
<fis e'>4-. <fis-._4 cis'_1>-. <fis ais>-. |
<gis b>4-.) <des! as'! des!>-.( <des as' des>-. |
<des as' des>4-. <es!_4 as ces>-. <fes_3 as>-. |
<es as ces>4-.) <es as ces>-.( <es as ces>-. |
% M.30
<es_3 g bes>4-.) <es g bes>-.( <es g bes>-.) |
as,4-. <es' as c>2~ |
<es as c>2 <es des'>8-. r |
as,4-. <es' as c>2~ |
<es as c>2 <es des'>8-. r |
% M.35
as,4-. <es' as c>2~ |
<es as c>2 <es des'>8-. r |
as,4-. <es' as c>2~ |
<es as c>2 <es des'>8-. r |
as,4 <ges' as c>2 |
% M.40
des4-. <f as des>2 |
es,4-. <es' bes' des>2 |
as,4-. <es' as c>2 |
as,4 <ges' as c>2 |
des4-. <f as des>2 |
% M.45
es,4-. <es' bes' des>2 |
as,4-. <es' as c>2 |
<< { e=4(-2 as4.-> g8-1 |
f4-2 des'4.->-1 c8-1 |
bes4-2 es4.->-1 d8-1 |
% M.50
c4-2 es2->) |
es,=4(-2 as4.-> g8-1 |
f4-2 des'4.->-1 c8-1 |
bes4 es4.-> des8-1 |
c4-2 es4.-> c8 |
% M.55
bes4)( es4.-> des8 |
c4 es4.-> c8) |
c4( f4.-> es8-2 |
des4-3 f4.-> des8-2 |
c4)( f4.-> es8 |
% M.60
des4 f4.-> des8 |
\clef treble
es4)( as4.-> ges8-1 |
f4-2 as4.-> f8 |
es4)( as4.-> ges8 |
f4) % end of polyphonic section
} \\
{ as,,=,2. |
des2.-4 |
es2.-5 |
% M.50
as2.-3 |
as,=,2. |
des2.-4 |
es2. |
as2.-3 |
% M.55
es2. |
as2. |
f2. |
bes2.-4 |
f2. |
% M.60
f2.-4 |
\clef treble
as2. |
des2.-3 |
as2. |
des4 % end of polyphonic section
}
>>
r4 r | % beats 2 and 3 only; this eliminates redundant rests
% M.65
R2. |
as'8-1 r f r des r |
\clef bass
as8-1 r f r des r |
<ges, bes des fes>2 <ges bes des fes>4~ |
<ges bes des fes>4 <ges bes des fes>2 |
% M.70
<g bes des es>2 <g bes des es>4~ |
<g bes des es>4 <g bes des es>2 |
as2-3( c4 |
des4-2 bes des |
es2.)( |
% M.75
es,2.) |
as2-3( c4 |
des4 bes-5)
<< {
bes'~-1 |
bes4( as-2) as~-1 |
as4( g-2) g-1 |
} \\
{
des(-4 |
es2.) |
es2. |
}
>>
% M.80
as,4-. <ges' as c>2 |
des4-. <f as des>2 |
es,4-. <es' bes' des>2 |
as,4-. <es' as c>2 |
as,4-. <ges' as c>2 |
% M.85
des4-. <f as des>2 |
es,4-. <es' bes' des>2 |
as,4-. <es' as c>2 |
<< {
es4( as4.-> g8-1 |
f4 des'4.-> c8-1 |
% M.90
bes4 es4.-> des8-1 |
c4-2 es2->) |
es,4( as4.-> g8 |
f4 des'4.-> c8 |
bes4 es4.-> des8 |
% M.95
c4 es4.-> c8 |
bes4)( es4.-> des8 |
c4 es4.-> c8 |
bes4)( es4.-> des8 |
c4)
} \\
{
as,2. | des2.-4 |
% M.90
es2. | as2.-3 | as,2. | des2. | es2. |
% M.95
as2. | es2. | as 2. | es2. | as4
}
>>
r4 r |
% M.100
R2. |
es'8-2 r c-1 r as r |
ees8 r c r es-2 r |
as,4-5 r r |
R2. |
% M.105
<c, as' c>2.~ |
<c as' c>2. |
%% TRIO %%
\bar "||"
\key cis \minor
