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authorNorbert Preining <norbert@preining.info>2019-09-02 13:46:59 +0900
committerNorbert Preining <norbert@preining.info>2019-09-02 13:46:59 +0900
commite0c6872cf40896c7be36b11dcc744620f10adf1d (patch)
tree60335e10d2f4354b0674ec22d7b53f0f8abee672 /macros/musixtex/doc/musixdoc
Initial commit
Diffstat (limited to 'macros/musixtex/doc/musixdoc')
-rw-r--r--macros/musixtex/doc/musixdoc/accidentals.tex74
-rw-r--r--macros/musixtex/doc/musixdoc/barlines.tex308
-rw-r--r--macros/musixtex/doc/musixdoc/barnumbering.tex127
-rw-r--r--macros/musixtex/doc/musixdoc/beams.tex618
-rw-r--r--macros/musixtex/doc/musixdoc/changing.tex498
-rw-r--r--macros/musixtex/doc/musixdoc/embedding.tex180
-rw-r--r--macros/musixtex/doc/musixdoc/examples.tex124
-rw-r--r--macros/musixtex/doc/musixdoc/extensions.tex2192
-rw-r--r--macros/musixtex/doc/musixdoc/extracting.tex101
-rw-r--r--macros/musixtex/doc/musixdoc/fonts.tex231
-rw-r--r--macros/musixtex/doc/musixdoc/frontmatter.tex143
-rw-r--r--macros/musixtex/doc/musixdoc/index.tex10
-rw-r--r--macros/musixtex/doc/musixdoc/introduction.tex823
-rw-r--r--macros/musixtex/doc/musixdoc/layout.tex183
-rw-r--r--macros/musixtex/doc/musixdoc/lyrics.tex407
-rw-r--r--macros/musixtex/doc/musixdoc/miscellaneous.tex958
-rw-r--r--macros/musixtex/doc/musixdoc/musixdoc.ltx102
-rw-r--r--macros/musixtex/doc/musixdoc/musixdoc.sty148
-rw-r--r--macros/musixtex/doc/musixdoc/parameters.tex140
-rw-r--r--macros/musixtex/doc/musixdoc/preparing.tex285
-rw-r--r--macros/musixtex/doc/musixdoc/repeats.tex272
-rw-r--r--macros/musixtex/doc/musixdoc/restsdoc.tex231
-rw-r--r--macros/musixtex/doc/musixdoc/settingup.tex367
-rw-r--r--macros/musixtex/doc/musixdoc/slurstiesTypeK.tex378
-rw-r--r--macros/musixtex/doc/musixdoc/slurstiesfont.tex598
-rw-r--r--macros/musixtex/doc/musixdoc/smaller.tex190
-rw-r--r--macros/musixtex/doc/musixdoc/spacing.tex106
-rw-r--r--macros/musixtex/doc/musixdoc/staffsize.tex101
-rw-r--r--macros/musixtex/doc/musixdoc/summary.tex310
-rw-r--r--macros/musixtex/doc/musixdoc/transposition.tex217
-rw-r--r--macros/musixtex/doc/musixdoc/writingnotes.tex285
31 files changed, 10707 insertions, 0 deletions
diff --git a/macros/musixtex/doc/musixdoc/accidentals.tex b/macros/musixtex/doc/musixdoc/accidentals.tex
new file mode 100644
index 0000000000..a504837530
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/accidentals.tex
@@ -0,0 +1,74 @@
+\chapter{Accidentals}
+\vspace*{-3ex}
+Accidentals can be introduced in two ways.
+ The first way, using explicit macros, consists for
+example in coding \keyindex{fl}\pitchp~to put a \ital{flat} at the
+pitch $p$, presumably right before a note at the same pitch. This is a
+non-spacing command and will automatically place the accidental an
+appropriate distance to the left of the anticipated note head.
+Naturals, sharps, double flats and double sharps are coded \keyindex{na}\pitchp,
+\keyindex{sh}\pitchp, \keyindex{dfl}\pitchp~and \keyindex{dsh}\pitchp~respectively.
+
+The alternate macros \keyindex{lfl}, \keyindex{lna}, \keyindex{lsh},
+\keyindex{ldfl} and \keyindex{ldsh}
+place the same accidentals, but shifted one note head width
+to the left. These can be used if a note head has been shifted to the left, or
+to avoid collision with other accidentals
+in a chord. If you want to shift an accidental by some other amount for
+more precise positioning, you could use \keyindex{loffset} with the normal
+accidental macro as the second parameter.
+
+ The second way of coding accidentals is to modify the parameter of a
+note command. Just put the symbol
+\verb|^| for a sharp, \verb|_| for a flat, \verb|=|~for a natural,
+\verb|>| for a double sharp, or \verb|<| for a double
+flat, right before the letter or number representing the pitch.
+For example, \verb|\qb{^g}| yields a
+$G\sharp$. This may be used effectively in collective coding, e.g.
+\verb|\qu{ac^d}|.
+
+ There are two sizes of accidentals. By default they will be large unless there
+is not enough space between notes, in which case they will be made small. Either
+size can be forced locally by coding \keyindex{bigfl}, \keyindex{bigsh}, etc., or
+\keyindex{smallfl}, \keyindex{smallsh}, etc. If you want all accidentals to
+be large, then declare \keyindex{bigaccid} near the top of the input file. For
+exclusively small ones use \keyindex{smallaccid}; \keyindex{varaccid} will restore
+variable sizes.
+
+ For editorial purposes, small accidentals can be placed \ital{above} note
+heads. This is done using \keyindex{uppersh}\pitchp, \keyindex{upperna}\pitchp, or
+\keyindex{upperfl}\pitchp:
+
+\begin{music}\nostartrule
+\startextract
+\NOtes\uppersh l\qa l\en
+\NOtes\upperna m\qa m\en
+\NOtes\upperfl l\qa l\en
+\zendextract
+\end{music}
+
+\vspace*{-2ex}
+It also possible to introduce \ital{\ixem{cautionary accidental}s},
+i.e.,~small accidentals enclosed in parentheses. This is done by preceding
+the name of the accidental keyword with ``\verb|c|''\label{cautionary}.
+Available cautionary accidentals are \keyindex{csh}, \keyindex{cfl},
+\keyindex{cna},
+\keyindex{cdfl} and \keyindex{cdsh}, which give
+
+\begin{music}\nostartrule
+\startextract
+\NOtes\csh g\qa g\en
+\NOtes\cfl h\qa h\en
+\NOtes\cna i\qa i\en
+\NOtes\cdfl j\qa j\en
+\NOtes\cdsh k\qa k\en
+\zendextract
+\end{music}
+
+\vspace*{-2ex}
+\noindent The distance between notes and accidentals is controlled by
+\keyindex{accshift}\verb|=|\ital{any \TeX\ dimension}, where
+positive values shift to the left and negative to right, with a
+default of~\verb|0pt|.
+For ``big'' cautionary accidentals, use, for example,
+\verb|{|\keyindex{largenotesize}\verb|\csh|\pitchp\verb|}| or see Section~\ref{brapar}.
diff --git a/macros/musixtex/doc/musixdoc/barlines.tex b/macros/musixtex/doc/musixdoc/barlines.tex
new file mode 100644
index 0000000000..0303b7a9a4
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/barlines.tex
@@ -0,0 +1,308 @@
+\chapter{Bar Lines}
+ \section{Single, double, and invisible bar lines}\label{doublebars}
+The usual macro to typeset a single bar line is \keyindex{bar}.
+There is a possibility of
+confusion with a command in \TeX's math mode that has exactly the same name.
+However, there will generally be no problem, because inside
+\verb|\startpiece...\endpiece|,
+\verb|\bar| will take the musical meaning, while outside, it will have the
+mathematical one.
+If for some reason you need the math \verb|\bar| inside, you can use
+\verb|\endcatcodesmusic...\bar...\catcodesmusic|.
+
+To typeset a double bar line with two thin rules, use \keyindex{doublebar}. You could
+also issue \keyindex{setdoublebar} to cause the next \verb|\bar| (or
+\keyindex{stoppiece}, \keyindex{alaligne}, or \keyindex{alapage}) to be replaced
+by a double bar.
+
+There is no specific command to print a thin-thick double bar line, but
+\keyindex{setdoubleBAR} will cause one in the same cases where
+\verb|\setdoublebar| would cause a thin-thin double bar line.
+
+To make the next bar line invisible, use \keyindex{setemptybar} before
+\verb|\bar|.
+
+You can suppress the beginning vertical rule with saying \keyindex{nostartrule}
+and restore the default with \keyindex{startrule} after that. Note that
+it is conventional practice to omit beginning rules for single-staff music.
+
+\section{Simple discontinuous bar lines}
+Normally, bars (as well as double bars, final bars and repeat bars) are
+drawn continuously from the bottom of the lowest staff of the
+lowest instrument to the top of the highest staff of the uppermost
+instrument. However, if desired, they can be made discontinuous between
+instruments by saying \keyindex{sepbarrules}. An example of this is given in
+%avrb
+%{\tt ANGESCAO} (or {\tt ANGESCAM}) example; it has also been used in the
+%avre
+\texttt{avemaria.tex} in Section~\ref{avemaria}\label{avemaria2}.
+
+Continuous bar lines can be restored with \keyindex{stdbarrules}. In
+the extension library are some more types of bar rules, mainly for very old
+music, see Section~\ref{otherbars}.
+
+% DAS. Andre, are there some other kinds of bars in an addon?
+
+\section{Elementary asynchronous bar lines}
+
+ Situations may arise where the bar lines in different instruments are not
+aligned with one another. To set this up, first say \verb|\sepbarrules|.
+Then use a combination of the following five commands:
+
+\begin{itemize}\setlength{\itemsep}{0ex}
+\item\keyindex{hidebarrule}\onen~hides the bar rule for instrument $n$, until
+this is changed by \verb|\showbarrule|\onen.
+\item\keyindex{showbarrule}\onen~stops hiding the bar rule for instrument $n$,
+until this is changed by \verb|\hidebarrule|\onen.
+\item\keyindex{Hidebarrule}\onen~hides the bar rule for instrument $n$, only
+for the next bar.
+\item\keyindex{Showbarrule}\onen~shows the bar rule for instrument
+$n$ once only,
+and then resets it.
+%
+% DAS ???
+% and then resets it to \verb|hidebarrule|.
+%
+\item\keyindex{showallbarrules} resets all defined instruments to
+\verb|\showbarrule|\onen. This command is automatically inserted with double
+bars, final bars and repeats.
+\end{itemize}
+
+Thus, this example
+
+\begin{music}
+\instrumentnumber3
+\setmeter3{{\meterfrac{3}{4}}}
+\setmeter2{{\meterfrac{2}{4}}}
+\setmeter1{{\meterfrac{3}{8}}}
+\nobarnumbers
+\sepbarrules
+
+\startextract
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\hidebarrule2\hidebarrule3\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\showbarrule2\bar
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\hidebarrule2\showbarrule3\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\showbarrule2\hidebarrule3\bar
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\hidebarrule2\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\setdoublebar
+\bar\hidebarrule3
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\Hidebarrule2\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\bar
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\message{Showbarrule3 coming}%
+\Hidebarrule2\Showbarrule3\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\bar
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\Hidebarrule2\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\setrightrepeat
+\endextract
+\end{music}
+
+\noindent was obtained with the following coding:
+\begin{quote}\begin{verbatim}
+\instrumentnumber3
+\setmeter3{{\meterfrac{3}{4}}}
+\setmeter2{{\meterfrac{2}{4}}}
+\setmeter1{{\meterfrac{3}{8}}}
+\nobarnumbers
+\sepbarrules
+
+\startextract
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\hidebarrule2\hidebarrule3\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\showbarrule2\bar
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\hidebarrule2\showbarrule3\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\showbarrule2\hidebarrule3\bar
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\hidebarrule2\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\setdoublebar
+\bar\hidebarrule3
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\Hidebarrule2\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\bar
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\message{Showbarrule3 coming}%
+\Hidebarrule2\Showbarrule3\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\bar
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\Hidebarrule2\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\setrightrepeat
+\zendextract
+\end{verbatim}\end{quote}
+
+\section{Dotted, dashed, asynchronous and discontinuous bar lines}\label{musixdbr}
+
+The extension
+package \href{http://icking-music-archive.org/software/musixtex/add-ons/musixdbr.tex}
+{\underline{\ttxem{musixdbr.tex}}} by Rainer {\sc Dunker} provides commands for
+dashed, dotted, and arbitrarily discontinuous bar lines. It supports
+individual bar line settings for each instrument, multi-staff instruments,
+different sizes of staves, and even different numbers of lines per staff,
+
+To use the package, you must \verb|\input musixdbr| after \verb|musixtex|, and
+execute the macro \keyindex{indivbarrules} which activates individual bar line
+processing. Then the following commands are available:
+
+\begin{itemize}\setlength{\itemsep}{0ex}
+
+\item \keyindex{sepbarrule}\onen~separates bar lines of instrument $n$ from those of instrument $n-1$
+
+\item \keyindex{condashbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$
+ with a dashed line
+
+\item \keyindex{condotbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$
+ with a dotted line
+
+\item \keyindex{conbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$
+
+\item \keyindex{hidebarrule}\onen~hides bar lines of instrument $n$
+
+\item \keyindex{showdashbarrule}\onen~dashes bar lines of instrument $n$
+
+\item \keyindex{showdotbarrule}\onen~dots bar lines of instrument $n$
+
+\item \keyindex{showbarrule}\onen~shows bar lines of instrument $n$
+
+\item \keyindex{sepmultibarrule}\onen~separates bar lines within multistaff instrument $n$
+
+\item \keyindex{condashmultibarrule}\onen~dashes bar lines between staves of multistaff instrument $n$
+
+\item \keyindex{condotmultibarrule}\onen~dots bar lines between staves of multistaff instrument $n$
+
+\item \keyindex{conmultibarrule}\onen~ shows bar lines between staves of multistaff instrument $n$
+
+\item \keyindex{allbarrules}[\ital{any of the above commands, without numerical parameter}] sets bar
+line style for all instruments together.
+
+\end{itemize}
+
+Dashing and dotting style may be changed by redefining the macros
+\verb|\barlinedash| or \verb|\barlinedots| respectively (see original definitions in \verb|musixdbr.tex|).
+
+Here is an example of the use of these macros:
+
+\begin{music}
+\input musixdbr
+
+\instrumentnumber4 \setstaffs23 \setstaffs32 \setlines14\setsize2\tinyvalue
+\indivbarrules
+\parindent0pt\startextract
+%\startpiece
+%\scale{2}
+ % normal barlines
+ \bar
+ % separate instrument 2 from 1
+ \sepbarrule2
+ \notes\en\bar
+ % barlines on staves
+ \allbarrules\sepbarrule
+ \allbarrules\sepmultibarrule
+ \allbarrules\showbarrule
+ \NOTes\en\bar
+ % barlines between staves
+ \allbarrules\conbarrule
+ \allbarrules\conmultibarrule
+ \allbarrules\hidebarrule
+ \NOTes\en\bar
+ % dashed barlines on staves
+ \allbarrules\sepbarrule
+ \allbarrules\sepmultibarrule
+ \allbarrules\showdashbarrule
+ \NOTes\en\bar
+ % dashed barlines between staves
+ \allbarrules\condashbarrule
+ \allbarrules\condashmultibarrule
+ \allbarrules\hidebarrule
+ \NOTes\en\bar
+ % dotted barlines on staves
+ \allbarrules\sepbarrule
+ \allbarrules\sepmultibarrule
+ \allbarrules\showdotbarrule
+ \NOTes\en\bar
+ % dotted barlines between staves
+ \allbarrules\condotbarrule
+ \allbarrules\condotmultibarrule
+ \allbarrules\hidebarrule
+ \NOTes\en\bar
+ % a wild mixture of all
+ \showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4%
+ \condashbarrule2\conbarrule3\condotbarrule4%
+ \condashmultibarrule2\sepmultibarrule3%
+ \NOTes\en\bar
+ % conventional ending
+ \allbarrules\showbarrule
+ \allbarrules\conbarrule
+ \allbarrules\conmultibarrule
+ \NOTes\en\setdoubleBAR\endextract
+\end{music}
+
+This is the code:
+
+\begin{quote}\begin{verbatim}
+\input musixdbr
+\instrumentnumber4\setstaffs23\setstaffs32\setlines14\setsize2\tinyvalue
+\indivbarrules\parindent0pt\startextract
+ % normal barlines
+ \bar
+ % separate instrument 2 from 1
+ \sepbarrule2
+ \notes\en\bar
+ % barlines on staves
+ \allbarrules\sepbarrule
+ \allbarrules\sepmultibarrule
+ \allbarrules\showbarrule
+ \NOTes\en\bar
+ % barlines between staves
+ \allbarrules\conbarrule
+ \allbarrules\conmultibarrule
+ \allbarrules\hidebarrule
+ \NOTes\en\bar
+ % dashed barlines on staves
+ \allbarrules\sepbarrule
+ \allbarrules\sepmultibarrule
+ \allbarrules\showdashbarrule
+ \NOTes\en\bar
+ % dashed barlines between staves
+ \allbarrules\condashbarrule
+ \allbarrules\condashmultibarrule
+ \allbarrules\hidebarrule
+ \NOTes\en\bar
+ % dotted barlines on staves
+ \allbarrules\sepbarrule
+ \allbarrules\sepmultibarrule
+ \allbarrules\showdotbarrule
+ \NOTes\en\bar
+ % dotted barlines between staves
+ \allbarrules\condotbarrule
+ \allbarrules\condotmultibarrule
+ \allbarrules\hidebarrule
+ \NOTes\en\bar
+ % a wild mixture of all
+ \showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4%
+ \condashbarrule2\conbarrule3\condotbarrule4%
+ \condashmultibarrule2\sepmultibarrule3%
+ \NOTes\en\bar
+ % conventional ending
+ \allbarrules\showbarrule
+ \allbarrules\conbarrule
+ \allbarrules\conmultibarrule
+ \NOTes\en\setdoubleBAR\zendextract
+\end{verbatim}\end{quote}
+
diff --git a/macros/musixtex/doc/musixdoc/barnumbering.tex b/macros/musixtex/doc/musixdoc/barnumbering.tex
new file mode 100644
index 0000000000..9ad9d5c79c
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/barnumbering.tex
@@ -0,0 +1,127 @@
+\chapter{Bar Numbering}
+The current bar number is stored in a count register call \keyindex{barno}.
+When \verb|\startpiece| is encountered, \verb|\barno| is set equal to
+another count register called \verb|\startbarno|, whose default value is one.
+Therefore, if you want the first bar to have a number $n$ different from~$1$, you
+may either say \verb|\startbarno=|$n$ before \verb|\startpiece|, or say
+\verb|\barno=|$n$ afterwards, but before the first bar line. You may also alter the bar
+number at any time, either by explicitly resetting \verb|\barno|, or by
+incrementing it with a command like \verb|\advance\barno-1|.
+
+\musixtex\ supports two distinct modes for printing bar numbers. In \ital{periodic}
+bar numbering, the bar number is
+placed above the top staff with a user-selectable frequency. In
+\ital{system} bar numbering, the
+number will appear at the beginning of each system.
+
+\section{Periodic bar numbering}
+In a normal piece, periodic bar number printing is turned on by default, with a frequency
+of one. In an extract, the default is to not print bar numbers.
+To turn off bar numbering say \keyindex{nobarnumbers}. To reinstate periodic
+bar numbering, or to initiate it in an extract, say \keyindex{barnumbers}.
+To change to a
+different frequency $n$, say \verb|\def|\keyindex{freqbarno}\verb|{|$n$\verb|}|.
+
+The appearance and positioning of the bar number is controlled by the
+token \keyindex{writethebarno}, which by default is defined as\\
+\verb|\def\writethebarno{\fontbarno\the\barno\kernm\qn@width}|
+where the font is defined as \verb|\def\fontbarno{\it}|. You can change
+either of these as desired, for example
+
+ \medskip
+\begin{music}\barnumbers
+\parindent0pt\startpiece
+\Notes\Dqbu gh\Dqbl jh\en
+\notes\Dqbbu fg\Dqbbl hk\en\bar
+\Notes\Tqbu ghi\Tqbl mmj\en
+\def\fontbarno{\bf}%
+\notes\Tqbbu fgj\Tqbbl njh\en\bar
+\Notes\Qqbu ghjh\Qqbl jifh\en\bar
+\notes\Qqbbu fgge\Qqbbl jhgi\en\endpiece
+\end{music}
+\noindent which was coded as
+\begin{quote}\begin{verbatim}\barnumbers
+\Notes\Dqbu gh\Dqbl jh\en
+\notes\Dqbbu fg\Dqbbl hk\en\bar
+\Notes\Tqbu ghi\Tqbl mmj\en
+\def\fontbarno{\bf}%
+\notes\Tqbbu fgj\Tqbbl njh\en\bar
+\Notes\Qqbu ghjh\Qqbl jifh\en\bar
+\notes\Qqbbu fgge\Qqbbl jhgi\en
+\end{verbatim}\end{quote}
+
+\section{System bar numbering}
+To have a bar number printed just above the beginning of each system, use
+\keyindex{systemnumbers}. The distance above the staff is controlled
+by \verb|\raisebarno|, which by default is \verb|4\internote| (to fit
+above a treble clef). This can be redefined with the command
+\begin{quote}
+\verb|\def|\keyindex{raisebarno}\verb|{|\ital{any \TeX~dimension}\verb|}|
+\end{quote}
+Similarly, the horizontal position is defined by \keyindex{shiftbarno}
+which by default is \verb|0pt|.
+
+The number normally is enclosed in a
+box. If you don't like that, you may redefine the macro \verb|\writebarno|
+which by default is defined as
+\begin{quote}
+\verb|\def|\keyindex{writebarno}\verb|{\boxit{\eightbf\the\barno\barnoadd}}|
+\end{quote}
+This uses the utility \musixtex\ macro \keyindex{boxit} which will enclose
+any text string in a box.
+
+Here are some possible alternate formats for system bar numbers:
+
+\medskip
+\begin{music}\nostartrule
+\def\fontbarno{\it}%
+\let\extractline\hbox
+\startbarno=36
+\hbox to \hsize{%
+\hss
+ \raise20pt\hbox{(a) }%
+ \systemnumbers\startextract
+ \Notes\wh g\en
+ \zendextract
+\hss
+ \def\writebarno{\tenrm\the\barno\barnoadd}%
+ \def\raisebarno{2\internote}%
+ \def\shiftbarno{2.5\Interligne}%
+ \raise20pt\hbox{(b) }%
+ \systemnumbers\startextract
+ \Notes\wh g\en
+ \zendextract
+\hss
+ \def\writebarno{\llap{\tenbf\the\barno\barnoadd}}%
+ \def\raisebarno{2\internote}%
+ \def\shiftbarno{1.3\Interligne}%
+ \raise20pt\hbox{(c) }%
+ \systemnumbers\startextract
+ \Notes\wh g\en
+ \zendextract
+\hss}
+\end{music}
+\noindent These were coded as
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item[(a)] (default)
+ \item[(b)]
+ \begin{verbatim}
+\def\writebarno{\tenrm\the\barno\barnoadd}%
+\def\raisebarno{2\internote}%
+\def\shiftbarno{2.5\Interligne}%
+ \end{verbatim}
+ \item[(c)]
+ \begin{verbatim}
+\def\writebarno{\llap{\tenbf\the\barno\barnoadd}}%
+\def\raisebarno{2\internote}%
+\def\shiftbarno{1.3\Interligne}%
+ \end{verbatim}
+\end{itemize}
+
+If the previous line does not stop with a bar rule, then the next
+printed system bar number will immediately be followed by the contents
+of the token \keyindex{writezbarno}, whose
+default setting is the lower case character `\verb|a|'. You might want to
+change this to `\verb|+|', in which case you should say
+\verb|\def\writezbarno{+}|.
+
diff --git a/macros/musixtex/doc/musixdoc/beams.tex b/macros/musixtex/doc/musixdoc/beams.tex
new file mode 100644
index 0000000000..354906640e
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/beams.tex
@@ -0,0 +1,618 @@
+\chapter{Beams}
+\section{Starting a beam}
+
+Each beam must be declared with a macro issued before the first spacing
+note under the beam is coded. Two distinct kinds of macros are provided
+for this. The first kind initiates a ``fixed-slope'' beam, with an arbitrary
+slope and starting height chosen by the user, while the second kind, a
+``semi-automatic'' beam,
+\ital{computes}~the slope and, in addition, adjusts the starting height in some
+cases.
+
+\def\nps{{\tt\char123}$n${\tt\char125}\pitchp{\tt\char123}$s${\tt\char125}}
+
+The basic form of the macros for starting fixed-slope beams is exemplified
+by the one for a single upper beam, \keyindex{ibu}\nps. Here
+$n$ is the reference number of the beam, $p$ the starting ``pitch'', and
+$s$ the slope.
+
+The reference number is assigned by the user.
+It is needed because more than one beam may be open at
+a time, and it tells \musixtex\ to which beam subsequent beamed notes and
+other beam specification commands are assigned.
+By default, the reference number must be in the range [$0,5$],
+but the range for 8th to 128th beams will be expanded to [$0,8$] or [$0,11$]
+if \verb|musixadd| or \verb|musixmad| respectively has been \verb|\input|.
+
+Alternatively, you can specify the number of $8$th to $64$th beams
+directly\footnote{$8$th to $64$th beams are so basic that the maximum
+number of these beams is related to the maximum number of instruments
+by this command.
+Using $m>12$ may require e-\TeX.}
+with \keyindex{setmaxinstruments}\verb|{|$m$\verb|}|
+within the range $7<m\leq 100$; the corresponding reference number may then be
+in the range from 0 to $(m-1)$.
+\label{musixmad_setmaxinstruments_ccxviiibeams}
+For $128$th beams, use \keyindex{setmaxcxxviiibeams}\verb|{|$m$\verb|}|.
+For $256$th notes, which can only appear in beams, see Section~\ref{musixbbm}.
+
+The ``pitch'' parameter $p$ is a pitch that is three
+staff spaces \ital{below} the bottom of the heavy connecting bar (\ital{above}
+the bar for a lower beam); in many (but not all)
+cases it should be input as the actual pitch of the first note. The slope $s$
+is an integer in the range [$-9,9$]. When multipled
+by $5$\%~it gives the actual slope of the heavy bar. Typically a slope of $2$ or $3$
+is okay for ascending scales, and $6$ to $9$ for ascending arpeggios.
+
+The full set of fixed-slope beam initiation macros is as follows:
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+
+ \item[\keyindex{ibu}\nps~:]initiates an \ital{upper beam}.
+ \item[\keyindex{ibl}\nps~:]initiates a \ital{lower beam}.
+ \item[\keyindex{ibbu}\nps~:]initiates a \ital{double upper beam}.
+ \item[\keyindex{ibbl}\nps~:]initiates a \ital{double lower beam}.
+ \item[\keyindex{ibbbu}\nps~:]initiates a \ital{triple upper beam}.
+ \item[\keyindex{ibbbl}\nps~:]initiates a \ital{triple lower beam}.
+ \item[\keyindex{ibbbbu}\nps~:]initiates a \ital{quadruple upper beam}.
+ \item[\keyindex{ibbbbl}\nps~:]initiates a \ital{quadruple lower beam}.
+\end{description}\end{quote}
+
+A semi-automatic beam is initiated with a command that has \ital{four}
+parameters, the beam number, the first and last pitches, and the total
+horizontal extent in
+\verb|\noteskip|s, based on the value in effect at the start. For example,
+if you input \verb|\Ibu2gj3|, \musixtex\ will understand that you want to
+build an upper beam (beam number $2$) horizontally extending \verb|3\noteskip|,
+the first note of which is a \verb|g| and the last note a \verb|j|.
+Knowing these parameters it will choose the highest slope number that
+corresponds to a slope not more than $(\hbox{\tt j}-\hbox{\tt
+g})/(3\keyindex{noteskip})$. The nominal height of the heavy bar is offset the same as
+for fixed-slope beams. However, if there is no sufficiently steep beam
+slope available, then \musixtex\ will raise (or lower) the starting point.
+
+ Eight such macros are available: \keyindex{Ibu}, \keyindex{Ibbu},
+\keyindex{Ibbbu}, \keyindex{Ibbbbu}, \keyindex{Ibl}, \keyindex{Ibbl},
+\keyindex{Ibbbl} and \keyindex{Ibbbbl}.
+
+\section{Adding notes to a beam}
+
+Spacing notes belonging to beams are coded with the macro
+\keyindex{qb}\verb|{|$n$\verb|}|\pitchp~where $n$ is
+the beam number and $p$ the pitch of the note. \musixtex\ adjusts the
+length of the note stem to link to the beam.
+
+Chord notes within a beam are entered before the main note with the
+non-spacing macro \keyindex{zqb}\verb|{|$n$\verb|}|\pitchp. Again,
+the stem length will be automatically adjusted as required.
+
+There are also special macros for semi-automatic beams with
+two, three, or four notes:
+\keyindex{Dqbu}, \keyindex{Dqbl}, \keyindex{Dqbbu}, \keyindex{Dqbbl},
+\keyindex{Tqbu}, \keyindex{Tqbl}, \keyindex{Tqbbu}, \keyindex{Tqbbl},
+\keyindex{Qqbu}, \keyindex{Qqbl}, \keyindex{Qqbbu} and \keyindex{Qqbbl}.
+ %\check
+For example \verb|\Dqbu gh| is equivalent to \verb|Iqbu1gh\qb1 g\tbu1\qb1 h|,
+except that the special macros don't require a beam number.
+Their use is illustrated in the following example:
+
+\medskip
+\begin{music}\nostartrule
+\parindent0pt\startpiece
+\Notes\Dqbu gh\Dqbl jh\en
+\notes\Dqbbu fg\Dqbbl hk\en\bar
+\Notes\Tqbu ghi\Tqbl mmj\en
+\notes\Tqbbu fgj\Tqbbl njh\en\bar
+\Notes\Qqbu ghjh\Qqbl jifh\en
+\notes\Qqbbu fgge\Qqbbl jhgi\en\setemptybar\endpiece
+\end{music}
+\noindent This was coded as\footnote{Editor's note: Most music
+typesetting books recommend beam slopes that are \ital{less} than
+the slope between the starting and ending note; these macros cannot
+provide that.}:
+\begin{quote}\begin{verbatim}
+\Notes\Dqbu gh\Dqbl jh\en
+\notes\Dqbbu fg\Dqbbl hk\en\bar
+\Notes\Tqbu ghi\Tqbl mmj\en
+\notes\Tqbbu fgj\Tqbbl njh\en\bar
+\Notes\Qqbu ghjh\Qqbl jifh\en
+\notes\Qqbbu fgge\Qqbbl jhgi\en
+\end{verbatim}\end{quote}
+ %\check
+
+\section{Ending a beam}
+ The termination of a given
+beam must be declared \ital{before} coding the last spacing note
+connected to that beam. The macros for doing that are
+\keyindex{tbu}\verb|{|$n$\verb|}| for an upper beam and
+\keyindex{tbl}\verb|{|$n$\verb|}| for a lower one. These work for
+beams of any
+multiplicity. So for example an upper triple beam with
+32nd notes is initiated by
+\verb|\ibbbu|\nps\ but terminated by \verb|\tbu{|$n$\verb|}|.
+
+ Since beams usually finish with a \verb|\qb| for the last note, the
+following shortcut macros have been provided:
+
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+ \item \keyindex{tqb}\enpee~is equivalent to \verb|\tbl{|$n$\verb|}\qb|\enpee
+ \item \keyindex{tqh}\enpee~is equivalent to \verb|\tbu{|$n$\verb|}\qb|\enpee
+ \item \keyindex{ztqb}\enpee~is equivalent to \verb|\tbl{|$n$\verb|}\zqb|\enpee~i.e., no spacing afterwards
+ \item \keyindex{ztqh}\enpee~is equivalent to \verb|\tbu{|$n$\verb|}\zqb|\enpee~i.e., no spacing afterwards
+\end{description}\end{quote}
+The following
+synonyms may be used:
+\begin{quote}\begin{tabular}{lcl}
+\keyindex{tql} & for & \keyindex{tqb}\\
+\keyindex{tqu} & for & \keyindex{tqh}\\
+\keyindex{ztql} & for & \keyindex{ztqb}\\
+\keyindex{ztqu} & for & \keyindex{ztqh}\\
+\end{tabular}\end{quote}
+
+
+\section{Changing multiplicity after the beam starts}
+Multiplicity (the number of heavy bars) can be increased at any position after
+the beam starts. The commands are \keyindex{nbbu}\onen~which increases the multiplicity of
+upper beam
+number $n$ to two starting at the current position, \keyindex{nbbbu}\onen~to
+increase it to three, and \keyindex{nbbbbu}\onen~to increase to four. The
+commands \keyindex{nbbl}\onen\dots\keyindex{nbbbbl}\onen~do the same
+for lower beams.
+Thus, the
+sequence
+
+\begin{music}\nostartrule
+\startextract
+\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\en
+\zendextract
+\end{music}
+\noindent has been coded as
+\begin{quote}\begin{verbatim}
+\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\en
+\end{verbatim}\end{quote}
+
+To decrease multiplicity to one, use \keyindex{tbbu}\onen~or
+\keyindex{tbbl}\onen. To decrease to two or three use
+\keyindex{tbbbu}\onen\dots\keyindex{tbbbbl}\onen. For example,
+
+\begin{music}\nostartrule
+\startextract
+\Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\en
+\zendextract
+\end{music}
+\noindent has been coded as
+
+\begin{quote}\begin{verbatim}
+\startextract
+\Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\en
+\zendextract
+\end{verbatim}\end{quote}
+
+Although at first it may seem counterintuitive,
+the macros \keyindex{tbbu} and \keyindex{tbbl} and higher order counterparts
+may also be invoked when the multiplicity is one. In this case
+a second, third, or fourth heavy bar will be opened one note width \ital{before}
+the current stem, and immediately closed \ital{at} the stem.
+Thus the following sequences
+
+\begin{music}\nostartrule
+\let\extractline\hbox
+\hbox to \hsize{%
+\hss
+ \startextract
+ \Notes\ibu0e0\qbp0e\roff{\tbbu0\tqh0e}\en
+ \zendextract
+\hss\hss
+ \startextract
+ \Notes\ibu0e0\qbpp0e\roff{\tbbbu0\tbbu0\tqh0e}\en
+ \zendextract
+\hss}
+\end{music}
+\noindent are coded
+\hspace*{\fill}\begin{minipage}{.4\textwidth}\begin{verbatim}
+\Notes\ibu0e0\qbp0e%
+ \roff{\tbbu0\tqh0e}\en
+\end{verbatim}\end{minipage}\hfill
+\begin{minipage}{.4\textwidth}\begin{verbatim}
+\Notes\ibu0e0\qbpp0e%
+ \roff{\tbbbu0\tbbu0\tqh0e}\en
+\end{verbatim}\end{minipage}\hfill\\[4ex]
+The following abbreviations have been provided:
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+ \item \keyindex{tqqb}\enpee~is equivalent to \verb|\tbbl{|$n$\verb|}\tqb|\enpee
+ \item \keyindex{tqqh}\enpee~is equivalent to \verb|\tbbu{|$n$\verb|}\tqh|\enpee
+ \item \keyindex{tqqqh}\enpee~is equivalent to \verb|\tbbbu{|$n$\verb|}\tqqh|\enpee
+ \item \keyindex{tqqqb}\enpee~is equivalent to \verb|\tbbbl{|$n$\verb|}\tqqb|\enpee
+ \item \keyindex{nqqb}\enpee~is equivalent to \verb|\tbbl{|$n$\verb|}\qb|\enpee
+ \item \keyindex{nqqh}\enpee~is equivalent to \verb|\tbbu{|$n$\verb|}\qb|\enpee
+ \item \keyindex{nqqqh}\enpee~is equivalent to \verb|\tbbbu{|$n$\verb|}\qb|\enpee
+ \item \keyindex{nqqqb}\enpee~is equivalent to \verb|\tbbbl{|$n$\verb|}\qb|\enpee
+\end{description}\end{quote}
+and the following
+synonyms may be used:
+\begin{quote}\begin{tabular}{lcl}
+\keyindex{tqql} & for & \keyindex{tqqb}\\
+\keyindex{tqqu} & for & \keyindex{tqqh}\\
+\keyindex{tqqql} & for & \keyindex{tqqqb}\\
+\keyindex{tqqqu} & for & \keyindex{tqqqh}\\
+\keyindex{nqql} & for & \keyindex{nqqb}\\
+\keyindex{nqqu} & for & \keyindex{nqqh}\\
+\keyindex{nqqql} & for & \keyindex{nqqqb}\\
+\keyindex{nqqqu} & for & \keyindex{nqqqh}\\
+\end{tabular}\end{quote}
+
+\medskip
+
+The symmetrical pattern is also possible. For example:
+
+\begin{music}\nostartrule
+\startextract
+\Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\en
+\zendextract
+\end{music}
+\noindent has been coded as:
+\begin{quote}\begin{verbatim}
+\Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\en
+\end{verbatim}\end{quote}
+
+The constructions in this section illustrate some general
+properties of
+beam initiation and termination commands: To mate properly with the
+expected stems, the starting position of the heavy bar(s) (for initiation commands)
+and the ending position (for terminations) will be at
+different horizontal locations
+depending on whether they are for upper or lower beams: The position for
+upper beam commands is one note head width to the right of those for
+lower beams. In fact this is the \ital{only} difference between upper
+and lower termination commands. Both types will operate on whatever kind of
+beam is open and has the same beam number.
+
+Recognizing this principle, in the example just given it was necessary to
+shift the double termination to the right by one note head width, using the
+command \keyindex{roff}\verb|{|\dots\verb|}|, which does precisely that for
+any \musixtex\ macro.
+
+Here is another, slightly more complicated example which also uses
+\verb|\roff|:
+
+\begin{music}\nostartrule
+\startextract
+\notes\ibbbu0e0\roff{\tbbbu0}\qb0f\en
+\notesp\tbbu0\qbp0f\en
+\Notes\tbu0\qb0f\en
+\notesp\ibbu0f0\roff{\tbbu0}\qbp0f\en
+\Notes\qb0f\en
+\notes\tbbbu0\tbbu0\tbu0\qb0f\en
+\zendextract
+\end{music}
+\noindent has been coded as:
+\begin{quote}\begin{verbatim}
+\notes\ibbbu0e0\roff{\tbbbu0}\qb0f\en
+\notesp\tbbu0\qbp0f\en
+\Notes\tbu0\qb0f\en
+\notesp\ibbu0f0\roff{\tbbu0}\qbp0f\en
+\Notes\qb0f\en
+\notes\tbbbu0\tbbu0\tbu0\qb0f\en
+\end{verbatim}\end{quote}
+
+\noindent Note that the first beam opening command used a pitch one step
+below the note. This makes the stem shorter by one pitch unit, since it is always
+the \ital{closest} heavy bar that is separated from the given pitch by
+three staff spaces.
+
+We close this section with an example showing how to
+open a beam of one sense, increase multiplicity, then terminate with
+opposite sense:
+
+\begin{music}\nostartrule
+\startextract
+\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\en
+\zendextract
+\end{music}
+\noindent which has been coded as
+\begin{quote}\begin{verbatim}
+\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\en
+\end{verbatim}\end{quote}
+
+One may save some typing by defining personalized
+\TeX\ macros to
+perform any oft-repeated sequence of commands. For example,
+one could define a set of four sixteenths by the macro:
+
+\verb|\def\qqh#1#2#3#4#5{\ibbl0#2#1\qb#2\qb#3\qb#4\tbl0\qb#5}|
+
+\noindent where the first argument is the slope and the other four
+arguments are the pitches of the four successive sixteenths.
+
+ %\check
+ \section{Shorthand beam notations for repeated or alternated notes}\index{repeated patterns}
+Sometimes you may want to indicate repeated or alternated short notes with open note heads joined
+by a beam. Here are examples of how to do that
+using the \keyindex{hb} macro:
+
+\begin{music}\nostartrule
+\startextract
+\Notes\ibbl0j0\hb0j\tbl0\hb0j\en
+\Notes\ibbl0h4\hb0h\tbl0\hb0j\en
+\zendextract
+\end{music}
+\noindent which has been coded as:
+\begin{quote}\begin{verbatim}
+\Notes\ibbl0j0\hb0j\tbl0\hb0j\en
+\Notes\ibbl0h4\hb0h\tbl0\hb0j\en
+\end{verbatim}\end{quote}\noindent
+A different look could be obtained as follows:
+
+\begin{music}\nostartrule
+\startextract
+\notes\ha j\loffset{0.5}{\ibbl1n3}\qsk\tbl1\qsk\ha l\sk\en
+\zendextract
+\end{music}
+\noindent which has been coded as:
+\begin{quote}\begin{verbatim}
+\notes\ha j\loffset{0.5}{\ibbl1n4}\qsk\tbl1\qsk\ha l\sk\en
+\end{verbatim}\end{quote}
+It is possible to combine this notation
+with a conventional beam, as in
+
+\begin{music}\nostartrule
+\startextract
+\notes\ibl0h3\qb0j\loffset1{\ibbbl1m3}\qsk\tbl1\qsk\tql0l\en
+\zendextract
+\end{music}
+\noindent which has been coded as:
+\begin{quote}\begin{verbatim}
+\notes\ibl0h3\qb0j\loffset1{\ibbbl1m3}\qsk\tbl1\qsk\tql0l\en
+\end{verbatim}\end{quote}\noindent
+or, for whole notes, to dispense with stems:
+
+\begin{music}\nostartrule
+\startextract
+\Notes\loff{\zw j}\ibbl0l4\sk\tbl0\wh l\en
+\Notes\ibbu0e4\wh g\tbu0\roff{\wh i}\en
+\zendextract
+\end{music}
+\noindent which has been coded as:
+\begin{quote}\begin{verbatim}
+\Notes\loff{\zw j}\ibbl0l4\sk\tbl0\wh l\en
+\Notes\ibbu0e4\wh g\tbu0\roff{\wh i}\en
+\end{verbatim}\end{quote}
+
+Short ``beams'' centered on note stems (or directly over
+or under whole notes)
+indicate \emph{tremolos}. Commands that generate tremolo indications are described in Section~\ref{tremolos}.
+
+
+% \begin{music}\nostartrule
+%\startextract
+%\Notes\ibl0h0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
+% \ibu0j0\qb0{jjj}\tbu0\qb0j\en
+%\NOTes\loffset{0.5}{\ibl0j9}\roffset{0.5}{\tbl0}\zhl h%
+% \loffset{0.5}{\ibu0g9}\roffset{0.5}{\tbu0}\hu j\en\bar
+%\notes\ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
+% \ibbu0i0\qb0{jjj}\tbu0\qb0j%
+% \ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
+% \ibbu0i0\qb0{jjj}\tbu0\qb0j\en
+%\NOTes\loffset{0.5}{\ibbl0k9}\roffset{0.5}{\tbl0}\zhl h%
+% \loffset{0.5}{\ibbu0f9}\roffset{0.5}{\tbu0}\hu j\en
+%\zendextract
+% \end{music}
+% \noindent whose coding (due to Werner {\sc Icking}) is
+%
+%\begin{quote}\begin{verbatim}
+%\Notes\ibl0h0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
+% \ibu0j0\qb0{jjj}\tbu0\qb0j\en
+%\NOTes\loffset{0.5}{\ibl0j9}\roffset{0.5}{\tbl0}\zhl h%
+% \loffset{0.5}{\ibu0g9}\roffset{0.5}{\tbu0}\hu j\en\bar
+%\notes\ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
+% \ibbu0i0\qb0{jjj}\tbu0\qb0j%
+% \ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
+% \ibbu0i0\qb0{jjj}\tbu0\qb0j\en
+%\NOTes\loffset{0.5}{\ibbl0k9}\roffset{0.5}{\tbl0}\zhl h%
+% \loffset{0.5}{\ibbu0f9}\roffset{0.5}{\tbu0}\hu j\en
+%\end{verbatim}\end{quote}
+
+ \section{Beams that cross line breaks}
+
+Although careful typesetting can usually avoid it, occasionally
+a beam may need to cross a line break. If so, it must be manually terminated at
+the end of one line and continued in the next. This
+can be done by shifting beam terminations and initiations
+using \keyindex{roff} and/or
+\keyindex{loff}, or by inserting a spacing command such as
+\keyindex{hsk}. We give an example from {\sc Grieg}'s ``Hochzeit auf
+Troldhaugen'':\index{Grieg, E.@{\sc Grieg, E.}}\medskip
+
+\begin{music}
+\parindent0pt
+\def\rqs{\lower\Interligne\rlap\qs}
+\def\snotes{\vnotes1\elemskip}
+\setstaffs1{2}
+\generalsignature{2}
+\setclef1{\bass}
+\interstaff{12}
+\startpiece
+%%% bar 1
+\addspace\afterruleskip
+\snotes|\tinynotesize\ibsluru0n\ibbu0m5\qb0{=m}\tqh0n\en
+\qspace
+\Notes\zchar{-7}\sPed\loffset{.3}{\fl E}\zq E\qu{_I}%
+ |\zql g\ibu2l0\busf2\qb2{=m}\en
+\Notes|\tubslur0o\qb2{_l}\en
+\Notes\loffset{.3}{\fl L}\zq L\ibl0L0\qb0{_b}%
+ |\ibl1h0\zqb1g\bupz2\qb2l\en
+\Notes\zq L\tqb0b|\tbl1\zqb1g\bupz2\tqh2l\en
+\NOtes\zq L\ql b|\zql g\qu l\en
+\notes\zchar{-7}\sPed\zchar{-7}{\eightit ~~~sempre}%
+ \zchar{14}{\pp\eightit~sempre}\zq I\ibbu1J0\qb1L|\qs\en
+\notes\qs|\zq N\ibbu3d0\qb3{_d}\en
+\notes\qb1E|\rqs\en
+\notes\qs|\fl e\zq N\rq e\qb3d\en
+%%% bar 2
+\bar
+\notes\loffset{.3}{\fl I}\zq I\qb1{_L}|\rqs\en
+\qspace
+\notes\qs|\lfl d\zq d\zq {=f}\qb3N\en
+\notes\tqh1{_E}|\rqs\en
+\notes\qs|\zq d\zq g\tqh3N\en
+\notes\zq I\ibbu0J0\qb0L|\rqs\en
+\notes\qs|\zq d\ibbu1d0\qb1N\en
+\notes\qb0E|\rqs\en
+\notes\qs|\fl e\rq e\zq d\qb1N\en
+\notes\zq I\qb0L|\rqs\en
+\notes\qs|\zq f\zq d\qb1N\en
+\notes\tqh0E|\rqs\en
+\notes\qs|\zq g\zq d\tqh1N\en
+\notes\zq I\ibbu0J0\qb0L|\rqs\en
+\notes\qs|\zq d\ibbu1d0\qb1N\en
+\notes\qb0E|\rqs\en
+\notes\rlap\qs\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en
+\endpiece
+\end{music}
+\noindent The prolongation of the two upper beams at the end is
+illustrated in the code fragment
+\begin{quote}\begin{verbatim}
+\notes\rlap{\qs}\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en
+\end{verbatim}\end{quote}
+ %\check
+
+ \section{Beams with notes on several different staves}
+
+Here's a simple example from {\sc Brahms}'s
+Intermezzo Op.~118, provided by
+Miguel {\sc Filgueiras}:\index{Brahms, J.@{\sc Brahms, J.}}\medskip
+
+\begin{music}
+\interstaff{12}
+\setstaffs1{2}
+\setclef1\bass
+\generalmeter\allabreve
+\startextract
+\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\en
+\bar
+\nspace
+\Notes\ibu0L2\qb0{CEJLcL}%
+ \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\en
+\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\en
+\bar
+\Notes\ttie1\zh{.L.a}\hl{.e}%
+ \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\en
+\NOtes\qp\nextstaff\zq{q}\ql{j}\en
+\endextract
+\end{music}
+ %\check
+\noindent The coding is
+\begin{verbatim}
+\interstaff{13}
+\instrumentnumber{1}
+\setstaffs1{2}
+\setclef1\bass
+\generalmeter\allabreve
+\startextract
+\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\en
+\bar
+\nspace
+\Notes\ibu0a1\qb0{CEJLcL}%
+ \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\en
+\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\en
+\bar
+\Notes\ttie1\zh{.L.a}\hl{.e}%
+ \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\en
+\NOtes\qp\nextstaff\zq{q}\ql{j}\en
+\endextract
+\end{verbatim}
+
+\noindent (This example also shows that there is no problem in extending
+a beam across a bar line.)
+
+The general features that enable this type of coding as well as the
+more complex example to follow are
+ \begin{itemize}\setlength{\itemsep}{0ex}
+% \item Commands like \Bslash{\tt ibu}, \Bslash{\tt ibl},
+%\Bslash{\tt Ibu}, and \Bslash{\tt Ibl} \rm
+%define beams whose initial vertical position and slope are fixed
+%relative
+%to the staff where they begin, but notes in other staves can still be
+%connected to them using \Bslash{\tt qb}\onen.
+%
+% \item The commands \keyindex{tbu}\onen\rm~or \keyindex{tbl}\onen\rm~terminate
+%beam $n$ at the specified position, but \musixtex\ remembers the beam
+%parameters until a new beam with the same number is defined.
+%Therefore, even after beam $n$ has been ``finished'' by a \verb|\tbu| or
+%\verb|\tbl| command, commands like \Bslash{\tt qb}\enpee\rm~will still
+%generate notes connected to the phantom extension of this beam,
+%\ital{provided they are issued in a different staff}. If the command
+%\verb|\qb|\enpee\rm~were issued on the same staff as the beam after
+% the beam had ended, an error would result.
+%
+ \item Commands like {\Bslash\texttt{ibu}}, {\Bslash\texttt{ibl}},
+{\Bslash\texttt{Ibu}}, and {\Bslash\texttt{Ibl}}
+define beams whose initial vertical position and slope are fixed
+relative
+to the staff where they begin, but notes in other staves can still be
+connected to them using {\Bslash\texttt{qb}\onen}.
+
+ \item The commands {\keyindex{tbu}\onen} or {\keyindex{tbl}\onen}
+terminate
+beam $n$ at the specified position, but \musixtex\ remembers the beam
+parameters until a new beam with the same number is defined.
+Therefore, even after beam $n$ has been ``finished'' by a \verb|\tbu| or
+\verb|\tbl| command, commands like {\Bslash{\tt qb}\enpee} will still
+generate notes connected to the phantom extension of this beam,
+\ital{provided they are issued in a different staff}. If the command
+\verb|\qb|\enpee\ were issued on the same staff as the beam after
+ the beam had ended, an error would result.
+
+
+
+
+
+ \item If the beam is initiated on one staff,
+notes in a lower staff can be connected to it, but only \ital{after} the beam
+has been defined. This may require using the command \keyindex{prevstaff}
+to go back one staff, as described in Section~\ref{movingtostaffs}.
+
+ \end{itemize}
+
+ Here is an example:
+
+ \begin{music}
+ \setstaffs13
+ \setclef1{6000}
+ \startextract
+ \notesp
+ \nextstaff\Ibbbu0Af7\prevstaff
+ \qb0{AEH^JLa}\relax\nextstaff
+ \qb0{******^c}\tqh0e\relax
+ |\zq{h^jl}\ql o\en
+ \notesp
+ \nextstaff
+ \Ibbbu0hG6\qb0{hec}\prevstaff
+ \qb0{***aLJ}\tqh0H\relax\nextstaff
+ |\zq{h^jl}\ql o\en \nspace
+ \zendextract
+ \end{music}
+
+ \noindent which is coded as:
+
+ \begin{quote}
+ \begin{verbatim}
+ \setstaffs13
+ \setclef1{6000}
+ \startextract
+ \notesp
+ \nextstaff\Ibbbu0Af7\prevstaff
+ \qb0{AEH^JLa}\relax\nextstaff
+ \qb0{******^c}\tqh0e\relax
+ |\zq{h^jl}\ql o\en
+ \notesp
+ \nextstaff
+ \Ibbbu0hG6\qb0{hec}\prevstaff
+ \qb0{***aLJ}\tqh0H\relax\nextstaff
+ |\zq{h^jl}\ql o\en \nspace
+ \zendextract
+ \end{verbatim}
+ \end{quote}
+In this example we see not only multiple uses of \keyindex{nextstaff} and
+\keyindex{prevstaff}, but also the character \verb|*| to make virtual beam notes
+(see Section~\ref{CollectiveCoding}).
+
diff --git a/macros/musixtex/doc/musixdoc/changing.tex b/macros/musixtex/doc/musixdoc/changing.tex
new file mode 100644
index 0000000000..24b329a5f2
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/changing.tex
@@ -0,0 +1,498 @@
+\chapter{Changing Clefs, Keys and Meters}
+
+\section{Introduction}\label{contextintro}
+
+To define clefs, key signatures, or meters at the start of a piece,
+or to change one or more of these attributes\footnote{In this section,
+\ital{attribute} will refer to any clef, key signature, or meter.}~anywhere
+else in a score,
+\musixtex\ requires two steps. The first step is to \ital{set} the new values of
+the attributes.
+Most of the commands for this have the form \verb|\set|...~. They will be
+described in the following subsections.
+
+But this alone will
+not cause anything to be changed or printed. The second step is to activate the
+change. This is done by issuing one of the
+following commands (outside \verb|\notes|$\dots$\verb|\en|):
+\verb|\startpiece|, \verb|\startextract|, \verb|\contpiece|,
+\verb|\Contpiece|,
+\verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne|, \verb|\zalapage|,
+\verb|\changecontext|,
+\verb|\Changecontext|, \verb|\zchangecontext|, \verb|\changesignature|,
+\verb|\changeclefs|, or \verb|\zchangeclefs|. Most of these perform
+other functions as well, and some may be used even when no attributes
+change. Features unrelated to changing attributes are detailed elsewhere.
+The first eleven will activate all pending new attributes.
+If more than one type is activated by a single command in this manner,
+then regardless of the order
+they were set, they will always appear in the following order: clef, key signature,
+meter.
+The last three commands in the above list obviously activate only
+the specific type of attribute referred to in the name of the command.
+
+The macros \verb|\changecontext|, \verb|\Changecontext|, \verb|\zchangecontext|
+will respectively insert a single, double, or invisible bar
+line before printing the attributes.
+
+\section{Key Signatures}
+
+We've already seen in Section~\ref{whatspecify} how to set key
+signatures for all instruments with \keyindex{generalsignature}, or for
+specific instruments with \keyindex{setsign}. As just noted, these commands only
+prepare for the insertion of the signatures into the score; it is
+really \verb|\startpiece| that puts them in place at the beginning of the
+score.
+
+The commands \verb|\generalsignature| and \verb|\setsign| also serve to set
+new key signature(s) anywhere in score. The change can then be activated with one of
+the eleven general commands listed above, or with \keyindex{changesignature} if
+in the middle of a bar.
+While neither \verb|\changesignature| nor \verb|\zchangecontext| prints a bar
+line, the differences are that the latter increments the bar number counter and
+inserts a horizontal space of \verb|\afterruleskip| after the new signature(s).
+All of these options will repost signatures that have not been changed.
+
+Normally, changing a signature from flats to sharps or vice-versa, or
+reducing the number of sharps or flats, will produce the appropriate set of
+naturals to indicate what has been suppressed. This standard feature can be
+temporarily inhibited by the command \keyindex{ignorenats} issued right before
+the change-activating command.
+
+Here is an example showing various possibilities for changing key signatures.
+Note the comments between the code lines.
+
+\begin{quote}\begin{verbatim}
+\instrumentnumber2\setstaffs22%
+\setclef1{\bass}\generalsignature2%
+\startextract
+\Notes\qu K&\qu d|\qu e\en
+% Signature change in a single instrument with two staves.
+% Naturals appear by default, indicating cancelled sharps.
+\setsign20\changesignature
+\Notes\qu J&\qu d|\qu e\en
+% When changing signature in the middle of a bar and no naturals
+% are posted, the new signature can be confused with a simple accidental.
+\setsign11\ignorenats\changesignature
+\Notes\qu M&\qu d|\qu e\en
+% New signatures after a double bar line
+\generalsignature{-2}\Changecontext%
+\Notes\qu K&\qu d|\qu e\en%
+\Notes\qu K&\qu d|\qu e\en%
+% New signatures after an invisible bar line. Note the
+% difference in spacing compared with beat 3 of the prior measure
+\generalsignature{1}\zchangecontext%
+\Notes\qu K&\qu d|\qu e\en%
+\end{verbatim}\end{quote}
+
+\begin{music}
+\instrumentnumber2\setstaffs22%
+\setclef1{\bass}\generalsignature2%
+\startextract
+\Notes\qu K&\qu d|\qu e\en
+% Signature changing in a single instrument with 2 staves
+% Naturals are allowed to shown there are no more sharps
+\setsign20\changesignature
+\Notes\qu J&\qu d|\qu e\en
+% Signature changing in a single staff without naturals
+% if there is no bar line, the signatures are confusing:
+% it is not clear if they are for a single note or not
+\setsign11\ignorenats\changesignature
+\Notes\qu M&\qu d|\qu e\en
+% New signatures after a double bar line
+\generalsignature{-2}\Changecontext%
+\Notes\qu K&\qu d|\qu e\en%
+\Notes\qu K&\qu d|\qu e\en%
+% New signatures after an invisible bar line
+% see the difference in space comparing beat 2
+\generalsignature{1}\zchangecontext%
+\Notes\qu K&\qu d|\qu e\en%
+\endextract
+\end{music}
+
+
+\section{Clefs}\label{treblelowoct}\label{ClefChanges}
+
+Macros that define clefs have already been discussed in Section~\ref{whatspecify}. By way of review, here are all of the possible clefs
+(applied to the lowest staff):
+%avrb
+\newcommand{\musicintextsign}[1]{\musicintext#1{\notes\en}}
+
+\begin{center}\vskip-1ex\footnotesize%\small
+\begin{tabular}{||c|c|c|c|c||}\hline\hline
+&&&&\\
+\verb+\setclef1\treble+&&&\verb+\setclef1\alto+&\\
+\verb+\setclef10+&\verb+\setclef11+&\verb+\setclef12+
+&\verb+\setclef13+&\verb+\setclef14+\\[-2ex]%\hline
+\musicintextsign{\treble}&\musicintextsign1&\musicintextsign2
+&\musicintextsign{\alto}&\musicintextsign4\\[3ex]\hline
+%\end{tabular}
+&&&&\\
+%\begin{tabular}{ccccc}
+&\verb+\setclef1\bass+&&\verb+\setclefsymbol1\empty+\footnotemark&\\
+\verb+\setclef15+&\verb+\setclef16+&\verb+\setclef17+
+&\verb+\setclef18+&\verb+\setclef19+\\[-2ex]%\hline
+\musicintextsign5&\musicintextsign{\bass}&\musicintextsign7
+&\musicintextsign8&\musicintextsign9\\[3ex]\hline\hline
+%This one uses \setclefsymbol1\empty :
+%&\musicintextnoclef{\notes\qu h\en}&\musicintextsign9\\[3ex]\hline\hline
+\end{tabular}
+\footnotetext{Details of the macro {\tt\Bslash setclefsymbol} will be discussed later}
+\end{center}
+%avre
+
+Just as with key signatures, these commands only \ital{prepare} for clef changes.
+To \ital{activate} them, any of the first eleven commands listed in Section~\ref{contextintro} could be used. However, one should keep in mind that,
+according to modern conventions, a clef change at a bar line is posted
+\emph{before} the bar line, whereas, for example, \verb|\changecontext|, would post it
+\emph{after} the bar line. In part for this reason, we have the special command
+\keyindex{changeclefs}. It can be used anywhere outside
+\verb+\notes...\en+ to activate a clef change and insert an amount of
+horizontal space to accommodate the new clef symbol(s), without printing a
+bar line. Sometimes no added
+space is required, in which case \keyindex{zchangeclefs} should be used.
