2 \include "pop-chords.ly"
5 % Good sizes are 16, 18, & 20
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 %Let's bump up the title size and switch to the chord font. :-)
17 title = \markup { \override #'(font-family . sans) \fontsize #3.5 "Wonderful, Merciful Savior" }
18 composer = \markup { \override #'(font-family . sans) \fontsize #1.3 "Dawn Rodgers/Eric Wyse" }
19 arranger = \markup { \override #'(font-family . sans) \fontsize #1.3 "arr. Ed Smart" }
20 tagline = $(string-append "Engraved by JLH and Lilypond " (lilypond-version))
23 % Useful tweak abbreviations (hn = harmony note)
25 hn = #(define-music-function (parser location arg) (ly:music?)
26 ;; Harmony Note: Set the tweaks property of the passed in note to use a smaller font
28 (set! (ly:music-property arg 'tweaks)
29 (acons 'font-size -3.0 (ly:music-property arg 'tweaks))) arg)
36 LeadVox = \relative c'
38 % \set Voice.autoBeaming = ##f
39 % \set Staff.instrument = #"Lead vox"
42 \override Staff.TimeSignature #'style = #'()
44 \override Score.SpacingSpanner #'average-spacing-wishes = ##f
62 \once \override Score.RehearsalMark #'self-alignment-X = #left
63 \mark \markup { \override #'(font-family . sans) { \box { A } } \italic \smaller { 1st X piano only, unison } }
64 <e \hn c>4. <e \hn c>8 <e \hn c>4 | % 9
65 <f \hn d>4. <e \hn c>8 <d \hn b>4 | % 10
68 <g' \hn e \hn b>4 <g \hn e \hn b> <g \hn e \hn b> | % 13
69 <a \hn f \hn c>4 <g \hn e \hn c> <f \hn d \hn a>8 ( <g \hn c,> ) | % 14
70 <g \hn d \hn c>2. ~ | % 15
71 <g \hn d \hn b>2. | % 16
72 <c \hn a \hn e>4 <c \hn a \hn e> <c \hn a \hn e>8 <c \hn a \hn e> ~ | % 17
73 <c \hn a \hn e>4 <b \hn g \hn d> <a \hn e \hn b> | % 18
74 <a \hn f \hn c>2. | % 19
76 <e \hn c>4 <f \hn d> <g \hn d> | % 21
77 <b, \hn g>2 <c \hn a>4 | % 22
79 << { \voiceOne a'4 ( b ) c } \context Voice = "v2" { \voiceTwo <\hn f, \hn c>2 <\hn f \hn a,>4 } \oneVoice >> | % 24
80 <g \hn e \hn c>4 <f \hn d \hn c> <e \hn c \hn g> | % 25
81 <e \hn b \hn g>2 <d \hn b>4 | % 26
92 \set Score.repeatCommands = #'((volta "2.–3.") end-repeat) % That's an ndash in there...
94 \set Score.repeatCommands = #'((volta #f))
102 \mark \markup { \override #'(font-family . sans) { \box { B } } }
103 <c' \hn a \hn e>4 <c \hn a \hn e> <c \hn a \hn e>8 <c \hn a \hn e> ~ | % 33
104 <c \hn a \hn e>4 <b \hn g \hn d> <a \hn e \hn c> | % 34
105 <a \hn f \hn c>2. ( | % 35
106 <b \hn g \hn d>2. )| % 36
107 <c \hn a \hn e>4 <c \hn a \hn e> <c \hn a \hn e>8 <c \hn a \hn e> ~ | % 37
108 <c \hn a \hn e>4 <b \hn g \hn d> <a \hn e \hn c> | % 38
