\version "2.18.2"
\header {
title = "The Lord Bless You and Keep You"
subtitle = \markup { \smaller "In Memory of John Paul Goodman (1943-2018)" }
subsubtitle = \markup { \smaller "For Guitar Duo Plus Optional Voice Duos" }
composer = "Peter C. Lutkin"
arranger = "Ed.: J. J. Olson"
date = "1900"
source = "Chicago: Clayton F. Summy Company" % IMSLP525535
style = "Hymn"
mytagline = ##f
% o_
% (\___\/_____/)
% ~ ~ ~ ~ ~ / ~ ~ ~ ~ ~ ~ ~
maintainer = "Jeffrey Olson"
maintainerEmail = "gmail's jjocanoe"
license = "Public Domain"
mutopiacomposer = "LutkinPC"
mutopiatitle = "The Lord Bless You and Keep You"
mutopiadate = "1900"
mutopiasource = "Chicago: Clayton F. Summy Company" % IMSLP525535
mutopiainstrument = "2 guitars and 2 optional voices"
moreInfo = "In memory of John Paul Goodman (1943-2018), a widely beloved choir director in Colorado who always used this song as a farewell and godspeed, most poignantly whenever a fellow choir member passed away. This edition allows two guitars to play all the notes in Lutkin's original version for SATB choir. Reduced vocal parts are also provided in case the two guitarists also choose to sing as a duet (either tenor-bass, soprano-alto or soprano-bass). The LilyPond source file also contains snippets to (a) color any nearly out of range notes and (b) adjust formatting in response to paper size. An arrangement for brass quartet is also available."
comptitle = \markup { \concat { \composer ": " \title } }
footer = "Mutopia-2018/12/06-2235"
copyright = \markup {\override #'(font-name . "DejaVu Sans, Bold") \override #'(baseline-skip . 0) \right-column {\with-url #"http://www.MutopiaProject.org" {\abs-fontsize #9 "Mutopia " \concat {\abs-fontsize #12 \with-color #white "ǀ" \abs-fontsize #9 "Project "}}}\override #'(font-name . "DejaVu Sans, Bold") \override #'(baseline-skip . 0 ) \center-column {\abs-fontsize #11.9 \with-color #grey \bold {"ǀ" "ǀ"}}\override #'(font-name . "DejaVu Sans,sans-serif") \override #'(baseline-skip . 0) \column { \abs-fontsize #8 \concat {"Typeset using " \with-url #"http://www.lilypond.org" "LilyPond " "by " \maintainer " — " \footer}\concat {\concat {\abs-fontsize #8 { "Placed in the " \with-url #"http://creativecommons.org/licenses/publicdomain" "Public Domain" " by the typesetter " " — free to distribute, modify, and perform" }}\abs-fontsize #13 \with-color #white "ǀ" }}}
tagline = ##f
myfoot = \markup{ \override #'(font-name . "DejaVu Sans,sans-serif") \column { \vspace #2 \abs-fontsize #8 \fill-line { \line { \footer } \line { \comptitle } \line { \arranger } } } }
}
\paper{
page-count = #6
%#(set-paper-size "a4") %uncomment to test specific paper size
%#(set-paper-size "letter") %uncomment to test specific paper size
indent = \indent + 8\mm
top-margin = 8\mm
bottom-margin = 8\mm
ragged-last-bottom = ##f
print-first-page-number = ##f
evenHeaderMarkup = \oddHeaderMarkup % so all page numbers to right
oddFooterMarkup = \markup { \column {
\fill-line { \on-the-fly #first-page \column { \vspace #2 \fromproperty #'header:copyright } }
\fill-line { \on-the-fly #not-first-page \fromproperty #'header:myfoot }
}
}
evenFooterMarkup = \oddFooterMarkup
}
% guitar neck position indicators