+
+Here are some examples of clef changes:
+
+\begin{quote}\begin{verbatim}
+\instrumentnumber2\setstaffs22%
+\setclef1{\bass}\generalsignature2%
+\startextract
+% Change in one staff only, with added space
+\setclef1\treble\changeclefs%
+\Notes\qu k&\qu e|\cu{.d}\ccu{e}\en%
+% Combined with signature change, also no extra space needed
+% twice the same clef in staff 2 - with the help of a blank clef
+\setclef28\zchangeclefs\setclef2\treble%
+\setclef1\bass\zchangeclefs\setsign1{-2}\setsign2{-2}%
+\ignorenats\changesignature%
+\Notes\qu K&\cu{de}|\qu e\en%
+% clef change before barline
+\setclef1\treble\zchangeclefs\bar%
+\Notes\qu k&\cu{de}|\qu e\en%
+% clef change after barline
+\setclef1\bass\bar\changeclefs%
+\Notes\qu K&\cu{de}|\qu e\en%
+% clef change after barline with changecontext
+\setclef1\treble\changecontext%
+\Notes\cu k&\cu d|\qu e\en%
+% twice the same clef
+\setclef18\zchangeclefs\setclef1\treble\changeclefs%
+\Notes\cu k&\cu e |\en%
+\zendextract
+\end{verbatim}\end{quote}
+\begin{music}
+\instrumentnumber2\setstaffs22%
+\setclef1{\bass}\generalsignature2%
+\startextract
+% Change in one staff only, with added space
+\setclef1\treble\changeclefs%
+\Notes\qu k&\qu e|\cu{.d}\ccu{e}\en%
+% Combined with signature change, also no extra space needed
+% twice the same clef in staff 2 - with the help of a blank clef
+\setclef28\zchangeclefs\setclef2\treble%
+\setclef1\bass\zchangeclefs\setsign1{-2}\setsign2{-2}%
+\ignorenats\changesignature%
+\Notes\qu K&\cu{de}|\qu e\en%
+% clef change before barline
+\setclef1\treble\zchangeclefs\bar%
+\Notes\qu k&\cu{de}|\qu e\en%
+% clef change after barline
+\setclef1\bass\bar\changeclefs%
+\Notes\qu K&\cu{de}|\qu e\en%
+% clef change after barline with changecontext
+\setclef1\treble\changecontext%
+\Notes\cu k&\cu d|\qu e\en%
+% twice the same clef
+\setclef18\zchangeclefs\setclef1\treble\changeclefs%
+\Notes\cu k&\cu e |\en%
+\endextract
+\end{music}
+
+\noindent Of course the examples in the last two bars are contrary
+to accepted practice.
+
+If \keyindex{atnextbar} is being used to center material and new clefs before
+the bar line should be
+excluded from the ``notes'' region within which material is centered,
+you may use the command \keyindex{Changeclefs}, as in the following:
+
+\begin{music}
+\nobarnumbers
+\nostartrule
+\generalmeter{\meterC}
+\startextract%
+\NOTEs\en
+\def\atnextbar{\znotes\centerHpause{11}\en}%
+\setclef1\bass\Changeclefs%
+\setleftrepeat%
+\generalmeter{\allabreve}%
+\changecontext%
+\NOTEs\en
+\def\atnextbar{\znotes\centerHpause{12}\en}%
+\setclef1\treble\Changeclefs%
+\setrightrepeat\bar%
+\NOTEs\en
+\def\atnextbar{\znotes\centerHpause{13}\en}%
+\endextract
+\end{music}\noindent
+which was coded as
+\begin{quote}
+\begin{verbatim}
+\generalmeter{\meterC}
+\startextract%
+\NOTEs\en
+\def\atnextbar{\znotes\centerHpause{11}\en}%
+\setclef1\bass\Changeclefs%
+\setleftrepeat%
+\generalmeter{\allabreve}%
+\changecontext%
+\NOTEs\en
+\def\atnextbar{\znotes\centerHpause{12}\en}%
+\setclef1\treble\Changeclefs%
+\setrightrepeat\bar%
+\NOTEs\en
+\def\atnextbar{\znotes\centerHpause{13}\en}%
+\endextract
+\end{verbatim}
+\end{quote}
+
+Clef changes initiated with the \verb|\setclef| command have several features
+in common. When activated after the beginning of the piece, the printed symbol
+is smaller than the normal one used at the beginning of the piece. Also,
+\musixtex\ automatically adjusts vertical positions of noteheads consistent
+with the new clef.
+
+There is an additional group of macros for setting new clefs which does not share
+either of these features. In other words, they will always print full sized symbols, and they
+won't change the vertical positions of noteheads from what they would have been
+before the new symbol was printed. We could call this process ``clef symbol substitution'',
+because all it does is print a different symbol (or no symbol at all) in place of
+the underlying clef which was set in the normal way.
+
+You'll need to use clef symbol substitution if you want to have a so-called
+\index{octave clefs}\label{octclef}octave treble clef or octave bass
+clef, i.e., one containing a numeral 8 above or
+below the normal symbol. The syntax for setting upper
+octaviation
+is \keyindex{setbassclefsymbol}\onen\keyindex{bassoct}\\
+or \keyindex{settrebleclefsymbol}\onen\keyindex{trebleoct}; for lower octaviation
+it is\\ \keyindex{setbassclefsymbol}\onen\keyindex{basslowoct} or
+\keyindex{settrebleclefsymbol}\onen\keyindex{treblelowoct}. Because these sequences act to
+\ital{replace} normal bass or treble clefs with a different symbol, they
+require that the normal clefs be set first. For example
+
+\noindent\begin{minipage}{80mm}
+\begin{music}\nostartrule
+ \parindent 19mm
+ \instrumentnumber{4}
+ \generalmeter{\empty}
+ \setclef1\bass \setclef2\bass \setclef3\treble \setclef4\treble
+ \setbassclefsymbol1\basslowoct
+ \setbassclefsymbol2\bassoct
+ \settrebleclefsymbol3\treblelowoct
+ \settrebleclefsymbol4\trebleoct
+\startextract
+\Notes\qu{`abcdefghi}&\qu{`abcdefghi}&\qu{abcdefghi}&\qu{abcdefghi}&\en
+\zendextract
+\end{music}
+\end{minipage}
+\begin{minipage}{50mm}
+\begin{verbatim}
+\parindent 19mm
+\instrumentnumber{4}
+\generalmeter{\empty}
+\setclef1\bass \setclef2\bass
+\setclef3\treble \setclef4\treble
+\setbassclefsymbol1\basslowoct
+\setbassclefsymbol2\bassoct
+\settrebleclefsymbol3\treblelowoct
+\settrebleclefsymbol4\trebleoct
+\startextract
+\Notes\qu{`abcdefghi}&\qu{`abcdefghi}%
+&\qu{abcdefghi}&\qu{abcdefghi}&\en
+\zendextract
+\end{verbatim}
+\end{minipage}
+
+\index{clefs (empty)}
+Another application of clef symbol substitution is to cause no clef to be
+printed, as for example might be desired in percussion music, This
+can be accomplished with \keyindex{setclefsymbol}\onen\verb|\empty|, which
+once activated would replace \ital{all} clef symbols in the first (lowest)
+staff of instrument $n$ with blanks.
+
+Normal symbols for those clefs that have been substituted can be restored by
+\keyindex{resetclefsymbols}.
+
+Four other small clef symbols are available: \verb|\smalltrebleoct|,
+\verb|\smalltreblelowoct|, \verb|\smallbassoct|, and \verb|\smallbasslowoct|.
+They look just like the corresponding normal-sized symbols, and are useful by
+clef symbol substitution for clef changes after the beginning of a piece, as
+demonstrated in the following example.
+
+The various clef symbol substitution commands can only be used to substitute for
+\texttt{treble}, \texttt{alto}, or \texttt{bass} clefs.
+
+In the following example, (1) is two normal clef changes. At (2) the clef is first changed
+back to treble and then the \verb|\treblelowoct| symbol is substituted by using
+\verb|\settrebleclefsymbol|.
+When changing the clef away from treble and then back as at (3), the substitution
+symbol is still in force. At (4), \verb|\resetclefsymbols| cancels the symbol substitution.
+If using \verb|\setclefsymbol| all available clefs are changed to the same symbol, as you can see
+in the three clefs after (5) in comparison with (2). These also illustrate the use of the small
+octave clef symbol. Obviously the second clef after (5) is
+nonsense; \verb|\resetclefsymbols| puts matters in order at (6) and (7).
+
+\begin{music}
+\instrumentnumber1\setclef1\bass
+\startpiece
+\notes\zchar{-5}{1}\qu H\en\setclef1\treble\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\bar
+\notes\zchar{-5}{2}\qu J\en
+\setclef1\treble\settrebleclefsymbol1\treblelowoct\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\bar
+\notes\zchar{-5}{3}\qu I\en\setclef1\treble\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\bar
+\notes\zchar{-5}{4}\qu J\en\resetclefsymbols\setclef1\treble\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\doublebar
+\notes\zchar{-5}{5}\qu J\en
+\setclef1\treble\setclefsymbol1\smalltreblelowoct\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\bar
+\notes\qu I\en\setclef1\treble\changeclefs
+\notes\zchar{-5}{6}\qu i\en\resetclefsymbols\setclef1\bass\changeclefs\bar
+\notes\zchar{-5}{7}\qu J\en\setclef1\treble\changeclefs
+\notes\qu i\en
+\endpiece
+\end{music}
+
+\noindent This is the code:
+
+\begin{quote}\begin{verbatim}
+\instrumentnumber1\setclef1\bass
+\startpiece
+\notes\zchar{-5}{1}\qu H\en\setclef1\treble\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\bar
+\notes\zchar{-5}{2}\qu J\en
+\setclef1\treble\settrebleclefsymbol1\treblelowoct\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\bar
+\notes\zchar{-5}{3}\qu I\en\setclef1\treble\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\bar
+\notes\zchar{-5}{4}\qu J\en\resetclefsymbols\setclef1\treble\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\doublebar
+\notes\zchar{-5}{5}\qu J\en
+\setclef1\treble\setclefsymbol1\smalltreblelowoct\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\bar
+\notes\qu I\en\setclef1\treble\changeclefs
+\notes\zchar{-5}{6}\qu i\en\resetclefsymbols\setclef1\bass\changeclefs\bar
+\notes\zchar{-5}{7}\qu J\en\setclef1\treble\changeclefs
+\notes\qu i\en
+\endpiece
+\end{verbatim}\end{quote}
+
+\section{Meter changes}
+
+As mentioned in Section~\ref{generalmeter}, a common \itxem{meter} for all
+staves can be specified by \keyindex{generalmeter}\verb|{|$m$\verb|}|,
+where $m$ denotes the meter. On the other hand, meter changes in specific
+staves are implemented with
+\keyindex{setmeter}\onen\verb|{{|$m1$\verb|}{|$m2$\verb|}{|$m3$\verb|}{|$m4$\verb|}}|,
+where $n$ is the number of the instrument, $m1$ specifies the meter
+of the first (lowest) staff, $m2$ the second staff, and so forth. (Only enter
+as many $m$'s as necessary.)
+
+Since meter changes are meaningful only across bars, there is no special command to
+activate a new meter; rather, they are activated with the general commands
+\keyindex{changecontext}, etc., listed in Section~\ref{contextintro}.
+
+The next example shows a few methods to get a meter change, in all staves or
+in a single staff.
+
+\begin{small}
+\begin{quote}\begin{verbatim}
+\instrumentnumber2\setstaffs22%
+\generalmeter{\meterfrac{4}{4}\meterfrac{2}{4}\meterfrac{1}{4}}%
+\setclef1{\bass}\generalsignature2%
+\startextract
+\setmeter1{{\meterfrac{2}{4}}}%
+\setmeter2{{\lower2pt\hbox{\meterfrac{\meterlargefont 2}{}}}%
+{\meterfrac{3}{4}}}\changecontext
+\Notes\qu K&\cu{de}|\qu e\en
+% bar 11
+% Meters, clefs, and key signatures.
+% All 3 clefs after bar (probably bad form) if no changeclefs
+\setmeter1{{\meterfrac{2}{8}}}%
+\setmeter2{{\meterfrac{3}{6}}{\meterfrac{3}{8}}}%
+\setsign2{-1}%
+% How to force showing the bass clef?
+\setclef1\bass\setclef2{23}%
+\Changecontext
+\Notes\qu K&\cu{de}|\qu e\en
+% bar 12
+% Meters, clefs, and key signatures, with clef before the bar.
+% Maybe not best form if signatures are involved
+\setmeter1{{\meterfrac{2}{4}}}%
+\setmeter2{{\meterfrac{3}{8}}{\meterfrac{3}{6}}}%
+\setsign2{-1}%
+\setclef1\treble\zchangeclefs\changecontext
+\Notes\qu k&\cu{de}|\qu e\en
+\end{verbatim}\end{quote}
+\end{small}
+\begin{music}
+\instrumentnumber2\setstaffs22%
+\generalmeter{\meterfrac{4}{4}\meterfrac{2}{4}\meterfrac{1}{4}}%
+\setclef1{\bass}\generalsignature2%
+\startextract
+\setmeter1{{\meterfrac{2}{4}}}%
+% How big the '2' must be?
+\setmeter2{{\lower2pt\hbox{\meterfrac{\meterlargefont 2}{}}}%
+{\meterfrac{3}{4}}}\changecontext
+\Notes\qu K&\cu{de}|\qu e\en
+% bar 11
+% Meter Clefs and Key Signatures
+% all 3 clefs after bar if no changeclefs
+\setmeter1{{\meterfrac{2}{8}}}%
+\setmeter2{{\meterfrac{3}{6}}{\meterfrac{3}{8}}}%
+\setsign2{-1}%
+% How to force showing the bass clef?
+\setclef1\bass\setclef2{23}%
+\Changecontext
+\Notes\qu K&\cu{de}|\qu e\en
+% bar 12
+% Meter Clefs Keys Signatures all 3 with clef before the bar
+% probably not if signatures are involved
+\setmeter1{{\meterfrac{2}{4}}}%
+\setmeter2{{\meterfrac{3}{8}}{\meterfrac{3}{6}}}%
+\setsign2{-1}%
+\setclef1\treble\zchangeclefs\changecontext
+\Notes\qu k&\cu{de}|\qu e\en
+\endextract
+\end{music}
+
+\section{Changes at the end of a system}
+It is conventional music-typesetting practice to indicate changes of clef, time signature,
+and key signature that apply to the start of a \emph{new} system
+also at the end of the previous system, as in the following:
+
+\begin{music}
+\nobarnumbers
+\setstaffs12
+\setclef{1}{\bass}
+\generalmeter{\meterfrac44}
+\generalsignature{+2}
+\startextract%
+\Notes\wh K|\qa{fghi}\en
+\setclef{1}{66}\changeclefs%
+\generalmeter{\meterfrac34}%
+\generalsignature{-1}%
+\Changecontext%
+\zendextract%
+\generalsignature{-1}
+\setclef{1}{66}
+\generalmeter{\meterfrac34}
+\startextract%
+\NOtes\ha{.K}|\qa{Mad}\en%
+\bar%
+\Notes\ha{.K}|\qa{Mad}\en%
+\endextract%
+\end{music}
diff --git a/macros/musixtex/doc/musixdoc/embedding.tex b/macros/musixtex/doc/musixdoc/embedding.tex
new file mode 100644
index 0000000000..519eb93220
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/embedding.tex
@@ -0,0 +1,180 @@
+\chapter{Embedding Musical Excerpts in Text Documents}
+
+Here we discuss the options for including music in text documents. The first
+decision is whether or not to use \LaTeX\footnote{We'll assume a user wanting
+to embed a musical excerpt in a \LaTeX\ document is already familiar with the
+fundamentals of \LaTeX. For more information about it, see for example the manual
+\ital{\LaTeX: A Document Preparation System} by Leslie {\sc Lamport}}.
+Because \LaTeX\ so effectively simplifies
+production of text-based \TeX\ documents, most users take that path, and most of the
+descriptions given here will assume that's the case\footnote{Please do not be confused;
+while \LaTeX\ is recommended for text-based documents containing musical
+excerpts, its use is definitely discouraged for ordinary self-contained musical scores
+of any sort.}.
+
+If for some reason you choose not to use \LaTeX\ for musical excerpts,
+the basic approach is simply to set off the musical
+parts between \verb|\startpiece| or \verb|\contpiece| and \verb|\stoppiece| or
+\verb|\endpiece|, or between \verb|\startextract| and \verb|\zendextract|. But
+some details in what follows will also apply without \LaTeX.
+
+There are two basic approaches to embedding musical excerpts in \LaTeX\
+documents. The first method is to directly include the \musixtex\ code in
+the \LaTeX\ source file. That will be the subject of the next subsection. The
+other is to create an EPS (encapsulated Postscript) or PDF file containing only the
+excerpt, and then ``paste'' it into the \LaTeX\ file. That will be covered in
+Section~\ref{embedeps}.
+
+The advantages of using the direct method are that all of the source code for
+all excerpts can be kept in the same file as the text, and that there is no
+limit on the length of the excerpt.
+The advantage of the EPS/PDF method is that you don't have to burden the \LaTeX\
+source with any of the \musixtex\ paraphernalia. That in turn permits use of
+primitive versions of the \TeX\ compiler that may not have the capacity
+to handle the direct method (due to the number of registers consumed by \LaTeX\
+and \musixtex). The disadvantages are that you must create and keep
+track of a separate \TeX\ and EPS/PDF file for every excerpt, and that the excerpt
+must not span any page breaks. On balance, the
+direct method is probably to be preferred.
+
+\section{Directly embedding excerpts in \LaTeX\ documents}\label{excerpts}
+
+To use the direct method, add \verb|\usepackage{musixtex}| to the preamble.
+This will cause the file
+\ttxem{musixtex.sty} to be loaded, so naturally you must make that file
+available in a place where \TeX\ can find it. That file simply inputs two
+other files, \verb|musixtex.tex| and \ttxem{musixltx.tex}, which again must
+obviously be available to \TeX.
+
+Now you are in position to directly embed an excerpt by inserting code at the
+appropriate place in the source file. The most common type of excerpt is
+one that occupies less than a full line and is to be horizontally centered. In
+that case, the extract should begin with the command \keyindex{begin\LBR music\RBR},
+followed by any preliminary commands. Then, instead of \verb|\startpiece|,
+use \keyindex{startextract}. Now comes the normal \musixtex\ coding. Finally,
+end the extract with \keyindex{endextract} instead of \verb|\endpiece|
+or \verb|\stoppiece|, followed by \keyindex{end\LBR music\RBR}.
+
+To terminate an extract without any bar line, use \keyindex{zendextract}
+instead of \verb|\endextract|.
+To create a left-justified excerpt, use the sequence
+\begin{quote}
+\verb|\let\extractline\leftline|.
+\end{quote}
+If several extracts are to be placed on the same line, you can
+redefine \keyindex{extractline} as demonstrated in the following
+example\footnote{The macro {\tt\Bslash extractline} is defined once and for all in
+{\tt musixtex.tex} as {\tt\Bslash centerline}. You might think that the suggested
+coding would permanently redefine {\tt\Bslash extractline}, thereby upsetting the
+normal function of {\tt\Bslash startextract ... \Bslash endextract} for subsequent use.
+But it doesn't, because any actions within
+\keyindex{begin\LBR music\RBR}...\keyindex{end\LBR music\RBR} are local, not
+global.}:
+
+% DAS temp (where is the reference???)
+%An example of this is given at \ref{extractline} on page \pageref{extractline}.
+% end DAS temp
+\begin{quote}\begin{verbatim}
+\begin{music}\nostartrule
+\let\extractline\hbox
+\hbox to \hsize{%
+\hss\startextract ... \zendextract\hss%
+\hss\startextract ... \zendextract\hss}
+\end{music}
+\end{verbatim}\end{quote}
+
+An even shorter type of extract is one that is embedded \ital{within} a line of text.
+To insert \musixtex\ symbols within a line of text, you could begin by defining
+\keyindex{notesintext} as follows\footnote{provided by Rainer {\sc Dunker}}:
+
+\begin{quote}\begin{verbatim}\begin{music}\nostartrule
+\makeatletter
+\def\notesintext#1{%
+ {\let\extractline\relax
+ \setlines10\smallmusicsize \nobarnumbers \nostartrule
+ \staffbotmarg0pt \setclefsymbol1\empty \global\clef@skip0pt
+ \startextract\addspace{-\afterruleskip}#1\zendextract}}
+\makeatother
+\end{music}\end{verbatim}\end{quote}
+
+Then, for example, the code
+
+\begin{verbatim}
+Use \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\rql1\qu2\en}}
+not \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\ql2\lqu1\en}}
+\end{verbatim}
+
+\noindent would produce: ``Use \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\rql1\qu2\en}} not
+\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\ql2\lqu1\en}}~''.
+
+\noindent The \verb|\raisebox| voids the vertical space that is introduced by the notes.
+
+Finally, you may want to insert an extract containing more than one line
+of music. This is the easiest of all: between
+\verb|\begin{music}| and \verb|\end{music}|, use \ital{exactly} the same
+coding you would to make an ordinary score.
+
+\enlargethispage*{4ex}
+The best way to learn how to apply these methods is to study
+the source files for this document\footnote{Do note,
+however, that {\tt musixdoc.tex} loads a \texttt{musixdoc.sty} package
+in its preamble, not just \texttt{musixtex.sty}; the former performs the functions of \texttt{musixtex.sty}
+as well as numerous tasks peculiar to this particular document.}.
+
+%DAS I don't think this section is worth including.
+
+% \section{Wide music in \LaTeX}\label{musixblx}
+% Another difficulty appears with \LaTeX: internal \LaTeX\ macros handle the
+%page size in a way which is not supposed to be changed within a given document.
+%This means that text horizontal and vertical sizes are somewhat frozen so that
+%one can hardly insert pieces of music of page size different from the size
+%specified by the \LaTeX{} \itxem{style}.
+%Although a \ttxem{musixblx.tex} has been provided, which makes the
+%\ital{environment} \verb|bigmusic| available.
+%\zkeyindex{begin\LBR bigmusic\RBR}
+%The main drawback is an unpredictable behaviour of top and bottom
+%printouts, especially page numberings.
+%
+% If the whole of a document has wide pages, it can be handled with the
+%\ttxem{a4wide} style option, or any derivate of it.
+
+\section{Embedding musical excerpts as PDF or EPS files}
+\label{embedeps}
+To use this method of including excerpts, you first must create a separate
+\musixtex\ input file for each excerpt. Process each such file with
+\TeX\ and \verb|musixflx| to generate a \verb|.dvi| file. Generate
+a Postscript file from each \verb|.dvi| using \verb|dvips|. Then
+convert each Postscript file to a \verb|.pdf| or \verb|.eps| file using
+\verb\ps2pdf\ or \verb\ps2eps\;
+if you are using Windows, {GSview} can be used for either. Note that
+conversion to EPS (Encapsulated Postscript) is possible only for \emph{single-page} Postscript files.
+
+To set up your \LaTeX\ document for including \verb|.pdf| or \verb|.eps| files, you must post
+the command \verb|\usepackage{graphicx}| in the preamble of the
+document. Now, you may include each \texttt{sample.pdf} or \texttt{sample.eps} file at the appropriate place
+in the {\LaTeX} document with a command
+like \keyindex{includegraphics}\verb|{sample}|. If an embedded file is a PDF (rather than an EPS),
+the document must be processed with \verb|pdflatex| (rather than \verb|latex|).
+
+\section{Issues concerning \texorpdfstring{{\Bslash catcodes}}{catcodes}}
+\label{catcodeprobs}
+
+\musixtex\ uses the following symbols differently from plain \TeX: \verb|>|,
+ \verb|<|, \verb&|&, \verb|&|, \verb|!|, \verb|*|, \verb|.|, and \verb|:|\ .\\
+The symbols are given their special meanings by executing the macro
+\keyindex{catcodesmusic}, and are restored to their plain \TeX\ meanings with
+\keyindex{endcatcodesmusic}. When setting either a self-contained score or
+a musical extract, you normally need not worry
+about this at all, because \verb|\startpiece| or \verb|\startextract| executes
+\verb|\catcodesmusic| and \verb|\endpiece| or \verb|\endextract| executes
+\verb|\endcatcodesmusic|. But there are some special situations where you
+might need to use these catcode-modifying macros explicitly. One is if you
+were to define a personalized macro outside
+\verb|\startpiece ... \endpiece|, but which incorporated any of the
+symbols with their \musixtex\ meanings. Another would be if you wished to have
+access to facilities enabled by alternate style files such as
+{\tt\ixem{french.sty}} which change \keyindex{catcode}s themselves. In
+such cases, provided you have input \verb|musixtex.tex|, you can always
+invoke \keyindex{catcodesmusic} to set the \keyindex{catcode}s at their
+\musixtex\ values, and \keyindex{endcatcodesmusic} to restore them to their
+prior values.
diff --git a/macros/musixtex/doc/musixdoc/examples.tex b/macros/musixtex/doc/musixdoc/examples.tex
new file mode 100644
index 0000000000..d0aeb1e6cd
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/examples.tex
@@ -0,0 +1,124 @@
+\chapter{\musixtex\ Examples}
+
+The file \verb|musixdoc.tex|, the source for this manual, contains many useful
+examples. In the manual, many examples are accompanied by a display of the code
+that produced them, while for a few only an image of the extract is included and you'll
+have to look in the \verb|musixdoc| source files to see the coding.
+
+Other useful examples cannot be embedded in the source, either because they are
+meant to be in \TeX, not \LaTeX, or because they are simply too large. For
+these the source files also are provided separately.
+
+When compiling or viewing any of the examples, you should keep in mind that
+most DVI previewers and laser printers have
+their origin one inch below and one inch to the right of the upper right corner
+of the paper, while the musical examples have their upper left
+corner just one centimeter to the right and below the top left corner of the page.
+Therefore, special parameters may have to be given to the DVI transcription
+programs unless special \keyindex{hoffset} and \keyindex{voffset} \TeX\
+commands have been included within the \TeX\ source.
+
+\section{Small examples}
+
+\begin{itemize}\setlength{\itemsep}{0ex}
+
+\item{\tt ossiaexa.tex}~: This is a stand-alone example of the use of ossia,
+provided by Olivier Vogel (Section~\ref{ossia} on page \pageref{ossia}).
+
+\item{\tt 8bitchar.tex}~: Using 8bit characters.
+
+\end{itemize}
+
+\section{Full examples}
+The small examples above and the longer ones mentioned below are included in
+the documentation folder of the \musixtex\ package.
+Some of them require
+\verb|musixcpt.tex| which makes examples created in
+Music\TeX\ compatible with \musixtex. Here we mention a few of
+special interest.
+
+\subsection{Examples mentioned in the manual}
+
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item{\tt avemaria.tex}~: the ``M\'editation'' (alias ``Ave Maria'') by
+Charles {\sc Gounod} for organ and violin or voice.\index{Gounod, C.@{\sc Gounod, C.}}
+To run this five-page example you'll also need \texttt{avemariax.tex}.
+It demonstrates the use of separated bar rules (Section~\ref{avemaria2})
+and the use of staves of different sizes (Section~\ref{avemaria}).
+Also, an additional instrument is created for lyrics. This was a common
+practice before the \texttt{musixlyr} package was created by Rainer Dunker.
+
+ \item{\tt glorias.tex}~: a local melody for the French version of
+\ital{Gloria in excelsis Deo}, a three-page piece demonstrating the use of the hardlyrics
+commands (Section~\ref{glorias}). {\tt gloriab.tex} is the same piece, but with organ accompaniment.
+
+\end{itemize}
+
+\subsection{Other examples, provided by the authors of \musixtex }
+
+\begin{itemize}\setlength{\itemsep}{0ex}
+
+ \item{\tt traeumer.tex}~: the famous ``Tr\"aumerei'' by
+Robert {\sc Schumann}\index{Schumann, R.@{\sc Schumann, R.}} for piano, in genuine
+\musixtex\ but with some
+additions to perform ascending bitmapped \itxem{crescendos}.
+There are also S-shaped slurs between 2 staves.
+
+ \item{\tt parnasum.tex}~: the first page of ``Doctor gradus ad
+Parnassum'' by Claude {\sc Debussy}\index{Debussy,
+C.@{\sc Debussy, C.}} for piano.
+It contains a rather complex example of a new command \verb+\Special+
+to create staff-jumping doubly beamed notes.
+\end{itemize}
+
+\subsection{Additional documentation}
+
+\begin{itemize}\setlength{\itemsep}{0ex}
+
+ \item{\tt sottieng}~: Notation mistakes, provided by Jean-Pierre Coulon.
+
+\end{itemize}
+
+\section{Compiling \texttt{musixdoc.tex}}
+
+This manual is an excellent example of a primarily text document with embedded
+musical excerpts. For this reason, it is a \LaTeX\ document and must be compiled
+with \verb|latex| rather than \verb|etex|. Those wishing to combine text and
+musical excerpts should carefully study how it is done here.
+
+Before compiling or recompiling \verb|musixdoc.tex|, you should remove all the auxiliary
+files {\tt musixdoc.[mx1\|\allowbreak mx2\|\allowbreak aux\|\allowbreak toc\|\allowbreak ind\|\allowbreak idx\|\allowbreak ilg\|\allowbreak out]}
+if they are present. Then the following command sequence will produce \verb|musixdoc.ps|:
+\begin{quote}\begin{verbatim}
+latex musixdoc
+musixflx musixdoc
+latex musixdoc
+makeindex musixdoc
+latex musixdoc
+latex musixdoc
+dvips -e0 musixdoc
+\end{verbatim}\end{quote}
+The initial three steps \verb|latex|\allowbreak$\to$\allowbreak\verb|musixflx|\allowbreak$\to$\allowbreak\verb|latex| build up the basic appearance of the document including musical examples.
+The \verb|makeindex| step produces the database for the index.
+After that, \verb|latex| must be run at least twice to complete cross referencing.
+Finally, \verb|dvips| converts the \verb|.dvi| file into \verb|.ps|.
+To produce \verb|musixdoc.pdf|, use \verb|ps2pdf| or the Distiller component of Adobe Acrobat, or open \verb|musixdoc.ps| in \texttt{GSview}, go to
+{\tt File\|Convert}, select \verb|pdfwrite| at 600 dpi resolution, and click
+\verb|OK|.
+Or if you have the \verb|musixtex| script, just run
+\begin{quote}
+\verb|musixtex -l -x musixdoc|
+\end{quote}
+where the \verb|-l| option is to use \verb|latex| as the processing engine
+and \verb|-x| is to create a new index database.
+
+%If you use an older version of \LaTeX\ which doesn't automatically
+%invoke $\varepsilon$\hbox{-}\nobreak\TeX, you will encounter the
+%error ``{\tt !~No room for new \string\count}''.
+%This is because \verb|musixdoc.tex| invokes \verb|musixtex.tex|, which together with \LaTeX\
+%requires more storage registers than available in \TeX.
+%You may be able get around this by using the command
+%\verb|elatex| instead of \verb|latex|;
+%however, it is strongly recommended to upgrade your \TeX\ system to a more recent
+%version in which \verb|latex| automatically invokes $\varepsilon$\hbox{-}\nobreak\TeX.
+
diff --git a/macros/musixtex/doc/musixdoc/extensions.tex b/macros/musixtex/doc/musixdoc/extensions.tex
new file mode 100644
index 0000000000..7d60a4dbc5
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/extensions.tex
@@ -0,0 +1,2192 @@
+\chapter{Extension Library}
+All of the following files are invoked by saying \keyindex{input} \ital{filename}.
+In some cases,
+\verb\musixtex\ must be input \emph{before} the extension,
+but most of them are fully compatible with \verb\musixtex.tex\ in that they do not redefine
+any existing macros and just provide additional functionality.
+In future
+versions of \musixtex\ we may very well incorporate many of them directly into
+\verb|musixtex.tex|, but for now we leave them separate.
+
+ \section{musixadd}\ixtt{musixadd.tex}
+Increases the number of instruments, slurs and beams from six to nine.
+
+ \section{musixadf}
+\input musixadf
+This file and the associated fonts (by Hiroaki \textsc{Morimoto})
+define some additional and alternative musical accents, as follows.
+\begin{description}
+\item[small swells, larger sforzatos:]
+\ \\\begin{music}
+\nostartrule
+\startextract
+\NOTes
+ \ccharnote{-8}{\Bslash ulsw}\ulsw l\ql l%
+ \ccharnote{13}{\Bslash llsw}\llsw f\qu f%
+\en\bar
+\NOtes
+ \ccharnote{-8}{\Bslash uSfz}\uSfz l\ql l%
+ \ccharnote{13}{\Bslash lSfz}\lSfz f\qu f\qsk%
+\en
+\endextract
+\end{music}
+\item[breaths:]
+\ \\
+\begin{music}
+\nostartrule
+\startextract
+\NOTes
+ \zcharnote{-8}{\Bslash cuBreath}\cuBreath \qu f%
+ \zcharnote{13}{\Bslash clBreath}\clBreath \qu f%
+\en\bar
+\NOtes
+ \ccharnote{-8}{\Bslash zuBreath}\zuBreath \qu f%
+ \ccharnote{13}{\Bslash zlBreath}\zlBreath \qu f%
+\en
+\endextract
+\end{music}
+\item[coda with serifs, upright segno:]
+\ \\
+\begin{music}
+\nostartrule
+\startextract
+\NOTes
+ \sk
+ \ccharnote{-4}{\Bslash scoda}\scoda n\sk\sk%
+ \ccharnote{-4}{\Bslash upsegno}\upsegno n\sk%
+\en
+\endextract
+\end{music}
+\end{description}
+The following commands will replace the default specified accents by the new ones
+defined in \texttt{musixadf.tex}:
+ \verb|\replacesforzato|,
+ \verb|\replacecoda|,
+ \verb|\replacesegno|.
+
+ \section{musixbm}
+This file does nothing; it is retained only for compatibility with
+\musixtex{} version 1.10 or earlier.
+Since version 1.11, \verb|musixtex.tex| itself contains all the functions
+of the older \texttt{musixbm}, namely
+commands for 128th notes, either with flags or with beams:
+\keyindex{ibbbbbu},
+\keyindex{ibbbbbl},
+\keyindex{nbbbbbu},
+\keyindex{nbbbbbl},
+\keyindex{tbbbbbu},
+\keyindex{tbbbbbl},
+\keyindex{Ibbbbbu},
+\keyindex{Ibbbbbl},
+\keyindex{cccccu},
+\keyindex{cccccl},
+\keyindex{ccccca},
+\keyindex{zcccccu} and
+\keyindex{zcccccl}.
+
+
+ \section{musixbbm}\label{musixbbm}
+ Provides $256$th notes, but only for use within beams, via the commands
+\keyindex{ibbbbbbu},
+\keyindex{ibbbbbbl},
+\keyindex{nbbbbbbu},
+\keyindex{nbbbbbbl},
+\keyindex{tbbbbbbu},
+\keyindex{tbbbbbbl},
+\keyindex{Ibbbbbbu} and
+\keyindex{Ibbbbbbl}.
+
+By default \texttt{musixbbm} provides six $256$th beams with
+reference number $0$ to $5$.
+You can specify a larger maximum number
+directly with \keyindex{setmaxcclvibeams}\verb|{|$m$\verb|}| within the
+range\footnote{This may require e-\TeX.} $7\leq m\leq 100$.
+
+\section{musixcho}\label{song}
+ Enables certain macros intended for choral music\footnote{Remember
+that we now recommend using \texttt{musixlyr} for any except the
+simplest lyrics. The extension \texttt{musixcho} is only for those
+diehards who choose to ignore this advice}. Provides the following commands:
+\keyindex{biglbrace}, \keyindex{bigrbrace}, \keyindex{braceheight},
+\keyindex{Dtx} and \keyindex{Drtx} for two-line text, \keyindex{Ttx} and
+\keyindex{Trtx} for three-line text, \keyindex{Qtx} and \keyindex{Qrtx} for
+four-line text. To eliminate zigzagging lyrics lines, all multiple line texts
+are automatically vertically justified with the macro \keyindex{ChroirStrut},
+defined as \verb|\vphantom{\^Wgjpqy}|.
+
+The macros \keyindex{tx}\verb|{|$text$\verb|}|,
+\keyindex{rtx}\verb|{|$text$\verb|}| cause song text to be left-justified
+on the insertion point rather then centered.
+ \keyindex{hf}\verb|{|$m$\verb|}| sets a text
+continuation rule of length $m$ \verb|\noteskip|.
+
+Consult the source file {\tt musixdoc.tex} to see the coding of the following
+example:
+
+\begin{music}
+\ninerm
+\parindent9mm
+\braceheight5.4\Interligne\relax
+%\rightline{Arr.: H.~W.~Eichholz}
+\instrumentnumber2
+\generalsignature{-2}
+\generalmeter{\meterfrac22}
+\setclef1\bass
+\relativeaccid
+\setinterinstrument1{11\Interligne}
+\songtop2
+\songbottom1
+\setname2{\vbox{\hsize\parindent\centerline{Sop}\centerline{Alt}}}
+\setname1{\vbox{\hsize\parindent\centerline{Ten}\centerline{Bass}}}
+\sepbarrules\nobarnumbers
+\beforeruleskip-2pt
+\startpiece
+%% bar 1
+\znotes&\rlap{\kernm2em\Qrtx 1.|2.|3.|4.*}\en
+\NOTes\sslur ILd1\sslur bNu1\zhl I\hu b%
+ &\Qtx\ixhf{Oh}|No|No|There'll*\issluru0f\sslur dad1\zhup f\hl d\en
+\Notes\zhl L\hu N&\Qtx ~|more|more|~be*\hl{^c}\en
+\NOtes&\tsslur0g\qu g\en
+%%% bar 2
+\bar
+\NOtes\zql I\qu b&\Qrtx\thf freedom,|weepin',|moanin',|singin',*\zqu i\ql d\en
+\NOTesp\lpt I\zhl I\hup b&\zhup i\hlp d\en
+%%% bar 3
+\bar
+\nspace
+\NOTes\sslur JMd1\sslur bau1\zhl J\hu b%
+ &\Qtx\ixhf{oh}|no|no|there'll*\issluru0j\sslur edd1\zhup j\hl{^e}\en
+\Notes\zhl M\hu a&\Qtx~|more|more|~be*\hl{=e}\en
+\NOtes&\tsslur0k\qu k\en
+%%% bar 4
+\bar
+\NOtes\zql I\qu b&\Qrtx\thf freedom,|weepin',|moanin',|singin',*\zqu j\ql d\en
+\NOTesp\lpt I\zhl I\hup b&\zhup i\hlp d\en
+%%% bar 5
+\bar
+\NOTesp\sslur IJd1\sslur bau1\lpt I\zhl I\hup b%
+ &\Qtx\ixhf{oh}|no|no|~there'll*\isslurd0f\issluru1j\zhup k\hlp f\en
+\NOtes\zql J\qu a&\Qtx~|more|more|~be*\tsslur1f\zqu f\roff{\tsslur0e\ql e}\en
+%%% bar 6
+\bar
+\NOtes\zql K\qu b&\Qrtx\thf freedom,|weepin',|moanin',|singin',*\zqu i\ql f\en
+\NOtes\zql J\qu b&\zqu i\ql e\en
+\NOtes\zql I\qu b&\rlap{\kernm1\Internote\bigrbrace}\rtx~~~~over*\zqu i\ql d\en
+\NOtes\zql G\qu b&\zqu k\ql f\en
+%%% bar 7
+\bar
+\nspace
+\NOTes\zhl J\hu b\caesura&\tx ~me,*\zhu j\hl{^e}\caesura\en
+\Notes\zcl J\cu b&\rtx ~over*\zcu j\cl e\en
+\NOtesp\zqlp J\qup b&\zqup k\lpt e\ql e\en
+\endpiece
+\end{music}
+
+\section{musixcpt}
+
+Empowers \musixtex\ to run files created under
+Musi\textbf{c}TeX, the predecessor of \musixtex, such as some of the examples
+provided by Daniel {\sc Taupin}. It is not needed for any files created
+under \musixtex, and is included mainly for historical completeness.
+
+\section{musixdat}
+Enables the command \keyindex{today}, which sets the current date in one of
+several possible languages. The language is selected by an optional
+ preparatory command \verb|\date...|.
+The default is \keyindex{dateUSenglish}, but this can changed, either at the
+end of \ttxem{musixdat.tex} for a permanant change, or right before issuing
+\verb|\today|. Available choices and sample results are summarized below:
+\smallskip
+\begin{quote}\begin{tabular}{ll}\hline
+\verb|\dateUSenglish|&\dateUSenglish\today\\
+\verb|\dateaustrian|&\dateaustrian\today\\
+\verb|\dateenglish|&\dateenglish\today\\
+\verb|\datefrench|&\datefrench\today\\
+\verb|\dategerman|&\dategerman\today\\\hline
+\end{tabular}\end{quote}
+
+\section{musixdbr}
+Enables dashed and dotted bar lines (see Section~\ref{musixdbr}).
+
+\section{musixdia}\label{diam}
+Enables notes with diamond-shaped heads as follows:
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item Solid note heads (\raise.5ex\hbox to .6em{\musixchar37}) are obtained
+using the macros
+ \keyindex{yqu}, \keyindex{yqup},
+\keyindex{yqupp}, \keyindex{yql}, \keyindex{yqlp}, \keyindex{yqlpp},
+\keyindex{yzq}, \keyindex{yzqp}, \keyindex{yzqpp}, \keyindex{yqb},
+\keyindex{ycu}, \keyindex{yccu}, \keyindex{ycccu}, \keyindex{yccccu},
+\keyindex{ycl}, \keyindex{yccl}, \keyindex{ycccl}, \keyindex{yccccl},
+\keyindex{ycup}, \keyindex{ycupp}, \keyindex{yclp}, \keyindex{yclpp}.
+(Think of d{\it y}\kern.5pt amond). A solid diamond with no stem is obtained
+with \keyindex{ynq} (spacing) or \keyindex{yznq} (non-spacing).
+ \item Open note heads (\raise.5ex\hbox to .6em{\musixchar38}) are obtained
+using the macros
+\keyindex{dqu}, \keyindex{dqup},
+\keyindex{dqupp}, \keyindex{dql}, \keyindex{dqlp}, \keyindex{dqlpp},
+\keyindex{dzq}, \keyindex{dzqp}, \keyindex{dzqpp}, \keyindex{dqb},
+\keyindex{dcu}, \keyindex{dccu}, \keyindex{dcccu}, \keyindex{dccccu},
+\keyindex{dcl}, \keyindex{dccl}, \keyindex{dcccl}, \keyindex{dccccl},
+\keyindex{dcup}, \keyindex{dcupp}, \keyindex{dclp}, \keyindex{dclpp}.
+(Think of {\it d}\kern.5pt iamond).
+An open diamond with no stem is obtained
+with \keyindex{dnq} (spacing) or \keyindex{dznq} (non-spacing).
+ \end{itemize}
+
+One use of these note heads is for a string part with \itxem{harmonic notes}.
+%(see \ref{othernotes})
+% DAS removed description which was misplaced in the samll=notes section 2.18 4/30/06
+For example,
+
+\begin{music}
+\parindent0pt
+\generalsignature{-2}
+\generalmeter\allabreve
+\startextract
+\NOTes\dzq o\zh d\hu h\en
+\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbu0\qb0j\en
+\bar
+\NOTes\dzq g\hu k\en
+\NOTes\hpause\en
+\bar
+\NOTes\dzq o\zh d\hl h\en
+\Notes\ibl0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbl0\qb0j\en
+\bar
+\NOTes\dzq g\hu k\en
+\NOTes\hpause\en
+\endextract
+\end{music}
+\noindent was coded as follows:
+\begin{quote}\begin{verbatim}
+\generalsignature{-2}
+\generalmeter\allabreve
+\startextract
+\NOTes\dzq o\zh d\hu h\en
+\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbu0\qb0j\en
+\bar
+\NOTes\dzq g\hu k\en
+\NOTes\hpause\en
+\bar
+\NOTes\dzq o\zh d\hl h\en
+\Notes\ibl0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbl0\qb0j\en
+\bar
+\NOTes\dzq g\hu k\en
+\NOTes\hpause\en
+\endextract
+\end{verbatim}\end{quote}
+
+Another use is for percussion parts. In fact the file \verb|musixdia.tex|
+is automatically loaded if you input {\tt musixper.tex} (see Section~\ref{perc}).
+
+\section{musixec}\label{ecfonts}
+ This package will replace the \texttt{OT1}-encoded Computer Modern fonts
+by \texttt{T1}-encoded EC versions.
+Use as follows:
+\begin{quote}\begin{verbatim}
+\input musixtex
+\input musixec
+[\input musixsty]
+...
+\end{verbatim}\end{quote}
+For example,
+
+\begin{music}
+\input musixec
+é è â ç ü ñ\\
+\end{music}
+ \noindent may be coded as
+\begin{quote}
+\begin{verbatim}
+\input musixec
+é è â ç ü ñ\\
+\end{verbatim}
+\end{quote}
+
+
+ \section{musixeng}
+ This package is provided for music typesetters who are allergic to the default
+rest names, which are
+taken from French, German or Italian. It does not provide new features, only
+new command names:
+\medskip
+ \begin{quote}\begin{tabular}{ll}\hline
+\ital{original}&\ital{alternate}\\\hline
+\keyindex{PAUSe}&\keyindex{Qwr}\\
+\keyindex{PAuse}&\keyindex{Dwr}\\
+\keyindex{liftpause}&\keyindex{liftwr}\\
+\keyindex{pausep}&\keyindex{wrp}\\
+\keyindex{pause}&\keyindex{wr}\\
+\keyindex{lifthpause}&\keyindex{lifthr}\\
+\keyindex{hpausep}&\keyindex{hrp}\\
+\keyindex{hpause}&\keyindex{hr}\\
+\keyindex{qp}&\keyindex{qr}\\
+\keyindex{ds}&\keyindex{er}\\
+\keyindex{qs}&\keyindex{eer}\\
+\keyindex{hs}&\keyindex{eeer}\\
+\keyindex{qqs}&\keyindex{eeeer}\\\hline
+\end{tabular}\end{quote}
+
+\section{musixext}
+
+This file does nothing; it is retained only for compatibility with
+\musixtex{} version 1.17 or earlier.
+Since version 1.18, \verb|musixtex.tex| itself contains all the functions
+of the older \texttt{musixext}, namely
+definitions of
+\begin{itemize}
+\item
+\keyindex{raggedstoppiece}~, which inhibits right-justification of the last
+line of a score.
+\item
+\keyindex{slide}\itbrace{p}\itbrace{x}\itbrace{s}~, which provides a glissando
+starting at pitch {\it p} and extending for {\it x} \verb|\internote|s with
+slope {\it s} (ranging from $-8$ to $8$).
+\end{itemize}
+
+ \section{musixf{}l{}l}
+ \input musixfll
+ Enables modification of \ixem{ledger lines}. Ledger lines normally exceed the
+width of a note head by $25$ percent in each direction. If the space between
+notes is insufficient, the ledger lines of
+consecutive notes may meet, creating visual ambiguities. Therefore,
+\musixtex{} shortens the
+ledger lines if notes are set so close together that the ledger lines may
+meet. But because \musixtex{} does not know whether consecutive notes need
+ledger lines, this automatic shortening may be superfluous. The extension
+file \ttxem{musixfll.tex} allows this feature to be switched off and on.
+Upon inputting \verb|musixfll.tex|, the automatic shortening of ledger lines
+is switched off. From then on, it may be switched on again using
+\keyindex{autoledgerlines} and switched off again using
+\keyindex{longledgerlines}. Both macros have global effect.
+
+ The following example shows that narrowly set scales look better with
+\keyindex{autoledgerlines} (the default behavior), whereas single notes
+requiring ledger lines look better with \keyindex{longledgerlines}.
+
+\medskip
+\begin{music}
+\nostartrule
+\startextract
+\notes\multnoteskip{0.7}\Uptext{autoledgerlines}\autoledgerlines
+ \ibbbu0b0\qb0{cba`gfg'a}\tbu0\qb0b%
+ \ibbbl0{''b}0\qb0{abcdedc}\tbl0\qb0b%
+ \ibbbu0{``b}0\qb0{dad}\tbu0\qb0a%
+ \ibbbl0{''b}0\qb0{`g'c`g}\tbl0\qb0{'c}\en
+\endextract
+\medskip
+\startextract
+\notes\multnoteskip{0.7}\Uptext{longledgerlines}\longledgerlines
+ \ibbbu0b0\qb0{cba`gfg'a}\tbu0\qb0b%
+ \ibbbl0{''b}0\qb0{abcdedc}\tbl0\qb0b%
+ \ibbbu0{``b}0\qb0{dad}\tbu0\qb0a%
+ \ibbbl0{''b}0\qb0{`g'c`g}\tbl0\qb0{'c}\en
+\endextract
+\autoledgerlines
+\end{music}
+
+ \section{musixgre}\label{gregnotes}\index{gregorian chant}
+
+% \section{Gregorian chant: staffs and clefs}
+Gregorian chant is often coded using four line staffs
+(see
+%sections \ref{gregorian} and
+Section~\ref{stafflinenumber}) and using special notes called
+\itxem{neumes} (which are described later in this section). It also requires
+special clefs. One way to substitute them for the modern ones is for example
+with commands like
+
+\keyindex{setaltoclefsymbol}\verb|3\gregorianCclef|
+
+\noindent or
+
+\keyindex{setbassclefsymbol}\verb|3\gregorianFclef| ,
+
+\noindent which will cause instrument number~$3$ to display the selected gregorian
+clef. The standard clefs can be restored for every instrument with
+\keyindex{resetclefsymbols}. Note that when using this method you must
+specify whether to substitute for the bass or alto clef
+symbol (there is no treble clef in gregorian
+chant). The reason is that \musixtex\ selects and
+raises the F and C clefs differently, according to the arguments of the
+\keyindex{setclef} command. Therefore, if one had substituted any F clef
+symbol while saying \verb|\setclef1{1000}|, then an F clef would duly appear
+on the staff, but it would be set at the position of an alto clef, thus
+seriously misleading the musician.
+
+Another method of clef substitution employs \keyindex{setclefsymbol} (see
+Section~ \ref{treblelowoct}), which substitutes the clef given by
+the second argument \ital{for all clef symbols} of the instrument given by the first,
+regardless of the actual musical meaning of the new clef symbol. This method is
+generally appropriate only if you want to change the clef symbol(s) of
+an instrument for the whole of the score.
+
+ As an example, the same gregorian scale has been written with a gregorian C
+clef on all four lines of the staff:
+
+ \begin{music}\nostartrule
+ \parindent 19mm
+ \instrumentnumber{4}
+ \setname1{1st line} \setname2{2nd line}
+ \setname3{3rd line} \setname4{4th line}
+ \setlines1{4}\setlines2{4}\setlines3{4}\setlines4{4}
+ \sepbarrules
+ \generalmeter{\empty}
+ \setclef1{1000} \setclef2{2000} \setclef3{3000} \setclef4{4000}
+ \setaltoclefsymbol1\gregorianCclef
+ \setaltoclefsymbol2\gregorianCclef
+ \setaltoclefsymbol3\gregorianCclef
+ \setaltoclefsymbol4\gregorianCclef
+\startextract
+\Notes\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\en
+\zendextract
+\end{music}
+
+ The coding was:
+ \begin{verbatim}
+ \instrumentnumber{4}
+ \setname1{1st line} \setname2{2nd line}
+ \setname3{3rd line} \setname4{4th line}
+ \setlines1{4}\setlines2{4}\setlines3{4}\setlines4{4}
+ \sepbarrules
+ \generalmeter{\empty}
+ \setclef1{1000} \setclef2{2000} \setclef3{3000} \setclef4{4000}
+ \setaltoclefsymbol1\gregorianCclef
+ \setaltoclefsymbol2\gregorianCclef
+ \setaltoclefsymbol3\gregorianCclef
+ \setaltoclefsymbol4\gregorianCclef
+\startextract
+\Notes\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\en
+\zendextract
+ \end{verbatim}
+
+All of the special gregorian symbols available in \musixtex\ are described
+in the following subsections.
+
+\subsection{Clefs}
+
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item Gregorian C clef: \raise 2.5pt\hbox to 1cm{\gregorianCclef\hfil}~=
+ \keyindex{gregorianCclef}, normally activated for instrument $n$ with the
+command
+ \keyindex{setaltoclefsymbol}\itbrace{n}\keyindex{gregorianCclef}
+\item Gregorian F clef: \raise 2.5pt\hbox to 1cm{\gregorianFclef\hfil}~=
+\keyindex{gregorianFclef}, normally activated with the command
+\keyindex{setbassclefsymbol}\itbrace{n}\keyindex{gregorianFclef}
+ \end{itemize}
+
+ \subsection{Elementary symbols}
+
+
+ \begin{itemize}\setlength{\itemsep}{0ex}
+
+ \item Diamond shaped \itxem{punctum} (This has a different shape compared to the
+percussion diamond): \raise 2.5pt\hbox{\xgregchar1}~ =
+\keyindex{diapunc}\pitchp\ .
+ \item Square \itxem{punctum}: \raise 2.5pt\hbox{\xgregchar5}~ =
+\keyindex{squ}\pitchp\ or \keyindex{punctum}\pitchp\ .
+ \item Left stemmed \itxem{virga} (not in the 1905 gregorian standard): \raise
+2.5pt\hbox{\xgregchar6}~ = \keyindex{lsqu}\pitchp\ .
+ \item Right stemmed \itxem{virga}: \raise 2.5pt\hbox{\xgregchar7}~ =
+\keyindex{rsqu}\pitchp\ or \keyindex{virga}\pitchp\ .
+ \item \ital{Apostropha}\index{apostropha}: \raise 2.5pt\hbox{\xgregchar3}~ =
+\keyindex{apostropha}\pitchp\ .
+ \item \ital{Oriscus}\index{oriscus}: \raise 2.5pt\hbox{\xgregchar10}~ =
+\keyindex{oriscus}\pitchp\ .
+
+ \item \ital{Quilisma}\index{quilisma}: \raise 2.5pt\hbox{\xgregchar125}~ =
+\keyindex{quilisma}\pitchp\ .
+ \item \ital{Punctum auctum} (up)\index{punctum auctum}: \raise
+2.5pt\hbox{\xgregchar9}~ =
+\keyindex{punctumauctup}\pitchp\ .
+ \item \ital{Punctum auctum} (down)\index{punctum auctum}: \raise
+2.5pt\hbox{\xgregchar8}~ =
+\keyindex{punctumauctdown}\pitchp\ .
+ \item Diamond shaped \ital{punctum auctum} (down)\index{punctum auctum}:
+\raise 2.5pt\hbox{\xgregchar2}~ = \keyindex{diapunctumauctdown}\pitchp\ .
+ \item \ital{Punctum deminutum}\index{punctum deminutum}: \raise
+2.5pt\hbox{\xgregchar4}~ = \keyindex{punctumdeminutum}\pitchp\ .
+ \item \ital{Apostropha aucta}\index{apostropha aucta}: \raise
+2.5pt\hbox{\xgregchar11}~ = \keyindex{apostropha aucta}\pitchp\ .
+
+\end{itemize}
+ All non-\ital{liquescens} symbols have non-spacing variants, namely
+\keyindex{zdiapunc}, \keyindex{zsqu}, \keyindex{zlsqu}, \keyindex{zrsqu},
+\keyindex{zapostropha} and \keyindex{zoriscus}.
+
+\subsection{Plain complex neumes}
+Other \itxem{neumes} can be obtained by combining two or more of these
+symbols. Since \itxem{neumes} have a special note head width, an additional
+shifting macro is provided, namely \keyindex{groff}. It is similar to
+\verb|\roff|, but the offset is smaller. For use with comples neumes, another
+shifting macro is provided, namely \keyindex{dgroff}, which causes an
+offset twice the offset of \verb|\groff|.
+
+ Since most of these symbols depend on relative pitches of their components,
+we cannot provide all possible compact combinations as single symbols. The ones
+that are available in \verb|musixgre| are described below. In the following,
+$p_1$, $p_2$, $p_3$, and $p_4$ represent pitches specified as usual. Please refer to
+the source file \verb|musixtex.tex| if you wish to see the coding of those
+examples for which it is not quoted here.
+
+\def\twop{\itbrace{p_1}\itbrace{p_2}}
+\def\threep{\twop\itbrace{p_3}}
+\def\fourp{\threep\itbrace{p_4}}
+
+\begin{description}\setlength{\itemsep}{0ex}
+ \item[\keyindex{bivirga}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \bivirga ab\en
+ \notes \bivirga cc\en
+ \zendextract
+ \end{music}
+
+ This example was coded as:
+ \begin{quote}\begin{verbatim}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \bivirga ab\en
+ \notes \bivirga cc\en
+ \zendextract
+ \end{verbatim}\end{quote}
+
+ \item[\keyindex{trivirga}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \trivirga abc\en
+ \Notes \trivirga cca\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{bistropha}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \bistropha ab\en
+ \notes \bistropha cc\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{tristropha}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \tristropha abc\en
+ \Notes \tristropha cca\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{clivis}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \clivis ba\en
+ \notes \clivis ca\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{lclivis}\twop], for example:
+
+ \begin{music}\nostartrule
+ \setsize1{\Largevalue}
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \lclivis ba\en
+ \notes \lclivis ca\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{podatus}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \podatus ab\en
+ \notes \podatus ac\en
+ \notes \podatus cf\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{podatusinitiodebilis}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \podatusinitiodebilis ab\en
+ \notes \podatusinitiodebilis ac\en
+ \notes \podatusinitiodebilis cf\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{lpodatus}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \lpodatus ab\en
+ \notes \lpodatus ce\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{pesquassus}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \pesquassus ab\en
+ \notes \pesquassus ae\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{quilismapes}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \quilismapes ab\en
+ \notes \quilismapes ae\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{torculus}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \torculus aba\en
+ \notes \torculus cfd\en
+ \notes \torculus afc\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{torculusinitiodebilis}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \torculusinitiodebilis aba\en
+ \notes \torculusinitiodebilis cfd\en
+ \notes \torculusinitiodebilis afc\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{Porrectus}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \Porrectus bab\en
+ \notes \Porrectus bac\en
+ \notes \Porrectus bNd\en
+ \notes \Porrectus bMe\en
+ \notes \Porrectus bLe\en
+ \zendextract
+ \end{music}
+\noindent coded:
+ \begin{quote}\begin{verbatim}
+ \notes \Porrectus bab\en
+ \notes \Porrectus bac\en
+ \notes \Porrectus bNd\en
+ \notes \Porrectus bMe\en
+ \notes \Porrectus bLe\en
+ \end{verbatim}\end{quote}
+
+ \verb|\Porrectus| exists in four different shapes, depending on the
+difference between first and second argument. The constraint is that
+ $$ p_1-4 \leq p_2 \leq p_1-1 $$ otherwise a diagnostic occurs. Note also that
+\keyindex{bporrectus} provides the first curved part of the \verb|porrectus|
+command, if you should need it. It has two arguments, the starting pitch and the lower
+pitch.
+
+ \item[\keyindex{Porrectusflexus}\fourp], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \Porrectusflexus bacN\en
+ \notes \Porrectusflexus bNdb\en
+ \notes \Porrectusflexus bMeb\en
+ \notes \Porrectusflexus bLea\en
+ \zendextract
+ \end{music}
+\noindent coded:
+ \begin{quote}\begin{verbatim}
+ \notes \Porrectusflexus bacN\en
+ \notes \Porrectusflexus bNdb\en
+ \notes \Porrectusflexus bMeb\en
+ \notes \Porrectusflexus bLea\en
+ \end{verbatim}\end{quote}
+
+
+ \item[\keyindex{climacus}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \climacus cbN\en
+ \Notes \climacus cba\en
+ \Notes \climacus dbN\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{climacusresupinus}\fourp], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \climacusresupinus cbNa\en
+ \Notes \climacusresupinus cbab\en
+ \Notes \climacusresupinus dbNb\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{lclimacus}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+\instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \lclimacus cbN\en
+ \notes \lclimacus cfd\en
+ \notes \lclimacus afc\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{scandicus}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \scandicus abe\en
+ \notes \scandicus ceg\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{salicus}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \salicus abe\en
+ \Notes \salicus ceg\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{salicusflexus}\fourp], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \salicusflexus abec\en
+ \Notes \salicusflexus cegd\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{trigonus}\threep],
+%DAS ????????????