cis8 <gis'_4 cis e> <gis cis e> <gis cis e> <gis cis e> <gis cis e> |
}
%%%% DYNAMICS %%%%
dynamics =
{
s2.\pp |
R2.*3 |
% M.5
s4\< s\! s\> |
s2 s4\! |
R2.*4 |
% M.11
s4\< s\! s\> |
s2 s4\! |
R2.*4 |
% M.17
s4\< s\! s\> |
s2 s4\! |
R2.*4 |
% M.23
s4 s2\> |
s2 s4\! |
% M.25
s4\< s\! s\> |
s2 s4\! |
s4 s\f s\> |
s2 s4\! |
s4\p s2 |
% M.30
R2. |
s2.\pp |
R2.*3 |
% M.35
\crescTextCresc
s2.\< |
R2.*2 |
s2 s8 s\! |
s16 s\pp s8 s2 |
% M.40
R2.*3 |
s2.\< |
R2.*2 |
% M.46
s2 s8 s\! |
s16 s\pp s8 s2 |
R2.*3 |
% M.51
s2.\< |
R2.*5 |
% M.57
s32 s\f s8. s2 |
R2.*4 |
% M.62
s2.\< |
R2. |
% M.65
s32 s\ff s8. s2 |
R2.*3 |
s2\fz s4\fz |
% M.70
s4 s2\fz |
\dimTextDim
s8\> s\! s2 | % with this \! I eliminated the dashed line without tweaking settings
s32 s\p s8. s2 |
s16 s\pp s8 s2 |
% M.74
R2.*7 |
% M.81
s32 s\p s8. s2 |
R2.*3 |
% M.85
s2.\< |
R2.*3 |
s32 s\p s8. s2 |
% M.90
R2.*3 |
s32 s\f s8. s2 |
R2.*3 |
% M.97
s2.\< |
R2. |
s32 s\ff s8. s2 |
% M.100
R2.*8 |
%% TRIO %%
s32 s\p s8. s2 |
}
%%%%%%%% SCORE %%%%%%%%
% This is completely optional, but taken right from the LilyPond
% reference manual. I wanted to ensure the right paper size, since
% the default is A4. I also wanted to squeeze the music onto
% fewer pages, since it seemed like there was a lot of vertical
% space being wasted.
\paper
{
#(set-paper-size "letter")
between-system-padding = #0.1
ragged-last-bottom = ##f
}
% This is the standard, obligatory "score" section. Note the
% addition of the extra \context commands in the "layout"
% portion, which are for the piano-centred-dynamics.
\score
{
\new PianoStaff \with
{
instrumentName = "Piano"
}
<<
\new Staff = "right" \right
\new PianoDynamics = "dynamics" \dynamics
\new Staff = "left" { \clef bass \left }
>>
\layout
{
% Everything below here is for the piano dynamics.
% Define "PianoDynamics" context.
\context
{
\type "Engraver_group"
\name PianoDynamics
\alias Voice
\consists "Output_property_engraver"
\consists "Script_engraver"
\consists "New_dynamic_engraver"
\consists "Dynamic_align_engraver"
\consists "Text_engraver"
\consists "Skip_event_swallow_translator"
\consists "Axis_group_engraver"
\override DynamicLineSpanner #'Y-offset = #0
\override TextScript #'font-size = #2
\override TextScript #'font-shape = #'italic
\override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
}
% Modify "PianoStaff" context to accept Dynamics context.
\context
{
\PianoStaff
\accepts PianoDynamics
}
% End of PianoDynamics code.
}
}