pI = ^\markup { "I" }
pII = ^\markup { "II" }
pIII = ^\markup { "III" }
pIV = ^\markup { "IV" }
pV = ^\markup { "V" }
pVI = ^\markup { "VI" }
pVII = ^\markup { "VII" }
pVIII = ^\markup { "VIII" }
pIX = ^\markup { "IX" }
pX = ^\markup { "X" }
pXI = ^\markup { "XI" }
pXII = ^\markup { "XII" }
pXIII = ^\markup { "XIII" }
pXIV = ^\markup { "XIV" }
pETC = ^\markup { "..." }
% parenthetic position reminders
ppI = ^\markup { "(I)" }
ppII = ^\markup { "(II)" }
ppIII = ^\markup { "(III)" }
ppIV = ^\markup { "(IV)" }
ppV = ^\markup { "(V)" }
ppVI = ^\markup { "(VI)" }
ppVII = ^\markup { "(VII)" }
ppVIII = ^\markup { "(VIII)" }
ppIX = ^\markup { "(IX)" }
ppX = ^\markup { "(X)" }
ppXI = ^\markup { "(XI)" }
ppXII = ^\markup { "(XII)" }
ppXIII = ^\markup { "(XIII)" }
% large barre
BpI = ^\markup { "B_I" }
BpII = ^\markup { "B_II" }
BpIII = ^\markup { "B_III" }
BpIV = ^\markup { "B_IV" }
BpV = ^\markup { "B_V" }
BpVI = ^\markup { "B_VI" }
BpVII = ^\markup { "B_VII" }
BpVIII = ^\markup { "B_VIII" }
BpIX = ^\markup { "B_IX" }
BpX = ^\markup { "B_X" }
BpXI = ^\markup { "B_XI" }
BpXII = ^\markup { "B_XII" }
% small barre
bpI = ^\markup { "b_I" }
bpII = ^\markup { "b_II" }
bpIII = ^\markup { "b_III" }
bpIV = ^\markup { "b_IV" }
bpV = ^\markup { "b_V" }
bpVI = ^\markup { "b_VI" }
bpVII = ^\markup { "b_VII" }
bpVIII = ^\markup { "b_VIII" }
bpIX = ^\markup { "b_IX" }
bpX = ^\markup { "b_X" }
bpXI = ^\markup { "b_XI" }
bpXII = ^\markup { "b_XII" }
bpXIII = ^\markup { "b_XIII" }
% left hand fingering locations
fingerLeft = \set fingeringOrientations = #'(left)
fingerRight = \set fingeringOrientations = #'(right)
fingerUp = \set fingeringOrientations = #'(up)
fingerDown = \set fingeringOrientations = #'(down)
fingerUpDown = \set fingeringOrientations = #'(up down)
fingerStaff = \override Fingering.staff-padding = #'()
fingerRevert = \revert Fingering.staff-padding
% abbreviation to tweak a fingering location
% e.g.
fngXY = #(define-scheme-function (parser location xy fng) (number-pair? string-or-music?) #{
\tweak extra-offset #xy #fng
#})
% right hand fingers
P = \rightHandFinger #1
I = \rightHandFinger #2
M = \rightHandFinger #3
A = \rightHandFinger #4
% right hand fingering locations
rhUp = \set strokeFingerOrientations = #'(up)
rhDown = \set strokeFingerOrientations = #'(down)
rhLeft = \set strokeFingerOrientations = #'(left)
rhRight = \set strokeFingerOrientations = #'(right)
% abbreviation to tweak right hand finger location
% e.g. 1
rhXY = #(define-scheme-function (parser location xy str) (number-pair? string-or-music?) #{
\tweak StrokeFinger.extra-offset #xy #str
#})
% string number locations
stringUp = \set stringNumberOrientations = #'(up)
stringDown = \set stringNumberOrientations = #'(down)
stringLeft = \set stringNumberOrientations = #'(left)
stringRight = \set stringNumberOrientations = #'(right)
% abbreviation to tweak sting number location
% e.g. 1
strXY = #(define-scheme-function (parser location xy str) (number-pair? string-or-music?) #{
\tweak StringNumber.extra-offset #xy #str
#})
% string-number spanners (from snippets + dashed line)
% use before \startTexSpan and \stopTextSpan
onOneString =
#(define-music-function (parser location strA) (string?)
