The English Hymnal - Wiki Music Experiment/Hymns101-150/213
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Lily1 Code
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Lily2 Code
Edit this section and paste your code between the tags <code><pre> and </pre></code>.
%%% 213-215.png
%%% Hymn 130. Christians to the Paschal Victim.
%%% Version 2
\version "2.10"
\include "gregorian-init.ly"
\header {
dedication = \markup { \center-align { "THE CHRISTIAN YEAR - EASTERTIDE" \hspace #0.1 } }
title = "130"
poet = \markup { \small \italic { Sequence.} }
composer = \markup { \small \italic { "Ascribed to Wipo, c. 1030. Tr. cento." } }
meter = \markup { \small { \hspace #45 "Victimae Paschali." } }
arranger = \markup { \small { Mode i. } }
tagline = ""
}
%%%%%%%%%%%%% Macros
%%% macro settings for stemless long note which is 2x duration of regular white note
ln = {\once \override NoteHead #'duration-log = #0
\once \override Stem #'stencil = ##f
\once \override NoteColumn #'force-hshift = #'0.4 }
%%% same as above but uses x-offset instead of force-hshift
lnb = {\once \override NoteHead #'duration-log = #0
\once \override Stem #'stencil = ##f
\once \override NoteHead #'X-offset = #0.8 }
%%% settings to generate the double longnotes (breves)
brevenote = { \once \override NoteHead #'duration-log = #-1
\once \override NoteColumn #'force-hshift = #0.8 }
crochet = { \once \override NoteHead #'duration-log = #2 }
% *** prints four dots in a column, This will be used by other macros to create repeat signs.
fdots = \markup { \override #'(baseline-skip . 1.0)
\column { \with-color #black { \fontsize #0 . \fontsize #0 . \fontsize #0 . \fontsize #0 .} }}
%%% positions 4 dots at beginning of a line of score mimicking a begin repeat sign
%%% uses fdots macro, above
%%% The dots are placed as \mark objects rather than a normal bar glyph because Lilypond will not easily print a bar
%%% glyph at the beginning of a line without upsetting the bar at the end of the previous line
%%% Place \beginfdots before the first note of line you want it to begin.
beginfdots = {
\once \override Staff.RehearsalMark #'Y-offset = #'1.4
\once \override Staff.RehearsalMark #'X-offset = #'9.0
\mark \fdots
\once \override Score.SeparationItem #'padding = #1
}
%%% Prints a repeat sign glyph comprising 4 dots then two thin bars. This is used to end a repeat.
%%% This macro works by replacing the glyph used by the \bar "||" function.
fdendrepeat = {\once \override Staff.BarLine #'stencil = #ly:text-interface::print
\once \override Staff.BarLine #'text = \markup { \line { \raise #1.4 \override #'(baseline-skip . 1.0)
\column { \with-color #black {
\fontsize #2 .
\fontsize #2 .
\fontsize #2 .
\fontsize #2 .} }
\hspace #-1 \filled-box #'(0 . 0.15) #'(-2 . 2) #0
\hspace #-0.9 \filled-box #'(0 . 0.15) #'(-2 . 2) #0
} }
\bar "||"}
%%% Prints a repeat sign glyph comprising two thin bars then 4 dots. Used to end a section then start a repeat.
%%% This macro works by replacing the glyph used by the \bar "||" function.
barstartrepeat = {\once \override Staff.BarLine #'stencil = #ly:text-interface::print
\once \override Staff.BarLine #'text = \markup { \line { \filled-box #'(0 . 0.15) #'(-2.0 . 2.0) #0
\hspace #-0.9 \filled-box #'(0 . 0.15) #'(-2.0 . 2.0) #0
\hspace #-1.0 \raise #1.4 \override #'(baseline-skip . 1.0)
\column { \with-color #black {
\fontsize #2 . \fontsize #2 .
\fontsize #2 . \fontsize #2 . } }
} }
\bar "||"}
%%%
%%% Equivalent macros for plainsong
%%%
%%% prints three dots in a column, suitable for plainsong staffs
tdots = \markup { \override #'(baseline-skip . 1.6)
\column { \with-color #black { \fontsize #0 . \fontsize #0 . \fontsize #0 . } }
}
%%% Using the tdots macro above, positions 3 dots at beginning of a line of score thus mimicking a begin repeat sign.