109 << { \voiceOne <a \hn f>2 ^( ~ <a \hn f>8 <b \hn g>16 <a \hn f> } \context Voice = "v2" { \voiceTwo <\hn c,>2. ( } \oneVoice >> | % 39
110 << { \voiceOne <g' \hn e>2. ^) } \context Voice = "v2" { \voiceTwo <\hn b,>2. ) } \oneVoice >> | % 40
111 <c' \hn a \hn e>4 <c \hn a \hn e> <c \hn a \hn e>8 <c \hn a \hn e> ~ | % 41
112 <c \hn a \hn e>4 <b \hn g \hn d> <a \hn e \hn c> | % 42
113 <a \hn f \hn c>2. | % 43
115 <e \hn c>4 <f \hn d> <g \hn e> | % 45
116 <b, \hn g>4 <b \hn g>2 | % 46
118 << { \voiceOne a'4 ( b ) c } \context Voice = "v2" { \voiceTwo <\hn f, \hn c>2 <\hn f \hn a,>4 } \oneVoice >> | % 48
119 <g \hn e \hn c>4 <f \hn d> <e \hn c> | % 49
120 <e \hn b>4 <d \hn b>2 | % 50
121 \once \override Score.RehearsalMark #'self-alignment-X = #left
122 \mark \markup { \musicglyph #"scripts.coda" \italic { to Coda } }
128 %\stopStaff s1 \bar "" \startStaff % That removed the spurious floating bar line from line break
130 \stopStaff s2. \startStaff
131 \set Score.currentBarNumber = #55
133 \once \override Score.RehearsalMark #'self-alignment-X = #left
134 \mark \markup { { \musicglyph #"scripts.coda" } "Coda" }
140 \mark \markup { \override #'(font-family . sans) { \box { C } } }
141 <c' \hn a \hn e>4 <c \hn a \hn e> <c \hn a \hn e>8 <c \hn a \hn e> ~ | % 57
142 <c \hn a \hn e>4 <b \hn g \hn d> <a \hn e \hn c> | % 58
143 <a \hn f \hn c>2. ( | % 59
144 <b \hn g \hn d>2. )| % 60
145 <c \hn a \hn e>4 <c \hn a \hn e> <c \hn a \hn e>8 <c \hn a \hn e> ~ | % 61
146 <c \hn a \hn e>4 <b \hn g \hn d> <a \hn e \hn c> | % 62
147 << { \voiceOne <a \hn f>2 ^( ~ <a \hn f>8 <b \hn g>16 <a \hn f> } \context Voice = "v2" { \voiceTwo <\hn c,>2. ( } \oneVoice >> | % 63
148 << { \voiceOne <g' \hn e>2. ^) } \context Voice = "v2" { \voiceTwo <\hn b,>2. ) } \oneVoice >> | % 64
149 <c' \hn a \hn e>4 <c \hn a \hn e> <c \hn a \hn e>8 <c \hn a \hn e> ~ | % 65
150 <c \hn a \hn e>4 <b \hn g \hn d> <a \hn e \hn c> | % 66
151 <a \hn f \hn c>2. | % 67
153 <e \hn c>4 <f \hn d> <g \hn e> | % 69
154 <b, \hn g>4 <b \hn g>2 | % 70
156 << { \voiceOne a'4 ( b ) c } \context Voice = "v2" { \voiceTwo <\hn f, \hn c>2 <\hn f \hn a,>4 } \oneVoice >> | % 72
157 <g \hn e \hn c>4 <f \hn d \hn c> <e \hn c \hn g> | % 73
158 <e \hn b \hn g>2 <d \hn b \hn g>4 | % 74
161 << { \voiceOne a'4 ( b ) c } \context Voice = "v2" { \voiceTwo <\hn f, \hn c>2 <\hn f \hn a,>4 } \oneVoice >> | % 76
162 <g \hn e \hn c>4 <f \hn d> <e \hn c> | % 77
163 <e \hn b>2 <d \hn b>4 | % 78
171 LeadVoxText = \lyricmode
173 Won -- der -- ful, mer -- ci -- ful sav -- ior,
174 pre -- cious re -- dee -- mer and _ friend; _
175 Who would have thought _ that a lamb could
176 res -- cue the souls of men?