#{
\override TextSpanner.direction = #UP
\override TextSpanner.style = #'dashed-line
\override TextSpanner.dash-fraction = #.5
\override TextSpanner.dash-period = #2.0
\override TextSpanner.font-size = #-5
\override TextSpanner.bound-details.left.stencil-align-dir-y = #CENTER
\override TextSpanner.bound-details.left.text =
\markup { \circle \number #strA }
#})
onTwoStrings =
#(define-music-function (parser location strA strB) (string? string?)
#{
\override TextSpanner.direction = #UP
\override TextSpanner.style = #'dashed-line
\override TextSpanner.dash-fraction = #.5
\override TextSpanner.dash-period = #2.0
\override TextSpanner.font-size = #-5
\override TextSpanner.bound-details.left.stencil-align-dir-y = #CENTER
\override TextSpanner.bound-details.left.text =
\markup \concat { \circle \number #strA \circle \number #strB }
#})
onThreeStrings =
#(define-music-function (parser location strA strB strC) (string? string? string?)
#{
\override TextSpanner.direction = #UP
\override TextSpanner.style = #'dashed-line
\override TextSpanner.dash-fraction = #.5
\override TextSpanner.dash-period = #2.0
\override TextSpanner.font-size = #-5
\override TextSpanner.bound-details.left.stencil-align-dir-y = #CENTER
\override TextSpanner.bound-details.left.text =
\markup \concat { \circle \number #strA \circle \number #strB \circle \number #strC }
#})
% harmonics
headHarmonic = \override Staff.NoteHead.style = #'harmonic
headRevert = \revert Staff.NoteHead.style
% high notes
hiE = ^\markup{ \smaller E}
hiF = ^\markup{ \smaller F}
hiFis = ^\markup{ \smaller \concat{ F \super \sharp }}
hiG = ^\markup{ \smaller G}
hiGis = ^\markup{ \smaller \concat{ G \super \sharp }}
hiAes = ^\markup{ \smaller \concat{ A \super \flat }}
hiA = ^\markup{ \smaller A}
hiBes = ^\markup{ \smaller \concat{ B \super \flat }}
hiB = ^\markup{ \smaller B}
% function to color notes that are near or out of range
#(define (color-pitch-range grob max-pitch hi-pitch lo-pitch min-pitch)
(let ((pitch (ly:event-property (event-cause grob) 'pitch) ))
(if pitch
(if (ly:pitch max-pitch pitch) (x11-color 'red)
(if (ly:pitch pitch min-pitch) (x11-color 'blue)
(if (ly:pitch hi-pitch pitch) (x11-color 'orange)
(if (ly:pitch pitch lo-pitch) (x11-color 'green)
) ) ) ) ) ) )
% pitch limits for standard clasical guitar
% absolute max and min attainable (b''' and d)
% comfortably attainable hi and lo (e''' and e)
#(define (guitar-score-range grob) ; for std scores written +8va high
(let ((max-pitch (ly:make-pitch 2 6 NATURAL) ) ; B6
(hi-pitch (ly:make-pitch 2 2 NATURAL) ) ; E6
(lo-pitch (ly:make-pitch -1 2 NATURAL) ) ; E3
(min-pitch (ly:make-pitch -1 1 NATURAL) )) ; D3
(color-pitch-range grob max-pitch hi-pitch lo-pitch min-pitch)))
#(define (guitar-pitch-range grob) ; for actual pitch scores
(let ((max-pitch (ly:make-pitch 1 6 NATURAL) ) ; B5