%%% The dots are placed as \mark objects rather than a normal bar glyph because Lilypond will not easily print a bar
%%% glyph at the beginning of a line without upsetting the bar at the end of the previous line
%%% Place \pbeginfdots before the first note of line you want it to begin.
pbegintdots = {
\once \override Staff.RehearsalMark #'Y-offset = #'1.5
\once \override Staff.RehearsalMark #'X-offset = #'3.0
\mark \tdots
\once \override Score.SeparationItem #'padding = #1
}
%%% Prints a repeat sign glyph comprising 3 dots and two thin bars. Used to end a repeat on a plainsong staff.
%%% This macro works by replacing the glyph used by the \bar "||" function.
ptdendrepeat = {\once \override Staff.BarLine #'stencil = #ly:text-interface::print
\once \override Staff.BarLine #'text = \markup { \line { \raise #1.4 \override #'(baseline-skip . 1.6) \column { \with-color #black { \fontsize #2 . \fontsize #2 . \fontsize #2 . } }
\hspace #-1 \filled-box #'(0 . 0.15) #'(-2.4 . 2.4) #0
\hspace #-0.9 \filled-box #'(0 . 0.15) #'(-2.4 . 2.4) #0
} }
\bar "||"}
%%% Prints a repeat sign glyph comprising two thin bars then 3 dots. Used to end a section then start a repeat on a plainsong staff.
%%% This macro works by replacing the glyph used by the \bar "||" function.
pbarstartrepeat = {
\once \override Staff.BarLine #'stencil = #ly:text-interface::print
\once \override Staff.BarLine #'text = \markup { \line { \filled-box #'(0 . 0.15) #'(-2.4 . 2.4) #0
\hspace #-0.9 \filled-box #'(0 . 0.15) #'(-2.4 . 2.4) #0
\hspace #-1.0 \raise #1.4 \override #'(baseline-skip . 1.6)
\column { \with-color #black { \fontsize #2 . \fontsize #2 . \fontsize #2 . } }
} }
\bar "||"}
%%% clefpad moves the clef a little to the right. When a mid-staff clef change is inserted, Lilypond puts it very close to the
%%% barline. Unusually, this extra-offset command must be inserted after the \clef command.
clefpad = \once \override Staff.Clef #'extra-offset = #'(0.4 . 0)
%% music function to allow lyrics to skip a given number of note-syllables
%% skips #7 will skip over 7 music note-syllables. Needed to align lyrics which begin partway
%% through the music
skips = #(define-music-function (parser location times) (number?)
#{
\repeat unfold $times { \skip 1}
#})
%%%%%%%%%%%%%%%%%%% End of Macro Definitions
%%% plainsong voice
plainsong = { \relative c' {
\clef "vaticana-do3"
\set fontSize = #3
%%% Set the order in which symbols are printed. By default Lilypond prints mid-staff clef changes before a barline. This section
%%% sets the clef symbol to come after a barline
%%% As these settings are for the score context, they affect plainsong and normal SATB staffs
\override Score.BreakAlignment #'break-align-orders = ##(; end-of-line:
( left-edge
clef staff-bar key-signature
time-signature )
; unbroken
(left-edge
staff-bar
clef
key-signature
staff
time-signature )
; begin of line
( left-edge
clef
key-signature
staff-bar
time-signature )
)
d,8 c d f g f e d \bar "|" a' g e g f e d \bar "||" \break