+%for example\footnote{The second example is in principle irrelevant,
+%but it shows the possibilities, in case of.}:
+for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \trigonus aaN\en
+ \Notes \trigonus cef\en
+ \zendextract
+ \end{music}
+
+\end{description}
+
+\subsection{Liquescens complex neumes}\index{liquescens neumes}
+\begin{description}\setlength{\itemsep}{0ex}
+ \item[\keyindex{clivisauctup}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \clivisauctup ba\en
+ \notes \clivisauctup ca\en
+ \zendextract
+ \end{music}
+ \item[\keyindex{clivisauctdown}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \clivisauctdown ba\en
+ \notes \clivisauctdown ca\en
+ \zendextract
+ \end{music}
+ \item[\keyindex{podatusauctup}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \podatusauctup ab\en
+ \notes \podatusauctup ac\en
+ \notes \podatusauctup cf\en
+ \zendextract
+ \end{music}
+ \item[\keyindex{podatusauctdown}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \podatusauctdown ab\en
+ \notes \podatusauctdown ac\en
+ \notes \podatusauctdown cf\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{pesquassusauctdown}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \pesquassusauctdown ab\en
+ \notes \pesquassusauctdown ae\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{quilismapesauctdown}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \quilismapesauctdown ab\en
+ \notes \quilismapesauctdown ae\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{torculusauctdown}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \torculusauctdown aba\en
+ \notes \torculusauctdown cfd\en
+ \notes \torculusauctdown afc\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{Porrectusauctdown}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \Porrectusauctdown bac\en
+ \notes \Porrectusauctdown bNd\en
+ \notes \Porrectusauctdown bMe\en
+ \notes \Porrectusauctdown bLe\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{climacusauctdown}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \climacusauctdown cbN\en
+ \Notes \climacusauctdown caM\en
+ \Notes \climacusauctdown aNM\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{scandicusauctdown}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \scandicusauctdown abe\en
+ \notes \scandicusauctdown ceg\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{salicusauctdown}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \salicusauctdown abe\en
+ \Notes \salicusauctdown ceg\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{clivisdeminut}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \clivisdeminut ba\en
+ \notes \clivisdeminut ca\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{podatusdeminut}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \podatusdeminut ab\en
+ \notes \podatusdeminut ac\en
+ \notes \podatusdeminut cf\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{torculusdeminut}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \torculusdeminut aba\en
+ \notes \torculusdeminut cfd\en
+ \notes \torculusdeminut afc\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{torculusdebilis}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \torculusdebilis aba\en
+ \notes \torculusdebilis cfd\en
+ \notes \torculusdebilis afc\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{Porrectusdeminut}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \Porrectusdeminut bac\en
+ \notes \Porrectusdeminut bNd\en
+ \notes \Porrectusdeminut bMe\en
+ \notes \Porrectusdeminut bLe\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{climacusdeminut}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \climacusdeminut cbN\en
+ \Notes \climacusdeminut caM\en
+ \Notes \climacusdeminut aML\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{scandicusdeminut}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \scandicusdeminut abe\en
+ \notes \scandicusdeminut ceg\en
+ \zendextract
+ \end{music}
+\end{description}
+
+\section{musixgui}\ixtt{musixgui.tex} Provides macros for
+typesetting modern style \itxem{guitar chords}. For example:
+
+\begin{music}
+\hsize130mm
+\tenrm
+\parindent0pt
+\generalmeter{\meterfrac34}
+\generalsignature1
+\startbarno0
+\def\txh{-6.5}
+\def\tx#1*{\zchar\txh{\lrlap{\kern3\Internote#1}}}
+\def\rtx#1*{\zchar\txh{\kern-3\Internote#1}}
+\stafftopmarg10\Interligne
+\raiseguitar{20}
+\nostartrule
+\startpiece
+\addspace{.5\afterruleskip}%
+\NOtes\tx We*\qa d\en
+\bar
+\NOtes\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44\tx wish*\qa g\en
+\Notes\tx you*\ca g\en
+\Notes\tx a*\ca h\en
+\Notes\zchar\txh{merry}\ca g\en
+\Notes\ca f\en
+\bar
+\NOtes\guitar C5o-----\gbarre4\gdot26\gdot36\gdot45\rtx christmas,*\qa e\en
+\NOtes\qa e\en
+\NOtes\guitar {e/H}5o-----\gbarre3\gdot35\gdot45\gdot54\tx we*\qa e\en
+\bar
+\NOtes\guitar {A$\!^7$}5o-----\gbarre1\gdot23\gdot42\tx wish*\qa h\en
+\Notes\tx you*\ca h\en
+\Notes\tx a*\ca i\en
+\Notes\zchar\txh{merry}\ca h\en
+\Notes\ca g\en
+\bar
+\NOtes\guitar D{}xxo---\gdot42\gdot53\gdot62\rtx christmas,*\qa f\en
+\NOtes\qa d\en
+\zbar
+\NOtes\guitar{D/c}{}xo----\gdot23\gdot42\gdot53\gdot62\tx we*\qa d\en
+\bar
+\NOtes\guitar{B$^7$}{}xo----\gdot22\gdot31\gdot42\gdot62\tx wish*\qa i\en
+\Notes\tx you*\ca i\en
+\Notes\tx a*\ca j\en
+\Notes\tx ~mer-*\ca i\en
+\Notes\tx ry*\ca h\en
+\bar
+\NOtes\guitar e{}xxo---\gdot32\tx ~christ-*\qa g\en
+\NOtes\tx mas*\qa e\en
+\Notes\guitar {G/d}{}xxo---\gdot63\tx and*\ca d\en
+\Notes\tx a*\ca d\en
+\bar
+\NOtes\guitar{C$^6$}{}xo----\gdot23\gdot32\gdot42\gdot51\tx ~~hap~-*\qa e\en
+\NOtes\tx py*\qa h\en
+\NOtes\guitar{D$^7$}{}xo---x\gdot25\gdot34\gdot45\gdot45\gdot53\tx new*\qa f\en
+\bar
+\NOTes\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44\tx ~year.*\ha g\en
+\setdoublebar\endpiece
+\end{music}
+
+\medskip
+The macro \keyindex{guitar} sets the grid, chord name, barre type,
+and on-off indicators for the strings. For example, the first
+chord in above example was coded as
+
+\verb|\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44|
+
+\noindent where the first argument is the text to be placed above the grid, the
+second is empty (relative barre), and the next six characters indicate if the string
+is played or not with either \verb|x|, \verb|o| or \verb|-|. The dots are set with
+\keyindex{gdot}~$sb$ where the $s$ is the string and $b$ is the barre. The
+rule is set with \keyindex{gbarre}~$b$ where $b$ indicates the position of the barre.
+
+The whole symbol may be vertically shifted with
+\keyindex{raiseguitar}\onen, where $n$ is a number
+in units of \keyindex{internote}. When using guitar chords, it might be
+useful to reserve additional
+space above the chord by advancing \keyindex{stafftopmarg} to
+something like \verb|stafftopmarg=10\Interligne|.
+
+For frequently used chords, it might be useful to define your own
+macros, e.g.
+
+\verb|\def\Dmajor{\guitar D{}x-----\gdot42\gdot53\gdot62}%|
+
+\section{musixhv}\label{helvetica}
+
+
+Replaces the default Computer Modern text fonts by Helvetica (sans serif) fonts;
+see Section~\ref{UserFonts}.
+Use as follows:
+\begin{quote}\begin{verbatim}
+\input musixtex
+\input musixhv
+...
+\end{verbatim}\end{quote}
+
+The usual ``small'' type commands are supported:
+\begin{quote}
+\begin{tabular}{lr}
+\keyindex{tinytype} & 7pt \\
+\keyindex{smalltype} & 8pt \\
+\keyindex{Smalltype} & 9pt \\
+\keyindex{normtype}& 10pt \\
+\keyindex{medtype} & 12pt \\
+\end{tabular}
+\end{quote}
+For all of these, the following variants are supported:
+\begin{quote}
+\begin{tabular}{ll}
+\verb|\rm| & ``Roman'' (sans serif) \\
+\verb|\bf| & bold \\
+\verb|\it| & ``italic'' (actually oblique) \\
+\verb|\bi| & ``bold-italic'' (actually bold-oblique) \\
+\verb|\sc| & small capitals\\
+\end{tabular}
+\end{quote}
+The ``big'' type commands are as follows:
+\begin{quote}
+\begin{tabular}{lr}
+\keyindex{bigtype} & 14pt\\
+\keyindex{Bigtype} & 17pt\\
+\keyindex{BIgtype}& 20pt\\
+\keyindex{BIGtype} & 25pt\\
+\end{tabular}
+\end{quote}
+The default variant for all of these is small-caps;
+however, \keyindex{font} commands are defined
+for all the usual variants at all of these sizes.
+To letter-space a title, use the \verb|\so|
+command in the \verb\soul\ package.
+
+
+The following bold-oblique fonts for dynamic marks are defined:
+\begin{quote}\begin{tabular}{lr}
+\keyindex{ppfftwelve} & 8pt \\
+\keyindex{ppffsixteen} & 10pt\\
+\keyindex{ppfftwenty} & 12pt \\
+\keyindex{ppfftwentyfour} & 14pt \\
+\keyindex{ppfftwentynine} & 17pt \\
+\end{tabular}\end{quote}
+
+ \section{musixlit}\label{litu}\label{otherbars}
+ Provides a notation style intermediate between gregorian and baroque, for
+example
+
+\makeatletter
+\catcodesmusic
+%\def\vnotes#1\elemskip{\noteskip#1\@l@mskip \multnoteskip\scal@noteskip
+% \not@s}
+
+%\def\not@s{\def|{\nextstaff}\def&{\nextinstrument}\normaltranspose\transpose
+% \check@nopen\notes@open\@ne
+% \kern\n@skip\advance\x@skip\n@skip \locx@skip\x@skip
+% \n@skip\noteskip \noinstrum@nt\z@ \begininstrument}
+
+%\def\en{\@ndstaff\notes@open\z@
+% \ifx\@ne\V@sw \widthtyp@\z@\t@rmskip \let\V@sw\empty \fi}
+
+\def\double#1{\roffset{1.2}{\advancefalse#1}#1}
+\makeatother
+
+ % Don't know if this example correct ??? But looks nice...
+\begin{music}
+\ninerm
+\parindent0pt
+\instrumentnumber{2}
+\interstaff{11}
+\generalsignature2
+\setclefsymbol2\oldGclef
+\setstaffs1{2}
+\setclef1\bass
+\setinterinstrument1{-\Interligne}
+\startpiece
+\shortbarrules
+\addspace\afterruleskip
+\hardlyrics{Il nous a sign\'es de son
+ }\notes\zw d\wh K|\zw f\wh h&\rtx\thelyrics*\Hpause h1\en
+\qspace\qspace
+\NOTes\zhl N\hu d|\zhl g\hu i&\tx sang*\double{\cnql i}\en
+\bar
+\hardlyrics{Et nous avons \'e-
+ }\notes\zw d\wh K|\zw f\wh h&\rtx\thelyrics~-*\Hpause h1\en
+\qspace\qspace
+\NOTes\zhl M\hu c|\zhl f\hu h&\rtx t\'e*\double{\cnql i}\en
+\NOtes\zql L\qu e|\zql b\qu g&\tx ~pro-*\cnqu g\en
+\NOtes\zql b\qu d|\zql d\qu f&\tx ~t\'e-*\cnqu f\en
+\NOTes\zhl a\hu c|\zhl e\hu h&\tx g\'es.*\double{\cnqu h}\en
+\bar
+\NOtes\zql M\qu d|\zql d\qu h&\tx ~~Al~-*\cnqu h\en
+\NOtes\zql K\qu a|\zql f\qu k&\tx ~~le~-*\cnql k\en
+\NOTes\zhl H\hu a|\zhl e\hu j&\tx ~~lu~-*\double{\cnql j}\en
+\bar
+\NOTEs\zhl K\hu a|\zhl f\hu k&\tx ~~ia !*\cnhl k\en
+\sepbarrules
+\endpiece
+
+\startpiece
+\interbarrules
+\addspace\afterruleskip
+\hardlyrics{Il nous a sign\'es de son
+ }\notes\zw d\wh K|\zw f\wh h&\rtx \thelyrics*\Hlonga h1\en
+\qspace\qspace
+\NOTes\zhl N\hu d|\zhl g\hu i&\tx sang*\chl i\en
+\bar
+\hardlyrics{Et nous avons \'e
+ }\notes\zw d\wh K|\zw f\wh h&\rtx \thelyrics~-*\Hlonga h1\en
+\qspace\qspace
+\NOTes\zhl M\hu c|\zhl f\hu h&\rtx t\'e*\chl i\en
+\NOtes\zql L\qu e|\zql b\qu g&\tx ~pro-*\cqu g\en
+\NOtes\zql b\qu d|\zql d\qu f&\tx ~t\'e-*\cqu f\en
+\NOTes\zhl a\hu c|\zhl e\hu h&\tx g\'es.*\chu h\en
+\bar
+\NOtes\zql M\qu d|\zql d\qu h&\tx ~~Al~-*\cqu h\en
+\NOtes\zql K\qu a|\zql f\qu k&\tx ~~le~-*\cql k\en
+\NOTes\zhl H\hu a|\zhl e\hu j&\tx ~~lu~-*\chl j\en
+\bar
+\NOTEs\zbreve K\breve a|\zbreve f\breve k&\tx ~~ia !*\zbreve k\en
+\sepbarrules
+\endpiece
+\end{music}
+\endcatcodesmusic
+
+ This package provides:
+ \begin{itemize}\setlength{\itemsep}{0ex}
+ \item\keyindex{oldGclef} which replaces the ordinary G clef with an old one,
+using (for instrument 2 as an example):
+ \verb|\settrebleclefsymbol2\oldGclef|
+
+ \item\keyindex{cqu} $p$ provides a square-headed quarter note with stem up at
+pitch $p$.
+
+ \item\keyindex{cql} $p$ provides a square-headed quarter note with stem down at
+pitch $p$.
+
+ \item\keyindex{chu} $p$ provides a square-headed half note with stem up at
+pitch $p$.
+
+ \item\keyindex{chl} $p$ provides a square-headed half note with stem down at
+pitch $p$.
+
+ \item\keyindex{cqb} $n$ $p$ provides a square-headed beam note for beam $n$ at pitch $p$.
+
+ \item\keyindex{zcqb} $n$ $p$ provides a non-spacing square-headed beam note for beam $n$ at pitch $p$.
+
+ \item\keyindex{cnqu} $p$ and \keyindex{cnql} $p$ provide a stemless square
+headed
+quarter note at pitch $p$.
+
+ \item\keyindex{cnhu} $p$ and \keyindex{cnhl} $p$ provide a stemless square
+headed half note at pitch $p$.
+
+%\item\keyindex{Hpause} $p$ $n$ provides an arbitrary length pause at pitch
+%$p$ and of length $n$ \keyindex{noteskip}. However, in the first of the above
+%example, this feature has been used to denote an arbitrary length note rather
+%than a rest!
+
+ \item\keyindex{Hlonga} $p$ $n$ provides an arbitrary length note at pitch
+$p$ and of length $n$ \keyindex{noteskip}.
+This feature has been used to denote an arbitrary length note in the second of
+the above examples;
+in the first example, \keyindex{Hpause}
+was used to denote an arbitrary length note rather
+than a rest.
+
+ \item\keyindex{shortbarrules} has been used to provide bar rules shorter than
+the staff vertical width.
+
+ \item\keyindex{interbarrules} has been used to provide bars between the
+staffs, rather that over them. This is an arbitrary question of taste\ldots
+ \end{itemize}
+
+ \section{musixlyr} \ixtt{musixlyr.tex}
+ Enables the recommended method for adding lyrics to a score (see Section~\ref{musixlyr}).
+
+ \section{musixmad} \ixtt{musixmad.tex} Increases the number of
+instruments, slurs and beams up to twelve. When using this extension, it is
+not necessary to explicitly input \verb|musixadd.tex|.
+If you need greater numbers of these elements, see Sections~\ref{musixmad_setmaxgroups},
+\ref{musixmad_setmaxinstruments_ccxviiibeams},
+\ref{musixmad_setmaxoctlines},
+\ref{musixmad_setmaxslurs} and
+\ref{musixmad_setmaxtrills}.
+
+
+\section{musixper}\label{perc}
+
+Provides special symbols intended for percussion parts. Included are a
+\ital{drum clef}---comprising two vertical parallel lines---and notes with
+various specially shaped heads. The note symbols that are available are as
+follows:
+
+ \begin{itemize}\setlength{\itemsep}{0ex}
+ \item The \raise.5ex\hbox{\musixchar113}~{}~symbol which is obtained using the
+\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceded by a
+``\verb|dc|'' (think of {\it d}iagonal {\it c}ross).
+Available are
+\keyindex{dcqu},
+\keyindex{dcql},
+\keyindex{dcqb},
+\keyindex{dczq},
+\keyindex{dccu},
+\keyindex{dcccu},
+\keyindex{dccl} and
+\keyindex{dcccl}.
+
+ \item The \raise.5ex\hbox{\musixchar112}~{}~symbol which is obtained using the
+\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceded by a
+``\verb|dh|''
+(think of {\it d}iagonal cross {\it h}alf open).
+Available are
+\keyindex{dhqu},
+\keyindex{dhql},
+\keyindex{dhqb},
+\keyindex{dhzq},
+\keyindex{dhcu},
+\keyindex{dhccu},
+\keyindex{dhcl} and
+\keyindex{dhccl}.
+
+ \item The \raise.5ex\hbox{\musixchar111}~{}~symbol which is obtained using the
+\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceded by a
+``\verb|do|''
+(think of {\it d}iagonal cross {\it o}pen).
+Available are
+\keyindex{doqu},
+\keyindex{doql},
+\keyindex{doqb},
+\keyindex{dozq},
+\keyindex{docu},
+\keyindex{doccu},
+\keyindex{docl} and
+\keyindex{doccl}.
+
+ \item The \raise.5ex\hbox{\musixchar114}~{}~symbol which is obtained using the
+\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by
+``\verb|x|'' (e.g.\ for spoken text of songs).
+Available are
+\keyindex{xqu},
+\keyindex{xql},
+\keyindex{xqb},
+\keyindex{xzq},
+\keyindex{xcu},
+\keyindex{xccu},
+\keyindex{xcl} and
+\keyindex{xccl}.
+
+ \item The \raise.5ex\hbox{\musixchar115}~{}~symbol which is obtained using the
+\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by
+``\verb|ox|'' .
+Available are
+\keyindex{oxqu},
+\keyindex{oxql},
+\keyindex{oxqb},
+\keyindex{oxzq},
+\keyindex{oxcu},
+\keyindex{oxccu},
+\keyindex{oxcl} and
+\keyindex{oxccl}.
+
+ \item The \raise.5ex\hbox{\musixchar118}~{}~symbol which is obtained using the
+\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by
+``\verb|ro|'' (think of {\it r}h{\it o}mbus).
+Available are
+\keyindex{roqu},
+\keyindex{roql},
+\keyindex{roqb},
+\keyindex{rozq},
+\keyindex{rocu},
+\keyindex{roccu},
+\keyindex{rocl} and
+\keyindex{roccl}.
+
+ \item The \raise.5ex\hbox{\musixchar116}~{}~symbol which is obtained using the
+\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by
+``\verb|tg|'' (think of {\it t}rian{\it g}le).
+Available are
+\keyindex{tgqu},
+\keyindex{tgql},
+\keyindex{tgqb},
+\keyindex{tgzq},
+\keyindex{tgcu},
+\keyindex{tgccu},
+\keyindex{tgcl} and
+\keyindex{tgccl}.
+
+ \item The \raise.5ex\hbox to 1em{\musixchar117\hfil}~{}~symbol which is obtained
+using the
+\verb|\qu|, \verb|\qb|, \verb|\cu|, etc.~macros preceeded by
+``\verb|k|'' .
+Available are
+\keyindex{kqu},
+\keyindex{kql},
+\keyindex{kqb},
+\keyindex{kzq},
+\keyindex{kcu},
+\keyindex{kccu},
+\keyindex{kcl} and
+\keyindex{kccl}.
+ \end{itemize}
+
+The diamond shaped noteheads described in Section~\ref{diam} are also
+available, because \verb|musixper.tex| inputs \verb|musixdia.tex|.
+
+If any of the foregoing notes need to be dotted, you must use the explicit
+dotting macros \verb|\pt|, \verb|\ppt|, or \verb|\pppt| as described in
+Section~\ref{dots}.
+
+Since the usage of these note symbols is
+not standardized, it would be wise to include in the score a explanation
+of which symbol corresponds to which specific percussion instrument.
+
+A special \itxem{drum clef}---comprising two heavy vertical bars---can
+be made to replace the normal clef for the $n$-th intrument by saying
+\keyindex{setclefsymbol}\onen\keyindex{drumclef} .
+To cause this to appear at the right vertical position, the instrument should
+previously have been assigned a treble clef (or not explicitly assigned any
+clef, thereby giving it a treble clef by default).
+
+Percussion music might be written on a staff with either one or five lines.
+If there are several different percussions instruments it may be useful to
+use a five-line staff with a drum clef, and differentiate the instruments
+by the type of the note heads and the apparent
+pitch of the note on the staff. Here is an example of the
+latter\footnote{provided by Agusti {\sc Mart\'in Domingo}}:
+
+\medskip
+\begin{music}
+\generalmeter{\meterfrac44}
+\setclefsymbol1\drumclef
+\parindent0pt\startpiece
+\leftrepeat
+\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\en
+\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\en
+\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\en
+\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\en
+\bar
+\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\en
+\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\en
+\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\en
+\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\en
+\bar
+\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\en
+\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\en
+\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\en
+\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\en
+\setrightrepeat\endpiece
+\end{music}
+\noindent Its coding is
+ \begin{quote}\begin{verbatim}
+\begin{music}
+\instrumentnumber{1}
+\generalmeter{\meterfrac44}
+\setclefsymbol1\drumclef
+\parindent0pt\startpiece
+\leftrepeat
+\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\en
+\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\en
+\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\en
+\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\en
+\bar
+\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\en
+\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\en
+\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\en
+\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\en
+\bar
+\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\en
+\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\en
+\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\en
+\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\en
+\setrightrepeat\endpiece
+\end{music}
+ \end{verbatim}\end{quote}
+
+Here is an example of a single-line percussion staff using
+diamond-shaped note heads:
+
+\begin{music}
+\parindent 19mm
+\instrumentnumber{3}
+\setname1{keyboard} \setname2{drum} \setname3{monks}
+\setlines2{1}
+\setlines3{4}
+\setinterinstrument1{-2\Interligne}% less vertical space above
+\setinterinstrument2{-2\Interligne}% and below the percussion
+\sepbarrules
+\setsign1{-1} % one flat at keyboard
+\generalmeter{\meterfrac24}
+\setmeter3\empty
+\setclef3\alto
+\setclef1\bass
+\setstaffs12 % 2 staffs at keyboard
+\setclefsymbol3\gregorianCclef % gregorian C clef at instrument 3
+\setclefsymbol2\drumclef % cancel G clef at instrument 2
+\startextract
+\Notes\hu F|\zh c\hu h&\dnq4&\squ{acd}\en\bar
+\NOtes\qu I|\zq N\qu d&\qp&\diapunc f\en
+\NOtes\qu J|\zq a\qu e&\ynq4&\diapunc e\en\bar
+\notes\hu G|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\en
+\endextract
+\end{music}
+\noindent which is coded as follows:
+
+\begin{verbatim}
+\parindent 19mm
+\instrumentnumber{3}
+\setname1{keyboard} \setname2{drum} \setname3{monks}
+\setlines2{1}
+\setlines3{4}
+\setinterinstrument1{-2\Interligne}% less vertical space above
+\setinterinstrument2{-2\Interligne}% and below the percussion
+\sepbarrules
+\setsign1{-1} % one flat at keyboard
+\generalmeter{\meterfrac24}
+\setmeter3{\empty}
+\setclef3{\alto}
+\setclef1{\bass}
+\setstaffs1{2} % 2 staffs at keyboard
+\setclefsymbol3{\gregorianCclef} % gregorian C clef at instrument 3
+\setclefsymbol2{\drumclef} % cancel G clef at instrument 2
+\startextract
+\end{verbatim}
+
+% (DAS) Sorry, guys, I couldn't figure out how to get the |'s to work in this
+% verbatim.
+%
+\vskip-11pt
+\def\Vert{{\tt\char'174}}
+\noindent\verb|\Notes\hu F|\Vert\verb|\zh c\hu h&\dnq4&\squ{acd}\en\bar|\\
+\verb|\NOtes\qu I|\Vert\verb|\zq N\qu d&\qp&\diapunc f\en|\\
+\verb|\NOtes\qu J|\Vert\verb|\zq a\qu e&\ynq4&\diapunc f\en\bar|\\
+\verb|\notes\hu G|\Vert\verb|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\en|\\
+\verb|\endextract|
+
+ \section{musixplt}\index{musixplt@{\tt musixplt.tex}}\label{palatino}
+Replaces the default Computer Modern text fonts by Palatino fonts;
+see Section~\ref{UserFonts}.
+Use as follows:
+\begin{quote}\begin{verbatim}
+\input musixtex
+\input musixplt
+...
+\end{verbatim}\end{quote}
+
+The usual ``small'' type commands are supported:
+\begin{quote}
+\begin{tabular}{lr}
+\keyindex{tinytype} & 7pt \\
+\keyindex{smalltype} & 8pt \\
+\keyindex{Smalltype} & 9pt \\
+\keyindex{normtype}& 10pt \\
+\keyindex{medtype} & 12pt \\
+\end{tabular}
+\end{quote}
+For all of these, the following variants are supported:
+\begin{quote}
+\begin{tabular}{ll}
+\verb|\rm| & Roman \\
+\verb|\bf| & bold \\
+\verb|\it| & italic \\
+\verb|\bi| & bold italic \\
+\verb|\sc| & small capitals (and old-style figures)\\
+\end{tabular}
+\end{quote}
+The ``big'' type commands are as follows:
+\begin{quote}
+\begin{tabular}{lr}
+\keyindex{bigtype} & 14pt\\
+\keyindex{Bigtype} & 17pt\\
+\keyindex{BIgtype}& 20pt\\
+\keyindex{BIGtype} & 25pt\\
+\end{tabular}
+\end{quote}
+The default variant for the ``small'' types is Roman and for
+the ``big'' ones, small-caps;
+however, \keyindex{font} commands are defined
+for all the usual variants at all of these sizes.
+To letter-space a title, use the \verb|\so|
+command in the \verb\soul\ package.
+
+
+The following bold-italic fonts for dynamic marks are defined:
+\begin{quote}\begin{tabular}{lr}
+\keyindex{ppfftwelve} & 8pt \\
+\keyindex{ppffsixteen} & 10pt\\
+\keyindex{ppfftwenty} & 12pt \\
+\keyindex{ppfftwentyfour} & 14pt \\
+\keyindex{ppfftwentynine} & 17pt \\
+\end{tabular}\end{quote}
+
+ \section{musixpoi}
+ Adds definitions of less common singly and doubly dotted notes.
+Available are
+\keyindex{ccup},
+\keyindex{zccup},
+\keyindex{cclp},
+\keyindex{zcclp},
+\keyindex{ccupp},
+\keyindex{zccupp},
+\keyindex{cclpp},
+\keyindex{zcclpp},
+\keyindex{cccup},
+\keyindex{zcccup},
+\keyindex{ccclp},
+\keyindex{zccclp},
+\keyindex{cccupp},
+\keyindex{zcccupp},
+\keyindex{ccclpp},
+\keyindex{zccclpp},
+\keyindex{ccccup},
+\keyindex{zccccup},
+\keyindex{cccclp},
+\keyindex{zcccclp},
+\keyindex{ccccupp},
+\keyindex{zccccupp},
+\keyindex{cccclpp} and
+\keyindex{zcccclpp}.
+
+ \section{musixppff}\label{musixppff}\index{musixppff@{\tt musixppff.tex}}
+
+This replaces the default definitions used for dynamic marks to use a ``mini-font''
+\verb\xppff10\ designed by Hiroaki \textsc{Morimoto}. It is used as follows:
+
+\begin{quote}\begin{verbatim}
+\input musixtex
+\input musixppff
+...
+\end{verbatim}\end{quote}
+\noindent The new dynamic marks are as follows:
+\font\xppff=xppff10
+\begin{quote}
+\xppff
+pppp\ ppp\ pp\ p\ mp\ mf\ f\ fp\ sf\ ff\ fff\ ffff\ sfz\ sfzp
+\end{quote}
+Note that the \verb|xppff10| font has defined glyphs only for the following five characters: f, m, p, s and~z;
+use \keyindex{ppff} etc.\@
+for other bold-italic text in music.
+
+ \section{musixps}\label{musixps}\index{musixps@{\tt musixps.tex}}
+ Activates type K Postscript slurs, ties, and hairpins; see Chapter~\ref{PostscriptSlurs}.
+Use as follows:
+\begin{quote}\begin{verbatim}
+\input musixtex
+\input musixps
+...
+\end{verbatim}\end{quote}
+
+ \section{musixstr}\label{musixstr}\index{musixstr@{\tt musixstr.tex}}
+ Provides bowing and other symbols for \itxem{string instruments}\footnote{provided
+by Werner {\sc Icking}}. The symbol can be posted at the desired position using
+ \verb|\zcharnote|\pitchp\verb|{|$command$\verb|}|. The available symbols and
+their meanings are as follows:
+
+{\input musixstr
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+
+ \item[\hbox to 1em{\AB}~: \keyindex{AB} or \keyindex{downbow}] down-bow
+
+ \item[\hbox to 1em{\AUF}~: \keyindex{AUF} or \keyindex{upbow}] up-bow
+
+ \item[\hbox to 1em{\SP}~: \keyindex{SP}] at the top of bow
+
+ \item[\hbox to 1em{\FR}~: \keyindex{FR}] at the nut of bow
+
+ \item[\GB\ or \Gb~: \keyindex{GB} or \keyindex{Gb}] whole bow
+
+ \item[\UH\ or \Uh~: \keyindex{UH} or \keyindex{Uh}] lower half of bow
+
+ \item[\OH\ or \Oh~: \keyindex{OH} or \keyindex{Oh}] upper half of bow
+
+ \item[\MI\ or \Mi~: \keyindex{MI} or \keyindex{Mi}] middle of bow
+
+ \item[\UD\ or \Ud~: \keyindex{UD} or \keyindex{Ud}] lower third of bow
+
+ \item[\OD\ or \Od~: \keyindex{OD} or \keyindex{Od}] upper third of bow
+
+ \item[\Pizz~: \keyindex{Pizz}] left hand pizzicato or trill
+
+ \end{description}\end{quote}
+ }
+
+
+ %\check
+ \section{musixsty}\index{musixsty@{\tt musixsty.tex}}\label{musixsty}
+
+ Provides certain text-handling facilities for titles, footnotes, and other
+items not related to lyrics. It should not be used with \LaTeX. It includes
+ \begin{itemize}\setlength{\itemsep}{0ex}
+ \item definitions of \keyindex{hsize}, \keyindex{vsize},
+\keyindex{hoffset}, \keyindex{voffset} suitable for A$4$ paper; those using
+other sizes may wish to modify it once and for all;
+ \item a \keyindex{rectoverso}\verb|{|\emph{dimension}\verb|}| command to set up even/odd-page
+ asymmetric margins;
+ \item a set of text size commands:
+
+ \begin{description}\setlength{\itemsep}{0ex}
+ \item[\keyindex{eightpoint}] which sets the usual \keyindex{rm},
+\keyindex{bf}, \keyindex{sl}, \keyindex{it} commands to $8$ point font size;
+ \item[\keyindex{tenpoint}] which sets the usual \keyindex{rm},
+\keyindex{bf}, \keyindex{sl}, \keyindex{it} commands to $10$ point font size;
+ \item[\keyindex{twlpoint}] (or \keyindex{twelvepoint}) to get $12$ point font size;
+ \item[\keyindex{frtpoint}] to get $14.4$ point font size;
+ \item[\keyindex{svtpoint}] to get $17.28$ point font size;
+ \item[\keyindex{twtypoint}] to get $20.74$ point font size;
+ \item[\keyindex{twfvpoint}] to get $24.88$ point font size;
+ \end{description}
+ \item commands for creating title-page headings:
+ \begin{itemize}\setlength{\itemsep}{0ex} \item \keyindex{author} or
+\keyindex{fullauthor} to be put at the right of the first page, below the
+title of the piece; the calling sequence is, for example
+
+ \verb| \author{Daniel TAUPIN\\organiste \`a Gif-sur-Yvette}|
+
+ \noindent where the \verb|\\| causes the author's name to be displayed on
+two lines;
+
+ \item \keyindex{shortauthor} to be put at the bottom of each page;
+ \item \keyindex{fulltitle} which is the main title of the piece;
+ \item \keyindex{subtitle} is displayed below the main title of the piece;
+ \item \keyindex{shorttitle} or \keyindex{title}
+ which is the title repeated at the bottom of each page;
+ \item \keyindex{othermention} which is displayed on the left of the page,
+vertically aligned with author's name. It may contain \verb|\\| to display it on
+several lines;
+ \item \keyindex{headline} which displays the argument at the top of the title page (use
+ \verb|\hss| after or before the argument text or both to left-align or
+ right-align or center the text);
+ \item \keyindex{maketitle} which displays all the previous stuff;
+ \end{itemize}
+
+ \item commands for making \itxem{footnotes}:
+ \begin{itemize}\setlength{\itemsep}{0ex}
+ \item The normal Plain-\TeX\ \keyindex{footnote} command, which has two
+arguments---not just one as in \LaTeX\protect\index{LATEX@\LaTeX}---namely
+the label of the footnote, which can be any sequence of characters, and
+the text of the footnote. This command does not work inside
+boxes, so it cannot be issued within music;
+
+ \item The \keyindex{Footnote} command, which counts the footnotes and uses a
+number as the label of the footnote (equivalent to \LaTeX's \verb|\footnote|
+command). The same restriction as with \verb|\footnote| applies concerning
+its use within the music coding;
+
+ \item The \keyindex{vfootnote} command, taken from the Plain-\TeX, which
+places a footnote at the bottom of the current page, but does not put
+the footnote label at the place the command is entered in the main text. This
+also may not be used within music, but if a footnote is needed whose reference
+lies inside the music, it can be entered in two steps:
+ \begin{enumerate}
+ \item manually insert the reference inside the music, using e.g., \verb|zcharnote|;
+ \item post the footnote itself with \verb|\vfootnote| outside the music,
+either before \keyindex{startpiece} or between \keyindex{stoppiece} and
+\keyindex{contpiece} or equivalent commands.
+ \end{enumerate}
+
+ \end{itemize}
+
+ \end{itemize}
+
+ \section{musixtmr}\index{musixtmr@{\tt musixtmr.tex}}\label{times}
+ Replaces the default Computer Modern text fonts by Times fonts;
+ see Section~\ref{UserFonts}.
+Use as follows:
+\begin{quote}\begin{verbatim}
+\input musixtex
+\input musixtmr
+...
+\end{verbatim}\end{quote}
+
+The usual ``small'' type commands are supported:
+\begin{quote}
+\begin{tabular}{lr}
+\keyindex{tinytype} & $7$pt \\
+\keyindex{smalltype} & $8$pt \\
+\keyindex{Smalltype} & $9$pt \\
+\keyindex{normtype}& $10$pt \\
+\keyindex{medtype} & $12$pt \\
+\end{tabular}
+\end{quote}
+For all of these, the following variants are supported:
+\begin{quote}
+\begin{tabular}{ll}
+\verb|\rm| & Roman \\
+\verb|\bf| & bold \\
+\verb|\it| & italic \\
+\verb|\bi| & bold italic \\
+\verb|\sc| & small capitals \\
+\end{tabular}
+\end{quote}
+The ``big'' type commands are as follows:
+\begin{quote}
+\begin{tabular}{lr}
+\keyindex{bigtype} & $14$pt\\
+\keyindex{Bigtype} & $17$pt\\
+\keyindex{BIgtype}& $20$pt\\
+\keyindex{BIGtype} & $25$pt\\
+\end{tabular}
+\end{quote}
+The default variant for all of them is Roman;
+however, \keyindex{font} commands are defined
+for all the usual variants at all of these sizes.
+To letter-space a title, use the \verb|\so|
+command in the \verb\soul\ package.
+
+
+The following bold-italic fonts for dynamic marks are defined:
+\begin{quote}\begin{tabular}{lr}
+\keyindex{ppfftwelve} & 8pt \\
+\keyindex{ppffsixteen} & 10pt\\
+\keyindex{ppfftwenty} & 12pt \\
+\keyindex{ppfftwentyfour} & 14pt \\
+\keyindex{ppfftwentynine} & 17pt \\
+\end{tabular}\end{quote}
+
+\section{musixtnt}\label{musixtnt}
+This package (tnt = Transform Notes) provides a macro \keyindex{TransformNotes} which makes
+possible several ``transformations'' of the effect of notes commands such as \keyindex{notes}.
+The \verb\musixtnt\ package is distributed separately from \verb\musixtex\.
+
+In general the effect of \verb|\TransformNotes{|\textit{input}\verb|}{|\textit{output}\verb|}|
+is that subsequent notes commands in the source will expect their arguments
+to match the \textit{input} pattern but
+the notes will be typeset according to the \textit{output} pattern.
+
+For example,
+\begin{verbatim}
+ \TransformNotes{#2&#3&#4&#5}{#2&#3&#5}
+\end{verbatim}
+would be appropriate for a four-instrument score (arguments \verb|#2|, \verb|#3|, \verb|#4|, and \verb|#5|, separated by three
+\verb\&\s, but the third instrument (\verb|#4|) will be discarded.
+
+The instrument/staff numbers in the first argument must start at $2$ and increase
+consecutively, using \verb|&| (or \| for multi-staff instruments) as a separator.
+The reason that the segment identifiers start at $2$ is that the first argument for \keyindex{vnotes}
+is a spacing parameter.
+
+It is
+essential that every \verb|\znotes|, \verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc.\@ command in
+the score match the pattern of the first argument to \keyindex{TransformNotes} exactly; for example,
+too few (or too many)
+note segments will result in unintentionally discarded material and possibly compilation failure.
+Similarly, it is not possible to use \keyindex{nextinstrument}, \keyindex{nextstaff}, \keyindex{selectinstrument} or \keyindex{selectstaff}, or to hide the \verb|&| (or \|) tokens inside
+a user-defined macro.
+An auxiliary program \verb|msxlint| distributed in the \verb\musixtnt\ package can be used to detect such incompatibilities.
+
+\keyindex{TransformNotes} may be used anywhere between \keyindex{startpiece}
+and the command that ends the piece.
+
+\subsection{Extracting single-instrument parts from multi-instrument scores}
+
+To extract
+a single-instrument part from a (copy of a) multi-instrument \musixtex\ score:
+\begin{itemize}
+\item Set \verb|\nbinstrument| to 1; for example, with command \verb|\instrumentnumber1|.
+\item Use \keyindex{TransformNotes} to discard all but one of the note segments in notes
+commands.
+For example, the following line placed after
+\verb|\startpiece| (but before any note commands) would be appropriate for a
+four-instrument score and will result in a single-instrument part for the second of
+these:
+\begin{verbatim}
+ \TransformNotes{#2&#3&#4&#5}{#3}%
+\end{verbatim}
+\end{itemize}
+Caveats:
+\begin{itemize}
+\item
+Some additional revisions to the source for the part might be necessary:
+\begin{itemize}
+\item adjusting \verb|\setname|, \verb|\setclef|, \verb|\setsign|,
+\verb|\setmeter| and \verb|\setstaffs| commands, as necessary; see
+Section~\ref{CodingRules} for coding techniques that will make this easier.
+
+\item ensuring that tempo and roadmap markings (\textbf{D.C.}, \textbf{Fine}, etc.) are in
+ the appropriate instrument segment;
+\end{itemize}
+\item
+When the extracted part score is compiled and viewed, it may be seen
+that horizontal-spacing commands designed for \emph{multiple} instruments can produce bad
+spacing when used for a \emph{single} instrument. Bad spacing can be corrected manually but
+this is very tedious; an auxiliary program called \verb\autosp\
+can be used to automate this process; see Section~\ref{autosp}.
+\end{itemize}
+
+\subsection{Other applications}
+
+The \keyindex{TransformNotes} macro may be used for other purposes. Here are some examples:
+\begin{list}{}{}\item
+ \verb|\TransformNotes{#2&#3}{#2&\transpose+7#3}%|
+\end{list}
+will begin transposing\index{transpose@{\Bslash transpose}} just the second instrument (argument \verb|#3|).
+\begin{list}{}{}\item
+ \verb|\TransformNotes{#2|\|\verb|#3&#4}{#2|\|\verb|#3&\tinynotesize#4}%|
+\end{list}
+will begin typesetting the notes of the second instrument (\verb|#4|) in tiny size.
+\begin{list}{}{}\item
+ \verb|\TransformNotes{#2&#3}{#3&#2}%|
+\end{list}
+will switch the order of the two instruments.
+\begin{list}{}{}\item
+ \verb|\TransformNotes{#2&#3}{#2&#3}%|
+\end{list}
+will restore normal two-instrument processing.
+
+
+The \texttt{musixtnt} implementation of \keyindex{TransformNotes} is not compatible with the
+\texttt{musixlyr} extension
+package for lyrics described in Section~\ref{musixlyr}. For extracting or omitting parts
+in scores with lyrics, one may either use the
+\texttt{autosp}\index{autosp@{\tt autosp}} preprocessor discussed in Section~\ref{autosp}, which provides
+an alternative implementation of \keyindex{TransformNotes},
+or the techniques described in Chapter~\ref{parts}.
+
+ \section{musixtri}\index{musixtri@{\tt musixtri.tex}}
+Provides triply dotted note symbols.
+Available are:
+\keyindex{lpppt},
+\keyindex{whppp},
+\keyindex{zwppp},
+\keyindex{huppp},
+\keyindex{hlppp},
+\keyindex{zhppp},
+\keyindex{zhuppp},
+\keyindex{zhlppp},
+\keyindex{quppp},
+\keyindex{qlppp},
+\keyindex{zquppp},
+\keyindex{zqlppp},
+\keyindex{zqppp},
+\keyindex{cuppp},
+\keyindex{zcuppp},
+\keyindex{clppp},
+\keyindex{zclppp},
+\keyindex{qbppp} and
+\keyindex{zqbppp}.
+
+
+\section{tuplet}
+
+This file does nothing; it is provided for compatibility with
+\musixtex{} version 1.20 or earlier and legacy scores.
+Since version 1.21, \verb|musixtex.tex| itself contains all the functions
+of the older \texttt{tuplet.tex}, namely
+definitions of
+\begin{itemize}
+\item \keyindex{tuplettxt}
+\item \keyindex{uptuplet}
+\item \keyindex{downtuplet}
+\end{itemize}
+See Section~\ref{tuplet}.
diff --git a/macros/musixtex/doc/musixdoc/extracting.tex b/macros/musixtex/doc/musixdoc/extracting.tex
new file mode 100644
index 0000000000..2039733fd0
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/extracting.tex
@@ -0,0 +1,101 @@
+\chapter{Extracting Parts from a Multi-Instrument Score}\label{parts}
+From the typesetting viewpoint, the major characteristic of orchestral and
+chamber music is that the scores not only have several instruments, but
+variants of the same basic score are needed in which one of the instruments is
+highlighted while some others are typeset in smaller notes or are
+omitted.
+Of course, it must be possible to permute the highlighted instruments and
+the small-type instruments or
+omitted instruments, depending on the instrument to which the
+version of the score is dedicated.
+
+The following is the most general approach to part extraction when
+using \musixtex\ without \textbf{PMX} or \textbf{M-Tx} pre-processors. A
+simpler approach which will work for most purposes is described in Section~\ref{musixtnt}.
+
+\section{Coding rules}\label{CodingRules}
+ To make a ``selectable'' orchestral score you must prepare the master score
+(i.e., the score with all instruments typed) as follows:
+
+ \begin{enumerate}
+ \item Avoid referring to instrument numbers with roman
+numerals. For example use \verb|\setclefs|~$n$ instead of
+\verb|\cleftoksiii=| .
+ \item Introduce symbolic names for the instruments; for example, define:
+ \begin{verbatim}
+ \def\Piano{1}%
+ \def\Flute{2}%
+ \def\Oboe{3}%
+ \def\Soprano{4}%
+ \end{verbatim}
+and code, for example
+ \smallskip
+
+ \verb|\setstaffs\Piano2| rather than \verb|\setstaffs12|.
+
+ \item If, initially, the Piano is the instrument number 1, replace all
+\verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc., with
+\verb|\notes\selectinstrument\Piano|, \verb|\Notes\selectinstrument\Piano|,
+\verb|\NOtes\selectinstrument\Piano|, etc.
+
+ \item Instead of using \verb|&| or \verb|\nextinstrument| to move to
+instrument $n+1$, use \verb|\selectinstrument\Flute| and similar instead.
+ \end{enumerate}
+For example,
+\begin{verbatim}
+ \Notes\selectinstrument\Piano ... | ...
+ \selectinstrument\Flute ...
+ \selectinstrument\Oboe ...
+ \selectinstrument\Soprano ... \en
+\end{verbatim}
+With this coding, difficult things such as putting the Flute above the Oboe
+are done easily: just say \verb|\def\Flute{3}| and \verb|\def\Oboe{2}|.
+
+ \section{Selecting, hiding or putting instruments in the background}
+
+ To put, for example, the Flute and the Oboe in the background, i.e., typesetting
+them in small notes, state at the beginning:
+ \begin{quote}
+ \verb|\setsize\Flute\tinyvalue\setsize\Oboe\tinyvalue|
+ \end{quote}
+where the value \keyindex{tinyvalue} for \keyindex{setsize} corresponds to notes and staffs
+of size \keyindex{tinynotesize}.
+ If, instead of putting an instrument in the background, one wants to omit it,
+this is done by:
+ \begin{quote}
+ \verb|\setstaffs\Flute{0}\setstaffs\Oboe{0}|
+ \end{quote}
+since nothing is typeset for
+instruments having \emph{zero} staffs (not to be confused with one-line staffs such
+as percussions).
+
+ \section{Recommendations}
+ \begin{itemize}
+ \item When hiding instruments, reduce
+\keyindex{instrumentnumber} by the number of hidden instruments; otherwise
+bars and leading braces will enclose the position of these dummy arguments,
+which would be ugly.
+
+ \item Exchange the actual instrument numbers so that hidden instruments have
+numbers \emph{greater} than the value of \verb|\instrumentnumber|.
+ Hidden instruments with numbers
+less than \verb|\instrumentnumber| will cause an excess of vertical
+space at their phantom positions; this is not
+recommended.
+
+ \item In hidden instruments, rests no longer behave like \verb|\hbox{...}| and
+\verb|raise|-ing them will result in an error.
+
+ \item In hidden instruments, explicit \verb|\hbox|es will remain as empty
+boxes, thus causing abnormal vertical spacings between instruments. Therefore,
+anything suspect should be made conditional with:
+
+\begin{quote}
+\keyindex{ifactiveinstrument}\ \textit{code to be omitted if instrument is hidden}\ \verb|\fi|
+\end{quote}
+Most \musixtex{} commands become properly hidden if requested. But
+problematic
+parts of code can nonetheless be protected with \verb|\ifactiveinstrument|.
+
+ \end{itemize}
+
diff --git a/macros/musixtex/doc/musixdoc/fonts.tex b/macros/musixtex/doc/musixdoc/fonts.tex
new file mode 100644
index 0000000000..2326b86c95
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/fonts.tex
@@ -0,0 +1,231 @@
+\chapter{Font Selection and Text Placement}
+
+\section{Predefined text fonts}
+While any font with support for \TeX\ can be used by \musixtex, certain styles and
+sizes can be selected using shortcut commands.
+For ordinary text, the shortcuts cover fonts of nine different
+sizes and six styles. The sizes in points are $7$, $8$, $9$, $10$, $12$, $14$, $17$, $20$, and $25$;
+the styles are from the standard Computer Modern family: Roman, bold, italic, bold italic
+and small capitals.
+The size selection macros from smallest to biggest are
+\keyindex{tinytype},
+\keyindex{smalltype},
+\keyindex{Smalltype},
+\keyindex{normtype}, \keyindex{medtype}, \keyindex{bigtype},
+\keyindex{Bigtype},
+\keyindex{BIgtype} and \keyindex{BIGtype}.
+The style may be selected or changed using \keyindex{rm} (Roman), \keyindex{bf}
+(bold), \keyindex{it} (italic), \keyindex{bi} (bold italic) or
+\keyindex{sc} (small-capitals). If no style is explicitly selected, Roman style
+will be used for the sizes \verb|\medtype| or smaller; for the larger sizes,
+bold style is the default. Thus, for example,
+eight point italic is selected with \verb|\smalltype\it|, while
+twelve point Roman is selected using \verb|\medtype\rm| or simply
+\verb|\medtype|. To change between styles while maintaining the same size,
+code \verb|\rm|, \verb|\it|, \verb|\bf|, \verb|\bi| or \verb|\sc|, as in Plain \TeX.
+When \musixtex\ is started, the default font for ordinary text is
+ten point Roman, equivalent to \verb|\normtype\rm|.
+
+Another group of fonts, in bold extended italic style, is predefined in point sizes
+$8$, $10$, $12$, $14$, and $17$ for dynamic markings. The appropriate font for the current
+staff size may be selected simply by using \keyindex{ppff} as a
+font specification. Macros \keyindex{tinydyn}, \keyindex{smalldyn}, \keyindex{normdyn}, or \keyindex{meddyn} may be
+used to redefine \verb|\ppff| to represent one of the smallest four.
+
+
+A selection of predefined fonts is summarized in Table~\ref{predefinedfonts}. The second column gives an
+explicit control sequence that can alternatively be used locally as a font specification.
+\font\ctinytype=cmr7
+\font\ctinytypebf=cmbx7
+\font\ctinytypeit=cmti7
+\font\csmalltype=cmr8
+\font\csmalltypebf=cmbx8
+\font\csmalltypeit=cmti8
+\font\cSmalltype=cmr9
+\font\cSmalltypebf=cmbx9
+\font\cSmalltypeit=cmti9
+\font\cnormtype=cmr10
+\font\cnormtypebf=cmbx10
+\font\cnormtypeit=cmti10
+\font\cnormtypebi=cmbxti10
+\font\cnormtypesc=cmcsc10
+\font\cmedtype=cmr12
+\font\cmedtypebf=cmbx12
+\font\cmedtypeit=cmti12
+\font\cmedtypebi=cmbxti10 scaled \magstep1
+\font\cmedtypesc=cmcsc10 scaled \magstep1
+\font\cbigtype=cmbx12 scaled \magstep1
+\font\cBigtype=cmbx12 scaled \magstep2
+\font\cBIgtype=cmbx12 scaled \magstep3
+\font\cBIGtype=cmbx12 scaled \magstep4
+\font\cppfftwelve=cmbxti10 at 8pt
+\font\cppffsixteen=cmbxti10
+\font\cppfftwenty=cmbxti10 scaled \magstep1
+\font\cppfftwentyfour=cmbxti10 scaled \magstep2
+\font\cppfftwentynine=cmbxti10 scaled \magstep3
+\font\cbigtype=cmbx12 scaled \magstep1
+\font\cBigtype=cmbx12 scaled \magstep2
+\font\cBIgtype=cmbx12 scaled \magstep3
+\font\cBIGfont=cmbx12 scaled \magstep4
+\begin{table}
+\begin{center}
+\renewcommand{\arraystretch}{1.15}
+ \begin{tabular}{lll}
+ \hline
+ Size and style & Font specification & Example \\
+ \hline
+ \verb|\tinytype| & \verb|\sevenrm| & {\ctinytype tiny Roman} \\
+ \verb|\tinytype\bf| & \verb|\sevenbf| & {\ctinytypebf tiny bold} \\
+ \verb|\tinytype\it| & \verb|\sevenit| & {\ctinytypeit tiny italic} \\
+ \verb|\smalltype| & \verb|\eightrm| & {\csmalltype small Roman} \\
+ \verb|\smalltype\bf| & \verb|\eightbf| & {\csmalltypebf small bold} \\
+ \verb|\smalltype\it| & \verb|\eightit| & {\csmalltypeit small italic} \\
+ \verb|\Smalltype| & \verb|\ninerm| & {\cSmalltype Small Roman} \\
+ \verb|\Smalltype\bf| & \verb|\ninebf| & {\cSmalltypebf Small bold} \\
+ \verb|\Smalltype\it| & \verb|\nineit| & {\cSmalltypeit Small italic} \\
+ \verb|\normtype| & \verb|\tenrm| & {\cnormtype normal Roman} \\
+ \verb|\normtype\bf| & \verb|\tenbf| & {\cnormtypebf normal bold} \\
+ \verb|\normtype\it| & \verb|\tenit| & {\cnormtypeit normal italic}\\
+ \verb|\normtype\bi| & \verb|\tenbi| & {\cnormtypebi normal bold italic}\\
+ \verb|\normtype\sc| & \verb|\tensc| & {\cnormtypesc normal small capitals}\\
+ \verb|\medtype| & \verb|\twelverm| & {\cmedtype medium Roman} \\
+ \verb|\medtype\bf| & \verb|\twelvebf| & {\cmedtypebf medium bold} \\
+ \verb|\medtype\it| & \verb|\twelveit| & {\cmedtypeit medium italic}\\
+ \verb|\medtype\bi| & \verb|\twelvebi| & {\cmedtypebi medium bold italic}\\
+ \verb|\medtype\sc| & \verb|\twelvesc| & {\cmedtypesc medium small capitals}\\
+ \verb|\bigtype| & \verb|\frtbf| & {\cbigtype big bold} \\[.4ex]
+ \verb|\Bigtype| & \verb|\svtbf| & {\cBigtype Big bold} \\[.4ex]
+ \verb|\BIgtype| & \verb|\twtybf| & {\cBIgtype BIg bold} \\[.4ex]
+ \verb|\BIGtype| & \verb|\twfvbf| & {\cBIGtype BIG bold} \\
+ ~ & \verb|\ppfftwelve| & {\cppfftwelve pp ff diminuendo}\\
+ ~ & \verb|\ppffsixteen| & {\cppffsixteen pp ff diminuendo}\\
+ ~ & \verb|\ppfftwenty| & {\cppfftwenty pp ff diminuendo}\\
+ ~ & \verb|\ppfftwentyfour| & {\cppfftwentyfour pp ff diminuendo}\\[.4ex]
+ ~ & \verb|\ppfftwentynine| & {\cppfftwentynine pp ff diminuendo}\\[.4ex]
+ \hline
+ \end{tabular}
+\end{center}
+\caption{Various predefined fonts}
+\label{predefinedfonts}
+\end{table}
+
+\section{User-defined text fonts}
+
+Since \musixtex\ is a superset of \TeX, you are free to use the standard \TeX\
+machinery for defining and using any special font you desire. You must first
+of course ensure that (a)~all the necessary font files (e.g., \verb|bla10.tfm|,
+\verb|bla10.pfb|, or equivalents) are installed in the right places in your system, (b)~all
+configuration files (e.g., \verb|config.ps| or equivalent) have been updated, and
+(c)~the \TeX\ file-name database has been updated, as required by your \TeX\ system. Then you can use the font just as
+in any \TeX\ document, e.g., by coding \verb|\font blafont=bla10| and then
+\verb|\zchar{10}{\blafont Text in user-defined font}|.
+
+You might also wish to replace once and for all the typefaces invoked by the
+commands described in the previous section. Again, before doing this, you must
+follow steps (a-c) of the previous paragraph for all fonts in question.
+\label{UserFonts}
+You can use bitmapped fonts, which are converted to
+Postscript by e.g.,~\verb|dvips|, but you also may replace them
+by native Postscript fonts.
+
+The extension library
+\verb|musixtmr.tex|\footnote{by Hiroaki {\sc Morimoto}}
+replaces the default Computer Modern text fonts by
+the Times series of fonts; see Section~\ref{times}.
+Other extension libraries, \verb|musixplt.tex| and \verb|musixhv.tex|, replace the default text fonts by
+Palatino and Helvetica fonts, respectively; see Sections~\ref{palatino} and \ref{helvetica}.
+\font\tnormtype=ptmr7t
+\font\tnormtypebf=ptmb7t
+\font\tnormtypeit=ptmri7t
+\font\tbigtype=ptmr7t scaled \magstep2
+\font\tBigtype=ptmr7t scaled \magstep3
+\font\pnormtype=pplr8r
+\font\pnormtypebf=pplb8r
+\font\pnormtypeit=pplri8r
+\font\pbigtype=pplrc8r at 14pt
+\font\pBigtype=pplrc8r at 17pt
+\font\hnormtype=phvr8r at 10pt
+\font\hnormtypebf=phvb8r at 10pt
+\font\hnormtypeit=phvro8r at 10pt
+\font\hbigtype=phvr8r at 14pt
+\font\hBigtype=phvr8r at 17pt
+Here is a comparison of some Times,
+Palatino and Helvetica fonts:
+\begin{center}
+ \begin{tabular}{lll}
+ \hline
+ {\tnormtype normal Times Roman} & {\pnormtype normal Palatino Roman} &{\hnormtype normal Helvetica Roman} \\
+ {\tnormtypebf normal Times bold} & {\pnormtypebf normal Palatino bold}& {\hnormtypebf normal Helvetica bold} \\
+ {\tnormtypeit normal Times italic} & {\pnormtypeit normal Palatino italic } & {\hnormtypeit normal Helvetica italic }\\[.4ex]
+ {\tbigtype Times big} & {\pbigtype Palatino big } & {\hbigtype Helvetica big } \\[.4ex]
+ {\tBigtype Times Big } & {\pBigtype Palatino Big } & {\hBigtype Helvetica Big } \\
+ \hline
+ \end{tabular}
+\end{center}
+
+For users who prefer to stick with the default Computer Modern
+family but want to use the T$1$-encoded EC variants, the extension library
+\verb|musixec.tex| is available; see Section~\ref{ecfonts}\@.
+
+\section{Text placement}\label{textplacement}
+Special macros are provided to allow precise placement of any \TeX\ text, vertically
+relative to the staff, and horizontally relative to any note in
+the staff.
+
+The macros in the first group will vertically position the text with the
+baseline at any specified pitch or staff line. They must be used
+inside \verb|\notes...\en|. They will not insert any additional
+horizontal space. They have the forms
+\keyindex{zcharnote}\pitchp\verb|{|\ital{text}\verb|}|, \keyindex{lcharnote}\pitchp\verb|{|\ital{text}\verb|}|,
+and \keyindex{ccharnote}\pitchp\verb|{|\ital{text}\verb|}|,
+where \ital{p} is the pitch. With the first one, text will spill to the right
+from the current insertion point, with the second it will spill to the left, and with the
+third it will be centered horizontally.
+The following abbreviations are available:
+\begin{quote}
+\begin{tabular}{lcl}
+\keyindex{zcn}& for&\verb|\zcharnote| \\
+\keyindex{lcn}& for&\verb|\lcharnote| \\
+\keyindex{ccn}& for&\verb|\ccharnote| \\
+\end{tabular}
+\end{quote}
+
+There are similar macros \keyindex{zchar}\pitchp\verb|{|\ital{text}\verb|}|,
+\keyindex{lchar}\pitchp\verb|{|\ital{text}\verb|}|, and \keyindex{cchar}\pitchp\verb|{|\ital{text}\verb|}|,
+which differ from the previous three in that the pitch \ital{must} be given with
+a number (representing the number of staff positions up from the lowest line),
+and that the number need not be an integer.
+
+To vertically position any text midway between two consecutive staves, use
+\keyindex{zmidstaff}\verb|{|{\it text}\verb|}|, \keyindex{lmidstaff}\verb|{|{\it text}\verb|}|,
+or \keyindex{cmidstaff}\verb|{|{\it text}\verb|}| at the appropriate point in the lower staff.
+
+The macros \keyindex{uptext}\verb|{|\ital{text}\verb|}| and
+\keyindex{Uptext}\verb|{|\ital{text}\verb|}|
+are simply shorthands for
+\verb|\zchar{10}{|\ital{text}\verb|}| and
+\verb|\zchar{14}{|\ital{text}\verb|}|,
+respectively.