(hi-pitch (ly:make-pitch 1 2 NATURAL) ) ; E5
(lo-pitch (ly:make-pitch -2 2 NATURAL) ) ; E2
(min-pitch (ly:make-pitch -2 1 NATURAL) )) ; D2
(color-pitch-range grob max-pitch hi-pitch lo-pitch min-pitch)))
% pitch limits for typical (non-pro) church choirs
#(define (soprano-pitch-range grob)
(let ((max-pitch (ly:make-pitch 1 6 NATURAL) ) ; B5
(hi-pitch (ly:make-pitch 1 4 NATURAL) ) ; G5
(lo-pitch (ly:make-pitch 0 0 NATURAL) ) ; C4
(min-pitch (ly:make-pitch -1 6 FLAT ) )) ; Bb3
(color-pitch-range grob max-pitch hi-pitch lo-pitch min-pitch)))
#(define (alto-pitch-range grob)
(let ((max-pitch (ly:make-pitch 1 2 NATURAL) ) ; E5
(hi-pitch (ly:make-pitch 1 0 NATURAL) ) ; C5
(lo-pitch (ly:make-pitch -1 4 NATURAL) ) ; G3
(min-pitch (ly:make-pitch -1 3 NATURAL) )) ; F3
(color-pitch-range grob max-pitch hi-pitch lo-pitch min-pitch)))
#(define (tenor-pitch-range grob)
(let ((max-pitch (ly:make-pitch 0 5 NATURAL) ) ; A4
(hi-pitch (ly:make-pitch 0 4 NATURAL) ) ; G4
(lo-pitch (ly:make-pitch -1 0 NATURAL) ) ; C3
(min-pitch (ly:make-pitch -2 6 FLAT ) )) ; Bb2
(color-pitch-range grob max-pitch hi-pitch lo-pitch min-pitch)))
#(define (baritone-pitch-range grob)
(let ((max-pitch (ly:make-pitch 0 3 NATURAL) ) ; F4
(hi-pitch (ly:make-pitch 0 2 NATURAL) ) ; E4
(lo-pitch (ly:make-pitch -2 5 NATURAL) ) ; A2
(min-pitch (ly:make-pitch -2 4 NATURAL) )) ; G2
(color-pitch-range grob max-pitch hi-pitch lo-pitch min-pitch)))
#(define (bass-pitch-range grob)
(let ((max-pitch (ly:make-pitch 0 2 NATURAL) ) ; E4
(hi-pitch (ly:make-pitch 0 0 NATURAL) ) ; C4
(lo-pitch (ly:make-pitch -2 3 NATURAL) ) ; F2
(min-pitch (ly:make-pitch -2 1 NATURAL) )) ; D2
(color-pitch-range grob max-pitch hi-pitch lo-pitch min-pitch)))
% tempo/dynamics
acl = _\markup { \smaller \italic "accel." }
rit = _\markup { \smaller \italic "rit." }
dim = _\markup { \smaller \italic "dim." }
crc = _\markup { \smaller \italic "cresc." }
dol = ^\markup { \center-align \smaller \italic "dolce" }
dcf = _\markup { \smaller \italic "D.C." }
fin = _\markup { \smaller \italic "Fin" }
global = {
\key c \major
\time 4/4
\tempo 4=66
\fingerLeft
}
%{ % (this initial version had guitars following original SATB voices)
soprano = \transpose c c' {
\global
\partial 4 { g'4\pIII } | %0
g'2 e'4 c'8 c' | %1
d'4 f' e'4. g'8 | %2
g'4 e'8 g' c''8.\bpV b'16 a'8 e' | %3
4\pII fis' g' r | %4
r8 e'\pI f' e' 4\pIII r | %5
r8 g'\pVII a' g' c''\bpVIII r r g' | %6
g'8 e' g' c'' e''8. c''16 g'8 e' | %7
4 \pVI e'\bpV e'8 a' | %8
a'2~ a'8 g' e' \bpVIII | %9
c''4. c''8 c''4 | %10
r4 r8 \pIII 4. c'8 | %11
\onTwoStrings "2" "3"
a'8 g' r4 g' \startTextSpan | %12
2 | %13
c'4\stopTextSpan r r2 | %14
s1 | %15
r4 \pIX | %16
4 \pXI \pXII | %17
4\pVIII d'' c'' \pVII | %18
2. 8 a' | %19
2.\pVI 8 | %20
4 \pIII g' a' | %21
g'1\bpIII | %22
g'1\pI | %23
\headHarmonic g''1 | %24
\bar "|."