\pbegintdots a' c d a g a a \bar "|" a g a g f e d \bar "|" \break
f g d e d c e f e d
%%% markup for the custos
_\markup { \hspace #6.5
\override #'(baseline-skip . 0.4)
\column { "–"
\line{ \hspace #0.1 \tiny \musicglyph #"scripts.prall" \hspace #-1.5 \fontsize #2 . } } }
%%% resume music
\ptdendrepeat \once \override VaticanaStaff.Clef #'non-default = ##t
\clef "vaticana-fa2" \clefpad a c d f \[ g \flexa f \] \[ e \flexa d \] \bar "|" \break
%%pp2
c f e d e c d \bar "||" f a g a \bar "" \break
f g \[ f \flexa e \] d \bar "|" d g f g a g f g \[ f \flexa e \] d \bar "||" \break
a c d f \[ g \flexa f \] \[ e \flexa d \] \bar "|" c f e d e c d \bar "||" \break
%%pp3
f a g a f g \[ f \flexa e \] d \bar "|" d g f g a \bar "" \break
f g \[ f \flexa e \] \once \override TextScript #'extra-offset = #'( 3.0 . -1.2 ) d^\markup { \tiny \musicglyph #"scripts.prall" \hspace #-1.5 \fontsize #2 . } \pbarstartrepeat \once \override VaticanaStaff.Clef #'non-default = ##t \clef "vaticana-do3" \clefpad a' c d a a g a a \bar "|" a c \bar "" \break
\[ g \flexa e \] f e d \bar "|" c e d g a a \[ g \flexa e \] f e d \ptdendrepeat
} }
%%% SATB voices
global = {
\key ees \major
\autoBeamOff
\set Staff.midiInstrument = "church organ"
}
soprano = \relative c' {
\tag #'vOne { f8 ees f aes bes aes g f \bar "|" c' bes g bes aes g f \bar "||" \break }
\tag #'vTwoThree { \beginfdots c' ees f c bes c c \bar "|" c bes c bes aes g f \bar "|"
\once \override Score.SeparationItem #'padding = #2
aes bes f g f ees g aes g f \fdendrepeat } \tag #'vFourtoSeven { c ees f aes bes[ aes] g[ f] \bar "|" \break
%%%pp2
\once \override Score.SeparationItem #'padding = #2
ees8 aes g f g ees f \bar "||" aes c bes c \bar "" \break
aes bes aes[ g] f \bar "|" f bes aes bes c bes aes bes aes[ g] f \bar "||" \break
\once \override Score.SeparationItem #'padding = #2
c ees f aes bes[ aes] g[ f] \bar "|" ees aes g f g ees f \bar "||" \break
%%%pp3
aes c bes c aes bes aes[ g] f \bar "|" f bes aes bes c \bar "" \break
\once \override Score.SeparationItem #'padding = #4
aes bes aes[ g] f } \tag #'vEightNine { \barstartrepeat c' ees f c c bes c c \bar "|" c ees \bar "" \break
bes[ g] aes g f \bar "|" ees g f bes c c bes[ g] aes g f \fdendrepeat }
}
alto = \relative c' {
\tag #'vOne { c8 c des c bes ees ees c \bar "|" ees f ees f ees ees c \bar "||" \break }
\tag #'vTwoThree { \beginfdots aes' bes aes g f ees ees \bar "|" \ln ees4. des!8 ees ees c \bar "|" \break
ees des! c ees \ln bes4 \ln ees4 ~ ees8 c \fdendrepeat } \tag #'vFourtoSeven { c bes c f \ln f4 ees8[ c] \bar "|" \break
%%%pp2
c8 ees ees bes bes c c \bar "||" f \ln ees4 ~ ees8 \bar "" \break
c8 des! \ln ees4 des!8 \bar "|" des! des \brevenote ees\breve *1/4 ~ \ln ees4 ~ \ln ees4 c8 \bar "||" \break
aes8 bes c f \ln f4 ees8[ des!] \bar "|" bes \ln ees4 c8 ees ~ ees c \bar "||" \break
%%%pp3
f \ln ees4 ~ ees8 c des! \ln ees4 des!8 \bar "|" c \brevenote ees\breve *1/4 ~ \bar "" \break
\ln ees4 ~ \ln ees4 c8 } \tag #'vEightNine { \barstartrepeat aes'8 bes aes g aes f ees ees \bar "|" \ln ees4 \bar "" \break
