filename = "praeludium-fuga-E.ly";
title = "praeludium and fuga in E-major";
opus = "BWV 566";
- description = "Praeludium 3 bar excerpt, "
- "2nd fuga transposed subject -- 4 bar excerpt. "
- "We try to imitate the Griepenkerl/Keller edition which "
- "gives the best approximation to Bach's original layout.";
composer = "Johann Sebastian Bach (1685-1750)";
enteredby = "JCN";
copyright = "public domain";
}
+%{
+ description
+
+ Praeludium 3 bar excerpt,
+ 2nd fuga transposed subject -- 4 bar excerpt.
+ We try to imitate the Griepenkerl/Keller edition which
+ gives the best approximation to Bach's original layout
+%}
%{
Tested Features:
purpose of this file is testing:
* organ staff...
%}
-\version "0.1.14";
+\version "1.0.7";
-noShift = { \property Voice.hshift = 0 }
-Shift = { \property Voice.hshift = 1 }
-praeludium_commands = \melodic {
- \meter 4/4;
- \key fis cis gis dis; % E-major
+praeludium_commands = \notes {
+ \time 4/4;
+ \key e;
}
-praeludium_right = \melodic {
+praeludium_right = \notes {
\$praeludium_commands
- \octave c';
\clef violin;
% 13 -- how to type -- where to split -- this more neatly?
- \multi 2 <
- { \stemup r4 dis'4 e'4. e'8 ~ |
- \Shift e'4 [d'8 fis'8] \noShift gis'4 ~ [gis'8 fis'16 e'16] |
- fis'4 ~ [fis'8 e'16 dis'16] e'4 r8 e'8 }
- { \stemup \Shift r4 bis4 cis'4 \noShift cis'4 |
- a'4 ~ [a'16 gis'16 a'16 b'16] \Shift dis'4 cis'4 ~ |
- [cis'8 dis'16 ais16] bis4 cis'4 r8 b8 }
- { \stemup \Shift s4 gis4 }
- { \stemdown \Shift r4 fis4 \noShift gis4 gis4 |
- a4. cis'8 gis2 |
- fis4 gis4 gis4 r8 e8 }
+ \type Staff <
+ \type Voice = I \relative c'' { \stemup r4 dis4 e4. e8 ~ |
+ \shifton e4 [d8 fis8] \shiftoff gis4 ~ [gis8 fis16 e ] |
+ fis4 ~ [fis8 e16 dis] e4 r8 e8 }
+ \type Voice = III \relative c'' { \stemup \shifton r4 bis cis \shiftoff cis |
+ a' ~ [a16 gis a b] \shifton dis,4 cis ~ |
+ [cis8 dis16 ais] bis4 cis r8 b }
+ \type Voice = IV \relative c'' {
+
+ %\stemup
+ %{
+ this is a diversion from the Griepenkerl/Keller
+ edition; a hack to avoid collisions
+ %}
+ \stemdown
+ \shifton s4 gis }
+
+ \type Voice = II \relative c' { \stemdown
+% \shifton % idem
+
+ r4 fis \shiftoff gis gis |
+ a4. cis8 gis2 |
+ fis4 gis gis r8 e8 }
> |
% 16
}
-praeludium_left = \melodic {
+praeludium_left = \notes \relative c {
\$praeludium_commands
- \octave c;
\clef bass;
% 13
- \multi 2 <
- { \stemup r4 dis'4 cis'4 cis'4 ~ |
- [cis'8 a8 d'8 cis'8] [bis8 gis8] cis'4 |
- dis'2 cis'4 r8 cis'8 }
+ \type Staff <
+ { \stemup r4 dis' cis cis ~ |
+ [cis8 a d cis] [bis gis] cis4 |
+ dis2 cis4 r8 cis }
{ \stemup bis2 }
- { \stemup \Shift r4 gis4 ~ [gis 8 gis8] ~ \stemdown \noShift gis4 |
+ { \stemup \shifton r4 gis ~ [gis8 gis] ~ \stemdown \shiftoff gis4 |
a4. fis8 gis4. a8 ~ |
- a4 gis4 gis4 r8 gis8 }
- { \stemup \Shift s4 fis4 e}
+ a4 gis4 gis r8 gis }
+% { \stemup \shifton s4 fis4 e}