}
alto = \transpose c c' {
\global
\partial 4 { c'4 } | %0
c'2 c'4 c'8 c' | %1
c'4 b c'4. e'8 | %2
e'4 c'8 e' e'8. e'16 e'8 e' | %3
2 d'4 r | %4
r8 cis' cis' cis' 4 r | %5
r8 d' d' d' c' g' g' f' | %6
e'8 c' e'4 e'8. e'16 e'8 c' | %7
4 c' r | %8
r4 8 e' r4 | %9
r4 8 g' 4 | %10
r4 r8 8 c'4. c'8 | %11
c'8 c' r4 | %12
2 | %13
c'4\pI r r2 | %14
r4\pVII | %15
2\bpVII ~ | %16
e'4 2 | %17
g'4 gis' a' ~ | %18
e'4 8 2~\bpVII | %19
d'4 8 2 | %20
4 c'2~ | %21
c'4 d'8 c' b2 | %22
c'1 | %23
c'1\ppp | %24
\bar "|."
\pageBreak
}
tenor = \transpose c c' {
\global
\partial 4 { e4\pI } | %0
e2 g4 e8 e | %1
4 g g4. c'8 | %2
c'4 8 g 8. 16 8\pII a | %3
4\pIV b r | %4
r8 a a a4 r | %5
r8 b c' b c' g b | %6
c'4 c' c'8. c'16 c'8 c' | %7
c'4 b c' r | %8
r4 a8 b c' c' r4 | %9
r4 c'8 bes a4 c' | %10
r4 r8 c' bes4. bes8 | %11
bes8 bes r4 | %12
g2. 4 | %13
4 g c' b | %14
4 a | %15
b2 g4 a8 b | %16
c'2 b4 8 \pIII | %17
2. 4 | %18
4\pI 8 c' b2~ | %19
b4 c'8 b 2 | %20
4 | %21
2 | %22
1\pI | %23
1\arpeggio | %24
\bar "|."
}
bass = \transpose c c' {
\global
\partial 4 { c4 } | %0
c2 c4 c8 c | %1
4 4. c8 | %2
c4 8 c a,8. 16 8 c | %3
2 8 g g g | %4
2\pII 8 f f f | %5
f2\pI 8 e d4 | %6
8 c' g e c8. g16 g8 g | %7
g4 r | %8
r4 f8 f e e r4 | %9
r4 d8 e f4 f | %10
r4 r8 f8 e4. e8 | %11
f8 e r4 4 d | %12
2 g, | %13
4 r c d8 | %14
2 d4 8 f | %15
g2 e4 f8 g | %16
a2 g4 8 | %17
4 | %18
2. g8 f | %19
e2. 8 e | %20
d4 | %21
2 | %22
1 | %23
s1\dol\ppp | %24
\bar "|."
}
\score {
\new ChoirStaff <<
\new Staff \with {
midiInstrument = "choir aahs"
instrumentName = \markup{ "Guitar I " }
} {
%\override Staff.NoteHead.color = #guitar-score-range
<<
\new Voice = "soprano" { \voiceOne \soprano }
\new Voice = "alto" { \voiceTwo \alto }
>>
}
\new Staff \with {
midiInstrument = "choir aahs"
instrumentName = \markup{ "Guitar II " }
} {
%\override Staff.NoteHead.color = #guitar-score-range
<<
\new Voice = "tenor" { \voiceOne \tenor }
\new Voice = "bass" { \voiceTwo \bass }
>>
}
>>
\layout { }
\midi { }
}
%}
% Guitar I will play two voices: upperA (~soprano) and upper B (~alto)
upperA = \transpose c c' {
\global
\partial 4 { g'4\pIII } | %0
g'2^\markup { \fromproperty #'paper:page-count } e'4 c'8 c' | %1
d'4 f' e'4. g'8 | %2
g'4 e'8 g' c''8.\bpV b'16 a'8 e' | %3
4\pII fis' g' r | %4
r8 e'\pI f' e' 4\pIII r | %5
r8 g'\pVII a' g' c''\bpVIII r r g' | %6
g'8 e' g' c'' e''8. c''16 g'8 e' | %7
4 \pVI e'\bpV e'8 a' | %8
a'2~ a'8 g' e' \bpVIII | %9
c''4. c''8 c''4 ~ | %10
a'4 r8 \pIII 4. c'8 | %11 MOD
\onTwoStrings "2" "3"
a'8 g'~ g' r g'4 \startTextSpan | %12 MOD
2 | %13
c'4\stopTextSpan r r2 | %14
s1 | %15
r4 \pIX | %16
4 \pXI \pXII | %17
4\pVIII d'' c'' \pVII | %18
2. 8 a' | %19
2.\pVI 8 | %20
4 \pIII g' a' | %21
g'1\bpIII | %22
g'1\pI | %23
g''1 | %24
\bar "|."