\ln ees4 ~ ees8 ees c \bar "|" bes ees c \ln ees4 ~ ees8 \ln ees4 ~ ees8 ees c \fdendrepeat }
}
tenor = \relative c { \clef bass
\tag #'vOne {aes'8 aes \ln aes4 ees8 c' bes aes \bar "|" g f bes des c bes aes \bar "||" \break }
\tag #'vTwoThree { \beginfdots ees' ees c c f, g g \bar "|" aes g aes f aes bes aes \bar "|" \break
aes f aes bes aes g bes c g aes \fdendrepeat } \tag #'vFourtoSeven { aes bes aes ~ aes des![ c] bes[ aes] \bar "|" \break
%%%pp2
\ln c4 bes8 aes g g aes \bar "||" c aes g ~ g \bar "" \break
f ~ f \ln aes4 ~ aes8 \bar "|" aes bes ees, \crochet f16( \crochet g16) aes8 bes c bes \ln c4 aes8 \bar "||" \break
ees ees aes c des![ c] c[ aes] \bar "|" g aes bes aes bes bes aes \bar "||" \break
%%%pp3
aes aes g g f ~ f \ln aes4 ~ aes8 \bar "|" aes g aes g aes ~ \bar "" \break
aes ees \ln c'4 aes8 } \tag #'vEightNine { \barstartrepeat ees' ees c c c f, g g \bar "|" aes bes \bar "" \break
g[ bes] aes bes aes \bar "|" bes bes aes \ln g4 aes8 g[ bes] c g aes \fdendrepeat }
}
bass = \relative c { \clef bass
\tag #'vOne {f,8 aes des aes g aes ees' f \bar "|" c des! ees bes c ees f \bar "||" \break }
\tag #'vTwoThree { \beginfdots aes g f ees des! c c \bar "|" aes ees' aes, bes c ees f \bar "|" \break
c bes f' \ln ees4. ees8 aes, c f, \fdendrepeat } \tag #'vFourtoSeven { aes' g f des! \ln bes4 ees8[ f]
%%%pp2
\lnb aes4 \ln ees4 ~ ees8 c f, \bar "||" f' aes ees c \bar "" \break
f bes, \lnb c4 des!8 \bar "|" des! bes c bes \ln aes4. g8 \lnb c4 f,8 \bar "||" \break
aes g f f' bes,[ f'] c[ des!] \bar "|" ees c ees f ees g f \bar "||" \break
%%%pp3
\once \override Score.SeparationItem #'padding = #2
des!8 aes ees' c f bes, \lnb c4 des!8 \bar "|" f ees c bes aes \bar "" \break
c g aes[ c] f } \tag #'vEightNine { \barstartrepeat aes g f ees f des! c c \bar "|" aes g \bar "" \break
\ln ees'4 c8 ees f \bar "|" g ees f ees c aes \ln ees'4 aes,8 c f, \fdendrepeat }
}
lyricsOne = \lyricmode {
\override LyricText #'font-size = #-1.
"1 Chris" -- tians, to the Pas -- chal Vic -- tim Of -- fer your thank -- ful prai -- ses!
\once \override LyricText #'self-alignment-X = #1
"2 A" Lamb the sheep re -- deem -- eth: Christ, who on -- ly is sin -- less,
Re -- con -- cil -- eth sin -- ners to the Fa -- ther:
\once \override LyricText #'self-alignment-X = #0.4
"4 Speak" Ma -- ry, de -- clar -- ing
What thou saw -- est way -- far -- ing:
\once \override LyricText #'self-alignment-X = #0.65
"5 ‘ The" Tomb of Christ,
who is liv -- ing, The glo -- ry of Je -- su's Re -- sur -- rec -- tion:
\once \override LyricText #'self-alignment-X = #0.4
"6 Bright" an -- gels at -- test -- ing, The shroud and nap -- kin rest -- ing.
\once \override LyricText #'self-alignment-X = #0.4
"7 Yea," Christ my hope is a -- ris -- en: To Ga -- li -- lee he
goes be -- fore you.’
\once \override LyricText #'self-alignment-X = #0.8
"8 Hap" -- py they who hear the wit -- ness, Ma -- ry's
word be -- liev -- ing A -- bove the tales of Jew -- ry de -- ceiv -- ing.