177 Oh, _ you res -- cue the souls of men.
181 You are the one _ that we praise, _
182 you are the one _ we a -- dore; __ _ _ _ _
183 You give the heal -- _ ing and grace our
184 hearts al -- ways hun -- ger for,
185 Oh, _ our hearts al -- ways hun -- ger for.
189 You are the one _ that we praise, _
190 you are the one _ we a -- dore; __ _ _ _ _
191 You give the heal -- _ ing and grace our
192 hearts al -- ways hun -- ger for,
193 Oh, _ our hearts al -- ways hun -- ger for.
194 Oh, _ our hearts al -- ways hun -- ger for. _
197 LeadVoxTextB = \lyricmode
199 Coun -- se -- lor, com -- for -- ter, kee -- per,
200 spi -- rit we long to em -- _ brace; _
201 You of -- fer hope _ when our hearts have
202 hope -- less -- ly lost our way,
203 Oh, _ we’ve hope -- less -- ly lost our _
208 LeadVoxTextC = \lyricmode
210 Al -- might -- y in -- fi -- nite Fa -- ther,
211 faith -- ful -- ly lov -- ing your _ own; _
212 Here in our weak -- _ ness you find us,
213 fall -- ing be -- fore your throne,
214 Oh, _ we’re fall -- ing be -- fore your _
220 Riffs = \relative c''
224 \override Staff.TimeSignature #'style = #'()
226 \override Score.SpacingSpanner #'average-spacing-wishes = ##f
231 << { \tiny r8 g' c g' c c, } \\ { \tiny c,2. ~ } >> | % 1
232 << { \tiny f'8 g c2 } \\ { \tiny c,,2. } >> | % 2
233 << { \tiny r8 g c g' c c, } \\ { \tiny c,2. ~ } >> | % 3
234 << { \tiny f'8 g c2 } \\ { \tiny c,,2. } >> | % 4
235 << { \tiny r8 g c g' c c, } \\ { \tiny c,2. ~ } >> | % 5
236 << { \tiny f'8 g c2 } \\ { \tiny c,,2. } >> | % 6
237 << { \tiny r8 g' c g' c c, } \\ { \tiny c,2. ~ } >> | % 7
238 << { \tiny f'8 g c2 } \\ { \tiny c,,2. } >> | % 8
242 << { \tiny r8 g' c g' c c, } \\ { \tiny c,2. ~ } >> | % 27
243 << { \tiny f'8 g c2 } \\ { \tiny c,,2. } >> | % 28
244 << { \tiny r8 g' c g' c c, } \\ { \tiny c,2. ~ } >> | % 29
245 << { \tiny f'8 g c2 } \\ { \tiny c,,2. } >> | % 30
249 << { \tiny r8 g' c g' c c, } \\ { \tiny c,2. ~ } >> | % 51
250 << { \tiny f'8 g c2 } \\ { \tiny c,,2. } >> | % 52
251 << { \tiny r8 g' c g' c c, } \\ { \tiny c,2. ~ } >> | % 53
252 << { \tiny f'8 g c2 } \\ { \tiny c,,2. } >> | % 54
256 << { \tiny r8 g' c g' c c, } \\ { \tiny c,2. ~ } >> | % 79
257 << { \tiny f'8 g c2 } \\ { \tiny c,,2. } >> | % 80
258 << { \tiny r8 g' c g' c c, } \\ { \tiny c,2. ~ } >> | % 81
259 << { \tiny f'8 g c2 } \\ { \tiny c,,2. } >> | % 82
260 % << { \tiny r8 g' c g' c c, } \\ { s2. } >> | % 79
261 % << { \tiny f8 g c2 } \\ { s2. } >> | % 80
262 % << { \tiny r8 g, c g' c c, } \\ { \tiny c,2. ~ } >> | % 81
263 % << { \tiny f'8 g c2 } \\ { \tiny c,,2. } >> | % 82
264 \arpeggioArrowUp <c g' c e g c>-\arpeggio-\fermata | % 83
275 %Bah, can't we set this globally?
287 d2.:m/c \bar "||:" % 8
392 % Use a RhythmicStaff on the chords instead of this?
393 % It almost works, but not quite. Doesn't collapse chords above to single notes...
397 % \set Voice.autoBeaming = ##f
398 % \set Staff.instrument = #"Rhythm"
399 \override Staff.TimeSignature #'style = #'()
401 \override NoteHead #'style = #'slash
412 c4 c c \bar "||:" % 8
450 c4 c c \bar "||" % 32
475 c4 c c \bar ":|" % 54
477 %\stopStaff s1 \bar "" \startStaff % That removed the spurious floating bar line from line break
478 \stopStaff s2. \startStaff
479 \set Score.currentBarNumber = #55
481 %\once \override Score.RehearsalMark #'self-alignment-X = #left
482 %\mark \markup { { \musicglyph #"scripts.coda" } "Coda" }
487 c4 c c \bar "||" % 56
515 c2.-\fermata \bar "|." % 83
522 s4_\markup { \italic { snare pat. } } s2 | % 1
523 s4_\markup { \italic { simile } } s2 | % 2
525 s4_\markup { \italic { spacy } } s2 | % 22
529 s4_\markup { \italic { Last time } } s2 | % 51
538 % \new Staff = leadStaff { \new Voice = "lead" \LeadVox }
539 \new Staff = leadStaff { << \new Voice = "lead" \LeadVox \new Voice = "riffs" \Riffs >> }
540 \new Lyrics \lyricsto "lead" \LeadVoxText
541 \new Lyrics \lyricsto "lead" \LeadVoxTextB
542 \new Lyrics \lyricsto "lead" \LeadVoxTextC
545 \new ChoirStaff = "Rhythm"
547 \new ChordNames = "chords" \Chords
548 \new RhythmicStaff = "chordRhythm" << \StaffC \Dynamics >>
551 \set Score.skipBars = ##t
552 \set Score.melismaBusyProperties = #'()
559 #(define fonts (make-pango-font-tree
565 % Spread staves vertically across last page (default: t)
566 % ragged-last-bottom = ##f
567 % Spread staves vertically across the page (default: f)
568 % ragged-bottom = ##t
569 % Allow partial line for last stave (default: f)
572 % To find out what's eating the space at the top...
573 % annotate-spacing = ##t
574 %let's try this: [It works! Huzzah!]
575 obsolete-page-top-space = 0 top-system-spacing #'basic-distance = #(/ obsolete-page-top-space staff-space)