}
upperB = \transpose c c' {
\global
\partial 4 { c'4 } | %0
c'2 c'4 c'8 c' | %1
c'4 b c'4. e'8 | %2
e'4 c'8 e' e'8. e'16 e'8 e' | %3
2 d'4 r | %4
r8 cis' cis' cis' 4 r | %5
r8 d' d' d' c' g' g' f' | %6
e'8 c' e'4 e'8. e'16 e'8 c' | %7
4 c' r | %8
r4 8 e' r4 | %9
r4 8 g' 4 ~ | %10
f'4 r8 8 c'4. c'8 | %11 MOD
c'8 c'~ c' r 4 | %12 MOD
2 | %13
c'4\pI g c' b | %14 MOD
4 \pVII | %15 MOD
2\bpVII ~ | %16
e'4 2 | %17
g'4 gis' a' ~ | %18
e'4 8 2~\bpVII | %19
d'4 8 2 | %20
4 c'2~ | %21
c'4 d'8 c' b2 | %22
c'1 | %23
c''1\ppp | %24
\bar "|."
\pageBreak
}
% Upper voice of voice duo uses upperV (~soprano) ajusted for octave
upperV = {
\global
\partial 4 { g'4 } | %0
g'2 e'4 c'8 c' | %1
d'4 f' e'4. g'8 | %2
g'4 e'8 g' c''8. b'16 a'8 e' | %3
4 fis' g' r | %4
r8 e' f' e' 4 r | %5
r8 g' a' g' c'' r r g' | %6
g'8 e' g' c'' e''8. c''16 g'8 e' | %7
4 e' e'8 a' | %8
a'2~ a'8 g' e' | %9
c''4. c''8 c''4 | %10
r4 r8 4. c'8 | %11
a'8 g' r4 g' | %12
2 | %13
c'4 g' c'' b' | %14 MOD
4 | %15 MOD +OCT
4 | %16 +OCT
4 | %17
4 d'' c'' | %18
4 f'8 e' d'4 8 a' | %19
4 e'8 d' cis'4 8 | %20
4 g' a' | %21
g'2 d''8 c'' b'4 | %22 MOD
c''1 | %23
c''1 | %24
\bar "|."
}
% when upperV is a soprano
upperVS = \transpose c c {
\clef "treble"
\upperV
}
% when upperV is a tenor
upperVT = \transpose c c, {
\clef "bass"
\upperV
}
% when a guitar plays upperV as Lead I
upperVG = \transpose c c {
\clef "treble"
\upperV
}
% Guitar II will play two voices: lowerC (~tenor) and lowerD (~bass)
lowerC = \transpose c c' {
\global
\partial 4 { e4\pI } | %0
e2 g4 e8 e | %1
4 g g4. c'8 | %2
c'4 8 g 8. 16 8\pII a | %3
4\pIV b r | %4
r8 a a a4 r | %5
r8 b c' b c' g b | %6
c'4 c' c'8. c'16 c'8 c' | %7
c'4 b c' r | %8
r4 a8 b c' c' r4 | %9
r4 c'8 bes a4 c'~ | %10
c'4 r8 c' bes4. bes8 | %11 MOD
bes8 bes~ bes r 4 | %12 MOD
g2. 4 | %13
4 s2. | %14 MOD
s4 a | %15 MOD
b2 g4 a8 b | %16
c'2 b4 8 \pIII | %17
2. 4 | %18
4\pI 8 c' b2~ | %19 MOD
b4 c'8 b 2 | %20 MOD
4 | %21
2 | %22
1\pI | %23
1\arpeggio | %24
\bar "|."
}
lowerD = \transpose c c' {
\global
\partial 4 { c4 } | %0
c2 c4 c8 c | %1
4 4. c8 | %2
c4 8 c a,8. 16 8 c | %3
2 8 g g g | %4
2\pII 8 f f f | %5
f2\pI