+
+The text items handled by all of the above macros can include any appropriate
+string of \TeX\
+control sequences, including font definitions, \verb|\hbox|'es, etc.
+
+Material posted with any of the macros described in this section will not
+create any additional horizontal or vertical space within the current system,
+and will overwrite anything in the current system that gets in the way. It is
+the typesetter's responsibility to ensure there is adequate white space
+within the current system to accommodate any text placed with
+these macros. On the other hand, if text is placed far above or below a
+system, \musixtex\ will usually insert additional vertical space if needed.
+
+\section{Rehearsal marks}
+
+Rehearsal marks are usually
+boxed or circled uppercase letters or digits. They can be defined using the macros
+\keyindex{boxit}\verb|{|\ital{text}\verb|}| or
+\keyindex{circleit}\verb|{|\ital{text}\verb|}|. For boxed text,
+the margin between the text and box is controlled by the dimension
+register \keyindex{boxitsep}, which can be reset to any \TeX\ dimension if the
+default value of \verb|3pt| is unsatisfactory. To place the mark, use \verb|\Uptext| or
+any of the other macros defined in the previous section.
diff --git a/macros/musixtex/doc/musixdoc/frontmatter.tex b/macros/musixtex/doc/musixdoc/frontmatter.tex
new file mode 100644
index 0000000000..42d4e645c0
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/frontmatter.tex
@@ -0,0 +1,143 @@
+\title{\Huge\bfseries\musixtex\\[\bigskipamount]
+\LARGE\bfseries Using \TeX{} to write polyphonic\\or
+instrumental music\\\Large\itshape Version 1.29}
+\author{}
+
+
+%\author{\Large\rm Daniel \sc Taupin\\\large\sl
+% Laboratoire de Physique des Solides\\\normalsize\sl
+% (associ\'e au CNRS)\\\normalsize\sl
+% b\^atiment 510, Centre Universitaire, F-91405 ORSAY Cedex\\\medskip
+% \\\Large\rm Ross \sc Mitchell\\\large\sl
+% CSIRO Division of Atmospheric Research,\\\normalsize\sl
+% Private Bag No.1, Mordialloc, Victoria 3195,\\ Australia \\\medskip
+% \\\Large\rm Andreas \sc Egler\\\large\sl
+% (Ruhr--Uni--Bochum)\\ Ursulastr. 32\\ D-44793 Bochum}
+\date{Revised \today}
+\maketitle
+\vfill
+\thispagestyle{empty}
+\begin{flushright}\it
+If you are not familiar with \TeX{} at all, I would recommend\\
+to find another software package to do musical typesetting.\\
+Setting up \TeX{} and \musixtex\ on your machine and mastering it is\\
+an awesome job which gobbles up a lot of your time and disk space.\\[\medskipamount]
+But, once you master it\ldots\\[\smallskipamount]
+Hans {\sc Kuykens} (ca.~1995)
+
+\vspace*{4ex}
+In my humble opinion, that whole statement is obsolete.\\[\smallskipamount]
+Christof\/ {\sc Biebricher} (2006)
+\end{flushright}
+
+\clearpage
+
+\pagenumbering{roman}\setcounter{page}{2}
+
+
+\vspace*{20ex}
+\begin{quote}
+\musixtex{} may be freely copied, duplicated and used in conformance to
+the GNU General Public License (Version 2, 1991, see included file {\tt
+copying})\footnote{Thanks to the Free Software Foundation for advice. See
+\href{http://www.gnu.org}{\underline{\tt http://www.gnu.org}}}.
+
+You may take it or parts of it to include in other packages, but no packages
+called \musixtex{} without specific suffix may be distributed under the name
+\musixtex{} if different from the original distribution (except obvious bug
+corrections).
+
+ Adaptations for specific implementations (e.g., fonts) should be provided as
+separate additional \TeX\ or \LaTeX\ files which override original definitions.
+ \end{quote}
+
+\clearpage
+
+\chapter*{Preface}
+\addcontentsline{toc}{chapter}{Preface}
+\musixtex\ was developed by Daniel Taupin, Ross Mitchell and Andreas
+Egler,
+building
+on earlier work by Andrea Steinbach and Angelika Schofer.
+Unfortunately, Daniel Taupin, the main developer, died all too early in a 2003
+climbing accident. The \musixtex\ community was shocked by this tragic and unexpected
+event. You may read tributes to Daniel Taupin that are archived at the
+\href{http://icking-music-archive.org}{\underline{Werner Icking Music Archive}} (WIMA\index{WIMA}).
+
+Since then, the only significant update to \musixtex\ has been in version 1.15 (April 2011) which
+takes advantage of the greater capacity of the e\TeX\ version of \TeX.
+This manual
+is the definitive reference to all features of
+\musixtex\ version~1.29.
+
+Novice users need not start here.
+Most
+music typesetting tasks can be accomplished entirely by using the \textbf{PMX}
+(for instrumental music) or \mbox{\textbf{M-Tx}} (for vocal music)
+preprocessors to generate the \musixtex\ input file, relieving the user of
+learning any of the commands or syntax of \musixtex\ itself. It is only
+for out-of-the-ordinary constructions that one must learn these details in order
+to insert the necessary \musixtex\ commands into the preprocessor's input file
+as so-called inline \TeX.
+
+Advanced users might
+want to use \verb|autosp|, another preprocessor. It simplifies
+the production of \musixtex\ scores by automating the choice of
+note-spacing commands; see Section~\ref{autosp}.
+
+It is possible to create inputs for \musixtex, \textbf{PMX}, \mbox{\textbf{M-Tx}} or
+\texttt{autosp} using any text editor, such as \verb|notepad| or \verb|vi| or
+\verb|emacs|. Currently there is no graphical user interface for
+generating input files, other than \TeX-oriented integrated
+graphical development environments such as \TeX Works.
+
+The \href{http://icking-music-archive.org/software/indexmt6.html}
+{\underline{Werner Icking Music Archive}} contains excellent and detailed
+instructions for installing \TeX, \musixtex{} and the strongly recommended
+preprocessors \textbf{PMX}
+and \mbox{\textbf{M-Tx}} on
+\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00022000000000000000}
+{\underline{Linux/\unix}},
+\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00021000000000000000}
+{\underline{Windows}} and
+\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00023000000000000000}
+{\underline{Mac OS}}.
+See
+\href{http://icking-music-archive.org/software/htdocs/Introduction.html#SECTION00012000000000000000}
+{\underline{this}}
+page at WIMA for documentation of
+\textbf{PMX} and \mbox{\textbf{M-Tx}}.
+
+\begin{flushright}
+Oliver Vogel\\ Don Simons\\ Andre van Ryckeghem\\ Cornelius Noack\\
+Hiroaki Morimoto\\
+Bob Tennent\\ \today
+\end{flushright}
+
+\clearpage
+
+\makeatletter
+\renewcommand\tableofcontents{%
+ \if@twocolumn
+ \@restonecoltrue\onecolumn
+ \else
+ \@restonecolfalse
+ \fi
+ \chapter*{\contentsname
+ \@mkboth{%
+ \contentsname}{\contentsname}}%
+ \addcontentsline{toc}{chapter}{Contents} % added by RDT
+ \@starttoc{toc}%
+ \if@restonecol\twocolumn\fi
+ }
+\makeatother
+
+
+%\begin{small}
+\tableofcontents
+%\end{small}
+
+\clearpage
+\setcounter{page}{1}
+\pagenumbering{arabic}
+\renewcommand{\thepage}{\arabic{page}}
diff --git a/macros/musixtex/doc/musixdoc/index.tex b/macros/musixtex/doc/musixdoc/index.tex
new file mode 100644
index 0000000000..c56508b6d8
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/index.tex
@@ -0,0 +1,10 @@
+\makeatletter
+\renewenvironment{theindex}
+ {\pagestyle{plain}\parindent\z@
+ \parskip\z@ \@plus .3\p@\relax
+ \let\item\@idxitem}
+ {\thispagestyle{plain}}
+\makeatother
+\begin{multicols}{3}[\chapter*{Index}\addcontentsline{toc}{chapter}{Index}]
+ \printindex
+\end{multicols}
diff --git a/macros/musixtex/doc/musixdoc/introduction.tex b/macros/musixtex/doc/musixdoc/introduction.tex
new file mode 100644
index 0000000000..e396c200f7
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/introduction.tex
@@ -0,0 +1,823 @@
+\chapter{Introduction to \musixtex}
+
+This chapter is not a tutorial on the use of \musixtex, but instead serves as
+an overview of some of its capabilities, quirks, and history.
+
+\musixtex\ is a set of macros and fonts which enables music typesetting
+within the \TeX\ system. It requires as a prerequisite a working
+installation of \TeX.
+\musixtex\ might be regarded as the digital equivalent of a box of type. It
+contains symbols for staves, notes, chords, beams, slurs and ornaments,
+ready to be arranged to form a sheet of music. But it must be told how to position
+those symbols on the page. This could be done by the typesetter
+himself, if he or she elects to proceed by entering \musixtex\ commands manually
+into an input file. However most users will find it far less taxing to let
+such decisions be made largely by the preprocessor
+\href{http://icking-music-archive.org/software/indexmt6.html#pmx}
+{\underline{\textbf{PMX}}}, which in addition uses a much simpler input
+language than \musixtex.
+
+Lyrics can also be handled by \musixtex. There is a set of primitive
+commands for this which are described later. But there is also a far
+more adaptable set of macros contained in the extension file
+\verb|musixlyr.tex|, and there is the preprocessor
+\href{http://icking-music-archive.org/software/indexmt6.html#mtx}
+{\underline{\mbox{\textbf{M-Tx}}}}\ which provides easy, transparent access to
+these macros.
+
+Most users of \TeX\ are familiar with \LaTeX, a set of \TeX\ macros
+which eases document layout. In fact many may only use \LaTeX.
+Until recently, \LaTeX\ and \musixtex\ coexisted only grudgingly, owing
+primarily to the limited availabily of storage registers. But with modern
+versions of \TeX\ and with the use of e\LaTeX, only a modest increase in
+complexity is incurred with the addition of musical excerpts to a \LaTeX\
+document. Still, fortunately, for typesetting a musical score there is
+rarely if ever any advantage to using \LaTeX. Only if one wanted to create a
+text document with embedded musical examples would there be much use for it.
+Even in that case there is a perfectly fine way to avoid using \musixtex\
+directly in the document file, namely, by using \musixtex\ to create
+\verb|pdf| or \verb|eps| files for
+each of the examples, and then embedding references to those in the file for
+the larger document. But for anyone who still wants to use both together, there is
+no better example than this manual, as generated with the files
+\verb|musixdoc.tex| and \verb|musixdoc.sty|. A few further details about such
+nonstandard applications are given in Section~\ref{excerpts}.
+
+\section{Primary features of \musixtex}
+ \subsection{Music typesetting is two-dimensional} Written music is not
+usually a linear sequence of symbols like a literary text. Rather,
+except for unaccompanied single-note instruments like clarinets,
+trumpets and human voices, it has the form of a two-dimensional matrix.
+ Thus, a logical way of coding music consists
+in horizontally accumulating a set of \ital{vertical combs} with
+\ital{horizontal teeth} as depicted in Table~\ref{readtable}.
+%\def\hboxit#1{\boxit{\rlap{#1}\hphantom{note sequence three}}}
+ \begin{table}
+ \begin{center}
+ \small
+ \renewcommand{\arraystretch}{1.4}
+ \setlength{\arrayrulewidth}{1.5pt}
+ \setlength{\tabcolsep}{2ex}
+ \begin{tabular}{|ll|ll|}\fbox{note sequence one}
+ &\fbox{note seq.\ four}
+ &\fbox{note seq.\ seven}
+ &\fbox{note seq.\ ten}\\\fbox{note sequence two}
+ &\fbox{note seq.\ five}
+ &\fbox{note seq.\ eight}
+ &\fbox{note seq.\ eleven}\\\fbox{note sequence three}
+ &\fbox{note seq.\ six}
+ &\fbox{note seq.\ nine}
+ &\fbox{note seq.\ twelve}\\
+ \end{tabular}
+ \end{center}
+ \caption{A logical way of coding music}\label{readtable}
+ \end{table}
+Accordingly, in \musixtex\ the fundamental macro used to represent
+one of those vertical combs (or one of the columns in Table~\ref{readtable})
+is of the form
+\begin{center}
+\verb|\notes ... & ... & ... \en|\footnote{The command
+\keyindex{en} is an abbreviation for the command \keyindex{enotes}, which may also be used.}
+\end{center}\index{"&@{\tt\char'046}}
+\noindent where the character \verb|&| is used to separate the notes to be
+typeset on respective staves of the various instruments, starting from the
+bottom.
+
+In the case of an instrument whose score has to be written with
+several staves, they are separated by the
+character \|\index{\tt\char'174@{\tt\char'174}}.
+
+Thus, a score written for a keyboard instrument and
+a single-line instrument (e.g., piano and violin)
+will be coded as follows:
+\begin{center}
+\verb=\notes ... | ... & ...\en=
+\end{center}
+\noindent for each column of simultaneous \ital{groups of notes}.
+Each of those groups, represented by a single box in Table~\ref{readtable}\
+and by a sequence of three dots in the the two example macros above, may contain
+not only chord notes to be played simultaneously, but short sequences of
+consecutive
+notes or chords. As we'll soon see, this implies the need for two fundamentally different
+kinds of basic macros in \musixtex: those whose tokens are automatically followed
+by some amount of space (called \ital{spacing} macros), and those that are not.
+The former type, for example,
+would be used to produce the notes and rests in a single-line score;
+the latter would be used, for example, for chord notes and ornaments.
+
+\subsection{Horizontal spacing}
+Deciding upon the proper horizontal spacing of notes is a very complicated matter
+that we will not address in any detail here. Obviously short-duration notes
+should be closer together than longer ones. Almost as obviously, the spacing
+cannot be linearly proportional to the duration; otherwise for example a whole
+note would occupy 32 times as much horizontal space as a thirty-second note. And
+in polyphonic scores the spacing in one staff is often influenced by the notes
+in another. This is a decision that the typesetter or preprocessor
+must make. Once the decision is made, \musixtex\ can provide the desired spacing.
+The main mechanism is through a set of macros described in
+Section~\ref{newspacings}. At this point we shall only mention that to control
+spacing, one of those
+macros will be selected to replace the symbol \verb|\notes| in the two examples
+above, and it will imply that whenever a spacing macro in encountered within
+a group of notes, a
+certain specific amount of horizontal space will be inserted.
+
+ \subsection{Music tokens}
+The tokens provided by \musixtex\ include
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item note symbols without stems;
+ \item note symbols with stems, and flags for eighth notes and
+shorter;
+ \item beam beginnings and endings;
+ \item beginnings and endings of ties and slurs;
+ \item accidentals;
+ \item ornaments: arpeggios, trills, mordents, turns, staccatos,
+pizzicatos, fermatas, etc.;
+ \item bar lines;
+ \item meters, key signatures, clefs.
+\end{itemize}
+For example, \verb|\wh a| produces a whole note at nominal frequency 222.5~Hz,
+\verb|\wh h| produces one an octave higher, \verb|\qu c|
+produces an up-stemmed quarter note C (250~Hz), and \verb|\cl J| produces a down-stemmed C
+eighth note an octave lower.
+
+ To generate chords with solid note heads, the non-spacing macro \keyindex{zq}
+can be used. It produces a solid note head at the specified pitch,
+the vertical position of which
+is memorized and recalled whenever the next stemmed note (possibly with a flag) is
+coded. The stem length is automatically adjusted to link all simultaneous notes. Thus, the
+\mbox{C-major} chord
+
+\begin{music}\nostartrule
+\startextract\NOtes\zq{ceg}\qu j\en\zendextract
+\end{music}
+ \noindent is coded \verb|\zq c\zq e\zq g\qu j| or more concisely,
+\verb|\zq{ceg}\qu j|; the \verb|u| in the spacing note macro
+\verb|\qu| is what generates the upstem.
+
+ \subsection{Beams}
+Each beam \index{beams} is generated by a pair of macros. The first defines
+the beginning horizontal position (implicitly the current position), altitude,
+direction (upper or lower), multiplicity (number of lateral bars), slope and
+reference number. This latter feature is needed so independent beams
+can overlap. The second macro of the pair specifies the termination
+location (again implicitly) and the reference number.
+
+ \subsection{Setting anything on the score}
+A general macro (\keyindex{zcharnote}) provides a means of
+putting any sequence of symbols (possibly contained in an \verb|\hbox{...}|) at any
+pitch of any staff of any instrument. This allows any symbol defined in a font
+(letters, math symbols, etc.) to be placed in the score at a position keyed
+to the music both in time (horizontally) and pitch (vertically) on the staff,
+\section{A simple example}
+ Before going into more detail, we give below an example of the two first
+bars of the sonata in \mbox{C-major} KV545 by {\sc Mozart}\index{Mozart, W.A.@{\sc
+Mozart, W.A.}}:
+
+\begin{music}
+\parindent11mm
+\setname1{Piano}
+\setstaffs12
+\generalmeter{\meterfrac44}
+\startextract
+\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en
+\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\ql l\sk\ql n\en
+\bar
+\Notes\ibu0f0\qb0{dgf}|\qlp i\en
+\notes\tbu0\qb0g|\ibbl1j3\qb1j\tbl1\qb1k\en
+\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en
+\zendextract
+\end{music}
+ The coding is as follows:
+\begin{quote}\begin{verbatim}
+\begin{music}
+ \parindent10mm
+ \instrumentnumber{1} % a single instrument
+ \setname1{Piano} % whose name is Piano
+ \setstaffs1{2} % with two staffs
+ \generalmeter{\meterfrac44} % 4/4 meter chosen
+ \startextract % starting real score
+ \Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en
+ \Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\ql l\sk\ql n\en
+ \bar
+ \Notes\ibu0f0\qb0{dgf}|\qlp i\en
+ \notes\tbu0\qb0g|\ibbl1j3\qb1j\tbl1\qb1k\en
+ \Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en
+ \zendextract % terminate excerpt
+\end{music}
+ \end{verbatim}\end{quote}
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item \verb|\ibu0f0| begins an upper beam, aligned on the
+\ital{f}, reference number 0, slope 0
+ \item \verb|\tbu0| terminates this beam before writing
+the second \ital{g} by means of \verb|\qb0g|
+ \item \verb|\qb..| indicates a note belonging to a beam.
+ \item \verb|\sk| sets a space between the two quarters in the right
+hand, so that the second one is aligned with the third eighth in the left hand.
+ \item\verb|\qlp| is a dotted quarter note.
+ \item\verb|\ibbl1j3| begins a double beam, aligned on the \ital{C}
+(\verb|j| at this pitch) with slope 15\%.
+\end{itemize}
+
+\section{The three pass system}\label{threepass}
+\subsection{Introduction}
+\TeX's line-breaking procedure implicitly assumes
+that a normal line of text will contain many words, so that inter-word
+glue need not stretch or shrink too much to justify the line.
+One might at first consider extending this to music, treating each bar like a
+word with no stretchable internal space. But typically this would lead to unsightly
+gaps before each bar rule, simply because the number of bars per line
+is normally many fewer than the number of words in a line of text.
+\musixtex\ needs a more sophisticated horizontal spacing algorithm
+than is used in \TeX.
+
+To understand how \musixtex\ solves this problem, we have to
+recognize two different kinds of horizontal space, \ital{hard}\ and
+\ital{scalable}. Hard space is fixed and always represents the same
+physical distance.
+Examples of hard space are the widths of bar rules, clefs,
+and key signatures. Scalable space can be stretched as needed. It
+is what is normally used for the space after notes or rests. At the
+outset it is only defined in a relative sense. In other words,
+scalable spaces are defined as multiples of \verb|\elemskip|, an
+initially undefined basic spacing unit. For example, in \textbf{PMX}\
+all sixteenth notes
+are typically assigned a scalable width of \verb|1.41\elemskip|.
+One main job of \musixtex\ is to compute the physical value of
+\verb|\elemskip|, often expressed in points (72nds of an inch).
+The correct value is that which makes all the scalable space on
+a line just fill up what's not occupied by hard space. Obviously
+it may vary from line to line.
+
+To this end a three pass system was developed. To start the
+first pass on the file \verb|jobname.tex|, you would enter\footnote{
+In many cases it will suffice to run {\tt tex}, but with \musixtex~1.15,
+it is possible to create a file requiring the enhanced capacity of
+{\tt etex}. Since {\tt etex} can handle any file {\tt tex} can, it's best
+always to use {\tt etex}.}
+\verb|etex jobname|.
+Information about each bar is written to
+an external file named \verb|jobname.mx1|.
+This file begins with a header containing parameters
+such as line width and paragraph indentation. Then the hard and
+scalable space is listed for each bar.
+\index{scalable width}\index{hard width}
+
+The second pass, which is started with \verb|musixflx jobname|,
+determines optimal values of the basic spacing unit \verb|\elemskip|
+for each line, so as to properly fill each line, and to spread
+the piece nicely over an integral number of full lines. This routine was originally written
+in \textsc{fortran} rather than \TeX, the main reason
+being the lack of an array handling capability in \TeX; the current version
+of \verb|musixflx| is a \textsc{lua} script, which may be executed without
+compilation in any standard \TeX\ system.
+
+\verb|musixflx| reads in the file \verb|jobname.mx1|, and writes its
+output to \verb|jobname.mx2|. The latter file contains a single entry for
+each line of music in the reformatted output. The key piece of information
+is the revised value of \keyindex{elemskip} for each line.
+
+Next, the file is \TeX-ed again, by entering \verb|etex jobname|. On this third pass,
+the \verb|jobname.mx2| file is read in, and the information
+is used to physically define the final score and embed the
+page descriptions into a \verb|dvi|\ file.
+
+You may wonder how the same command can
+cause something different to happen the second time it is issued. The explanation
+is that \musixtex\ checks for the presence of \verb|jobname.mx2|. If it's
+not present, the first pass is executed; if it is, the third pass. Obviously if
+you've made some corrections that affect any horizontal spacing, you must remember
+to delete the old \verb|jobname.mx2| and then rerun all three passes, or
+build or use a script that does so.
+
+\subsection{An example}
+
+Here's an example. Here, no value for \verb|\elemskip| is explicitly specified,
+so \musixtex\ assigns a single, default value. After the first pass you might get
+the following output:
+
+\begin{music}
+\hsize=100mm
+\generalmeter{\meterfrac24}%
+\parindent 0pt
+\setsign1{-3}
+\nostartrule
+\startpiece\bigaccid
+\NOtes\qu{ce}\en
+\bar
+\NOtes\qu{gh}\en
+\bar
+\NOtes\qu{=b}\en
+\Notes\ds\cu g\en
+\bar
+\NOtes\qu{^f=f}\en
+\raggedstoppiece\contpiece% this is cheated, the problem was to get
+% pass 1 and pass 3 at the same time
+\NOtes\qu{=e}\itied0e\qu{_e}\en
+\bar
+\Notes\ttie0\Qqbu ed{_d}c\en
+\bar
+\Notes\ibu0b{-2}\qb0{=b}\en
+\notes\nbbu0\qb0{=a}\tqh0N\en
+\Notes\Dqbu cf\en
+\raggedstoppiece\contpiece
+\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en
+\bar
+\NOtes\qu c\qp\en
+\setdoubleBAR\raggedstoppiece
+\end{music}
+
+\noindent Note that the space after every quarter note is the same, and
+that lines are not justified.
+After running \verb|musixflx| and \TeX-ing the second time you'll
+get:
+
+\begin{music}
+\hsize=100mm
+\generalmeter{\meterfrac24}%
+\parindent 0pt
+\generalsignature{-3}
+\nostartrule
+\startpiece\bigaccid
+\NOtes\qu{ce}\en
+\bar
+\NOtes\qu{gh}\en
+\bar
+\NOtes\qu{=b}\en
+\Notes\ds\cu g\en
+\bar
+\NOtes\qu{^f=f}\en
+\bar
+\NOtes\qu{=e}\itied0e\qu{_e}\en
+\bar
+\Notes\ttie0\Qqbu ed{_d}c\en
+\bar
+\Notes\ibu0b{-2}\qb0{=b}\en
+\notes\nbbu0\qb0{=a}\tqh0N\en
+\Notes\Dqbu cf\en
+\bar
+\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en
+\bar
+\NOtes\qu c\qp\en
+\Endpiece
+\end{music}
+
+\noindent Now \musixtex\ has determined a number of lines
+(which is different from the original number), the lines are justified,
+and if you look carefully you
+can see that the space after quarters in the first line
+is smaller than in the second. This example was coded as:
+\begin{verbatim}
+\hsize=100mm
+\generalmeter{\meterfrac24}%
+\parindent 0pt
+\generalsignature{-3}
+\nostartrule
+\startpiece\bigaccid
+\NOtes\qu{ce}\en\bar
+\NOtes\qu{gh}\en\bar
+\NOtes\qu{=b}\en
+\Notes\ds\cu g\en\bar
+\NOtes\qu{^f=f}\en\bar
+\NOtes\qu{=e}\itied0e\qu{_e}\en\bar
+\Notes\ttie0\Qqbu ed{_d}c\en\bar
+\Notes\ibu0b{-2}\qb0{=b}\en
+\notes\nbbu0\qb0{=a}\tqh0N\en
+\Notes\Dqbu cf\en\bar
+\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en\bar
+\NOtes\qu c\qp\en\Endpiece
+\end{verbatim}
+
+\subsection{Adjusting the layout}
+
+One benefit of the 3-pass system is the quick and easy
+alteration to the layout which can be achieved
+by changing only one parameter, namely \keyindex{mulooseness}. This value
+acts analogously to \TeX's \verb|\looseness| command. For non-\TeX-perts: if you
+state \verb|\looseness=-1| somewhere inside any paragraph, then
+\TeX\ will try to make the paragraph one line shorter than it normally would.
+With \verb|\mulooseness|, \musixtex\ does the same, but for \ital{systems}
+and \ital{sections} rather than lines and paragraphs. A system is just a group of
+staves treated as a unit, and in this discussion is analogous to a line of text.
+What is a \ital{section}? It's any chunk of coding not containing a
+forced system break, System breaks can be forced with
+\keyindex{stoppiece}, \keyindex{endpiece}, \keyindex{zstoppiece},
+\keyindex{Stoppiece}, \keyindex{Endpiece}, \keyindex{alaligne}
+\keyindex{zalaligne}, \keyindex{alapage} or \keyindex{zalapage}. If none
+of these is present, the section comprises the whole piece.
+Somewhere\footnote{Advisably, at the beginning or
+at the end of the section, for the sake of clarity.}
+before the end of the section, you can change the value of
+\keyindex{mulooseness} to something different from the default of $0$, and
+\musixtex\ will typeset that section with a different number of systems.
+
+To give an easy example, changing the last line in the previous example to:
+\begin{verbatim}
+\NOtes\qu c\qp\en\mulooseness=1\Endpiece
+\end{verbatim}
+yields:
+
+\begin{music}
+\hsize=100mm
+\generalmeter{\meterfrac24}%
+\parindent 0pt
+\generalsignature{-3}
+\nostartrule
+\startpiece\bigaccid
+\NOtes\qu{ce}\en
+\bar
+\NOtes\qu{gh}\en
+\bar
+\NOtes\qu{=b}\en
+\Notes\ds\cu g\en
+\bar
+\NOtes\qu{^f=f}\en
+\bar
+\NOtes\qu{=e}\itied0e\qu{_e}\en
+\bar
+\Notes\ttie0\Qqbu ed{_d}c\en
+\bar
+\Notes\ibu0b{-2}\qb0{=b}\en
+\notes\nbbu0\qb0{=a}\tqh0N\en
+\Notes\Dqbu cf\en
+\bar
+\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en
+\bar
+\NOtes\qu c\qp\en
+\mulooseness1\Endpiece
+\end{music}
+
+\noindent On the other hand,
+\begin{verbatim}
+\NOtes\qu c\qp\en\mulooseness=-1\Endpiece
+\end{verbatim}
+yields
+
+\begin{music}
+\hsize=100mm
+\generalmeter{\meterfrac24}%
+\parindent 0pt
+\generalsignature{-3}
+\nostartrule
+\startpiece\bigaccid
+\NOtes\qu{ce}\en
+\bar
+\NOtes\qu{gh}\en
+\bar
+\NOtes\qu{=b}\en
+\Notes\ds\cu g\en
+\bar
+\NOtes\qu{^f=f}\en
+\bar
+\NOtes\qu{=e}\itied0e\qu{_e}\en
+\bar
+\Notes\ttie0\Qqbu ed{_d}c\en
+\bar
+\Notes\ibu0b{-2}\qb0{=b}\en
+\notes\nbbu0\qb0{=a}\tqh0N\en
+\Notes\Dqbu cf\en
+\bar
+\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en
+\bar
+\NOtes\qu c\qp\en
+\mulooseness-1\Endpiece
+\end{music}
+
+\noindent which is tighter than you would ever want, but serves to further
+demonstrate the use of \keyindex{mulooseness}.
+
+If you want to build up a \musixtex\ input file
+manually (which in fact very few users will ever need to do, considering the
+availability of \textbf{PMX}), here is a roadmap for one way to proceed:
+\begin{enumerate}
+ \item Enter the data one \verb|\notes| group at a time, taking care to select the
+relative horizontal spacing for each group (via the macros discussed in Section~\ref{newspacings})
+so as to maintain a consistent relationship between scalable space and note durations.
+This will be discussed in a great deal more detail in Chapter~\ref{preparing}.
+ \item \TeX~$\Longrightarrow$ {\tt musixflx} $\Longrightarrow$ \TeX.
+ \item Look at the output and decide if you want to have more or fewer
+systems, e.g.,~to fill the page or to get an even number of
+pages.\index{musixflx@{\tt musixflx}}
+ \item If you want to change the number of systems in a section, adjust
+\keyindex{mulooseness} accordingly. Keep in mind that each section cannot have fewer
+systems than bars.
+\item Delete \verb|jobname.mx2| and repeat the process\\
+\TeX~$\Longrightarrow$ \verb|musixflx| $\Longrightarrow$ \TeX.
+
+\end{enumerate}
+
+There is an alternate way to proceed if you know at the outset
+how many systems
+you want in a section. You can specify it directly by assigning a
+positive number to \keyindex{linegoal} somewhere within the
+section (\verb|\linegoal| requires
+version 0.83 or later of \verb|musixflx|).
+\keyindex{mulooseness} must be zero
+for \keyindex{linegoal} to work. Both are automatically reset to
+zero after processing the end of a section e.g., as defined by
+\keyindex{stoppiece}.
+
+Finally, for large scores (more than 4 pages or so), having
+only one section and an overall value of \verb|\mulooseness| becomes
+impractical since one wants not only to have nicely spaced systems, but also
+completely filled pages without empty top and
+bottom margins on the last page. It is then wise to force the total number of
+pages and possibly the line breaks in each page, which can be done using
+\keyindex{alapage} and/or \keyindex{alaligne}\footnote{This is the technique
+always used by \textbf{PMX} in constructing a \musixtex\ input file.}.
+%avrb
+%, or more automatically by
+%means of the \keyindex{autolines} command borrowed from \musictex\ and
+%implemented in the additional {\ttxem{musixcpt.tex}} file
+%avre
+
+There is another advantage to \musixtex's way of using scalable space and
+the three pass system. In
+\TeX nical terms it eliminates the need for \ital{glue}, and enables
+every horizontal position in a line to be computed. This in turn enables certain
+variable length symbols such as slurs to be specified by macros entered at
+their beginning and ending points, rather than having to estimate the
+length of the symbol and enter it at the starting point.
+
+ \subsection{Using \texttt{musixflx}}
+
+On most systems, \verb|musixflx| can be invoked by typing the name of the program
+and the name of the file to be acted upon; i.e.,
+\begin{quote}
+\verb|musixflx jobname.mx1|
+\end{quote}
+Optionally, you can add a letter to indicate one of the debug modes, which are:
+\begin{quote}
+\verb|d | for debug information to screen\\
+\verb|f | for debug information to file \verb|jobname.mxl|\\
+\verb|s | to get the computed lines immediately on screen
+\end{quote}
+To allow for ease of use with scripts, \verb|musixflx| can be fed
+with either \verb|jobname.mx1|, \verb|jobname.tex| or only
+\verb|jobname|, any one of which will open \verb|jobname.mx1|.
+
+ \subsection{Unrecorded spaces: the novice's bugaboo}
+
+Because of the way \musixtex\ accounts for hard and scalable space and avoids
+using glue, it is absolutely essential that every horizontal space be
+properly entered into the input file. The most common error in this regard
+is including a blank space in the midst \ital{or at the end} of an input line.
+Such a blank space, or for that matter any stray character not entered with
+an appropriate \musixtex\ macro, will not be properly
+recognized and recorded by \musixtex, but it will still be treated like
+ordinary text by \TeX. The symptoms of such a transgression will be an
+{\bf Overfull hbox} warning during the third pass, and the appearance of
+either excessive blank horizontal space or thick black vertical lines in
+the page image.
+
+\medskip
+\centerline{\fbox{Considerable discipline is needed to avoid this problem!}}
+\smallskip
+
+The best technique for avoiding such unpleasantness is to avoid entering
+any nonessential blanks within input lines, and to end every
+input line with either \verb|%|\index{%@{\tt\char37}} or
+\keyindex{relax}, unless it already ends with a control sequence
+ending in a letter.
+
+There are other ways to enter unrecorded space which should be
+avoided. Between \verb|\startpiece| and \verb|\stoppiece| or
+\verb|\endpiece|, never use \verb|\hskip| or \verb|\kern| except
+within \ital{zero}-boxes like \verb|\rlap|, \verb|\llap|,
+\verb|\zcharnote|, \verb|\uptext|, etc., and never assign hard
+values to scalable dimensions like \verb|\noteskip|,
+\verb|\elemskip|, \verb|\afterruleskip| and \verb|\beforeruleskip|\footnote{Note that {\Bslash hardspace} does not fall in this
+category; it is specifically designed to enter hard space in a way
+that \musixtex\ can properly record it}.
+
+Here is a checklist of tips related to spacing issues. Because the
+foregoing several paragraphs are so important, some of their content
+is repeated in the list.
+
+\begin{enumerate}
+ \item
+Between \verb|\startpiece| and \verb|\stoppiece| or \verb|\endpiece|,
+end every input line with a either \verb|%| or a command with no arguments
+(including \verb|\relax| and \verb|\en|).
+ \item \verb|\off| must only be used with scalable values, e.g.,
+\verb|\noteskip|, \verb|\elemskip|, \verb|\afterruleskip|, and
+ \verb|\beforeruleskip|.
+ \item Remember that \verb|\qqsk|, \verb|\qsk| and \verb|\hqsk| are scalable, i.e., \verb|\qsk|
+ doesn't necessarily mean exactly one note head width (it depends on \verb|\elemskip|).
+ \item Lyrics and any other non-\musixtex\ text must be put in zero-width boxes
+such as
+ \verb|\zcharnote|, \verb|\zchar|, \verb|\rlap|, \verb|\lrlap|, \verb|\llap|,
+\verb|\uptext|, or \verb|\zsong|. Additional specific capabilities for entering
+lyrics are provided by
+ \verb|\hardlyrics|, \verb|\hsong|, and---most significantly---the
+text-placement macros defined in \verb|musixlyr.tex| (see Chapter~\ref{lyrics},
+p.~\pageref{lyrics}).
+ \item
+Between \verb|\startpiece| and \verb|\stoppiece| or \verb|\endpiece|,
+don't assign hard values to \verb|\noteskip|, \verb|\beforeruleskip|,
+or \verb|\afterruleskip|.
+\end{enumerate}
+
+
+\section{Further highlights}
+ %\check
+ \subsection{Key signatures}
+\begin{sloppypar}
+A single key signature can be assigned~to~all~instruments,~for~example~by
+\keyindex{generalsignature}\verb|{-2}|
+which sets two flats on each staff. \keyindex{generalsignature}
+can be overridden for selected instruments, for example by
+\keyindex{setsign}\verb|2{1}| which puts one sharp on each staff
+of instrument number 2. Of course, the current signature as well
+as meters and clefs may change at any time.\end{sloppypar}
+\subsection{Transposition}
+With some extra attention, a score can be input in such a way that it is
+fairly easily transposed. There is an internal register
+called \keyindex{transpose}, the default value of which is zero, but which may be
+set to any reasonable positive or negative value. It defines a number of pitch
+steps (lines or spaces on a staff) by which all pitched symbols with be offset, provided
+they have been entered with letter values to represent their pitch.
+However,
+it will neither change the local accidentals nor the key signature.
+
+For
+example, suppose a piece were originally input in F major, and it contained a
+B natural, and you wanted to transpose it to G. If you simply set
+\verb|\transpose| to 1 with no other special considerations, then
+the key signature would not change, and
+the B~natural would appear as a C~natural, whereas it should be a C~sharp.
+So first you must explicitly change the key signature. Then, to
+solve the problem with accidentals, you should declare
+\verb|\relativeaccid|, which will cause the actual appearance of any
+accidental to depend on the pitch of
+the accidental as well as the current key signature. But the use of this
+facility requires the typesetter to have entered the original set of accidentals
+according to a nonstandard convention wherein an accidental does not
+specifically refer to the black or white keys on a piano, but to the
+amount by which the pitch is altered up or down from what it would naturally
+have been, taking the key signature into account.\index{relative accidentals} This
+is discussed in more detail in Section~\ref{transposeaccids}. Now, finally, you
+can enter \verb|\transpose=1| with more or less the desired effect.
+
+More or less, because there is also an issue with stem
+and beam directions. Normally a typesetter would want full control over them,
+and would exercise that control by entering them with macros that explicitly
+assign the direction. Naturally the assigned directions would persist
+even after changing \verb|\transpose|. With respect to stems of unbeamed notes,
+this matter can also be addressed at
+the input level, by using special macros for notes that leave the
+decision about stem directions up to \musixtex. These macros do the right
+thing in the face of transposition. They are discussed in
+Chapter~\ref{autostemdirections}. Unfortunately there is no corresponding
+such facility for beams, so the typesetter will have to edit the transposed
+score to adjust beam directions as required\footnote{\textbf{PMX}
+will automatically adjust both stem and beam directions when transposing, which
+is yet another reason to use it. However
+if a piece is to be transposed, the typesetter must still explicitly activate relative accidentals
+and enter accidentals according to the relative-accidental convention.}.
+
+ %\check
+ \subsection{Extracting parts from a score}
+It is possible to extract separate scores for
+each individual instrument of a multi-instrument score.
+If you use \textbf{PMX}, it is very easy;
+see the documentation for \textbf{PMX}.
+If you use \musixtex\ without a preprocessor,
+see Chapter~\ref{parts}.
+
+%After assigning symbolic numbers to instruments,
+%there are macros (see \ref{instrum-inhibit}) that permit
+% \begin{itemize}\setlength{\itemsep}{0ex}
+% \item choosing which instrument the following source code is attached to,
+% \item choosing which staff of an instrument the following source code is
+%attached to,
+% \item hiding one or several instruments by zeroing out their staff sizes and staff
+%numbers.
+% \end{itemize}
+
+ %\check
+ \subsection{Staff and note sizes}
+ Although the standard staff size is 20pt, \musixtex\ allows scores with
+sizes of 16, 24, or 29pt. Furthermore, any instrument may be assigned its own special staff
+size (usually smaller than the overall staff size), and there are special macros
+(e.g., \verb|\smallnotesize|, \verb|\tinynotesize|) that cause notes, beams, and
+accidentals all to take a different size.
+
+\subsection{Add-in macro libraries}
+During the early stages of \musixtex's development, common versions of \TeX\ itself were
+very limited in capacity, especially in terms of the numbers of registers that could
+be defined for use in macros. For this historical reason, many important enhancements
+to \musixtex\ are available only via add-in libraries. The user can thus pick and choose
+which to include for any particular compilation. Most of these are included in
+a \musixtex\ distribution, and their uses are discussed in this manual. The
+libraries have names like \verb|blabla.tex|, and are activated by including a line
+like \verb|\input blabla|\ within the the input file. The most common such files
+are \ttxem{musixadd.tex} and \ttxem{musixmad.tex} which respectively increase the
+number of instruments from the default 6 to 9 or 12 as well as increasing available numbers
+of other features; \verb|musixps.tex| which enables Type~K Postscript slurs; and
+\verb|musixlyr.tex| which greatly eases typesetting lyrics. In fact the latter two,
+while now included in \musixtex\ distributions, are not documented in this manual but
+in separate files, namely \verb|musixps.tex| itself and
+\verb|mxlyrdoc.pdf| respectively.
+
+
+\section{Installing and Using \musixtex}\label{using}
+
+As stated in the preface,
+the \href{http://icking-music-archive.org/software/indexmt6.html}
+{\underline{Werner Icking Music Archive}}\ (WIMA) contains excellent and detailed
+instructions for installing \TeX, \musixtex{} and the strongly recommended
+preprocessors \textbf{PMX}
+(for instrumental music) and \mbox{\textbf{M-Tx}} (for vocal music) under
+\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00022000000000000000}
+{\underline{Linux/\unix}},
+\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00021000000000000000}
+{\underline{Windows}} and
+\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00023000000000000000}
+{\underline{Mac OS}}.
+
+As stated in Section~\ref{threepass}, to compile a \musixtex-formatted score, you must run
+in sequence \verb|etex|, \verb|musixflx|,
+and \verb|etex| again. This will produce a \verb|.dvi| file. From this point
+forward, this file can be processed like the device-independent output file
+for any \TeX\ document. The most common approach and the only one to
+be discussed here is to next generate a Postscript file. This is accomplished
+by running \verb|dvips|, which is included in every \TeX\ system. To view the
+Postscript, most users run {\tt GSview} or {\tt gv}, a front-end to {\tt ghostscript}, which must
+be separately downloaded and installed. Finally, you may produce a PDF file
+using \verb|ps2pdf| or GSview, and view that with any PDF viewer, such as
+the Adobe Reader or {\tt GSview}.
+
+You also can view the \verb|.dvi| file directly using a DVI viewer such as Yap or \verb|xdvi|,
+but, if you are using type K Postscript slurs, some DVI viewers will not display them.
+
+Rather than executing all the foregoing programs separately, most users will
+find it more convenient to use the \verb|musixtex| script that comes in most
+distributions of \musixtex. For example,
+
+\verb|musixtex jobname|
+
+\noindent will run the three passes described in Section~\ref{threepass},
+convert the result to PDF and delete intermediate files.
+There are many options available to
+change the behavior; run
+
+\verb|musixtex -h|
+
+\noindent to get a summary.
+
+
+\section{Where to get help using \musixtex}
+
+The home base for all matters related to \musixtex\ is the
+Werner Icking Music Archive, at
+\href{http://icking-music-archive.org}{\underline{http://icking-music-archive.org}}.
+There is a
+\href{http://tug.org/mailman/listinfo/tex-music}{\underline{mailing list}},
+hosted by TUG, the \TeX\ Users Group, where you will always find
+someone willing to answer questions and help solve problems.
+
+ \section{A very brief history of \musixtex}
+The idea of using \TeX\ to typeset music appears to have originated
+around 1987 with the master's thesis of Andrea
+{\sc Steinbach} and Angelika {\sc Schofer}\footnote{Steinbach A. \& Schofer
+A., \ital{Automatisierter Notensatz mit \TeX}, master's thesis,
+Rheinische Friedrich-Wilhelms Universit\"at,
+Bonn, Germany, 1987}. They called their package
+\mutex\index{mutex@\protect\mutex}. It was limited to a single staff.
+It introduced two key concepts: (1) using
+a large number of font characters to construct beams and slurs, and (2) using
+\TeX\ glue to help control horizontal spacing and justification.
+
+The next major step came around 1991 when Daniel {\sc Taupin} created \musictex.
+Its major enhancement was to allow multiple staves. But this came at a
+price: some flexibility was lost in controlling horizontal spacing and
+a great deal of trial and error became necessary to avoid excessive or
+insufficient gaps before and after bar lines.
+
+\musictex\ was a single-pass system. To remedy its shortcomings it became clear
+that a multi-pass system would be required. Around 1997 Dr.~Taupin along with Ross {\sc Mitchell}
+and Andreas {\sc Egler} created the first version of \musixtex. At last a fully
+automatic procedure was coded so as to provide pleasing horizontal spacing in
+multi-staff scores.
+
+Significant enhancements to \musixtex, which have already been mentioned, have been provided
+by Stanislav {\sc Kneifl} (Type~K Postscript slurs) and
+Rainer {\sc Dunker} (Lyrics handling via \verb|musixlyr.tex|).
+
+Since Dr.~Taupin passed away in 2003, \musixtex\ has been maintained by a
+varying cast including Olivier {\sc Vogel}, Hiroaki {\sc Morimoto},
+Bob {\sc Tennent}, Andre {\sc Van Ryckeghem},
+Cornelius {\sc Noack}, and Don {\sc Simons}.
+
+No discussion of the history of \musixtex\ would be complete without mentioning
+the contributions of Werner {\sc Icking}. From the early days of \mutex\ until
+his untimely death in 2001, he served this line of software as its most prominent
+proponent, beta tester, web site and mailing list editor, consultant,
+problem solver, and inspiration for
+many third-party enhancements including \textbf{PMX}. In fact he founded the
+mailing list and the archive that now is named in his honor. The web site is
+currently edited by Christian {\sc Mondrup}, the software page by Bob {\sc Tennent},
+and the mailing list by Maurizio {\sc Codogno}.
+
+
diff --git a/macros/musixtex/doc/musixdoc/layout.tex b/macros/musixtex/doc/musixdoc/layout.tex
new file mode 100644
index 0000000000..10d8bbc3cf
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/layout.tex
@@ -0,0 +1,183 @@
+\chapter{Managing the Layout of your Score}
+\section{Line and page breaking}\label{linebreak}
+If every bar ends with \verb|\bar| and no other line- or page-breaking commands
+are used, then the external program \verb|musixflx| will decide where to insert
+line and page breaks. Line breaks will only come at bar lines. The total
+number of lines will depend on the initial value of \verb|\elemskip|, which by
+default is \verb|6pt| in \verb|\normalmusicsize|.
+
+You can force a line or page break by replacing \keyindex{bar} with
+\keyindex{alaligne} or \keyindex{alapage} respectively. On the other hand,
+to forbid line-breaking at a particular bar, replace \verb|\bar|
+with \keyindex{xbar}. To force a line or page break where there is
+no bar line, use \keyindex{zalaligne} or \keyindex{zalapage}. To mark any
+mid-bar location as an optional line-breaking point, use \keyindex{zbar}.
+
+The heavy final double bar of a piece is one of the consequences of
+\keyindex{Endpiece} or \keyindex{Stoppiece}. If you just want to terminate
+the text with a simple bar, say \keyindex{stoppiece} or \keyindex{endpiece}.
+If you want to suppress right-justification of the last line of a score,
+use \keyindex{raggedstoppiece}.
+To terminate it with no bar line at all, code \keyindex{zstoppiece}.
+
+Once you have stopped the score by any of these means, you may want to restart
+it, and there are several ways to do so. If you don't need to change the key
+signature, meter, or clef,
+you can use \keyindex{contpiece} for no indentation, or \keyindex{Contpiece}
+to indent by \keyindex{parindent}. If you do want to change some score
+attribute that takes up space, for example
+with \keyindex{generalsignature} after \verb|\stoppiece|, then to restart you
+must use \keyindex{startpiece}. However, if you don't want \verb|\barno| reset
+to 1, you must save its new starting value to \verb|\startbarno|. You may also
+wish to modify instrument names or \verb|\parindent| before restarting.
+
+Recall that thin-thin or thin-thick double bars or blank bar lines can be
+inserted without stopping by using the commands described in Section~\ref{doublebars}.
+Those commands can also be used before \verb|\stoppiece|,
+\verb|\alaligne|, or \verb|\alapage|
+
+\section{Page layout}
+Blank space above and below each staff is controlled by the dimension
+registers \keyindex{stafftopmarg} and \keyindex{staffbotmarg}. For more
+info see Chapter~\ref{LayoutParameters}.
+
+The macro \keyindex{raggedbottom} will remove all vertical glue and
+compact everything toward the top of page.
+In contrast, the macro \keyindex{normalbottom} will restore default
+behavior, in which vertical space between the systems is distributed
+so that the first staff
+on the page is all the way at the top and the last staff all the way at
+the bottom.
+The macro \keyindex{musicparskip} will allow the existing space between
+systems to increase by up to \verb|5\Interligne|.
+
+The following values of page-layout parameters will allow as much material
+as possible
+on a page, provided the printer supports these dimensions which
+imply approximately half-inch margins:
+
+\begin{center}
+\begin{tabular}{|l|l|}\hline
+\multicolumn{1}{|c|}{A$4$}&\multicolumn{1}{|c|}{letter}\\\hline
+\verb+\hsize=190mm+&\verb+\hsize=7.5in+\\\hline
+\verb+\vsize=270mm+&\verb+\vsize=10in+\\\hline
+\end{tabular}
+\end{center}
+\zkeyindex{parindent}\zkeyindex{hoffset}\zkeyindex{voffset}
+\zkeyindex{hsize}\zkeyindex{vsize}
+You may have to be more conservative if you have headlines or footlines
+or want
+even/odd-page asymmetry, such as with the \keyindex{rectoverso}
+command in \verb|musixsty.tex| (Section~\ref{musixsty}).
+If a score is going to be ``published'' at a public repository (such as
+\mbox{\textsc{imslp}}), you may want to allow for \emph{either}
+A$4$ \emph{or} letter paper, for example by setting the \verb|\hsize| to~190~mm
+and the \verb|\vsize| to~10~in.
+
+To generate a score in ``landscape''\index{landscape mode} mode, adjust the
+text-size parameters above accordingly (e.g., \verb+\hsize=10in+ and \verb+\vsize=7.5in+)
+and add a suitable \verb\papersize\ ``special'' to the \TeX\ output, as in
+\verb+\special{papersize=11in,8.5in}+.
+
+
+For \emph{any} values of
+\verb|\hsize| and \verb|\vsize|,
+material will normally be centered on the page by using
+command sequences such as the following, which simply split the difference between the page size and the text size,
+and then subtract one inch because of \TeX\ conventions:
+\begin{enumerate}
+\item[For A$4$ paper, portrait mode (210~mm $\times$ 297~mm):]\quad\\[-2ex]
+\begin{verbatim}
+\hoffset=210mm\advance\hoffset-\hsize\divide\hoffset2
+\advance\hoffset-1.0in
+\voffset=297mm\advance\voffset-\vsize\divide\voffset2
+\advance\voffset-1.0in
+\end{verbatim}
+\item[For letter-size paper, portrait mode (8.5~in $\times$ 11~in):] \quad\\[-2ex]
+\begin{verbatim}
+\hoffset=8.5in\advance\hoffset-\hsize\divide\hoffset2
+\advance\hoffset-1.0in
+\voffset=11in\advance\voffset-\vsize\divide\voffset2
+\advance\voffset-1.0in
+\end{verbatim}
+\end{enumerate}
+
+To determine the maximal dimensions that \emph{your} printer is capable of,
+process the standard file \verb|testpage.tex| with \LaTeX\ and
+print the result. The ``rulers'' on four sides will indicate
+how much of the one-inch ``margin'' material outside the frame can actually be printed.
+Your \verb|\hsize| and \verb|\vsize| parameters can be increased, or, if necessary, decreased
+accordingly. If your score is going to be printed by a publisher or a colleague, you can send
+\verb|testpage.pdf| to them to determine what margins are necessary for their
+printer.
+
+However, if the margins on the \verb|testpage| output are \emph{not}
+symmetric,
+the printer is mis-aligned.
+If this can't be corrected, the margin offsets will
+have to be adjusted. Ideally, this should be done in the \TeX\ configuration
+so all \TeX\ output will be corrected, but offsets can be adjusted
+for just \verb|musixtex| output using
+\verb|\advance\hoffset ...| and/or
+\verb|\advance\voffset ...|
+after the ``normal'' settings given above.
+
+
+
+
+\section{Page numbering, headers and footers}\index{page
+number}\index{footnote}
+
+There are no special page numbering facilities in \musixtex; you must rely on
+macros from plain \TeX. There is a count register in \TeX\ called
+\verb|\pageno|. It is always initialized to $1$ and incremented by one
+at every page break. By saying \keyindex{pageno}\verb|=|$n$, it can be reset to any
+value at any time, and will continue to be incremented from the new value.
+
+By default, \TeX\ will place a page number on
+every page, centered at the bottom. Unfortunately, this is not the preferred
+location according to any standard practice. To suppress this default
+behavior, say \keyindex{nopagenumbers}.
+
+One way to initiate page numbering in a more acceptable location is to take
+advantage of the facts that (a) \TeX\ prints the contents of the control sequences
+\keyindex{headline} and \keyindex{footline} at the top and bottom
+respectively of every page, and (b) the value of \verb|\pageno| can be printed by
+saying \keyindex{folio}. Therefore, for example, the following sequence of
+commands, issued anywhere before the end of the first page, will cause page
+numbers and any desired text to be printed at the top of every page,
+alternating between placement of the number at the left and right margins, and
+alternating between the two different text strings (the capitalized text in
+the example):
+
+\begin{quote}\begin{verbatim}
+\nopagenumbers
+\headline={\ifodd\pageno\rightheadline\else\leftheadline\fi}%
+\def\rightheadline{\tenrm\hfil RIGHT RUNNING HEAD\hfil\folio}%
+\def\leftheadline{\tenrm\folio\hfil LEFT RUNNING HEAD\hfil}%
+\voffset=2\baselineskip
+\end{verbatim}\end{quote}
+
+\section{Controlling the total number of systems and pages}\index{page/line layout}
+
+Once all the notes are entered into a \musixtex\ score, it would be convenient
+if there were a simple sequence of commands to
+cause a specified number of systems to be uniformly distributed over a
+specified number of pages. Unfortunately that's not directly
+possible\footnote{It \textit{is} possible in \textbf{PMX}.}.
+Rather, some trial and error will usually be required to achieve the desired final
+layout. To this end, some combination of the following strategies may be used:
+
+ \begin{enumerate}\setlength{\itemsep}{0ex}
+ \item Assign a value to the count register \keyindex{linegoal} representing
+the total number of systems. The count register \keyindex{mulooseness} must be $0$ if using
+\verb|\linegoal|.
+ \item Explicitly force line and page breaking as desired, using
+the macros \verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne|
+or \verb|\zalapage|.
+ \item Adjust both \keyindex{mulooseness} and the initial value of
+\keyindex{elemskip}: increasing \verb|\mulooseness| from its default of 0 will
+increase the total number of systems, while changing the initial value of
+\verb|\elemskip| (use \verb|\showthe\elemskip| to find its default value) may change the
+total number of systems accordingly.
+ \end{enumerate}
diff --git a/macros/musixtex/doc/musixdoc/lyrics.tex b/macros/musixtex/doc/musixdoc/lyrics.tex
new file mode 100644
index 0000000000..41d52fa221
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/lyrics.tex
@@ -0,0 +1,407 @@
+\chapter{Lyrics}\index{lyrics}\label{lyrics}
+\musixtex{} itself doesn't manage lyrics very well. You should use
+\verb+musixlyr+ instead, a \musixtex\ extension package for lyrics handling by Rainer Dunker.
+The \TeX~source and
+\href{http://icking-music-archive.org/software/musixtex/add-ons/mxlyrdoc.pdf}
+{\underline{documentation}}~are included in the \musixtex~distribution.
+
+But first we recall briefly the older methods, which may still be useful when
+only a small number of words are involved.
+
+\section{Native lyrics method: placing single words}
+\subsection{Native \musixtex\ commands for lyrics}
+ \begin{enumerate}\setlength{\itemsep}{0ex}
+ \item An obvious solution is to use the commands
+\keyindex{zcharnote} (expanded to the right),
+\keyindex{lcharnote} (expanded to the left),
+\keyindex{ccharnote} (centered), to post the text at any position (computed in
+\verb|\internote|s) with respect to the lower line of the current staff.
+The pitch should be usually negative, to have the text below the staff.
+
+Example:\quad
+\raisebox{0ex}[4ex][3ex]{\musicintextnoclefn{\notes\sk\zcharnote{N}{Word}\wh g\sk\en}}
+\quad is coded by \quad
+\verb|\zcharnote{N}{Word}\wh g|~.
+
+\item The vertical position can also be given with a number in the commands
+\keyindex{zchar} (expanded to the right),
+\keyindex{lchar} (expanded to the left),
+\keyindex{cchar} (centered). The number is internally multiplied by \verb|\internote|~.
+
+Example:\quad
+\raisebox{0ex}[4ex][3ex]{\musicintextnoclefn{\notes\sk\cchar{-4}{Word}\wh g\sk\en}}
+\quad is coded by \quad
+\verb|\cchar{-5}{Word}\wh g|~.
+
+\item Of easier use are the commands \keyindex{zsong} (right of the note),
+\keyindex{lsong} (left) and \keyindex{csong} (centered) which post the lyrics
+at the lower staff line \ital{minus} the previous
+\keyindex{interinstrument}~$n$ or the \keyindex{staffbotmarg} quantity. These
+commands only have one argument, namely the lyrics text:
+%\begin{center}
+\keyindex{zsong}\verb|{|\ital{text}\verb|}|\quad
+\keyindex{lsong}\verb|{|\ital{text}\verb|}|\quad
+\keyindex{csong}\verb|{|\ital{text}\verb|}|
+%\end{center}
+ Depending on the values of the inter-instrument spacings and margins, the
+resulting vertical position might be inappropriate. Then it can be changed for
+any specific $n$-th instrument until further change using
+\begin{quote}
+\keyindex{setsongraise}~$n$\verb|{|\ital{any \TeX-dimension}\verb|}|
+\end{quote}
+As an example, the following French song\\
+ \begin{music}
+ \generalsignature{1}
+ \startextract
+ \geometricskipscale
+ \NOtes\zsong{Au }\qu g\en
+ \NOtes\zsong{clair }\qu g\en
+ \NOtes\zsong{de }\qu g\en
+ \NOtes\zsong{la }\qu h\en
+ \bar
+ \NOTes\zsong{lu- }\hu i\en
+ \NOTes\zsong{ne, }\hu h\en
+ \bar
+ \NOtes\zsong{mon }\qu g\en
+ \NOtes\zsong{a- }\qu i\en
+ \NOtes\zsong{mi }\qu h\en
+ \NOtes\zsong{Pier- }\qu h\en
+ \bar
+ \NOTes\zsong{rot, }\wh g\sk\en
+ \endextract
+ \end{music}
+
+\noindent was coded as:
+\begin{quote}\begin{verbatim}
+ \generalsignature{1}
+ \startextract
+ \geometricskipscale
+ \NOtes\zsong{Au }\qu g\zsong{clair }\qu g\en
+ \NOtes\zsong{de }\qu g\zsong{la }\qu h\en\bar
+ \NOTes\zsong{lu- }\hu i\zsong{ne, }\hu h\en\bar
+ \NOtes\zsong{mon }\qu g\zsong{a- }\qu i\en
+ \NOtes\zsong{mi }\qu h\zsong{Pier- }\qu h\en\bar
+ \NOTes\zsong{rot, }\wh g\sk\en
+ \zendextract
+\end{verbatim}\end{quote}
+\end{enumerate}
+
+\subsection{Adapting note spacing for lyrics}
+
+The command \keyindex{hardlyrics}\verb|{longword}| provides a spacing that is equal to the length
+of the text argument \verb|{longword}|. In the same time the argument \verb|{longword}|
+is saved in \keyindex{thelyrics}
+
+As an example \quad
+\raisebox{0ex}[5ex][4ex]%
+{\musicintextnoclefn{\staffbotmarg2\Interligne%
+\hardlyrics{clair}\notes\hsong{\thelyrics}\wh g\en\notes\wh{gg}\en}}
+\quad is coded by:
+\begin{tabular}{l}
+\verb|\hardlyrics{clair}%|\\
+\verb|\notes\hsong{\thelyrics}\wh g\en|\\
+\verb|\notes\wh{gg}\en|\\
+\end{tabular}
+
+All notes with long lyrics need such a treatment. The commands only carry out on
+\verb|\notes| (not on \verb|\Notes|, \verb|\NOtes|...).