}
lyricsTwo = \lyricmode {
\override LyricText #'font-size = #-1.
\skips #15
\once \override LyricText #'self-alignment-X = #0.0
"3 Death" and life have con -- tend -- ed In that com -- bat stu -- pen -- dous:
The Prince of Life, who died, reigns im -- mor -- tal.
\skips #61
\once \override LyricText #'self-alignment-X = #0.2
"9. Christ" in -- deed from death is ris -- en, our new
life ob -- tain -- ing. Have mer -- cy, vic -- tor King, ev -- er reign -- ing!
}
#(ly:set-option 'point-and-click #f)
\book {
\paper {
#(set-paper-size "a4")
%% annotate-spacing = ##t
print-page-number = ##f
ragged-last-bottom = ##t
ragged-bottom = ##t
}
%%% Score block
\score {
<<
\context VaticanaStaff
<<
\new VaticanaVoice = "cantus" { \plainsong }
>> % end vaticana staff
\context ChoirStaff <<
\context Staff = upper <<
\context Voice = sopranos { \voiceOne \global \soprano }
\context Voice = altos {\voiceTwo \global \alto }
>>
\new Lyrics \lyricsto sopranos {\set alignAboveContext = #"upper" \small \override LyricSpace #'minimum-distance = #1.8 \lyricsOne }
\new Lyrics \lyricsto sopranos {\set alignAboveContext = #"upper" \small \lyricsTwo }
\context Staff = "lower" << \clef bass
\context Voice = tenors { \voiceOne \global \tenor }
\context Voice = bass { \voiceTwo \global \bass }
>>
>>
>>
\layout {
ragged-right = ##f
ragged-last = ##f
\context { \Score timing = ##f }
\context { \Score \override TimeSignature #'transparent = ##t }
\context { \Score \remove "Mark_engraver" }
\context { \Staff \consists "Mark_engraver" }
% \context { \VaticanaStaff Clef #'break-visibility = #begin-of-line-visible }
% *** Needed to produce beamed minims - which are quavers in disguise
\context { \Staff \override NoteHead #'duration-log = #1 }
\context { \Staff \override Stem #'flag-style = #'no-flag }
\context { \VaticanaStaff
% *** Increases distance between lines of staff
\override StaffSymbol #'staff-space = #1.6
% *** Changes staff to black instead of default red
\revert StaffSymbol #'color
% *** Makes clef bigger
\override Clef #'font-size = #3
% *** Would make ledger lines black, if there were any
\revert LedgerLineSpanner #'color
% *** Makes terminal barline visible
\override BarLine #'transparent = ##f
% *** Remove custos
\remove Custos_engraver
% *** needed for certain tweaks
\consists "Mark_engraver"
\remove Key_engraver
\override Accidental #'transparent = ##f }
} % end layout
} % end score
%%% A separate score block to generate the midi minus the plainsong voice
%%% Since minims are quavers in disguise, tempo has to be set accordingly, tempo set to 2=80
\score {
\new ChoirStaff <<
\new Staff = "upper" <<
\context Voice = sopranos {\voiceOne \global \keepWithTag #'vOne \soprano \keepWithTag #'vTwoThree \soprano \keepWithTag #'vTwoThree \soprano
\keepWithTag #'vFourtoSeven \soprano \keepWithTag #'vEightNine \soprano \keepWithTag #'vEightNine \soprano }
\context Voice = altos {\voiceTwo \global \keepWithTag #'vOne \alto \keepWithTag #'vTwoThree \alto \keepWithTag #'vTwoThree \alto
\keepWithTag #'vFourtoSeven \alto \keepWithTag #'vEightNine \alto \keepWithTag #'vEightNine \alto }
>>
\new Staff = "lower" <<
\context Voice = tenors {\voiceOne \global \keepWithTag #'vOne \tenor \keepWithTag #'vTwoThree \tenor \keepWithTag #'vTwoThree \tenor
\keepWithTag #'vFourtoSeven \tenor \keepWithTag #'vEightNine \tenor \keepWithTag #'vEightNine \tenor }
\context Voice = bass {\voiceTwo \global \keepWithTag #'vOne \bass \keepWithTag #'vTwoThree \bass \keepWithTag #'vTwoThree \bass
\keepWithTag #'vFourtoSeven \bass \keepWithTag #'vEightNine \bass \keepWithTag #'vEightNine \bass }
>>
>>
\midi {
\context { \Score tempoWholesPerMinute = #(ly:make-moment 80 8) }
}
}
} % end book
Lily3 Notes
Copy the Lilypond source to your computer and compile it to create MIDIs and a PDF to check. Leave notes here, or edit the code in Lily2 and leave notes describing the changes. After errors are corrected, the piece is declared "Cleared" and uploaded to the repository.