+% a quick hack to avoid some collisons
+ { \stemdown \shifton s4 fis4 e}
{ \stemdown s4 dis4 cis4 }
> |
- % 16
+ %16
}
-praeludium_pedal = \melodic {
+praeludium_pedal = \notes \relative c{
\$praeludium_commands
- \octave c;
\clef bass;
- % 13
- r4 fis,4-\ltoe e,4.-\lheel e8-\rheel |
- fis4.-\rtoe fis8-\rtoe fis4-\rtoe [e8-\ltoe a8-\rtoe] |
- dis4-\ltoe gis4-\rtoe [cis8-\ltoe b,!8-\lheel ais,8-\rtoe gis,8-\ltoe] |
- % 16
+ %13
+ r4 fis,4-\ltoe e4.-\lheel e'8-\rheel |
+ fis4.-\rtoe fis8-\rtoe fis4-\rtoe [e8-\ltoe a-\rtoe] |
+ dis,4-\ltoe gis-\rtoe [cis,8-\ltoe b!-\lheel ais-\rtoe gis-\ltoe] |
+ %16
}
-fuga2_commands = \melodic{
- \meter 3/4;
- \key fis cis gis dis; % E-major
+fugaII_commands = \notes{
+ \time3/4;
+ \key e; % E-major
}
-fuga2_right = \melodic {
- \$fuga2_commands
- \octave c';
+fugaII_right = \notes \relative c'' {
+ \$fugaII_commands
\clef violin;
- % 15
- \multi 2 <
+ %15
+ \type Staff <
{ \stemup [b8 fis8] b4 }
{ \stemdown fis2 }
>
|x
|
%}
- \multi 2 <
- { \stemup \noShift e'4 }
- { \stemup \Shift cis'4 }
- { \stemup \Shift ais4 }
- { \stemdown fis4 }
+ \type Staff <
+ { \stemup \shiftoff e4 }
+ { \stemup \shifton cis }
+ { \stemup \shifton ais }
+ { \stemdown fis }
> |
- % 16
- \multi 2 <
- { \stemup dis'2 dis'4 |
- cis'2 cis'4 |
- b4. [cis'8 dis'8 e'8] }
- { \stemup \Shift [b8 fis8] b2 ~ |
- [b8 a!16 gis16] a2 ~ |
+ %16
+ \type Staff <
+ { \stemup dis2 dis4 |
+ cis2 cis4 |
+ b4. [cis8 dis e] }
+ { \stemup \shifton [b8 fis] b2 ~ |
+ [b8 a!16 gis] a2 ~ |
a4 gis2 }
{ \stemdown fis2. ~ |
- fis2. ~ |
+ fis ~ |
fis4 e2 }
> |
- % 19
+ %19
}
-fuga2_left = \melodic {
- \$fuga2_commands
- \octave c;
+fugaII_left = \notes {
+ \$fugaII_commands
\clef bass;
- % 15
- \multi 2 <
+ %15
+ \type Staff <
{ \stemdown b2 \stemup ais4 |
b2 b4 }
{ \stemdown s2 e4 |
fis2 fis4 }
>
- \stemdown cis'2 e'4 |
+ \stemdown cis2 e4 |
b4. b8 b4 |
- % 19
+ %19
}
-fuga2_pedal = \melodic {
- \$fuga2_commands
- \octave c;
+fugaII_pedal = \notes \relative c {
+ \$fugaII_commands
\clef bass;
- % 15
+ %15
dis4.-\ltoe e8-\rtoe cis4 |
- b,4.-\lheel [cis8-\ltoe dis8-\rtoe e8-\rheel] |
+ b4.-\lheel [cis8-\ltoe dis8-\rtoe e8-\rheel] |
fis4.-\rtoe [e8-\rheel dis8-\rtoe cis8-\ltoe] |
dis4-\rtoe e4-\rheel e,4-\ltoe |
- % 19
+ %19
}
-breakmusic = \melodic {
- %\meter 4/4;
+breakmusic = \notes {
+ %\time4/4;
r1
}
% these should be two separate scores...
\score{
\type Score <
- \type Grand_staff <
+ \type GrandStaff <
\type Staff = treble {
- \praeludium_right \breakmusic \fuga2_right }
+ \praeludium_right \breakmusic \fugaII_right }
\type Staff = bass {
- \praeludium_left \breakmusic \fuga2_left }
+ \praeludium_left \breakmusic \fugaII_left }
>
\type Staff = pedal {
- \praeludium_pedal \breakmusic \fuga2_pedal }
+ \praeludium_pedal \breakmusic \fugaII_pedal }
>
\paper{}
\midi {
- \tempo 4 = 96; }
+ \tempo 4 =96; }
}