+
+If you want to go back to the normal placing on an easy way, you simply can replace
+'\verb|\hardlyrics|' by '\verb|\softlyrics|'.
+
+ A complete score is given in example {\tt glorias.tex}\label{glorias} and in
+{\tt gloriab.tex}, the latter exhibiting not only the song tune but also the
+organ accompaniment.
+
+Alternate versions of \verb|\hsong| are \keyindex{dhsong} which has a fixed
+length of \verb|2\noteskip| and \keyindex{thsong} whose fixed length is
+\verb|3\noteskip|. These are useful when the text is set below (or above) a
+collective coding of two or three notes.
+
+\section{Musixlyr}\label{musixlyr}
+
+Lyrics are best handled by the \texttt{musixlyr}\index{musixlyr} package by Rainer Dunker.
+The package can be used by inserting a line in your source code:
+\begin{quote}\begin{verbatim}
+\input musixtex
+\input musixlyr
+...
+\end{verbatim}\end{quote}
+
+The manual, the input file and a few examples are in \musixtex\ distributions, or they
+may be downloaded
+\href{http://icking-music-archive.org/software/musixtex/add-ons/musixlyr21c.zip}
+{\underline{for Windows}} or \href{http://icking-music-archive.org/software/musixtex/add-ons/musixlyr21c.tgz}
+{\underline{for \unix}}. Look at the manual for a detailed description. Here is an overview
+of the commands and an example of use.\pagebreak
+
+\def\keyexample#1{\keyindex{#1}}
+
+\noindent\begin{small}\begin{tabbing}
+\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\quad\= assigning without staff number\kill
+Example\> Explanation
+\end{tabbing}
+\vspace{-1ex}
+\hrule
+\vspace{-2ex}
+\begin{tabbing}
+\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\quad\= assigning without staff number\kill
+\keyexample{setlyrics}\verb|{sopr}{the ly_-ric words_}|\> defining the lyrics text\\
+\keyexample{copylyrics}\verb|{sopr}{alto}|\> alto has same lyrics as soprano\\
+\keyexample{appendlyrics}\verb|{alto}{more words}|\> alto lyrics is longer\\
+\keyexample{assignlyrics}\verb|2{sopr,alto}|\>soprano and alto lyrics at staff $2$\\
+\keyexample{assignlyricsmulti}\verb|{1}{2}{alto}|\>assign alto lyrics to staff $2$ of instrument $1$\\
+\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\>assigning without staff number\\
+\keyexample{auxlyr}\verb|\assignlyrics{2}{sopr}|\> assign soprano above staff $2$\\[.8ex]
+\keyexample{lyrrule}\verb|\qu c|...\keyexample{lyrruleend}\verb|\qu c|\>make a melisma by hand\\
+\keyexample{beginmel}\verb|\qu c|...\keyexample{endmel}\verb|\qu c|\>melisma, same as word extension underline\\[.8ex]
+\keyexample{lyr}\verb|\qu c|\>force a syllable from lyrics text at this note or rest\\
+\keyexample{lyric}\verb|{word}\qu c|\>insert syllable 'word' at this note\\
+\verb|\loffset{2}{|\keyexample{lyric*}\verb|{1.}}\qu c|\>combine \verb|1.| with regular syllable\\
+\keyexample{lyrich}\verb|{syl}\qu c|\>same as \verb|\lyric|, but with hyphenation\\
+\keyexample{lyrich*}\verb|{}\qu c|\>same as \verb|\lyric*|, but with hyphenation\\
+\keyexample{lyricsoff}...\keyexample{lyricson}\>stop lyrics, then start again\\
+\keyexample{nolyr}\verb|\qu c|\>no syllable at this note\\[.8ex]
+\keyexample{llabel}\verb|{labelname}name|\>labelling a ``go to'' target in text\\
+\keyexample{golyr}\verb|{labelname}\qu c|\>perform a jump, in music code\\[.8ex]
+\keyexample{lyrpt}\verb|,\qu c|\>add a comma to the syllable under this note\\
+\keyexample{lyrnop}\verb|\qu c|\>remove last character in syllable\\
+\keyexample{lclyr}\verb|\qu c|\>make first character lower case\\
+\keyexample{llyr}\verb|\qu c|\>left justified syllable\\
+\keyexample{leftlyrtrue}\verb|\qu c|...\keyexample{leftlyrfalse}\verb|\qu c|\>start and stop left justification as the default\\
+\keyexample{lyroffset}\verb|{-4}\qu c|\>shift syllable $1$ notehead to the left\\[.8ex]
+\keyexample{minlyrspace}\verb|{3pt}\qu c|\>define minimum space between the words\\
+\keyexample{forcelyrhyphenstrue}\verb|\qu c|\>always use a hyphen from now on\\
+\keyexample{forcelyrhyphensfalse}\verb|\qu c|\>remove hyphen and make one word if necessary \\
+\keyexample{showlyrshifttrue}\verb|\qu c|\>show the lyric shift\\[.8ex]
+\keyexample{lyrraise}\verb|{1}{a 2\Interligne}|\>raise lyrics below staff $1$ by \verb|2\Interligne|\\
+\keyexample{lyrraisemulti}\verb|{1}{2}{a 2\Interligne}|\>raise alto lyrics above staff $2$ of instrument $1$\\
+\keyexample{lyrraisehere}\verb|{b 2\Interligne}\qu c|\>raise lyrics below this staff by \verb|2\Interligne|\\[.8ex]
+\keyexample{minlyrrulelength}\verb|{2mm}|\>melismas shorter than $2$mm are not shown \\
+\keyexample{minmulthyphens}\verb|{15mm}|\>distance between hyphens in 'hyphen melisma'\\
+\verb|\def|\keyexample{lyrhyphenchar}\verb|{-}|\>chose a hyphen character\\
+\verb|\setlyrics{|\keyexample{lyrlayout}\verb|{\it}..}|\>apply italics to all lyrics lines\\
+\keyexample{verses}\verb|{,\beginmel}\qu c|\>initiate melisma at second verse\\[.8ex]
+\verb|\small|\keyexample{setlyrstrut}\>adapt the vertical distance between lyrics lines\\
+\keyexample{lyrstrutbox}\verb|{10pt}|\> (re)define the distance between the lyrics lines\\[.8ex]
+\keyexample{lyrmodealter}\verb|2|\>attach lyrics of staff $2$ to the upper voice\\
+\keyexample{lyrmodealtermulti}\verb|{1}{2}|\>attach lyrics of instr.\ $1$ staff $2$ to the upper voice\\
+\keyexample{lyrmodealterhere}\verb|\qu c|\>attach lyrics of this staff to the upper voice\\
+\keyexample{lyrmodenormal}\verb|2|\>restore the default behaviour\\
+\keyexample{lyrmodenormalmulti}\verb|{1}{2}|\>restore the default behaviour at staff $2$ of instr.\ $1$\\
+\keyexample{lyrmodenormalhere}\verb|\qu c|\>restore the default behaviour of this staff\\[.8ex]
+\keyexample{lyrlink}\>linking two words with a '$_{_\smile}$'\\
+\keyexample{lowlyrlink}\>same as \verb|\lyrlink| but a little bit lower\\[.8ex]
+\keyexample{resetlyrics}\>set word pointer to the first word in all lyrics lines\\[.8ex]
+\keyexample{enableauxlyrics}\>don't use this anymore\\
+\keyexample{setsongraise}\verb|{1}{2\Interligne}|\>same as \verb|{\lyrraise}{1}{b 2\Interligne}|\\
+\keyexample{auxsetsongraise}\verb|{1}{2\Interligne}|\>same as \verb|{\lyrraisemulti}{1}{b 2\Interligne}|\\
+\keyexample{oldlyrlinestart}\>don't let the lyrics extend to the left margin\\
+\end{tabbing}\end{small}
+
+As a further illustration of the use of the commands, have a look at the following
+example\footnote{The example is taken from the \texttt{musixlyr} manual.}:
+
+\medskip\medskip
+%\oneversespace
+\begin{music}
+\input musixlyr
+ \resetlyrics \small
+\lyrmodealter0
+ \setlyrics{soprano}{bring her die Gans,} \auxlyr{\assignlyrics1{soprano}}
+ \copylyrics{soprano}{alto} \assignlyrics1{alto}
+
+ \generalsignature{-2}
+ \advance\stafftopmarg1\Interligne
+ \advance\staffbotmarg2\Interligne
+
+ \startextract\addspace\afterruleskip
+ \NOtes\zqu g\ql e\en
+ \bar
+ \Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0{fe}\en
+ \Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\en
+ \Notes\tqb0e\en
+ \Notes\endmel\tbslurd0e\ql c\en
+ \notes\ibbu0h{-1}\qb0h\tqh0g\en
+ \NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en
+ \bar
+ \NOTEs\auxlyr\lyr\zwh i% The lyrics of the whole notes
+ \lyr\wh b\en % must be given manually.
+ \endextract
+ \lyrmodenormal0
+\end{music}
+\medskip
+
+%\oneversespace
+
+which was coded as:
+\begin{quote}
+\begin{verbatim}
+% define lyrics above the staff
+\setlyrics{soprano}{bring her die Gans,}
+% lyric beneath the staff are the same
+\copylyrics{soprano}{alto}
+% assign alto lyrics below staff 1 on the notes with stem down
+\assignlyrics1{alto}
+% assign soprano lyrics above staff 1 on the notes with stem up
+\auxlyr{\assignlyrics1{soprano}}
+% attach both lyrics to the upper voice
+\lyrmodealter0
+\generalsignature{-2}
+% make place for the lyrics
+\advance\stafftopmarg1\Interligne\advance\staffbotmarg2\Interligne
+\startextract\addspace\afterruleskip
+\NOtes\zqu g\ql e\en\bar
+% start melisma in lower lyrics
+\Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0{fe}\en
+% start melisma in upper lyrics
+\Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\tqb0e\en
+% end melisma in lower lyrics
+\Notes\endmel\tbslurd0e\ql c\en
+\notes\ibbu0h{-1}\qb0h\tqh0g\en
+% start melisma in upper lyrics
+\NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en\bar
+% The lyrics of the whole notes (without stem) must be given manually.
+\NOTEs\auxlyr\lyr\zwh i\lyr\wh b\en
+\endextract
+\lyrmodenormal0
+\end{verbatim}\end{quote}
+
+ \section{Getting enough vertical space for lyrics}
+ Since songs are
+usually equivalent to a one-staff instrument (possibly with several voices)
+the recommended solution consists in adjusting the distance between
+instruments using either \keyindex{interinstrument}\verb|=|\ital{any
+\TeX-dimension} to give more place below all instruments or using
+\keyindex{setinterinstrument} to make more space above. Note that {\Bslash
+setinterinstrument} defines spacing above and not below an instrument. Since
+lyrics are usually set below the staff, the first argument of a
+\verb|\setinterinstrument| should be the song instrument number \ital{minus
+one}.
+
+ In the case of a single staff tune, or if the song instrument is the lowest
+one, then additional place can be provided using \keyindex{staffbotmarg}.
+
+\section{Fine tuning the placement of the lyrics}
+ When not using \verb|\hardlyrics|, on short notes, sometimes
+ the lyrics are shifted away from the notes or they collide with other words.
+ This are a few approaches to get around this:
+\begin{enumerate}\setlength{\itemsep}{0ex}
+\item Making more music lines for the notes to go further apart. This could be done with
+\verb|\mulooseness|.
+\item Stretch a bar with short notes in it by i.e.,~replacing \verb|\notes| by \verb|\NOTes|.
+\item Insert space between the notes by using \verb|\sk|, \verb|\hsk|, \verb|\qsk|, \verb|\qqsk|, ...
+\item Stretch a bar with short notes in it by using the command \keyindex{scale}:
+\begin{verbatim}
+\scale{1.6}\notes..\en\scale{1}%
+\end{verbatim}
+This method can be used in \textbf{PMX} but only with care, because it changes horizontal spacing
+in a way that \textbf{PMX} will not be aware of. It will not move bars to the next line, but
+will shorten the other bars on the line.
+
+As an example, the lyrics of this music line are better placed by using \verb|\scale| in
+the first bar and moving to the left the word 'mon'. Note that the hyphen is removed
+when there is no place for it:
+
+ \begin{music}
+ \input musixlyr
+ \resetlyrics
+ \setlyrics{v1}{Au clair de la lu-ne, mon a-mi Pier-rot,}%
+ \assignlyrics1{}\assignlyrics1{v1}%
+ \staffbotmarg2\Interligne\generalsignature{1}%
+ \startextract
+ \geometricskipscale
+ \notes\qu{gggh}\en\bar
+ \Notes\hu{ih}\en\bar
+ \notes\qu{gihh}\en\bar
+ \Notes\wh g\en
+ \endextract
+% \end{music}
+%%%%% combined for saving registers %%%%%
+% \begin{music}\nostartrule
+% \input musixlyr
+ \resetlyrics
+ \setlyrics{v1}{Au clair de la lu-ne, \kernm1exmon a-mi Pier-rot,}%
+ \assignlyrics1{}\assignlyrics1{v1}%
+ \staffbotmarg2\Interligne\generalsignature{1}%
+ \startextract \geometricskipscale
+ \scale{1.4}\notes\qu{gggh}\en\bar\scale{1}%
+ \Notes\hu{ih}\en\bar
+ \notes\qu{gihh}\en\bar
+ \Notes\wh g\en
+ \endextract
+ \end{music}
+
+\medskip
+The code of the second music line is (\verb|\assignlyrics1{}| is only needed because
+lyrics are assigned before this in this manual):
+\begin{quote}\begin{verbatim}
+ \begin{music}
+ \input musixlyr
+ \resetlyrics
+ \setlyrics{v1}{Au clair de la lu-ne, \kernm1exmon a-mi Pier-rot,}%
+ \assignlyrics1{}\assignlyrics1{v1}%
+ \staffbotmarg2\Interligne\generalsignature{1}%
+ \startextract \geometricskipscale
+ \scale{1.4}\notes\qu{gggh}\en\bar\scale{1}%
+ \Notes\hu{ih}\en\bar
+ \notes\qu{gihh}\en\bar
+ \Notes\wh g\en
+ \endextract
+ \end{music}
+\end{verbatim}\end{quote}
+
+\item Moving a word in any direction
+
+\begin{small}
+\noindent\begin{tabular}{ll}
+\multicolumn{2}{l}{\Bslash setlyrics\{alto\}\{\Bslash kernm3ex1.$\sim\sim$firstsyllable...\}}\\
+& left-move verse number\\
+\verb|\setlyrics{alto}{...\kern1exword...}| &right-move a single word\\
+\verb|\setlyrics{alto}{...\lower2pt\hbox{word}...}|& lower a single word\\
+\verb|\setlyrics{alto}{...\raise2pt\hbox{word}...}|& raise a single word\\
+\multicolumn{2}{l}{\Bslash def\Bslash strut\{\Bslash vbox to 2\Bslash Interligne\{\}\}%
+\Bslash setlyrics\{alto\}\{\Bslash lyrlayout\{\Bslash strut\}...\}} \\
+& control distance between verses\\
+\verb|\lyrlayout{\vphantom{Mp(\lowlyrlink}|& minimum distance between verses\\
+\multicolumn{2}{l}{\Bslash setbox\Bslash lyrstrutbox=\Bslash hbox\{\Bslash vphantom\{yM\Bslash lyrlink\}\}}\\
+& redefine default lyrstrut
+\end{tabular}
+\end{small}
+
+\item Placing of accents can be made easier as shows this example:
+\begin{center}
+\begin{minipage}{50mm}
+\begin{music}\nostartrule
+\input musixlyr
+\catcode`\ä\active \defä{\"a}
+\catcode`\ö\active \defö{\"o}
+\catcode`\å\active \letå\aa
+\setlyrics1{å ä ö}
+\assignlyrics1{}\assignlyrics11
+\startextract
+ \setsongraise1{1ex}\NOtes\qa{ggg}\en
+\zendextract
+\end{music}
+\end{minipage}%
+\begin{minipage}{80mm}
+\verb|\catcode`\|\"a\verb|\active \def|\"a\verb|{\"a}|\\
+\verb|\catcode`\|\"o\verb|\active \def|\"o\verb|{\"o}|\\
+\verb|\catcode`\|\aa\verb|\active \let|\aa\verb|\aa|\\
+\verb|\setlyrics1{|\aa\ \"a\ \"o\verb|} \assignlyrics1{}|\\
+\verb|\assignlyrics11|\\
+\verb|\startextract|\\
+\verb|\NOtes\qa{ggg}\en|\\
+\verb|\zendextract|\\
+\end{minipage}
+\end{center}
+\item Using an 8-bit encoded characterset.\label{8bit}
+If you use default (Computer Modern) fonts, you will want to switch to
+the EC variants
+by putting
+%\verb+\input plainenc\relax\inputencoding{cp850}+ % doesn't work!
+\verb+\input musixec+
+after \verb+\input musixtex+ in your source file.
+
+\end{enumerate}
+
diff --git a/macros/musixtex/doc/musixdoc/miscellaneous.tex b/macros/musixtex/doc/musixdoc/miscellaneous.tex
new file mode 100644
index 0000000000..50be2c0344
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/miscellaneous.tex
@@ -0,0 +1,958 @@
+\chapter{Miscellaneous Other Notations}
+%avre
+ \section{Metronomic indications}
+%Metronomic indication deserves a special macro. The mention:
+%
+%\medskip
+%\centerline{\def\nbinstruments{0}\metron{\hup}{60}}
+%
+%\smallskip\noindent
+%is coded by \keyindex{metron}\verb|{\hup}{60}| (normally embedded in
+%\keyindex{Uptext} which is in turn embedded within \verb|\notes...\en|).
+%
+% On the other hand, music writers sometimes want to specify that the duration
+%of a previous note is equal to a distinct furthernote. Thus
+%
+% \smallskip
+%\centerline{\def\nbinstruments{0}\metronequiv{\qup}{\qu}}
+%
+%\smallskip\noindent
+%is coded by \keyindex{metronequiv}\verb|{\qup}{\qu}|.
+
+By way of example, the notations
+\begin{quote}
+\def\nbinstruments{0}
+\metron{\qu}{60}
+\quad and\quad
+\def\nbinstruments{0}\metronequiv{\qup}{\qu}
+\end{quote}
+are
+respectively coded as
+\keyindex{metron}\verb|{\qu}{60}| and \keyindex{metronequiv}\verb|{\qup}{\qu}|,
+which are normally placed using \keyindex{Uptext}.
+Also, you can set a smaller metronomic indication like
+\begin{quote}
+ \def\nbinstruments{0}\metron{\smallnotesize\lqu}{ca.~72}
+\quad or \quad
+\def\nbinstruments{0}\metron{\tinynotesize\lqu}{ca.~72}
+\end{quote}
+by writing
+\begin{quote}
+\verb|\metron{\smallnotesize\lqu}{ca.~72}|
+\end{quote}
+or
+\begin{quote}
+\verb|\metron{\tinynotesize\lqu}{ca.~72}|
+\end{quote}
+
+ \section{Accents}
+
+You may use\footnote{Note from the editor: the reason the names of some of
+these macros don't seem to be constructed to suggest the terms used in the
+descriptions is that whoever originally defined the macros had in mind terms
+that did not agree with normal English usage.}
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item \keyindex{upz}\pitchp~(upper \itxem{staccato}) to put a dot above a note
+head at pitch $p$,
+ \item \keyindex{lpz}\pitchp~(lower \ital{staccato}) to put a dot below a note
+head at pitch $p$,
+ \item \keyindex{usf}\pitchp~(upper \itxem{sforzando}) to put a $>$ accent above
+a note head at pitch $p$,
+ \item \keyindex{lsf}\pitchp~(lower \itxem{sforzando}) to put a $>$ accent below
+a note head at pitch $p$,
+ \item \keyindex{ust}\pitchp~(upper \itxem{tenuto}) to put a
+hyphen above a note head at pitch $p$,
+ \item \keyindex{lst}\pitchp~(lower \ital{tenuto}) to put a
+hyphen below a note head at pitch $p$,
+ \item \keyindex{uppz}\pitchp~(upper \itxem{staccatissimo}) to put a solid vertical
+wedge above a note head at pitch $p$,
+ \item \keyindex{lppz}\pitchp~(lower \ital{staccatissimo}) to put an inverted
+solid vertical wedge below a note head at pitch $p$,
+ \item \keyindex{usfz}\pitchp~(upper \itxem{forzato}) to put a
+``dunce cap'' above a note head at pitch $p$,
+ \item \keyindex{lsfz}\pitchp~(lower \ital{forzato}) to put an inverted
+``dunce cap'' below a note head at pitch $p$,
+ \item \keyindex{upzst}\pitchp~(upper \itxem{mezzo-staccato/portato}) to put a
+dot and a hyphen above a note head at pitch $p$,
+ \item \keyindex{lpzst}\pitchp~(lower \ital{mezzo-staccato/portato}) to put a
+dot and a hyphen below a note head at pitch $p$,
+ \item \keyindex{flageolett}\pitchp~to put a
+small circle above a note head at pitch $p$.
+\end{itemize}
+These marks are horizontally centered relative to solid note heads.
+To
+compensate for the fact that whole notes are wider, you should use
+\keyindex{wholeshift}\verb|{|\ital{Any nonspacing macro}\verb|}| to center accents
+and other items (e.g.,~\verb|\Fermataup|) above a whole note.
+
+There are also variants of the most common accents\footnote{Thanks to Klaus
+{\sc Bechert}'s corrections.} which will be automatically positioned
+above or below a beam. They are spelled like the corresponding normal
+accent, but preceded with the letter \verb|b|, and their argument, instead of
+the pitch, is the beam reference number . Thus
+
+\medskip
+\begin{music}\nostartrule
+\startextract
+\Notes\ibu0f3\busfz0\qb0f\bupz0\qb0g\bust0\qb0h%
+ \buppz0\qb0i\busf0\qb0j\butext0\tqh0k\en
+\Notes\Ibl0lg5\blsfz0\qb0l\blpz0\qb0k\blst0\qb0j%
+ \blppz0\qb0i\blsf0\qb0h\bltext0\tqb0g\en
+\zendextract
+\end{music}
+\noindent was coded as
+\begin{quote}\begin{verbatim} \startextract
+\Notes\ibu0f3\busfz0\qb0f\bupz0\qb0g\bust0\qb0h%
+ \buppz0\qb0i\busf0\qb0j\butext0\tqh0k\en
+\Notes\Ibl0lg5\blsfz0\qb0l\blpz0\qb0k\blst0\qb0j%
+ \blppz0\qb0i\blsf0\qb0h\bltext0\tqb0g\en
+\zendextract
+\end{verbatim}\end{quote}
+\zkeyindex{busfz}
+\zkeyindex{bupz}
+\zkeyindex{bust}
+\zkeyindex{buppz}
+\zkeyindex{busf}
+\zkeyindex{butext}
+\zkeyindex{blsfz}
+\zkeyindex{blpz}
+\zkeyindex{blst}
+\zkeyindex{blppz}
+\zkeyindex{blsf}
+\zkeyindex{bltext}
+
+The macros \verb|\bltext| and \verb|\butext| are detailed in the next section,
+where the mystery of why they produce the number~$3$ is resolved.
+
+
+\section{Numbers and brackets for xtuplets}\label{tuplet}
+
+The following table lists all the special macros that place a number indicating
+an xtuplet. Some also place a bracket above or below the notes, and are
+intended for use with unbeamed notes.
+In the table, $p$ is a pitch, $k$ is a number, $n$ is a beam number,
+$w$ is a bracket width in \verb|\internote|s, and $s$ is the bracket slope as
+a multiple of $1.125$~degrees. The macro \verb|\txt| contains a default number
+which will be placed by the first and third through sixth macros,
+and is initially defined as \verb|\def\txt{3}|.
+The macro
+\verb|\tuplettxt| serves the same role for the last two macros.
+The font used is defined by
+\verb|\txtfont| and is, by default, \verb|\eightit| (in normal music size) but may be re-defined.
+
+The first four commands in the table
+are normally used with beamed xtuplets. As indicated in the
+last column, the last four produce a sloping bracket and may be used with
+unbeamed xtuplets.
+
+
+\begin{center}
+ \begin{tabular}{lclcc}
+ \hline
+ ~ & Number & ~ & Needs & ~ \\
+ Macro and arguments & printed & Where invoked & Bracket \\
+ \hline
+ \verb|\triolet|\pitchp & \verb|\txt| & before beam & none \\
+ \verb|\xtuplet|\itbrace{k}\pitchp & $k$ & before beam & none \\
+ \verb|\butext|\itbrace{n} & \verb|\txt| & before note at number & none \\
+ \verb|\bltext|\itbrace{n} & \verb|\txt| & before note at number & none \\
+ \verb|\uptrio|\pitchp\itbrace{w}\itbrace{s} & \verb|\txt| & before first note & solid \\
+ \verb|\downtrio|\pitchp\itbrace{w}\itbrace{s} & \verb|\txt| & before first note & solid \\
+ \verb|\uptuplet|\pitchp\itbrace{w}\itbrace{s} & \verb|\tuplettxt| & before first note & with gap \\
+ \verb|\downtuplet|\pitchp\itbrace{w}\itbrace{s} & \verb|\tuplettxt| & before first note & with gap \\
+ \hline
+ \end{tabular}
+\end{center}
+\medskip
+
+Here are some examples of the first six macros in the table:\\
+\vskip-3pt
+\begin{music}
+\parindent0mm
+\generalmeter{\meterfrac24}
+\nostartrule
+\startpiece
+\addspace\afterruleskip
+\notesp\xtuplet6n\isluru0l\ibl0l0\qb0{lllll}\tslur0l\tqb0l\en\bar
+\notesp\triolet n\isluru0l\Ibl0ln2\qb0{lm}\tslur0n\tqb0n\en
+\notesp\ibslurd0k\Ibl0km2\qb0k\bltext0\qb0l\tdbslur0m\tqb0m\en\bar
+\Notesp\triolet o\isluru0l\ql{lm}\tslur0n\ql n\en\bar
+\Notesp\uptrio o16\ql l\en\notesp\cl n\en
+%avrb
+\Notesp\downtrio O16\qu e\en\notesp\cu g\en
+%avre
+\endpiece
+\end{music}
+whose coding is
+\begin{quote}\begin{verbatim}
+\notesp\xtuplet6n\isluru0l\ibl0l0\qb0{lllll}\tslur0l\tqb0l\en\bar
+\notesp\triolet n\isluru0l\Ibl0ln2\qb0{lm}\tslur0n\tqb0n\en
+\notesp\ibslurd0k\Ibl0km2\qb0k\bltext0\qb0l\tdbslur0m\tqb0m\en\bar
+\Notesp\triolet o\isluru0l\ql{lm}\tslur0n\ql n\en\bar
+\Notesp\uptrio o16\ql l\en\notesp\cl n\en
+\Notesp\downtrio O16\qu e\en\notesp\cu g\en
+\end{verbatim}\end{quote}
+\zkeyindex{xtuplet}\zkeyindex{triolet}
+
+\medskip
+Next are examples using \keyindex{uptuplet} and \keyindex{downtuplet}.
+A re-definition of \verb|\tuplettxt| inside a notes group only applies
+inside that group and leaves the default definition intact.
+To get the
+number properly centered in the gap, you must include some extra space after
+the number in the definition of \verb|\tuplettxt|. As you can see in
+the last bar, if the span becomes too small, the macros still won't provide
+enough room for the number in the gap; in this case it would be better to
+use the macros without gaps.
+
+% Examples:
+%
+% Draw a triplet bracket over the notes, starting at pitch "p",
+% 1.25\noteskip wide, with a slope up of 3-3/8 degrees:
+%
+% \uptuplet p{1.25}3
+%
+% Draw a sextuplet bracket under the notes, starting at pitch "a",
+% 2.5\noteskip wide, with a slope down of 4-1/2 degrees:
+%
+% \def\tuplettxt{\smallppff 6\/\/}
+% \downtuplet{a}{2.5}{-4}
+
+\begin{music}
+%\input tuplet
+\parindent0mm
+\generalmeter{\meterfrac24}
+%\startpiece
+\nostartrule
+\startextract
+\addspace\afterruleskip
+\notesp\triolet o\Ibl0ln2\qb0{lm}\tqb0n\en
+\notesp\Ibl0km2\qb0k\bltext0\qb0l\tqb0m\en\bar
+\notesp\def\tuplettxt{5\/\/}\uptuplet o{4.1}2\cl{jklmn}\en\bar
+\Notesp\uptuplet o16\ql l\en\notesp\cl n\en
+\Notesp\downtuplet O16\qu e\en\notesp\cu g\en\bar
+\notesp\uptuplet o16\ccl l\en\notesp\cccl n\en
+\notesp\downtuplet O16\ccu e\en\notesp\cccu g\en
+%\endpiece
+\endextract
+\end{music}
+
+\noindent with coding
+
+\begin{quote}\begin{verbatim}
+\parindent0mm
+\generalmeter{\meterfrac24}
+\startextract
+\addspace\afterruleskip
+\notesp\triolet o\Ibl0ln2\qb0{lm}\tqb0n\en
+\notesp\Ibl0km2\qb0k\bltext0\qb0l\tqb0m\en\bar
+\notesp\def\tuplettxt{5\/\/}\uptuplet o{4.1}2\cl{jklmn}\en\bar
+\Notesp\uptuplet o16\ql l\en\notesp\cl n\en
+\Notesp\downtuplet O16\qu e\en\notesp\cu g\en\bar
+\notesp\uptuplet o16\ccl l\en\notesp\cccl n\en
+\notesp\downtuplet O16\ccu e\en\notesp\cccu g\en
+\end{verbatim}\end{quote}
+
+A modern notation uses a \emph{ratio} such as $5$:$6$ to specify the intended duration
+of an x-tuplet. This is supported in \musixtex\ by the command
+\keyindex{xxtuplet}, as in
+
+\begin{music}
+\nostartrule
+\startextract\addspace\afterruleskip
+\notes\xxtuplet5:6o\ibl0j3\qb0{jklm}\tql0n\en
+\endextract
+\end{music}
+
+\noindent with coding \verb|\xxtuplet5:6o\ibl0j3\qb0{jklm}\tql0n|. For the
+other x-tuplet commands (apart from \verb|\triolet|, which is defined in terms of \verb|\xtuplet|),
+it is possible to define \verb|\txt| or
+\verb|\tupletxt| as a ratio, as in
+\begin{quote}\begin{verbatim}
+\def\txt{5:6}
+\end{verbatim}\end{quote}
+
+ \section{Ornaments}
+
+
+ \subsection{Simple ornaments}\index{ornaments}
+
+The argument $p$ in the following macros for ordinary ornaments is the
+pitch at which the ornament itself appears. They are all nonspacing macros.
+You may use
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item \keyindex{mordent}\pitchp\ for \hbox to .75em{\mordent 0\hss}
+ \item \keyindex{Mordent}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Mordent 0\hss}
+ \item \keyindex{shake}\pitchp\ for \hbox to .75em{\shake 0\hss}
+ \item \keyindex{Shake}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shake 0\hss}
+ \item \keyindex{Shakel}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakel 0\hss}
+ \item \keyindex{Shakesw}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakesw 0\hss}
+ \item \keyindex{Shakene}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakene 0\hss}
+ \item \keyindex{Shakenw}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakenw 0\hss}
+ \item \keyindex{turn}\pitchp\ for \hbox to 1.5em{\kern 0.6em\turn 0\hss}
+ \item \keyindex{backturn}\pitchp\ for \hbox to 1.5em{\kern 0.6em\backturn 0\hss}
+ \item \keyindex{tr}\pitchp\ for \hbox to 1.5em{\kern 0.6em\tr 0\hss}
+ \item \keyindex{trt}\pitchp\ for \hbox to 1.5em{\kern 0.6em\trt 0\hss}\quad (J. S.~Bach's \textit{trillo und mordant})
+ \item \keyindex{xtr}\pitchp\ for \hbox to 1.5em{\kern 0.5em\xtr 0\hss}
+ \item \keyindex{ptr}\pitchp\ for \hbox to 1.5em{\kern 0.5em\ptr 0\hss}
+ \end{itemize}
+To
+compensate for the fact that whole notes are wider, you may use
+\begin{quote}
+\keyindex{wholeshift}\verb|{|\mbox{\ital{Any nonspacing macro}}\verb|}|
+\end{quote}
+to center any of these ornaments
+above a whole note.
+
+
+In the following macros for fermatas, the argument $p$ is the pitch of the
+notehead on which the fermata rests, assuming no additional vertical
+adjustments are needed for stems or intervening staff lines. They are all
+nonspacing macros. You may use
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item \keyindex{fermataup}\pitchp\ for
+\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\fermataup1\en}},
+\end{itemize}
+\begin{itemize}\setlength{\itemsep}{3ex}
+ \item \keyindex{fermatadown}\pitchp\ for
+\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\fermatadown2\en}},
+ \item \keyindex{Fermataup}\pitchp\ for
+\raisebox{-1ex}[-1ex][0ex]{\musicintextnoclef{\notes\Fermataup 7\zwh{'c}\en}}~,
+centered over a whole note,
+ \item \keyindex{Fermatadown}\pitchp\ for
+\raisebox{-1ex}[0ex][0ex]{\musicintextnoclef{\notes\Fermatadown1\zwh{'c}\en}}~,
+centered under a whole note.
+ \end{itemize}
+\bigskip
+
+A \itxem{breath} mark
+\raisebox{-5ex}[0ex][0ex]{\notesintext{\notes\zbreath\en}}
+can be put just above the staff with \keyindex{zbreath}. This is a nonspacing
+macro. On the other hand, \keyindex{cbreath} will cause a space of one
+\verb|\noteskip| and place the comma midway through the space.
+
+The \keyindex{caesura} command inserts a slash \verb|0.5\noteskip| before
+the place it is entered, while adding no space:
+
+\begin{music}\nostartrule
+\startextract
+\NOTes\zhu j\hl{^e}\caesura\en
+\Notes\zcu j\cl e\en
+\zendextract
+\end{music}
+
+
+ \subsection{Arpeggios}
+\ital{Arpeggios} (i.e.~~~\arpeggio{-2}3) can be coded with the macro
+\keyindex{arpeggio}\pitchp\itbrace{m}
+where $p$ is the pitch of
+the base of the arpeggio symbol and $m$ is its height in units of
+\verb|\interligne|, the distance from one staff line to the next. It should be
+issued before the affected chord. It is
+automatically positioned to the left of the chord, but inserts no spacing.
+Its variant \keyindex{larpeggio} sets the arpeggio symbol roughly
+one note head width to the left of the default position, and is intended to
+avoid collision with single accidentals on chord notes.
+
+ \subsection{Arbitrary length trills}
+ There are two styles of arbitrary length trills\index{trills}, each with two
+variants.
+For a trill with preassigned length, use \keyindex{trille}\pitchp\itbrace{l}
+for \hbox to 1cm{\noteskip1cm\trille11\hss} or
+\keyindex{Trille}\pitchp\itbrace{l} for~~\hbox to
+2cm{\noteskip1cm\Trille12\hss}, where $p$ is the pitch and $l$ the length in
+current \verb|\noteskips|.
+
+To let \musixtex\ compute the length of the trill, or if it extends across a
+system break, you can use \keyindex{Itrille}$n$\pitchp\ to start a plain
+trill, where $n$ is a trill reference number between 0 and 5; then
+\keyindex{Ttrille}$n$ to terminate it. To get the {\it tr} at the
+beginning, use \keyindex{ITrille}$n$\pitchp\ to start the trill and
+\verb|\Ttrille|$n$ to close it.
+
+\begin{sloppypar}
+As with other elements, you can specify the maximum number
+directly with \keyindex{setmaxtrills}\verb|{|$m$\verb|}|, where $7<m\leq 100$%
+\footnote{This may require e-\TeX.};
+the reference number $n$ will be in the range between $0$ and $m-1$.
+\label{musixmad_setmaxtrills}
+\end{sloppypar}
+
+
+For example:
+
+\medskip
+ \begin{music}
+\instrumentnumber{1}
+\setstaffs12
+\setclef1{6000}
+%
+\startextract
+\notes\qu{CDEFGH}|\hu k\sk\ITrille 1p\itenu1l\wh l\en
+\bar
+\notes\Itrille 2A\itenu2E\whp E|\tten1\hlp l\sk\Ttrille 1\qu {mno}\en
+\bar
+\Notes\tten2\itenu2E\whp E|\ql{nmlkji}\en
+\bar
+\Notes\tten2\whp E\sk\sk\sk\sk\Ttrille2|\qu{hgfedc}\en
+\endextract
+\end{music}
+whose coding is
+\begin{quote}\begin{verbatim}
+\begin{music}\nostartrule
+\instrumentnumber{1}
+\setstaffs12
+\setclef1{6000}
+%
+\startextract
+\notes\qu{CDEFGH}|\hu k\sk\ITrille 1p\itenu1l\wh l\en
+\bar
+\notes\Itrille 2A\itenu1e\whp E|\tten1\hlp l\sk\Ttrille 1\qu {mno}\en
+\bar
+\Notes\tten1\itenu1E\whp E|\ql{nmlkji}\Toctfin1\en
+\bar
+\Notes\tten1\whp E\sk\sk\sk\sk\Ttrille2|\qu{hgfedc}\en
+\endextract
+\end{verbatim}\end{quote}
+
+
+ \subsection{Tremolos}\label{tremolos}
+
+The command \keyindex{trml}\verb|{|$p$\verb|}|~is used to indicate that the immediately
+following
+quarter or half note (normally at pitch $p$ and with a lower stem) is to be repeated in eighth notes.
+For example,
+\verb|\trml j\ha j|
+generates
+
+\begin{music}\nostartrule
+\startextract
+\NOTes\trml j\ha j\en
+\zendextract
+\end{music}\noindent
+and is an abbreviation for
+
+\begin{music}\nostartrule
+\startextract
+\notes\ibl0j0\qb0{jjj}\tql0j\en
+\zendextract
+\end{music}\noindent
+Similarly, \keyindex{trmu}\verb|{|$p$\verb|}|~generates an eighth-note tremolo
+on a quarter or half note with an \emph{upper} stem:
+
+\begin{music}\nostartrule
+\startextract
+\NOTes\trmu h\ha h\en
+\zendextract
+\end{music}\noindent
+16th-note and 32-note tremolos are similarly generated by
+commands \keyindex{trrml}, \keyindex{trrmu}, \keyindex{trrrml}
+and \keyindex{trrrmu}, as in
+
+\begin{music}
+\nostartrule
+\startextract
+\NOtesp\trrml h\zqlp h\trrmu j\qup j\en
+\Notes\stemlength{6.4}\trrml j\zcl j\trrmu l\cu l\en
+\NOtes\stemlength{6.4}\trrrml h\zql h\trrrmu j\qu j\en
+\endextract
+\end{music}\noindent
+which is coded as
+\begin{quote}\begin{verbatim}
+\NOtesp\trrml h\zqlp h\trrmu j\qup j\en
+\Notes\stemlength{6.4}\trrml j\zcl j\trrmu l\cu l\en
+\NOtes\stemlength{6.4}\trrrml h\zql h\trrrmu j\qu j\en
+\end{verbatim}\end{quote}
+The \keyindex{stemlength} command is used to adjust
+stem lengths;
+the new length remains effective to the end of the current notes group.
+If necessary, the usual stem length can be restored by using
+\verb|\stemlength{\DefaultStemlength}|.
+
+
+For \emph{whole} notes, tremolo indications
+should be wider and centered directly over or under the note. These
+are generated by commands \keyindex{Trml}, \keyindex{Trmu}, \keyindex{Trrml},
+\keyindex{Trrmu}, \keyindex{Trrrml} and \keyindex{Trrrmu}; for example,
+
+\begin{music}
+\nostartrule
+\startextract
+\NOTEs\Trml h\zw h\Trmu j\wh j\en
+\bar%
+\NOTEs\Trrml h\zw h\Trrmu j\wh j\en
+\bar%
+\NOTEs\Trrrml h\zw h\Trrrmu j\wh j\en
+\endextract
+\end{music}\noindent
+which is coded as
+\begin{quote}\begin{verbatim}
+\NOTEs\Trml h\zw h\Trmu j\wh j\en\bar
+\NOTEs\Trrml h\zw h\Trrmu j\wh j\en\bar
+\NOTEs\Trrrml h\zw h\Trrrmu j\wh j\en
+\end{verbatim}\end{quote}
+
+For all of the commands described in this section, the pitch parameter may be used
+if it is necessary to raise or lower the tremolo indication.
+%however, note values
+%must be alphabetic and not numeric,
+%because transposition is used to adjust the vertical position of the mini-beams.
+
+ \section{Piano pedal commands}
+The macro \keyindex{PED} inserts a piano-pedal command below the staff;
+\keyindex{DEP}, a pedal release. Alternate symbols, the first of which
+occupies less space, are invoked with \keyindex{sPED} and \keyindex{sDEP}.
+For example,
+
+\begin{music}
+\setclef1\bass
+\setstaffs1{2}
+\startextract
+\NOtes\PED\wh J|\qu h\en
+\NOtes|\qu g\en
+\NOtes|\hu k\en
+\Notes\DEP\en
+\bar
+\NOtes\sPED\wh J|\qu h\en
+\NOtes|\qu g\en
+\NOtes|\hu k\en
+\Notes\sDEP\en
+\endextract
+\end{music}
+ \noindent was coded as \begin{quote}\begin{verbatim}
+ \NOtes\PED\wh J|\qu h\en
+ \NOtes|\qu g\en
+ \NOtes|\hu k\en
+ \Notes\DEP\en \bar
+ \NOtes\sPED\wh J|\qu h\en
+ \NOtes|\qu g\en
+ \NOtes|\hu k\en
+ \Notes\sDEP\en
+ \end{verbatim}\end{quote}
+The vertical position of
+\keyindex{PED}, \keyindex{sPED}, \keyindex{DEP} and \keyindex{sDEP} can be
+globally changed by redefining its elevation, which has the default
+definition \verb|\def|\keyindex{raiseped}\verb|{-5}|.
+To locally change the vertical position of a pedal symbol, use one of the more
+fundamental
+macros \keyindex{Ped}, \keyindex{sPed}, \keyindex{Dep} and \keyindex{sDep}
+in combination with \keyindex{zchar} or \keyindex{zcharnote}.
+Since the \hbox to .7cm{ \Ped\hss} symbol is rather wide, it might collide
+with adjacent bass notes. To shift it horizontally, you could use \verb|\loff{\PED}|.
+
+The following excerpt from \textit{Liebestr\"aume} by Franz Liszt illustrates
+a more modern approach to specifying piano-pedal usage:
+
+\begin{music}
+\smallmusicsize
+\relativeaccid
+\parindent=0pt
+\generalmeter{\meterfrac64}\generalsignature{-4}
+\nobarnumbers
+\setstaffs12\setclef1{\bass}
+\def\raiseped{-11}
+\def\qpl{\raise-2\Interligne\qp}
+\def\qpu{\raise2\Interligne\qp}
+\def\hppl{\lifthpausep{-2}}
+\startpiece\addspace\afterruleskip%
+\NOtes\zqu L\qpl|\qp\en
+\bar%
+\Notes\loff{\pdld}\ql H\sk\qpl\sk\qpl|%
+ \zhl{.c}\ds\ibu1i0\qb1{ehjh}\tqu1e\en
+\Notes\zhu{.c}\hppl|%
+ \ds\ibu1i0\qb1{ehjh}\tqu1e\en
+\bar%
+\Notes\pdlud\ql G\sk\qpl\sk\qpl|%
+ \itied1c\zhl{.c}\ds\ibu1i0\qb1{^eiji}\tqu1e\en
+\Notes\hppl\sk\sk\sk\qu c|%
+ \ttie1\zhl{c}\ds\ibu1i0\qb1{eiji}\tqu1e\en
+\stoppiece%
+\def\raiseped{-15}
+\contpiece%%
+\Notes\pdlud\ql F\sk\qpl\sk\zqu c\qpl|%
+ \zhl{c}\ds\ibu1i0\qb1{=e^hjh}\tqu1e\en
+\Notes\hppl\sk\sk\sk\qu c|%
+ \zhl{d}\ds\ibu1i0\qb1{ehjh}\tqu1e\en
+\bar%
+\Notes\pdlud\ql B\sk\qpl\sk\qpl|%
+ \zhl{.c}\ds\ibu1i0\qb1{^d^hjh}\tqu1d\en
+\Notes\zqu{M}\hppl\sk\sk\qpu\sk\qu M|%
+ \ds\ibu1i0\qb1{dhjh}\tqu1d\en
+\bar%
+\Notes\zmidstaff{$\cdots$}\sk\pdlu\sk|\en
+\endpiece%
+\end{music}
+\vspace*{2ex}\par\noindent
+This has been coded using the following commands:
+\begin{quote}
+\begin{tabular}{lll}
+\keyindex{pdld}& pedal down & \huge$\llcorner$\\
+\keyindex{pdlu}& pedal up & \huge$\lrcorner$\\
+\keyindex{pdlud} & pedal up and immediately down & \_\raisebox{2pt}{$\!\bigwedge\!$}\_
+\end{tabular}
+\end{quote}
+The elevation is determined by the value of \keyindex{raiseped}.
+Here is how the excerpt may be coded:
+\begin{quote}
+\begin{footnotesize}
+\begin{verbatim}
+\smallmusicsize\relativeaccid\nobarnumbers
+\generalmeter{\meterfrac64}
+\generalsignature{-4}
+\setstaffs12\setclef1{\bass}
+\def\raiseped{-11}
+\def\qpl{\raise-2\Interligne\qp}
+\def\qpu{\raise2\Interligne\qp}
+\def\hppl{\lifthpausep{-2}}
+\startpiece\addspace\afterruleskip%
+\NOtes\zqu L\qpl|\qp\en
+\bar%
+\Notes\loff{\pdld}\ql H\sk\qpl\sk\qpl|%
+ \zhl{.c}\ds\ibu1i0\qb1{ehjh}\tqu1e\en
+\Notes\zhu{.c}\hppl|%
+ \ds\ibu1i0\qb1{ehjh}\tqu1e\en
+\bar%
+\Notes\pdlud\ql G\sk\qpl\sk\qpl|%
+ \itied1c\zhl{.c}\ds\ibu1i0\qb1{^eiji}\tqu1e\en
+\Notes\hppl\sk\sk\sk\qu c|%
+ \tltie1\zhl{c}\ds\ibu1i0\qb1{eiji}\tqu1e\en
+\stoppiece%
+\def\raiseped{-15}
+\contpiece%
+\Notes\pdlud\ql F\sk\qpl\sk\zqu c\qpl|%
+ \zhl{.c}\ds\ibu1i0\qb1{=e^hjh}\tqu1e\en
+\Notes\hppl\sk\sk\sk\qu c|%
+ \zhl{d}\ds\ibu1i0\qb1{ehjh}\tqu1e\en
+\bar%
+\Notes\pdlud\ql B\sk\qpl\sk\qpl|%
+ \zhl{c}\ds\ibu1i0\qb1{^d^hjh}\tqu1d\en
+\Notes\zqu{M}\hppl\sk\sk\qpu\sk\qu M|%
+ \ds\ibu1i0\qb1{dhjh}\tqu1d\en
+\bar%
+\Notes\zmidstaff{$\cdots$}\sk\pdlu\sk|\en
+\endpiece
+\end{verbatim}
+\end{footnotesize}
+\end{quote}
+
+\pagebreak
+\noindent
+The following ``mixed'' patterns are also supported:
+\begin{quote}
+\begin{verbatim}
+\PED ... [\pdlud].. ... \pdlu
+
+\sPED ... [\pdlud].. ... \pdlu
+\end{verbatim}
+\end{quote}
+
+\section{Alphabetic dynamic marks}
+ Conventional dynamic symbols
+\pppp, \ppp, \pp,
+\p,
+\mezzopiano,
+\mf,
+\f,
+\fp,
+\sF,
+\ff,
+\fff,
+\ffff,
+\sfz\ and
+\sfzp\ can be posted using the macros
+\keyindex{pppp},
+\keyindex{ppp},
+\keyindex{pp},
+\keyindex{p},
+\keyindex{mp},
+\keyindex{mf},
+\keyindex{f},
+\keyindex{fp},
+\keyindex{sF},
+\keyindex{ff},
+\keyindex{fff},
+\keyindex{ffff},
+\keyindex{sfz} and
+\keyindex{sfzp}, respectively, as the second argument of \verb|\zcn| (\verb|\zcharnote|) or
+\verb|\ccn| (\verb|\ccharnote|).
+See also Section~\ref{musixppff} for an alternative set of dynamic marks.
+
+
+ \section{Length of note stems}
+
+The default length of note stems is the distance of one octave, i.e.,~\verb|7\internote| or \texttt{4.66}\keyindex{interbeam}. The default may be changed
+with the macro \keyindex{stemlength}\itbrace{b}\ where $b$ is the length in
+\verb|\interbeam|s.
+
+The command \keyindex{stemcut} causes stems that extend outside the staff
+to be shortened depending on the pitch of the notes. It is the default
+behavior. To suppress this adjustment, issue the command
+\keyindex{nostemcut}.
+
+Normally, down stems never end above the middle line of the staff and up stems
+never below that line. The command \keyindex{stdstemfalse} will inhibit this
+adjustment, but only for the next stem generated. There is no command to globally
+suppress this behavior.
+
+ \section{Brackets, parentheses, oblique lines and slides}\label{brapar}
+
+Several varieties of brackets\index{brackets}, parentheses\index{parentheses} and oblique lines\index{oblique lines} are provided for
+use within a score.
+ \begin{itemize}\setlength{\itemsep}{0ex}
+ \item \keyindex{lpar}\verb|{|$p$\verb|}| and
+\keyindex{rpar}\verb|{|$p$\verb|}| yield left and right
+parentheses at pitch $p$. They can be used to enclose notes or to build
+``big'' cautionary\index{cautionary accidental} accidentals. For example,
+\\
+\begin{center}
+\begin{tabular}{ll}
+\raisebox{-1.5ex}[0ex][0ex]{\musicintextnoclefn{\NOtes\qsk\lpar g\rpar g\hu g\sk%
+\loffset{1.5}{\lpar g\rpar g}\loffset{.4}{\sh g}\hu g\sk%
+\loffset{2.1}{\lpar g}\loffset{1.5}{\rpar g}\loffset{.4}{\dfl g}\hu g\en}}
+\end{tabular}
+\end{center}
+is coded as
+\end{itemize}
+\begin{center}\small
+\begin{tabular}{l}
+\verb+\NOtes\lpar g\rpar g\hu g\sk%+\\
+\verb+\loffset{1.5}{\lpar g\rpar g}\loffset{.4}{\sh g}\hu g\sk%+\\
+\verb+\loffset{2.1}{\lpar g}\loffset{1.5}{\rpar g}\loffset{.4}{\dfl g}\hu g\en+
+\end{tabular}
+\end{center}
+\begin{itemize}
+ \item \keyindex{bracket}\verb|{|$p$\verb|}{|$n$\verb|}| posts a
+square bracket to the left of a chord, vertically spanning $n$
+\verb|internote|s.
+ \item \keyindex{doublethumb}\verb|{|$p$\verb|}| indicates a bracket as
+above spanning 2\verb|\internote|s.
+ \item \keyindex{ovbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and
+\keyindex{unbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}|
+draw a sloped bracket starting at the current position at pitch $p$,
+with horizontal extent $n$ \verb|noteskip|s and slope $s$ in multiples of
+$1.125$~degrees.
+ \item \keyindex{uptrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and
+\keyindex{downtrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| are like
+\verb|\ovbkt| but with freely definable \keyindex{txt} centered inside.
+
+ \item \keyindex{varline}\itbrace{h}\itbrace{\ell}\itbrace{s}\ builds an
+oblique line starting at the current horizontal position. It must be used
+inside a zero-width box, such as for example as the second argument of
+\verb|\zcharnote|. $h$ is the height of the starting point, $\ell$ is the
+length, and $s$ is the slope. It is used in the definitions of some of
+the foregoing macros, and could be used, for example, to construct various
+obscure baroque ornaments made up of diagonal lines.
+
+\item \keyindex{slide}\itbrace{p}\itbrace{x}\itbrace{s}~ provides a \emph{glissando}
+starting at pitch {\it p} and extending for {\it x} \verb|\internote|s with
+slope {\it s} (ranging from $-8$ to $8$).
+
+\end{itemize}
+
+For example,
+
+\begin{music}
+\setstaffs1{2}
+\setclef1\bass
+\startextract
+\NOtes\bracket C8\zq C\qu J\en
+\NOtes|\doublethumb g\rq h\qu g\en
+\NOtes\lpar c\rpar c\qu c\en
+\NOtes\unbkt C15\qu {FH}|\ovbkt n14\ql{kl}\en
+\NOtes\downtrio C16\qu {FH}|\uptrio o14\ql{lm}\en
+\NOtesp\roffset{1.5}{\slide J33}\ca{JM}|\roffset{1.5}{\slide j33}\ca{jm}\en
+\endextract
+\end{music}
+\noindent is coded as
+\begin{quote}\small\begin{verbatim}
+\begin{music}
+\setstaffs1{2}
+\setclef1{\bass}
+\startextract
+\NOtes\bracket C8\zq C\qu J\en
+\NOtes|\doublethumb g\rq h\qu g\en
+\NOtes\lpar c\rpar c\qu c\en
+\NOtes\unbkt C15\qu {FH}|\ovbkt n14\ql{kl}\en
+\NOtes\downtrio C16\qu {FH}|\uptrio o14\ql{lm}\en
+\NOtesp\roffset{1.5}{\slide J33}\ca{JM}|\roffset{1.5}{\slide j33}\ca{jm}\en
+\zendextract
+\end{music}
+\end{verbatim}\end{quote}
+
+ \section{Forcing activity at the beginning of systems}
+A macro named \keyindex{everystaff} is executed each time a new system
+begins. It is normally void, but it can be defined (simply by \verb|\def|%
+\keyindex{everystaff}\verb|{...}|) to cause \musixtex\ to post anything
+reasonable at the beginning of each system. For it to affect the first system
+in a score, it must be defined \ital{before}
+\verb|\startpiece|.
+
+If a macro named \keyindex{atnextline} is defined at any point in a score,
+it will be executed just once, viz., at the next computed or forced system
+break. More
+precisely, it is executed after the break and before the next system begins.
+Thus it is suitable for redefining layout parameters.
+
+ \index{octave treble clef}In some scores, tenor parts are not coded using the
+\ital{bass} clef, but using rather the \ital{octave treble clef}, which is
+subscripted by a numeral {\tt8}.
+This clef is supported by the clef substitution command
+\keyindex{settrebleclefsymbol}\onen\keyindex{treblelowoct}, as already
+explained in Section~\ref{treblelowoct}. However, if for some reason you
+aren't happy with the height of the ``8'', it can be posted on selected
+staves at the beginning of every system using \keyindex{everystaff} and
+\keyindex{zcharnote} as follows:
+
+\begin{music}
+\instrumentnumber{4}\setclef1\bass
+\def\everystaff{\znotes&\zchar{-6}{\eightrm\kern-2\Interligne8}%
+ &\zchar{-6}{\eightrm\kern-2\Interligne8}\en}%
+\startextract
+\NOTes\ha{HIJK}&\ha{efgh}&\ha{hijk}&\ha{hmlk}\en
+\zendextract
+\end{music}
+\noindent
+The coding is
+\begin{quote}\begin{verbatim}
+\instrumentnumber{4}\setclef1\bass
+\def\everystaff{\znotes&\zchar{-6}{\eightrm \kern -2\Interligne 8}%
+ &\zchar{-6}{\eightrm \kern -2\Interligne 8}\en}%
+\startextract
+\NOTes\ha{HIJK}&\ha{efgh}&\ha{hijk}&\ha{hmlk}\en
+\endextract
+\end{verbatim}\end{quote}
+
+
+\section{Tablature}
+Tablature is a notational system used for fretted stringed instruments such
+as lute, guitar, banjo, mandolin, and so on. Staff lines represent strings
+and conventional note heads are replaced by numbers (or sometimes letters)
+indicating which fret is to be stopped, with $0$ representing an open string.
+
+A special clef symbol
+\keyindex{tabclef} may be used with \verb|\setclefsymbol| for a tablature staff; commands \verb|\setlines|, \verb|\setsign|
+and \verb|\setsize| may be used as usual for a tablature staff. The macros that put numbers (or letters) on staff lines
+are as follows:
+\begin{itemize}
+\item \keyindex{tab}\verb|{|$n$\verb|}|\verb|{|$p$\verb|}|
+puts $p$ on string $n$
+(counting from top to bottom); $p$ is centered, using \verb|\ccharnote|.
+Ledger lines are added for $n$ less than $1$ or greater than the current number of staff lines.
+\item \keyindex{ltab}\verb|{|$n$\verb|}|\verb|{|$p$\verb|}|
+uses \verb|\zcharnote| so $p$
+spills to the right and
+\keyindex{rtab}\verb|{|$n$\verb|}|\verb|{|$p$\verb|}|
+uses \verb|\lcharnote| so $p$
+spills to the left.
+\item \keyindex{ztab}\verb|{|$n$\verb|}|\verb|{|$p$\verb|}|
+is a non-spacing \verb|\tab|, and can be used for building chords.
+\item \keyindex{zltab}\verb|{|$n$\verb|}|\verb|{|$p$\verb|}|
+is a non-spacing \verb|\ltab| and
+\keyindex{zrtab}\verb|{|$n$\verb|}|\verb|{|$p$\verb|}|
+is a non-spacing \verb|\rtab|.
+\end{itemize}
+A size-dependent font \keyindex{tabfnt} is used for tab characters; Helvetica is the default font family.
+
+The default tablature style is to place the fingering notations \emph{on} the staff line;
+Postscript specials are used to ``blank'' staff lines below
+the tab characters.
+If it is desired to locate the fingering notations \emph{above} staff lines, use
+the command \keyindex{tabstylespacetrue}.
+A size-dependent font \keyindex{tabstringfnt} is defined to allow string names to be
+listed using \verb|\setname|.