If you can't compile Lilypond, use the links here:
Original scan: 213.png
Links to L2 output version 1:
Links to L2 output version 1:
Notes by L2 Jkenny 19:21, 22 July 2007 (PDT)
- I was puzzled by the slur (soprano or alto) at the beginning of the 4th system (top of second page). There seems to be no reason to slur together the soprano e and g. It could also be a tie between the two "e"s, but it doesn't make sense to tie the soprano e with an alto e. I have left the slur/tie out. Await your advice.
Note by KenJ 03:53, 21 August 2007 (PDT)
- That is exactly what I would do. I agree it makes no sense at all, no matter how hard we try. I even double-checked the directions of the stems to make sure alto didn't sing above soprano on the first note of the slur/tie. I suggest it's a typo and should be left out.
Perhaps with a note in case the PPer wants to include it in the file as a note stating that there was a tie in the original that looked like it didn't belong there (for historical purposes to be able to reproduce the original if wanted by the end-user).
Notes by Jkenny 09:08, 21 August 2007 (PDT)
- Okay, the slur/tie is out of the Lilypond, any other observations or shall we clear this monster of a piece?
Notes by L3 KenJ 14:55, 21 August 2007 (PDT)
- System 1, first note, soprano: change from d to f.
- System 2, lyrics, verse 3: no period after con-tend-ed.
- System 3: no bar at end (both staffs).
- p. 214, system beginning "who is liv-ing", measure 1, second note, alto: add explicit flat to d (d => d-flat). Do the same with last note of measure and first note of next measure. Last note of measure one probably doesn't need the explicit flat unless notation at that time didn't carry the first flat through to the end of the bar. Probably the editor/publisher didn't know or understand notation and got over-zealous with flats as well as slur/ties. :). (just kidding... sort of.)
- Same system, measure 1, last note, bass: add explicit flat to d.
- System beginning verse 7: a-ri-sen should be a-ris-en.
- Second last system beginning "goes be-fore you": Please extend beginning so that continued-ties can be seen more easily. You did that with another hymn recently. TIA (Thanks In Advance).
Notes by Jkenny 18:26, 21 August 2007 (PDT)
- System 1 soprano d -> f
- System 2 verse 3 removed period
- System 3 end of SATB staffs - tried to remove bar, but the plainsong bar (which is on the image) also disappears as well. Can't have one without the other, so left bar in, plus will leave a note for PPer.
- pg 214 - added explicit flats. I notice this hymnal is more generous with "cautionary" accidentals, it inserts explicit accidentals even when they don't need to, perhaps thinking that congregations would be forgetful.
- pg 214 - added explicit flat for bass
- System beginning verse 7: fixed a-ris-en. Also forced a bit more space on the left edge so that the explicit flat in bass does not get mixed with the key signature.
- Second last system: forced space at left to make continued ties longer.
- V2 up.
Note by KenJ 22:12, 21 August 2007 (PDT)
- Clear.
V2 uploaded to repository. Jkenny 23:00, 21 August 2007 (PDT)
Project History
Notes for PPer
- Note 4th system (top of page 2 in the scan), there is a slur/tie in the first soprano/alto note which we think is a typo error as it doesn't make sense. So we have left it out of the Lilypond.
- System 3 plainsong staff ends with a bar, but SATB staffs have no bar. In Lilypond - have not tweaked to force a mismatch which involves more complex code. Suggest check if typo first.