2 \include "pop-chords.ly"
5 % Good sizes are 16, 18, & 20 (11, 13, 14, 23, 26)
7 #(set-default-paper-size "letter")
8 #(set-global-staff-size staffSize)
9 #(ly:set-option (quote no-point-and-click))
11 %{ Some useful characters: ‘ ’ “ ” – — † ‡ • … %}
15 title = \markup { \override #'(font-family . sans) \fontsize #3.5 "Jesus, All For Jesus" }
16 % composer = \markup { \override #'(font-family . sans) "" }
17 arranger = \markup { \override #'(font-family . sans) \fontsize #1.3 "arr. Ed Smart" }
18 tagline = $(string-append "Engraved by JLH and Lilypond " (lilypond-version))
22 % Useful tweak abbreviations (hn = harmony note)
24 hn = #(define-music-function (parser location arg) (ly:music?)
25 ;; Harmony Note: Set the tweaks property of the passed in note to use a smaller font
27 (set! (ly:music-property arg 'tweaks)
28 (acons 'font-size -3.5 (ly:music-property arg 'tweaks))) arg)
48 s1*8 \bar ".|:-||" % 3-10
54 \mark \markup { \override #'(font-family . sans) { \box { A } } }
67 s1*2 \bar ".|:-||" % 20-21
71 \mark \markup { \override #'(font-family . sans) { \box { B } } }
85 s1*2 \bar "||" % 31-32
89 \once \override Score.RehearsalMark #'self-alignment-X = #left
90 \mark \markup { \override #'(font-family . sans) { \box { C } } \hspace #1.0 \raise #2.0 \musicglyph #"scripts.segno" }
96 \mark \markup { \override #'(font-family . sans) { \box { D } } }
100 \once \override Score.RehearsalMark #'self-alignment-X = #right
101 \mark \markup { \italic { to Coda } \hspace #1.0 \musicglyph #"scripts.coda" }
102 s1*2 \bar "||" % 47-48
106 \mark \markup { \override #'(font-family . sans) { \box { E } } }
107 s1*8 \bar "||" % 49-56
111 \mark \markup { \override #'(font-family . sans) { \box { F } } }
113 s1*3 \bar "||" % 62-64
115 \mark \markup { \override #'(font-family . sans) { \box { G } } }
116 s1*8 \bar "||" % 65-72
118 \once \override Score.RehearsalMark #'self-alignment-X = #right
119 \mark \markup { \italic { D.S. al Coda } }
123 %\stopStaff s1 \bar "" \startStaff % That removed the spurious floating bar line from line break
124 \stopStaff s1 \startStaff
125 \set Score.currentBarNumber = #73
127 \once \override Score.RehearsalMark #'self-alignment-X = #left
128 \mark \markup { { \musicglyph #"scripts.coda" } "Coda" }
130 s1*2 \bar "||" % 73-74
131 s1*7 \bar "|." % 75-81
135 % Various melody lines
150 <e \hn cs \hn a>8 <fs \hn d \hn a>2 ~ |
151 <fs \hn d \hn a>4 <e \hn cs \hn a> <fs \hn d \hn a>8 <a \hn fs \hn d> ~ <a \hn fs \hn d>4 |
152 <b \hn g \hn d>4. <a \hn g \hn d>8 <a \hn fs \hn d>2 ~ |
153 <a \hn fs \hn d>2 <b \hn fs \hn d>4 <a \hn fs \hn d> |
154 <e \hn cs \hn a>4. <d \hn b \hn a>8 <e \hn cs \hn a>2 ~ |
159 <e \hn cs \hn a>4. <e \hn cs \hn a>8
160 << { \voiceOne fs8 ( e ) <d \hn a> ( a ) } \context Voice = vb { \voiceTwo <\hn cs \hn a>4 s4 } >> \oneVoice |
167 % <e \hn cs \hn a>4. \repeatTie
169 << { \voiceOne fs8 ( e ) <d \hn a> ( <cs \hn a \hn g> ) } \context Voice = vb { \voiceTwo \tiny <cs a>4 s4 } >> \oneVoice |
174 <fs \hn d \hn a>4. <e \hn cs \hn a>8 <fs \hn d \hn a>2 ~ |
175 <fs \hn d \hn a>2 <fs \hn d \hn a>4 <a \hn fs \hn d> |
176 <b \hn g \hn d>4. <a \hn fs \hn d>8 <a \hn fs \hn d>2 ~ |
177 <a \hn fs \hn d>2 <b \hn fs \hn d>4 <a \hn fs \hn d> |
178 <e \hn cs \hn a>4. <d \hn cs \hn a>8 <e \hn cs \hn a>2 ~ |
179 % <e \hn cs \hn a>4. <e \hn cs \hn a>8
180 % << { \voiceOne fs ( e ) <d> % Partial measure...