+
+Here is an example of a guitar tablature (6th string lowered to D):
+
+\begin{music}
+\input musixps
+\def\psslurhgt{0.5}
+\instrumentnumber{2}
+\songbottom1\songtop2
+\generalmeter{\meterfrac34}
+\generalsignature{-1}
+\setlines16
+\setclefsymbol1\tabclef\setclefsymbol2\treblelowoct
+\setsize1\largevalue
+\setsign10
+\nobarnumbers
+\interinstrument=4\internote
+\parindent=2ex
+\setname1{\tabstringfnt\baselineskip=1.5\internote%
+ \vbox{\hbox to\parindent{\hss E \hss}%
+ \hbox to\parindent{\hss B \hss}%
+ \hbox to\parindent{\hss G \hss}%
+ \hbox to\parindent{\hss D \hss}%
+ \hbox to\parindent{\hss A \hss}%
+ \hbox to\parindent{\hss D \hss}%
+}}
+\startextract
+\NOtesp\zltab55\zltab43\ltab32&\zh{d}\zhl{f}\qu{.h}\en
+\Notes\ltab32&\cu{h}\en
+\bar%
+\NOtes\zltab55\zltab45\zltab33\ltab10&\zq d\zql g\zq i\qu l\en
+\NOtesp\zltab54\zltab45\zltab32\ltab10&\rhl{^c}\rhu{g}\zh{h}\qu{.l}\en
+\Notes\ltab10&\cu{l}\en
+\bar%
+\NOtes\zltab40\zltab32\zltab23\ltab11&\zq d\zq h\zq k\qu{m}\en
+\NOtes\zltab51\zltab43\zltab33\ltab23&\zhl b\zh f\zq{.i}\qu{.k}\en
+\Notes\ltab35&\cu j\en
+\bar%
+\NOtes\zltab65\zltab45\ltab33&\zql N\zq g\qu i\en
+\NOtes\zltab50\zltab43\ltab32&\zql a\zq f\qu h\en
+\notes\zltab54\ltab45\ilsluru04\ltab43\ltab42\tlslur04\ltab43%
+&\zql{^c}\ibbu0g{-1}\qb0{g}\slur eed2\qb0{fe}\tqu0f\en
+\bar%
+\notes\zltab60\zltab50\ltab45\ilsluru04\ltab42\ltab43\tlslur04\ltab40%
+&\zq K\zql a\ibbu0g{-1}\qb0g\slur edd2\qb0e\qb0f\tqu0d\en
+\znotes&\lcn{14}{J.S. Bach}\en
+\zendextract
+\end{music}
+
+\noindent
+The coding is
+\begin{footnotesize}
+\begin{quote}\begin{verbatim}
+\instrumentnumber{2}
+\songbottom1\songtop2
+\setclefsymbol2\treblelowoct
+\generalmeter{\meterfrac34}
+\generalsignature{-1}
+\setlines16\setclefsymbol1\tabclef\setsize1\largevalue\setsign10
+\nobarnumbers
+\interinstrument=4\internote
+\parindent=2ex
+\setname1{\tabstringfnt\baselineskip=1.5\internote%
+ \vbox{\hbox to\parindent{\hss E\hss}%
+ \hbox to\parindent{\hss B\hss}%
+ \hbox to\parindent{\hss G\hss}%
+ \hbox to\parindent{\hss D\hss}%
+ \hbox to\parindent{\hss A\hss}%
+ \hbox to\parindent{\hss D\hss}}}
+\startextract
+\NOtesp\zltab55\zltab43\ltab32&\zh{d}\zhl{f}\qu{.h}\en
+\Notes\ltab32&\cu{h}\en
+\bar%
+\NOtes\zltab55\zltab45\zltab33\ltab10&\zq d\zql g\zq i\qu l\en
+\NOtesp\zltab54\zltab45\zltab32\ltab10&\rhl{^c}\rhu{g}\zh{h}\qu{.l}\en
+\Notes\ltab10&\cu{l}\en
+\bar%
+\NOtes\zltab40\zltab32\zltab23\ltab11&\zq d\zq h\zq k\qu{m}\en
+\NOtes\zltab51\zltab43\zltab33\ltab23&\zhl b\zh f\zq{.i}\qu{.k}\en
+\Notes\ltab35&\cu j\en
+\bar%
+\NOtes\zltab65\zltab45\ltab33&\zql N\zq g\qu i\en
+\NOtes\zltab50\zltab43\ltab32&\zql a\zq f\qu h\en
+\notes\zltab54\ltab45\ilsluru04\ltab43\ltab42\tlslur04\ltab43%
+&\zql{^c}\ibbu0g{-1}\qb0{g}\slur eed2\qb0{fe}\tqu0f\en
+\bar%
+\notes\zltab60\zltab50\ltab45\ilsluru04\ltab42\ltab43\tlslur04\ltab40%
+&\zq K\zql a\ibbu0g{-1}\qb0g\slur edd2\qb0e\qb0f\tqu0d\en
+\znotes&\lcn{14}{J.S. Bach}\en
+\zendextract
+\end{verbatim}\end{quote}
+\end{footnotesize}
+Tablature support in \musixtex\ has been adapted
+from \verb|tabdefs.tex| by R.J.~Gelten, which is available
+\href{http://icking-music-archive.org/software/musixtex/add-ons/tabdefs.tex}
+{\underline{here}}
+at WIMA\index{WIMA}.
diff --git a/macros/musixtex/doc/musixdoc/musixdoc.ltx b/macros/musixtex/doc/musixdoc/musixdoc.ltx
new file mode 100644
index 0000000000..c48e40b773
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/musixdoc.ltx
@@ -0,0 +1,102 @@
+%
+% This file is part of MusiXTeX
+%
+% MusiXTeX is free software; you can redistribute it and/or modify
+% it under the terms of the GNU General Public License as published by
+% the Free Software Foundation; either version 2, or (at your option)
+% any later version.
+%
+% MusiXTeX is distributed in the hope that it will be useful,
+% but WITHOUT ANY WARRANTY; without even the implied warranty of
+% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the
+% GNU General Public License for more details.
+%
+% You should have received a copy of the GNU General Public License
+% along with MusiXTeX; see the file COPYING. If not, write to
+% the Free Software Foundation, Inc., 59 Temple Place - Suite 330,
+% Boston, MA 02111-1307, USA.
+%
+%
+% musixdoc.tex : the document
+%
+\documentclass[twoside,11pt,notitlepage]{report}
+
+\usepackage{musixdoc}
+
+
+%\includeonly{%
+%frontmatter,
+%introduction,
+%settingup,
+%preparing,
+%writingnotes,
+%beams,
+%restsdoc,
+%spacing,
+%accidentals,
+%transposition,
+%slurstiesfont,
+%slurstiesTypeK,
+%barlines,
+%barnumbering,
+%layout,
+%changing,
+%repeats,
+%fonts,
+%miscellaneous,
+%smaller,
+%staffsize,
+%parameters,
+%extracting,
+%lyrics,
+%embedding,
+%extensions,
+%examples,
+%summary,
+%index
+%}
+
+\startmuflex
+
+\makeindex
+
+\begin{document}
+
+\include{frontmatter}
+
+\setcounter{page}{1}
+\pagenumbering{arabic}
+\renewcommand{\thepage}{\arabic{page}}
+
+\include{introduction}
+\include{settingup}
+\include{preparing}
+\include{writingnotes}
+\include{beams}
+\include{restsdoc}
+\include{spacing}
+\include{accidentals}
+\include{transposition}
+\include{slurstiesfont}
+\include{slurstiesTypeK}
+\include{barlines}
+\include{barnumbering}
+\include{layout}
+\include{changing}
+\include{repeats}
+\include{fonts}
+\include{miscellaneous}
+\include{smaller}
+\include{staffsize}
+\include{parameters}
+\include{extracting}
+\include{lyrics}
+\include{embedding}
+\include{extensions}
+\include{examples}
+
+\include{summary}
+
+\include{index}
+
+\end{document}
diff --git a/macros/musixtex/doc/musixdoc/musixdoc.sty b/macros/musixtex/doc/musixdoc/musixdoc.sty
new file mode 100644
index 0000000000..d752fc8b02
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/musixdoc.sty
@@ -0,0 +1,148 @@
+%
+% This file is part of MusiXTeX
+%
+% MusiXTeX is free software; you can redistribute it and/or modify
+% it under the terms of the GNU General Public License as published by
+% the Free Software Foundation; either version 2, or (at your option)
+% any later version.
+%
+% MusiXTeX is distributed in the hope that it will be useful,
+% but WITHOUT ANY WARRANTY; without even the implied warranty of
+% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the
+% GNU General Public License for more details.
+%
+% You should have received a copy of the GNU General Public License
+% along with MusiXTeX; see the file COPYING. If not, write to
+% the Free Software Foundation, Inc., 59 Temple Place - Suite 330,
+% Boston, MA 02111-1307, USA.
+%
+%
+
+\usepackage[papersize={210mm,11in},margin=1.125in]{geometry} % a4 width, letter-paper height
+\pagestyle{headings}
+\usepackage{makeidx}
+\usepackage{multicol}
+\usepackage{etex}
+\usepackage{amssymb}
+
+
+\newcommand{\comment}[1]{}
+
+%\usepackage{indentfirst}
+
+\usepackage{mflogo}
+
+\usepackage[cp1252]{inputenc} % needed for ç in extensions.tex
+
+% default is Computer Modern OT1 encoding
+\usepackage[T1]{fontenc} % for CM, \input musixec after musixtex
+\usepackage[osf]{mathpazo} % Palatino text, with old-style figures; use $n$ for lining figures
+%\usepackage{mathptmx} % Times text
+%\usepackage{helvet}\renewcommand{\familydefault}{\sfdefault} % Helvetica text
+
+% use OT1 encoding for tt to avoid need for cm-super fonts
+\renewcommand{\ttfamily}{\fontencoding{OT1}\fontfamily{cmtt}\selectfont}
+
+
+\usepackage{textcomp}
+
+\input musixtex
+\input musixbm
+\input musixcho
+\input musixdat
+\input musixext
+\input musixgre
+\input musixgui
+\input musixlit
+\input musixltx
+\input musixper
+
+%%% \input musixps deferred to Section 10.2
+
+%\input musixec % EC (Computer Modern) text in music
+\input musixplt % Palatino text in music
+%\input musixtmr % Times text in music
+%\input musixhv % Helvetica text in music
+
+\usepackage{paralist}
+\setlength{\pltopsep}{1pt plus 2pt minus 1pt}
+\setlength{\plitemsep}{4.5pt plus 2pt minus 1pt}
+\renewenvironment{enumerate}{\begin{compactenum}}{\end{compactenum}}
+\renewenvironment{itemize}{\begin{compactitem}}{\end{compactitem}}
+\renewenvironment{description}{\begin{compactdesc}}{\end{compactdesc}}
+
+\setcounter{tocdepth}{1}
+\setcounter{secnumdepth}{2}
+
+% more place for section numbers in \tableofcontents
+\usepackage{tocloft}
+\setlength{\cftsecnumwidth}{3.0em}
+
+\renewcommand{\chaptermark}[1]{\markboth{\itshape Chapter \thechapter. #1}{}}
+\renewcommand{\sectionmark}[1]{\markright{\itshape\thesection. #1}}
+
+\usepackage[colorlinks=true]{hyperref}
+
+\nobarnumbers
+
+\def\st@ffs{1}
+
+% for usage of notes inside text
+\let\nblines\z@
+
+\def\notesintext#1{% no staff lines, no clefs
+ {\let\extractline\relax
+ \setlines10\smallmusicsize \nobarnumbers \nostartrule
+ \staffbotmarg0pt \setclefsymbol1\empty \global\clef@skip0pt
+ \startextract\addspace{-\afterruleskip}#1\zendextract}}
+\def\musicintext#1#2{% normal
+ {\let\extractline\relax
+ \smallmusicsize \nobarnumbers
+ \staffbotmarg0pt \setclef1{#1}
+ \startextract\addspace{-\afterruleskip}#2\endextract}}
+% macro adapted to insert music without clef:
+\def\musicintextnoclef#1{% no clef small
+ {\let\extractline\relax
+ \smallmusicsize \nobarnumbers
+ \staffbotmarg0pt \setclefsymbol1\empty
+ \startextract\addspace{-\afterruleskip}#1\endextract}}
+\def\musicintextnoclefn#1{% no clef normal
+ {\let\extractline\relax
+ \nobarnumbers
+ \staffbotmarg0pt \setclefsymbol1\empty
+ \startextract\addspace{-\afterruleskip}#1\endextract}}
+
+\def\musictex{Music\TeX{}}
+\def\onen{{\ttfamily\char123}$n${\ttfamily\char125}}
+\def\pitchp{{\ttfamily\char123}$p${\ttfamily\char125}}
+\def\itbrace#1{{\ttfamily\char123}$#1${\ttfamily\char125}}
+\def\nochange{{\ital{NOT to be changed}}}
+
+\ifx\setendvolta\undefined\def\setendvolta{\endvolta}\fi
+\ifx\setendvoltabox\undefined\def\setendvoltabox{\endvoltabox}\fi
+\def\tty{\csname normalshape\endcsname\csname mediumseries\endcsname\ttfamily}
+\def\mutex{M\raise\tw@\p@\hbox{\kern\m@ne\p@ u\kern\m@ne\p@}\TeX}
+\def\Bslash{\ttfamily\char'134}
+\def\|{\texttt{\char'174}}
+\def\LBR{\texttt{\char'173}}
+\def\RBR{\texttt{\char'175}}
+\def\keyindex#1{\leavevmode
+ \hbox{{\Bslash #1}}\index{#1@{\protect\small\protect\Bslash #1}}}
+\def\zkeyindex#1{\index{#1@{\protect\small\protect\Bslash #1}}}
+\def\ixem#1{#1\index{#1}}
+\def\itxem#1{\textit{#1}\index{#1}}
+\def\ttxem#1{\texttt{#1}\index{#1@\texttt{#1}}}
+\def\ixtt#1{\index{#1@\texttt{#1}}}
+\def\ital#1{\textit{#1\/}}
+\def\enpee{{\ttfamily{\char123$n$\char125\char123$p$\char125}}}
+
+\def\unix{\textsc{unix}}
+
+\sloppy
+
+
+\def\underscoreSymbol{\leavevmode \kern.06em \vbox{\hrule width.3em}}%
+\def\_{\protect\underscoreSymbol}
+
+
+\endinput
diff --git a/macros/musixtex/doc/musixdoc/parameters.tex b/macros/musixtex/doc/musixdoc/parameters.tex
new file mode 100644
index 0000000000..6cdd48b62f
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/parameters.tex
@@ -0,0 +1,140 @@
+\chapter{Layout Parameters}\label{LayoutParameters}
+ Most layout parameters are set by \musixtex\ to reasonable default values.
+However, some projects will require altering one or more of them. In this
+section we discuss the most important parameters and how to change them.
+
+ \section{List of layout parameters}
+ In the following, the indication ``\nochange'' does not mean that this
+parameter cannot be changed at all, but that it should not be modified
+directly, e.g,.~by saying something like \verb|\Interligne=14pt|. In other
+words, changes in these parameters must be accomplished only by more
+comprehensive macros which not only revise them but at the same time perform
+other necessary related changes. Even though you cannot \ital{change} these,
+you may \ital{refer} to them in your coding if that proves useful.
+
+\begin{description}\setlength{\itemsep}{0ex}
+ \item[\keyindex{Interligne} :]vertical distance between the bottoms of
+consecutive staff lines of the current instrument, taking no account of a
+possible alteration by \keyindex{setsize}; \nochange.
+ \item[\keyindex{internote} :]vertical spacing between notes one scale
+step apart in the current instrument, taking account of a possible alteration
+by \keyindex{setsize}; \nochange.
+Note that each distinct instrument may have a different
+\verb|\internote| (see Chapter~\ref{staffspacing}).
+ \item[\keyindex{Internote} :]vertical spacing between notes one scale
+step apart in any instrument whose \keyindex{setsize} has the default
+value \keyindex{normalvalue} ($1.0$), equal to \verb|0.5\Interligne|; \nochange.
+\item[\keyindex{staffbotmarg} :]margin below the first (lowest) staff of the
+first (lowest) instrument. Changes are recognized at the next system.
+Default is \verb|3\Interligne|.
+ \item[\keyindex{stafftopmarg} :]margin above the last (uppermost) staff of
+last (uppermost) instrument. Changes are recognized at the next system.
+Default is \verb|3\Interligne|.
+ \item[\keyindex{interbeam} :]vertical distance between beams; \nochange.
+\item[\keyindex{interstaff} :]a very important macro with a single numerical
+argument representing the factor that multiplies \verb|2\internote| to give the
+distance between the bottom of one staff and the bottom of the next one. In
+fact the macro redefines the parameter \verb|\interfacteur|. Default is 9.
+\verb|\interstaff| applies to all the
+instruments; to set the inter-staff spacing for a single instrument,
+use \keyindex{setinterstaff}\itbrace{n}\itbrace{m},
+$n$ is the instrument and $m$ is the replacement factor for that instrument.
+Note that
+after you have used \keyindex{setinterstaff},
+you cannot reset the distances for that instrument with
+\keyindex{interstaff}; you must subsequently use
+\keyindex{setinterstaff} for that purpose.
+\item[\keyindex{interportee} :]distance between the bottom of one staff and
+the bottom of the next one. It is always reset to
+2 times \keyindex{internote} times the \keyindex{interfacteur} for the current
+instrument at the next system.
+Therefore, trying to change \verb|\interportee| will have no effect. Change
+\verb|\interstaff| or use \keyindex{setinterstaff} instead.
+\item[\keyindex{interinstrument} :]additional vertical distance between
+two consecutive instruments. This means that the distance between the lowest
+line of the previous instrument and the lowest line of the top staff of the current
+instrument is \verb|\interportee+\interinstrument|. The
+default value of \verb|\interinstrument| is zero, but sometimes you
+may want additional space between distinct instruments. This is a general
+dimension register. As usual in \TeX, it can be set using a command such as
+\verb|\interinstrument=10pt| or \verb|\interinstrument=6\internote|. Its
+value can be overridden for the space above any particular instrument
+with the macro \keyindex{setinterinstrument}\itbrace{n}\itbrace{s}, where
+$n$ is the instrument and $s$ is the replacement value of the space to
+be added. The \verb|\setinterinstrument| macro may be useful in some vocal
+scores to provide vertical space for lyrics.
+Note that
+after you have used \keyindex{setinterinstrument},
+you cannot reset the distances for that instrument with
+\keyindex{interinstrument}; you must subsequently use
+\keyindex{setinterinstrument} for that purpose.
+
+ \item[\keyindex{systemheight} :]distance from the bottom of the
+lowest staff to the top of the highest one. This is the length of any
+vertical lines such as repeats that span the full height of a system;
+\nochange.
+\end{description}
+
+ In addition, when handling notes of a given staff of a given instrument, the
+following dimensions are available (note these are not true registers, but
+\ital{equivalenced symbols} through a \verb|\def|):
+
+\begin{description}\setlength{\itemsep}{0ex}
+ \item[\keyindex{altplancher} :]altitude of the lowest line of the lowest
+instrument; \nochange.
+ \item[\keyindex{altitude} :]altitude of the lowest line of the lowest
+staff of the current instrument; \nochange.
+ \item[\keyindex{altportee} :]altitude of the lowest line of the current
+staff; \nochange.
+
+ %??? Next perhaps will change to steps of \verb|\internote|.
+
+ \item[\keyindex{stemfactor} :]parameter defining the length of stems on
+half, quarter, and beamed eighth notes, in units of \verb|\interbeam|.
+Normally a stem has the length of one octave,
+i.e.,~\verb|3.5|\keyindex{Interligne}. However, this is not correct for small or tiny
+note sizes. Therefore, stem length is defined as a multiple of the
+dimension \keyindex{interbeam}, which is chosen because it is automatically
+redefined as a
+different multiple of \keyindex{Interligne} whenever note size is changed. For
+example, with \verb|\normalmusicsize| when \verb|\setsize| is
+\verb|\normalvalue|, \verb|\interbeam| is \verb|0.75|\keyindex{Interligne}. This
+legislates a default value for \keyindex{stemfactor} of $4.66$ ($=3.5/0.75$).
+To change stem length, it is easiest to use e.g.,~\keyindex{stemlength}\verb|{3.5}|, which simply redefines \verb|\stemfactor|.
+Subsequently, \verb|\stemfactor| will not automatically be reset to the default,
+but keep in mind that if it is changed
+inside a notes group, the change will only be effective within that notes group.
+\end{description}
+
+ \section{A convenient macro for changing layout parameters}
+Of the parameters just described that can be changed, many should only be
+changed between the end of one system and the beginning of the next. The
+command sequence \verb|\def\atnextline{|\ital{any control sequence}\verb|}|
+may be useful for this purpose. It will cause \ital{any control sequence} to
+be inserted right before the next new line is begun, provided the line break
+is not initiated by a \verb|\startpiece|. Thus this will work with
+automatically generated line breaks, with those forced by \verb|\alaligne|, and
+with those forced by explicit use of \verb|\endpiece| or \verb|\stoppiece|
+followed by \verb|\contpiece|. (Note, however, that in the latter case it
+would be just as convenient to enter the parameter changes explicitly as well.)
+The control sequence will only be executed once,
+after which \verb|\atnextline| is redefined as \verb|\empty|.
+
+ \section{Changing the number of lines per staff}\label{stafflinenumber}
+Naturally, the default number of lines per staff is five. But you may want a
+different number in some or all staves, for example for gregorian music,
+percussion music, guitar tablature, or early baroque keyboard music. To do so,
+use the command \keyindex{setlines}\itbrace{n}\itbrace{m}~where $n$ is the
+instrument number and $m$ is the number of lines.
+
+ \section{Resetting normal layout parameters}
+The general size can only be changed with one of the commands
+\keyindex{smallmusicsize},
+\keyindex{normalmusicsize}, \keyindex{largemusicsize}, or
+\keyindex{Largemusicsize}. Beyond that, the command
+\keyindex{resetlayout} will reset the following key layout parameters
+to their default values: \keyindex{staffbotmarg} (\verb|3\Interligne|),
+\keyindex{stafftopmarg} (\verb|3\Interligne|), \keyindex{interstaff} ($9$),
+ number of lines per staff for all instruments ($5$); and will reset all clef
+symbols to standard clef symbols.
+
diff --git a/macros/musixtex/doc/musixdoc/preparing.tex b/macros/musixtex/doc/musixdoc/preparing.tex
new file mode 100644
index 0000000000..88e3756bf4
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/preparing.tex
@@ -0,0 +1,285 @@
+\chapter{Preparing to Enter Notes}\label{preparing}
+ \section{After the setup, what next?}
+
+The command \keyindex{startmuflex} initiates the serious business of
+\musixtex. On the first \TeX\ pass it
+opens \ital{jobname}{\tt .mx1} for writing bar-by-bar tabulations of all
+hard and scalable space to be fed to \verb|musixflx| on the second pass.
+\verb|musixflx| generates \ital{jobname}{\tt .mx2} which defines the
+number of bars in each system and the factors relating scalable space
+to hard space in each system. On the third pass both files will be opened
+and read to define the final spacing. These files should be closed before
+leaving \TeX, preferably before
+\keyindex{bye} or \keyindex{end}, with \keyindex{endmuflex}. Normally \TeX\
+closes all open files on its own when terminating the program, but it is still
+cleaner to do this explicitly.
+
+After \verb|\startmuflex|, the command \keyindex{startpiece} will initiate
+the first system, containing all instruments you have previously defined.
+The indentation will be \keyindex{parindent}, so if you want nonzero
+indentation, this register should be set to the desired hard dimension
+before issuing \verb|\startpiece|.
+
+ \section{Horizontal spacing commands}\label{newspacings}
+\subsection{Basic note spacing}
+\musixtex\ provides a set of macros each of which defines a particular
+increment of scalable spacing. The default set is tabulated in
+Figure~\ref{spacingtable}.
+\begin{table}
+\begin{small}
+\begin{center}
+\tinynotesize
+\renewcommand{\arraystretch}{1.5}% I hate LaTeX (attributed to Daniel Taupin)
+\begin{tabular}{|l|l|l@{~~~~}l|}
+\multicolumn{1}{c}{Usage}&
+\multicolumn{1}{c}{spacing}&
+\multicolumn{2}{c}{Suggested use}\\\hline
+\keyindex{znotes}\verb| ... & ... & ... \en|&(non spacing)
+ &&specials\\
+\keyindex{notes}\verb| ... & ... & ... \en|&\verb=2=\keyindex{elemskip}
+ &\ccu1&16th\\
+\keyindex{notesp}\verb| ... & ... & ... \en|&\verb=2.5\elemskip=
+ &\pt1\ccu1&dotted 16th, 8th triplet\\
+\keyindex{Notes}\verb| ... & ... & ... \en|&\verb=3\elemskip=
+ &\cu1&8th\\
+\keyindex{Notesp}\verb| ... & ... & ... \en|&\verb=3.5\elemskip=
+ &\cup1&dotted 8th, quarter triplet\\
+\keyindex{NOtes}\verb| ... & ... & ... \en|&\verb=4\elemskip=
+ &\qu1&quarter\\
+\keyindex{NOtesp}\verb| ... & ... & ... \en|&\verb=4.5\elemskip=
+ &\qup1&dotted quarter, half triplet\\
+\keyindex{NOTes}\verb| ... & ... & ... \en|&\verb=5\elemskip=
+ &\hu1&half\\
+\keyindex{NOTesp}\verb| ... & ... & ... \en|&\verb=5.5\elemskip=
+ &\hup1&dotted half\\
+\keyindex{NOTEs}\verb| ... & ... & ... \en|&\verb=6\elemskip=
+ &\wh1&whole\\\hline
+\end{tabular}\end{center}
+\end{small}
+\caption{Spacing Commands}
+\label{spacingtable}
+\end{table}
+What each of these macros actually does is to set an
+internal dimension register \keyindex{noteskip} to the given multiple
+of the fundamental spacing unit \keyindex{elemskip}
+(which has dimensions of length, usually given in points).
+Normally, every \itxem{spacing note} (e.g.,
+\keyindex{qu},
+\keyindex{qb}, \keyindex{hl}) will then be followed by a spacing of
+width \keyindex{noteskip}. By selecting a particular note spacing macro
+from the above table, the typesetter can thus control the relative spacing
+between notes.
+
+The actual spacing will therefore be determined by the value of
+\verb|\elemskip|. On the first pass, \TeX\ will set a default value for
+\verb|\elemskip| based on the declared music size, or the user can
+set it to any hard dimension he chooses. However, the value on the
+first pass doesn't matter as much as you might think (more about that later).
+On the second pass,
+\verb|musixflx| determines where the system breaks will come,
+and then computes the final value of \verb|\elemskip| for each system.
+
+If the arithmetic progression of note spacings in the above table does not
+meet your wishes, you may activate an alternate set with
+the command \keyindex{geometricskipscale}. As implied by the name, this
+is a geometric progression, where {\Bslash Notes} is
+$\sqrt{2}$ times wider than {\Bslash notes}, {\Bslash NOtes} is $\sqrt{2}$
+times wider than {\Bslash Notes}, and so forth.
+Then the factors in the middle column
+of the above table will be replaced by the sequence
+$2.00$, $2.38$, $2.83$, $3.36$, $4.00$, $4.76$, $5.66$, $6.72$, and $8.00$. Two additional
+macros, \verb|\NOTEsp| and \verb|\NOTES|, will be defined corresponding to
+factors $9.52$ and $11.32$. The original arithmetic progression can be
+restored by \keyindex{arithmeticskipscale}.
+
+If neither of the predefined progressions satisfies you, you may define
+your own, using the more general macro \verb|\vnotes| in the same manner
+that \musixtex\ uses it for the predefined progressions. So for example
+\verb|\def\NOtes{\vnotes5.34\elemskip}| will redefine \verb|\NOtes| in
+the obvious way, and the extension to the other spacing macros should
+likewise be obvious.
+The following abbreviations may be useful:
+\begin{quote}
+\begin{tabular}{lcl}
+ \keyindex{nnotes} &for&\verb|\vnotes1.6\elemskip|\\
+ \keyindex{nnnotes} &for&\verb|\vnotes1.28\elemskip|
+\end{tabular}
+\end{quote}
+
+In addition, inside any pair \verb|\notes...\en| there are two
+equivalent ways to
+locally redefine \verb|\noteskip| to another scalable value, namely by
+issuing a command like
+\verb|\noteskip=2.4\noteskip| or \keyindex{multnoteskip}\verb|{2.4}|, which
+have the expected effect until the notes group is terminated or
+\verb|\noteskip| is further redefined.
+Finally, by issuing a command like
+\keyindex{scale}\verb|{2.4}| outside any notes group, you can scale all subsequent
+\verb|\noteskip|s by any desired factor.
+
+These facilities may be useful, for example,
+to control spacing when there are three equal duration notes in one staff against two
+ in another.
+
+
+%\subsection{\Bslash{\tt elemskip}, \Bslash{\tt beforeruleskip} and
+%\Bslash{\tt afterruleskip}}
+%
+% avr wants to call these "commands", but das doesn't.
+%\subsection{Commands {\Bslash\texttt{elemskip}},
+%{\Bslash\texttt{beforeruleskip}}
+%and {\Bslash\texttt{afterruleskip}}}
+%\subsection{{\Bslash\texttt{elemskip}},
+%{\Bslash\texttt{beforeruleskip}}
+%and {\Bslash\texttt{afterruleskip}}}
+
+\subsection{Before and after rule skips}
+
+
+We've just seen how \verb|\elemskip| is used to scale the spacings between notes.
+There are two other spacing units that share some behavior with \verb|\elemskip|:
+\verb|\beforeruleskip| is the horizontal space that is automatically inserted
+\ital{before} every bar line, while \verb|\afterruleskip| goes \ital{after}
+every bar line. (In
+practice \verb|\beforeruleskip| is almost aways set to \verb|0pt| because there
+will typically already be a space of \verb|1\noteskip| before every barline.)
+On the first pass, just as with \verb|\elemskip|, \musixtex\ assigns them default
+values according to the following table:
+
+%\begin{quote}\begin{tabular}{lrrr}\hline
+%\ital{using}&\keyindex{elemskip}&\keyindex{afterruleskip}
+% &\keyindex{beforeruleskip}\\\hline
+%\keyindex{normalmusicsize}&6pt&8pt&0pt\\
+%\keyindex{smallmusicsize}&4.8pt&6pt&0pt\\\hline
+%\end{tabular}\end{quote}
+
+\begin{center}\begin{tabular}{lrrr}\hline
+\ital{using}&\keyindex{elemskip}&\keyindex{afterruleskip}
+ &\keyindex{beforeruleskip}\\\hline
+\keyindex{normalmusicsize}&{\tt 6pt}&{\tt 8pt}&{\tt 0pt}\\
+\keyindex{smallmusicsize}&{\tt 4.8pt}&{\tt 6pt}&{\tt 0pt}\\\hline
+\end{tabular}\end{center}
+
+\noindent In the second pass, \verb|musixflx| assigns new values to each
+of these dimensions, a different set for each line or system. It does this
+in such a way that available scalable horizontal space in each system is
+exactly filled up.
+
+The values that are assigned to these dimensions on the first pass, whether by
+default or explicitly by the user or in some combination, only matter insofar
+as their relative sizes. That's why we earlier stated that the first-pass value
+of \verb|\elemskip| didn't matter as much as you might think. For both music sizes
+in the table above, it appears that by default \verb|\afterruleskip| is
+\verb|1.3333\elemskip|\footnote{Editor's note: It is a mystery why the authors
+%of \musixtex\ didn't simply define \Bslash{\tt beforeruleskip} and \Bslash{\tt afterruleskip} as
+%specific multiples of \Bslash{\tt elemskip}}.
+of \musixtex\ didn't simply define \Bslash\texttt{beforeruleskip} and \Bslash\texttt{afterruleskip} as
+specific multiples of \Bslash\texttt{elemskip}.}.
+
+Note that if you do want to change any of these
+values, you have to do so \ital{after} setting the
+music size and before \verb|\startpiece|.
+
+Here is an example that illustrates the various dimensions under discussion:\\
+ %\check
+\begin{music}\nostartrule
+\afterruleskip7pt
+\beforeruleskip2pt
+\parindent0pt
+\setclefsymbol1\empty
+% special problems afford special solutions
+\makeatletter\global\clef@skip\z@ \makeatother
+\startpiece
+\zchar{16}{\hbox to\afterruleskip{\downbracefill}}%
+\zchar{19}{\hbox to\afterruleskip{\hss a\hss}}%
+\addspace\afterruleskip
+\zchar{16}{\hbox to2\elemskip{\downbracefill}}%
+\zchar{19}{\hbox to2\elemskip{\hss b\hss}}%
+\zchar{3}{\hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}}%
+\zchar{-1}{\hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}}%
+\notes\qa l\en
+\znotes\en
+\zchar{16}{\hbox to4\elemskip{\downbracefill}}%
+\zchar{19}{\hbox to4\elemskip{\hss c\hss}}%
+\zchar{3}{\hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}%
+ \hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}}%
+\zchar{-1}{\hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}%
+ \hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}}%
+\NOtes\qa l\en
+\znotes\en
+\zchar{16}{\hbox to\beforeruleskip{\downbracefill}}%
+\zchar{19}{\hbox to\beforeruleskip{\hss d\hss}}%
+\setemptybar\endpiece
+\end{music}
+\begin{quote}\begin{tabular}{l@{~$\rightarrow$~}l}
+a&\keyindex{afterruleskip}\\
+b&\keyindex{notes}\verb| = \vnotes 2\elemskip|\\
+c&\keyindex{NOtes}\verb| = \vnotes 4\elemskip|\\
+d&\keyindex{beforeruleskip}\\
+e&\keyindex{elemskip}
+\end{tabular}\end{quote}
+
+\section{Moving from one staff or instrument to another}
+ \label{movingtostaffs}
+
+When entering notes inside \verb|\notes ... \en|, the usual way to suspend
+input for one instrument and start the next (higher) is with the character
+``\verb|&|''\index{"&@{\tt\char'046}}. If the instrument has more than one
+staff, to switch to the next (higher) one you can use the character
+``\verb+|+''\index{\tt\char'174@{\tt\char'174}}.
+
+There are some alternate navigation commands that may be useful in
+ special situations. Due to ``catcode
+problems'' (see Section~\ref{catcodeprobs}) it may sometimes be necessary
+to use the more explicit commands
+\keyindex{nextinstrument} and \keyindex{nextstaff}, which have the same
+meanings as ``\verb|&|'' and ``\verb+|+'' respectively. To switch to the previous
+(next lower) staff of the same instrument, use \keyindex{prevstaff}. This might
+be useful if a beam starts in a higher staff than where it ends. More
+generally, to switch to an arbitrary instrument $n$, use
+\keyindex{selectinstrument}\onen, and to switch to an arbitrary staff $n$
+of the current instrument, use \keyindex{selectstaff}\verb|{|$n$\verb|}|. In the
+latter case if $n$ exceeds the number of staves defined for the instrument, you
+will receive an error message. You can enter part of a successive voice on
+the \ital{same} staff by using \verb|\selectstaff{|$n$\verb|}| with $n$ for
+the \ital{current} staff.
+
+
+\section{Automatic note spacing}
+\label{autosp}
+
+A preprocessor called \texttt{autosp}\index{autosp@{\tt autosp}} automates the generation
+of note-spacing commands by converting (non-standard) commands
+of the form \verb|\anotes ... \en| into one or more conventional
+note-spacing commands, as determined by the note values
+themselves, with \verb|\sk| spacing commands inserted as necessary.
+The coding for an entire measure can be entered one part at
+a time, without concern for note-spacing changes within the
+part or spacing requirements of other parts.
+For example, from the input
+\begin{verbatim}
+ \anotes\qa J\qa K&\ca l\qa m\ca n\en
+\end{verbatim}
+\texttt{autosp} generates
+\begin{verbatim}
+ \Notes\qa J\sk\qa K\sk&\ca l\qa m\sk\ca n\en
+\end{verbatim}
+\texttt{autosp} also supports non-standard commands for adding ``global''
+skips (i.e., in every staff) and centered whole-bar rests.
+
+As an option, \emph{all} note-spacing commands (except \verb|\znotes|
+and \verb|\vnotes|) will be processed similarly; this is useful for correcting
+the spacing in single-instrument parts extracted from a multi-instrument score;
+see Section~\ref{musixtnt}.
+
+The \texttt{autosp} package is available in
+\href{https://www.tug.org/texlive/}{\underline{TeXLive}}
+and
+\href{http://miktex.org/}{\underline{MiKTeX}}, and
+can also be found at
+the \href{http://icking-music-archive.org/software/autosp/autosp.zip}
+{\underline{Werner Icking Music Archive}}
+or at
+\href{http://mirrors.ctan.org/support/autosp.zip}{\underline{CTAN}}
+(the Comprehensive \TeX\ Archive Network).
+
diff --git a/macros/musixtex/doc/musixdoc/repeats.tex b/macros/musixtex/doc/musixdoc/repeats.tex
new file mode 100644
index 0000000000..5924d92d43
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/repeats.tex
@@ -0,0 +1,272 @@
+\chapter{Repeats}
+
+To replace a bar line with a left, right, or left-right repeat, use one of the
+commands \keyindex{leftrepeat}, \keyindex{rightrepeat} or
+\keyindex{leftrightrepeat} in place of \verb|\bar|. If a \verb|\leftrepeat|
+happens to come at the end of a system, it will automatically be moved to the
+start of the next system. If a \verb|\leftrightrepeat| happens to come at the
+end of a system, \musixtex\ will automatically post a right repeat at the end
+of the system and a left repeat at the beginning of the next.
+
+For example,
+
+\begin{music}\nostartrule
+\startextract
+\NOTes\ha g\en
+\leftrepeat
+\NOTes\ha h\en
+\leftrightrepeat
+\NOTes\ha i\en
+\rightrepeat
+\NOTEs\wh j\en
+\zendextract
+\end{music}
+ \noindent has been coded as:
+\begin{quote}\begin{verbatim}
+\NOTes\ha g\en
+\leftrepeat
+\NOTes\ha h\en
+\leftrightrepeat
+\NOTes\ha i\en
+\rightrepeat
+\NOTEs\wh j\en
+\end{verbatim}\end{quote}
+
+To insert a right-repeat at a forced line break or at the end of a piece, use
+\verb|\setrightrepeat| \textit{before}\ \verb|\alaligne| or \verb|\endpiece|.
+In fact it is possible to use \keyindex{setleftrepeat},
+\keyindex{setrightrepeat} or \keyindex{setleftrightrepeat} before any
+\keyindex{bar}, \keyindex{stoppiece} or \keyindex{changecontext}; but
+be aware that whereas \verb|\setrightrepeat| behaves properly if the bar is at the
+end of a system, \verb|\setleftrepeat| and \verb|\setleftrightrepeat| do not,
+placing
+the left-repeat symbol at the end of the system rather
+than at the beginning of the next system; see the
+\verb|\zleftrepeat| \verb|\zzleftrepeat| \verb|\zzleftrightrepeat|
+and \verb|\zzleftrightrepeat| commands described below.
+
+
+The following commands generate repeat symbols as usual, but
+are assumed to be in the \emph{middle} of a bar; that is,
+the bar counter is not incremented:
+\begin{itemize}
+\item[] \keyindex{zrightrepeat}
+\item[] \keyindex{zleftrepeat}
+\item[] \keyindex{zleftrightrepeat}
+\end{itemize}
+For example, to insert a left-repeat at a forced line break or at the
+beginning of a piece, simply use \verb|\zleftrepeat| immediately \textit{after}
+\verb|\startpiece| or \verb|\alaligne|. To insert a left-right repeat at a
+forced line break, use \verb|\setrightrepeat\alaligne\zleftrepeat|.
+
+The following commands are similar but force the mid-bar break to the
+end of a system:
+\begin{itemize}
+\item[] \keyindex{zzrightrepeat}
+\item[] \keyindex{zzleftrepeat}
+\item[] \keyindex{zzleftrightrepeat}
+\end{itemize}
+For
+\verb|\zzleftrepeat| and \verb|\zzleftrightrepeat|, the left-repeats occur
+at the beginning of the following system. The bar numbers are
+correctly adjusted, using \keyindex{writezbarno} for the continuation
+if \keyindex{systemnumbers} is in use.
+
+As an example, here is
+a \emph{bour\'ee} by G.-F.~Handel coded using \verb|\zleftrepeat| at the beginning
+of the \textbf{A} section and \verb|\zzleftrightrepeat|
+between the \textbf{A} and the \textbf{B} sections:
+
+\begin{music}
+\smallmusicsize
+\generalmeter{\allabreve}
+\generalsignature{1}
+\startbarno=0
+\nobarnumbers
+\nostartrule
+\startpiece\addspace\afterruleskip
+\systemnumbers
+\zleftrepeat%
+\znotes\ccn{10}{\boxit{\bf A}}\en
+\NOtes\qa d\en%
+\bar%1
+\NOtes\qa{g}\qa{i}\qa{h}\qa{g}\en%
+\bar%2
+\NOTes\ha{k}\ha{i}\en%
+\bar%3
+\NOtes\qa{l}\qa{k}\qa{j}\qa{i}\en%
+\bar%4
+\NOtes\qa j\en
+\NOTes\ha i\en%
+\zzleftrightrepeat%
+\znotes\ccn{10}{\boxit{\bf B}}\en
+\NOtes\qa k\en%
+\bar%5
+\NOtes\qa{l}\qa{j}\qa{h}\en
+\Notes\ibl3i2\qb3i\tql3j\en%
+\bar%6
+\NOtes\qa{k}\qa{i}\qa{g}\en
+\Notes\ibu3h2\qb3h\tqu3i\en%
+\bar%7
+\NOtes\qa{j}\qa{i}\qa{h}\qa{g}\en%
+\bar%8
+\Notes\ibu3h1\qb3{h}\qb3{g}\qb3{h}\tqu3i\en
+\NOtes\qa h\en
+\Notes\ibl3i2\qb3i\tql3j\en%
+\bar%9
+\NOtes\qa k\en
+\Notes\ibl3i2\qb3i\tql3j\en
+\NOtes\qa k\en
+\Notes\ibl3j{-2}\qb3j\tql3i\en%
+\bar%10
+\NOtes\qa j\en
+\Notes\ibu3h2\qb3h\tqu3i\en
+\NOtes\qa j\en
+\Notes\ibu3i{-2}\qb3i\tqu3h\en%
+\bar%11
+\NOtes\qa{i}\qa{g}\en
+\NOtesp\tr{11}\qa{.h}\en
+\Notes\ca g\en%
+\bar%12
+\NOTesp\ha{.g}\en%
+\setrightrepeat%
+\endpiece%
+\end{music}
+
+\noindent No explicit adjustment of \verb|\barno| was necessary. The right-repeat
+at the end of the \textbf{B}~section was produced by
+\verb|\setrightrepeat\endpiece|.
+
+
+
+ \section{First and second endings (Voltas)}\index{volta}
+
+All volta commands must be entered right before the bar line command
+(or repeat, etc.) where they are to take effect. There are three
+commands that suffice to set all voltas. To start one, use
+\keyindex{Setvolta}\verb|{|\textit{text}\verb|}|; to terminate it
+with or without a vertical line, use \keyindex{endvolta} or
+\keyindex{endvoltabox} respectively. The text by default will be followed
+by a period. There are also various alternate
+commands (e.g., \verb|\setendvoltabox| is equivalent to \verb|\endvoltabox|).
+Some such alternate forms are used in the following example, but the first three
+mentioned above are all that are required:
+
+\medskip \begin{music}
+ \parindent0pt
+ \nostartrule
+ \startpiece
+ \addspace\afterruleskip
+ \NOTEs\wh a\en\bar
+ \NOTEs\wh b\en\setvoltabox{1.-3}\bar
+ \NOTEs\wh c\en\setvolta4\setendvolta\rightrepeat
+ \NOTEs\wh d\en\doublebar
+ \NOTEs\wh e\en\bar
+ \NOTEs\wh f\en\leftrepeat
+ \NOTEs\wh g\en\bar
+ \NOTEs\wh h\en\Setvolta1\bar
+ \NOTEs\wh i\en\bar
+ \NOTEs\wh j\en\Setvolta2\setendvoltabox\rightrepeat
+ \NOTEs\wh i\en\bar
+ \NOTEs\wh h\en\setendvoltabox
+ \Endpiece
+ \end{music}
+ \noindent This was coded as
+ \begin{quote}\begin{verbatim}
+ \startpiece \addspace\afterruleskip
+ \NOTEs\wh a\en\bar
+ \NOTEs\wh b\en\setvoltabox{1.-3}\bar
+ \NOTEs\wh c\en\setvolta4\setendvolta\rightrepeat
+ \NOTEs\wh d\en\doublebar
+ \NOTEs\wh e\en\bar
+ \NOTEs\wh f\en\leftrepeat
+ \NOTEs\wh g\en\bar
+ \NOTEs\wh h\en\Setvolta1\bar
+ \NOTEs\wh i\en\bar
+ \NOTEs\wh j\en\Setvolta2\setendvoltabox\rightrepeat
+ \NOTEs\wh i\en\bar
+ \NOTEs\wh h\en\setendvoltabox
+ \Endpiece
+\end{verbatim}\end{quote}
+ \zkeyindex{leftrepeat}\zkeyindex{rightrepeat}
+
+If the volta only spans one measure and ends without a vertical segment,
+it can be specified simply by saying
+\keyindex{setvolta}\verb|{|\textit{text}\verb|}| before the bar line command
+that starts it, and it will automatically terminate at the
+second bar line command:
+
+\medskip \begin{music}
+ \parindent0pt \nostartrule\startpiece \addspace\afterruleskip
+ \NOTEs\wh a\en\bar
+ \NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat
+ \NOTEs\wh d\en\bar
+ \NOTEs\wh e\en\Endpiece
+\end{music}
+\noindent which was coded as:
+ \begin{quote}\begin{verbatim}
+ \parindent0pt \startpiece \addspace\afterruleskip
+ \NOTEs\wh a\en\bar
+ \NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat
+ \NOTEs\wh d\en\bar
+ \NOTEs\wh e\en\Endpiece
+\end{verbatim}\end{quote}
+
+The height above the top staff line of the horizontal line in a volta symbol
+is determined by the token \keyindex{raisevolta} which is \verb|4\internote| by
+default. You can change this to any desired dimension.
+
+The period after the text can be
+removed by saying \verb|\def|\keyindex{voltadot}\verb|{}|
+and restored by \verb|\def|\keyindex{voltadot}\verb|{.}|\ .
+
+ \section{Special symbols for repeating long sections}
+
+Four special symbols and corresponding macros are available, namely
+\keyindex{coda}~$p$, \keyindex{Coda}~$p$,
+and \keyindex{segno}~$p$, where $p$ specifies the pitch; and \keyindex{Segno}
+with no argument. Their behavior is illustrated in this example:
+
+\begin{music}
+\startextract
+\NOtes\segno n\en
+\bar
+\NOtes\coda n\en
+\NOtes\Segno\en
+\bar
+\NOtes\Coda n\en
+\endextract
+\end{music}
+\noindent which has been coded:
+\begin{quote}\begin{verbatim}
+\NOtes\segno m\en\bar
+\NOtes\coda m\en
+\NOtes\Segno\en\bar
+\NOtes\Coda m\en
+\end{verbatim}\end{quote}
+
+\section{Repeating a single bar}
+ The special symbol for a single-bar repeat is generated by \keyindex{duevolte}, as shown
+in the following example:
+
+\begin{music}
+\generalmeter\meterC
+\setclef1\bass\setstaffs1{2}
+\startextract
+\NOtes|\qa{cegj}\en
+\def\atnextbar{\znotes\centerpause|\en}\bar
+\NOtes\qa{cdef}|\en
+\def\atnextbar{\znotes|\centerbar{\duevolte}\en}%
+\endextract
+\end{music}
+\noindent whose coding is:
+\begin{quote}\begin{verbatim}
+\generalmeter\meterC
+\setclef1\bass\setstaffs1{2}
+\startextract
+\NOtes|\qa{cegj}\en
+\def\atnextbar{\znotes\centerpause|\en}\bar
+\NOtes\qa{cdef}|\en
+\def\atnextbar{\znotes|\centerbar{\duevolte}\en}%
+\endextract
+\end{verbatim}\end{quote}
diff --git a/macros/musixtex/doc/musixdoc/restsdoc.tex b/macros/musixtex/doc/musixdoc/restsdoc.tex
new file mode 100644
index 0000000000..1e3a33431c
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/restsdoc.tex
@@ -0,0 +1,231 @@
+\chapter{Rests}
+ \section{Ordinary rests}
+ A separate macro is defined for each kind of ordinary rest. They cause
+a space after the symbol, just like spacing note commands, but they have
+no parameters. A whole rest is coded as
+\keyindex{pause},
+half rest \keyindex{hpause} or \keyindex{hp},
+quarter rest \keyindex{qp} or \keyindex{soupir},
+eighth rest \keyindex{ds}, sixteenth rest \keyindex{qs},
+$32$nd~rest \keyindex{hs}, and $64$th rest \keyindex{qqs}.
+Dotted rests may be obtained by
+using
+\keyindex{pausep},
+\keyindex{hpausep} or \keyindex{hpp}, \keyindex{qpp}, \keyindex{dsp}, \keyindex{qsp},
+\keyindex{hsp} and \keyindex{qqsp},
+and double-dotted rests by
+\keyindex{pausepp},
+\keyindex{hpausepp} or \keyindex{hppp}, \keyindex{qppp}, \keyindex{dspp}, \keyindex{qspp},
+\keyindex{hspp} and \keyindex{qqspp},.
+
+
+ Longer rests, normally interpreted as lasting
+two or four bars respectively, can be coded as \keyindex{PAuse}
+and \keyindex{PAUSe}, which yield:
+
+\begin{music}\nostartrule
+\generalmeter{\meterfrac44}
+\startextract
+\def\atnextbar{\znotes\centerbar\PAuse\en}%
+\NOTEs\en\bar
+\def\atnextbar{\znotes\centerbar\PAUSe\en}%
+\NOTEs\en
+\endextract
+\end{music}
+ %\check
+\noindent
+The command \keyindex{Hpause} $p$ $n$ provides an arbitrary length pause at pitch
+$p$ and of length $n$ \keyindex{noteskip}. For example,
+\verb|\NOTes\Hpause4{0.83}\en|
+produces
+
+\begin{music}
+\nostartrule
+\startextract
+\NOTes\Hpause4{0.83}\en
+\endextract
+\end{music}
+
+
+ \section{Raising rests and non-spacing rests}\index{raising rests}
+All the
+previous rests (except \keyindex{pausep},
+\keyindex{hpausep} and \keyindex{Hpause}) are \ital{hboxes}, which means that
+they can be vertically offset if needed using the
+standard \TeX\ command \keyindex{raise}. For example:
+
+ \begin{quote}
+ \begin{verbatim}
+ \raise 2\Interligne\qp
+ \raise 3mm\qqs
+ \end{verbatim}
+ \end{quote}
+
+\noindent where \keyindex{Interligne} is the distance from one staff line to the
+next.
+Similarly, non-spacing rests may be coded using the \TeX\ command \keyindex{rlap}, as in
+
+\begin{music}\nostartrule
+\startextract
+\notes\ibbu0h{-1}\zccl e\qb0h\raise-4\Interligne\rlap\qs\qb0e\en
+\notes\raise-4\Interligne\rlap\ds\qb0f\tqu0g\en
+\endextract
+\end{music}\noindent
+for which the coding is
+\begin{verbatim}
+\notes\ibbu0h{-1}\zccl e\qb0h\raise-4\Interligne\rlap\qs\qb0e\en
+\notes\raise-4\Interligne\rlap\ds\qb0f\tqu0g\en
+\end{verbatim}
+
+In addition, four special macros are available to raise or lower a whole or
+half rest. The ordinary \verb|\pause| or
+\verb|\hpause| cannot be used outside the staff because a short horizontal line
+must be added to distinguish between the whole and the half rest. The commands,
+which are non-spacing\footnote{Editor's note: The reason for having defined these
+as non-spacing is not obvious}, are
+ \begin{itemize}\setlength{\itemsep}{0ex}
+ \item \keyindex{liftpause}~$n$ to get a
+ \hbox to10pt{\liftpause{-2}\hss}
+ raised from original position by $n$ staff line intervals,
+ \item \keyindex{lifthpause}~$n$ to get
+ \hbox to10pt{\lifthpause{-1}\hss} raised the same way.
+ \item \keyindex{liftpausep}~$n$ to get a
+ \hbox to10pt{\liftpausep{-2}\hss}
+ raised from original position by $n$ staff line intervals,
+ \item \keyindex{lifthpausep}~$n$ to get
+ \hbox to10pt{\lifthpausep{-1}\hss} raised the same way.
+ \end{itemize}
+ %\check
+ \section{Bar-centered rests}\label{barcentered}
+Sometimes it is necessary to place a rest (or some other symbols) exactly in the middle
+of the notes region of a bar
+(i.e., excluding any initial clef and key or time signatures).
+This can usually be done with combinations of the commands
+\keyindex{atnextbar},
+\keyindex{centerbar},
+\keyindex{cPAUSe},
+\keyindex{cPAuse},
+\keyindex{cpause},
+\keyindex{chpause},
+\keyindex{cHpause} $n$,
+as demonstrated in the following example:
+
+\begin{music}
+\generalmeter\meterC
+\generalsignature{3}
+\setclef1\bass
+\setstaffs1{2}
+\parindent0pt
+\startextract
+\NOtes|\qa{cegj}\en
+\def\atnextbar{\znotes\centerbar{\cpause}|\en}%
+\generalsignature{-3}\changecontext
+\NOTes\ha{Nc}|\en
+\def\atnextbar{\znotes|\centerbar{\cpause}\en}%
+\setclef1\alto\changeclefs%
+\generalmeter{\meterfrac21}\changecontext%
+\NOTEs\wh d\pause|\en
+\def\atnextbar{\znotes|\centerbar{\cPAuse}\en}%
+\bar
+\NOTEs|\en
+\def\atnextbar{\znotes\centerbar{\cHpause{12}}|\centerbar{\cHpause{12}}\en}%
+\endextract
+\end{music}
+\noindent with the coding
+\begin{verbatim}
+\generalmeter\meterC
+\generalsignature{3}
+\setclef1\bass
+\setstaffs1{2}
+\parindent0pt
+\startextract
+\NOtes|\qa{cegj}\en
+\def\atnextbar{\znotes\centerbar{\cpause}|\en}%
+\generalsignature{-3}\changecontext
+\NOTes\ha{Nc}|\en
+\def\atnextbar{\znotes|\centerbar{\cpause}\en}%
+\setclef1\alto\changeclefs%
+\generalmeter{\meterfrac21}\changecontext%
+\NOTEs\wh d\pause|\en
+\def\atnextbar{\znotes|\centerbar{\cPAuse}\en}%
+\bar
+\NOTEs|\en
+\def\atnextbar{\znotes\centerbar{\cHpause{12}}|\centerbar{\cHpause{12}}\en}%
+\endextract
+\end{verbatim}\noindent
+
+The following abbreviations are provided:
+\begin{quote}
+\begin{tabular}{lcl}
+\keyindex{centerpause}& for & \verb|\centerbar{\cpause}|\\
+\keyindex{centerhpause}& for & \verb|\centerbar{\chpause}|\\
+\keyindex{centerPAuse}& for & \verb|\centerbar{\cPAuse}|\\
+\keyindex{centerPAUSe}& for & \verb|\centerbar{\cPAUSe}|\\
+\keyindex{centerHpause} $n$ & for & \verb|\centerbar{\cHpause| $n$\verb|}|
+\end{tabular}
+\end{quote}
+Material other than these rests may be used as arguments to
+\verb|\centerbar|, as in:\\
+\begin{music}
+\nostartrule
+\generalmeter\meterC
+\parindent0pt
+\startextract
+\NOTEs\sk\hqsk\en\def\atnextbar{\znotes\centerbar{\ccn{9}{\meterfont7}}%
+\centerbar{\cPAUSe\off{2\elemskip}\cPAuse\off{2\elemskip}\cpause}\en}\bar
+\NOtes\ql{ghij}\en
+\def\atnextbar{\znotes\centerbar{\liftpause2}\en}\bar
+\NOTes\en
+\def\atnextbar{\znotes\centerbar{\duevolte}\en}\bar
+\NOTes\en
+\def\atnextbar{\znotes\loffset{0.7}{\centerbar{\Fermataup l\wh j}}\en}
+\endextract
+\end{music}
+\noindent for which the coding is:
+\begin{verbatim}
+\generalmeter\meterC
+\parindent0pt
+\startextract
+\NOTEs\en\def\atnextbar{\znotes\centerbar{\ccn{9}{\meterfont7}}%
+\centerbar{\cPAUSe\off{2\elemskip}\cPAuse\off{2\elemskip}\cpause}\en}\bar
+\NOtes\ql{ghij}\en
+\def\atnextbar{\znotes\centerbar{\liftpause2}\en}\bar
+\NOTes\en
+\def\atnextbar{\znotes\centerbar{\duevolte}\en}\bar
+\NOTes\en
+\def\atnextbar{\znotes\loffset{0.7}{\centerbar{\Fermataup l\wh j}}\en}
+\endextract
+\end{verbatim}
+In the last measure,
+it has been necessary to use \keyindex{loffset} to correct the centering of
+the off-center command
+\verb|\wh|\ldots.
+
+%To get proper positioning of \keyindex{centerbar} material before
+%a clef change, you may use an invisible bar line as in
+%\begin{quote}
+%\begin{verbatim}
+%\setclef1\bass
+%\startextract%
+%\NOTEs\Hpause4{0.83}\en
+%\def\atnextbar{\znotes\centerbar{\ccn9{\meterfont{4}}}\en}%
+%\qspace\setemptybar\bar% invisible bar line
+%\setclef1\alto\zchangeclefs\bar%
+%\NOtes\qa{abcd}\en
+%\endextract
+%\end{verbatim}
+%\end{quote}
+%which produces
+%
+%\begin{music}
+%\nostartrule
+%\nobarnumbers
+%\setclef1\bass
+%\startextract%
+%\NOTEs\Hpause4{0.83}\en
+%\def\atnextbar{\znotes\centerbar{\ccn9{\meterfont{4}}}\en}%
+%%\qspace\setemptybar\bar% invisible bar line
+%\setclef1\alto\changeclefs\bar%
+%\NOtes\qa{abcd}\en
+%\endextract
+%\end{music}
diff --git a/macros/musixtex/doc/musixdoc/settingup.tex b/macros/musixtex/doc/musixdoc/settingup.tex
new file mode 100644
index 0000000000..5de88fc3e6
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/settingup.tex
@@ -0,0 +1,367 @@
+\chapter{Setting up the Input File}
+\section{What makes a \TeX\ file a \musixtex\ file?}
+A \musixtex\ input file is a special kind of \TeX\ input file. What makes it
+special is that it must contain the command
+\verb|\input musixtex|
+before any reference to \musixtex\ macros. After that might follow
+\verb|\input musixadd| or \verb|\input musixmad| if you want to have
+respectively up to nine or twelve instruments or simultaneous beams,
+ties, or slurs.\ixtt{musixtex.tex}\ixtt{musixadd.tex}\ixtt{musixmad.tex}
+If you want to have greater numbers of these elements, you can assign them
+directly by including one or more of these commands:
+\verb|\setmaxinstruments|,
+\verb|\setmaxcxxviiibeams|,
+\verb|\setmaxcclvibeams|,
+\verb|\setmaxgroups|,
+\verb|\setmaxslurs|,
+\verb|\setmaxtrills|,
+\verb|\setmaxoctlines|.
+
+Since it is still a \TeX\ file, after that, if you wished to,
+you could write a whole non-musical book
+using normal \TeX\ commands provided that you did not
+use \verb|&| as a tab character like in plain \TeX; in \TeX\ lingo,
+its \keyindex{catcode} has been changed.
+
+ \section{Cautions for the non \TeX pert}
+When \TeX\ reads anything, it inputs one \ital{token} at a time. A token
+may be either a \ital{command} or a character. A command (or \ital{macro},
+or \ital{control sequence}) is a
+\ital{backslash} (``{\Bslash}'') immediately followed by sequence of
+letters with no intervening spaces. For practical purposes, any single symbol (letter, digit,
+special character, or space) that is not part of a command counts as a character
+and therefore as a token.
+
+Each command expects a specific number of parameters.
+The tokens ``\verb|{|'' and ``\verb|}|'' are very special, in that (1) they
+must occur in matched pairs, and (2) any matched pair together with
+the stuff inside counts as a single parameter.
+If the first
+parameter expected is a single letter, it must either be
+separated from the command by a space or
+enclosed in braces (otherwise it would be interpreted as part of the command).
+For example the command \verb|\ibu| expects three parameters, so the
+following are all OK: \verb|\ibu123|, \verb|\ibu1A3|, \verb|\ibu1{`A}3|,
+\verb|\ibu{1}{2}{3}|, \verb|\ibu1{-2}3|, or \verb|\ibu1{23}4|, but
+\verb|\ibu1234| is not OK; the first three digits are taken as parameters,
+leaving the ``4'' with no purpose other than to cause some of the dreaded
+unrecorded space that we have already mentioned.
+
+In the rest of this manual, when describing commands we will write
+things like \verb|\qb{|$n$\verb|}{|$p$\verb|}|. It should be understood that
+when $n$ and $p$ are replaced by their literal values, the braces may
+or may not be necessary. In particular, if both are single digits, no
+braces are needed; but if $n$ has two digits, or if $p$ has more than
+one character, they must be surrounded by braces.
+
+Spaces (blank characters) in the input file must be handled very carefully.
+They are ignored at the beginning of a line, enabling logical
+indentation schemes to help make the file human-readable. There are also a few
+other places within lines where blank spaces are OK (such as mentioned in the prior paragraph),
+but in general is it safest to avoid
+any unnecessary blanks between the beginning and end of an input line.
+At the end of a line, the truth is that a command with no parameters, such as
+\verb|\bar| or \verb|\en| will cause no trouble. However if a command with
+one or more parameters is the last item in an input line, it will cause
+unrecorded space. The way around this is to end the line with either ``\verb|%|''
+or \verb|\relax|.
+
+ \section{Usual setup commands}\label{whatspecify}
+
+\subsection{Music size}
+
+ The first decision is what size type to use. \musixtex\ offers four sizes:
+``small'' \mbox{(\texttt{16pt}-high staves),} ``normal'' (\texttt{20pt}),\index{sizes} ``large''
+(\texttt{24pt}), and ``Large'' (\texttt{29pt}). The default is
+\keyindex{normalmusicsize}. If you want a different size, then you have to
+enter \keyindex{smallmusicsize}, \keyindex{largemusicsize}, or
+\keyindex{Largemusicsize}. Each of these commands defines not only the
+desired staff size but many other related sizes such as note heads, ornaments,
+stem lengths, etc.
+
+\subsection{Number of instruments}
+
+ The command \keyindex{instrumentnumber}\onen~defines the
+number of instruments to be $n$. If not entered, the default is $1$. This number is used in loops
+that build staves,
+set key signatures, set meters, etc., so if it differs from $1$ it must be explicitly
+defined before any further commands. The default maximum number of instruments is $6$
+but this can be increased by using \keyindex{setmaxinstruments}\onen.
+
+\subsection{Number of staves per instrument}
+
+An instrument may have one or more staves (e.g.,~a piano would normally have 2 staves).
+The differences between one
+instrument of several staves and several instruments with one staff each are as follows:
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item Different instruments may have different \itxem{key signatures}, while different
+staves of an instrument will all have the same key signature.
+ \item A \itxem{beam} may include notes in different
+staves of the same instrument.
+ \item A \itxem{chord} may extend across several staves of the same
+instrument.
+ \item If an instrument has more than one staff, they will be linked together
+with a big, curly brace at the beginning of each line.
+\end{itemize}
+The default number of staves per instrument is $1$. If it is different, then it
+must be specified by \keyindex{setstaffs}\verb|{|$n$\verb|}{|$p$\verb|}|
+where $p$ is the number of staves and $n$ is the
+number of the instrument. In \musixtex, instruments are numbered
+\ital{starting with the lowest}.
+So for example \verb|setstaffs32|
+assigns two staves to the third instrument from the bottom.
+
+\subsection{Clefs for each staff}
+
+ The default clef for every staff is the \ital{treble} clef. To assign
+any other clef, the command is
+\keyindex{setclef}\verb|{|$n$\verb|}{|$s_1s_2s_3s_4$\verb|}|
+where $n$ is the number of the instrument, $s_1$ is a digit specifying the
+clef for the first (lowest) staff, $s_2$ for the second staff, and so forth.
+Note that like
+instruments, staves of a given instrument are numbered starting with
+the lowest. The parameters $s_2$, $s_3$ and $s_4$ can be omitted, in which case
+any unspecified staves will be assigned a treble clef.
+
+The digits $s$ can range from $0$ to $9$, with the following meanings:
+$s=0$ signifies treble or G clef.
+$s=1$ to $4$ mean C-clef, respectively on the first (lowest) through fourth staff line.
+$1$ is also called \ital{soprano}, $3$ \ital{alto} and $4$ \ital{tenor}.
+$s=5$ to $s=7$ mean F-clef, respectively on the third through fifth staff line. $5$ is
+also called \ital{baritone} and $6$ is the normal \ital{bass}.
+ $s=8$ is used to specify an ``empty'' clef.
+$s=9$ represents a G clef on the first line, also called \ital{French violin} clef.
+
+The three tokens \verb|\treble|, \verb|\alto|, and \verb|\bass| can be used instead
+of a digit for $s$, but only if there would have been but one digit in the string.
+So for example the clefs for a standard piano score
+could be specified by
+\keyindex{setclef}\verb|1{\bass}|.
+
+Treble and bass clefs with the digit $8$ above or below are also possible; see
+Section~\ref{treblelowoct}.
+
+\subsection{Key signatures}
+
+To set a common key signature for all instruments, use
+ \keyindex{generalsignature}\verb|{|$s$\verb|}|,
+where $s>0$ is the number of \itxem{sharps} in the
+signature and $s<0$ the number of \itxem{flats}\footnote{We once saw a
+score in G-minor where the signature consisted of two flats (B and E) plus
+one sharp (F). This is not directly supported by \musixtex.}. To override
+the common key signature for instrument $n$, use
+\keyindex{setsign}\verb|{|$n$\verb|}{|$s$\verb|}|. Note that differing
+key signatures cannot be assigned to different staves of the same instrument.
+
+\subsection{Meters}
+
+A common \itxem{meter} for all staves can be specified by
+ \keyindex{generalmeter}\verb|{|$m$\verb|}|,\label{generalmeter}
+where $m$ describes the appearance of the meter indication, and can take several
+different forms. If the meter is a \ital{fraction} (e.g.,~$3/4$) the command is
+ \verb|\generalmeter{|\keyindex{meterfrac}\verb|{3}{4}}|.
+Other possible tokens~$m$ are \keyindex{meterC},
+\keyindex{allabreve}, \keyindex{reverseC}, \keyindex{reverseallabreve}, \keyindex{meterN} and
+\keyindex{meterplus}.
+To insert extra space before the meter is
+written, use \keyindex{meterskip}$d$ where $d$ is any hard \TeX\
+%dimension\footnote{{\Bslash\tt meterskip} is not a macro but a
+dimension\footnote{{\tt\Bslash meterskip} is not a macro but a
+dimension register. Whatever follows it
+must be a \TeX\ dimension and {\it it must not be enclosed in braces}.}.
+The assignment must occur outside \verb|\startpiece...\endpiece| and will be
+reset to zero after first meter is posted.
+
+These are illustrated in the following example:
+
+ %\check
+\begin{music}
+\generalmeter\meterC
+\nostartrule
+\parindent0pt\startpiece
+\NOtes\qa{cegj}\en
+\generalmeter\allabreve\changecontext
+\NOTes\ha{ce}\en
+\generalmeter\reverseC\changecontext
+\NOTEs\zbreve g\en
+\generalmeter\reverseallabreve\changecontext
+\NOTEs\zwq g\en
+\generalmeter{\meterfrac{3\meterplus2\meterplus3}8}\changecontext
+\notesp\Tqbu ceg\Dqbl jg\Tqbu gec\en
+\generalmeter{\meterN3}\meterskip4pt\changecontext
+\Notes\qa{ceg}\en\setemptybar
+\endpiece
+\end{music}
+\noindent which was coded as:
+\begin{quote}\begin{verbatim}
+\generalmeter\meterC
+\nostartrule
+\parindent0pt\startpiece
+\NOtes\qa{cegj}\en
+\generalmeter\allabreve\changecontext
+\NOTes\ha{ce}\en
+\generalmeter\reverseC\changecontext
+\NOTEs\zbreve g\en
+\generalmeter\reverseallabreve\changecontext
+\NOTEs\zwq g\en
+\generalmeter{\meterfrac{3\meterplus2\meterplus3}8}\changecontext
+\notesp\Tqbu ceg\Dqbl jg\Tqbu gec\en
+\generalmeter{\meterN3}\meterskip4pt\changecontext
+\Notes\qa{ceg}\en\setemptybar
+\endpiece
+\end{verbatim}\end{quote}
+
+To override the common meter for any staff, use
+\keyindex{setmeter}\verb|{|$n$\verb|}{{|$m_1$\verb|}{|$m_2$\verb|}{|$m_3$\verb|}{|$m_4$\verb|}}|.\linebreak
+This works just like \verb|\setclef|. For example,
+\verb|setmeter3{{\meterfrac{12}8}\allabreve}|
+sets the meter to 12/8 for the first staff of the third instrument, and
+\ital{alla breve} for the second staff.
+
+
+\subsection{Instrument names}
+
+To set an \itxem{instrument name}, use
+\keyindex{setname}\verb|{|$n$\verb|}{|\ital{name of the instrument}\verb|}|.
+This will place the name in the space to the left of the
+first staff or group of staves for instrument $n$. To specify the amount of space
+available, use \verb|\parindent|$d$ where $d$ is any hard \TeX\ dimension.
+For multi-line instrument names, use \TeX\ commands as in the following:
+\begin{verbatim}
+ \setname1{\vbox{%
+ \hbox to\parindent{\hss Bass\hss}%
+ \hbox to\parindent{\hss Recorder\hss}}}
+\end{verbatim}
+
+ \section{Groupings of instruments}\label{curlybrackets}
+By default, all staves in a system will be joined
+at the left by a thin, vertical rule. In addition, if an instrument has more than
+one staff, they will be joined by a big, curly brace. Now we introduce a way
+to delineate groups of instruments or choirs with a square brace containing two parallel
+vertical rules, the left one thick and the right one thin. This is commonly used
+to group together the voices in a choir.
+
+If there is only one choir, this can be done with
+ \begin{quote}
+\keyindex{songtop}\onen\\
+\keyindex{songbottom}\verb|{|$m$\verb|}|
+\end{quote}
+\noindent where $m$ and $n$ are the instrument numbers of the first
+and last voices. An example is shown in Section~\ref{song}.
+
+If there is more than one choir to be set off with
+square braces, each one can be specified with
+ \begin{quote}
+\keyindex{grouptop}\verb|{|$g$\verb|}{|$n$\verb|}|\\
+\keyindex{groupbottom}\verb|{|$g$\verb|}{|$m$\verb|}|
+\end{quote}
+\noindent where $m$ and $n$ are the instrument numbers of the first
+and last voices of group number~$g$. \musixtex{} allows up to three
+groups, numbered from $1$ to $3$. The command \verb|\songtop| is equivalent
+to \verb|\grouptop 1|; \verb|\songbottom| is equivalent to
+\verb|\groupbottom 1|.
+
+With \ttxem{musixadd.tex} or \ttxem{musixmad.tex}, the allowable number of
+groups is increased to four.
+Alternatively, you can specify the allowable number of groups to $m$ by
+\keyindex{setmaxgroups}\verb|{|$m$\verb|}|%
+\footnote{Using $m>4$ may require e-\TeX.}.
+\label{musixmad_setmaxgroups}
+
+If any of the instruments grouped this way has more than one staff, the
+heavy curly brace will be shifted to the left of the square brace.
+
+Previously defined square braces can be removed by declaring
+\verb|\songtop| less than \verb|\songbottom|. The same applies to
+\verb|\grouptop| and \verb|\groupbottom| for the same group number.
+
+ An alternate command allows you to specify all choirs at once:
+\begin{quote}
+ \keyindex{akkoladen}\verb|{{|{\it lower\_1\/}\verb|}{|{\it upper\_1\/}%
+ \verb|}{|{\it lower\_2\/}\verb|}{|{\it upper\_2\/}\verb|}{|%
+ {\it lower\_3\/}\verb|}{|{\it upper\_3\/}\verb|}}|
+\end{quote}
+\noindent where {\it lower\_n\/} and {\it upper\_n\/} are instrument
+numbers that denote the span of bracket number $n$. For
+setting fewer than three brackets, just omit all unneeded
+\verb|{|{\it lower\_n\/}\verb|}{|{\it upper\_n\/}\verb|}|~pairs.
+
+For example,
+ \verb|\instrumentnumber{5}\akkoladen{{1}{2}{3}{5}}|
+\noindent yields the first example below, with five single-staff instruments
+divided into two groups.
+The second example has two instruments, the first (lower) with two staves and the
+second with three. Each instrument is set off by default with a curly bracket.
+
+If for some reason you want more than one \ital{instrument}\ grouped
+within a curly
+bracket, then you can use the
+command
+
+ \keyindex{curlybrackets}\verb|{{|{\it lower\_1\/}\verb|}{|{\it upper\_1\/}%
+ \verb|}{|{\it lower\_2\/}\verb|}{|{\it upper\_2\/}\verb|}...|
+
+\noindent to be used as illustrated in the third example below.\\
+\begin{small}
+\begin{minipage}[t]{29ex}
+\begin{music}
+ % just to avoid wasting space ...
+ \sepbarrules
+ \smallmusicsize
+ \instrumentnumber{5} \akkoladen{{1}{2}{3}{5}}
+ \startextract\notes\en\bar\notes\en\zendextract
+\end{music}
+\begin{quote}is coded as:
+\begin{verbatim}
+ \sepbarrules
+ \smallmusicsize
+ \instrumentnumber{5}
+ \akkoladen{{1}{2}{3}{5}}
+ \startextract
+ \notes\en\bar\notes\en
+ \zendextract
+\end{verbatim}\end{quote}
+\end{minipage}
+\begin{minipage}[t]{27ex}
+\begin{music}
+ \sepbarrules
+ \smallmusicsize
+ \instrumentnumber2 \setstaffs12\setstaffs23
+ \startextract \notes\en\bar\notes\en\zendextract
+\end{music}
+\begin{quote}is coded as:
+\begin{verbatim}
+ \sepbarrules
+ \smallmusicsize
+ \instrumentnumber2
+ \setstaffs12
+ \setstaffs23
+ \startextract
+ \notes\en\bar\notes\en
+ \zendextract
+\end{verbatim}\end{quote}
+\end{minipage}
+\begin{minipage}[t]{27ex}
+\begin{music}
+ \sepbarrules
+ \smallmusicsize
+ \instrumentnumber5 %\setstaffs12\setstaffs23
+ \curlybrackets{1235}
+ \startextract \notes\en\bar\notes\en\zendextract
+\end{music}
+\begin{quote}is coded as:
+\begin{verbatim}
+ \sepbarrules
+ \instrumentnumber5
+ \smallmusicsize
+ \curlybrackets{1235}
+ \startextract
+ \notes\en\bar\notes\en
+ \zendextract
+\end{verbatim}\end{quote}
+\end{minipage}
+\end{small}
+
+
+
+
diff --git a/macros/musixtex/doc/musixdoc/slurstiesTypeK.tex b/macros/musixtex/doc/musixdoc/slurstiesTypeK.tex
new file mode 100644
index 0000000000..b7bfca7d64
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/slurstiesTypeK.tex
@@ -0,0 +1,378 @@
+ \chapter{Postscript Slurs, Ties and Hairpins}\label{PostscriptSlurs}
+
+\input musixps
+
+
+All of the aforementioned limitations of font-based slurs can be circumvented
+by using type~K Postscript slurs\footnote{``K'' stands for Stanislav Kneifl,
+the developer of the type~K Postscript slur package.}. As well as slurs, the package includes
+ties and crescendos.
+Its use is very similar to font-based slurs, and in fact identical if only
+the elementary slur and tie initiation and termination macros are used.
+
+In order to use type~K Postscript slurs, ties and hairpins, you must first place \texttt{musixps.tex}
+anywhere \TeX\ can find it. You must also place \texttt{psslurs.pro}
+somewhere that \texttt{dvips} can find it.
+
+The \index{mxsk font}\texttt{mxsk} font is required for ``half ties,'' which
+are special symbols that are used by default for the second portion of a tie
+that crosses a line break. If you like
+this treatment you must install the font in your \TeX\ system. However, perfectly
+acceptable line-breaking ties will appear if you invoke \keyindex{nohalfties},
+and then you will not have to install this font.
+
+Once the software mentioned in the prior two paragraphs is installed and the
+\TeX\ filename database is refreshed, the type~K package can be
+invoked by including the command \verb|\input musixps|
+near the beginning of your source file (but after loading \verb\musixtex.tex\).
+The resulting dvi file should then be converted into Postscript using \textbf{dvips}.
+If desired, a PDF file can then be generated with \textbf{ps2pdf}, \textbf{ghostscript},
+or \textbf{Adobe Acrobat} (see Section~\ref{using} for more information on this).
+
+Two minor inconveniences with type~K Postscript slurs are that (1) they won't appear
+in many dvi previewers, and (2) they won't appear in PDF files generated with
+\textbf{pdftex} or \textbf{dvipdfm}. The former limitation can be circumvented by using a Postscript
+viewer such as \textbf{GSview}. The latter simply requires that you create an intermediate
+Postscript file with \textbf{dvips}, then make the PDF with any of the software
+mentioned above.
+
+
+\section{Initiating and terminating type K Postscript slurs}
+
+Basic usage of type K slurs is the same as for font-based slurs. To initiate one,
+use for example \verb|\isluru0g| to start an upper slur with ID 0 above a virtual note
+at pitch level {\tt g}. To terminate one, use a command like
+\verb|\tslur0i| which terminates the slur with ID 0 on a
+virtual note at pitch level {\tt i}.
+Both types of commands are non-spacing and must precede the first or last
+note under the slur.
+
+Termination macros are not restricted to being used
+with their initiation counterpart. For example, a slur
+beginning as a ``beam'' slur may be terminated as a
+normal slur, or \emph{vice versa}. These would be achieved by using macro pairs
+\verb|\ibslur...\tslur...| or \verb|\islur...\tbslur...|, respectively.
+Unlike font-based slurs, adjusting the vertical positioning of the slur termination should not be necessary.
+
+You can shift the starting or ending point slightly to the left
+or right by substituting one of the commands \keyindex{ilsluru},
+\keyindex{ilslurd}, \keyindex{irsluru},
+\keyindex{irslurd}, \keyindex{trslur} or \keyindex{tlslur}.
+For shifts farther to the left, use
+\keyindex{iLsluru},
+\keyindex{iLslurd}
+or \keyindex{tLslur}.
+
+
+You can control the shape of type~K slurs with variants of
+the termination command. To make the slur a bit flatter than default use
+\keyindex{tfslur}0f; a bit higher, \keyindex{thslur}0f; higher still,
+\keyindex{tHslur}0f; or
+even higher, \keyindex{tHHslur}0f. These commands have an effect like
+\keyindex{midslur} does for font-based slurs.
+
+All combinations of the shifting and curvature variants are allowed,
+e.g.\ \verb|\trHHslur|.
+
+
+The following examples demonstrate how much better the type K slurs perform
+in the extreme situations of the prior two typeset examples. The coding is
+exactly the same as above except that \verb|\input musixps| has been added:
+\begin{quote}\begin{verbatim}
+\begin{music}\nostartrule
+\input musixps
+\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\en
+....
+\end{verbatim}\end{quote}
+
+\begin{music}\nostartrule
+\instrumentnumber{1}
+\generalmeter{\meterfrac34}
+\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\en
+ \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\en\zendextract
+\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\en
+ \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\en\zendextract
+
+\startextract
+\NOTes\isluru0c\ql c\en\notes\tslur0j\ql j\en\bar
+\NOTes\isluru0c\ql c\en\notes\tslur0n\ql n\en
+\NOTes\isluru0c\ql c\en\notes\tslur0s\ql s\en\bar
+\NOTes\isluru0c\ql c\en\notes\tslur0z\ql z\en
+\zendextract
+\end{music}
+
+
+
+
+For maximal control over type K slurs, you can use one of the commands
+\keyindex{iSlur}~$npvh$ and
+\keyindex{tSlur}~$npvhca$, where the characters in
+$npvhca$ respectively stand for ID number, height, vertical offset, horizontal offset,
+curvature, and angularity.
+All offsets are in \verb|internote|, and the slur direction is determined
+by the sign of the vertical offset. See the comments in \verb|musixps.tex|
+for precise definitions of the other parameters. Examples of permissible forms for
+these commands are
+\verb|iSlur0c11| and \verb|tSlur0{!d}11{.2}0|.
+
+The next example shows how you can use \verb|iSlur| in difficult
+circumstances:
+
+
+\begin{music}\nostartrule
+\nobarnumbers
+\generalsignature1%
+\generalmeter{\meterfrac{2}{4}}%
+\nostartrule
+\startextract
+\NOtes\zchar{-8}{\Bslash irslur...\Bslash tlslur}\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar
+\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlslur0{'b}\ql b\ql b\en\bar
+%
+\NOtes\zchar{-8}{\Bslash irslur...\Bslash tlfslur}\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar
+\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlfslur0{'b}\ql b\ql b\en\bar
+%
+\NOtes\zchar{-8}{\Bslash iSlur...\Bslash tSlur}\iSlur0{'b}{-.5}3\zhl b\sk\zq{!e}\qu{'c}\en\bar
+\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tSlur0{'b}{.5}{-1}{.3}0\ql b\ql b\en
+\zendextract
+\end{music}
+\noindent with this coding:
+
+\begin{quote}\begin{verbatim}
+\NOtes\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar
+\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlslur0{'b}\ql b\ql b\en\bar
+%
+\NOtes\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar
+\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlfslur0{'b}\ql b\ql b\en\bar
+%
+\NOtes\iSlur0{'b}{-.5}3\zhl b\sk\zq{!e}\qu{'c}\en\bar
+\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tSlur0{'b}{.5}{-1}{.3}0\ql b\ql b\en
+\end{verbatim}\end{quote}
+
+
+The ID number for a slur, tie or crescendo should
+normally range from $0$ to $9$. If it is bigger
+than nine but less than $15$,
+the object can cross a line break but not a page break. If bigger than
+14 but less than $2^{31}$, it can't be broken at all,
+ nor can a slur termination be positioned at a beam with
+ e.g., \verb|\tbsluru{17684}{16}|; however \verb|\ibsluru{152867}{16}| is okay.
+
+It's also okay to have opened simultaneously a slur, tie and crescendo all
+with the same ID, or a slur, tie and decrescendo, but not a crescendo and
+decrescendo.
+
+\def\emen{{\tt\char123}$n${\tt\char125\char123}$m${\tt\char125}}
+
+`
+\section{Type~K Postscript beam slurs}
+Type~K beam slurs are defined differently than the font-based ones:
+They require as parameters both a slur ID number $n$ and a beam ID number $m$,
+but that's all. The commands are
+\keyindex{iBsluru}\emen, \keyindex{iBslurd}\emen, and
+\keyindex{tBslur}\emen.
+They must be placed \ital{after} the beam initiation or termination command.
+Type~K slurs may start on one beam and end on another.
+For example,
+
+\begin{quote}\begin{verbatim}
+\Notes\ibu0i0\iBsluru00\qb0{eh}\tbu0\qb0i\ibu0j0\qb0{jl}\tbu0%
+ \slurtext{6}\tBslur00\qb0e\en
+\end{verbatim}\end{quote}
+
+\noindent produces
+%\begin{center}
+%\includegraphics[scale=1]{./mxdexamples/psbeamslur.eps}
+%\end{center}
+
+\begin{music}\nostartrule\startextract
+\Notes\ibu0g2\iBsluru00\qb0{eh}\tbu0\qb0i\ibu0j0\qb0{jl}\tbu0%
+ \slurtext{6}\tBslur00\qb0e\en
+\zendextract
+\end{music}
+
+This example also illustrates the use of the macro
+\keyindex{slurtext}. It has just one parameter---some text to be
+printed---and it centers it just above or below the midpoint of
+the next slur that is closed.
+This works only for non-breaking slurs; if the slur is broken,
+the text
+disappears\footnote{If you insist on viewing files with a dvi viewer that
+doesn't display
+type~K slurs, you may also find that
+figures placed with \keyindex{slurtext} will appear at the end of the
+slur rather than the middle.}.
+%The placing of the slur text is done with a very dirty Postscript
+%hack, so I am not really sure that everything you want to typeset
+%will be placed at the correct position (if you are interested, see
+%the end of psslurs.pro for details). If you find something that won't
+%work, let me know.
+
+% DAS: why do we need this ???
+%\paragraph{General coding for Postscript slurs and ties of type K.}
+%This can be done by:
+%\begin{quote}\begin{verbatim}
+%\i[h.shift]slur[u|d]{slur ID}{note height}
+%\t[h.shift][slur height]slur{slur ID}{note height}
+%\iBslur[u|d]{slur ID}{beam ID}
+%\tB[slur.height]slur{slur ID}{beam ID}
+%\end{verbatim}\end{quote}
+%\noindent where h.shift can be 'l', 'r' or nothing
+%and slur.height can be 'f', nothing, 'h', 'H' or 'HH'
+%
+%Example: \keyindex{tlfslur} means 'terminate left flat slur'.
+%
+%
+%There are also simple slurs with same invocation and parameters as the
+%original ones.
+
+\section{Type~K Postscript ties}
+All of the foregoing Type~K slur commands
+except the shape-changing ones
+have counterparts for ties. Simply
+replace ``\verb|slur|'' with ``\verb|tie|'', and for terminations omit
+the pitch parameter. Type~K ties not only are positioned differently by
+default, but they also have different shapes than slurs. If you want to change
+the shape of a tie, redefine \verb|\pstiehgt| from its default of $0.7$.
+
+\section{Dotted type K slurs and ties.}%please check the capital D(otted)
+A slur or tie can be made dotted simply by entering \keyindex{dotted} anywhere before
+the beginning of the slur or tie. Only the first slur or tie following this
+command will be affected. On the other hand, if you enter \keyindex{Dotted}, then \emph{all}
+slurs and ties from this point forward will be dotted until you say
+\keyindex{Solid}. Furthermore, inside \verb|\Dotted...\Solid| you can make any individual
+slur or tie solid saying \verb|\solid| before its beginning.
+
+\section{Avoiding collisions with staff lines.}
+In Postscript it is possible to do computations that would be very hard
+to implement directly in TeX. Type~K slurs can use this facility to check whether
+the curve of a slur or tie is anywhere nearly tangent to any staff line, and if
+so, to adjust
+the altitude of the curve to avoid the collision. By default this feature is turned
+on.
+You can disable it either
+globally (\keyindex{Nosluradjust}, \keyindex{Notieadjust}) or locally
+(\keyindex{nosluradjust}, \keyindex{notieadjust}), and you can also turn it
+back on globally (\keyindex{Sluradjust},
+\keyindex{Tieadjust}) or locally (\keyindex{sluradjust}, \keyindex{tieadjust}).
+Here ``locally''
+means that the command will only affect the next slur or tie to be opened.
+
+\section{Type K Postscript hairpins}\label{kcresc}
+
+There are two different types. The first type is normally initiated with either
+\keyindex{icresc}\onen~or \keyindex{idecresc}\onen, and terminated with
+\keyindex{tcresc}\onen, where $n$ is a hairpin index,
+which is virtually unlimited but certain restrictions apply if it exceeds $14$.
+The altitude is set by the value of \keyindex{setcrescheight}, which by default
+is $-5$ and which must be expressed numerically. Note that
+\keyindex{tcresc}~is the same as \keyindex{tdecresc}.
+
+You can shift the starting or ending point horizontally by replacing the
+foregoing macros with
+\keyindex{ilcresc}, \keyindex{ildecresc},
+\keyindex{ircresc}, \keyindex{irdecresc},
+\keyindex{tlcresc}, \keyindex{tldecresc},
+\keyindex{trcresc}, \keyindex{trdecresc},
+for example to make space for an alphabetic dynamic mark.
+
+The second form of Postscript hairpin macros allows individual and arbitrary
+specification of the altitude and horizontal offset. The syntax is
+\keyindex{Icresc}\itbrace{n}\itbrace{h}\itbrace{s}, where $h$ is the
+altitude---which must be numerical---and $s$ is the horizontal offset
+in \verb|\internote|. Similar syntax obtains for \keyindex{Idecresc}\
+and \keyindex{Tcresc}.
+
+These hairpins may span several lines. If one of them spans three systems
+then the height of the middle section can be adjusted with
+\keyindex{liftcresc}\itbrace{n}\itbrace{h}. The height of the first and last
+parts of a broken crescendo will be defined by the height parameter in
+\keyindex{Icresc}~or \keyindex{Tcresc}.
+
+There are numerous other nuances and shorthand macros that are described
+in the comments in \verb|musixps.tex|.
+
+As an example of a Postscript hairpin,
+
+\begin{music}\nostartrule
+\generalmeter{\meterfrac{12}8}
+\startextract
+\Notes\ccharnote{-8}{\ppp}\Icresc0{-7}6\ca{bdegh'bde}\en
+\Notes\Tcresc0{-4}{-2}\zcharnote{-5}{\fff}\ca{'f}\en
+\zendextract
+\end{music}
+
+\noindent was coded as
+\begin{quote}\begin{verbatim}
+\input musixps
+\generalmeter{\meterfrac{12}8}
+\startextract
+\Notes\ccharnote{-8}{\ppp}\Icresc0{-7}6\ca{bdegh'bde}\en
+\Notes\Tcresc0{-4}{-2}\zcharnote{-5}{\fff}\ca{'f}\en
+\zendextract
+\end{verbatim}\end{quote}
+
+
+\section{Line-breaking slurs, ties and hairpins}
+Tyle K slurs, ties and crescendos going across line breaks are handled
+automatically. In fact they can go over more lines than two (this is
+true also for ties, though it would be somewhat strange).
+
+There is a switch \verb|\ifslopebrkslurs| that controls the default
+height of the end point
+of the first segment of all broken slurs. By default the height will be
+the same as the beginning. To have it raised by \verb|3\internote|, simply
+issue the command \keyindex{slopebrkslurstrue}. To revert to the default,
+use \keyindex{slopebrkslursfalse}.
+
+To locally override the default height of the end of the first segment,
+use the command \keyindex{breakslur}\enpee,
+which sets the height for slur number $n$ to pitch $p$, just like with
+font-based slurs.
+
+You can raise or lower the starting point of the second segment of a broken slur
+with the command \keyindex{liftslur}\verb|{|$n$\verb|}{|$h$\verb|}|, with
+parameters slur ID and relative offset in
+\verb|\internote|s measured from the slur beginning. Its effect is
+the same as \keyindex{Liftslur} for font-based slurs, except it is not
+necessary to code
+it within \verb|\atnextstaff{}|, just anywhere inside the slur.
+
+As already mentioned, anything with $\mathrm{ID}<10$ is broken fully automatically, but
+you should be careful about slurs, ties and crescendos with $10\le\mathrm{ID}<15$.
+These cannot cross page breaks, although they can cross line breaks.
+
+If the second segment of a broken tie is less than 15pt long, then by
+default it will have a special shape which begins horizontally. These shapes are
+called \ital{half ties} and are contained in the font \index{mxsk font}\verb|mxsk|.
+Of course if they are to be used, the font files must be integrated into the
+\TeX\ installation. Their use can be turned off with \keyindex{nohalfties}
+and back on with \keyindex{halfties}.
+
+%\paragraph{Backwards compatibility.}
+%There are several ``aliases'' which allow to use the old, bitmapped slur
+%commands for PS slurs without any change. There are however a few differences:
+%the \keyindex{invertslur} is not implemented yet and
+%the \keyindex{curve} and \keyindex{midslur} macros have no effect.
+
+%\paragraph{Memory requirements.}
+\enlargethispage*{4ex}
+\section{A few final technical details}
+Each \verb|\i...| and \verb|\t...|
+produces a \verb|\special| command, which must be stored in TeX's main memory.
+Therefore, if too many slurs occur in one page, some memory problems could
+occur. The only solution is to use font-based slurs.
+%The only solutions are to use Big\TeX\
+%BigTex? it is apparently the mascot for the Texas State Fair
+
+Type~K slurs need the Postscript header file
+\index{psslurs.pro}\texttt{psslurs.pro} to be included in the
+output Postscript file. This is made to happen by the \TeX\ command
+\verb|\special{header=psslurs.pro}|, which is automatically
+included when you \verb|\input musixps|. So normally this is not
+of concern. However if you wish to extract a subset of pages from
+the master \verb|dvi| file using \index{dvidvi}\texttt{dvidvi}, then
+you have three options: (1)~include the first page in the subset,
+(2)~manually issue the
+\verb|\special| command in the \TeX\ source for the first page of the subset, or
+(3)~use the option \texttt{-h psslurs.pro} when you run \texttt{dvips}.
+
diff --git a/macros/musixtex/doc/musixdoc/slurstiesfont.tex b/macros/musixtex/doc/musixdoc/slurstiesfont.tex
new file mode 100644
index 0000000000..8674dc02e9
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/slurstiesfont.tex
@@ -0,0 +1,598 @@
+\chapter{Font-based Slurs, Ties and Hairpins}
+Two fundamentally different implementations of slurs, ties, and hairpins are
+available. First, there are the
+original \ital{font-based} versions. These are constructed with traditional
+\TeX\ font characters that were created with \MF\ and stored in \TeX\ font files.
+Second, it is now possible
+to generate these shapes directly with Postscript, dispensing altogether with
+the font characters\footnote{Please do not be confused by the availability of
+Postscript versions of the font-based slur fonts (along with all other \musixtex\ fonts).
+Once installed in a \TeX\ system,
+their function and use are 100\% transparently identical with bitmapped versions
+of the slur fonts. On the other
+hand, Postscript slurs are functionally distinct from font-based slurs, and only
+ share some of the same syntax.}. We shall first describe the font-based versions,
+then Type~K Postscript slurs, which are one of two available Postscript slur
+options\footnote{An
+alternate approach to Postscript slurs, called {\it Type~M} after its developer
+Hiroaki {\sc Morimoto}, is available from the
+\href{http://icking-music-archive.org/software/indexmt6.html}
+{\underline{Icking Music Archive}}.}. If you plan to use Type~K Postscript slurs,
+you may skip directly to Chapter~\ref{PostscriptSlurs}.
+
+Font-based slurs and ties provided by \musixtex\ can be divided into two categories:
+\label{simpleslur}
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item Those where the complete slur symbol is composed of a single
+ character from one of the slur fonts, and
+ \item those where the slur symbol is composed of three distinct
+ characters, to form the beginning, middle and end of the slur.
+\end{itemize}
+The former are called \ital{simple slurs} and the latter,
+\ital{compound slurs}. In many cases the distinction between the two is
+invisible to the user, in that many of the macros described below will
+automatically select between the two types. However, there are other macros
+that allow simple slurs to be forced.
+
+The next few sections describe the usual method of slur coding, where the
+choice between simple or compound slurs is made automatically.
+In this case, slurs are initiated and terminated by separate macros,
+similar to beams.
+
+ \section{Font-based slur initiation}
+A slur must be initiated \ital{before}
+the spacing note on which the slur begins, and terminated \ital{before} the
+note on which it ends.
+
+The basic slur initiation macro is
+\keyindex{isluru}\enpee, which initiates an upper slur, with reference
+number $n$, beginning on a note at pitch $p$. The starting point of the slur is
+centered above a virtual quarter note head at pitch~$p$\footnote{The slur will start in the same place regardless of whether there is
+{\it actually} a note at pitch $p$.}.
+Similarly, \keyindex{islurd}\enpee\ initiates a lower slur.
+These slurs are terminated by coding
+\keyindex{tslur}\enpee\ where $n$ is the reference number and $p$ is the
+termination pitch.
+
+As with beams, the reference number $n$ by default can take values from $0$ to $5$, or
+up to $8$ or $11$ respectively if \ttxem{musixadd.tex} or \ttxem{musixmad.tex} is included.
+You can also specify the maximum number
+directly with \keyindex{setmaxslurs}\verb|{|$m$\verb|}| where
+$7<m\leq 100$%
+\footnote{This may require e-\TeX.};
+the reference number $n$ will be in the range between $0$ and $m-1$.
+\label{musixmad_setmaxslurs}
+
+To illustrate with an elementary example, the following passage
+
+\begin{music}\nostartrule
+\startextract
+\NOtes\islurd0g\qu g\tslur0{'c}\qu c\en
+\Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en
+\bar
+\NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en
+\NOTes\hu g\en
+\zendextract
+\end{music}
+
+\noindent was coded as:
+\begin{quote}\begin{verbatim}
+\NOtes\islurd0g\qu g\tslur0{'c}\qu c\en
+\Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en
+\bar
+\NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en
+\NOTes\hu g\en
+\end{verbatim}\end{quote}
+
+Other macros are provided to change the horizontal starting and ending points of the slur
+in relation to the initial and final notes. Thus, \keyindex{issluru}\enpee\
+initiates a ``short'' upper slur suitable for linking notes involved in chords.
+The
+starting point is shifted to the right, and is vertically aligned with the
+center of a virtual quarter note head at pitch~$p$. If a lower short slur
+is wanted, one should use \keyindex{isslurd}\enpee.
+
+Sometimes, busy scores call for slurs which are vertically aligned with the
+ends of note stems rather than note heads. These ``beam'' slurs---so called
+because the slur is written at usual beam height---are provided by the
+macros \keyindex{ibsluru}\enpee\ and \keyindex{ibslurd}\enpee. These macros
+initiate slurs raised or lowered by the current stem height to accommodate
+stems or beams above or below.
+ %\check
+
+ \section{Font-based slur termination}
+Font-based slurs that are not forced to be simple must be terminated by an explicit
+command right before the last note under the slur. There are termination
+commands analogous to each of the initiation commands already presented. They
+are summarized in the following table:
+\begin{center}
+ \begin{tabular}{ll}
+ Initiation & Termination \\
+ \hline
+ \keyindex{isluru}, \keyindex{islurd} & \keyindex{tslur} \\
+ \keyindex{issluru}, \keyindex{isslurd} & \keyindex{tsslur} \\
+ \keyindex{ibsluru} & \keyindex{tbsluru}\\
+ \keyindex{ibslurd} & \keyindex{tbslurd}\\
+ \hline
+ \end{tabular} \end{center}
+
+\noindent All of these command have two parameters, $n$ and $p$.
+
+These specific termination macros are not restricted to
+being used with their initiation counterpart. A slur started
+in one sense can be terminated in another. For example, a
+slur beginning as a ``beam'' slur may be terminated as a
+normal slur, or \emph{vice versa}. These would be achieved using macro pairs
+\verb|\ibslur...\tslur...| or \verb|\islur...\tbslur...|, respectively; however, it may be necessary
+to adjust the vertical position of the slur termination. For example,
+
+\begin{music}
+\startextract
+\Notes\ibsluru1g\qa g\ha l\sk\tslur1e\zq g\zq i\qu k\en
+\Notes\islurd1h\qu h\ha f\sk\tbslurd1c\zq h\zq j\ql l\en
+\endextract
+\end{music}\noindent
+has been coded as follows:
+\begin{quote}
+\begin{verbatim}
+\startextract
+\Notes\ibsluru1g\qa g\ha l\sk\tslur1e\zq g\zq i\qu k\en
+\Notes\islurd1h\qu h\ha f\sk\tbslurd1c\zq h\zq j\ql l\en
+\endextract
+\end{verbatim}
+\end{quote}
+ \section{Font-based ties} Font-based ties will have the same shapes as
+ordinary font-based slurs of the same length between notes of equal pitch,
+but there are two important distinctions:
+(1) There cannot be any pitch difference between start and end, and (2) the
+positions of both the beginning and end of a tie relative to the note heads
+are slightly different from those of an ordinary slur\footnote{Editor's note: In
+fact, it appears that the default positioning of the ends of ties is exactly
+the same as that of short slurs.}.
+Upper ties are initiated by \keyindex{itieu}\enpee, which starts an upper tie of
+reference number $n$ at pitch $p$.
+Lower ties are initiated by \keyindex{itied}\enpee, which starts an lower tie of
+reference number $n$ at pitch $p$. The starting position of the tie is the same
+as \verb|\issluru| and
+\verb|\isslurd| respectively. The tie is terminated by coding
+\keyindex{ttie}\onen. Note that no pitch parameter is required.
+
+There are also \ital{short ties}, which bear the same relation to ordinary
+ties as short slurs to ordinary slurs. They are intended to be used between chords.
+They are initiated with
+\keyindex{itenu}\enpee~or \keyindex{itenl}\enpee\footnote{Editor's note: It is
+not clear why this command uses ``{\tt l}'' when all other similar ones use
+``{\tt d}''.}, and terminated with \keyindex{tten}\onen.
+
+The following example illustrates the differences in positioning of the various
+slur and tie options:
+
+\begin{music}\nostartrule
+\startextract
+\NOTes\islurd0g\qu g\tslur0g\qu g\isslurd0g\qu g\tsslur0g\qu g%
+\ibsluru0g\qu g\tbsluru0g\qu g\itied0g\qu g\ttie0\qu g%
+\itenl0g\qu g\tten0\qu g\en
+\zendextract
+\end{music}
+\noindent It was coded as
+\begin{quote}\begin{verbatim}
+\NOTes\islurd0g\qu g\tslur0g\qu g\isslurd0g\qu g\tsslur0g\qu g%
+\ibsluru0g\qu g\tbsluru0g\qu g\itied0g\qu g\ttie0\qu g%
+\itenl0g\qu g\tten0\qu g\en
+\end{verbatim}\end{quote}
+
+\noindent Here are some more general examples of font-based slurs and ties
+discussed so far:
+
+\begin{music}\nostartrule
+\startextract
+\NOTes\isluru0g\hl g\tslur0h\hl h\en
+\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en
+\NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en
+\NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en
+\zendextract
+\end{music}
+\noindent This was coded as:
+\begin{quote}\begin{verbatim}
+\NOTes\isluru0g\hl g\tslur0h\hl h\en
+\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en
+\NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en
+\NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en
+\end{verbatim}\end{quote}
+
+\section{Dotted slurs}
+
+Any font-based slur may be made dotted by specifying \keyindex{dotted}
+just before it is initiated:
+
+\begin{music}\nostartrule
+\startextract
+\NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en
+\Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar
+\NOtes\dotted\slur{'a}{`f}d1\qu{'a`f}\en
+\NOTes\hu g\en
+\zendextract
+\end{music}
+
+\noindent This was coded as:
+\begin{quote}\begin{verbatim}
+\NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en
+\Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar
+\NOtes\dotted\slur{'a}{`f}d1\qu{'a`f}\en
+\NOTes\hu g\en
+\end{verbatim}\end{quote}
+
+ \section{Modifying font-based slur properties}
+Several macros are provided to modify the shape of slurs already initiated.
+These macros must be coded right before the slur \ital{termination}. Invoking
+any of the macros described in this section will force the slur to be compound.
+
+By default, the midpoint of a font-based slur is three \verb|\internote|s
+above or below a line between its ends. This can be changed using the macro
+\keyindex{midslur}~$h$ where $h$ is the revised vertical displacement. For
+example, \verb|\midslur6| coded right before \verb|\tslur| causes an upper slur to
+rise to a maximum height of \verb|6\internote| above the starting position.
+For example,
+
+\begin{music}\nostartrule
+\startextract
+\NOtes\multnoteskip8\isluru0i\ql i\en
+\notes\tslur0i\ql i\en
+\zendextract
+\startextract
+\NOtes\multnoteskip8\isluru0i\ql i\en
+\notes\midslur7\tslur0i\ql i\en
+\zendextract
+\startextract
+\NOtes\multnoteskip8\isluru2i\ql i\en
+\notes\midslur{11}\tslur2i\ql i\en
+\zendextract
+\end{music}
+\noindent was coded as
+\begin{quote}\begin{verbatim}
+\NOtes\multnoteskip8\isluru0i\ql i\en
+\notes\tslur0i\ql i\en
+\NOtes\multnoteskip8\isluru0i\ql i\en
+\notes\midslur7\tslur0i\ql i\en
+\NOtes\multnoteskip8\isluru2i\ql i\en
+\notes\midslur{11}\tslur2i\ql i\en
+\end{verbatim}\end{quote}
+For downward slurs, use negative values; for example,
+
+\begin{music}\nostartrule
+\startextract
+\NOtes\multnoteskip8\islurd0i\qu i\en
+\notes\tslur0i\qu i\en
+\zendextract
+\startextract
+\NOtes\multnoteskip8\islurd0i\qu i\en
+\notes\midslur{-7}\tslur0i\qu i\en
+\zendextract
+\end{music}
+\noindent was coded as
+\begin{quote}\begin{verbatim}
+\NOtes\multnoteskip8\islurd0i\qu i\en
+\notes\tslur0i\qu i\en
+\NOtes\multnoteskip8\islurd0i\qu i\en
+\notes\midslur{-7}\tslur0i\qu i\en
+\end{verbatim}\end{quote}
+
+The macro \keyindex{curve}$hij$ allows more precise control over the shape
+of a slur or tie. The first parameter $h$
+is the vertical deviation and it works exactly like the sole parameter of
+\verb|\midslur| described above. The second and
+third parameters $i$ and $j$ set the initial and final gradient respectively.
+They are defined as the horizontal distance required to attain maximum
+vertical deviation. Thus smaller numbers for $i$
+and $j$ lead to more extreme gradients.
+The default setting is \verb|\curve344|. Hence, coding \verb|\curve322|
+doubles the initial and final gradient relative to the default.
+As with \verb|\midslur|, \verb|\curve| must be coded {\em immediately} before
+the slur termination. The example below illustrates the use of \verb|\curve|.
+
+\begin{music}\nostartrule
+\startextract
+\NOtes\multnoteskip8\itieu0g\ql g\en
+\notes\ttie0\ql g\en
+\zendextract
+\startextract
+\NOtes\multnoteskip8\itieu1g\ql g\en
+\notes\curve 322\ttie1\ql g\en
+\zendextract
+\startextract
+\NOtes\multnoteskip8\itieu2g\ql g\en
+\notes\curve 111\ttie2\ql g\en
+\zendextract
+\end{music}
+\noindent This was coded as
+\begin{quote}\begin{verbatim}
+\NOtes\multnoteskip8\itieu0g\ql g\en
+\notes\ttie0\ql g\en
+\NOtes\multnoteskip8\itieu1g\ql g\en
+\notes\curve 322\ttie1\ql g\en
+\NOtes\multnoteskip8\itieu2g\ql g\en
+\notes\curve 111\ttie2\ql g\en
+\end{verbatim}\end{quote}
+
+Two macros are provided to control the behaviour of slurs which extend across
+line breaks. Normally, the part of the slur before the line break is
+treated as a tie. This can be changed using \keyindex{breakslur}\enpee,
+which sets the termination height of
+the broken slur at the line break to pitch $p$, for slur number $n$.
+
+After the line break, the slur is normally resumed at the initial pitch
+reference, i.e., the one coded in \verb|\islur|. To change this, the macro
+\keyindex{Liftslur}\verb|{|$n$\verb|}{|$h$\verb|}| may be used.
+Here $n$ is again the slur reference
+number and $h$ is the change in height relative to the initialization height.
+This macro is normally used following line breaks, in which case it is best
+coded using the \verb|\atnextline| macro. For example, coding
+\verb|\def\atnextline{\Liftslur06}| raises the continuation of slur zero
+by \verb|6\internote| relative to its initialization height.
+
+The following example illustrates the use of the macros for broken slurs:
+\medskip
+
+\begin{minipage}[t]{85mm}
+Default, without adjustments:
+
+\begin{music}
+\hsize=50mm
+\generalmeter{\meterfrac24}%
+\parindent 0pt\staffbotmarg0pt%
+%
+%\interstaff{14\internote}%
+%
+\nostartrule
+\startpiece\bigaccid
+\Notes\ibsluru1b\qu b\qu g\en\bar
+\Notes\qu{'c!}\tslur1f\qu f\en
+\mulooseness1\Endpiece
+\end{music}
+\begin{verbatim}
+\Notes\ibsluru1b\qu b\qu g\en\bar
+\Notes\qu{'c!}\tslur1f\qu f\en
+\end{verbatim}
+\end{minipage}%
+\begin{minipage}[t]{75mm}
+With~\verb|\Liftslur|~and~\verb|\breakslur|~:\\
+\begin{music}
+\hsize=50mm
+\generalmeter{\meterfrac24}%
+\parindent 0pt\staffbotmarg0pt%
+%
+%\interstaff{14\internote}%
+%
+\nostartrule
+\startpiece\bigaccid
+\def\atnextline{\Liftslur17}%
+\Notes\ibsluru1b\qu b\qu g\breakslur1g\en\bar
+\Notes\qu{'c!}\tslur1f\qu f\en
+\mulooseness1\Endpiece
+\end{music}
+\begin{verbatim}
+\def\atnextline{\Liftslur17}%
+\Notes\ibsluru1b\qu b\qu g%
+\breakslur1g\en\bar
+\Notes\qu{'c!}\tslur1f\qu f\en
+\end{verbatim}
+\end{minipage}\medskip
+
+Occasionally in keyboard works one needs to begin a slur in one
+staff but end it in another. This can be done using the macro
+\keyindex{invertslur}\onen\ which is best described by
+reference to the example
+shown below.
+
+% Finding the final pitch is try and error, sorry, no way out.
+
+\begin{music}
+\setstaffs1{2}
+\setclef1\bass\interstaff{10.5}
+\startextract
+\NOtes\multnoteskip5\isluru0a\ql a\en
+\notes\invertslur0\curve311\tslur0j|\qu d\en
+\NOtes\multnoteskip{10}\isluru0a\ql a\en
+\notes\invertslur0\curve333\tslur0j|\qu d\en
+\zendextract
+\end{music}
+\noindent This was coded as
+\begin{quote}\begin{verbatim}
+\NOtes\multnoteskip5\isluru0a\ql a\en
+\notes\invertslur0\curve311\tslur0g|\qu d\en
+\NOtes\multnoteskip{10}\isluru0a\ql a\en
+\notes\invertslur0\curve333\tslur0g|\qu d\en
+\end{verbatim}\end{quote}
+
+\noindent Slur inversion as just described takes effect where the slope is zero; therefore it
+only works with ascending slurs that were started with \verb|\isluru|, and with
+descending slurs started with \verb|\islurd|. Otherwise no horizontal place
+can be found and the result is erratic.
+
+A different approach removes this restriction. The idea is to stop the slur at
+the desired inversion point and restart it in the other sense at the
+same place. The commands to do this are as follows:
+ \begin{itemize}\setlength{\itemsep}{0ex}
+ \item \keyindex{Tslurbreak}\enpee~stops slur number $n$ \ital{exactly} at pitch $p$,
+not above or below the virtual note head.
+ \item \keyindex{Islurubreak}\enpee~restarts an upper slur at the same position,
+not above a virtual note head.
+ \item \keyindex{Islurdbreak}\enpee~restarts a lower slur at the same position,
+not below a virtual note head.
+ \end{itemize}
+
+\noindent The vertical position may have to be adjusted to minimize any discontinuity
+in the slope. For example, the following pattern
+
+ \begin{music}\nostartrule
+\setclef1\treble
+\startextract
+\NOTes\multnoteskip 3\isluru0a\ql a\en
+\NOTes\multnoteskip 3\Tslurbreak0d\Islurdbreak0d\sk\en
+\Notes\tslur0h\qu h\en
+\NOTes\multnoteskip 3\islurd0a\ql a\en
+\NOTes\multnoteskip 3\Tslurbreak0d\Islurubreak0d\sk\en
+\Notes\tslur0h\qu h\en
+\zendextract
+\end{music}
+\noindent was coded as
+\begin{quote}\begin{verbatim}
+\begin{music}\nostartrule
+\NOTes\multnoteskip 3\isluru0a\ql a\en
+\NOTes\multnoteskip 3\Tslurbreak0d\Islurdbreak0d\sk\en
+\Notes\tslur0h\qu h\en
+\NOTes\multnoteskip 3\islurd0a\ql a\en
+\NOTes\multnoteskip 3\Tslurbreak0d\Islurubreak0d\sk\en
+\Notes\tslur0h\qu h\en
+\end{music}
+\end{verbatim}\end{quote}
+
+\section{Simple slurs}
+
+\ital{Simple} slurs and ties have advantages in some cases: (1) They will
+always have the best possible shape, and (2) if \verb|\noteskip| doesn't
+change from start to finish, they are easier to code. But they have drawbacks
+as well: (1) They are limited in length to 68pt
+for slurs and 220pt for
+ties, (2) their maximum vertical extent is \verb|8\internote|, and (3) they
+may not extend across a line break.
+Despite all these limitations, simple slurs are extremely useful in many
+applications where the slurs are short and contained within a bar.
+
+Simple slurs must be coded {\em before} the note on which the slur begins.
+The primary macro is
+\keyindex{slur}\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$sl$
+where $p_1$ and $p_2$ are respectively the initial and final pitches,
+$s$ is the sense (either ``{\tt u}'' or ``{\tt d}''), and $l$ is the length,
+in {\tt noteskip}s.
+Thus, thirds slured in pairs can be coded
+
+ %\check
+
+\begin{quote}\begin{verbatim}
+\NOtes\slur ced1\qu{ce}\en
+\NOtes\slur dfd1\qu{df}\en
+\NOtes\slur egd1\qu{eg}\en
+\NOtes\slur{'e}cu1\ql{ec}\en
+\NOtes\slur{'d}bu1\ql{db}\en
+\NOtes\slur{'c}au1\ql{ca}\en
+\end{verbatim}\end{quote}
+which yields
+
+\begin{music}\nostartrule
+\startextract
+\NOtes\slur ced1\qu{ce}\en
+\NOtes\slur dfd1\qu{df}\en
+\NOtes\slur egd1\qu{eg}\en
+\NOtes\slur{'e}cu1\ql{ec}\en
+\NOtes\slur{'d}bu1\ql{db}\en
+\NOtes\slur{'c}au1\ql{ca}\en
+\zendextract
+\end{music}
+%%
+
+There are similar commands to force simple versions of the other
+variants of font-based slurs and ties. Simple ties may be set using
+\keyindex{tie}\verb|{|$p$\verb|}|$sl$ (only one pitch is needed).
+Simple short slurs and short ties can be forced with the macros
+\keyindex{sslur}\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$sl$ and
+\keyindex{stie}\verb|{|$p$\verb|}|$sl$ respectively. Finally,
+simple beam slurs can be forced with
+\keyindex{bslur}$s$\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$l$.
+
+
+\section{Font-based hairpins (crescendos and decrescendos)}\label{sec:crescnd}
+
+There are two categories of font-based hairpins. The first type requires only
+one command, \keyindex{crescendo}\verb|{|$\ell$\verb|}| or
+\keyindex{decrescendo}\verb|{|$\ell$\verb|}|, where $\ell$ is any \TeX{}
+dimension, either a fixed one---for example in points---or a scalable one
+expressed either explicitly or implicitly as some number of
+\verb|\noteskip|s. These should be used as arguments to
+\verb|\zcharnote|, \verb|\zchar|, \verb|\uptext|, \verb|\zmidstaff|, etc., to
+post them at the desired altitude. The longest such symbol is $\simeq$ 68 mm.
+
+The second type of font-based hairpin requires two commands, one to start it
+and another to end it. The starting macro is \keyindex{icresc}. It has no
+arguments. Only one invocation suffices to start any number and combination of
+crescendos and diminuendos. The ending macros are \keyindex{tcresc} or
+\keyindex{tdecresc}. They should be used as arguments of \verb|\zcharnote| etc,
+which will set the altitude. For example,
+
+\begin{music}
+\parindent0pt
+\generalmeter{\meterfrac{12}8}
+\setstaffs1{2}
+\startextract
+\Notes\cmidstaff\ppp|\ca c\en
+\Notes\icresc|\ca{defgh'abcde}\en
+\Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en
+\endextract
+\end{music}
+
+\noindent which was coded as
+\begin{quote}\begin{verbatim}
+\Notes\cmidstaff\ppp|\ca c\en
+\Notes\icresc|\ca{defgh'abcde}\en
+\Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en
+\end{verbatim}\end{quote}
+\medskip
+
+\noindent while
+
+\begin{music}
+\parindent0pt
+\generalmeter{\meterfrac{12}8}
+\setstaffs1{2}
+\startextract
+\Notes\cmidstaff\ppp|\ca c\en
+\Notes\icresc|\ca{defgh'abcde}\en
+\Notes\zcharnote N{\tcresc}\cmidstaff\fff|\zcharnote q{\tcresc}\ca{'f}\en
+\endextract
+\end{music}
+
+\noindent was coded as
+\begin{quote}\begin{verbatim}
+\Notes\cmidstaff\ppp|\ca c\en
+\Notes\icresc|\ca{defgh'abcde}\en
+\Notes\zcharnote N{\tcresc}\cmidstaff\fff|\zcharnote q{\tcresc}\ca{'f}\en
+\end{verbatim}\end{quote}
+
+ \section{Limitations of font-based slurs}
+ The change in altitude between slur initiation and slur termination is limited to
+\verb|16\Internote|. Thus unexpected vertical gaps can appear, as seen in
+
+ \begin{music}\nostartrule
+\instrumentnumber{1}
+\generalmeter{\meterfrac34}
+\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\en
+ \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\en\zendextract
+
+\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\en
+ \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\en\zendextract
+ \end{music}
+ \noindent whose coding was
+ \begin{quote}\begin{verbatim}
+\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\en
+ \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\en
+\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\en
+ \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\en
+ \end{music}
+ \end{verbatim}\end{quote}
+
+Furthermore, if the slope becomes too steep, even worse results can occur, such as
+
+\medskip
+ \begin{music}\nostartrule
+\instrumentnumber{1}
+\generalmeter{\meterfrac34}
+\startextract\NOTes\isluru0c\ql c\en\notes\tslur0j\ql j\en
+ \bar\NOTes\isluru0c\ql c\en\notes\tslur0n\ql n\en
+ \NOTes\isluru0c\ql c\en\notes\tslur0s\ql s\en
+ \bar\NOTes\isluru0c\ql c\en\notes\tslur0z\ql z\en
+ \zendextract
+ \end{music}
+
+Another limitation of font-based slurs crops up when one attempts to
+generate bitmapped versions for high-resolution printers: the characters
+for long ties can exceed \MF's maximum capacity.
diff --git a/macros/musixtex/doc/musixdoc/smaller.tex b/macros/musixtex/doc/musixdoc/smaller.tex
new file mode 100644
index 0000000000..987b6f6422
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/smaller.tex
@@ -0,0 +1,190 @@
+\chapter{Smaller (or Larger) Notes in Normal-Sized Staves}
+Here we describe how to change the size of note symbols without changing the
+size of the staff itself. Changing overall staff size will be treated in
+Chapter~\ref{staffspacing}.
+
+\section{Arbitrary sequences of notes}
+Written-out ornaments and \itxem{cadenzas} are usually typeset with
+smaller notes and spacing than normal. The smaller \ital{size} can be
+initiated anywhere inside a \verb|\notes| group by stating
+\keyindex{smallnotesize} or \keyindex{tinynotesize}. Normal note size is then
+restored by \keyindex{normalnotesize} or simply by terminating the
+\verb|notes| group and starting another. Smaller \ital{spacing} must also be
+explicitly indicated, usually by redefining \verb|\noteskip| in some way.
+
+As an example, this excerpt, from the beginning
+of the Aria of the ``Creation'' by Joseph {\sc Haydn})\index{Haydn, J.@{\sc
+Haydn, J.}},
+
+\begin{music}
+\instrumentnumber{2}
+\generalmeter{\meterfrac44}
+\def\qbl#1#2#3{\ibl{#1}{#2}{#3}\qb{#1}{#2}}
+\setstaffs2{2}
+\setclef1\bass
+\setclef2\bass
+\startbarno0
+\startextract
+\NOtes\qp&\zmidstaff{\bf II}\qp|\qu g\en
+% mesure 1
+\bar
+\Notes\itieu2J\wh J&\zw N\ibl0c0\qb0e|\qu j\en
+\notes&\qbl0c0|\multnoteskip\tinyvalue\tinynotesize
+ \Ibbu1ki2\qb1{kj}\tqh1i\hqsk\en
+\Notes&\qb0e\tbl0\qb0c|\qu j\en
+\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\en
+% mesure 2
+\bar
+\Notes\ttie2\wh J&\ql J\sk\ql L|\zqupp g\qbl1e0%
+ \zq c\qb1e\zq c\qb1e\zq c\tbl1\zqb1e\en
+\notes&|\sk\ccu h\en
+\Notes&\ql N\sk\ibl0L{-4}\qbp0L|\ibl1e0\zq c\zqb1e\cu g%
+ \zq c\zqb1e\raise\Interligne\ds\zqu g\qb1g\en
+\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\en
+\endextract
+\end{music}
+\noindent can be coded as
+\begin{quote}\begin{verbatim}
+\instrumentnumber{2}
+\generalmeter{\meterfrac44}
+\setstaffs2{2}
+\setclef2{\bass}
+\setclef1{\bass}
+\startbarno=0
+\startextract
+\NOtes\qp&\zmidstaff{\bf II}\qp|\qu g\en
+% mesure 1
+\bar
+\Notes\itieu2J\wh J&\zw N\ibl0c0\qb0e|\qu j\en
+\notes&\ibl0c0\qb0c|\multnoteskip\tinyvalue\tinynotesize
+ \Ibbu1ki2\qb1{kj}\tqh1i\en
+\Notes&\qb0e\tbl0\qb0c|\qu j\en
+\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\en
+% mesure 2
+\bar\Notes\ttie2\wh J&\ql J\sk\ql L|\zqupp g\qbl1e0%
+ \zq c\qb1e\zq c\qb1e\zq c\tbl1\zqb1e\en
+\notes&|\sk\ccu h\en
+\Notes&\ql N\sk\ibl0L{-4}\qbp0L|\ibl1e0\zq c\zqb1e\cu g%
+ \zq c\zqb1e\raise\Interligne\ds\zqu g\qb1g\en
+\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\en
+\endextract
+\end{verbatim}\end{quote}
+Similarly, you may use
+\keyindex{largenotesize} or \keyindex{Largenotesize} to get \emph{larger} notes.