187 LeadVox = \relative c'
199 fs4. ( e8 ) fs2 ~ | % 11
201 b4. ( a8 ) a2 ~ | % 13
205 e4. e8 fs e d a | % 16
209 e'4. \repeatTie e8 fs e d cs | % 19
215 <fs \hn d \hn a>4. \melodyLineB % 22-26
217 \melodyLineBRptA % 27-29
219 <e' \hn cs \hn a>4. \repeatTie \melodyLineBRptB % 30
221 <d \hn a \hn fs>1 | % 31
222 r2 <fs \hn d>8 ( <a \hn fs \hn d> ) <a \hn fs \hn d>4 | % 32
226 <b \hn g \hn d>4. <a \hn fs \hn d>8 <b \hn g \hn d>2 ~ | % 33
227 <b \hn g \hn d>4 <a \hn fs \hn d> <b \hn g \hn e>8 ( a ) <a \hn fs \hn d>4 | % 34
228 <a \hn fs \hn d>4. <fs \hn d \hn a>8 <a \hn fs \hn d>2 ~ | % 35
229 <a \hn fs \hn d>4 r <fs \hn d>8 ( <a \hn fs \hn d> ) <a \hn fs \hn d>4 | % 36
230 <b \hn g \hn d>4. <a \hn fs \hn d>8 <b \hn g \hn d>2 ~ | % 37
231 <b \hn g \hn d>4 <cs \hn a \hn g> <d \hn b \hn g>8 ( <cs \hn a \hn d,> ) <b \hn g \hn d> ( <a \hn fs \hn d> ) | % 38
232 <a \hn fs \hn d>2. <fs \hn d \hn a>4 | % 39
233 <e \hn cs \hn a>1 | % 40
238 <e \hn cs \hn a>4. \melodyLineBRptB % 46
239 <d \hn a \hn fs>1 ~ | % 47
240 <d \hn a \hn fs>2 r | % 48
249 \melodyLineBRptA | % 62-64
251 <fs' \hn d \hn a>4. \melodyLineB % 65-69
252 <e \hn cs \hn a>4. \melodyLineBRptB % 70
253 <d \hn a \hn fs>1 | % 71
254 r2 <fs \hn d>8 ( <a \hn fs \hn d> ) <a \hn fs \hn d>4 | % 72
258 s1 % blank bar for coda
260 <d, \hn a \hn fs>1 ~ | % 73
261 <d \hn a \hn fs>2 r | % 74
266 LeadVoxText = \lyricmode
268 Je -- _ sus, _ all for Je -- _ sus, _
269 all I am and have, _ and e -- ver hope to be, _
271 _ and e -- ver hope to be. _
273 All of my _ am -- bi -- tions, _ hopes, and plans, _
274 I sur -- ren -- der these, _ in -- to _ your _ hands, _
276 _ in -- to _ your _ hands.
278 For _ it’s on -- ly in _ your will _ that I am free, _
279 For _ it’s on -- ly in _ you will _ that _ I am free.
281 Je -- _ sus, _ all for Je -- _ sus, _
282 all I am and have, _ and e -- ver hope to be. _
284 Je -- _ sus, _ all for Je -- _ sus, _
285 all I am and have, _ and e -- ver hope to be. _
287 All of my _ am -- bi -- tions, _ hopes, and plans, _
288 I sur -- ren -- der these, _ in -- to _ your _ hands.
312 s1*19 | % 57-74 (+1 for coda)
346 a4. a8:sus4 a2 | % 15
361 a4. a8:sus4 a2 | % 26
387 a4. a8:sus4 a2 | % 45
396 a4. a8:sus4 a2 | % 53
405 a4. a8:sus4 a2 | % 61
414 a4. a8:sus4 a2 | % 69
421 s1 % blank bar for coda
429 a4. a8:sus4 a2 | % 79
440 \numericTimeSignature
441 \override NoteHead #'style = #'slash
446 c8. c16 ~ c8 c c4 c | % 1
449 c8. c16 ~ c8 c c4 c | % 3
453 c8. c16 ~ c8 c c4 c | % 7
460 c8. c16 ~ c8 c c4 c | % 11
464 c8. c16 ~ c8 c c4 c | % 15
475 c8. c16 ~ c8 c c4 c | % 22
479 c8. c16 ~ c8 c c4 c | % 26
501 c8. c16 ~ c8 c c4 c | % 41
505 c8. c16 ~ c8 c c4 c | % 45
510 c8. c16 ~ c8 c c4 c | % 49
514 c8. c16 ~ c8 c c4 c | % 53
519 c8. c16 ~ c8 c c4 c | % 57
523 c8. c16 ~ c8 c c4 c | % 61
528 c8. c16 ~ c8 c c4 c | % 65
532 c8. c16 ~ c8 c c4 c | % 69
539 \stopStaff s1 \startStaff |
544 c8. c16 ~ c8 c c4 c | % 75
548 c8. c16 ~ c8 c c4 c | % 79
556 s1*80 | % 1-79 (+1 for coda)
557 s2 s4_\markup { \italic { rit. } } s | % 80
565 \Global % The "roadmap" that everything else depends on
569 \new Voice = "lead" \LeadVox
570 \new Voice = "riffs" \Riffs
571 \new Lyrics \lyricsto "lead" \LeadVoxText
576 \new ChordNames \Chords
577 \new RhythmicStaff << \StaffC \Dynamics >>
580 \set Score.skipBars = ##t
581 \set Score.melismaBusyProperties = #'()
588 #(define fonts (make-pango-font-tree
594 % Don't spread staves vertically across last page (default: t)
595 % ragged-last-bottom = ##f
596 % Don't spread staves vertically across the page (default: f)
597 % ragged-bottom = ##t
598 % Allow partial line for last stave (default: f)
601 % To find out what's eating the space at the top...
602 % annotate-spacing = ##t