+
+ \section{Grace notes}
+Grace notes are a special case of small and tiny notes, namely single-stemmed
+eighth notes with a diagonal slash through the flag. To enable this, there
+are the macros \keyindex{grcu}\pitchp\ and \keyindex{grcl}\pitchp, which by
+themselves would
+produce normal-sized eighth notes with a slash. They should be used along
+with the note size reduction macros and spacing reduction macros just
+discussed. In addition, chordal grace notes can be built as in the following
+example:
+
+\begin{music}\nostartrule
+\startextract
+\NOTes\hu h\en
+\notes\multnoteskip\smallvalue\smallnotesize\grcu j\en
+\NOTes\hu i\en
+\bar
+\notes\multnoteskip\tinyvalue\tinynotesize\zq h\grcl j\en
+\NOTEs\wh i\en
+\zendextract
+\end{music}
+\noindent which was coded as
+\begin{quote}\begin{verbatim}
+\startextract
+\NOTes\hu h\en
+\notes\multnoteskip\smallvalue\smallnotesize\grcu j\en
+\NOTes\hu i\en
+\bar
+\notes\multnoteskip\tinyvalue\tinynotesize\zq h\grcl j\en
+\NOTEs\wh i\en
+\zendextract
+\end{verbatim}\end{quote}
+
+ \section[Ossia]{Ossia\texorpdfstring{\protect\footnote{Italian \textit{o sia} (or else)}}{}}
+This clever example had been provided by Olivier Vogel:\label{ossia}
+
+%\begin{center}
+%\includegraphics[scale=1]{./mxdexamples/ossiavogel.eps}
+%\end{center}
+
+\begin{music}
+%\startextract
+%\hsize70mm
+\let\extractline\hbox
+\hbox to \hsize{\hss
+\def\xnum#1#2#3{\off{#1\elemskip}\zcharnote{#2}{\smalltype\it #3}%
+\off{-#1\elemskip}}%
+\newbox\ornamentbox
+\setbox\ornamentbox=\hbox to 0pt{\kern-4pt\vbox{\hsize=2.6cm%
+\makeatletter
+\nostartrule\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty\global\clef@skip0pt%
+\makeatother
+%\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty%
+%\startpiece
+%\addspace{2pt}%
+\startextract
+\addspace{-2pt}%
+\let\notest\notes\def\notes{\vnotes2.1\elemskip}%
+\notes\ibbbl2{'c}0\qb2b\qb2c\qb2d\tbbbl2\qb2c\en%
+\notes\xnum{1.15}{'e}3\qb2d\qb2c\tbl2\qb2d\en%
+\notes\ibl2{'c}1\usf e\qb2c\en%
+\notes\tbl2\qb2{'d}\en
+\let\notes\notest%
+%\zstoppiece%
+\endextract
+}\hss}
+%\setbox\ornamentbox=\hbox to 0pt{Hello}
+%
+%
+%\normalmusicsize\nopagenumbers
+%\def\nbinstruments{1}%
+\setstaffs12\setclef1{60}%
+\generalsignature{-2}\generalmeter{\meterfrac{3}{4}}%
+%\parindent 0pt%
+%\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
+%\startpiece\addspace\afterruleskip%
+\startextract\addspace\afterruleskip%
+\NOtes\ibl1{'G}{-1}\qb1G\sk\bigna F\tbl1\qb1F|%
+\ibbl2{'b}0\qb2b\qb2a\qb2b\tbl2\qb2c\en%
+\NOtes\hl{'E}\bsk\raise6\internote\ds\ibu3{G}1\bigsh F%
+\qb3F\qb3G\tbu3\qb3{'A}|\zcharnote{10}{\copy\ornamentbox}\qlp{'c}\sk\sk%
+\cl d\en%
+%\endpiece
+\endextract
+\hss}
+%\vfill\eject\endmuflex
+\end{music}
+
+
+The code is:
+\begin{quote}\begin{verbatim}
+\hsize70mm%
+\def\xnum#1#2#3{\off{#1\elemskip}\zcharnote{#2}{\smalltype\it #3}%
+\off{-#1\elemskip}}%
+\newbox\ornamentbox
+\setbox\ornamentbox=\hbox to 0pt{\kern-4pt\vbox{\hsize=2.6cm%
+\nostartrule\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty%
+\startpiece\addspace{2pt}%
+\notes\ibbbl2{'c}0\qb2b\qb2c\qb2d\tbbbl2\qb2c\en%
+\notes\xnum{1.15}{'e}3\qb2d\qb2c\tbl2\qb2d\en%
+\notes\ibl2{'c}1\usf e\qb2c\en%
+\notes\tbl2\qb2{'d}\en%
+\zstoppiece%
+}\hss}
+\normalmusicsize\nopagenumbers
+\def\nbinstruments{1}%
+\setstaffs12\setclef1{60}%
+\generalsignature{-2}\generalmeter{\meterfrac{3}{4}}%
+\parindent 0pt%
+\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
+\startpiece\addspace\afterruleskip%
+\notes\ibl1{'G}{-1}\qb1G\sk\bigna F\tbl1\qb1F|%
+\ibbl2{'b}0\qb2b\qb2a\qb2b\tbl2\qb2c\en%
+\notes\hl{'E}\bsk\raise6\internote\ds\ibu3{G}1\bigsh F%
+\qb3F\qb3G\tbu3\qb3{'A}|\zcharnote{10}{\copy\ornamentbox}\qlp{'c}\sk\sk%
+\cl d\en%
+\end{verbatim}\end{quote}
diff --git a/macros/musixtex/doc/musixdoc/spacing.tex b/macros/musixtex/doc/musixdoc/spacing.tex
new file mode 100644
index 0000000000..f4bcf29817
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/spacing.tex
@@ -0,0 +1,106 @@
+\chapter{Skipping Spaces and Shifting Symbols}\label{spacing}
+We've already mentioned that when coding a sequence of notes inside a
+particular pair \verb|\notes...\en|, the command \keyindex{sk} can
+be used to skip horizontally by one \keyindex{noteskip}. This would be
+used for example to align the third note in one staff with the second note
+in another. Skipping in this manner is logically equivalent to inserting
+blank space; as such, the space must be recorded by \musixtex. This command
+and the others discussed here will
+do just that, so that \verb|musixflx| can properly account for
+the added space.
+
+To skip by one \verb|noteskip| while in a collective coding sequence,
+you may simply insert an asterisk (``\verb|*|''\index{*}). This would have
+the same effect as stopping the sequence, entering {\Bslash sk}, then
+restarting. For example,
+
+\begin{music}
+\setstaffs12
+\startextract
+\Notes\hu{e*f*g}|\qu{gghhii}\en
+\zendextract
+\end{music}
+\noindent was coded as
+\verb|\Notes\hu{e*f*g}|{\tt |}\verb|\qu{gghhii}\en|
+
+To skip forward
+by one half of a \verb|\noteskip|, use \keyindex{hsk}.
+To skip \emph{backward}
+by one or half \verb|\noteskip|, use \keyindex{bsk},
+or \keyindex{hbsk}, respectively.
+
+To insert spacing of approximately one note head width, you can use
+\keyindex{qsk}, or for two-thirds, half or one-quarter of that, \keyindex{tqsk}, \keyindex{hqsk}
+or \keyindex{qqsk}, respectively.
+To skip backward one note-head width or two-thirds or half that, use
+\keyindex{bqsk}, \keyindex{btsk} or \keyindex{bhsk}, respectively. More generally,
+to skip an arbitrary distance, use \keyindex{off}\verb|{|$D$\verb|}|
+where $D$ is any \itxem{scalable dimension}, e.g.,~\verb|\noteskip| or
+\verb|\elemskip|. Indeed, if you look in the
+\musixtex\ source, you will see that \verb|\off| is the basic control
+sequence used to define all the other skip commands.
+
+The foregoing commands only work \ital{inside} a \verb|\notes...\en| group.
+A different set of commands must be used to insert space \ital{outside}
+such a group. \keyindex{nspace} produces an
+additional spacing of half a note head width;
+\keyindex{qspace}, one note head width. These are ``hard'' spacings. To
+insert an arbitrary amount of hard space outside a \verb|\notes...\en|
+group, use \keyindex{hardspace}\verb|{|$d$\verb|}| where
+$d$ is any fixed dimension\label{hardspace}. The foregoing three commands are the only
+space-generating commands that insert hard space; all the others insert
+scalable spacing: \keyindex{elemskip},
+\keyindex{beforeruleskip}, \keyindex{afterruleskip}, \keyindex{noteskip} and
+their multiples. Finally, to insert
+scalable spacing outside
+a \verb|\notes...\en| group, use
+\keyindex{addspace}\verb|{|$D$\verb|}|. The argument may be negative, in
+which case the normal spacing will be reduced. For example, after
+\keyindex{changecontext}, many users prefer to reduce the space with
+a command like
+\verb|addspace{-|\keyindex{afterruleskip}\verb|}|.
+
+There is yet another set of commands for simply shifting a note, symbol, or sequence
+inside \verb|\notes...\en|
+without adding or subtracting any space. To shift by one note head width,
+you may write \keyindex{roff}\verb|{|\ital{any macro}\verb|}|
+or \keyindex{loff}\verb|{|\dots\verb|}| for a right or left shift respectively.
+ To shift by half of a note head width, use
+\keyindex{hroff}\verb|{|\dots\verb|}| or
+\keyindex{hloff}\verb|{|\dots\verb|}|.
+For example, to get
+ %\check
+
+\begin{music}\nostartrule
+\startextract
+\Notes\roff{\zwh g}\qu g\qu h\qu i\en
+\zendextract
+\end{music}
+\noindent you would code:
+
+ %\check
+
+\begin{quote}\begin{verbatim}
+\Notes\roff{\zwh g}\qu g\qu h\qu i\en
+\end{verbatim}\end{quote}
+
+\noindent To shift notes or symbols by an arbitrary amount, use
+\keyindex{roffset}\verb|{|$N$\verb|}{|\dots\verb|}| or
+\keyindex{loffset}\verb|{|$N$\verb|}{|\dots\verb|}|, where
+$N$ is the distance to be shifted in note head widths. For example
+
+\begin{music}\nostartrule
+\startextract
+\Notes\roffset{1.5}{\zwh g}\qu g\qu h\qu i\en
+\zendextract
+\end{music}
+\noindent was coded as
+
+\begin{quote}\begin{verbatim}
+\Notes\roffset{1.5}{\zwh g}\qu g\qu h\qu i\en
+\end{verbatim}\end{quote}
+
+An important feature of these shift commands is that the offset,
+whether implicit or explicit, is \ital{not} added to
+the total spacing amount, but any spacing due to the included commands is.
+
diff --git a/macros/musixtex/doc/musixdoc/staffsize.tex b/macros/musixtex/doc/musixdoc/staffsize.tex
new file mode 100644
index 0000000000..2827067330
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/staffsize.tex
@@ -0,0 +1,101 @@
+\chapter{Staff Size} \index{staff size}\label{staffspacing}
+In contrast with the prior section, here we describe how to change the sizes
+of everything...staff, notes, and all other symbols. In
+Section~\ref{whatspecify} we saw how to set the size for all instruments at
+the start of a score. Any one of the same macros---\verb|\normalmusicsize|,
+\verb|\smallmusicsize|, \verb|\largemusicsize|, or
+\verb|\Largemusicsize|---can be used to change the size of all instruments
+midway through a score, but in this case it must come between
+\verb|\stoppiece| and \verb|\startpiece|.
+
+Once the overall staff size is set, you can alter the size of any desired
+instrument with the macro \keyindex{setsize}\itbrace{n}\itbrace{s}, where
+$n$ is the instrument number and $s$ is a factor by which the size is to be
+changed from the prevailing overall size. There are five predefined macros
+that should be used for the size factor $s$. Their names and respective values
+are \keyindex{normalvalue}~($1.0$), \keyindex{smallvalue}~($0.80$),
+\keyindex{tinyvalue}~($0.64$), \keyindex{largevalue}~($1.2$), and
+\keyindex{Largevalue}~($1.44$). \musixtex\ should not crash if you use an
+explicit number different from any of these, but the result may be
+less than satisfactory.
+
+Once again, if used at the beginning of a piece, the \verb|\setsize| macro
+must precede \verb|\startpiece| (not \verb|\contpiece|), and if used after
+the beginning, must be preceded by \verb|\stoppiece|.
+
+As an example, we give two bars of the \ital{Ave Maria} by Charles {\sc
+Gounod}\index{Gounod, C.@{\sc Gounod, C.}}, based on the first prelude of
+J. S. Bach's \ital{Well Tempered Clavier}, as transcribed for
+organ, violin and voice by Markus {\sc Veittes}:\label{avemaria}
+
+\begin{music}
+\def\oct{\advance\transpose by 7}
+\def\liftqs#1{\raise#1\Interligne\qs}
+\parindent0pt
+\sepbarrules
+\instrumentnumber{3}
+\generalmeter{\meterC}
+\setinterinstrument2{3\Interligne}
+\setsize3\tinyvalue
+\setsize2\tinyvalue
+\setclef1\bass
+\setstaffs1{2}
+\startpiece\addspace\afterruleskip
+%Takt 9
+\notes\zhl c\liftqs6\qupp e|\ds&\oct
+ \itieu5h\hl h&\tx ~~~gra---*\itied4h\hu h\en
+\notes|\ibbl0j3\qb0h\tqb0l\en
+\notes|\ibbl1k0\qb1{ohl}\tqb1o\en
+\notes\zhl c\liftqs6\qupp e|\ds&\oct
+ \ttie5\ibl4c0\qb4h&\ttie4\ibu5g{-3}\qb5h\en
+\notes|\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\tx ---*\tqh5a\en
+\notes|\ibbl1k0\qb1o\qb1h&\oct\qb4b&\tx ~~ti~-*\cu b\en
+\notes|\qb1l\tqb1o&\oct\tqb4c&\tx a*\cu c\en
+\bar
+%Takt 10
+\notes\zhl c\liftqs6\qupp d|\ds&\oct
+ \qlp d&\tx ~~~ple---*\ibsluru4e\qup d\en
+\notes|\ibbu1g3\bigaccid\qb1{^f}\tqh1h\en
+\notes|\ibbu2i0\qb2k\qb2f\en
+\notes|\qb2h\tqh2k&\oct\cl e&\tubslur4f\cu e\en
+\notes\zhl c\liftqs6\qupp d|\ds&\oct\ql d&\tx na,*\qu d\en
+\notes|\ibbu1g3\qb1f\tqh1h\en
+\notes|\ibbu2i0\qb2{kfh}\tqh2k&\qp&\qp\en
+\endpiece
+\end{music}
+ This example was coded as:
+\begin{quote}\begin{verbatim}
+\def\oct{\advance\transpose by 7}
+\def\liftqs#1{\raise#1\Interligne\qs}
+\parindent0pt
+\sepbarrules
+\instrumentnumber{3}
+\generalmeter{\meterC}
+\setinterinstrument2{3\Interligne}
+\setsize3\tinyvalue
+\setsize2\tinyvalue
+\setclef1\bass
+\setstaffs1{2}
+\startpiece\addspace\afterruleskip
+%Takt 9
+\notes\zhl c\liftqs6\qupp e|\ds&\oct
+ \itieu5h\hl h&\tx ~~~gra---*\itied4h\hu h\en
+\notes|\ibbl0j3\qb0h\tqb0l\en
+\notes|\ibbl1k0\qb1{ohl}\tqb1o\en
+\notes\zhl c\liftqs6\qupp e|\ds&\oct
+ \ttie5\ibl4c0\qb4h&\ttie4\ibu5g{-3}\qb5h\en
+\notes|\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\tx ---*\tqh5a\en
+\notes|\ibbl1k0\qb1o\qb1h&\oct\qb4b&\tx ~~ti~-*\cu b\en
+\notes|\qb1l\tqb1o&\oct\tqb4c&\tx a*\cu c\en
+\bar
+%Takt 10
+\notes\zhl c\liftqs6\qupp d|\ds&\oct
+ \qlp d&\tx ~~~ple---*\ibsluru4e\qup d\en
+\notes|\ibbu1g3\bigaccid\qb1{^f}\tqh1h\en
+\notes|\ibbu2i0\qb2k\qb2f\en
+\notes|\qb2h\tqh2k&\oct\cl e&\curve222\tubslur4f\cu e\en
+\notes\zhl c\liftqs6\qupp d|\ds&\oct\ql d&\tx na,*\qu d\en
+\notes|\ibbu1g3\qb1f\tqh1h\en
+\notes|\ibbu2i0\qb2{kfh}\tqh2k&\qp&\qp\en
+\endpiece
+\end{verbatim}\end{quote}
diff --git a/macros/musixtex/doc/musixdoc/summary.tex b/macros/musixtex/doc/musixdoc/summary.tex
new file mode 100644
index 0000000000..d3f70a4bf9
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/summary.tex
@@ -0,0 +1,310 @@
+\newgeometry{margin=0.5in}
+\makeatletter
+\def\@makeschapterhead#1{} % omit chapter head to save space
+\chapter*{}
+\addcontentsline{toc}{chapter}{Summary of Denotations}
+\def\@makeschapterhead#1{% restore usual definition
+ \vspace*{50\p@}%
+ {\parindent \z@ \raggedright
+ \normalfont
+ \interlinepenalty\@M
+ \Huge \bfseries #1\par\nobreak
+ \vskip 40\p@
+ }}
+\makeatother
+\parskip0pt plus 2pt
+\parindent0pt
+\thispagestyle{empty}
+\centerline{\frtbf Pitches}
+\smallskip
+\setclef1\bass
+\afterruleskip2pt
+\newcommand{\bs}{\ttfamily\footnotesize\char92}
+\begin{footnotesize}\ttfamily
+\nostartrule\startpiece%
+%
+% Pitches
+%
+\addspace\afterruleskip
+\notes\wh{`ABCDEFG}\wh{!ABCDEFG}\wh{HIJKLMNabcde}\off{-26\noteskip}%
+ \zchar{14}{\llap`A}\sk
+ \zchar{14}{\llap`B}\sk
+ \zchar{14}{\llap`C}\sk
+ \zchar{14}{\llap`D}\sk
+ \zchar{14}{\llap`E}\sk
+ \zchar{14}{\llap`F}\sk
+ \zchar{14}{\llap`G}\sk
+ \zchar{14}A\sk
+ \zchar{14}B\sk
+ \zchar{14}C\sk
+ \zchar{14}D\sk
+ \zchar{14}E\sk
+ \zchar{14}F\sk
+ \zchar{14}G\sk
+ \zchar{-5}{\llap'A}\zchar{14}H\sk
+ \zchar{-5}{\llap'B}\zchar{14}I\sk
+ \zchar{-5}{\llap'C}\zchar{14}J\sk
+ \zchar{-5}{\llap'D}\zchar{14}K\sk
+ \zchar{-5}{\llap'E}\zchar{14}L\sk
+ \zchar{-5}{\llap'F}\zchar{14}M\sk
+ \zchar{-5}{\llap'G}\zchar{14}N\sk
+ \zchar{14}a\sk
+ \zchar{14}b\sk
+ \zchar{14}c\sk
+ \zchar{14}d\sk
+ \zchar{14}e\sk\en
+\stoppiece\vskip-7\Interligne\setclef1\treble\contpiece
+\notes\wh{abcdefg}\wh{hijklmno}\wh{pqrstuvwxyz}\off{-26\noteskip}%
+ \zchar{-8}a\sk
+ \zchar{-8}b\sk
+ \zchar{-8}c\sk
+ \zchar{-8}d\sk
+ \zchar{-8}e\sk
+ \zchar{-8}f\sk
+ \zchar{-8}g\sk
+ \zchar{-8}h\zchar{-4}{\llap'a}\sk
+ \zchar{-8}i\zchar{-4}{\llap'b}\sk
+ \zchar{-8}j\zchar{-4}{\llap'c}\sk
+ \zchar{-8}k\zchar{-4}{\llap'd}\sk
+ \zchar{-8}l\zchar{-4}{\llap'e}\sk
+ \zchar{-8}m\zchar{-4}{\llap'f}\sk
+ \zchar{-8}n\zchar{-4}{\llap'g}\sk
+ \zchar{-8}o\zchar{-4}{\llap{'\kern-2pt'}a}\sk
+ \zchar{-8}p\zchar{-4}{\llap{'\kern-2pt'}b}\sk
+ \zchar{-8}q\zchar{-4}{\llap{'\kern-2pt'}c}\sk
+ \zchar{-8}r\zchar{-4}{\llap{'\kern-2pt'}d}\sk
+ \zchar{-8}s\zchar{-4}{\llap{'\kern-2pt'}e}\sk
+ \zchar{-8}t\zchar{-4}{\llap{'\kern-2pt'}f}\sk
+ \zchar{-8}u\zchar{-4}{\llap{'\kern-2pt'}g}\sk
+ \zchar{-8}v\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}a}\sk
+ \zchar{-8}w\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}b}\sk
+ \zchar{-8}x\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}c}\sk
+ \zchar{-8}y\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}d}\sk
+ \zchar{-8}z\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}e}\sk\en
+\stoppiece
+\smallskip
+\centerline{\frtbf Notes and Accidentals}
+%
+% Notes& Accidentals
+%
+\contpiece
+\Notes
+ \zchar{-4}{\eightrm Accidentals:}%
+ \zchar9{\bs maxima}\maxima i\relax
+ \zchar{12}{\bs longa}\longa i%
+ \zchar9{\bs breve}\breve i%
+ \zchar{12}{\bs wq}\wq i%
+ \zchar{12}{\bs wqq}\wqq i%
+ \zchar{12}{\bs wh}\wh i%
+ \zchar{12}{\bs hu}\zchar{-4}>\hu{>f}%
+ \zchar{12}{\bs hl}\loff{\zchar{-4}{\bs cdsh}}\cdsh l\hl l%
+ \zchar{12}{\bs qu}\zchar{-4}\^\qu{^f}%
+ \zchar{12}{\bs ql}\loff{\zchar{-4}{\bs csh}}\csh l\ql l%
+ \zchar{12}{\bs cu}\zchar{-4}=\cu{=f}%
+ \zchar{12}{\bs cl}\loff{\zchar{-4}{\bs cna}}\cna l\cl l%
+ \zchar{12}{\bs ccu}\zchar{-4}\_\ccu{_f}%
+ \zchar{12}{\bs ccl}\loff{\zchar{-4}{\bs cfl}}\cfl l\ccl l%
+ \zchar{12}{\bs cccu}\zchar{-4}<\cccu{<f}%
+ \zchar{12}{\bs cccl}\loff{\zchar{-4}{\bs cdfl}}\cdfl l\cccl l%
+\multnoteskip{1.2}%
+ \zchar{12}{\bs ccccu}\ccccu f%
+ \zchar{12}{\bs ccccl}\ccccl l%
+\multnoteskip{.8}%
+ \zchar{12}{\bs grcu}\grcu f%
+ \zchar{12}{\bs grcl}\grcl l\en
+\stoppiece
+%
+% various note heads
+%
+\contpiece
+\Notes
+\multnoteskip{1.1}%
+ \zchar{10}{\bs dqu$^{123}$}\dqu g%
+ \zchar{10}{\bs yqu$^{123}$}\yqu g%
+\multnoteskip{.9}%
+ \zchar{10}{\bs dcqu$^2$}\dcqu g%
+ \zchar{10}{\bs dhqu$^2$}\dhqu g%
+ \zchar{10}{\bs doqu$^2$}\doqu g%
+ \zchar{10}{\bs xqu$^2$}\xqu g%
+ \zchar{10}{\bs oxqu$^2$}\oxqu g%
+ \zchar{10}{\bs roqu$^2$}\roqu g%
+ \zchar{10}{\bs tgqu$^2$}\tgqu f%
+ \zchar{10}{\bs kqu$^2$}\kqu f%
+ \zchar{10}{\bs squ$^3$}\squ g%
+ \zchar{10}{\bs lsqu$^3$}\lsqu j%
+ \zchar{10}{\bs rsqu$^3$}\rsqu k%
+ \zchar{10}{\bs cqu$^4$}\cqu g%
+ \zchar{10}{\bs cql$^4$}\cql k%
+ \zchar{10}{\bs chu$^4$}\chu g%
+ \zchar{10}{\bs chl$^4$}\chl k\en
+%
+% Pointed Notes and Accents
+%
+\stoppiece
+\vspace*{-2ex}
+\centerline{\frtbf Pointed Notes and Accents}
+\contpiece
+\Notes
+ \zchar{-5}{\eightrm Accent on beam with prefix {\tt b} and beam reference
+number instead of the pitch}%
+ \zchar{13}{\bs lpz}\lpz f\qu f%
+ \zchar{13}{\bs upz}\upz l\ql l%
+ \zchar{13}{\bs lsf}\lsf f\qu f%
+ \zchar{13}{\bs usf}\usf l\ql l%
+ \zchar{13}{\bs lst}\lst f\qu f%
+ \zchar{13}{\bs ust}\ust l\ql l%
+ \zchar{13}{\bs lppz}\lppz f\qu f%
+ \zchar{13}{\bs uppz}\uppz l\ql l%
+ \zchar{13}{\bs lsfz}\lsfz f\qu f%
+ \zchar{13}{\bs usfz}\usfz l\ql l%
+ \zchar{13}{\bs lpzst}\lpzst f\qu f%
+ \zchar{13}{\bs upzst}\upzst l\ql l%
+ \zchar{16}{\bs downbow}\zchar9\downbow\ql l%
+ \zchar{13}{\bs upbow}\zchar9\upbow\ql l%
+ \zchar{16}{\bs flageolett}\flageolett l\ql l%
+ \zchar{13}{\bs whp}\whp i%
+ \zchar{13}{\bs qupp}\qupp h\en
+\stoppiece
+\centerline{\frtbf Clefs}
+%
+% clefs
+%
+\setclefsymbol1\empty
+%\setlines 11\relax
+\nostartrule\contpiece
+\NOtes
+ \zchar{13}{\bs trebleclef}\zchar0\trebleclef\sk
+ \zchar9{\bs altoclef}\zchar0\altoclef\sk
+ \zchar{13}{\bs bassclef}\zchar0\bassclef\sk
+ \zchar9{\bs smalltrebleclef}\zchar0\smalltrebleclef\sk
+ \zchar{13}{\bs smallaltoclef}\zchar0\smallaltoclef\sk
+ \zchar9{\bs smallbassclef}\zchar0\smallbassclef\sk
+ \zchar{13}{\bs drumclef$^2$}\zchar0\drumclef\sk
+ \zchar9{\bs gregorianCclef$^3$}\zchar0\gregorianCclef\sk
+ \zchar{13}{\bs gregorianFclef$^3$}\zchar0\gregorianFclef\sk
+ \zchar9{\bs oldGclef$^4$}\zchar0\oldGclef\sk\en
+\zstoppiece
+%
+% Rests
+%
+\centerline{\frtbf Rests}
+\setlines 15\relax
+\nostartrule
+\resetclefsymbols\contpiece
+\Notes
+\multnoteskip{0.8}%
+ \zchar{13}{\bs qqs}\qqs\qsk
+ \zchar{13}{\bs hs}\hs
+ \zchar{13}{\bs qs}\qs
+ \zchar{13}{\bs ds}\ds
+ \zchar{13}{\bs qp}\qp
+ \zchar{13}{\bs hp}\hp
+ \zchar{13}{\bs qqsp}\qqsp\qsk
+ \zchar{13}{\bs hsp}\hsp
+ \zchar{13}{\bs qsp}\qsp
+ \zchar{13}{\bs dsp}\dsp
+ \zchar{13}{\bs qpp}\qpp
+ \zchar{13}{\bs hpp}\hpp
+\multnoteskip{1.5}%
+ \zchar{9}{\bs lifthpause}\roff{\lifthpause5}\sk
+ \zchar{13}{\bs pause}\pause
+ \zchar{13}{\bs pausep}\pausep
+ \zchar{9}{\bs liftpause}\roff{\liftpause4}\sk
+ \zchar{13}{\bs PAuse}\PAuse
+ \zchar{13}{\bs PAUSe}\PAUSe
+ \zchar{13}{\bs Hpause$^4$}\Hpause i{.8}\sk\en
+\stoppiece\vskip-2\Interligne
+%
+\smallskip
+\centerline{\frtbf Miscellaneous Symbols}
+%
+% more Symbols
+%
+\nostartrule
+\contpiece
+\Notes\multnoteskip{0.25}\zchar{-4}{\bs allabreve}%
+ \zchar{14}{\bs tr}\tr n%
+ \zchar0\allabreve\qqsk
+ \zchar{14}{\bs Trille}\Trille n{0.9}\sk
+ \zchar{14}{\bs trille}\zchar{-4}{\bs meterC}\trille n{0.9}\zchar0\meterC\sk
+ \zchar{14}{\bs shake}\zchar{-4}{\bs reverseC}\shake n\zchar0\reverseC\sk
+ \zchar{14}{\bs Shake}\zchar{-8}{\bs reverseallabreve}\Shake n%
+ \zchar0\reverseallabreve\hqsk
+ \zchar{18}{\bs mordent}\mordent n\hqsk
+ \zchar{14}{\bs Mordent}\Mordent n\zchar{-4}{\bs meterplus}%
+ \zchar0{\meterfrac{3\meterplus2\meterplus3}8}\hqsk
+ \zchar{18}{\bs turn}\turn n\hqsk
+ \zchar{18}{\bs backturn}\backturn n\zchar{-4}{\bs duevolte}\duevolte\hqsk
+ \zchar{14}{\bs Shakel}\Shakel n\sk
+ \zchar{18}{\bs Shakesw}\Shakesw n\zchar{-4}{\bs l[r]par}%
+ \lpar f\rpar f{\stemlength4\qu f}%
+ \zchar{14}{\bs Shakene}\Shakene n\sk
+ \zchar{18}{\bs Shakenw}\Shakenw n\sk
+ \zchar{14}{\bs trt}\trt n\hqsk\en
+\stoppiece
+%
+% again
+%
+\contpiece
+\NOtes\zchar9{\bs metron}\zchar{13}{\small\metron\qu{99}}\sk\en
+\setvoltabox1\bar
+\NOtes\loffset2{\zchar{17}{\bs setvoltabox}}\en
+\setvolta2\setendvolta\rightrepeat
+\NOtes\loff{\zchar{17}{\bs setvolta}}\en
+\doublebar
+\notes\zchar{17}{\kern-\afterruleskip\bs coda}\coda n\en\bar
+\notes\zchar{17}{\kern-\afterruleskip\bs Coda}\Coda n\en
+\NOtes
+ \zchar{17}{\bs segno}\segno n\sk
+ \zchar{17}{\kern-2\afterruleskip\bs Segno}\Segno\hsk
+ \zchar{-4}{\bs caesura}\sk\caesura
+ \zchar{-4}{\bs cbreath}\cbreath\qsk
+ \zchar{9}{\bs PED}\PED\hsk
+ \zchar{9}{\bs sPED}\sPED\hsk\qqsk
+ \zchar{9}{\bs pdld}\pdld\hsk\qsk
+ \zchar{9}{\bs pdlud}\pdlud\hsk\qsk
+ \zchar{9}{\bs pdlu}\pdlu\hsk\qqsk
+ \zchar{9}{\bs DEP}\DEP\hsk
+ \zchar{9}{\bs sDEP}\sDEP\hsk\en
+\stoppiece
+%
+% and again ...
+%
+\contpiece
+\Notes
+ \zchar{-14}{\eightrm $^1$musixdia.tex\quad$^2$musixper.tex\quad$^3$musixgre.tex%
+ \quad$^4$musixlit.tex}%
+ \zchar{17}{\bs fermataup}\fermataup l%
+ \zchar{-8}{\bs fermatadown}\fermatadown f{\stemlength3\ql i}%
+ \zchar{13}{\bs Fermataup}\Fermataup l%
+ \zchar{-4}{\kern8pt\bs Fermatadown}\Fermatadown f\wh i%
+ \loff{\zchar{17}{\bs arpeggio d5}}\arpeggio d5\sk
+\multnoteskip{.66}%
+ \loff{\zchar{13}{\bs bracket}}\bracket e{10}\zq n\ql e\en
+\notes\stemlength3%
+ \zchar{17}{\bs uptrio}\uptrio{11}16\ql l\ql n\bsk\bsk
+ \zchar{-8}{\bs downtrio}\downtrio{-5}17\qu c\qu e\en
+\Notes
+ \zchar{17}{\bs octfinup}\octfinup n{.8}%
+ \zchar{-4}{\bs octfindown}\octfindown K{.8}\sk\hsk
+ \zchar{17}{\bs slide}%
+ \slide i58\slide i57\slide i56\slide i55\slide i54%
+ \slide i53\slide i52\slide i51\slide i5{-1}%
+ \slide i5{-2}\slide i5{-3}\slide i5{-4}\slide i5{-5}%
+ \slide i5{-6}\slide i5{-7}\slide i5{-8}\sk\en
+\leftrepeat
+\Notes
+ \loffset2{\zchar{-4}{\bs leftrepeat}}%
+ \boxitsep=2pt\zchar{17}{\bs boxit A}\zchar9{\boxit A}\en
+\leftrightrepeat
+\Notes
+ \loffset2{\zchar{-8}{\bs leftrightrepeat}}%
+ \zchar{17}{\bs circleit B}\uptext{\circleit B}\en
+\rightrepeat
+\NOtes
+ \loffset2{\zchar{-4}{\bs rightrepeat}}\en
+\endpiece\advance\textheight-40mm\eject%
+\endmuflex
+\end{footnotesize}
+\restoregeometry
+
diff --git a/macros/musixtex/doc/musixdoc/transposition.tex b/macros/musixtex/doc/musixdoc/transposition.tex
new file mode 100644
index 0000000000..4fc9e9d609
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/transposition.tex
@@ -0,0 +1,217 @@
+ \chapter{Transposition and Octaviation}\label{octaviation}
+Two different subjects are discussed in this section. First, there
+are commands that cause notes to be printed at different pitches than
+entered. We shall refer to this as \ital{logical} transposition.
+Second, there are notations for octaviation that do
+not otherwise alter the appearance of the score, which we'll call
+\ital{octaviation lines}.
+
+\section{Logical transposition and octaviation}
+
+Logical transposition is controlled by an integer-valued \TeX\ register
+\keyindex{transpose}. Its default value is $0$. If you enter
+\verb|\transpose=|$n$ outside of notes commands, then all subsequent pitches specified by
+letters will be transposed by $n$ positions. Normally this method would be
+used to transpose an entire piece. Pitches specified with
+numbers will not be affected, so if you think you will ever want to
+transpose a piece, you should enter all note pitches with letters.
+
+One way to transpose up or down by one octave would be to increase or decrease
+\keyindex{transpose} by $7$.
+A more convenient way to transpose locally up or down by one octave
+makes use respectively of the characters
+\verb|'| (close-quote, interpreted as an \itxem{acute accent}) and \verb|`| (open-quote, interpreted as
+a \itxem{grave accent}),
+placed immediately before the letter specifying the pitch. So
+for example \verb|\qu{'ab}| is equivalent to \verb|\qu{hi}| and
+\verb|\qu{`kl}| is equivalent to \verb|\qu{de}|. These characters have
+cumulative effects; thus,
+for example, \verb|\qu{''A'A}| and \verb|\qu{''A}\qu{'A}| are both equivalent to \verb|\qu{ah}|.
+Alterations to the value of
+\verb|\transpose| in notes commands are \emph{local}: when changing to a different staff or
+instrument or encountering \verb|\en|, \verb|\transpose| will be reset to the
+value it had before the accents were used. (That value is stored in
+another register called \keyindex{normaltranspose}). Another way to localize
+changes to \verb|\transpose| is to create an explicit \TeX\ ''group'' by enclosing commands in \verb|{...}| braces.
+
+At any point it is possible to reset the \verb|\transpose| register
+explicitly to the \verb|\normaltranspose| value
+by prefacing a pitch indication with
+``\verb|!|''. Thus \verb|\qu{!a'a}| always
+gives the note \verb|a| and its upper octave \verb|h|, shifted by the
+value of {\Bslash normaltranspose},
+regardless of the number of grave and
+acute accents earlier in that group.
+
+ \section{Behavior of accidentals under logical transposition}\label{transposeaccids}
+ The above processes indeed change the vertical position of the note heads
+and associated symbols (e.g., stems and beams), but they don't take
+care of the necessary changes of accidentals when transposing. For example,
+suppose an F$\sharp$ occurs in the key of C major. If the piece is
+transposed up three steps to the key of F, the F$\sharp$ should logically
+become a
+B$\natural$. But if all you do is set \verb|\transpose=3|, the note will
+be typeset as a B$\sharp$. In other words, \musixtex\ will interpret the~\verb|\sh|
+or~\verb|^| to mean ``print a $\sharp$''.
+
+Naturally there is a solution, but it requires the typesetter to plan
+ahead: To force accidentals to behave well under transposition, they
+must be entered according to the \ital{relative
+accidental convention}. To alert \musixtex\ that you are using this
+convention to enter notes, you must issue the command
+\keyindex{relativeaccid}. Once you have done this, the meaning of
+accidental macros and characters (accents) in the input file is changed.
+Under the convention, when for example a
+\verb|\sh| is entered, it indicates a note that is supposed to sound
+\ital{one half step higher than what it would normally be under the
+current key signature}. Flats and naturals on entry similarly indicate
+notes one half step lower or at the same pitch as what the key signature
+dictates. \musixtex\ will take account of the key signature, and print
+the correct symbol according to the modern notational convention,
+provided you have explicitly entered the transposed key signature using
+for example \verb|\generalsignature|.
+
+Many people have a difficult time understanding how this works, so
+here are two simple examples in great detail. Consider the case already mentioned
+of the F$\sharp$ in the key of C major. With
+\verb|\relativeaccid| in effect, it should still be entered as \verb|\sh f|, and
+with no transposition it will still appear as F$\sharp$. With
+\verb|\transpose=3| and \verb|\generalsignature{-1}| it will appear
+(correctly) as B$\natural$. Conversely, suppose you want to enter a
+B$\natural$ when originally in the key of F. With \verb|\relativeaccid| in effect, it
+should be entered as \verb|\sh i|. (That's the part that people
+have the most trouble with: ``If I want a natural, why do I have to enter a sharp?'' Answer:
+``Go back and re-read the previous paragraph very carefully.'') With no transposition, it will be
+printed as B$\natural$. Now to transpose this to C major, set
+\verb|\transpose=-3| and \verb|\generalsignature0|, and it will appear
+as F$\sharp$.
+
+If you have invoked \verb|\relativeaccid| and then
+later for some reason wish to revert to the ordinary convention,
+enter \keyindex{absoluteaccid}.
+
+\section{Octaviation lines}
+The first kind of notation for octave transposition covers a
+horizontal range that must be specified at the outset. The sequence
+
+\medskip
+\begin{music}\nostartrule
+\startextract
+\NOTEs\octfinup{10}{3.5}\ql{!'a}\ql b\ql c\ql d\en
+\zendextract
+\end{music}
+\noindent can be coded as
+\verb|\NOTEs\octfinup{10}{3.5}\qu a\qu b\qu c\qu d\en|.
+\zkeyindex{octfinup}
+Here, the dashed line is at staff level 10 and extends \verb|3.5\noteskip|.
+Conversely, lower octaviation can be coded. For example
+
+\begin{music}\nostartrule
+\startextract
+\NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en
+\zendextract
+\end{music}
+\noindent is coded as
+\verb|\NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en|.
+\zkeyindex{octfindown}
+ To change the text that is part of these notations, redefine one of
+the macros \keyindex{octnumberup} or \keyindex{octnumberdown}. The reason for
+the distinction between up and down is that, traditionally, upper octaviation
+only uses the figure
+``8'' to denote its beginning, while lower octaviation uses a more
+elaborate indication such as \hbox{\ppffsixteen8$^{va}$\kern 0.2em\eightit bassa}. Thus
+
+\bigskip
+\begin{music}\nostartrule
+\startextract
+\NOTEs\def\octnumberup{\ppffsixteen8$^{va}$}\octfinup{10}{2.5}\qu c\qu d\qu e\en
+\zendextract
+\end{music}
+\noindent is coded
+
+\noindent\verb|\NOTEs\def\octnumberup{\ppffsixteen8$^{va}$}\octfinup{10}{2.5}\qu c\qu d\qu e\en|
+
+\noindent while
+
+\begin{music}
+\startextract
+\NOTEs\def\octnumberdown{\ppffsixteen8$_{ba}$}\octfindown{-5}{2.5}\ql l\ql
+k\ql j\en
+\endextract
+\end{music}
+\noindent is coded as
+\begin{quote}\begin{verbatim}
+\NOTEs\def\octnumberdown{\ppffsixteen8$_{ba}$}%
+ \octfindown{-5}{2.5}\ql l\ql k\ql j\en
+\end{verbatim}\end{quote}
+
+The foregoing constructions have the drawbacks that (a) the span must be
+indicated ahead of time and (b) they cannot extend across a line break.
+Both restrictions are removed with the use of the alternate macros \keyindex{Ioctfinup},
+\keyindex{Ioctfindown} and
+\keyindex{Toctfin}.
+
+{\Bslash Ioctfinup}~$np$ indicates an upward octave transposition line with reference number
+$n$ and with dashed line at pitch $p$.
+By default $n$ must be in the range $[0,5]$, but
+you can specify a larger maximum number
+directly with \keyindex{setmaxoctlines}\verb|{|$m$\verb|}|
+where $7<m\leq 100$\footnote{This may require e-\TeX.}; the
+reference number will be in the range between $0$ and $m-1$.
+\label{musixmad_setmaxoctlines}
+
+Usually $p$ will be numeric and $>9$,
+but it can also be a letter.
+{\Bslash Ioctfindown}~$np$ starts a lower octave transposition line at pitch $p$
+(usually $p<-1$). Both extend until terminated with {\Bslash Toctfin}. The
+difference between {\Bslash Ioctfinup}~$n$ and {\Bslash Ioctfindown}~$n$ is
+the relative position of the figure ``8'' with respect to the dashed line, and
+the sense of the terminating hook As shorthand, \keyindex{ioctfinup} is equivalent to
+\verb|\Ioctfinup 0| and \keyindex{ioctfindown} is equivalent to
+\verb|\Ioctfindown 0|.
+
+For example,
+
+\medskip
+ \begin{music}\nostartrule
+\instrumentnumber{1}
+\setstaffs12
+\setclef1{6000}
+%
+\startextract
+\notes\wh{CDEFGH}|\wh{cde}\Ioctfinup 1p\wh{fgh}\en
+\bar
+\notes\Ioctfindown 2A\wh{IJKLMN}|\wh{ijklmn}\en
+\bar
+\Notes\wh{NMLKJI}|\wh{nmlkji}\Toctfin1\en
+\bar
+\Notes\wh{HGFED}\Toctfin2\wh C|\wh{hgfedc}\en
+\zendextract
+\end{music}
+\noindent is coded as
+\begin{quote}\begin{verbatim}
+\begin{music}\nostartrule
+\instrumentnumber{1}
+\setstaffs12
+\setclef1{6000}
+%
+\startextract
+\notes\wh{CDEFGH}|\wh{cde}\Ioctfinup 1p\wh{fgh}\en
+\bar
+\notes\Ioctfindown 2A\wh{IJKLMN}|\wh{ijklmn}\en
+\bar
+\Notes\wh{NMLKJI}|\wh{nmlkji}\Toctfin1\en
+\bar
+\Notes\wh{HGFED}\Toctfin2\wh C|\wh{hgfedc}\en
+\zendextract
+\end{music}
+\end{verbatim}\end{quote}
+ %\check
+
+ The elevation of octaviation lines may be changed in midstream using
+\keyindex{Liftoctline}~$n$$p$, where $n$ is the reference number of the
+ octave line, and $p$ a (possibly negative) number of
+\keyindex{internote}s (staff pitch positions) by which elevation of the dashed line should be changed.
+This may be useful when octaviation lines extend over several systems and the
+elevation needs to be changed in systems after the one where it was initiated.
+
diff --git a/macros/musixtex/doc/musixdoc/writingnotes.tex b/macros/musixtex/doc/musixdoc/writingnotes.tex
new file mode 100644
index 0000000000..7bd5c83375
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/writingnotes.tex
@@ -0,0 +1,285 @@
+ \chapter{Writing Notes}\label{autostemdirections}
+There are two major kinds of note macros, those that include a space (of
+length \keyindex{noteskip}) after
+the printed symbol, and those that don't cause any space. A single-line melody would be
+written using the first type. All notes of a chord except the last would
+use the second.
+
+Another distinction concerns stemmed notes. Some macros explicitly set the
+stem direction with either ``\verb|u|'' or ``\verb|l|'' contained in the name of
+the macro. On the other hand, an ``\verb|a|'' in the macro's name usually signifies
+\ital{automatic} stem direction selection. In this case notes below the middle
+staff line will get up stems, otherwise down.
+
+Note pitches can be specified either by letters or numbers. If no transposition
+or octaviation is in effect, letters ranging
+from \verb|a| to \verb|z| represent notes starting with the A below
+middle C. Upper case letters from \verb|A| to \verb|N| represent pitches
+two octaves lower than their lower case counterparts. Any letter can be used in
+any clef, but some users may
+prefer to use the lower case letters in treble clef, and the upper case ones
+in bass clef.
+
+Alternatively, a one- or two-digit, positive or negative integer can always be used.
+The number represents
+the vertical position on the staff, with \verb|0| for the lowest line and
+\verb|1| for the space right above, \ital{regardless of the clef}.
+Unlike with letters, the
+associated pitch will depend on the clef, and notes entered this way are
+immune to transposition and octaviation.
+
+Notes lower than \verb|A| and higher than \verb|z| can be entered, with
+either numbers as just described, or with octaviation as will be explained in
+Chapter~\ref{octaviation}.
+
+ \section{Normal (unbeamed) spacing notes}\label{NormalNotes}
+In the following, \verb|{|$p$\verb|}| signifies a pitch specification as
+described above. However it
+is understood that if the pitch is a single character, the brackets are
+not necessary, provided that if it is a letter, a space separates the
+macro from the letter.
+
+
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+ \item[\keyindex{breve}{\tt\char123}$p${\tt\char125} :]breve (\hbox to 8pt{\zbreve1\hss}) .
+ \item[\keyindex{longa}{\tt\char123}$p${\tt\char125} :]longa (\hbox to8pt{\zlonga1\hss}) .
+ \item[\keyindex{longaa}{\tt\char123}$p${\tt\char125} :]longa with automatic stem direction\footnote{Editor's note: Evidently there is no explicit up-stemmed longa} .
+ \item[\keyindex{zmaxima}{\tt\char123}$p${\tt\char125} :]maxima(\hbox to16pt{\zmaxima1\hss}) .
+ \item[\keyindex{wq}{\tt\char123}$p${\tt\char125} :]arbitrary duration note (\hbox to8pt{\zwq1\hss})
+(also used as alternate representation of a \ital{breve}).
+ \item[\keyindex{wqq}{\tt\char123}$p${\tt\char125} :]long arbitrary duration note
+(\hbox to8pt{\zwqq1\hss}) (also used as alternate
+representation of a \ital{longa}).
+ \item[\keyindex{wh}{\tt\char123}$p${\tt\char125} :]whole note.
+ \item[\keyindex{hu}{\tt\char123}$p${\tt\char125} :]half note with stem up.
+ \item[\keyindex{hl}{\tt\char123}$p${\tt\char125} :]half note with stem down.
+ \item[\keyindex{ha}{\tt\char123}$p${\tt\char125} :]half note with automatic stem direction
+ \item[\keyindex{qu}{\tt\char123}$p${\tt\char125} :]quarter note with stem up.
+ \item[\keyindex{ql}{\tt\char123}$p${\tt\char125} :]quarter note with stem down.
+ \item[\keyindex{qa}{\tt\char123}$p${\tt\char125} :]quarter note with automatic stem direction.
+ \item[\keyindex{cu}{\tt\char123}$p${\tt\char125} :]eighth note\footnote{The ``{\tt c}''
+within this macro name stands for the equivalent British term ``crotchet''} with stem up.
+ \item[\keyindex{cl}{\tt\char123}$p${\tt\char125} :]eighth note with stem down.
+ \item[\keyindex{ca}{\tt\char123}$p${\tt\char125} :]eighth note with automatic stem direction.
+ \item[\keyindex{ccu}{\tt\char123}$p${\tt\char125} :]sixteenth note with stem up.
+ \item[\keyindex{ccl}{\tt\char123}$p${\tt\char125} :]sixteenth note with stem down.
+ \item[\keyindex{cca}{\tt\char123}$p${\tt\char125} :]sixteenth note with automatic stem direction.
+ \item[\keyindex{cccu}{\tt\char123}$p${\tt\char125} :]$32$nd note with stem up.
+ \item[\keyindex{cccl}{\tt\char123}$p${\tt\char125} :]$32$nd note with stem down.
+ \item[\keyindex{ccca}{\tt\char123}$p${\tt\char125} :]$32$nd note with automatic stem direction.
+ \item[\keyindex{ccccu}{\tt\char123}$p${\tt\char125} :]$64$th note with stem up.
+ \item[\keyindex{ccccl}{\tt\char123}$p${\tt\char125} :]$64$th note with stem down.
+ \item[\keyindex{cccca}{\tt\char123}$p${\tt\char125} :]$64$th note with automatic stem direction.
+ \item[\keyindex{cccccu}{\tt\char123}$p${\tt\char125} :]$128$th note with stem up.
+ \item[\keyindex{cccccl}{\tt\char123}$p${\tt\char125} :]$128$th note with stem down.
+ \item[\keyindex{ccccca}{\tt\char123}$p${\tt\char125} :]$128$th note with automatic stem direction.
+\end{description}\end{quote}
+ As an example, the sequence
+
+ %\check
+\begin{music}\nostartrule
+\startextract
+\Notes\cu c\cl j\en\bar
+\Notes\ccu c\ccl j\en\bar
+\Notes\cccu c\cccl j\en\bar
+\Notes\ccccu c\ccccl j\en\bar
+\Notes\cccccu c\cccccl j\en
+\zendextract
+\end{music}
+ \noindent was coded as
+\begin{quote}\begin{verbatim}
+\Notes\cu c\cl j\en\bar
+\Notes\ccu c\ccl j\en\bar
+\Notes\cccu c\cccl j\en\bar
+\Notes\ccccu c\ccccl j\en\bar
+\Notes\cccccu c\cccccl j\en
+\end{verbatim}\end{quote}
+
+
+
+For \keyindex{breve} there is a possibility of
+confusion with a command in \TeX's math mode that has exactly the same name.
+However, there will generally be no problem, because inside
+\verb|\startpiece...\endpiece|,
+\verb|\breve| will take the musical meaning, while outside, it will have the
+mathematical one.
+If for some reason you need the math \verb|\breve| inside, you can use
+\verb|\endcatcodesmusic...\breve...\catcodesmusic|.
+
+ \section{Non-spacing note heads}
+These macros are used to create chords. Any number of them can be entered
+in sequence, followed by a spacing note. All of the note heads will be
+joined to the spacing note and the stem length will automatically be adjusted
+as needed.
+
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+ \item[\keyindex{zq}{\tt\char123}$p${\tt\char125} :]quarter (or shorter) note head.
+ \item[\keyindex{zh}{\tt\char123}$p${\tt\char125} :]half note head.
+\end{description}\end{quote}
+%das ???
+% \begin{remark} Notes of duration longer than whole notes are
+%always non-spacing. This saves one useless definition, since these notes are
+%always longer than other simultaneous ones. If needed they can be followed by
+%\keyindex{sk} to force spacing.
+%\end{remark}
+
+ \section{Shifted non-spacing note heads}
+These symbols are used mainly
+in chords containing an interval of a \ital{second}. They provide note
+heads shifted either to the left or right of the default position by
+the width of one note head.
+
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+\item[\keyindex{rw}{\tt\char123}$p${\tt\char125} :]whole note head shifted right.
+\item[\keyindex{lw}{\tt\char123}$p${\tt\char125} :]whole note head shifted left.
+\item[\keyindex{rh}{\tt\char123}$p${\tt\char125} :]half note head shifted right\footnote{Some may not
+have realized that half and whole note heads have different shapes}.
+\item[\keyindex{lh}{\tt\char123}$p${\tt\char125} :]half note head shifted left.
+\item[\keyindex{rq}{\tt\char123}$p${\tt\char125} :]quarter note head shifted right.
+\item[\keyindex{lq}{\tt\char123}$p${\tt\char125} :]quarter note head shifted left.
+\end{description}\end{quote}
+
+ \section{Non-spacing notes}
+These macros provide normal notes, with stems if applicable, but without any
+following space.
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+ \item[\keyindex{zhu}\pitchp~:]half note with stem up but no spacing. It acts like
+\verb|\hu| for chord building, i.e., it will join together any immediately
+preceding non-spacing note heads.
+ \item[\keyindex{zhl}\pitchp~:]half note with stem down but no spacing. It acts like
+\keyindex{hl} for chord building.
+ \item[\keyindex{zqu}\pitchp~:]quarter note with stem up but no spacing. It acts like
+\verb|\qu| for chord building.
+ \item[\keyindex{zql}\pitchp~:]quarter note with stem down but no spacing. It acts
+like \verb|\ql| for chord building.
+ \item[\keyindex{zcu}\pitchp, \keyindex{zccu}, \keyindex{zcccu},
+ \keyindex{zccccu}, \keyindex{zcccccu}
+:]eighth, ..., note with stem up but no spacing. They act like
+\verb|\cu| for chord building.
+ \item[\keyindex{zcl}\pitchp, \keyindex{zccl}, \keyindex{zcccl},
+ \keyindex{zccccl}, \keyindex{zcccccl}
+:]eighth, ..., note with stem down but no spacing. They act
+like \verb|\cl| for chord building.
+ \item[\keyindex{rhu}\pitchp, \keyindex{rhl}, \keyindex{rqu}, \keyindex{rql},
+ \keyindex{rcu}, \keyindex{rcl} :] \verb|\rhu| acts like \verb|\zhu|,
+ but the note is shifted one note width to the right; others analogous.
+ \item[\keyindex{lhu}\pitchp, \keyindex{lhl}, \keyindex{lqu}, \keyindex{lql},
+ \keyindex{lcu}, \keyindex{lcl} :]same
+ as above, but the note is shifted one note width to the left.
+ \item[\keyindex{zw}\pitchp~:]whole note with no following space.
+ \item[\keyindex{zwq}\pitchp~:]arbitrary duration note
+ (\hbox to8pt{\zwq1\hss}) with no following space.
+ \item[\keyindex{zbreve}\pitchp~:]breve
+ (\hbox to8pt{\zbreve1\hss}) with no following space.
+ \item[\keyindex{zlonga}\pitchp~:]longa
+ (\hbox to8pt{\zlonga1\hss}) with no following space.
+ \item[\keyindex{zmaxima}\pitchp~:]maxima
+ (\hbox to16pt{\zmaxima1\hss}) with no following space.
+\end{description}\end{quote}
+ %\check
+
+\section{Spacing note heads}
+
+Although not needed in normal music scores, these may be useful in
+very special cases.
+
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+\item[\keyindex{nh}{\tt\char123}$p${\tt\char125} :]spacing half note head.
+\item[\keyindex{nq}{\tt\char123}$p${\tt\char125} :]spacing quarter note head.
+\end{description}\end{quote}
+
+\noindent As an example, the sequence
+
+\begin{music}\nostartrule
+ \startextract
+\notes\nq c\nq j\en\barre
+\Notes\nh c\nh j\en\barre
+\notes\nq {cdef}\en
+\zendextract
+\end{music}
+
+\noindent was coded as
+
+\begin{quote}\begin{verbatim}
+\notes\nq c\nq j\en\barre
+\Notes\nh c\nh j\en\barre
+\notes\nq {cdef}\en
+\end{verbatim}\end{quote}
+
+Non spacing variants are also provided, namely
+\keyindex{znh} and \keyindex{znq}.
+% DAS: why???
+
+ \section{Dotted notes}\label{dots}
+
+By appending one or two \verb|p|'s (for ``pointed'') to the name, many of the
+macros just introduced provide one or two dots after the notehead:
+\keyindex{whp}\pitchp, \keyindex{whpp},
+\keyindex{zwp}, \keyindex{zwpp},
+\keyindex{hup}, \keyindex{hupp},
+\keyindex{hlp}, \keyindex{hlpp},
+\keyindex{hap}, \keyindex{happ},
+\keyindex{zhp}, \keyindex{zhpp},
+\keyindex{qup}, \keyindex{qupp},
+\keyindex{qlp}, \keyindex{qlpp},
+\keyindex{qap}, \keyindex{qapp},
+\keyindex{zqp}, \keyindex{zqpp},
+\keyindex{cup}, \keyindex{cupp},
+\keyindex{clp}, \keyindex{clpp},
+\keyindex{qbp} and \keyindex{qbpp}.
+Naturally, the ones that start with ``\verb|z|'' are used in chords.
+The dot(s) will be raised if the note is on a line.
+
+A more explicit way uses one of the macros \keyindex{pt}{\tt\char123}$p${\tt\char125},
+\keyindex{ppt}, or \keyindex{pppt} right
+before any note macro to place one to three dots after the normal note
+head at pitch $p$. Again they will be raised if on a line. In fact this is the only
+way to get a triple-dotted note.
+For example a
+quarter note with one dot could be coded \verb|\pt h\qu h|, with two dots
+as \keyindex{ppt}\verb| h\qu h| and with three as
+\keyindex{pppt}\verb| h\qu h|.
+
+Yet another method for posting a dot is to insert a \ital{period} before
+the letter representing the pitch. Thus \verb|\qu{.a}| is equivalent to
+either \verb|\pt a\qu a| or \verb|\qup a| . This may be useful when
+using \ital{collective coding}, which will be discussed in the next
+section.
+
+Non-spacing dotted notes can be produced using
+\keyindex{zhup}, \keyindex{zhlp}, \keyindex{zqup}, \keyindex{zqlp},
+\keyindex{zcup}, \keyindex{zclp}, \keyindex{zqbp},
+and similarly with two \verb|p|'s for
+double-dotted notes.
+
+As a matter of style, if two voices share one staff, the dots in
+the lower voice should be lowered if the note is on a line. For
+this you can use \keyindex{lpt}{\tt\char123}$p${\tt\char125} and
+\keyindex{lppt}{\tt\char123}$p${\tt\char125}.
+
+\section{Sequences of equally spaced notes; collective coding}
+\label{CollectiveCoding}
+
+It isn't necessary to write a separate macro
+sequence \verb|\notes...\en| for every individual column of notes.
+Rather, a single such macro can contain all the notes in all staves
+over an extended horizontal range, as long as all spacings are equal or
+multiples of a unique value of \keyindex{noteskip}.
+The notes in each staff could be entered one after another as normal
+spacing notes as already described in Section~\ref{NormalNotes}. Then
+each spacing note will cause the insertion point to advance horizontally by the
+operative value of \verb|\noteskip| defined by the choice of
+\verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc. Of course in such sequences
+non-spacing chord notes can be entered right before their associated
+spacing note. If you need to skip forward by one \verb|\noteskip|, for
+example after a quarter note when there are two eighth notes in
+another staff, you can use \keyindex{sk}.
+
+If there are only spacing notes in such a sequence, a further
+simplification is available, called \ital{collective coding}. For instance
+\verb|\qu{cdefghij}| writes the C major scale in quarters with
+up stems. Similarly \verb|\cl{abcdef^gh}| writes the
+\ital{A-minor} scale in non-beamed eighths. (Here ``\verb|^|'' represents
+a sharp). If necessary a void can be inserted in a collective coding sequence
+by using~\verb|*|\index{*}. Not all note-generating macros can be
+used to perform collective coding, but most of them can.